영화의상에 나타난 엘리자베스 여왕 1세 로브의 표현효과

조윤영(Youn Yung Cho),양숙희(Sook Hee Yang) 한국복식학회 2003 服飾 Vol.53 No.3

The purpose of this study is to analyze the expressive effects of Queen Elizabeth Ⅰ`s robes in cinema and also to present two examples of Queen Elizabeth Ⅰ`s robes designed and made based on these expressive effects. To this end, this study will first examine Queen Elizabeth Ⅰ`s robes in her portraits according to the visual definers and emblematic meanings. Then on the basis of these knowledges, analyze visual definers and viewing priorities of Queen Elizabeth Ⅰ`s robes in five movies. Thereinafter, these robes will be classified based upon Delong(1998)`s four expressive effects: excitement, calmness, strength and delicacy. Finally, this study will demonstrate calmness and delicacy among four expressive effects through two robes made for the purpose. After analyzing the expressive effects of robes in five Queen Elizabeth Ⅰ`s movies, one can conclude excitement, calmness, strength, and delicacy can be found according to the flow of the story. Since this analysis focuses mainly on one particular person during one particular period of time, there was a fundamental silhouette prevalent among the Queen`s robes which then can be classified into different forms. Moreover, Queen`s character in itself embodies authority and grace which, in turn, facilitates the presentation of the four expressive effects along the story line. In conclusion, thorough historical research on the character and the period, in addition to analysis of the visual definer and viewing priorities, is imperative when designing a historical costume.

앙제렝 프렐조카주(Angelin Preljocaj)의 ‘Les Noces’ 작품 분석

태혜신 한양대학교 우리춤연구소 2005 우리춤과 과학기술 Vol.1 No.1

20세기 현대발레의 시대를 연 니진스카의 Les Noces는 당시 너무 혁신적이라는 이유로 무대에 올려지지 못할 뻔 하였으나 대대적인 성공 이후, 지금까지 세계적인 발레단과 안무가들에 의해 각색되어 공연되어지는 대표적인 고전 현대발레작품의 하나이다. 앙제렝프렐조카주(Angelin Preljocaj)는 고전발레에 대한 경의를 표하는 작업으로 Les Noces를 만들었다. 그는 Les Noces를 통해 작품주제에 따라 인식 가능한 몇 개의 법칙을 개발하고 색다른 생각의 방향을 제시하는 지적인 안무자임을 유감없이 발휘하고 있으며, 그의 ‘부드러움(delicacy)과 잔인성(brutality)간의 전환’ 이라는 안무 작업 방식을 확연히 제시하고 있다. 앙제렝프렐조카주(Angelin Preljocaj)의 Les Noces 작품을 구체적으로 분석한 결과, 다음과 같은 결론을 얻었다. 첫째, 프렐조카주의작품, Les Noces는 ‘결혼은 교묘한 속임수’라는 니진스카 원작의 사고와 그에 따른 작업과정에 유사점이 많다. 둘째, ‘부드러움(delicacy)과 잔인성(brutality)간의 전환’으로 묘사되는 프렐조카주의 안무 작업의 특성이 아 주 잘 나타나 있다. 셋째, 프렐조카주의 Les Noces는 5명의 커플댄스이다. 넷째, 움직임은 주로 남녀가 서로 밀치거나 당기는 힘에 의해서 생성되는 충돌적 움직임을 사용하고 있다. 다섯째, 의상, 인형, 의자를 활용하여 작품의 상징성을 극대화시키고 있다. 여섯째, 표현심리- 남성의 폭력적 통제, 이에 항거하는 여성들의 항거와 절망, 그리고 그에 따른 남녀간의 갈등은 상호 비례적 관계에 있으며, 이와 반대로 신부의 결혼에 대한 희망은 이들과 반비례적으로 나타나고 있다. 일곱째, 잔인한 폭력적 학대 장면(2장)과 진정한 의미의 결혼에 대한 희망(에필로그) 장면은 결혼의 남녀 불평등 관계를 평등한 관계로 지향할 것을 의미하고 있다. “Les Noces”, is in the repertory of several ballet companies both in Europe and the States, and inspires classical and contemporary choreographers alike. In Angelin Preljocaj’s version of “Les Noces”, there are clear traces of Nijinska’s original in the choreography, but the main connection between the two versions might be the idea of certain traditions as manipulating. In Preljocaj’s version, five couples dance. Their family or friends are not seen, perhaps reflecting that love life and marriage today is more an individual matter. He introduces five passive, human-size rag dolls, dressed as brides, which contrast the passionately red-dressed, strong women. The men certainly manipulate the dolls, often in brutal ways. Preljocaj’s work is described as veers between delicacy and brutality, sometimes alternating between pieces, sometimes within the same piece. This is very clear in “Noces”. The costumes are western, in spite of Preljocaj’s inspiration by Albanian wedding rituals. The idea probably resembles Nijinska’s, to avoid exoticism, and consequently generalise and actualise the ballet. Still, the ballet may be a liberating experience to women “raised to marry”, and Preljocaj’s new version might thus be more in tune with Nijinska’s thoughts and working process, than the plainly revived ones.

The Malay’s traditional sweet, dodol: a review of the Malaysia’s heritage delicacy alongside with the rendition of neighbouring countries

Norsyahidah Ismail,Muhammad Shahrim Ab. Karim,Farah Adibah Che Ishak,Mohd Mursyid Arsyad,Supatra Karnjamapratum,Jiraporn Sirison 한국식품연구원 2021 Journal of Ethnic Foods Vol.8 No.-

The Malaysia’s cultural heritage is authentic, unique and colourful with various local cuisines of different races and cultures. It is mainly originated from the Malay culture being the largest ethnic group in the country. The Malays themselves have contributed to many local cuisines ranging from appetiser, soup, main course and dessert. However, some Malay heritage foods have almost been forgotten and jeopardized in quality. This is especially happening to the Malay sweets or desserts which have gradually become less appealing to the younger generations. They are not even familiar with Malay foods, let alone consuming them. Among the popular Malay heritage foods in Malaysia are lemang, ketupat, rendang, wajik and dodol. Dodol specifically has been listed as one of the endangered heritage foods in Malaysia. Preserving the Malay cuisines is part of sustaining the Malay culture and this should begin with a great amount of knowledge and understanding about any elements within the culture itself. This article highlights a nostalgic and evergreen Malay’s traditional sweet, known by the locals as dodol by discussing its history, different types and names of dodol, as well as the recipes, preparation, cooking methods and packaging. Furthermore, this article hopes to aid the readers, especially among the younger generations in the Malay community to have greater understanding and appreciation about their own beautiful culture.

The authentic balut: history, culture, and economy of a Philippine food icon

Maria Carinnes P. Alejandria,Tisha Isabelle M. De Vergara,Karla Patricia M. Colmenar 한국식품연구원 2019 Journal of Ethnic Foods Vol.6 No.-

The practice of making and eating fertilized duck eggs is a widely known practice in Asia. In the Philippines, “balut” is a popularly known Filipino delicacy which is made by incubating duck eggs for about 18 days. However, criticisms against its authenticity and the unstable demand for balut in the market pose challenges to the development of the Philippine balut industry. Consequently, this research aims to trace the history of balut production and consumption in the Philippines by specifically looking into the following. First, it explores the factors that contribute to the discovery and patronage of balut. Second, it identifies the localities that popularized the balut industry. Third, this includes the key industries that started the large scale production of balut. Fourth, it discusses the local ways of balut-making practices in the country. Lastly, it also provides an account of the ways of balut consumption. Through content analysis of secondary data, this research argues that balut remains an authentic Filipino food despite shared patronage in several Asian countries through the localized meanings associated with its consumption, preparation, and distribution.

Time-honored praxis in preparing smoked meat delicacy (kinuday) of the ibaloy indigenous people in Benguet, Philippines

Garambas Cynthia D.,Luna Myrna Benita Z.,Chua Consuelo T. 한국식품연구원 2022 Journal of Ethnic Foods Vol.9 No.-

Every culture protects its indigenous knowledge and practices, distinguishing them from other cultures. A qualitative inquiry described the traditional processing methods in preparing smoked meat or kinuday, produced by the Ibaloy Indigenous Ethnic group in the Philippines. The saturation method was used to determine data sufficiency. Fifteen participants from the two Ibaloy-speaking municipalities of Benguet, Philippines served as the key informants for the study. Results show that Benguet native pork and rock salt are the usual raw materials for kinuday. Additionally, branches and trunks from locally available trees are utilized as smoking materials. Traditionally, meat is smoked on top of the cooking area called so-olan for one day, continuous to one month intermittent until fully consumed. Kinuday is attributed to the festivities performed by the Ibaloy IP group and the availability of the elements in producing the traditional food is the primary factor for continuing the practice. To ensure preservation and cultural transmission of traditional kinuday preparation practices, it is recommended that a formal documentary be developed and disseminated to various stakeholders.

왕희지와 안진경의 변법 소고

곽노봉(Kwag, Noh-Bong) 한국서예학회 2021 서예학연구 Vol.38 No.-

서예사에서 변법(變法)을 실행하여 성공한 서예가로 왕희지ㆍ안진경ㆍ강유위가 있다. 왕희지는 이전의 질박(質朴)한 서풍을 연미(姸媚)한 서풍으로 변화시키고, 해서ㆍ행서ㆍ초서의 필법을 완성하며, 귀족적 서풍을 창출한 서성(書聖)이다. 안진경은 전서의 필법과 민간서풍을 도입하여 대중적 서풍을 창출한 아성(亞聖)이다. 강유위는 북위서풍을 종주로 삼아 첩학의 병폐를 타파하고 비학파를 제창한 대표자이다. 왕희지와 안진경은 모두 변법에서 성공하여 내엽법(內擫法)과 외탁법(外拓法)을 확립하여 서예사에서 필법의 양대산맥을 이루었다. 왕희지는 유의(有意)의 이론을 바탕으로 삼아 변법의 실천에서 다양한 자태를 창조하였고, 이전의 질박한 서풍을 연미한 서풍으로 변화시켜서 해서ㆍ행서ㆍ초서의 신체(新體)를 확립하였으며, 최초로 성숙한 필법 체계를 완성하였다. 안진경은 풍격의 ‘비경(肥勁)’과 실용의 ‘통속(通俗)’을 이론적 근거로 삼아 변법의 실천에서 성공하고 서예의 대중화를 선도하였으며, 시대의 심미관을 정확히 판단하고 고법을 변화하여 새로운 뜻을 나타내어 단직장중(端直莊重)한 안체(顔體)를 창조하였으며, 학양ㆍ성정ㆍ인품과 부합하는 서여기인(書如其人)을 실천하여 후세에 심원한 영향을 주었다. 왕희지와 안진경은 누구나 다 알고 있으며, 작품 또한 익숙하게 보았을 것이다. 그러나 의외로 그들에 관한 연구는 제대로 이루어지지 않은 것 같다. 특히 그들이 성공할 수 있었던 핵심적 내용인 변법에 관한 연구는 더욱 그러하다. 만약 이에 관한 연구가 본격적으로 이루어진다면, 이를 타산지석으로 삼아 현재의 한국서단 병폐를 제대로 진단하고 건전한 미래서예를 위한 방향을 제시할 수 있을 것이다. 이러한 의미에서 본 연구는 이를 위한 초석의 역할로 의미가 있다고 하겠다. 在書法史上變法成功的書家有王羲之、顏真卿、康有爲。王羲之把之前的書風質樸變爲妍媚,完備了楷行草的筆法,創造了貴族書風,終成書聖。顏真卿融合篆書的筆法和民間書風,創造了大衆性的書風,被譽爲亞聖。康有爲以北碑爲宗,突破帖學的弊病,是提倡碑學的代表人物。 王、顏都是變法的成功者,確立內擫和外拓之法,形成了書法史上筆法的兩大宗派。王羲之以有意的理論爲基礎,在變法的實踐中創造了多種姿態,變質樸爲妍媚,確立了新體,最早形成了成熟的筆法體系。顏真卿以風格的肥勁,實用的通俗爲理論根據,成功實現了變法,倡導書法的大衆化,準確把握時代審美,變革古法,抒發新意,形成了端直莊重的顏體。並結合其學養、性情、人品書寫了書如其人的佳話,對後世產生了深遠影響。 王、顏是世人皆知的書家,其作品也較爲熟悉。但出人意外的是,目前對其的研究還不多。尤其對其成功的變法研究更是如此。如此領域能有所建樹的話,對診斷當今韓國書壇的弊病也能起到他山之石的作用,也能爲開啓康健的未來書法提供津逮。爲此本研究是具備拋磚引玉作用的。

체육교육이 초등학교 학생의 창의성 발달에 미치는 효과

김정식(Jeong Sik Kim) 한국체육교육학회 2003 한국체육교육학회지 Vol.8 No.3

실비아 플라스의 죽음연습

신원철 ( Shin¸ Won-chul ) 동국대학교 영어권문화연구소 2013 영어권문화연구 Vol.6 No.2

In Sylvia Plath's short life the pressure of death followed her endlessly. When she was only 9 years old, her father died because of his glycosuria which had forced him cut his leg. Sylvia Plath's mother had to bring up her children by herself and devote her whole life for them. Plath's early life can be said much chained to her mother's unreasonable love and we can read a kind of Electra Complex in her poems. Marrying Ted Hughes could not solve her problem but resulted in his betrayal and their separation. This unhappy family history seemed to make her write those dark poems in which her father, mother and husband were written as twisted characters. Her poems “Colossus,” “Daddy” and “Lady Lazarus” seem to be succeeded or related closely each other, the third is the climax of this succession. Plath wanted her freedom from all stress. At last she chose to kill herself in the cruelest and definite way.

문학 : 당대 산수전원시의 분기별 풍격특성 연구

배다니엘 한국외국어대학교 외국학종합연구센타 중국연구소 2003 中國硏究 Vol.32 No.-

여성주의 시의 교육

구명숙 한국사상문화학회 2005 韓國思想과 文化 Vol.27 No.-