전등사 대웅전 귀공포 조각상 연구

신은미 인천대학교 인천학연구원 2018 인천학연구 Vol.28 No.-

Guigongpo(Corner Bracket Units) at Daeungjeon, Jeondeungsa temple has been famous for the four crouching figures supporting the crossbeam for long time. The four figures, or so-called Nabusang (Nakedwoman-figure), tells us the legend about a carpenter building Jeondeungsa temple in love with a mistress of nearby bistro. The story that the carpenter punished her who abandoned him by carving the figure of herself is introduced by everywhere about Jeondeungsa temple as well as the website like a piece of novel. It is assumed that this legend which had been orally handed down only without showing itself on the any records or history books from Joseon Dynasty has been dramatized and specified by the press ever since the 1970s. However, separately from the legend of Nabusang as an element that arouses the public’s interest and curiosity, it is needed to define the origin of the figures supporting the roof of the Buddhist temple in terms of the history of architecture. The figures of Guigongpo at Daeungjeon, Jeondeungsa temple are crouching with their hand or hands over the head supporting the crossbeam. The strong-man figure with something on the head with the two hands came from the Indian tradition Yaksa, but the figure at Jeondeungsa temple is different as it is actually supporting the material at Guigongpo. Guigongpo in other temples, Yeontan Simwonsa temple Bogwanjeon, Beopjusa temple Palsangjeon, Bakcheon Simwonsa temple Bogwanjeon, have the similar type of figure. It does not occupy a large part of the history of Korean architecture, but the figures on Guigongpo is originated from 『Yeongjo Beopsik』, the architecture record of Song Dynasty, China. In other words, the oxtongue pattern and ornament on Guipo, a part of Dapo Type which is a rather old structure in Korea, is the Xia-ang structure mentioned in 『Yeongjo Beopsik』 which means putting a angle rafter supporter called Gaksin on Yuang on the Xia-ang. Gaksin, playing the role to support the material on the upper part of the building, was found even back to the Chinese Song Dynasty. The figure is assumed to be affected by the Yaksa figure originated from ancient India. Regarding the strong-man type Yaksa figure on a wooden building of the 8th century in Japan, the figure tells us the probability of the trend of the Yaksa figure supporting the crossbeam across the East Asia. In conclusion, the figures supporting the crossbeam on Guigongpo at Daeungjeon, Jeondeungsa temple functionally represents Gaksin of the structure and semantically the guardian of the Dharma in the figure of Yaksa. Key words : Daeungjeon of Jeondeungsa temple, Nakedwoman-figure (Nabusang), Corner Bracket Units-figure, strong-man type Yaksa, Yeongjo Beopsik, Gaksin 전등사 대웅전의 귀공포에는 쪼그리고 앉아 들보를 받들고 있는 네 구의 彫像이 있어 오래전부터 세간의 관심을 받아왔다. 일명 ‘裸婦像’으로 불리우는 이 상들과 관련하여 전등사를 짓는 목수와 사랑에 빠진 인근 마을의 주모와 관련된 전설이 전해지고 있다. 자기를 버리고 떠난 주모에 대한 배신감으로 여인상을 조각하여 벌을 세웠다고 하는 이 전설은 전등사 홈페이지를 비롯하여 전등사와 관련된 내용을 소개하는 곳에서 마치 한편의 소설처럼 각색된 내용을 보여주기도 한다. 역사서는 물론 조선시대 문집이나 기타 기록에도 등장하지 않고 단지 구전으로만 전해지던 이 전설은 1970년대 이후 언론매체를 통해 활자화, 드라마화 되면서 구체성을 띠게 된 것으로 보인다. 그러나 대중의 호기심과 흥미를 유발하는 요소로서의 전등사 대웅전의 나부상 전설과는 별개로 부처님을 모시는 佛殿의 지붕을 받드는 존재로 표현된 彫像의 도상 유래, 건축사적 배경 등 불교적으로 규명해야 될 필요성이 있다. 대웅전 귀공포 조상은 쪼그리고 앉아 한 손 혹은 두 손을 들어 올려 머리 위의 들보를 받들고 있는 자세를 취하고 있다. 두 손을 들어 올려 머리 위의 무언가를 받드는 力士 형태의 상은 인도 약샤상의 전통에서 온 것이지만, 전등사 상의 경우 실제로 불전의 귀공포에서 상부의 부재를 받들고 있다는 점에서 차이가 있다. 전등사 외에도 연탄 심원사 보광전, 법주사 팔상전, 그리고 박천 심원사 보광전의 귀공포에도 유사한 형태의 조각상들이 놓여있다. 우리 건축사에서 그리 많은 부분을 차지하는 양은 아니지만 귀공포에 이러한 인물조상을 놓는 것은 중국 송대 건축서인 『營造法式』에서 그 유래를 찾을 수 있다. 즉 현존하는 비교적 오래된 한국 다포계 건축물 중에 귀포의 쇠서배열과 장식 형태가 『營造法式』에 언급된 귀포의 하앙 결구 방식, 즉 하앙 위에 별도의 由昻을 놓고 이 유앙 위에 다시 角神이라는 추녀 지지용 부재를 놓은 사례에 해당되는 것이다. 최소한 송대 이전부터 건물의 상부에 부재를 받는 역할을 하는 각신이 있었고 인물상이 놓일 경우 고대 인도부터 전해 내려온 역사형 야차상이 영향을 준 것으로 생각된다. 이는 일본에 남아있는 8세기 목조건물에 야차의 형상을 잘 구현한 역사형 야차상이 놓여져 있는 점으로 미루어 볼 때 역사형 야차상이 건물의 들보를 받드는 의장이 일찍부터 동아시아에서 유행했을 가능성을 알려준다. 이를 통해 볼 때 전등사 대웅전 귀공포 조상은 기능상으로는 건축물의 각신적 요소가 남아있는 것이고 의미상으로는 불법을 지키는 수호신으로서의 야차의 성격을 수용한 것으로 볼 수 있을 것이다.

앤터니 곰리의 인체조각에 표현된 신체담론

김은영(Kim Eun-Young) 현대미술사학회 2006 현대미술사연구 Vol.19 No.-

This thesis discusses the human figure sculptures made by Antony Gormley (1950-)in the early 1980s when the issues on 'Revival of Painting' and 'Revival of the Figure' attracted public attention. Gormley successfully 'revived' people's interest in the human figure sculptures, from which the Western sculptors had averted their eyes to the object and the concept itself since 1960s. He unfolded a new paradigm of sculpture. Since 1981 Gormley made the human figure sculpture in a much different way from traditional sculptors who had focused on simply representing human bodies. To escape from the traditional human figure sculptures, he used the lifecasting method not for copying the object's appearance but as a means for a direct physical experience. He emphasized on the process of casting his own body. However, his sculptures lacked any personal details distinguishing them as a particular human being. Instead, the figures were smoothed out making them completely anonymous. In this context, his works refused portraying, symbolizing, narrating functions of the traditional human figure sculpture and instead universalized the personal experience of life-casting leading the viewers to contemplate human nature and self. Furthermore, Gormley installed his sculpture works in a particular environment to make the universal experiences of human beings more realistically. The viewers could experience the existential situation made by the relationship between his human figure sculpture and the place and see through the meaning of the situation and the history of the place. This research investigates the meaning of human body in Gormley's sculpture work which expanded an individual experience to a universal human experience. The human body in his sculptures implied various meanings. Most of all, the sculptor's body make the human figure sculpture not to be a simple represented form of body but a result of the first-hand physical experience. Gormley casted his body and by this casting process he made a concept of human figure sculpture as a 'body-case'. Against this backdrop, the sculptor was a physically-oriented subject, not a visually-oriented subject of the traditional carving and modelling methods. That is to say, Gormley depended on which his whole body feels following the concept of 'body subject' that Merleau-Ponty insisted against 'cogito', traditional western concept of subject connected with the ocular-centrism. He made the radical paradigm shift on not only the human figure sculpture but also the subject of the sculpture. Moreover, the human body in Gormley's works include the body of the sculptor and the viewers at the same time. He installed the same human figure sculptures in different places in or out of the museum and made them experienced by the viewers differently in each place. Sometimes he installed the sculptures in a historical place to make the viewers experience the situation at the place physically and think about the historical meaning of the place. He included the viewer and the space outside of the sculpture as the part of the work unlike traditional human figure sculptors. Gormley's works embraced both the physical and psychological experiences of the sculptor and the viewers and the specific environment together with the sculpture to overcome the traditional concept of human figure sculpture as a object itself. Unlike the paintings of 1980s, his sculpture has not only 'formed' but 'experienced' the human body, reflecting his art philosophy which emphasized not on form of art tself but on human affairs.

Mark Twiain Huckleberry Finn과J. D, Salinger의 holden Caulfield의 Human Figure에 對한 比較 硏究

朴相用 충남대학교 인문과학연구소 1975 인문학연구 Vol.2 No.1

J. D. Salinger has written some of the best fiction of our time. In the two decades which constitute Salinger's professional career he has published one novel, three novellettes, and some thirty short stories. This fair-sized body of works may be classified into four "periods":the early tentative efforts, up to the Inverted Forest, 1947; the five stories which appeared in The New Yorker and were later included in the collection, Nine Stories, 1953; The Catcher in the Rye, 1951; and finally the more recent narratives, Franny and Zooey, 1961, which expresses the Glass family's redemption based on the religious bent in conformity with the fetishism. However, in this dissertation for a docterate degree in literature, the author would like mainly to center his focus on a comparative study of the human figure toward Salinger's protagonist, Holden Caulfield and Mark Twain's Huckleberry Finn, who constitute the myth of American youth in American literature. A great emphasis and a brisk discussion for the study of Salinger's work, especially for The Catcher in the Rye, has been aroused among the scholars and the literary critics in American literary circles with a result of accelerating a comparative study of the human figure in Salinger's protagonist, Holden Caulfield, and Mark Twain's Huckleberry Finn. Both novels have a similar pattern in surface and in its structure of a picaresque story originated from Cervantes' Don Quixote, which constitutes an adventure story, an extended prose narrative dealing with characters within the framework of a plot. Such a work is usually fictitious, but both characters and situations or events may be drawn from real life. Frankly speaking, it has so far been a general tendency in the academic field that so far as a comparative study on Huck's and Holden's human figure is concerned, a great controversial discussion has been aroused among scholars and critics on the ground that the two protagonists' human figure has a similar pattern or a dissimilar pattern in their initiation into the adult world. It is however the author's awareness that in spite of their argument on the theme, it seems to be no definite agreement and definition among them. In this view of the disputable stage of the argument, the author has determined to assemble the articles, papers and bookreviews concerned with the themes so that he may classify and define the patterns of two protagonists' human figure by analyzing the literary themes, the type of their journey, their journey circumstances in time and space, and the aspects of their personality and human psyche. It is however an interesting discovery that three dvisions-----the similar pattern, the partially dissimilar pattern, and the totally dissimilar pattern-----have been classified in the process of analyzing the articles and other sources. The author has determined to designate them as (1) the totally similar pattern, (2) the partially dissimilar pattern, and (3) the totally dissimilar pattern. Following is a brief explanation of these divisions. (1) The totally similar pattern theory realizes the fact that the human figure of both protagonists are similar not only in their personality but also in their protest against the plight of social norm and of the currupt adult-world for protecting the innocence of human beings in American society. This approach has been based upon "A Study in the Traditional Continuity in American Literature" by Charles Kaplan, Edgar Branch, Heiserman and Miller. (2) The partially dissimilar pattern theory maintains that the two protagonists' human figure is partially similar except for the large portion of the dissimilarity both in their mental situation and in their sensibility. Gwynn and Blotner, Robert G. Jacobs, and Donald Barr are those who deny the above similar pattern with the views of their peculiar image-making toward the two protagonists. (3) The totally dissimilar pattern theorists reject the above two theories, manifesting a completely new image over Holden of the modern American youth with a different mental plight and situation and so on. John W. Aldridge, Ihab Hassan, and Arvine R. Wells are those who deny the above two theories, patternizing Holden as a youth of radical innocence, or an American myth of rebel-victim. In examining these three theories, the author has decided to neglect the first and second theories that are the totally similar pattern and the partially dissimilar pattern, and to maintain the third theory, the totally dissimilar pattern with a slightly expanded revision or an additional supplement to the theory. Judging from the human figure comparison between two protagonists, Huck has a river, a maternal symbol in his natural environment for his freedom journey, and Negro Jim, a father image, and a refuge to the West. However, nothing has Holden in the admist of corrupted urban circumstances, only with a severe mental sickness and suffering stemmed from his brother Allie's death which causes him a serious mental breakdown from the beginning in the novel and escaping in his imagination to a cabin in the woods somewhere in West. And there Holden may lead his hermit life in his imagination along the line of Zen Buddhism. As was patternized by many critics as the Stephen Dedalus Type as well as the Leopold Bloom Type in James Joyce's novel, A Protrait of the Artist as a Young Man, it is true that unlike Huck who is patternized as Stephen Dedalus, Holden has ,a quest in duality in the beginning of his journey along with his child-father cycle of initiation into society, but at the end of the novel, he stands against the corrupt adult world with a function of 'the intellect protest' so that he may remain in the child-like innocent world for his refuge, a cabin in the woods in West. Considering this spiritual refuge in West, this can be contrasted to a Buddhist temple in the woods in the Orient that parallels with the Walden Type of quest, a new type discovered by the author. Therefore Huck is not a modern victim in American society with a promising-redemption, but Holden is a modern figure of American tragedy and rebel-victem-----an identity of radical innocence in the contemporary American literature.

러시아 알타이 암각화의 특징 연구(Ⅰ)

박정근(Park, Geung-Gunn) 백산학회 2006 白山學報 Vol.- No.76

" Petroglyphs, images incised in rocks by prehistoric people, are the significant remains in that they represent various cultural aspects at that time. The study on figure petroglyphs, particularly, could help us comprehend thought, aesthetics, and life of the people in those days, which lead us to understand generally the cultures of their age, such as points of cultural difference and sameness with adjacent areas, and culture diffusion to other areas. Petroglyphs have been found over a wide range of the earth. Among others, the petroglyphs in Altai have very important meanings in terms of the regional homogeneity in Northeast Asia including Korea as well as the aspect of entire distribution of petroglyphs throughout world. Altai is geologically complex mountain system of central Asia, largely in Russia and Kazakhstan, but extending into West Mongolia and into North China. The cites in Gorno Altai where figure petroglyphs have found are Kujus, Kalbak-tash, Chagangka, Elangash, Irbistu, Zhalgyz-Tobe and others. In this study, I attempt to expound the characteristics of figure petroglyphs in Gorno Altai area, focused on petroglyph cites which I investigated and identified. I also refer existing reports and papers on other sites I didn’t investigate in that each site spreads over the vast areas. In Gorno Altai, the figure petroglyphs carved with lines have not found or identified yet. Most figure petroglyphs were carved with shading sides, and these are distinguished into face petroglyphs and entire body petroglyphs although their eyes, nose, and mouth couldn’t be identified in detail. The figure petroglyphs in Gorno Altai are classified into four groups according to shape and appearance: standing figures, figures using tools, figures riding horses, and shaman figures. While the earlier people seems to use stone tools to carve figure petroglyphs, the later people entering more realistic description stage might use metal tools largely for minute and complete depictions. It would be a convincing assertion that the realistic petroglyphs carved with shading sides by using metal tools provided a progressive opportunity to develop the forms and shapes in petroglyphs. Though the figure images of petroglyphs in Gorno Altai were mainly carved by a “chiseling” way, there is a need of more various approaches to carving techniques because the new way of whittling with a gouge was found in this area, such as the hunting figure carved on a central altar in Kalbak-tash. The most common technique used in Gorno Altai cites, however, would be a “chiseling”way. Based on various aspects such as types, techniques, and regional location, characteristics of the figure petroglyphs in Gorno Altai could be summarized as followed: first, the figure petroglyphs in Gorno Altai sites show a certain aesthetic of their own ages, which help us estimate the age of a petroglyph; second, by surveying these petroglyphs, we can comprehend the developmental process from a simple non-realistic stage to a realistic stage of depiction, and to a stylized stage through simplification, which also represents a general plastic logic of formative art; third, aesthetic change from simple recognition to the complicated concrete is found in the description of grouped people, which characteristic might be prompted by the development of thoughts and tools; fourth, the importance and emphasis of human figure on petroglyphs increased and weight of animals decreased more and more as time goes by, which could be a result of changes in the society and life environment at that time; finally, the rule that the bigger is the more beautiful was applied in figure petroglyphs in Gorno Altai, for example, the most huge figure carved on a central altar in Kalbak-tash or a caw carved on the edge of rocks in the first and second site of Elangash. The study on the figure petroglyphs in Gorno Atai makes possible the division into periods of petroglyphs in this

A comparative study of the unearthed Qin and Han meridian relic documents and 『Lingshu·Jingmai』 on the circulation of the six Yang meridians-centered on the Lao Guan Shan lacquer figure-

( Ouyang Fang-lan ) 대구한의대학교 제한동의학술원 2021 제한동의학술원논문집 Vol.19 No.1

In this paper, we analyze the contents of the six Yang meridians in the Mawangdui medical textiles, the 『Zú Bì ShíYī MàiJiū Jīng(足臂十一脈灸經)』, the 『YīnYáng ShíYī MàiJiū Jīng(陰陽十一脈灸經)』, the Zhangjiashan medical text 『Hàn Jiǎn Mài Shū(张家山汉简 『脈書』)』, the Shuangbao Mountain lacquer figure, the Laoguan Mountain lacquer figure, and the 『Shí èr Mài(十二脈)』 of the Laoguan Mountain medical text, which have been excavated since the 1970s. Through comparison, the meridians carved with white lines on the Lao Guan Shan lacquer figure are different from the “twelve meridians” in the 『Huáng Dì Nèi Jīng(黃帝內經)』’s Classic of Internal Medicine, and it is believed that the formation process of meridians developed from the “eleven meridians system” to the “twelve meridians system” It is believed that the development of the meridians from the “eleven-meridians system” to the “twelve-meridians system” is a result of the inconsistent naming of the early meridians, the irregular number of meridians, and the development of the meridians from a linear one-way flow to the uninterrupted circular movement of the 『Huáng Dì Nèi Jīng(黃帝內經)』. The “eleven meridians system” of the early meridian theory was not a manifestation of the fact that the meridian theory was not yet well developed, but a result of the influence of the ancient philosophical concepts of the time, “the unity of heaven and figure”, “the six heavens and the five piles of the earth” and “the unity of heaven and figure” thinking. This concept had a significant impact on the formation of the early meridian theory and has been a constant in the development of meridian theory, which can be identified as one of the biggest factors influencing the development of meridian theory. The “Hand Sanyang meridians” has its own characteristics in the naming of the early meridians, and is unstable compared to the development of the naming of the Foot Sanyang meridians. The order of the use of “Dà(大)”, “Tài(泰)” and “Tài(太)” in the naming of the meridians reflects the sequence of the development of the ancient script. The word “(鉅)巨Jù” in 『YīnYáng ShíYī MàiJiū Jīng(陰陽十一脈灸經)means “big” and is a dialect expression used in the Qi-Song region. The order of the meridians named in the meridian literature is recorded first after the foot meridians hand meridians, the foot meridians are longer than the hand meridians circulation route, the circulation distribution is more extensive, the main disease is more, the foot meridians is more important than the hand meridians. The “eleven meridians system” of the Mawangdui medical text is not a manifestation of the imperfect development of the meridian theory. but is influenced by the mathematical concept of “heaven, six and earth, five”, which considers heaven as yang, earth as yin, heaven as six and earth as five. With this concept, eleven meridians were created. The lack of the foot three yin meridians in the “ten meridians system” of the Shuangbao Mountain lacquer figure is not a sign of slow development of the foot three yin meridians, but because the foot three yin meridians represent the death wait, which is a sign of death. On the contrary, during the Western Han Dynasty, the imperial nobility prayed for immortality. and believed that the Governor’s Vessel had the function of nourishing health and promoting longevity, so a Governor’s Vessel was added. The development of the twelve channels of the 『Líng Shū·Jīng Mài(靈樞·經脈)』 was influenced by the ancient “Twelve of Heaven”, which changed the number of channels from 11 to 12. It can be seen that the development of meridian theory has not been smooth and has been influenced by the impact of ancient philosophical views and cultures and the different doctrines of different medical schools. This is a reflection of the development of the meridians and the incorporation of the superficial parts of the body into the route of the meridians, which is probably due to the need for the Lao Guanshan lacquer figure to be used as a teaching tool and to provide a more intuitive explanation. The development of the meridians from independent, straight lines to circular channels of movement “like rings without end” was influenced by the concept of “the unity of heaven and figure”, believing that the figure meridians should run uninterruptedly, like the sun and moon, in accordance with the laws of nature. The change in the direction of the flow of the meridians led to the confusion of the “branch” and “straight” routes of the foot-sun meridian of the 『Líng Shū·Jīng Mài(靈樞·經脈)』. There are only a few branches in the Mawangdui medical text, but there are 23 meridians in the 『Líng Shū·Jīng Mài(靈樞·經脈)』, which shows the rapid development of meridian branches. The function of this branch of the foot sun “into the anus” of the Laoguanshan lacquer figure is shown as the relationship between the circulation distribution of the meridians and the disease symptoms. By the time the 『Líng Shū·Jīng Mài(靈樞·經脈)』 became available with the proliferation of branches, the clinical significance was less evident, and it is presumed that the branches existed at this time more to supplement the significance of the twelve meridian theory. The question of the origin of the meridians and acupuncture points has been the focus of academic debate, and the excavation of the Laoguanshan lacquer figure has provided new evidence to resolve this academic question. The “Twelve meridians” represented by the white lines of the Laoguanshan lacquer figure are important for studying the development of the “Eleven meridians” in Mawangdui to the “Twelve meridians” of the 『Líng Shū·Jīng Mài(靈樞·經脈)』. This transitional stage in the development of early meridian theory is of great significance, and the Laoguanshan lacquer figure can fill the theoretical gap in this stage.

공인에 대한 언론사와 언론인의 인식 연구

이재진(Jae Jin Lee),진승현(Seunghyun Jin) 한국언론법학회 2018 언론과 법 Vol.17 No.1

본 연구는 공인에 대하여 언론과 언론인들이 어떻게 이해하고 있을까 하는 질문에서 출발한다. 공인에 대한 논의가 언론의 사회적 의무와 가치, 자유라는 부분과 개인의 인격권 영역이 가장 첨예하게 충돌할 수 있는 영역인 반면, 그 해결을 위한 공감대를 형성하여 사회적 합의를 이끌어 내는 데 언론보도가 결정적인 역할을 한다는 점에서 볼 때 언론사와 언론인이 어떻게 공인에 대해 이해하고 있는지를 살펴보는 것은 대단히 중요하다. 무엇보다 법적인 측면에서의 공인에 대한 이해와 언론의 공인에 대한 이해에 괴리가 있고 공인에 대한 정의가 서로 다르다는 기존 연구의 지적에 유의할 필요가 있다. 즉 법원은 공인에 대해서 정의내리지 않는 반면 언론은 언론 나름대로 공인을 정의내리고 공인을 재구성하려는 모습을 보인다는 것이다. 그러나 이는 언론인을 대상으로 한 연구는 아니었고 주로 기사의 일부를 인상적 수준에서 살펴보는 것에 머물렀다. 이러한 이해에 근거하여 본 연구에서는 언론이 공인에 대하여 어떻게 보도하는가를 분석하고 언론인들이 공인에 대해서 어떻게 인식하고 있는지 조사가 필요하다고 보았다. 왜냐하면 이들이 알고 있는 공인은 판례에 나타난 공인이나 공적 인물이라기보다는 언론이 나름대로 이해하는 자신의 지식과 인식의 틀에 위치하는 인물로 구성될 가능성이 크기 때문이다. 즉 언론과 언론인 나름대로의 인식이 공인에 대한 사회적 합의를 끌어내기 위하여 강조하는 부분이 될 수 있으므로 이들의 공인과 공인이론에 대한 인식을 살펴보는 것은 필수적이다. 이를 위해 주요 일간 신문의 과거 기사들을 통해 공인에 대해 언론이 어떻게 이해하고 있는지를 시대적 측면에서 분석하고, 사설들에 대해서는 프레임 분석을 실시하였다. 또한 공인에 대한 언론인들의 인식을 분석하기 위하여 언론사 근무 경력 10년~30년 사이의 언론인 32명을 대상으로 심층인터뷰를 실시하였다. 분석을 통해 언론의 사회적 기능은 최대한 살리되 언론이 반영하는 공인의 모습이 최대한 법적으로 규정되는 공인과 유사한 맥락으로 보일 수 있도록 보도하는 것이 필요하다고 판단되었다. 현재 법원이 공인 또는 공적인물에 대해서 명확하게 정의를 내리고 있지 않기 때문에 언론사가 혼란을 겪고 있고 공인에 대한 법원과 언론의 이해에 괴리가 존재하고 있지만 그럼에도 불구하고 언론과 언론인의 인식조사를 통해 볼 때 한국식의 공인이론이 조금씩 자리를 잡아가고 있는 것을 살펴볼 수 있다. This study examined how differently journalists and media companies understand the public figure from that of court judges in Korea. Previous research found out that the press, through their news articles and columns, tried to provide their own definition about public figure. The press also tended to make an image of the public figure in reporting about how the public figure should behave in our society. However, these research did not directly investigate how Korean journalists and their media company perceive about the public figure. This study made an frame analysis on editorials of five major newspapers which are related with public figure. It also did online interviews with a total of 32 journalists of newspaper, broadcast, and internet media, who had more than 10 years of work experiences. As a matter of fact, on the one hand, the press was expected to do what it should do in news reporting as watch dog, on the other hand, the press was also expected to properly report about the public figure. As a result, it was found that even though the press did not try to develop the image of public figure and ask the Korean courts to consider the role and function that the press does in our society like 10 or 19 years ago, the press’s understanding about the public figure does not quite same as that of Korean courts. The interviewees replied that although they do not know exactly who are the public figure, so called “Public Figure Rule” could be very helpful for the press to report about the public figures freer than private figure with no chilling effects. As a conclusion, it can be said that so called public figure rule from the U.S.A. was not imported as it is, similar principle is being made by court cases in recent years.

만평 속 인물캐릭터인 ‘국정원 여직원’의 기호적 분석

박경철(Park, Keong-Cheol) 한국만화애니메이션학회 2014 만화애니메이션연구 Vol.- No.37

만평은 특정인물 또는 사회현상을 풍자하기 위해서 특정인물 또는 사회현상에 비유되는 인물캐릭터를 등장시킨다. 만평 속 인물캐릭터의 말과 행위를 통해 부정행위를 한 권력자나 부조리한 사회현상을 드러낸다. 본 연구의 인물캐릭터인 국정원 여직원은 장기간에 걸쳐 만평에 등장하고 있으며, 실제 인물 대신에 사회현상을 비유하고 있다. 이처럼 국정원 여직원이 장기간에 걸쳐 만평 속 인물캐릭터로 등장하는 이유는 관련된 사회현상이 종결되지 않고 진행 중이기 때문이다. 또한 실제인물 대신에 사회현상을 비유하는 이유는 국정원 여직원의 숨겨진 얼굴로 인해 얼굴을 알기 쉽지 않은데 기인한다. 숨겨진 얼굴은 인물의 특징을 과장하기 힘들게 한다. 숨겨진 얼굴은 야구모자와 목도리로 상징되는 숨고 싶은 욕망의 표현이기도 하다. 숨겨진 얼굴과 숨고 싶은 욕망은 실제 인물 대신에 관련 있는 다른 인물 혹은 사회현상으로 치환하기 쉽게 만든다. 즉 국정원 여직원의 외형적 특징은 만평에서 ‘추가된 기의’를 결합시키기에 좋은 조건을 갖추고 있는 셈이다. 만평 속 인물캐릭터인 국정원 여직원은 실제 국정원 여직원과 무관하게 여러 의미가 필요에 의해 결합하여 실제 인물은 사라지고 다른 인물 혹은 집단 또는 사회현상으로 치환된다. 이처럼 본 연구는 만평에서 ‘국정원 여직원’으로 등장하는 인물캐릭터를 기호적으로 분석함으로써 만평 속 인물캐릭터의 역할을 밝히는데 목적이 있다. 본 연구에서 만평 속 인물캐릭터의 기호적 분석을 통해 다음을 알 수 있다. 첫번째, 만평은 사회현상을 풍자한다. 만평 속 인물캐릭터가 실제 인물을 대신하여 사회현상을 풍자한다. 두 번째, 만평은 정치가 만들어내는 부조리한 사회현상의 핵심적이거나 감추고 싶은 치부를 드러내어 풍자한다. 만평 속 인물캐릭터가 실제 인물을 대신하여 사회현상의 핵심적이거나 감추고 싶은 치부를 드러내어 풍자한다. 세 번째, 만평은 정치가 만들어내는 부조리한 사회현상의 책임자에게 경고의 메시지를 보낸다. 만평 속 인물캐릭터가 실제 인물을 대신하여 정치가 만들어내는 부조리한 사회현상의 책임자에게 경고의 메시지를 보낸다. 네 번째, 만평은 정치가 만들어내는 부조리한 사회현상에 의해 개인이 받게 되는 상처 혹은 스트레스를 견딜수 있게 카타르시스를 제공한다. 만평 속 인물캐릭터가 실제 인물을 풍자하고 조롱함으로써 부조리한 사회현상에 의해 개인이 받게 되는 상처 혹은 스트레스를 견딜 수 있게 카타르시스를 제공한다. Satirical cartoon features figure characters that liken to particular figures or social phenomenon to satirize particular figures or social phenomenon. Through the words and actions of figure characters in satirical carton, fraudulentact of man in power or irrational social phenomenon is revealed. The National Intelligence Service (NIS) female agent that is the figure character of this study has been appearing in satirical cartoon for a long time and it likens to social phenomenon instead of a actual figure. The reason why the NIS female agent has been appearing as a figure character in satirical cartoon for a long time is because related social phenomenon has not ended and is still in progress. In addition, the reason why it likens to social phenomenon instead of an actual figure is based on the fact that it is not easy to identify her face that has been hidden, which makes it difficult to exaggerate the characteristic of the figure. Her hidden face is also an expression of the desire to hide that is symbolized by baseball cap and muffler. Her hidden face and the desire to hide make it easy to substitute to other related figure or social phenomenon instead of actual figure. Namely, outward appearance of the NIS female agent has a good condition for combining ‘added significance’ in satirical cartoon. Irrelevant to actual NIS female agent, a satirical cartoon figure of NIS female agent is being combined with various meanings when needed and it is substituted as another figure, group or social phenomenon as the actual figure disappears. Accordingly, the purpose of this study is to reveal the role of figure character in satirical cartoon by symbolically analyzing the figure character that appears in satirical cartoon as ‘NIS female agent’. The followings were revealed through the symbolic analysis of figure character in satirical cartoon in this study. First, satirical cartoon satirizes social phenomenon. Figure character in satirical cartoon satirizes social phenomenon in place of actual figure. Second, satirical cartoon satirizes core or embarrassing area of irrational social phenomenon created by politics. Figure character in satirical cartoon satirizes core or embarrassing area of social phenomenon by revealing it in place of actual figure. Third, satirical cartoon sends a message of warning to a responsible person of irrational social phenomenon created by politics. Figure character in satirical cartoon sends a message of warning to responsible person of irrational social phenomenon created by politics in place of actual figure. Fourth, satirical cartoon provides catharsis for enduring wound or stress received by individual due to irrational social phenomenon created by politics. Figure character in satirical cartoon provides catharsis for enduring wound or stress received by individual due to irrational social phenomenon through satirizing and ridiculing actual figure.

이혜구 선율론

최헌 한국국악학회 2020 한국음악연구 Vol.68 No.-

이혜구․임미선 공저 한국음악이론은 2005년에 출판된 한국음악의 이론서로 박자와 리듬(장단), 선법 과 선율, 음악형식의 이론을 설명하고 있다. 그러데 책의 서술이 세밀한 논증과정을 생략하고 있어 그 이론을 이해하기 어렵다. 더욱이 국악학계에서 그다지 다루지 않았던 선율론은 저자의 이론이 완성되어 있지 않은 탓으로 그 설명이 더욱 미흡하다. 그래서 본고는 이혜구․임미선 공저 한국음악이론에 서술된 선율론을 해석하고 검토해보고자 한다. 결론적으로 이혜구 선율론은 선율의 구성이 시김새-꾸밈음-음형-선율의 층위로 이루어지고, 시김새 와 꾸밈음은 확대(음 길이의 확대)되어 음형이 되고, 음형이 결합하거나 확대되어 선율이 된다는 구조체계 가 핵심이라 하겠다. 이혜구는 시김새와 꾸밈음의 관계가 확대의 관계라고 하지는 않았고, 시김새와 꾸밈음 이 각각 확대되면 음형이 된다고 하였다. 그러나 필자 생각으로는 시김새가 본음의 변화이고, 꾸밈음이 본음에 다른 음이 부가적으로 더 붙여진 것이라면 시김새와 꾸밈음의 관계도 상하 층위의 관계로 볼 수 있고, 즉 시김새가 확대되면 꾸밈음이 된다고 설명할 수 있다고 본 것이다. 이렇게 시김새-꾸밈음-음형-선율의 발전적 관계의 선율 구조 체계는 마치 진화론적 선율 발전 체계로 선율이 이루어진다고 설명하는 것으로 보인다. 즉 본음이 요성 퇴성 추성 전성의 시김새로 본음의 변화 를 일으키고, 이것이 더 확대 발전되면 다양한 꾸밈음이 된다. 여기서 더 연구가 필요한 것은 시김새의 유형과 꾸밈음의 유형이 확대 발전 관계라는 것의 증명이다. 이어서 꾸밈음이 확대 되면 음형이 되고, 음형이 더 확대 발전되면 선율을 이루게 된다는 것이다. 시김새-꾸밈음-음형-선율의 관계를 그 형태론적인 구성음의 측면에서 설명한다면 각각 시김새-꾸 밈음-간점-원점으로 볼 수 있겠다. 시김새와 꾸밈음은 구성음의 측면에서도 같은 이름이니 더 이상 설명 이 필요 없겠지만, 음형이 간점에, 선율이 원점에 대응된다는 것은 그 명칭이 서로 다르기 때문에 설명이 필요하다. 즉 다른 말로 설명하면, 선율의 진행은 원점으로 표현되고 음형은 원점과 원점을 연결해주는 간점으로 구성된다는 것이다. 이는 또 간점은 음형의 단계를 넘지 않는 범위에서 음악적 선율 활동을 하고, 원점은 선율 단위에서의 음악적 선율 활동을 한다는 것을 의미한다. 이혜구는 시김새-꾸밈음-음형-선 율의 관계와 시김새-꾸밈음-간점-원점의 관계를 밝히지는 않았지만, 덧붙여 설명하자면 그 둘의 관계 를 연결해 본다면 좀더 이혜구 선율론을 이해하기 쉬울 것이다. 어떻든 양자의 관계를 설명하지는 않았지만 선율이 시김새-꾸밈음-간점-원점으로 구성된다는 것은 저자도 설명에 포함하고 있다. 그러나 한국 전 통음악 선율의 역사적 변천과정을 살펴보면 적은 음수의 선율에 간음이 삽입되어 많은 음수의 선율이 되고, 이 선율의 구성음이 시가가 확대되어 짧은 선율이 긴 선율이 되는 것을 볼 수 있다. 따라서 한국 전통음악의 선율 구조가 시김새-장식음-음형-선율형의 단계로 확대되는 것이라기 보다는 원점-간점 -장식음-시김새의 단계로 전개되면서 선율이 구성되어 나간다고 설명하는 것이 타당하다. 전자의 설명은 형태론적인 측면이고 후자의 것은 생성론적 설명의 특징을 갖는다고 이해할 수 있다. 선율의 구성체계는 시작, 중간, 종지로 구분되고, 시작선율은 숙여내는 것, 평으로내는 것, 질러내는 것, 그리고 중간선율은 선율의 형태에 따라 수평형, 하행형, 상행형, 오목형, 볼록형으로 구분되는 것으로 설명하였고, 종지선율의 종류는 한국전통음악에서 그동안 설명되었던 종지의 종류를 정리하였다. 이렇게 보면 이혜구의 선율 종류 분류는 선율의 현상을 정리하고 있다고 하겠다. 이것의 관계성에 대한 연구가 더 필요하다. 즉 역사적인 변천에서 이러한 선율형이 어떻게 형성되었는지, 그리고 저자가 설명하는 하층위 에서, 즉 시김새와 꾸밈음의 어떤 형태가 어떤 음형이 되고, 어떤 음형에서 어떻게 확대되어 어떤 선율형이 되는 것인지에 대한 양자의 관계에 좀더 구체적인 설명이 필요하다. 이상에서 살펴본 이혜구 선율론의 구조를 표로 정리하면 다음과 같다. 이혜구의 음악이론이 종합적으로 정리된 저술 韓國音樂理論(민속원 20051130)의 서술 방식은 악보의 예시를 들어 선율이론의 원리를 설명하는 방식인데, 이 과정에서 이 분석 악보를 설명하는 논증은 자세하게 서술하지 않았다. 여기서 악보를 통해 설명한 각 특징이 한국음악 전체를 대표하나 하는 문제를 제기할 수 있다. 원리를 설명한 악곡 악보의 대표성 논증은 없고, 특정 음악의 예(악보)로 설명하고 있기 때문에 과연 이 설명이 한국음악 전체, 혹은 특정 장르 전체의 규칙으로 인정될 수 있는가에 대해서 검토해 볼 필요가 있게 된다. 이혜구의 논문에서 설명했던 그동안의 방식을 감안하면 이것이 저자가 충분히 대표성을 지니고 있다고 판단하여 이러한 서술을 해왔다고 볼 수 있다. 즉 춘면곡의 한 부분을 설명하고 있으나 이는 그러한 음형 선율형이 한국전통음악 전체를 대변한다고 보고 있는 것으로 판단된다. 그러나 대표성 논증을 제시한 것은 아니기 때문에, 예시악보의 현상과 그에 따른 이론이 전체를 대표할 수 있는 것인지에 대한 증명 과정은 앞으로 연구해서 보충해야 할 필요가 있다고 생각된다. 앞에서 다루지는 않았지만, 이혜구 선율론에서 일관되게 중요하게 적용되는 음악 개념은 반복과 변화, 그리고 속도의 느리고 빠름의 대비다. 이는 음악의 보편적인 원리라 생각되는데, 그동안 이를 언급한 논문 은 없었기 때문에 이혜구의 이에 관한 언급은 매우 중요하다. 또 앞에서 언급하지 않았지만, 이 저술에서 이혜구는 유동음을 인정하고 있어 이전의 그의 태도와는 다른 모습을 보이고 있다는 점이 돋보인다. 확대라는 개념과 음형이라는 선율 개념을 적용하여 선율 구조를 설명한 이 저서는 그 이론을 예시 악보 제시와 분석으로 설명을 대신하고 있는데, 악보의 선율 분석에 그치지 말고, 말로 그 이론을 설명할 필요가 있겠다. 그래야 정리된 이론의 범위와 원리가 분명하게 드러날 것이라 생각된다. 또 이혜구의 한국음악이론 중 선율론은 한국전통음악의 특징을 상당히 고려한 면도 있으나 선율형의 분류 등에서 부분적으로는 형식적 인 기준을 적용하여 분류하여 음악적 특성을 충분히 살리지 못했고, 아울러 선율 유형의 특징이 충분히 설명되지 못했다는 아쉬움이 있다고 하겠다. 그럼에도 불구하고 한국전통음악에 대한 선율론으로 처음 체계 적인 이론을 제시하고 있다는 점에서 이혜구의 선율론은 매우 중요한 의미가 있다고 생각한다. 이혜구의 韓國音樂理論에 설명된 선율론에서 보완할 필요가 있는 것은 첫째로 시김새와 꾸밈음이 확대되어 음형이 된다는 것보다는 시김새가 확대되어 꾸밈음이 된다고 그 층위를 구분하는 것이다. 여기에 서 擴大의 개념은 이혜구가 설명한 時價의 擴大뿐 아니라 音數․音幅의 확장의 개념을 擴大의 개념에 포함시켜야 한다고 본다. 둘째는 이혜구의 설명이 音形을 音群과 동일 층위의 단위로 본 것을 구분하여 이동훈의 음군론처럼 2-3음의 音群과 2-3개의 음군으로 구성되는 音形으로 나누어 복잡한 한국전통음악 의 선율구조를 좀 더 체계적으로 설명할 필요가 있다. 그러나 실제 선율에서 음군과 음형의 분석 및 그 음악적 의미에 대한 것은 좀 더 세밀한 연구가 필요하다. 이혜구 韓國音樂理論의 선율론은 그 설명이나 체계에 있어 아직 완성되지 않았다는 아쉬움은 있으나 한국전통음악의 선율구조를 처음으로 종합적이고 체계적으로 설명하고 정리하려는 시도였다는 점에서 학 술적으로 높이 평가할 수 있다. The Theory of Korean Music, published in 2005 by Lee Hye-ku and Im Mi-seon, is a theory of Korean music, explaining the theory of rhythm, melody, and musical form. However, it is difficult to understand the theory because the book’s description does not explain the detailed reasoning process. Furthermore, the theory of melody, which was not much discussed in the Korean classical music academic community, is even more insufficient because the author’s theory is not complete. Therefore, I have interpreted and examined the melody theory described in “The Theory of Korean Music” written by Lee Hye-ku and Im Mi-seon. In conclusion, Lee Hye-ku’s melodic theory consists of layers of Sigimsae-Ornamental tone-Tone figure-Melodic form, and the structure system in which Sigimsae and Ornamental tone are magnified (extended in length) to tone figure, and the combination or enlarged of tone figure is to a Melody form is the core of the theory. Lee Hye-ku did not say that the relationship between sigimsae and ornamental tone was a relationship of magnification, but that when sigimsae and ornamentation were expanded respectively, they became tone figure. In my opinion, however, if the sigimsae is a change in the main tone and the ornametal tone is added to the original tone, the relationship of the sigimsae and the ornmental tone can be to the upper and lower levels, and when the sigimsae is expanded, it becomes a ornamental tone. If we explain the relationship between sigimsae-ornamental tone-tone figure-melodic form in terms of its morphology, we can see each of them as sigimsae-ornamental tone-tone figuremelodic form. Sigimsae and ornametal tone are the same names in terms of compositional sounds, so it is no longer necessary to explain, but the fact that the pitch is at the intersection tone[間點] and the skeleton melody[原點] is requires explanation because the names are different. In other words, the progression of the melody is represented by the skeleton tone, and the tone figure consists of a point that connects the skeleton tone and the next skeleton tone. This also means that the intersection tone is a musical melodic activity that does not exceed the level of the figure tone melody, and the skeleton tone is a musical melodic activity in its melody unit. Although Lee Hye-ku did not reveal the relationship between the two, it would be easier to understand Lee Hye-ku’s melodic theory if they were to connect the relationship between the two. Although it did not somehow explain the relationship between the two, the author also includes that the melody consists of the sigimsae-ornamental tonetone figure-melodic form. However, if you look at the historical transition process of Korean traditional music melody, you can see that the interstitial consonants are inserted into the melody of a small number, and the composition of this melody is expanded to a long melody. Therefore, it is reasonable to explain that the lyrical structure of traditional Korean music is composed as it develops into the stage of skeleton melody-intersection tone-ornamental tone-sigimsae rather than expanding to the stage of sigimsae-ornamental tone-tone figuremelodic form. It can be understood that the former description is a morphological aspect and the latter has the characteristics of generative explanations. The structure system of the melody is divided into start, middle, and end, and the beginning melody is described as high start, medium heigt start, and low start. The middle figure is decribed as being horizontal, downward, upward, concave, and convex depending on the shape of the melody. The end figure id finalis. In this sense, Lee Hye-ku’s classification of melody types(Figure) is stopping at the point of organizing the phenomenon of melody. More research is needed into its relationship. In other words, a more specific explanation is needed for the relationship between the two sides about how this type of melody was formed in historical selection and which type of melody expanded in the lower layer explained by the author. What needs to be supplemented in the theory of melody described in Lee Hye-ku’s “Korean Music Theory” is to distinguish the level of the Sigimsae and the Ornamental tone and that the Sigimsae is enlarged and embellished to the Ornamental tone rather than expanded to tone figure. Here, the concept of magnification is believed to include the concept of not only the expansion of the time value as described by Lee Hye-ku, but also the expansion of the number of tone and pitch in the concept of enlargement. Second, it is necessary to systematically explain the complex melody structure of Korean traditional music by dividing the tone group(or tone figure) by Lee into tone groups and tone figure like Lee Dong-hoon’s theory. However, the analysis of sound and sound types in real melodies and their musical meanings require more detailed research. This book, which explains the melody structure by applying the concept of magnification and the concept of melody figure, replaces the theory by presenting and analyzing example scores, and it is necessary to explain the theory in words, not just by analyzing the melody of sheet music. Only then will the scope and principles of the organized theory be clearly revealed. In addition, Lee Hye-ku’s theory of Korean music takes into consideration the characteristics of Korean traditional music, but it is regrettable that the musical characteristics were not fully explained by applying formal criteria in the classification of melodies. Nevertheless, I think that Lee Hye-ku’s melodic theory is very important in that he first suggests a systematic theory as a theory of melody for traditional Korean music. Although it is regrettable that Lee Hye-ku’s melodic theory of the Theory of Korean Music is not yet complete in its explanation or system, it is highly regarded academically for its attempts to systematically explain and organize the melody structure of traditional Korean music.

청소년들의 체형에대한 관심과 인식에 관한 조사연구 -밀양시를 중심으로-

류호경 대한지역사회영양학회 1997 대한지역사회영양학회지 Vol.2 No.2

This study was conducted to investigate adolescents' body size and their concerns and perceptions about body image. Group means of heights and weights were 171.5cm and 60.3kg for boys and 159.3cm and 52.3Kg for girls. Body Mass Index(BMI) of the subjects were 20.5 for boys and 20.6 for girls. Only 11.5$\%$ of subjects were overweight or obese, however 42.5% of subjects had experienced weight control, and the main reason for weight control was to lose weight(80.6$\%$). In concern for body image and frequency of eating distrubance ; females had more concern than males, the group who had attempted weight control had more concern than those who had not, and the group who were overweight had more concern than those who were under and normal weight. In perception about body image, using a set of nine figure drawings arranged from very thin to very heavy figures, subjects rated their current figure, considered figure(how they appeared to others), ideal figure, and attractive figure. For boys, the current, ideal, and most attractive figures were almost identical, but for girls, the ideal figure was significantly thinner than current figure and attractive figure was significantly thinner than current figure. The greater the preference for thinner figure as idal and attractive figure, the higher the concern for body image and frequency of eating distrubance. Thus it seems that a distorted perception of ideal body size affects adolescents' concern for body image and eating behaviors.

岩刻畵에 나타난 性形象 그림에 대한 지역비교 - 사람 소재의 그림을 중심으로 -

한국암각화학회 한국암각화학회 2015 한국암각화연구 Vol.19 No.-

아시아 8개국, 아메리카 8개국, 유럽8개국, 중동과 아프리카 9개국등 모두 33개국에 분포한 암각화 중에서 사람이 모티프가 되어 전개한 성신앙의 성형상 그림들만을 가려내 형상별로 그 성격을 정리해 보았다. 그림은“남성상”과 여성상”,“교합상”과“임산상”,“수간상”으로 나누어 보았고 신앙의식 을 가름해 볼 제의그림을 따로 구분해 살펴보았다. 이 그림들은‘수렵과 어로’,‘목축과 농경’의“생업활동”그림과 祈子 등“생식행위”의 그 림 중에서 주로 등장하는데 집단의 번성과 풍요와 안전을 보장받기 위해 생식주술로 의례를 행 했던 제의물이다. 이 같이 그림 제작의 배경에 샤머니즘 사유세계의 의식을 폭넓게 공유하고 있었기 때문에 나 타난 그림 양상에 있어서도 범세계적 지역 간 크게 다르지 않았다. 다만 시기가 지나면서 신앙 의식이 깊게 고도화됨에 따라 그림 형식에도 변화가 왔는데 초기 구상적 실상묘사의 회화성 그 림에서 후기 상징적 추상묘사의 도형그림으로 점차 遷移되어 갔다. 또한 철기 도구를 사용하면 서부터 만기에는 형상축약의 세선 그림이 새겨지기 시작했다. 이런 현상은 여성 그림에서 더욱 두드러졌다. Select only sexual figures on petroglyph developed based upon anthropomorphic figures distributed in 33 countries (8 nations Asia, 8 nations in America, 8 nations in Europe, nine countries in Middle East and Africa), arranged according to its specific characters. As for the figures, divided “male figure”, “female figure”, “coitus figure”, “Pregnancy and Delivery Figure”, “ bestiality figure” and as for the religious figures, describing religious ceremony, divided seperately. These figures appeared mainly in the figures of occupational activities such as hunting and fishing, pasturage and agriculture, and coitus activities praying for their son, and all of these interpreted as religious materials praying for prosperity, abundance and safety for their community. As for the background in creating petroglyph, being having globally in common, shamanic speculative consciousness world, the appearance of the figures presented were not differed greatly according to the regions of the world researched. Only but, passing times, with the religious conception developed profoundly, the style of figures changed, such as depicting figures to symbolic and abstractive figures. And also, from the time of using iron implement, in later time, fine-lined figures engraved. And these phenomena were remarkable for the figures depicing female.