• 한국기록관리학회지
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• 제7권2호
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• pp.95-111
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• 2007

소비에트 기록관리제도의 형성과정을 '제정러시아의 관련 이론과 제도의 영향'이라는 시각에서 조망하는 것이 이 연구의 목적이다. 소비에트 기록관리제도를 사회주의 체제의 독특한 산물로 이해하는 것이 기존의 다수설이지만, 이 연구에서는 19세기말 제정러시아시기의 관련 제도에서 소비에트 기록관리제도의 원형을 찾고자 하였다. 연구자는 소비에트 초기 아키비스트인 마야코프스키의 주장과 같이 소비에트기록관리제도의 맹아를 제정러시아 말기 칼라초프에 의해 주도되었던 기록관리제도 혁신에서 찾는 시각에 주목하였다. 칼라초프는 제정러시아의 기록관리제도를 서구수준의 근대적인 성격으로 탈바꿈시킨 대표적인 아키비스트이다. 기록물의 관리와 보존을 국가재정에서 부담하는 국가책임의 중앙관리형 기록관리제도를 점진적으로 시행하고 있던 19세기 서구제국의 '기록관리의 중앙집중화' 경향과 달리 칼라초프는 '기록물의 국유화 추진'과 '기록관리및 보존의 완전한 국가재정지원화'를 표방하는 제도를 시행하였다는 점에서 보다 더 직접적으로 소비에트 관련 제도의 모델이 될 수 있었던 것으로 판단된다. 본문2에서 19세기 러시아 기록관리제도의 발전과정 및 칼라초프의 개혁안과 이론에 대해서 살펴보았고, 본문3에서 칼라초프 개혁안과 소비에트 초기의 기록관리제도의 형성과정의 유사성을 비교하였다.

• 미술이론과 현장
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• 제1호
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• pp.7-22
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• 2003

What is 'Art Theory'? In the western sense, the term poses a vague ambiguity, and in the eastern, it is rather an abstract and metaphysical concept. As for etymology, theory is derived from theoria and theoria from theoros. It refers to an act of viewing or seeing, of course not in a metaphysical sense. Plato understood it as 'eide'. During the time of Plotinus, theoria encompassed gazing at every possible reality, and this gazing, that is theoria, is closely related to reality as aunit that theoriacan perceive. However, we tend to distinguish, as other scientists of dualism have done, studio art from theory since a pre-modern approach to art has been particularly tuned to studio practice, set apart from theory. Therefore, in studio classes, students are expected to learn the subject based on the foundational curriculum methods such as medium, genre, technique:, rather than bringing out their own interpretations and discussing theories. As a result, students have become artists, who are not able to understand their own art. Art professors who conduct class in studio are required to proceed with specific 'theories' as well as 'intellectual reflections'. In this respect, this thesis presents poiesis and an idea of 'acting out'. Although art history and aesthetic theory tend to view art as a finished product, actual art-making and related theories should not only be acknowledged as 'completion' (finition) but also be accompanied by theoretic interpretations of the act itself and process. Accordingly, it is to accept and appreciate art as finished result in view of current theory and aesthetics thus boils down to aisthesis. Likewise, poietics starts from a point where an artist is related to studio and examines the 'work process' that extends as far as to the exact end of work. Through the study of such relationship, it is possible that theory understands 'studio' and 'process', and an artist can grant an independent meaning to studio where s/he pours her/his heart out creating a work of art. Theory is a study on artistic discovery thus should be equipped with functions that can accommodate fortuity, imitation, thinking, culture, and surrounding.

• 미술이론과 현장
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• 제15호
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• pp.111-135
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• 2013

This study explores gender images represented in the works of women artists from the Middle East, where male chauvinism is recognized to be more predominant than elsewhere. The artists included in this study such as Mona Hatoum, Shirin Neshat, Lida Abdul and Sigalit Landau are Post-Feminist generation of artists who were born in the Middle East but spent significant amount of time in the West. In addition, they were trained as artists under the influences of the Western Feminist Art. This particular group of female artists pays much attention to the ontological question of their identities rather than male/female inequality, and each artist represents men and women in the ways that can hardly be found in the works by women artists in the West. These artists not only connect gender identities to the socio-political geography of the Middle East but also deconstruct Western stereotypes of men and women from Arab world. The paper focuses on the way these women artists incorporate male/female vs. culture/nature dichotomies into their works to subvert the premises on which Western Feminism has been based and not only to cast light on women's freedom and their ontological conflicts but also to emphasize social suppression inflicted upon men. In such process, these artists resist stereotypical images of Middle Eastern men and women widely circulated in the mainstream media of the West.

• 한국의사학회지
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• 제36권1호
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• pp.99-112
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• 2023

This paper analyzes the historical context, the author, and the organization of contents of Dongseo uihak youi (Essentials of Eastern and Western Medicines), which was written by Do Jinwoo. In the colonial situation of the early twentieth century, the tradition of Korean medicine faced crises and challenges in many ways. Members of the Korean medicine community were simultaneously faced with continuing the tradition of Korean medicine and becoming healthcare providers with a specific role within the healthcare system of the time. Dongseo uihak youi is the result of the collective and official efforts of the Association of Korean Medicine of the time to maintain its tradition where only Western medicine was officially allowed to be taught and tested after the promulgation of the Rules of the Medical Student (ŭisaeng). Dongseo uihak youi was the first Korean medicine book to precisely describe and compare the names of diseases in Eastern and Western medicines. Dongseo uihak youi contained not only medical theories and prescriptions but also laws and forms, in that the purpose of the book was not simply to cultivate clinical skills but also to demarcate the boundary of medical knowledge and activities required of a practitioner of Korean medicine in the modern colonial health care system of the time.

• 한국의사학회지
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• 제22권1호
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• pp.31-45
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• 2009

Eui Bang Shin Gam("醫方新鑑") is a classic on oriental medicines written by Shin Oh (新塢) Han Byung Lyun (韓秉璉) in 1913. It was written under the base of the writer's own experience as well as in the light of 36 other classics on oriental medicines such as Dong Eui Bo Gam ("東醫寶監"), Eui Hak Yip Mun ("醫學入門"), and Kyung Ak Jeon Seo ("景岳全書"). In an attempt to avoid difficult theories and list only the essential informations and formulas for clinical purposes, it attained its own characteristics of not only reorganizing Dong Eui Bo Gam in a pragmatic way but also explaining diseases classified in western medicines in oriental medicines' point of view as well as suggesting medicine formulas regarding such explanations. As a result, it is a complete and efficient medical classic through which one can gain knowledge in both classic oriental medicines and combination of western and oriental medicines. Its special features are making a separate chapter for cholera and Lao Zhai (勞瘵), which is also a contagious disease, and trying in the chapter to explain the diseases in words of oriental medicines; listing details of nine major epidemic and matching them with the diseases known in oriental medicines; and recording a case of enforcing sterilization and preventive injection against contagious diseases. The basic medical theory in Eui Bang Shin Gam are the yin-yang theory, the thesis of fire and water, the thesis of the exterior and the interior, Yun Qi Lun (運氣論), and four institutions of human body. In explaining the basic theories, the writer emphasized strengthening the yang of the body, under the influence of the thoughts of Zhang Ga Bin (張介賓). Since he put the importance of diagnosis first, the first chapter is about diagnosis. There are five different ways of diagnosing a patient mentioned in the book, and acupuncture, pulse, and medicines was considered crucial.

• 한국의사학회지
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• 제28권2호
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• pp.97-103
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• 2015

The medical information of Lee-Kyukyeong has been considered as one of the cases delivering western medical knowledge, attracting public attention. The medical theories delivered from western countries were very unfamiliar and unique however he knew that e dissection information of East Asia was more detailed compared to the dissection theories of East Asia left in East Asia. And, he made a valuation of the East Asian traditional medical information related to human body in the book. However, the information that he left was mixed with medical books, many written statements and encyclopedias in fashion etc. and many information written by him delivers very unique legends with the confirmation of the information about the human body. Therefore, there are many cases that these information are hard to be discussed at the same level and there are wrong information in therms of 'Fact' and introductions in terms of opposite contetns in the same article. This is originated from the advantages and limits that "OhjuYeonmunJangjeonSango" has, whose author tried to collect the knowledge as much as possible in the same frame under the identical topic. This is the example that shows the climate of the some intellectuals who made an example by accepting all kinds of information and making information of their own. This intelligent climate clearly shows the discordance between medical information suggested by Ohju and the medical reality that Ohju faced. In other words, there were latest information in "Ohju-Yeonmun-Jangjeon-Sango", but had to be sensitive in supply of medicines for Ohju who used to live in the backwoods. Therefore, the medical benefits that he could choose were single - medicine prescription that is closer to conventional medicine and experiential prescription and Yangsaengsoo which medical costs do not occur. These facts imply that the stories about the latest opinion that was in fashion to look at the medical reality in late Chosun Dynasty and detailed research on the daily life that one person faced should be accompanied.

• 동국한의학연구소논문집
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• 제10권
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• pp.86-97
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• 2008

목적: 이 연구의 목적은 정서지능의 한의학적 개념의 정립하고, 치료 방법을 개발하는 것이다. 도구: 우리는 정서지능과 관련된 문헌을 분석 및 조사하였다. 결과: 한의학에서 정서지능은 오행, 오지, 칠정의 이론에 부합한다고 볼 수 있다. 오지와 칠정은 오행상승과 오행상극의 이론에 따라 정서조절의 역할을 할 수 있기 때문에 정서조절 영역 IV에 부합한다고 볼 수 있다. 오지, 울증, 칠정조절은 정서의 안정과 정서조절에 적용시킬 수 있다. 결론: 이 연구는 한의학이 서양의학보다 정서지능에 관하여 더 많은 장점을 지니고 있다. 왜냐하면 한의학은 정신과 육체를 불가분의 관계로 보기 때문이다. 앞으로의 연구에서는 정서지능의 한의학적 개념의 정립과 문헌적 추가 연구가 필요할 것이다.

• 식품기술
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• 제18권3호
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• pp.91-97
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• 2005

Nowaday, in Vietnam there are two types of medical services which have coexisted. These are Western medicine or Tay Y and Eastern medicine or Dong Y (this is also known as Oriental medicine). Dong Y is includes Chinese traditional medicine (TCM) or Thuoc Bac and Vietnamese traditional medicine (TVM) or Thuoc nam. In its’ history, Vietnam was dominated by feudal China in more than 1000 years, so that Vietnamese people was impacted much by Chinese thought, culture and medicine of course. Traditional Chinese and Traditional Vietnamese Medicine differ in practice, though they share the same theoretical foundation. Their relationship can be observed by the influence of TCM theories on the TVM which are Yin and Yang, Five Elements. In practice, TCM practitioners usually spend more time giving their patients a sort of theoretical explanation of what's going on, whereas TVM practitioners would use a more practical approach and concentrate less on theory. TVM was popular in common life of working people, generally using ingredients readily available nearby and involving a minimum of processing. Most knowledge was passed unselfconsciously from one generation to the next. It can be said that Vietnamese people are based on theories of TCM and available tropical plant sand animals native to Vietnam to built and develop TVM with it’s own character. The following are some plants are using in normal life of Vietnamese people as food or drink with well-being effect(1,2).

• 한국실내디자인학회논문집
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• 제22권5호
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• pp.162-170
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• 2013

Although vision has been considered as a top sensory organ in the Western culture until modern times, the significance of space experience that communicates with a body via complex perceptions has recently garnered attention. This study criticizes the limitations of a vision-centered space and has the goal of empirically examining the sensibility characteristics in a haptic space through post-structuralism views leading up to Gilles Deleuze's philosophical ideas. This study will explore the flow of senses from the philosophical and artistic standpoint and the sensibility characteristics in a haptic space by examining the theories on haptic perceptions in connection with a space. In order to test the existing theories and identify the differences in sensibilities depending on perceptual method, the sensibilities of participants were compared using SD method (Semantic Differential scale method) and a validity test was conducted using a statistical program SPSS. The research has revealed that the average sensitivity scale of complex haptic perception was higher than single perception that only relies on vision. In addition, there was a correlation between perceptual method based on various sensory organs and human sensitivities. This study is meaningful in that it can serve a foundation for empirical research on sensibility, since it has reexamined the relationship between space and participants and demonstrated and analyzed their sensitivities through an experiment.

• 미술이론과 현장
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• 제4호
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• pp.105-121
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• 2006

The term 'modern', in broader sense, refers to the concepts like modernity, modernization, modernism and the like, which came from Westernization impling the recognition of indigenous culture as being inferior to Western culture by comparison along with the expanded influences of the Empire of Japan. These concepts, however, rather than evolving from Western standards, came into being as a form of civilization led by Japan which had already tasted the fruits of modernization by 1920s. Since 1920s, the policy of, so-called, reconstructing Asian countries by Japan came to create eastern way of modernism, as a new East Asian trend mainly revealed in China which was against colonization after Japan's invasion and conquest of Manchuria. Therefore, Eastern' modern' unlike Western one could be understood in the widespread terminology, 'Modern(摩登)' in Shanghai, reflecting consciousness like 'Fashion' or 'Trend' in female images on a variety of visual media. By 1930s it was the most notable that 'modern' was accepted as something similar with 'Fashion', or 'Trend' in sociocultural contexts. These atmosphere had led commercial arts to enable to communicate with the public in a great deal of supports and success in Shanghai which was widely regarded as the citadel for the inflow of Western culture, among which transformations in female images were remarkable as a representative form of culture. It is also remarkable that 'historical modernity' transforming from the feudal age to modern society was considered a synchronic modernity, and nationalism was regarded as a sort of being modern, while involved in the newly-changed female images as a fashion mode. Changes in fashion including hair style in Shanghai by 1930s, as a way of expressions showing what was modern through commercial artistic productions, were easily noticed in visual media as an outlet of modern women's inner desire revealing their pursuit for new mode of life in metropolitan cities. As a characteristic of the time creating a new code of visual female images, it is notable that there existed another form of 'modern' satisfying socio-cultural needs of the general public seeking for being 'modern'.