청정 제주 자연 이미지 효과적 표현 - (주)고내촌 '한라보리 고추장' 베스트패키지디자인어워즈 대상수상

신지영,Sin, Ji-Yeong (사)한국포장협회 2009 包裝界 Vol.190 No.-

한국상품문화디자인학회는 국내 기업의 상품 개발 의욕과 인력을 고취시키겠다는 취지 아래 1995년부터 베스트 패키지디자인어워드를 제정, 브랜드 아이덴티티, 제품 그래픽스, 용기디자인 부문으로 수상자를 선정하고 있다. 지난해 12월 6일 코리아디자인센터에서 열린 2008 베스트패키지디자인어워즈에서는 (주)고내촌의 '한라보리 고추장'이 대상을 차지했다. 이번 패키지디자인을 진행한 (주)오너디자인연구소 신지영 차장에게 제품 패키지 특성에 대한 설명을 들어보았다.

『西廂記』의 喜劇的 構造와 人物

申智瑛 이화여자대학교 인문과학대학 중어중문학과 1992 梨花馨苑 Vol.4 No.-

19세기 유토피아 사상과 영국의 예술과 디자인

신지영 한국미술사교육학회 2007 美術史學 Vol.21 No.-

This paper examines the Art and Craft movement in its historical and cultural context where the discourse of the Utopia has risen. Despite its maximum visibility in the history of art, the 19th century historical and cultural context of Art and Craft movement is not well known. The Art and Craft movement is generally considered the milestone of the dominant Art History discourse, the modernist formalist art history. Registered in the linear progressive history of the modern, the modernist art history puts emphasis on the achievement of autonomy of the pictorial elements such as colour and forms. The formalist art history is in the same vein as other progressive modern discourses, the modern period in the history of art has shown the development of the independent pictorial language as opposed to the traditional art, which generally concentrated on the subject or message rather than the pictorial harmony. From the perspective of the modern art history, the peculiar style of art and craft works, the linear lines and the bright colors have been considered to be a monumental move toward to the autonomy of modern art. However, when the art and craft movement is relocated in the historical and cultural context of 19th century Britain, the movement has special social and historical meanings which have been excluded from the dominant art history. Far from the mythology of modern art, the Art and Craft movement was an intensively socially conscious art movement rather than exclusively aesthetically oriented. Art and Craft movement has been known for its revival of the medieval mode of art production, the ‘Guild’. This change of mode of production is rooted in the socialist consciousness, sprouting in the age which recognised the negative side of the mass production system. The 19th century discourse of Utopia represented by John Ruskin had been raised in the same vein of social consciousness which eventually lead into the 20th century Marxist revolution. This paper looks at the complicated historical and social context overlooked by the modernist discourse, to give a new mapping of the modern art.

《소봉래선관전기(小蓬萊仙館傳奇)》-타협과 절충의 미학

신지영 중국어문학회 2005 中國語文學誌 Vol.18 No.-

강제동원 기록문학의 첫자리, 그리고 ‘옥순이’ : 안회남의 중편소설 「탄갱(炭坑)」

신지영 근대서지학회 2019 근대서지 Vol.- No.20

戱曲 藝人 교육의 발전에 대한 試探

신지영 중국어문학회 2003 中國語文學誌 Vol.13 No.-

這篇文章的目的是考察中國古代以來的民間戱曲敎習機構. 曆代中國戱曲敎習從兩個方向進行的. 第一是官方和宮廷掌管的機構, 秦漢以來戱曲敎習的官方組織隋時代不同而有種種稱謂, 代表性的有敎坊梨園南府等等. 敎坊的創置在唐代, 掌管宮廷和官方的演員及演出. 敎坊除了宮廷的 "雅樂"以外, 還管掌了百戱的敎習和舞台演出. 梨園也是在唐代敎育宮廷藝人的機構, 在這里玄宗直接監督過演員, 因此當時把梨園的演員叫 "皇帝梨園弟子". 后代人把戱曲劇團叫成梨園, 兒把演員叫成梨圓弟子都是根據唐代的梨園. 淸代的宮廷演出機構稱爲南府(后來變成升平署), ??網羅了大批民間的優秀藝人, 幷敎習太監與藝人子弟. 這樣的官方組織是在少數者控制下的專門機構, 用于宮廷儀式·宗敎祭祀·飮宴出行和提供聲色之娛. 第二是民間里形成的戱曲敎習的形態. 當時民間藝人像手工技術人大部分通過個人和個人之間的師承關系. 師承是民間性的, ??不像宮廷和家樂主人操持, 而常表現爲個人之間的師承關系. 師承一般有兩種形式, 一是非血緣關系的師徒傳承, 二是在家族內部的世代相傳, 這兩種形式在中國古代都極爲普遍. 這個辨法有種種明顯的缺點, 藝術傳授的單純, 口傳心受的方式, 都不利于演員的全面成長. 科班是中國最爲完善的演員培養機構, 古代演員敎育的集大盛者. ??融合了宮廷·家樂和民間私學的多種培養辨法, 體現了演員敎育的最高成就. 成熟的科班當是京劇形成以后的産物, ??不僅僅是京劇的演員培養機構, 淸末衆多的地方戱大都也有自身的科班. 在中國科班曆史上, 體制最爲完善, 時間延續也最長的是創建于一九九零四年的富連成科班. 這個科班直置一九四三年才解散. 科班的基本特色是融敎學與實踐爲一體, ??體現了中國近代演員敎育的一大進展. 特別富連成科班通過比較有條理的敎育方式敎學生, 在三十年多的時間來派出了七百多的演員. 富連成的敎育方式也算是當時戱曲改良運動之一.

한국어 음소 전이 빈도: 3세~8세 아동의 자유 발화 자료를 바탕으로

신지영 한국어학회 2005 한국어학 Vol.28 No.-

The aim of the present study is to provide some information on bi-phoneme frequency of Korean by analysing spontaneous speech spoken by 3 to 8-year-old Korean children. 49 Korean Children(7~10 children for each age) were employed as subjects for this study. 124,588 bi-phonemes classified into 8 types(C+V, V+C, C$C, C$V, V$C, V$V, #+P, P+#) according to prosodic boundaries between phonemes, were examined for this study. Possible numbers of bi-phonemes were 1,165 types and 828 types of bi-phonemes were found in the data. However, only 6.2%(51 types) of bi-phoneme types covered over 50% of the data.

순수 및 혼합냉매의 유동증발 열전달 상관식

신지영,김민수,노승탁,Shin, J.Y.,Kim, M.S.,Ro, S.T. 대한설비공학회 1996 설비공학 논문집 Vol.8 No.2

Boiling heat transfer coefficients of pure refrigerants(R22, R32, R125, R134a, R290, and R600a) and refrigerant mixtures(R32/R134a and R290/R600a) are measured experimentally and compared with several correlations. Convective boiling term of Chen's correlation predicts experimental data for pure refrigerants fairly well(root-mean-square error of 12.1% for the quality range over 0.2). An analysis of convective boiling heat transfer of refrigerant mixtures is performed for an annular flow to study degradation of heat transfer. Annular flow is the subject of this analysis because a great portion of the evaporator in refrigeration or air conditioning system is known to be in the annular flow regime. Mass transfer effect due to composition difference between liquid and vapor phases, which is considered as a driving force for mass transfer at interface, is included in this analysis. Correction factor $C_F$ is introduced to the correlation for the pure substances through annular flow analysis to apply the correlation to the mixtures. The flow boiling heat transfer coefficients are calculated using the correlation considering nucleate boilling effect in the low quality region and mass transfer effect for nonzazeotropic refrigerant mixtures.

자동차 시트 프레임 적용 Plug, Fillet, Laser 용접에서 시트 강종 및 두께 조합이 접합품질에 미치는 영향 분석

신지영,Arun lalachan,김형종,김현제,박영도 대한용접·접합학회 2022 대한용접학회 특별강연 및 학술발표대회 개요집 Vol.2022 No.5

들뢰즈의 차이 개념에 관련한 여성주의 재정립 가능성

신지영 한국여성철학회 2007 한국여성철학 Vol.7 No.-

This paper is written so as to answers to the question that the feminist camp asks to the philosophy of Deleuze in regards to the concept of Difference. This concept is so important both to Deleuze and the feminist theory that its comprehension could bind or not these two camps. Difference as a philosophical concept can be used for minorities to fight against fascist positions because this concept is engineered with the power of deconstruction. However, as we can infer easily, this concept is auto-deconstructed. That is to say, this concept is useful to break up the fascist theories but it also dismantles the basis of minor theory. And there exists paradoxal point of the concept of Difference, which is to be unraveled especially for feminist theory. So, the relation of feminists with Deleuze or Deleuzian philosophy is not so simple. Feminist such as Rosi Braidotti is a good exemple critically adopting Deleuze. She criticised that in Deleuze the sexual difference is one of the other differences, while she considers it as most important structural and critical difference among others. She reaches a compromise at the point where she can maintain her positions of feminist and deleuzian, and she considers this method as the best solution to save feminism in the middle of the postmodern times. Our debates begin just at this point : "Could we save feminism with the concept of Difference?"; "Saving feminism, is it ultimately good thing for feminism?" We think that this is the fundamental and radical question to be solved in the area. We begin considering the compromising concept of difference in Braidotti, conclude that this concept is not properly that of Deleuze in itself, and that Deleuzian difference does not agree with another center such as feminism in spite of its minor position. And we try to redefine feminism with deleuzian difference as war machine, which fight against any centripetal mouvement without interrupt. If we redefine feminism as war machine, it is not necessary to worry about its annihilation. This feminism would be more fighting outward and more solidary inward.