고정성 치아보철에 관한 연구

이선형,정헌영,최수영,Lee Sun-Hyung,Chung Hun-Young,Choi Soo-Young 대한치과보철학회 1994 대한치과보철학회지 Vol.32 No.3

The number and the distribution of fixed restorations including crowns, fixed bridges, Maryland bridges, periodontal splints and cast cores were statistically investigated with two thousand seven hundred and thirty cases of crowns and bridges placed at the Department of Prosthodontics of Seoul National University Hospital, from January 4th to December 31st, 1988. The results were as follow : 1. Among the fixed restorarions, single crowns were 46.9% , fixed bridges were 41.9%, Maryland bridges were 5.0%, periodontal splints were 0.6% and cast cores were 5.6%. 2. Three thousand nine hundred and ninty two teeth were restored with the fixed restorations, among them cast gold restorations were 47.2% and metal-ceramic restorations were 52.8%. 3. Cast gold restorations of the maxillary posteriors occupied 98.5% of the maxillary cast gold restorations, and 99.7% of the mandibular cast gold restorations and metal-ceramic restoration of maxillary anteriors occupied 68.4% of the maxillary metal-ceramic restorations, and 38.7% of the mandibular metal- ceramic restorations. 4. It is recommended that the curriculum of the dental school for undergraduated students and graduated students should be changed to accomodate the relative importance of the restorations.

접착성 레진 시멘트 와 법랑질 및 닉켈-크롬 합금 간의 전단결합강도

이선형,양재호,정헌영,장일성,Lee, Sun-Hyung,Yang, Jae-Ho,Chung, Hun-Young,Jang, Il-Seong 대한치과보철학회 1997 대한치과보철학회지 Vol.35 No.2

This study was executed to measure the shear bond strength of Panavia EX and Panavia 21 when the Ni-Cr-Be alloy castings were cemented to the enamel surfaces with these cements. The cast metal plates of Ni-Cr-Be alloy were sandblasted and cemented to acid etched enamel surface with Panavia EX or Panavia 21. Their shear bond strength were measured with Instron Universal Testing machine. Within the limits of this study, following conclusions were withdrawn. 1. The mean shear bond strength were 26.85.7MPa, in Panavia EX and 28.35.2MPa, in Panavia 21. 2. t-Test revealed no statistical significance between two groups(.05 level) 3. Macroscopically, bond failures were revealed compound fracture at metal and enamel interfaces, in cases of both cements, as the cement attached partly on both metal and enamel surface.

자녀교육비 및 노부모에 대한 생활비 지원이 둘째자녀 출산의도와 노후준비에 미치는 영향 - $20{\sim}45$세 기혼여성을 중심으로 -

이선형,Lee, Sun-Hyung 한국가족자원경영학회 2009 가족자원경영과 정책 Vol.13 No.2

The purpose of this study is to examine the effects of education expenditure children and financial support for parents on childbirth intention and, elderly life preparation. This study uses Korean Longitudinal Survey of Women & Families data. The research subjects are married women aged between $20{\sim}45$ years old who have one child and are living with at least one parent. The analysis method includes chi-square analysis, frequency analysis, and logistic regression analysis which is suitable for presuming differences between groups and relative influence or power. As a result, the first subjective perception is that economic conditions influence childbirth intention and elderly life preparation. Second, the portion of education expenditure is a more important factor than traditional ones, such as the child's sex, the married woman's job and her income. Third, elderly life preparation is influenced by economic factors, regardless of whether they are subjective or objective factors. Finally, analyses by logistic regression analysis suggest that a decision about childbirth is influenced by education expenditure. This refer to the costs related to the child's generation. A decision about elderly life preparation is related to financial support from parents, meaning costs related to the parents's generation.

경북 농업기후 지대별 쌀 품질 비교

이선형,원종건,최장수,안덕종,최기연,이우경,박소득,손재근,Lee Sun Hyung,Won Jong Gun,Choi Jang Soo,Ahn Duok Jong,Choi Ky Yeon,Lee Woo Gyeong,Park So Deuk,Son Jae Keun 한국작물학회 2005 Korean journal of crop science Vol.50 No.suppl1

This study was carried out to provide the geographic information based on the distribution of rice qualities and palatability in Gyeoungbuk province of Korea. The rice grain quality and environmental factors were analyzed using 513 sampling sites based on different five-agroclimtic regions of Gyeoungbuk province during three years from 2002 to 2004. In rice grain quality characteristics, the average palatability was low in South eastern coastal and Tabaek semi alpine regions as $67.6\~68.3$ and the coefficient of variation (CV) was relatively high as $6.2\~7.4\%$. The average head rice rates were low in South and Central eastern coastal regions as $87.3\~88.2\%$ and CV was high as $8.2\~8.3\%$. The average protein content was high in Central eastern coastal regions as $8.0\%$ and CV was high as $8.2\~8.3\%$. In case of palatability, the variation was differed clearly between high and low agroclimatic regions; it means that it is possible to divide the same agroclimatic region of high CV into two or three areas by CV of palatability. As the results of subdividing each existing agroclimatic regions based on the palatability, the variation of grain quality characteristics was become lower than that of existing five-agroclimatic regions. Therefore, the re-establishing of agroclimatic region based on rice grain quality was very important for precise cultivation for rice. 경북 지역 농업기후 지대를 미질 및 식미치를 근거로 하여 다시 세분화된 지대를 설정하고자 2002년부터 2004년까지 3년간 경북 전 지역에서 가장 많이 재배되고 있는 품종 중 중만생종인 일품벼, 주남벼, 남평벼, 중생종인 화영벼, 조생종인 오대벼를 재배하고 있는 논 513개소의 쌀을 수집하여 분석 조사한 결과를 요약하면 다음과 같다. 1. 지대별 식미치의 평균은 동해안 남부지대가 67.6로 다른 지대에 비해 약간 낮았으며, 완전미 비율은 동해안 남부지대 및 동해안 중부지대가 각각 $87.3\%,\;88.2\%$로 낮았으며 변이계수도 각각 $8.2\~8.3\%$로 높았다. 단백질 함량은 동해안 중부지대가 $8.0\%$로 다른 지대에 비해 약간 높았고, 변이계수도 $8.8\%$ 높았다. 2. 특정지역을 세분하여 쌀 품질을 조사해보면 전체 평균의 변이계수보다 높게 나타나는 지역과 낮게 나타나는 지역으로 뚜렷하게 구분된다. 변이 계수가 크다는 것은 특정 지역 내에서도 쌀 품질의 세분화된 지역간 차이가 심하므로 고품질 쌀 생산을 위해서는 세분화된 벼 재배 구역 설정하여 적지적작의 정밀농업이 필요하였다. 3. 식미치를 근거로 세분화된 지대의 쌀 품질 요인에 대한 연차 간 변이계수는 기존 농업기후지대의 변이계수보다 상당히 낮아져, 세분화된 지대별 고품질 쌀 생산을 위한 특정 지역의 정밀 기술 개발 및 보급의 기초 자료로 활용할 수 있을 것으로 사료되었다.

포스트가 치근내 응력분산에 미치는 영향에 관한 삼차원 유한요소법적 연구

이선형,최수영,Lee, Sun-Hyung,Choi, Soo-Young 대한치과보철학회 1996 대한치과보철학회지 Vol.34 No.4

The endodontically treated tooth is generally restored with post and core, owing to the brittleness and the loss of large amount of tooth structure. Although there have been lots of studies about the endodontically treated teeth, the three-dimensional quantitative studies about the stress distribution of them are in rare cases. In this study, it was assumed that the coronal portion of the upper incisor had extensively damaged. After the root canal therapy it was post cored, and restored with PFG crown. The three-dimensional model, in which the root was supported with a normal alveolar bone, was constructed. Force was applied to the centric stop point with the angle of 135 degrees to the long axis of the tooth. Force was assumed to be 250N as functional maximum bite force of upper central incisors. The results analyzed with three-dimensional finite element method were as follows : 1. Stress was concentrated on the middle portion of the labial side dentin and the apical portion of the dentin. 2. Stress in the post was more concentrated on the post apex. 3. The displacement of the post at the post-cement interface was almost symmetrical la-bio-lingually. 4. It assumed that restoring extensively damaged tooth with a post-core and PFG crown is an adequate method of restoration.

반복주조된 치과용 합금의 피착면 처리방법에 따른 접착성 수지와의 접착강도에 관한 실험적 연구

정금태,양재호,이선형,정헌영,Jung, Kum Tai,Yang, Jae Ho,Lee, Sun Hyung,Jung, Hun Yung 대한치과보철학회 1990 대한치과보철학회지 Vol.28 No.2

The purpose of this study was to evaluate the tensile bond strength of adhesive resins to successively recast Rexillium III and Degudent-U. Recasting was done 4times successively. Specimen $A_1$, were cast by new metal, and $A_2$ by surpus of $A_1$, $A_3$ by surplus of, $A_2$ $A_4$ by surplus of $A_3$, $A_5$ by surplus of $A_4$ plus 50% new metal. The types of surface treatment for resinbonded restoration in this experiment were electrolytic etching by OXY-ETCH(Oxy dental products, Inc., Hillside, New Jersey, U.S,A.), aluminum oxide blasting, anodic oxidation by EZ-OXISOR( Towagiken Co., Kyoto, Japan), electrotinplating by Kura Ace(Kuralay Co., Kyoto, Japan). Three kinds of cementing resin used in this study were Comspan(K.P. Cauil Co, Milford Delaware, U.S.A.), Super Bond C&B(Sun-Medical Co. Ltd., Kyoto,Japan), Panavia EX(Kuralay Co., Ltd., Osaka, Japan). Tensile bond strength was measured by Instron Universal testing machineModel 1125) and all the specimen were observed with SEM(JEOL, JSM-T2000) and mode of bond failure were recorded. The obtained results were as follows : 1. In electrolytic etched group, tensile bond strength was decreassed when recast alloy was used, and tensile bond strength of Compan and panavia EX were not significantly different(P>0.05). 2. In remaining group treated by aluminum oxide blasting, EZ-OXIOR, Kura Ace, tensile bond strength were not changed when recast alloy were used, and tensile bond strength of SuperBond(C&B and Panavia EX were not significantly different(P>0.05). 3. IN SEM evaluation, electrolytic etched group and electrotinplated group exhibited different image when recast alloy was used, and remaining groups treated by aluminum oxide blasting, EZ-OXISOR exhibited the same. 4. IN observation of bond failure, electrolytic etched group exhibited adhesive failure and remaing groups treated by aluminium oxid blasting, EZ-OXISOR, Kura Ace exhibited adhesive and cohesive failure.

채윤일의 고문연극 -이현화와의 만남을 중심으로

이선형 ( Sun Hyung Lee ) 한국연극학회 2012 한국연극학 Vol.1 No.48

Dans l`histoire du theatre coreen, la position de Chae yoon-il est tres particuliere. Il a consacre, dans ses carrieres de la mise en scene, toute son energie au theatre sans jamais flechir contre le pouvoir dictatorial. Un critique a dit que son theatre est semblable au theatre de la cruaute. Pourtant, dans la mesure ou il respecte le texte dramatique, et que son theatre a des tendances de la politique et qu`il oriente l`engagement du spectateur, il est certain que son theatre est loin du theatre de la cruaute. Ses procedes de la mise en scene sont tres divers et il n`y a pas de coherences au niveau des styles dramatiques. Malgre cela, nous pouvons trouver son originalite de la mise en scene dans la rencontre avec Lee hyun-wha. Le metteur en scene etablit son esthetique theatrale en montant sur scene de cinq pieces de Lee hyun-wha. Alors, en effet qu`est-ce que l`esthetique de la mise en scene de Chae yoon-il produite par les œuvres theatrales de Lee hyun-wha? Dans les pieces de Lee hyun-wha, il y a beaucoup de codes symboliques de la violence sexuelle comme le sadisme et le masochisme. L`implusion sexuelle cachee dans le subconscient des personnages s`entrecroise avec le mecanisme du pouvoir politique. Alors, les abus sexuels et les mauvais traitements sur le corps deviennent une sorte de torture. L`expression cruelle des langages sceniques n`est autre que la revolte contre la realite actuelle de la politique. Son theatre de torture est donc une sorte de mecanisme de la catharsis pour dissiper le cauchemar et l`inconscient noir. La fantasie sexuelle construite par le monde inconscient de l`auteur dramatique s`epanouit dans le theatre de Chae yoon-il qui reve toujours l`esprit de la liberte. Une des convictions dramatiques du metteur en scene, c`est que le theatre tout d`abord doit etre choquant. Il dit: “l`art doit etre a la fois emouvant et bouleversant. Cependant, dans la mesure ou le film ou la televivion fait aujourd`hui une vive impression aux spectateurs, la part donnee au theatre est le choc.” Pour donner le choc aux spectateurs, le style de la torture est tres utile. L`esthetique theatral du metteur en scene respecte essentiellement l`intention de l`auteur. Neanmois, le respect sur l`original ne se derange pas l`interpretation de son propre idee. Dans l`insistance de la torture, l`analyse rituelle sous la base du choc, il projecte le symbole archetypal sur scene. Bien sur, il renforce le caractere de la politique dans le theatre de torture pour inviter des spectateurs de l`engagement. D`ailleurs, il y a l`aspect d`absurde dans le theatre de torture qui insiste des violences a travers les langages sceniques comme le metal froid, parce que le metteur en scene considere que l`etre humain vit dans l`absurde.

연극기호학이 한국연극에 끼친 영향

이선형 ( Sun Hyung Lee ) 한국연극학회 2015 한국연극학 Vol.1 No.55

Le terme ‘semiologie’ repris et elargi par Ferdinand de Saussure ou le terme ‘semiotique’ invente par Charles Sanders Peirce quelques annees auparavant est “la science qui etudie la vie des signes au sein de la vie sociale.” Selon Saussure, le signe est quelque chose tenant lieu de quelque autre chose pour quelqu``un, sous quelque rapport. Et selon Peirce il est un representant de quelque chose comme un symbole. Les deux types de semiologie se distinguent par leur objectif general. La semiologie suppose necessairement un destinateur et un destinataire. Le destinateur est une personne qui envoie un message, alors que le destinataire est l``une des personnes qui recoit ce message. Cette idee est semblable au caractere du theatre qui vise a la communication entre la scene et la salle en tant que le destinateur et le destinataire. Dans la mesure ou la semiologie s``elargit progressivement, elle se devise en deux categories : semiologie de la communication et semiologie de la signification. Alors que celle-la est en butte au signe artificiel et evident, celle-ci le considere le signe meme non-linguistique. Donc, non seulement etreinte, poignee de main, baiser, mais aussi attention, regard, expression du visage, attitude, geste deviennent l’objet des etudes de la semiologie. Autrement dit, etant donnee que la semiologie de la signification se developpe, l’etude des signes theatraux comme decor, costume, lumiere, son, acteur meme devient l’objet de la semiologie du theatre. Roland Bartes dit alors ainsi : “la theatralite est l’objet de la semiologie.” Le spectateur qui se trouve face a face avec le spectacle recoit en meme temps toutes les informations dramatiques, c’est-a-dire il s``expose a des informations diverses. Selon Bartes, ce phenomene correspond a la theatralite et celle-ci nous offre une masse des signes. D’ailleurs, l’idee de la semiologie que le phenomene exterieur fait un sens sur la base de la structure interieure influence, semble-t-il, sur la philosophie moderne qui insiste sur la structure de l’inconscient et la diversite du pensee. Ceci s’appuie evidemment sur le discours de Saussure comme suivant : “bien loin que l’objet precede le point de vue, on dirait que c’est le point de vue qui cree l’objet, (...)” Cela signifie que le langage ne decrit pas l’objet, mais comme une action du coeur, il ouvre le monde. C’est-a-dire etant donnee qu’il est une action interieure du coeur, le langage de l’inconscient cree l’objet existant dans le monde. Par la, Saussure a pose le primat de la langue sur la parole. Selon lui, la langue est “a la fois un produit social de la faculte de langage et un ensemble de conventions necessaires.” En revanche, la parole comprend les manifestions uniques et imprevisibles du langage qui sont propres a un locuteur. A la difference de Saussure, Merleau-Ponty qui parle de la phenomenologie du corps prend interet a la parole qui est directement en rapport avec le corps. Ceci es tres important pour nous, parce que le theatre est un art representation, de la creation collective, de la relativite et du corps. Alors, dans notre etude, nous voulons tout d’abord saisir le concept de la semiologie et la semiologie du theatre, et comprendre comment le theatre coreen et la semiologie du theatre se greffe. Dans la mesure ou la philosophie d’une certaine epoque qui entre en jeu comme episteme devient un fond de la formation des arts, nous voulons ensuite analyser le role de la semiologie du theatre etroitement lie avec la philosophie moderne. Cette etude nous peut finalement permettre de lire le courant du theatre coreen de notre temps.

연극치료와 중독

이선형 ( Lee Sun Hyung ) 한국연극예술치료학회 2017 연극예술치료연구 Vol.- No.7

중독이란 몸의 갈망(want, 욕망)의 결과이며 내성이 강하다는 특징이 있다. 일단 중독이 되면 몸은 더욱 강한 욕망을 갈구하지만 욕망의 지속적인 만족이란 불가능하므로 영원한 결핍을 느끼고 시간이 지날수록 더욱 강한 자극을 원한다. 중독된 몸은 기대하는 자극이 이루어지지 않을 때 견딜 수 없게 되는데 이것이 금단증상이다. 금단증상이 심한 몸은 사회적 장애를 불러일으키며 타인과의 정상적인 관계 형성을 어렵게 한다. 이처럼 중독의 근원이 뇌를 포함한 몸이라는 점에서 중독치료는 몸 자체에 관심을 두어야 한다는 주장이 설득력을 얻는다. 물질중독은 몸과 물질과의 접촉에 의한 것이고 행위중독은 몸의 행위라는 점에서 그러하다. 따라서 중독과 관련하여 몸의 습관이 긍정적이 되면 중독에서 벗어난 것으로, 부정적이 되면 중독상태에 머물러 있는 것으로 간주할 수 있다. 중독은 몸과 불가분의 관계에 있으므로 중독을 예방하거나 치료를 위해 몸에 초점을 맞추는 것은 효과적인 방안이라고 하겠다. 구체적으로 중독의 치료는 그 특성상 신체적·심리적·사회적인 세 가지 틀에서 종합적으로 이루어져야 한다. 또한 약물치료와 더불어 인지행동치료 등 심리치료의 병행이 효과적이다. 몸 심리학에서는 중독을 치료하기 위해서는 ‘중독을 통과’해야 한다고 주장한다. ‘중독의 통과’는 몸으로의 체험을 의미한다. 중독의 현상과 상황을 직접 몸으로 체험할 때 치료가 가능하다는 뜻이다. 이런 점에서 신체 활동, 역할연기, 이야기 등 연극적 요소들을 적극적으로 활용하는 연극치료는 중독치료에 효과적일 수 있을 것이다. 집단 예술(사회적)로서 신체의 현존(신체적)과 심리가 공존하는 종합예술인 연극을 적극적으로 활용하는 예술치료가 곧 연극치료이기 때문이다. 본 글은 몸에 중점을 두는 연극치료가 어떤 점에서 중독치료에 효과적인지 살펴보고자 한다. The purpose of this article is to investigate the effectiveness of drama therapy focusing on the body in addiction treatment. The addiction is resulted from repetitive body desire. As it has a strong tolerance, a person once becomes addicted seeks stronger thing. However, it is impossible to reach eternally satisfactory state. An addicted body continuously seeks stronger stimulus. When an addicted body can not be satisfied, and so the stimulus is not sufficient, the body becomes unbearable. We call that “withdrawal symptoms”. The addiction and withdrawal symptoms influence to the social relationships with others. The addiction is resulted from the body including the brain. Therefore, when the body is in positive state, it is deviated from the addiction. On contrary, when the body is in negative state, it is closed to the addiction. Thus, the addiction treatment should be concerned with the body itself. Addiction treatment focusing on body can be so an effective method for preventing addiction. Especially, the facts which addiction treatment should be done in physical, psychological and social frames indicate that psychotherapy such as cognitive behavior therapy is effective with medication. According to somatic psychology, it is necessary to ‘go through addiction’ for treating an addiction. This expression means an experience by the body. In other words, treatment becomes possible when the addiction is directly experienced. In this perspective, drama therapy, that actively use the theatrical factors such as physical activity, role play, and story, can be an important treatment for the addiction. In fact, drama therapy is an art therapy using the drama as a collective art in which the body and the emotion coexist.

< 헤테로토피아 >의 탈경계성

이선형 ( Sun Hyung Lee ) 한국드라마학회 2014 드라마연구 Vol.0 No.44

En ce qui concerne le probleme de la purete dans les arts, on peut le reflechir dans les trois dimensions. En premier lieu, il s’agit de la purete du genre, comme un domaine propre au theatre, a la danse, a la musique ou a l’art. En deuxieme lieu, comme limite stricte parmi la tragedie, la comedie, le drame et le pantomime, il s’agit de la purete du style. En troisieme lieu, il s’agit de la purete concernant l’espace. Par exemple, dans la peinture on a besoin des cadres pour y mettre l``objet d``art. Alors, d’une maniere generale, le tableau meme est considere comme l’art pure, tandis que les cadres de tableaux ne sont que l’ornement. Chez les grecs anciens, l’ergon signifiait l’art comme une peinture, alors que le parergon signifiait l’ornement comme cadres. Si l’on s’adapte au theatre le concept de l’ergon et du parergon, la scene peut correspondre a l’ergon et la salle peut correspondre au parergon. Alors, chez Derrida “le parergon designe une exteriorite qui est en meme temps un fondement, une sorte de dehors a la limite du dedans.” Si c’est comme ca, il reste a savoir si la salle (le parergon ou le public) est reellement une sorte de dehors a la limite du dedans. En realite, depuis les temps modernes, le phenomene des trans-frontieres parmi des arts va de pair avec le concept de la deconstruction parlee par Derrida. “Si le terme ‘deconstruction’ a d``abord ete utilise par Heidegger, c``est l``oeuvre de Derrida qui en a systematise l``usage et theorise la pratique.” Dans la mesure ou la dualite entre la superiorite et l``inferiorite, le bon et le mauvais, le bien et le mal n’est que relative dans la pratique de la deconstructivisme, le sens du parergon se renouvelle. Heterotopie de William Forsythe peut etre un bon exemple pour eclairer le concept de trans-frontieres dans les arts. Ce ballet qui representait en 2013 en Coree, avait une place dans l``estime du public coreen. Surtout il est estime comme spectacle typique de la deconstruction. Forsythe, appele l’artiste de deconstruction, non seulement integrait l’eclairage, le son, la performance et l’installation dans son ballet, mais aussi y deroulait de nouvelles techniques de mouvement comme desequilibre, imprevisibilite et defocus etc. Par consequent, c’est possible d’analyser Heterotopie selon le point de vue des trans-frontieres. Par la, on peut confirmer comment l’idee des trans-frontieres se realise dans l’harmonie deconstructive composee par l’imagination et la creation de l’artise. Pour disserter le performance de Forsythe, la deconstructivisme de Derrida serait utilisable, car celle-ci derridarienne n’est globalement d’autre que deconstruction des frontieres ou bien des dualites. 예술에서 순수성의 문제는 세 차원에서 숙고할 수 있다. 첫 번째 차원은 장르의 순수성으로 음악, 미술, 무용이나 연극이 고유의 영역을 간직하는 것을 뜻한다. 두 번째 차원은 양식의 순수성으로 예를 들어 연극 내에서 비극, 희극, 드라마, 팬터마임의 경계를 엄격하게 지키는 것을 뜻한다. 세 번째 차원은 공간의 문제와 깊이 연관되어 있다. 예컨대 회화에서 화가의 그림은 순수한 창작품이지만 이 그림을 담기 위해서는 그림틀이 필요하다. 틀에 따라 그림이 돋보일 수도 그렇지 않을 수도 있기 때문에 틀은 대단히 중요한 것으로 인식되었지만, 그 자체가 예술품일 수는 없다고 생각했다. 고대 그리스인들은 이를 에르곤(ergon)과 파레르곤(parergon)으로 나누어 예술품을 에르곤으로, 주변을 장식하는 것을 파레르곤으로 명명했다. 이를 연극의 공간에 적용시키면 예술행위가 펼쳐지는 무대는 에르곤으로 이를 수용하는 객석은 파레르곤이 될 것이다. 회화에서 틀이 장식인가 예술인가를 논하듯이, 연극에서 관객(객석)이 장식인가 아닌가를 논구해야 할 필요성이 제기된다. 사실 근대 이후 장르나 양식의 혼용과 크로스오버의 현상은 해체철학으로부터 이론적 근거를 제공받았다고 해도 무방하다. 우위와 열등, 좋은 것과 나쁜 것, 선과 악의 분리가 상대적이며 결코개념화될 수 없다는 해체철학이 대두되면서 예술에서 잡(섞임, 장식, 틀)의 의미가 새롭게 개진되었다고 할 수 있다. 통합예술의 의의를 밝히기 위한 공연예술로 현대발레의 선구자로 불리는 윌리엄 포사이스의 < 헤테로토피아 >는 좋은 예가 된다. 2013년 국내에서 공연된< 헤테로토피아 >는 관객에게 충격적일만큼 해체적 공연을 보여 주었다. ‘춤의 해체주의자’로 불리는 포사이스는 조명과 음향, 퍼포먼스, 설치미술 등과 연대하였고, 발레동작의 과감한 해체와 조합으로 탈중심화, 파편화, 예측 불가능성, 탈초점으로 인한 움직임들의 사이와 전이과정의 부각, 불균형 등의 기술을 선보였다. 본 글은 비교적 최근 작품으로 포사이스의 해체발레의 중심에 서 있는 < 헤테로토피아 >를 중심과 배경, 경계와 탈경계의 관점에서 분석하고자 한다. 본고가 추구하는 것은 < 헤테로토피아 >의 작품 가치의 경중이나 예술적 수준을 다루기보다는 공연예술에서 예술가의 상상력과 창조력이 어울려 탈경계의 이념이 어떤 방식으로 실현될 수 있는가 하는 점이다. 이를 논구함에 있어 이분법적 구조를 해체시키려 한 데리다의 해체철학은 매우 유용할 것이다. 포괄적으로 데리다의 해체는 경계의 해체에 다름 아니기 때문이다.