四溟 惟政(1544-1610) 眞影 硏究

박주영 고려대학교 대학원 2018 국내석사

본 연구에서는 한국의 고승 진영 중 현전 수량이 풍부하며, 수염 등의 특징적인 상호표현을 지닌 사명 유정의 진영에 주목하였다. 진영의 조성주체 및 조성목적에 관한 문제, 정밀한 양식변천의 양상, 그리고 동일한 인물이 각기 다른 모습으로 등장하는 사명 유정 진영의 현상을 사명 유정의 생애 및 그에 대한 각계각층의 인식을 중심으로 살펴보았다. 연구 방법으로는 먼저 사명 유정의 생애를 관련 문헌을 통해 정리하여 사명 유정이 어떤 인물로 인식되어왔는지를 유교계, 불교계, 민간 등 각 계층별로 나누어 살펴보았다. 또한 현전하는 사명 유정 진영을 소장한 사찰의 법맥계보와 동반 제작, 봉안된 진영의 예를 살펴 사명 유정 진영의 조성 주체 및 목적을 유추해 보았다. 연구대상이 된 22점의 사명 유정에 대한 기본적인 정보를 각 진영별로 정리하였으며 이를 도표화하였다. 이러한 내용을 바탕으로 사명 유정 진영에 표현된 다양한 구성요소를 분석해 보았다. 구성요소는 좌식 및 배경, 상호, 의복, 지물 등 각 진영에 공통적으로 표현된 4부분으로 나누었으며, 진영에 나타난 요소들에 대한 연원과 의미, 표현의 변화과정을 집중적으로 살펴보았다. 이 중, 보다 특징적인 변화과정을 보이는 상호표현을 중심으로 사명 유정 진영을 총 3기로 나누어 각 시기별 진영의 특징을 정리함과 동시에 진영에 표현된 인물상의 변화를 앞서 살펴본 사명 유전에 대한 인식과 연관지어 살펴보았다. 본 연구를 통해서 사명 유정 진영은 진영의 일반적인 예와는 다르게 직계 법맥이 조성한 것이 아닌 18세기 이후로 경상북도 지역에서 활동하였던 편양법맥의 주도로 조성되었으며, 그 중심에는 도총섭 등 주요승직이 배치되었던 사액서원 표충사의 건립이 있었음을 알 수 있었다. 또한 사명 유정 진영의 구성요소에 대한 분석을 종합하여, 생전에 사용한 가사 및 가사장식구, 지물 등의 유품을 표현하여 사명 유정의 모습을 사실적으로 나타내려 하였지만, 시간이 지날수록 양식이 혼용, 변용되고 있음을 알 수 있었다. 끝으로 1기의 진영에는 불교계의 인식이 반영된 이상적인 승려의 모습을 표현하려 하였지만, 2기 및 3기의 진영에서는 유교계, 민간의 인식이 크게 반영되어 사천왕 및 시왕, 산신 등의 상호와 유사한 표현을 사용한 의승장이라는 전에 없던 유형의 불교인물상을 표현하려 하였음을 알 수 있었다. A Study on the Portraits of Monk Samyeong Yujeong(四溟 惟政, 1544-1610) This thesis is a study on the large number of portraits depicting the Joseon dynasty monk Samyeong Yujeong(四溟惟政). Of the many high priests of Buddhism represented in Korean portraiture, Samyeong Yujeong is portrayed in an abundance of extant examples that display unique sangho (相 好, expressional characteristics of the Buddha) in aspects such as facial hair. In addition to an analysis of these physical traits and their stylistic transformation over time, the text examines the principal motivation for and goal of the portraits’ creation. The results of this examination reflect a correlation between the systematic changes in Samyeong Yujeong’s appearance present in his portraits to an awareness of the different stages in the monk’s life as well as the existence of contrasting perceptions of Samyeong by the different social strata of the time. The first approach to the subject of this thesis is to review the various historical records regarding Samyeong Yujeong and his life. Through these historical records, we review the manner in which Samyeong was perceived during his life by the different social classes and religious sects of the time including Confucian or Buddhist groups, the common public, etc. The principal motivation for and goal of the portraits’ creation is also determined by a study of the Dharma lineage of the temples that house extant examples of Samyeong’s portraits as well as a comparison to other portraits of Buddhist priests produced in the same period. A total of twenty two portraits of Samyeong Yujeong are analyzed and organized by the different visual elements expressed in each example. The apparent elements include the circumstances of production, background information, sangho, attire, and the various objects depicted among other visual details. These elements are categorized into four groups and their origins are ascertained in order to chart the changes of each element in a sequential manner. As for the portraits themselves, they are separated into three periods based mainly on the expression of sangho. Finally, the main characteristics of each period and their systematic transformation are related to the varying perceptions of Samyeong that endured during and after the monk’s life. The results of this thesis show that the portraits of Samyeong Yujeong are unique in that they were created by the Pyeonyang(鞭羊) Dharma lineage active in the region of North Gyeongsang Province after the 18th century. This is an unusual event in that the Buddhist tradition dictated the assignment of such a task be given to the Jikgye Dharma lineage. At the center of the Samyeong portraits’ production is the construction of a seoak seowon(賜額書院), a confucian education institute, at the site of Pyochungsa (表忠寺) temple that served as the base of operations for the main priesthood of Dochongseop(都摠攝). In terms of the physical attributes of Samyeong portrayed in the portraits, it is clear that the initial portraits took a naturalistic approach to depicting the various articles of the deceased such as the gasa(架裟) or ceremonial robes, robe decoration, objects, etc. However, as time passed, the disparate manner of portraying these aspects were combined and transformed to take on a more stylized appearance. Thus the three periods of the Samyeong portraits can be described as an intial first phase during which the monk was portrayed as an ideal of the Buddhist faith and a second and third phase during which the portraits reflect a particularly Confucian and folk perception of the monk through the incorporation and reflection of figures such as the four heavenly guardian kings, ten kings of hell, mountain guardian spirit, etc. The last two phases are particularly noteworthy as the portraits of the two periods took on a new approach to portraying figures of the Buddhist faith to produce never before seen forms such as the uiseungjang(義僧將) or military monk general.

반복에 의한 발생 구조 연구

柳姃我 영남대학교 대학원 2002 국내석사

The structure of a society or a culture is composed of many elements and the elements are existed individually in it but they do not exist by itself in the structure of a society or a culture. That is, the structure of a society or a culture is constructed by the specific elements and specific relationship of the elements. And the relationship among them can be a general one but also can be a specific one in a society or a culture. That is, as the specific elements within the elements construct a culture, the specific relationship construct a society among the relationships. For example, there are specific elements such as language, art, music, and cinema etc. in the structure of a culture. And the elements construct the structure of a culture as not a general relationship but a specific relationship. The existence of a culture is meaningful because there are those elements as language, art, music, and cinema etc. And those elements are not exist in itself but exist by reciprocal relationship among the elements. Among the elements that construct a culture, there are elements in the structure of art - art take a position as a specific elements in the structure of a culture and art is a structure when we consider the art as an individual not as a dimension of a culture - as there exist some elements in the structure of a society or a culture and there are reciprocal relationships among the elements. That is, there are sub-structure of art or music in the culture - the meaning of sub-structure here is elements and the relationship among the elements. And the structure of an art is actualized by specific elements which is placed in the structure as a sub-structure, and by the specific relationship of these elements. So, we have to examine the sub-structure in the art to define the structure of art. Of course, we have to examine the elements of language, art, music, and cinema which is positioned in a culture to define the structure of a culture. And we have to examine the specific relationship in the elements of language, art, music, and cinema. That is, the structure is constructed and existed by sub-structure in it. For example, the structure of a culture is constructed and existed by the sub-structure of language, art, music, and cinema in it and the structure of each language, art, music, and cinema is constructed and existed by sub-structure in it. so all the structures can be a sub-structure also. This research discusses the works during the limited period of year 1999 - 2002 among 'The Structure of Generation by R p tition's. The works here is not a work of r p tition by simple repeat of the same thing but a work of r p tition accompanying some diff rence on the niveau of space and time. Also this thesis aims an examination of the works as not 'a generated structure' but a 'structure of generation' by the present co-existence and the virtuel co-existence. And focuses how the works are actualized, what is the special relationship in the actualization, what is the value of the relationship, and what is the singularit that correspond to these relationships by examining all the virtuels of co-existence prior to the works. Chapter II-1, 'Moving the seat of itself' discusses a square as a case yide(a dynamic subject) which generate the structure of Non - Pref Ⅰ, Non - Pref Ⅱ, and Non - Pref Ⅲ and lead the generation of the structures simultaneously. Chapter II-2 1), 'The system of singularit and the system of differential relationship' discuss the symbolic element which is reciprocally decided by the square, and discuss the singularit which correspond to the symbolic elements that is decided reciprocally expansively into the complete decision. Chapter II-2, 2), 'R p tition' discuss the diff reniation of symbolic elements which is co-existing within the structure, the diff reniation of the singularit , and diff reniation of working behavior. These are organized essentially by s ries. But the structures of Non - Pref Ⅰ, Non - Pref Ⅱ, and Non - Pref Ⅲ can not be organized by one s rie. There are at least two contradicting s ries in the structure. The things which shows at one side a sens itself is exist as 'signifiant s rie' and at the other side of sens is existed as 'signifi s rie' which is defined in dualistic and relative point of view. The orders and the realization of the structure of the s ries are defined at the discussions in Chapter II-2, 3). In discussing the art works, the analysis is based on the view point of 'S miotique' that each signes have more meaning than simple character, especially the signes indicate the other signes on the same circle. And this thesis is based on the framework of the thought of Gilles Deleuze's 'r gime de signes' which explains that a culture or cultural expressions such as language, art, music, and cinema is composed of the signes, which the signes not only indicate the other signes on the same circle but also indicate the another signes on the other circle or a spiral among them. The time before the year of 2002 and present exist in itself. And the future to come is the place vacante. But the vacance itself is not a non-existence. The non-existence is not a negative being but it is a place vacante for future possibility as a positive existence which make possible to form an issue. As the existence of the vacance can converge and diffuse aliquid, this thesis can be a plaza for a foundation stone of the possibility. Therefore, this research pursue a Nomadic subject as a step toward the open space by examining the future to come and the nearest present.

大衆文化消費에 關한 硏究 : 中國 消費者들의 K-Pop 趣向地圖

유정아 전북대학교 일반대학원 2015 국내석사

The present study aims to explore the Chinese consumers’ attitudes and consumer orientation towards Korean pop music, hereinafter referred to as K-POP. Specifically, drawing on an analysis of the relationship between consumption and culture in the Chinese consumer market, the study places an emphasis on K-POP in Chinese market and finds a position K-POP in the Chinese market. A survey indicates that China stands on the first place in terms of K-POP consumption. In particular, young people in China spend considerable amount of money and account for the vast majority part in the market of K-POP. Nonetheless, although the K-POP consumption in China is still growing, there are some limitations. For example, people who favor K-POP often belong to the underage group or in lower education and income, and mostly belong to female group. Under the influence of K-POP in China, the market should be subdivided and the age level, the income level, the education level and the gender should be averaged and balanced. It is recommended that K-POP create more values for more people in China.

菅原孝標の女 更級日記 硏究 : 物語意識 について

유정아 誠信女子大學校 1995 국내석사

알베르토 자코메티의 彫刻에 대한 硏究

유정아 韓國敎員大學校 1993 국내석사

눈썹 반영구메이크업 피시술 동기에 따른 이미지 변화와 만족도 연구

유정아 단국대학교 문화예술대학원 2021 국내석사

이 연구는 외모관리 행동에서 미용분야의 한 부분으로 자리잡고 있는 반영구메이크업 중 눈썹 반영구메이크업의 피시술 동기에 따른 이미지 변화와 시술 만족도를 알아보기 위해 수행하였다. 연구의 목적은 눈썹 반영구메이크업 피시술자는 어떠한 동기로 인하여 시술을 받고 그에 따라 달라지는 이미지 변화와 만족도가 어떠한지를 확인하는 것이다. 피시술 동기 중, 피시술 결정에 있어 가장 영향을 미치는 요인과 이미지 변화를 검증하고 그에 따른 만족도를 조사하는 것이다. 연구대상은 대전광역시에 거주하는 눈썹 반영구메이크업 시술을 받은 경험이 있는 남녀이다. 선정한 대상자에 대한 조사는 2021년 4월 13일부터 27일까지 약 15일간 실시하였고, 스노우볼 표본추출법을 이용하여 총 250부의 표본자료를 분석하여 다음과 같은 결론을 얻었다. 첫째, 눈썹 반영구메이크업 피시술자는 눈썹을 얼굴에서 중요하게 인식하고 있는 것으로 나타났다. 둘째, 눈썹 반영구메이크업 피시술 동기는 성별에 따라 다르게 나타났다. 셋째, 눈썹 반영구메이크업 피시술자가 인식하는 눈썹의 중요도와 이미지 변화는 이미지 향상에 영향을 미치는 것으로 나타났다. 넷째, 눈썹 반영구메이크업 피시술 동기 중, 외모 단점 보완, 사회적 자신감, 유행 추구는 이미지 변화와 상관관계가 있었으며, 동기가 강할수록 이미지 변화가 더 크게 나타났다. 다섯째, 눈썹 반영구메이크업 피시술 동기 중, 유행 추구와 미적 관점은 만족도와 상관관계가 있었고, 동기가 강할수록 만족도가 높은 것으로 나타났다. 여섯째, 눈썹 반영구메이크업 피시술 후, 이미지 변화가 클수록 시술 만족도가 높은 것으로 나타났다. 이상의 분석결과를 통해 피시술자는 얼굴에서 눈썹을 중요하게 인식하고 있다는 것을 알 수 있었다. 눈썹 반영구메이크업 피시술 동기가 강할수록 만족도도 높은 것으로 나타났다. 다만 성별에 따라 피시술 동기는 다르게 나타났으며, 이것은 남성은 사회적 관점에서, 여성은 편리성 관점에서의 차이라는 것을 알 수 있었다. 이 연구는 피시술자가 시술받는 선택에 있어서의 동기를 파악하고 그에 따른 이미지 변화와 만족도를 이해하는 계기가 될 수 있으며, 향후 학문적인 차원과 실무적 차원에서 유용한 자료의 하나로 활용될 수 있을 것이다. This study was conducted to find out the image changes and the treatment satisfaction according to the motivation of the eyebrow treatment among the semipermanent makeup treatments which have become a part of the beauty field in appearance management behavior. The purpose of this study is to identify that what motivation make people undergo the eyebrow semipermanent makeup treatment and the image change and satisfaction that changes accordingly. In other words, it is to verify the most influential factor in the decision for treatment among the motivations for treatment, and the image changes, and to investigate the satisfaction accordingly. The subjects of the study were men and women who had experienced eyebrow semipermanent makeup treatments living in Daejeon Metropolitan City. The survey on the selected subjects was conducted for about 15 days from April 13 to 27, 2021, and a total of 250 copies of sample data were analyzed and conducted using the snowball sampling method to reach the following conclusion. First, people who have had the eyebrow semipermanent makeup treatments have been shown to recognize eyebrows importantly in their faces. Second, it was shown that the eyebrow semipermanent makeup motivation appeared to vary by gender. Third, it was shown that the importance and image changes of eyebrows recognized by people who have received eyebrow semipermanent makeup treatments affect image improvement. Fourth, it was shown that making up for the shortcomings of appearance, social confidence and trend-seeking among the motivations of the eyebrow semipermanent makeup treatment were correlated with image change, and the stronger the motivation, the greater the image change. Fifth, it was shown that the trend-seeking and aesthetic perspectives among the motivations of the eyebrow semipermanent makeup treatment were correlated with satisfaction, and the stronger the motivation, the higher the satisfaction. Sixth, it was shown that after the eyebrow semipermanent makeup treatment, the greater the image change, the higher the satisfaction of the treatment. Based on the analysis results above, it was shown that people who received treatment perceive eyebrows as important in their faces. And it was shown that the stronger the motivation for eyebrow semipermanent makeup treatment, the higher the satisfaction level. However, it was shown that the motivation for the treatment was different depending on gender and which means that men differ from a social point of view and women from a convenience point of view. This study can serve as an opportunity to identify the motivation for people to undergo a treatment and understand the image changes and satisfaction accordingly, and in the future it could be used as a useful resource at both academic and practical levelsKey Words : Eyebrow, Semipermanent Makeup, Motivation of Treatment, Image Change, Satisfaction.

包裝필름種類와 LCA條件 발생체의 組合처리가 切花카네이션과 薔薇의 품질 및 수명연장에 미치는 영향

유정아 건국대학교 1992 국내석사

이중섭 회화에 나타난 조형적 특성 연구

유정아 朝鮮大學校 大學院 1999 국내석사

This thesis is dealt with the plastic characteristics appeared in Lee, Joong-Sup's artistic world is individualistic and creative. He found the new areas of beauty by searching the place deeply where others could not find and think. Though he adopted the limited material such as Cow, Cock, Family, Children, his unique expression of colors and exquisiteness of concreteness and composition is appeared only in Lee, Joong-sup's works. He did not stick to the general and theoretical formative style of Japanese art education. It is possible to know that the use of line which is frame of his works is excellent. Everyone can't think or imitate his excellent refinement of color beauty controlled strictly. It seems that these factor means that the development technique of theme is unique and consist of the individual expression technique in completing his artistic world. In chapter I in this thesis, I deal with the period situation when Lee, Joong-Sup works. I review the period situation at that time in clause I and his activity in formative period when his style of works was completed as a research on Lee, Joong-Sup's activity in clause 2. In chapter 2, I review the concrete analysis regarding on his formative characteristics expecially appeared in his works. I research the racial traits that become a basis of his works especially appeared in his works in clause 1, the space composition appeared in his works and further the circular composition, the horizontal composition, the upper and lower of interfere composition concretely in clause 2, the use to line which is an artistic characteristics in Lee, Joong-Sup's paintings in clause 3, the diversity of using materials in clause4. As a result, I can know that he could build his own unique and creative artistic world of painting by developing new formative beauty with his talent, individuality, and creative technique.

국내 호텔 로비공간에 나타난 한국 전통 표현 비교분석에 관한 연구

유정아 홍익대학교 건축도시대학원 2019 국내석사

국제화 시대의 호텔은 국가의 수준을 판단하는 중요한 기준이 되고 있다. 정치, 경제, 사회 및 문화 등 광범위한 분야에서 그 비중과 영향력은 더욱 주목받고 있으며 한국의 호텔 산업은 교통의 발달과 경제 발전을 통해 소득 증대 및 관광산업의 발전, 외교 및 국제적 지위 향상으로 그 수요는 점차 증가하고 있다. 이에 따라 외국 관광객 1,200만 시대를 맞이하게 되었고 한국 전통에 대한 관심은 지속적으로 증가하고 있다. 특히 호텔은 외국 관광객에게 한국 전통과 문화, 경제수준 등을 직접 전달하는 매개체로써 호텔 로비공간의 한국 전통 표현은 그 의미가 더욱 크다고 할 수 있다. 반면 국내 호텔의 수요가 급속히 증가함에 따라 획일화된 디자인과 정체성이 불분명한 호텔들이 무분별하게 건립되고 있으며, 이는 지금까지의 외국 기술에 치우친 국내 호텔에서 보여준 결과로 나타나고 있다. 이에 따라 국내여행 투숙객을 비롯하여 호텔을 이용하는 세계 각국의 이용객들에게 한국 전통의 미를 직, 간접적으로 전달하여 우리 고유의 아름다움을 세계 널리 알릴 수 있는 매개로 자리 잡을 수 있을 것이다. 이러한 맥락에서 호텔 로비공간은 강력한 마케팅 수단으로 이용되는 공간으로 호텔에서만의 정체성 즉, 차별성을 위해 다양한 디자인 표현과 전략적 방법이 중요시되고 있으며 사회, 문화의 변화에 따라 서로 소통하는 역할로써 인식하고, 나아가 하나의 문화 트렌드(Trend)로 발전하게 되었다. 본 연구는 국내 호텔의 로비공간에서 나타난 디자인 표현의 차별성을 위해 한국 전통 표현을 적용한 공간 연출이 호텔의 경쟁력이 될 수 있으며 국내 호텔 산업 발전을 비롯하여 한국 관광산업과 국가 경제 산업의 성장을 증가시킬 수 있음을 확인하고자 한다. 또한 국내 호텔에서 한국 전통 표현의 그 성향과 요소를 살펴보고 국내 호텔 로비공간의 사례를 통해 한국 전통 표현 특성을 도출하였으며, 이를 적용하기 위해 국내 호텔을 선정하여 다음과 같이 제시하였다. 첫째, 호텔 로비공간에서의 한국 전통 표현 특성의 적용은 호텔의 상징적 수단으로써 호텔의 정체성과 차별성을 나타내기 적합한 표현 방법임을 확인 할 수 있었다. 사례를 통해 살펴보았듯이 그 표현이 현대적 재해석을 통한 독창적 표현일 경우 더욱 강조되는 호텔만의 정체성 및 상징적 표현 수단이 되며 호텔의 이용자에게 한국 전통의 정서와 문화 공간의 경험을 전달 할 수 있었다. 둘째, 한국 전통의 상징적, 공간적, 시각적 측면은 호텔의 공간이 한국 정서를 전달할 뿐 만 아니라 호텔의 로비공간에서 보이는 공간구성의 흐름 따라 공간의 정체성을 인지시켜 주고 호텔의 마케팅 수단 등에 이용되기도 한다. 셋째, 한국 전통 표현 특성 중 상징적 측면은 한국 전통의 사상적 배경을 바탕으로 여백의 미, 간결함, 온화한 조명 등의 표현을 통해 한국의 정서적 의미를 부여하고 한국의 정서와 분위기를 전달하는 측면으로써 한국 전통의 은유적 표현 방법으로 재해석 될 수 있다. 넷째, 한국 전통 표현 특성 중 공간적 측면은 자연적, 연속적, 전이적, 위계적, 가변적 공간으로 나타났으며, 이는 한국 전통의 사상적 측면을 비롯하여 만들어진 생활양식과 방식에 따라 공간의 성격을 나타내며 공간의 다양성을 부여하였다. 다섯째, 한국 전통 표현 특성 중 시각적 측면은 비례, 재료, 장식, 색채로 나타났으며 물리적 형태의 시각적 요소가 잘 표현되어야만 공간적 요소의 효과가 극대화 될 수 있음을 확인 할 수 있었고 한국 전통의 정서와 문화공간의 경험을 전달 할 수 있었다. 이처럼 호텔 공간에서의 한국 전통 표현은 호텔의 이용자에게 공간을 제공하는 것을 넘어서서 한국의 정서를 전달하는 역할을 한다. 반면, 호텔 공간의 한국 전통의 시각적 요소를 무분별하게 표현하는 것은 그 의미와 가치를 잃을 수 있다. 단순한 모방이나 잘못된 재해석은 우리의 것을 잃어버리거나 일본 혹은 중국의 전통을 차용한 것이라는 오해받을 수 있음으로 한국 전통을 수용하는 데 있어서 올바른 이론 및 사상의 이해가 뒷받침되어야 하고 한국 전통 표현 방법들이 지속적으로 발전시키며 연구되어야 할 것이다. 따라서 국내 호텔 로비공간의 한국 전통 표현 특성이 적용된 공간은 단순히 공간을 제공하는 것을 넘어서 한국 문화의 정서적 교류와 교감, 심리적 만족감을 느낄 수 있는 중요한 요소가 될 것으로 기대한다. In the era of internationalization, hotels are important criteria for determining the national level of a country. The importance and influence of hotels in a wide range of areas, including politics, economy, society, and culture, are receiving increasing attention, while the demand in Korea's hotel industry is in a rise attributing to the increasing income and advancement of tourist industry, along with the enhancement of the diplomatic and international status via the development of transportation and growth of the economy. This has led to the era of 12 million foreign tourists with a continuously growing interest in Korean tradition. In particular, as hotels serve as a medium to directly convey Korean traditions, culture and economic standards to foreign tourists, the Korean traditional representation in the hotel lobby space has become more significant. On the other hand, with the rapidly increasing demand for domestic hotels, hotels with uniform designs and unclear identity are being constructed indiscriminately and such a phenomenon seems to indicate the result of Korean hotels which have so far inclined to foreign technology. Therefore, hotels shall be able to promote the beauty of Korean tradition directly and indirectly to visitors from all over the world, including domestic travelers by acting as a medium to promulgate Korea's indigenous beauty to the world. In this context, as the hotel lobby space is utilized as a powerful marketing tool, there has been an increasing emphasis on a variety of design expressions and strategic methods for the establishment of the hotel's identity and differentiation. Moreover, the hotel lobby space is recognized to play a role of communication depending on societal and cultural changes and has been developed into a cultural trend. This study aims to confirm that space direction using traditional Korean representations for the differentiation of design expressions in domestic hotel lobby space can become a competitive strength for hotels and increase the growth of Korea's tourist and national economic industries, as well as the development of the domestic hotel industry. In addition, the characteristics of traditional Korean representation were derived from the cases of domestic hotel lobby spaces by examining the propensity and elements of traditional Korean representation in domestic hotels, and so to apply them, domestic hotels were selected and proposed as follows. First, it is identifiable that the application of the Korean traditional representation characteristics in the hotel lobby - as a symbolic means of the hotel - is a proper way to express the hotel's identity and differentiation. As observed in the case, if the representation is an original expression of modern reinterpretation, it becomes a more emphasized identity and symbolic means of expression of the hotel, so as to convey the experience of Korean traditional sentiment and culture to the hotel's visitors. Second, the symbolic, spatial, and visual aspects of Korean tradition not only convey Korean sentiment, but also enable visitors to perceive the identity of the space in accordance with the flow of space composition presented in the hotel lobby, which are often also utilized as the hotel's marketing tool. Third, the symbolic aspects of Korean traditional representation characteristics can be reinterpreted as the metaphorical expression of Korean tradition to provoke Korea’s sentiment and atmosphere by attachment to Korea's sentimental meaning through expressions based on Korean tradition’s ideological backgrounds such as the beauty of negative space, brevity, and gentle lightings. Fourth, the spatial aspects of traditional Korean representation characteristics were displayed as natural, continuous, transitive, hierarchical, and variable spaces. These elements brought about the diversity of space as well as representing the characteristics of space in accordance with the lifestyle and way of life created upon the ideological aspects of Korean tradition. Fifth, among the characteristics of traditional Korean representation, the visual aspects were represented by proportion, material, decoration, and color, which confirms that the effect of spatial elements could be maximized only when the physical form of visual elements was well represented, making it possible to convey the sentiments of Korean tradition and the experience of cultural space. Likewise, traditional Korean representation in hotel spaces enables hotels to not only play a role in providing space but also conveying Korean sentiments to hotel visitors. However, its meaning and value may be lost upon reckless expression of the visual elements of the Korean tradition in hotel spaces. Simple imitation or misinterpretation can be misapprehended as losing out our own or borrowing from Japanese or Chinese traditions. Hence, such representation must be supported by proper understanding of the right theories and ideology when embracing Korean traditions, and there is a need to constantly study and develop Korean traditional representation methods in the future. Therefore, it is countable that the hotel lobby spaces in Korea, when applied with the traditional Korean representation characteristics, will go beyond the role of simply providing space and become an important factor in promoting mental satisfaction, emotional exchange and communion of Korean culture.

피아노 연주에 있어서의 fingering에 대한 연구

유정아 경희대학교 1985 국내석사