국가해양정원 조성 및 관리를 위한 제도 연구 - 국내・외 해양정원 사례분석을 통한 제도 개선방안을 중심으로 -

박성욱,이주아 한국해양수산개발원 2021 해양정책연구 Vol.36 No.1

The Ministry of Oceans and Fisheries is making a lot of effort to create a marine garden in Garorim Bay under the strategy of spreading marine tourism using marine ecological resources. The Ministry of Oceans and Fisheries is pursuing the project in accordance with the provisions of Establishment and Operation of Facilities for Conserving and Using Marine Ecosystems under Article 43 of the CONSERVATION AND MANAGEMENT OF MARINE ECOSYSTEMS ACT as a basis for promoting the Garorim Bay project as a national policy project. However, since the concept of an marine garden is not a legal concept, a legal basis is needed not only for the creation of marine gardens, but also for the continuous, systematic operation and management of them. In this paper, the legal interest that should be protected as a target area and marine garden in order to legalize the concept of the national marine garden, along with the need for the provision of marine protected areas and marine ecological culture services, was examined for the relevant ministries and management entities. In addition, the revision of the current Marine Ecosystem Act and the Arboretum Garden Act were reviewed as well as the enactment of the Special Act on National Marine Gardens was also reviewed. When constructing the National Marine Garden, it is necessary to recognize it as one of the oceans and fisheries strategies to create new demand for marine tourism by reflecting the diverse and unique characteristics of each sea area, such as the East Sea and the South Sea of Korea, as well as the Garorim Bay area. As one of these strategic measures, making the term ‘marine garden’ in legal terms should be of the utmost priority. At this time, the marine garden should be a place where people can enjoy marine ecological and cultural services by encompassing marine landscapes, marine humanities and marine culture along with the core value of marine protected areas. 해양수산부는 해양생태자원을 활용하여 해양관광을 확산한다는 전략아래 가로림만 해양정원을 조성하기 위해 많은 노력을 하고 있다. 해양수산부는 가로림만 사업을 국가정책사업으로 추진하기 위한 근거로 해양생태계법 제43조상의 해양생태 보전‧이용 시설의 설치‧운영 규정에 따라 사업을 추진하고 있다. 그러나 해양정원이라는 개념이 법적개념이 아니기 때문에 해양정원의 조성은 물론이고 이들에 대한 지속적 ·체계적 운영·관리를 위해서는 법적 근거가 필요하다. 본 논문에서는 국가해양정원이라는 개념을 법정 개념화하기 위해서 대상권역, 해양정원으로 보호해야할 법익으로서 해양보호구역과 해양생태문화 서비스 제공의 필요성과 함께 소관부처 및 관리주체에 대한 검토요소를 알아보았다. 그리고 국가해양정원 설치를 위한 법률의 정비방향으로 현행 해양생태계법과 수목원정원법 등의 개정방향을 알아봄과 동시에 국가해양정원에 관한 특별법 제정에 대해서도 검토하였다. 국가해양정원 조성시 유의하여야 할 점은 가로림만 해역뿐만 아니라 우리나라의 동해와 남해 등 각 해역별로 다양하고 고유한 특성을 반영하여 새로운 해양관광 수요를 만들기 위한 해양수산전략의 하나로 인식하는 것이 필요하다. 이러한 전략방안의 하나로 해양정원이라는 용어를 법정용어로 만드는 것이 가장 우선되어야 할 것이며, 이때 해양정원은 해양보호구역이라는 핵심적인 가치와 함께 해양경관이나 해양인문, 해양문화 등을 포괄함으로써 국민들이 해양생태문화 서비스를 향유할 수 있는 공간이 되어야 할 것이다.

중국 고전 사가원림(私家园林)의 공간구성 특성에 관한 연구

셰나 ( Xie¸ Na ),조은길 ( Cho¸ Eun Kil ) 디자인융복합학회 2021 디자인융복합연구 Vol.20 No.4

Based on the necessity of inheriting the excellent traditions of Chinese classical private gardens, this article uses Space Syntax to analyze the visual accessibility of representative gardens covering China. This is to explore the gardening wisdom of the ancients and to discover the basic laws of the spatial organization of gardens. The results of the study are as follows. First, the private gardens can fully demonstrate their own characteristics in their respective regional spaces. Second, the results proved that the ancients could still maintain and inherit the space order concept of traditional gardens. Third, the visual accessibility of the private garden space in the north is slightly greater than that in the south. This is affected by the natural and geographical conditions, humanities and etiquette thoughts in the north. Fourth, the local spatial information and overall spatial information of the north-south and north-south classical private gardens are different, indicating that the level of understanding of the overall garden space is low and difficult to understand.

학교 캠퍼스를 활용한 창의적 체험활동 운영방안 연구

문병찬,김용택,임형선 대한지구과학교육학회 2016 대한지구과학교육학회지 Vol.9 No.1

The purpose of this study was to investigate the way applying a school garden for the creative experience activity on the school learning program. For this study, the 27s elementary students who were the 5th and 6th grades participated in this program. And the 10units lessons programs what were consisted with the inquiry, debating, and cooperating activities were developed, and applying to classroom and school garden. The key concepts of developing program were 'rocks which were in the school garden'. he results are follows, for the creative experience activity on the school teaching/learning program, the school garden has useful value as teaching/learning field. The teaching/learning activity applying the school garden makes an offer the awareness to students that the knowledges learned in school were actually relative with their life. Also, the students are affirmatively participate to learning, debate, and cooperate activities because the school garden is very familiar environment to them. Lastly, the students are interesting in learning classes because they think that the school garden environments will reform actually to new shape of their ideas. After this learning were finishing, most of students indicated their intention with satisfaction. Some of them suggested applying the additional program using the school garden. Consequently, the school garden has the very useful value for applying program of the teaching/learning in elementary school education.

瀟灑園 初期 詩壇의 漢詩 一考

정광휘(Kwang-hwe Jeong) 동양한문학회(구 부산한문학회) 2011 동양한문학연구 Vol.33 No.-

私家園林이면서도 湖南詩壇의 중요한 위치를 차지하고 있는 소쇄원은 한국의 전통적인 원림이다. 소쇄원은 ‘修學의 공간’이고 ‘遊戱의 공간’이며, ‘사색의 공간’이면서도 ‘迎客이나 送客의 공간’이다. 소쇄원은 호남의 격조높은 文士들이 세상물정을 잊어버리고 文雅한 마음의 즐거움을 만끽했던 별서명원(別墅名園)이기도 하다. 소쇄원에서는 수많은 문인들이 문학작품을 지었는데, 이러한 작품들은 조선 중기에서 후기까지의 소쇄원의 문화를 탐지할 수 있는 자료를 제공해 주었다. 또한 이러한 작품들은 『瀟灑園事實』에 기록되어, 호남시단의 문화를 연구하는 기본적인 자료가 되고 있다. 소쇄원에 대한 문학적 논의는 기존에 많이 진행되었다. 하지만 소쇄원의 초기 작품에 대한 연구는 여전히 미흡한 실정이다. 이에 본고에서는 소쇄원 초기 시단의 작품을 통해 초기 시단 문인들이 소쇄원에서 이룬 삶의 모습과 소쇄원은 그들에게 어떠한 의미를 부여하고 있었는지를 살피고자 한다. The So swe won Garden is private garden and Korean classical garden. It have activity of square, as study, game, think, meet a visitor and see a visitor out. At that, classical scholar leaves one's troubled times and writers image of poetry. At the garden, many of writers leaved literary works, through the works, we can know the So swe won Garden's culture in the middle and late of the Joseon Dynasty. As well the works recorded in the book of the 『So swe won Sa Seel (소쇄원사실)』. It is the basic reference of Ho nam poetical circles's culture. At before, It have no the So swe won Garden's first poetical circle's research, so writer want to research that the So swe won Garden's first poetical circle's member's mind of the first So swe won Garden and something of your.

16-17세기 이탈리아와 프랑스 정원과 『힙네로토마키아 폴리필리』

황주영 미술사학연구회 2011 美術史學報 Vol.- No.36

This paper explores the influences of the Hypnerotomachia Poliphili on the garden art in the 16th and 17th century Italy and France. This work of literature, whose interest ranges from architecture, ancient ruins, fauna and flora to gardens, was then highly accepted by the elite humanist classes. And this reflects the zeitgeist of the Renaissance age of rediscovery of classics. Gardens described and illustrated in this book reflect the new vision on nature of that time, and they influenced in garden makings since then. Motifs, narrative, and development and structure of the Hypnerotomachia Poliphili and its reflection in the gardens are studied. In the survey of motifs, ‘silva obscura’ in the beginning of the Hypnerotomachia Poliphili and ‘bosco’ of the Renaissance garden is reviewed in terms of relation and meaning. Various usage and symbolic meaning of water, significant influence of ancient ruins and sculpture on the iconography of garden elements in the Renaissance period can be found. It is noteworthy that the Island of Cythera, where Venus resides, is mentioned for the first time and described as an ideal garden. Garden makers of the Italian Renaissance, who were seeking new inspiration, welcomed abundant motifs described in the Hypnerotomachia Poliphili and concerned outward forms rather than iconographic context. Narrative, which covers the pursuit of love of Poliphilo, itself defines the spatial aspects of the gardens. Gardens, which deals ‘the pilgrimage of love’ or ‘tomb of Adonis’ was made in the late 16th century France, for example. Entire structure of the Hypnerotomachia Poliphili shows the juxtaposition of locus horribilis and locus amoenus, and this influences the spatial structure of the Renaissance garden in general as well as in detail. Furthermore, the description of rigid proportion and its geometric structure of each space reflects the vision of ideal place of the Renaissance period. Gardens mirror the vision and knowledge on nature of a period, and gardens in the Hypnerotomachia Poliphili inspire and build a literal foundation of a new ideal garden. Vision on nature, passion for classical architecture, as well as the creation of a new style based on it are summed up in the Hypnerotomachia Poliphili. Various landscapes and ideal gardens described and illustrated in the Hypnerotomachia Poliphili made great contributions in the history of gardens. 본 연구는 르네상스 시기에 제작된 문학 작품 『힙네로토마키아 폴리필리』가 16세기와 17세기 이탈리아와 프랑스의 정원 조영에 미친 영향을 살펴봄을 목적으로 한다. 『힙네로토마키아 폴리필리』는 건축부터 고대 유적, 동식물학, 정원 등 당대의 지식을 총망라하여 교양과 고전문화에 대한 소양을 갖춘 엘리트층 사이에서 큰 인기를 얻었고, 이는 고대를 재발견하고 이를 새롭게 한다는 르네상스의 시대정신을 반영한다. 아울러 자연에 대한 새로운 인식을 엿볼 수 있는 작품 속에 묘사된 정원과 삽화는 이후 실제의 정원에 영향을 미친다. 본 연구에서는 소설의 줄거리에 따라 이를 문학 작품 속에 나타난 모티브가 실제 정원의 나타난 경우, 소설의 내러티브 자체가 정원 공간의 의미를 규정하는 경우, 공간의 전개와 구상에 반영된 경우로 나누어 살펴보았다. 『힙네로토마키아 폴리필리』에 나타난 모티브가 실제 정원 조성에 나타난 경우에서는 우선 소설의 도입부의 ‘어두운 숲’의 모티브와 르네상스 정원의 총림의 관계와 그 의미를 살펴보았다. 이어 르네상스 정원에서 다양한 방식으로 사용된 물의 양상과 상징, 고대 유적과 다양한 조각물이 르네상스 정원의 중요한 요소인 각종 조형물과 건축물의 도상에 큰 영향을 주었음을 보았다. 『힙네로토마키아 폴리필리』에서는 사랑의 여신 비너스의 섬인 키테라가 처음으로 문헌상에 등장했고, 가장 이상적인 정원의 모습으로 묘사되었다. 여기에 나타난 풍부한 모티브는 새로운 영감을 찾던 이탈리아 르네상스 정원에 적합했고, 작품 내의 도상적 의미보다는 형태가 더 중시되는 경향을 보였다. 폴리필로가 사랑하는 님프 폴리아를 찾아다니는 사랑의 여정을 다룬 『힙네로토마키아 폴리필리』의 내러티브 자체가 정원 공간을 규정하기도 하여, ‘사랑의 순례’나 ‘아도니스의 무덤’을 주제로 한 정원이 16세기 말 프랑스에서 조성되기도 한다. 『힙네로토마키아 폴리필리』의 전체 구조는 무서움의 장소와 즐거움의 장소가 교차되어 나타나는 구성을 보이는데, 이는 르네상스 정원의 전체와 세부 공간 구성 방식에 영향을 미쳤다. 또한 각 공간의 엄격한 비례와 기하학적 구성 묘사에는 르네상스적 이상공간관이 반영되어 있다. 정원은 자연에 대한 당대의 지식이 총망라된 곳이고, 르네상스 이래 『힙네로토마키아 폴리필리』에 묘사된 정원은 새로운 정원에 영감을 주었을 뿐 아니라 이상적 정원의 문헌적 전거를 마련하였다. 당대인들의 자연에 대한 태도와 고대 건축에 대한 열정, 그리고 이에 기초한 새로운 양식의 창조는 『힙네로토마키아 폴리필리』에 집약적으로 나타났고, 여기에 묘사된 다양한 경관과 이상적인 정원을 묘사한 텍스트와 삽화는 새로운 감성을 확립하는데 기여했다.

김종삼 시의 원전 비평의 과제 - 등단작에 대한 재검토와 발굴작 「책 파는 소녀」를 중심으로 -

신철규 ( Shin Cheol-gyu ) 국제어문학회 2014 국제어문 Vol.60 No.-

The previous researches on Kim, Jong-sam` s poetry has many problems, such as lack of evidences of his life and works, missing some poems in his collective works and so on. So It is very important to correct those errors including a chronological list of his works. Especially, I`d like to point out that previous researches have had a wrong information of his first poem. His first poem the researchers have thought is actually not his first poem. In order to examine throughly his poetry overall, we first of all obtain the original text. The aim of this thesis is to look into the problems of Kim, Jong-sam`s collective works, to review “The Gardener” that was authorized to the first step to start as a poet. And we will introduce and investigate the meaning of “The Bookstore girl.” Previous researchers have presented “The Gardener” as his first poem and described that published in New World May 1953. But it has a lot of mistakes. It was caused by following an errors of earlier Kim, Jong-sam`s collective works` chronical record. “The Gardener” was the first step to start as a poet which shows Kim`s world-view as well as his self-consciousness. In this poem, the poet presents an will to restore the pure world and its impossibility. He recognized self as a marginal man. It is a main theme of Kim, Jong-sam`s poetry. In this respect, despite errors of Kim, Jong-sam`s collective works` chronical record “The Gardener” seems to be recognized his first step of a poet. However, it is problematic that Kim, Jong-sam`s poetry prescribed only as a tragic world-view and impossibility of reconciliation. It is because this way of reading might ignore the will to recover the world of compassion appeared in his latter work. This thesis introduces “The Bookstore girl” as an early period of his work which shows a different attitude and recognition that “The Gardener” shows. “The Bookstore girl” which is described the possibility of salvation and the importance of efforts to seek the truth and the meaning of beauty in a young narrator`s point of view plays an important role to be connected with aesthetics in the middle period of his work and realism in the latter period of his work.

선비문화가 조선시대 별서정원에 미친 영향에 관한 연구 - 보길도원림, 소쇄원, 남간정사, 다산초당을 중심으로 -

양병이 ( Yang Byeong I ),박은영 ( Park Eun Yeong ),박휘 ( Park Hwi ) 한국전통조경학회 2003 한국전통조경학회지 Vol.21 No.1

경주시 용강동 정원유적의 원지구성에 관한 기초적인 연구

백지성 ( Ji Soung Baek ),하진호 ( Jin Ho HA ) 한국전통조경학회 2002 한국전통조경학회지 Vol.20 No.3

김억과 김소월의 번역 문체 비교 연구-『원정』을 중심으로-

장철환 ( Jang Cheul-whoan ) 인하대학교 한국학연구소 2017 한국학연구 Vol.0 No.45

The primary purpose of this article is to compare the translation style of Kim Uk and Kim So-wol, and to find the disappeared poem of Kim So-wol in the translation of poetry in Tagore’s works The Gardener. Between 1923 and 1924, Kim Uk translated and published The Gitanjali (March 3, 1923), The Crescent Moon (April 20, 1924), and The Gardener (December 7, 1924). But, there is a serious problem that can not be overlooked in the translation of The Gardener. It is related to the subject of translation, which is the fact that the one poetry of The Gardener is translated by Kim So-wol, not by Kim Uk. In addition, the problem is that it is not possible to know which of the eighty five poems is translated by Kim So-wol. Two translator and one disappeared poem. This is a serious problem that doubts the validity of translated The Gardener. The necessity of establishing the translation subject of this works comes from here. This paper traces the disappeared poem of Kim So-wol by focusing on the comparison of the translation style between Kim Uk and Kim So-wol. First of all, the key indicators of the difference between the two are as follows. First, Existing poems already translated by Kim Uk in other magazines. Second, the differences of sentence-final suffix between Kim Uk and Kim So-wol(‘합쇼체’). Finally, the special ways of using sentence-final suffix of Kim Uk(‘-ㅂ시요’). In addition, I review indicators such as special symbols, translation of foreign words, and specific vocabulary. Through the analysis of these indicators, I was able to judge some poems as a translation of Kim So-wol, and finally I could argue that # 66 of The Gardener is likely to be the disappeared poem of Kim So-wol.

카츠라리큐(桂離宮, 계리궁)의 형성배경 및 공간특성

염성진 ( Sung Jin Yeom ),안승홍 ( Seung Hong An ),윤성융 ( Sung Yung Yoon ),윤상준 ( Sang Jun Yoon ),손용훈 ( Yong Hoon Son ),이원호 ( Won Ho Lee ) 한국전통조경학회 2015 한국전통조경학회지 Vol.33 No.4

The garden culture of Korea and Japan have been commonly influenced by Wonrim culture of China. Nevertheless, each culture has been settled down through the development of the two separate garden cultures, The purpose of this study is to grasp the formation background and main agent of development through theoretical consideration of gardens in Japanese Imperial Garden Katsura Imperial Villa, which is the origin of the representative garden making style.Circuit Style Garden, to look into the characteristic of spatial organization elements by conducting on-site survey and interview with a garden manager, and to obtain elementary views on Katsura Imperial Villa which is an important case of Japanese garden culture. As a result; first, Katsura Imperial Villa is the first jicheol juyu(round tour of ponds and springs) circuit style garden created by Toshihito Emperor and his son Toshitada Emperor, who were well-versed in Waka through the dynasty literature based on the story of Genji throughout about two generations lasting about 30 years; space composition of this garden is divided into land, island and water space, being composed of a total of 36 space components. Second, Katsura Imperial Villa was created with the primary goal of making a round tour around the garden land by arranging tea pavilions, such as Shokintei, Shokatei and Shoiken, etc., which introduced the then game culture into the garden. Third, the personnel in Katsura Imperial Villa intended to enjoy the scenic characteristics of the area where Katsura Imperial Villa was located from the interior of the garden by making Gepparo which was a tea pavilion for enjoying the rising moon on the hill even a litter faster and longer by piling up earth and setting up stone walls north of Koshoin which was a structure located west of the garden land.