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최경란 국민대학교 동양문화디자인연구소 2009 Journal of Oriental Culture&Design Vol.1 No.1
다도는 찻잎을 따는 것부터 달여 마시는 것까지 그 모든 과정을 아우르는 것으로, 폼과 마음을 수련하여 덕을 쌓는 행위을 말한다. 일본 다도는 ‘와비’사상으로 표현할 수 있고 다도의 절차, 다실, 다기 등이 발달되어 있다. 자연스러움과 균형미는 한국의 미를 설명하는 데 가장 많이 등장하는 단어 중의 하나일 것이다. 그러한 한국미가 다도에서 또한 잘 드러나 있다. 본 연구에서는 사상, 가치, 인식 등의 문화적 요소를 통해 다도와 관련된 디자인을 살펴보았고 한국과 일본을 연구대상으로 한다. 한국의 경우 불가, 유가, 도가 사상의 영향을 받았고 일본의 사상은 ‘화’, ‘경’, ‘청’, ‘적’으로 정리할 수 있다. 다도 process를 살펴보면 한국의 경우 차가 맛있는 온도를 위해 차를 식히는 과정이 있다. 한국은 균형미, 일본은 불균형미를 추구한다. 한국은 자연의 그대로 조작 없는 아름다움을 균형미라고 일컬었고 일본의 불균형미는 ‘완벽한 형태를 취하지 않은 것’이다. 정리되거나 완전하지 않은 상태로 이것이 다도에서는 좀 더 적극적으로 불균형미가 되었다. 이는 비대칭적이고 불균형한 것에서 오는 아름다움을 더 값지게 여기는 ‘와비’의 정신이기도 하다. 그러한 양국의 미의식은 공간에서도 반영된다. 일본과 한국의 다도에 쓰이는 주요 다도구 역시 그 나라의 process에 따라 달라지며, 미의식을 반영한다. 한국, 일본을 포함한 동양의 다도 문화가 지니는 미적(美的) 가치와 디자인적 요소를 더 심도 있게 연구하여 동양의 다도 문화와 관련된 디자인 제반 영역에 활용 및 적용할 수 있는 가능성에 대한 지속적인 연구가 필요하다. A tea ceremony is process which is from picking the tea leaves off to making and drinking the tea and cultivating the virtue by practicing how to make mind and body clean. The Japanese tea ceremony is represented as Wabi and has developed steps of the tea ceremony, a teahouse and tea utensils. The natural and beauty of balance are one of the most often used words which explain the beauty of korea. The beauty of korea appear in the tea ceremony too. At this study, I study a design which is related with the tea ceremony by the culture factors like an ideology, value, recognition and so on. The object of this study is korean and japanese tea ceremony’s design. The Korean tea ceremony is influenced by the Buddhism, a Confucian and Daoist Philosophy The Japanese tea ceremony is influenced by the Wha, Kyung, Chung and Juck. The Korean tea ceremony has the process of cooling the tea off lor suitable temperature which make tea delicious. The Korea tea ceremony pursues the beauty of balance, but the Japanese tea ceremony pursues the beauty of imbalance. In the Korea, the beauty of natural which is not influenced by artificiality is called the beauty of balance. In the Japan, the beauty of the unfinished situation and imperfect is called the beauty of imbalance. And this is the origin of Wabi. These esthetic senses of Korea and Japan is reflected in space. And the main tea utensils which is used in Korea or Japan are also different by their process. We need the continuous study about the possibility of applying and using to a field of design through deep investigate on aesthetic value and design factor of oriental Dado cuIture include Korea and Japan.
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최경란 한국중세근세영문학회 2011 고전·르네상스 영문학 Vol.20 No.2
Nature is a governing language in King Lear. It entails a great variety of dramatic textures, unfolding for the most part in act 3, where the storm is depicted as a metaphoric, as well as a physical force. This paper attempts to trace the widest significations of the word, ‘nature’ as read in different contexts in the text, with special references to those contained in the act 3. In uncovering the layered meanings of nature, this paper devises and resorts to three conceptual modes for argument. The first is the concept of nature understood normatively in relation to the human will to attain the reason of God. It then is followed by the nature understood in terms of the moral and amoral quality of the man set in relation to a prevailing social order. The final is the concept of nature understood in terms of the physical environment interacting with the human being while sustaining biological survival and growth. Placed in this framework, this paper dissects the scenes full of allusions and metaphors, revealing a wide range of human profiles and social constructs set within a unique dramatic structure. It explores possible range of arguments relevant to crystallizing a generalized concept of nature, encompassing physical, psychological and social domains. It equally endeavors to isolate salient dramatic features germane to act 3, including sensory images, figurative languages, allusions and symbols, as deemed necessary to understand the thematic power supporting the act 3. This paper concludes with defending the viewpoints upholding the layered meanings of nature as essential to formulating the central theme of this drama.
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『타이터스 앤드로니커스』에 나타난가족과 모성 그리고 폭력: 그 연계된 의미
최경란 한국중세근세영문학회 2013 고전·르네상스 영문학 Vol.22 No.2
This paper attempts to disclose a certain dramatic features germane to Titus Andronicus, an early Shakespearean tragedy, regarded as controversial for excess of violence and cruelty. The dramatic features are placed under scrutiny in terms of the amplified meanings of the family and maternity looming in the play in relation to seemingly unbound varieties of violence. The paper begins with an overview of the concepts of family and maternity understood as a historical as much as a literary device. The argument follows the line of feminist dialogue, pointing to varied ways of relating gender to rhetoric, biology, and other symbolic topics, as well as to social beliefs and institutions. The main argument addresses the familial norms, nexus and maternal entanglements protruded in the play. These issues are examined in close reference to the patriarchal values and ideologies entertained in Rome. The paper finds the fossilized piety of the Andronici responsible for the initial spread of violence in the play. The paper also argues that the lustful and wicked Tamora, as commonly interpreted by critics, is credited to embodying the triad layers of maternity: instinctive, power-laden, and one enclosed in the Lacanian Imaginary World. The paper takes note of Tamora wielding maternal power, albeit perverted, to reciprocate the evil done by Titus. It also takes note of Lavinia, the very symbol of female virtues in Rome, portrayed unfavorably in this discourse for her insensitivity to maternity and to human compassion. The paper concludes that even though Tamora stays outside the realm of normative femininity in Rome, she prevails as a figure bolstering up the construct of family and maternity as a theatrical element considered crucial to interpreting the violence in this play.
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최경란,진경미 한국기초조형학회 2008 기초조형학연구 Vol.9 No.4
Due to the development of digital technology, it has been possible to extend variety of design developments as in free form, function and structural means of space. Following by this change, more interest in the relationship between space elements and furniture have emerged. Interior space is a real space where people make experiences in, therefore it is inevitable we give consideration on furniture that seats human behavior. As a proposal of achieving a more diverse interior space, space and furniture is to have a stronger bond since the basic elements of space alone cannot provide such effect. This way a new space is created where furniture becomes space and vice versa. Focusing on the ambiguity of such areas and boundaries, this study analyzes different expression techniques and space elements through case studies of interactive characteristics of space elements and furniture, in the sight of form expressive perspective, space composition perspective, and system structural perspective. It suggests an opportunity to discover the means of concept and role of furniture in newer interior design, since space elements and furniture no longer exist as an individual being but in a closer interactive relations. Due to the development of digital technology, it has been possible to extend variety of design developments as in free form, function and structural means of space. Following by this change, more interest in the relationship between space elements and furniture have emerged. Interior space is a real space where people make experiences in, therefore it is inevitable we give consideration on furniture that seats human behavior. As a proposal of achieving a more diverse interior space, space and furniture is to have a stronger bond since the basic elements of space alone cannot provide such effect. This way a new space is created where furniture becomes space and vice versa. Focusing on the ambiguity of such areas and boundaries, this study analyzes different expression techniques and space elements through case studies of interactive characteristics of space elements and furniture, in the sight of form expressive perspective, space composition perspective, and system structural perspective. It suggests an opportunity to discover the means of concept and role of furniture in newer interior design, since space elements and furniture no longer exist as an individual being but in a closer interactive relations.
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