성인 필자의 글쓰기 공동체 연구 - ‘글방’을 중심으로

김지혜 한국작문학회 2022 작문연구 Vol.- No.55

The purpose of this study is to examine the perception of adults’ writing culture and writing through a qualitative analysis of “Geulbang,” a small writing community. Geulbang is a small, non-institutional, and autonomous writing community led by individuals and characterized as a writing group where writing and consensus are shared. This study examined the characteristics of “Eodin Geulbang” and the Geulbangs run by writers produced by Eodin Geulbang through data from literature, articles, and SNS; it examines the characteristics and advantages of a writing community, and the perceptions of adult writing through interviews with the experts who run Geulbang and the participants in Geulbang. Eodin Geulbang is a small writing group run by writer Kim, Hyun-ah, nicknamed “Eodin.” Unlike writing classes in schools or libraries where the curriculum is fixed, Eodin Geulbang is a horizontal writing community where people write freely and exchange criticism. Eodin Geulbang has produced young writers such as Lee, Seul-ah, Lee, Gil-bora, Yang, Da-sol and Ha, Mina who are playing great roles in bringing Geulbang culture into vogue running their group after becoming writers. In addition, it was found that trends in Geulbang culture include the diversification of writing media, a flexible publishing culture that may involve one-person publishers and electronic publications, and serialization methods such as a mailing subscription service. This study investigated the participation experience of the writing community, its operating experience, and the perception of adult writing through interviews with experts such as Kim, Hyun-ah, Yang, Da-sol, and Ha, Mina who run Geulbang. In doing so, the characteristics and goals of running the group, the influence of the media environment on it, and the difficulties in adults’ writing were studied. In addition, the participation experiences of the writing community and perceptions of writing were investigated for four Geulbang members, and through this, the path to participation, the characteristics and advantages of the existing Geulbang, and the difficulties and necessity of writing were investigated. The recent revitalization of the adults’ Geulbang culture has far-reaching implications for the study of adults’ writing education in that it satisfies the needs of adult learners with various characteristics. 본 연구는 소규모 글쓰기 공동체인 ‘글방’에 대한 질적 연구를 통해 성인 글쓰기 문화 및 글쓰기에 대한 인식을 고찰하는 것을 목적으로 한다. 글방은 개인이 주도하여 자치적으로 운영하는 비제도권의 소규모 글쓰기 공동체로서 글쓰기와 합평을 함께하는 글쓰기 모임이라는 특징을 지닌다. 본 연구에서는 문헌 자료와 기사, SNS 등을 통해 ‘어딘글방’과 어딘글방 출신의 작가가 운영하는 글방들의 특징을 살펴보고, 글방을 운영하는 글방 운영자 및 참여자의 인터뷰를 통해 소규모 글쓰기 공동체의 특징과 장점, 성인 글쓰기에 대한 인식을 살펴 보았다. 어딘글방은 ‘어딘’이라는 별명의 김현아 작가가 운영하는 소규모 글쓰기 모임으로 커리큘럼이 정해져 있는 학교, 도서관 등의 글쓰기 수업과는 달리 자유롭게 글을 써오고 서로 합평을 주고받는 수평적인 글쓰기 공동체이다. 어딘글방은 이슬아, 이길보라, 양다솔, 하미나 등의 젊은 작가들을 배출했는데, 이들은 작가가 된 후 자신들의 글방을 운영하며 글방 문화를 유행시키는 데 큰 역할을 하고 있다. 또한, 이러한 글방 문화의 유행에는 글쓰기 매체의 다양화, 1인 출판사, 전자 출판 등 유연해진 출판 문화, 그리고 메일링 구독 서비스와 같은 연재 방식 등이 있음을 알 수 있었다. 본 연구에서는 글방을 운영하고 있는 김현아, 양다솔, 하미나 작가 등의 글방 운영자 인터뷰를 통해 글쓰기 공동체의 참여 경험, 글쓰기 공동체의 운영 경험, 성인 글쓰기에 대한 인식을 조사하였으며, 이를 통해 전문가들이 생각하는 글방 운영의 특징과 목표, 매체 환경이 글방 운영에 끼친 영향, 성인 글쓰기의 어려움을 살펴볼 수 있었다. 또한 글방 참여자 4명을 대상으로 글쓰기 공동체의 참여 경험, 글쓰기에 대한 인식을 조사하였는데, 이를 통해 글방 참여 경로, 기존 글방의 특징 및 장점, 글쓰기에 대한 어려움 및 필요성에 대한 인식을 고찰하였다. 최근 성인 글방 문화의 활성화는 다양한 특성을 지닌 성인 학습자의 요구를 만족시키고 있다는 점에서 성인 작문 교육 연구에 시사하는 바가 크다고 할 수 있다.

이규보 문학에 나타난 생태 정신과 생태 글쓰기

박수밀 ( Park Sumil ) 한서대학교 동양고전연구소 2017 동방학 Vol.37 No.-

본 논문은 이규보(李奎報)의 문학에서 생태 정신을 찾아내고 그의 생태적 사고가 작품에 어떻게 펼쳐지고 있는지를 살핀 것이다. 궁극적으로는 이규보의 문학 기반을 이해하고 나아가 생태 글쓰기의 개념을 보완해가고자 했다. 먼저는 이규보의 문학 사상과 생태 정신이 어떤 측면에서 나타나고 있는지를 살폈다. 이를 바탕으로 이규보의 생태적 사고에 대한 의식의 변화에 초점을 맞추어 그의 작품에 나타난 생태 글쓰기 양상을 셋으로 나누어 살펴보았다. 첫 번째는 이에 대한 이규보의 생태글쓰기 변모 양상을 살펴보았다. 「슬견설」에서 보여준 철학적이고 존재론적인 차원의 글쓰기는 관념론에 머물지 않고 삶의 실천으로 이어지는 생태 글쓰기를 보여주었다. 두 번째는 쥐에 대한 인식의 변화와 성찰의 글쓰기 양상을 살폈다. 그의 작품에는 쥐와 고양이에 관한 경험을 담은 흥미로운 작품들이 있다. 쥐에 대한 일련의 글쓰기와 쥐에 대한 인식의 변화 과정에는, 인간에게 큰 해를 끼치는 쥐조차 놓아주는 작가의 생태적 성찰이 담겨 있었다. 세 번째는, 매미와 거미에 대한 새로운 성찰을 담은 「방선부(放蟬賦)」를 살펴보았다. 「방선부」는 호생지심(好生之心)에 바탕을 두고 우의(寓意)의 방법으로 쓴, 생태적 사고를 드러내는 작품이었다. 이규보의 생태 글쓰기는 오랜 시간의 성찰과 반성을 거치면서 생태적 사유를 심화해간 것이었다. 그는 자연 사물을 도덕의 수단으로 보지 않았다. 사물의 생태(生態) 자체를 존중하면서 대상의 연약함을 따뜻한 연민의 시선으로 바라보았다. 이와 같은 성과를 바탕으로 생태 글쓰기 이론을 발전적으로 탐구해가고자 한다. This study is to find out the ecological spirit in a writer of Korea dynasty, Kyubo Lee’s literature, and to reveal the way of containing this spirit in his works. To this approach, it explores his literatural background and makes up the concept of ecological writing. At the beginning, it shows the aspects of his literatual thought and ecological spirit. There are three aspects in his ecological spirit revealed in his works, in terms of consciousness change in his ecological thought. Firstly, it reveals the change aspect of his ecological writing. He did not stop his writing in a philosophical and ontological idealism in < Seul-Gyon-Seol >, led his writing up to the practical action. Secondly, it is about the consciousness change about rat and the change aspects of his reflection writing. Among his works, there are exciting works of his own experience about rat and cat. His writing about rat and process of thought change contains his ecological consideration. Thirdly, < Bang-Seon-Boo > is a work of new reflection about cicada and spider. This work shows the ecological thought, in an allegorical way, on the basis of the love to living thing - so called “Ho-Seang-Ji-Sim”. The ecological wring of Kyubo Lee’s had been deeply developed along with his long insigt meditation and reflection. At the same time, he did not consider nature things as the instrument of morality. He respected the ecology of things as it is, looked into the weakness of things with warm heart and compassion. The concept of ecological writing shall be continuously put in hard work, and make an advanced fruitful study outcome.

「구토」와 ‘진실 같지 않음’

장근상 ( Keun Sang Jang ) 한국불어불문학회 2016 불어불문학연구 Vol.0 No.107

장 폴 사르트르의 「구토」(1938)는 그 제목부터 우리의 상상력을 자극하지만 끝까지 긴장하며 읽어내기는 힘들다. 일단 형이상학적인 주제와 추상적인 표현은 계속 이해하고 동감하기 어렵고 주인공이 일기를 쓰면서 밝혀낸다고하는 변화도 그 원인을 따라가 보면 점점 난해해지고 그 뿌리가 넓고 깊은데 우리는 놀란다. 쉬운 독서를 허락하지 않는 이러한 ‘장애물’들 중에서 우리 나름대로 일부분을 선택하여 살펴보기로 한다. 목차에서 확인하듯이 그것은 ‘진실 같음’과 ‘진실 같지 않음’, 모험과 이야기, 그리고 관념과 구토 등인데, 이 선택적 연구만으로도 소설 이해에 일조할 수 있기를 기대한다. Cette recherche a pour but de relire La Nausee de J.-P. Sartre d`un point de vue assez vraisemblable. On dit souvent que le roman a une part surnaturelle, c`est bien cela que nous allons aborder mais avec une conception peu familiere, celle de l`invraisemblance. Si l`on peut dire que le vraisemblable, a l`instar de P. Rapin, n`est autre que l`opinion publique, des scenes invraisemblable et surnaturelle dans le roman, telles au cafe et telles a la bibliotheque, peuvent se constituer la part d``imagination chez l`auteur. Ensuite, avec elles s``annoncent a la fois un affaiblissement du monde vraisemblable et une allusion au vrai quelconque. Nous avons divise en deux les scenes invraisemblables; les unes visible et evenementielle restent ‘inoffensives’ aux yeux de Roquentin, telle du galet, telle d`un homme noir et d`une femme blonde; les autres invisible et imaginaire ou ‘quelque chose’ attend d`abord, et, d``un coup, la Nausee surprend cet ‘homme seul’. Mais ces scenes illustratives se manifestent plus vivement et avec plus de fantasmagorie, comme l`entree de Saint Denis dans la salle de Bibliotheque, et comme le viol d`une fille par Roquentin lui-meme. Elles illustrent egalement la Nausee que Sartre definit comme ceci : la nausee est la saisie existentielle de notre facticite. Parmi cette derniere compterait, d`ores et deja, l`etre-la, l`existence elle-meme.

韓國과 中國의 소슬臺工 변화 과정에 관한 硏究 : in terms of function and construction

柳成龍,朱南哲 대한건축학회 2003 대한건축학회논문집 Vol.19 No.11

There are So-seul-Hwa-ban, So-seul-Dae-gong and So-seul-Hap-jang in So-suel-jae and they are similiar to ∧ in shape. The So-seul-Hwa-ban is different from the others in position. The Hap-jang supports the highest purline directly, but the So-seul- Dae-gong doesn't support the highest purline directly. In Korean and Chinese traditional architecture, the So-seul-Dae-gong was used eariler than the So-seul-hap-jang. As time goes by, So-seul-hap-jang was used more than the So-seul-dae-gong in Korea. So there are few buildings using of the So-seul-dae-gong. Therefore in order to have a right understanding of changing process in So-seul-dae-gong in Korea, we must put the Chinese buildings using the So-seul-dae-gong in interregnum in which we don't have the buildings using so-seul-dae-gong. In conclusin, we can find the several facts. ① In Go-gu-ryo dynasty, the So-seul-dae-gong supports the weight of roof alone. ② But in T'ang dynasty, there is a change in constructing the So-seul-dae-gong. For example, Newly appeared Chum-cha(timber toward Dori) and So-seul-jae are adjusted with the shape of the cross. Chum-cha perform the task improving the balance of Dae-gong with connecting the adjacent So-seul-jae. ③ In Liao, Sung and Chin Dynasty, So-seul-jae in Dae-gong change function and construction method. So-seui-jae became a supplementary unit. As the So-seu-jae is changed, newly timber unit appeared. That is So-seul-jae supporter or So-seul-jae fixer (which is 정화말해공 in Chinese) ④In Yuan dynasty and Late Korea dynasty, King post more robust than ealier specimens.

소매틱관점에서의 박금슬 『춤동작』움직임 원리연구

김윤수 무용역사기록학회 2023 무용역사기록학 Vol.68 No.-

The purpose of this paper is to explore the relationship between Bak Geum-seul's "Chumdongjak" movement principles and Somatics. It is also to examine the movement principles of Bak Geum-seul’s "Chumdongjak" in relation to the theory of the Five-Elements: Wood, Fire, Earth, Metal, and Water. Through the embodied experience in Bak Geum-seul's basic dance moves, the results of the study are as follows: First, one of Bak Geum-seul's movement principles is to enable a dancer to recognize and be aware of their body, which is similar to a principle of somatics that focuses on body awareness. Second, Bak Geum-seul's ‘upper body’ movements can be represented as Wood and Fire. Bak Geum-seul’s ‘middle body’ movements can be described as Earth while her ‘lower body’ movements can be symbolized as Metal and Water according to the theory of the Five Elements. The study suggests what happens inside of our bodies can be signaled through emotions. I hope that this study, which emphasizes the importance of expressing internal emotions through dance, may promote a healthy and harmonious lifestyle. 본 논문은 박금슬의 『춤동작』움직임 원리와 소매틱스의 관계성을 탐색하고, 박금슬의 『춤동작』움직임 원리의 바탕을 이루는 오장육부의 움직임을 오행(五行) 중심으로 탐구하는 것에 목적이 있다. 연구 방법은 박금슬 기본동작 체험과 이에 관련된 연구 자료등을 토대로 한 사례연구로 도출한 결과는 다음과 같다. 첫째, 박금슬의 『춤동작』움직임원리는 내 몸을 인지하여 탐구하는 것을 원칙으로 하며 이는 내 몸에 주의를 기울이는소매틱스(Somatics)와 일맥상통한다. 둘째, 목(木)과 화(火)에 해당하는 박금슬 춤사위는박금슬 춤동작 중 ‘상체의 동작’, 토(土)에 해당하는 박금슬 춤사위는 박금슬 춤동작중 ‘중체의 동작’ 그리고 금(金)과 수(水)에 해당하는 박금슬 춤사위는 박금슬 춤동작중 ‘하체의 동작’과 유사하다. 우리 몸에서 일어나는 신호는 감정을 통해 자각되므로, 본 연구가 내적인 감정을 알아차리고 이를 외부로 표출시켜 건강하고 조화로운 삶을 영위하는 계기가 되었으면 한다.

고전문헌에 나타난 거문고의 명칭에 대한 연구

정하운 ( Ha Un Jung ) 우리어문학회 2011 우리어문연구 Vol.40 No.-

Geomungo, a Korean traditional musical instrument, was called baekakjijang (meaning the best musical instrument of all) or as the collective name for string instruments. It was produced in Goguryeo, and Geumdo, the theory and techniques of geomungo, was accomplished in Unified Silla. Classical scholars of Goryeo and Joseon praised its unique aspects as an essential instrument to cultivate their mind. It played various roles for a long time. However, due to its impracticality and difficult playing techniques, its status is falling. The record of geomungo is in Chapter Hyeongeum, ``Akji`` of Samguksagii, and volume 7 of Akhaguebeom has it recorded as Hyeongeumi. Chinese musical ideas about geum in classical literatures represent the musical ideas of geomungo. It tells that Chinese ideas influenced the musical ideas of geomungo players. Considering that the word geum include traditional string instruments and gayageum and that another name for geum was geumungo, it was deducted that significant parts of intangible values of geomungo were introduced from China. In Samguksagi, it was explained to have been created by remodeling chilhyeongeum, but Japanese scholars argue that it originated from wagonghu. Also, scholars of Korea, China and Japan are discussing that wagonghu of Wei and Qin era found in Chinese musical academic circles is the origin of geomungo. Korean scholars consider geum in ancient tomb murals which is assumed to be a similar instrument before the introduction of chilhyeongeum as hyeongeum, but Jananese scholars are disagreeing because they consider it as wagonghu. Even some Korean scholars believe that is is geomungo. Beside geomungo, geum and goto, the Bible has a record of a western string instrument that is interpreted as geomungo. It tells that similar looking string instruments were interpreted or translated as geomungo from the ancient times until the latter era of the Joseon Dynasty, the Japanese Rule Era. Another name for geum or names of musical instruments related with certain players were introdueced with the ideas of geum to replace geomungo in Korean classical literatures. Aesthetic elements and ideas of playing geum were succeeded by geomungo players. It seems that Korean classical scholars selected ``geomungo`` as a collective name for geum, seul, geomungo and other similar instruments and adopted the concept with Chinese musical ideas. Geum was introduced in the 11th year of King Yejong, Goryeo (1116) and was used with seul in music for Confucian ceremonies, and its techniques were stopped at the end of Korean Empire Period. Gayageum and seul are similar in that the right hand and the both hands fingers except that they have different numbers and sizes of strings. However, geum and geomungo have different structures and techniques. Literatures include sentences explaining that materials and parts of geum, seul, geomungo and such are royal foxglove tree and silk strings, of geum are hui and jul and of seul are juhyeon and ju. However, it is hard to find uses of anjok, gwae and suldae which are names of parts of geomungo. Famous geums have contexts of history. Along with dignity and talents of producers and backgrounds and ideas of the period, they symbolizes or metaphorizes contexts of classical literatures to be involved with the ideas of geomungo. Traces of famous geum players left in classical literatures were reborn as geomungo ideas of Korean classical scholars. Musical and literary ideas from surfaces or belows of masters and famous songs of famous geums and words and phrases showing other aesthetic senses were used in Korean classical literature physically or chemically. Joseon scholars considered geomungo as the tool of manners and cultures. Therefore, it can be deducted that they would have possessed one essentially and that there would have been many players. The instruments played by Mulgyeja and Master Baekgyeol seemed to be a traditional string instrument not geomungo or gayageum considering their living periods. Also, geum in the story about Sameumgap recoreded in Samgukyusa is sure a traditional string instrument not geomungo considering the times of introductions of geomungo and gayageum. Because musical ideas of geum, seul and geomungo were mixedly used in such literatures, accurate names of geum, seul and geomungo became confused. Also, because geomungo was used as the collective name for string instruments, western string instruments were interpreted as geomungo, and even traditional string instruments before introductions of geomungo and gayageum are all interpreted as geomungo.

고전문헌에 나타난 거문고의 명칭에 대한 연구

정하운 우리어문학회 2011 우리어문연구 Vol.40 No.-

우리의 전통악기 중 하나인 <거문고>는 <백악지장(百樂之丈)>으로, 또는 현악기의 통칭으로 불리면서 고구려에서 제작, 통일신라의 <금도(琴道)>를 이루었고, 고려와 조선 선비들의 수양을 위한 필수품으로서 독창적인 이면(裏面)에 대해 찬사를 받아가며 오랜 세월 광범위한 영역에서 다양한 역할을 해왔으나, 실용성의 여부와 연주방식의 어려움으로 그 위상이 점점 낮아지고 있다. <거문고(玄琴)>에 대한 기록은 『삼국사기』 「악지」의 <현금(玄琴)>조에 있고, 『악학궤범』의 권지 칠에도 <현금(玄琴)>이라고 기록되어져 있다. 고전문헌 안에서 중국의 <금(琴)>에 대한 음악사상이 <거문고>의 음악사상을 대신하고 있는 걸로 보아 <거문고연주자>의 음악정신에도 영향을 끼쳤다는 점이 확인된다. <금>의 표기가 <재래현악기>와 <가야금>을 포함하고 있는 점과 <금>의 이칭이 <거문고>의 이름으로 사용된 점에서 <거문고>의 무형적 가치 중 상당한 부분이 중국으로부터 유입되었다는 것을 알 수 있다. 『삼국사기』에서는 <칠현금>을 개조하여 만들었다고 했으나, 일본학자들은 <와공후>임을 주장하고 있으며, 중국 음악학계에서 밝혀진 <위진시대 와공후>가 <거문고>의 전신(前身)이라는 해석이 한·중·일 학자들 간에 논의되고 있다. <칠현금>의 전래 전에 유사한 악기로 추정되는 고분벽화의 <금>을 <현금>으로 보는 국내학자와 <와공후>로 보는 일본학자의 의견대립이 있고, <거문고>로 주장하는 국내학자들도 견해의 일치를 이루지 못하고 있다. <거문고(玄琴)>·<금(琴)>·<고토(こと: 琴)> 외에 성경(Bible)에서도<거문고>로 해석된 서양 현악기의 기록이 발견되고 있어, 이미 고대에서부터 구한말 일제강점기에 이르기까지 체형이 비슷한 현악기는 <거문고>로 해석 또는 번역되어진 것으로 보인다. <금>의 이칭이나 특정 연주가와 관련되어있는 악기이름이 <금>의 사상과 함께 수입되어져 우리 고전문헌 안에서 <거문고>를 대신했으며, <금>의 연주에서 비롯된 미학적 요소와 사상들을 <거문고연주가>들은 답습하게 되었고, 우리의 선비들은 <금>·<슬(瑟)>·<거문고> 등을 통칭하는 의미로 <거문고>를 설정하여 중국의 음악사상과 함께 수용한 것으로 판단이 된다. <금>은 고려 예종 11년(1116)때 들어와 <문묘제례악>에 <슬>과 함께 쓰이다가 한말(韓末)에 주법(奏法)이 끊어졌다. <가야금>과 <슬>은 각각 오른손과 양손 손가락으로 뜯는 점, 줄(絃)의 수와 크기만 다를 뿐, 별 차이가 없는데, <금>과 <거문고>는 구조와 <탄주(彈奏)>형태에서 차이가 있다. 문헌의 내용에 <금>·<슬>·<거문고> 등의 재료나 부품은 오동나무·명주실과 <금>의 <휘(徽)>·<줄(絃)>, <슬>의 <주현(朱絃)>·<주(柱)> 등이 있으며, <거문고>의 부품명인 <안족(雁足)>·<괘(棵)>·<술대(匙)>에 대한 표기는 찾아보기가 어렵다. 명금(名琴)들은 고사(故事)의 내용을 갖추고 있어, 제작자의 품격·재능, 당시대의 배경·사상 등을 이면(裏面)에 동반하여 고전문헌상의 내용을 상징과 은유로 견인하면서 <거문고>의 사상에 관여하고 있다. <금>의 명인들이 고전문헌에 남긴 체취는 우리 선비들의 <거문고사상>으로 재탄생하였다. 명금, 금의 명인, 명곡 등의 표면 또는 이면(裏面)으로부터 취한 음악적·문학적 사상과 그 외의 미의식을 내재한 어휘나 문구들은 우리의 고전문헌에 유입되어 물리적 또는 화학적으로 투영되어졌다. <거문고>를 예악과 수양의 도구로 생각했던 ... “Geomungo”, a Korean traditional musical instrument, was called baekakjijang (meaning the best musical instrument of all) or as the collective name for string instruments. It was produced in Goguryeo, and Geumdo, the theory and techniques of geomungo, was accomplished in Unified Silla. Classical scholars of Goryeo and Joseon praised its unique aspects as an essential instrument to cultivate their mind. It played various roles for a long time. However, due to its impracticality and difficult playing techniques, its status is falling. The record of geomungo is in Chapter Hyeongeum, ‘Akji’ of Samguksagii, and volume 7 of Akhaguebeom has it recorded as Hyeongeumi. Chinese musical ideas about geum in classical literatures represent the musical ideas of geomungo. It tells that Chinese ideas influenced the musical ideas of geomungo players. Considering that the word geum include traditional string instruments and gayageum and that another name for geum was geumungo, it was deducted that significant parts of intangible values of geomungo were introduced from China. In Samguksagi, it was explained to have been created by remodeling chilhyeongeum, but Japanese scholars argue that it originated from wagonghu. Also, scholars of Korea, China and Japan are discussing that wagonghu of Wei and Qin era found in Chinese musical academic circles is the origin of geomungo. Korean scholars consider geum in ancient tomb murals which is assumed to be a similar instrument before the introduction of chilhyeongeum as hyeongeum, but Jananese scholars are disagreeing because they consider it as wagonghu. Even some Korean scholars believe that is is geomungo. Beside geomungo, geum and goto, the Bible has a record of a western string instrument that is interpreted as geomungo. It tells that similar looking string instruments were interpreted or translated as geomungo from the ancient times until the latter era of the Joseon Dynasty, the Japanese Rule Era. Another name for geum or names of musical instruments related with certain players were introdueced with the ideas of geum to replace geomungo in Korean classical literatures. Aesthetic elements and ideas of playing geum were succeeded by geomungo players. It seems that Korean classical scholars selected ‘geomungo’ as a collective name for geum, seul, geomungo and other similar instruments and adopted the concept with Chinese musical ideas. Geum was introduced in the 11th year of King Yejong, Goryeo (1116) and was used with seul in music for Confucian ceremonies, and its techniques were stopped at the end of Korean Empire Period. Gayageum and seul are similar in that the right hand and the both hands fingers except that they have different numbers and sizes of strings. However, geum and geomungo have different structures and techniques. Literatures include sentences explaining that materials and parts of geum, seul, geomungo and such are royal foxglove tree and silk strings, of geum are hui and jul and of seul are juhyeon and ju. However, it is hard to find uses of anjok, gwae and suldae which are names of parts of geomungo. Famous geums have contexts of history. Along with dignity and talents of producers and backgrounds and ideas of the period, they symbolizes or metaphorizes contexts of classical literatures to be involved with the ideas of geomungo. Traces of famous geum players left in classical literatures were reborn as geomungo ideas of Korean classical scholars. Musical and literary ideas from surfaces or belows of masters and famous songs of famous geums and words and phrases showing other aesthetic senses were used in Korean classical literature physically or chemically. Joseon scholars considered geomungo as the tool of manners and cultures. Therefore, it can be deducted that they would have possessed one essentially and that there would have been many players. The instruments played by Mulgyeja and Master Baekgyeol seemed to be a traditional string instrument not geomungo or g...

서구의 새로운 인식론의 유기적 사유와 공자의 정명(正名)사상

진형준 ( Chin Hyung Joon ) 한국불어불문학회 2014 불어불문학연구 Vol.0 No.98

Quant a notre livre sur Confucius, intitule l``imaginaire de Confucius, il s’agit de chercher une reponse aux questions : les idees du Confucius, vieilles de 2600 ans, restent-elles encore valables dans nos jours? Contiennent-elles des valeurs futuristes?J’avais tente de chercher cette possibilite dans ‘la Rectification des noms’ et la “Voie cousue d``un seul fil.(一以貫之)”, comparees a la pensee organique de l’epistemologie occidentale. La Rectification des noms de Confucius, peut bien se reduire a ≪ Le souverain doit etre souverain, le pere pere et le fils fils ≫, ou il s’agit bien de la subjectivite. Le vrai sens de ce propos n’est pas oriente vers le role assume par un individu dans un paradigme enferme. Il devrait s’agir d’un individu avec une autonomie ouverte. Il devrait etre ouvert vers la pratique, vers autrui, vers l’ensemble. La doctrine de Confucius, de la “Voie cousue d``un seul fil”, n’est pas celle qui reduit a une seule loi les phenomenes complexes. Il devrait s’agir de celle qui voit au-dela de ces differences, tout en les admettant. Dans cette doctrine, les complexes et les divers admis, les connexions qui les permettent se cherchent. Le fondement des Structures anthropologiques de l``imaginaire (1960) de Gilbert Durand est aussi de trouver les points de rencontre entre les disciplines qui se dechiraient. Pour lui, l’imagination est surtout le lieu de l’entre-savoirs, et le consensus minimal qui permettrait de se raccorder aux etres humains qui menent leur vie de toutes les couleurs. Le fondement de Gilbert Durand, qui a pour but de connecter les heterogenes, rejoint, sur ce point, la doctrine de Confucius de la “Voie cousue d``un seul fil”. Dans l’epistemologie de complexite d’Edgar Morin, par ailleurs, “le tout est plus que la somme des parties”. “La partie est dans le tout, mais le tout est dans la partie.” Dans cette relation, la partie et le tout sont de l’homomorphisme dans la grande unicite. “La partie et le tout” d’Edgar Morin fait le noyau de la doctrine de Confucius de la “Voie cousue d``un seul fil”. L’exergue de la Grande etude, ‘se perfectionner soi-meme, etablir le bon ordre dans la famille, bien gouverner un etat, faire regner la paix dans tout l’empire’ (修身齊家治國平天下), n’est pas pour distinguer et ordonner chaque etape. Il est plutot de mettre sur le meme pied le perfectionnement de soi-meme et le bon gouvernement de l’etat. Enfin “l’homme de bien”, qui rectifie son nom, et celui qui vise a se procurer du regard qui embrasse tout, tous les deux elucides par Confucius, reviennent a celui qui s’applique a acquerir l’autonomie ouverte vers le monde. Cet etre autonome se trouve lie d’une maniere organique a autrui, au monde, et a l’univers. L’epistemologie technologique la plus avancee du 21e siecle ne donne naissance a rien d’autre que celle organique, qui se manifeste dans la philosophie de Confucius: la Rectification des noms et la Voie cousue d``un seul fil. C’est ainsi que nous roulons de nouveau les idees de Confucius aujourd’hui afin de nous deliberer de la prison de notre epistemologie, occidentalisee en quelque mesure, et prendre une nouvelle vision sur le monde.

코로나 시대 비대면 무용교육의 수업모형 개발 및 효과: 박금슬 기본무를 중심으로

유혜진 ( You Hyejin ) 한국예술교육학회 2021 예술교육연구 Vol.19 No.1

Covid-19의 특수상황 속에서 제작된 비대면 수업 모형을 중심으로 진행된 본 연구는 박금슬 기본무를 주제로 기본춤 교육의 중요성을 강조하며, 비대면 한국무용 교육을 위한 플랫폼으로써의 가치를 확립하기 위한 목적에서 출발한다. 실제 온라인 무용 교육 현장에서 개발된 수업 모형을 중심으로 경기도 소재 K 예술 중학교에 재학중인 한국무용 전공 2학년 8명의 학습자를 대상으로 10주 동안 온라인 교육을 진행하였다. 이 후 기초평가를 위한 설문과 심층 인터뷰를 실시하고 그 효과를 살펴보았다. 그 결과 대부분의 학습자는 수업의 품질과 효과 인식에 대해 긍정적이었으며, 연구자가 장점으로 인식한 박금슬 기본무의 특징에 대해 학습자들도 동일하게 장점으로 인식하였다. 비대면 무용 실기교육에서 가장 큰 장점은 반복 학습을 통한 집중 탐구 및 자기 주도 학습이었으며, 즉각적 상호작용이 원활하지 못했던 점을 단점으로 인식하였다. 또한 학습자에게 있어 학업 성취도 및 만족도의 긍정적 요인으로 평가된 항목은 한정된 공간에서의 학습이 가능, 효율적 시간 관리, 반복 학습의 장점, 과제제출 및 연습을 통한 자기 실력 파악 및 실기력 향상, 과제의 피드백을 통한 실기 향상, 자기 주도 학습을 통한 성취감 체득 등이다. 반면 반복 시청이 가능하기에 언제든 할 수 있다는 생각에 다소 게을러지는 성향과 즉각적 질의와 피드백이 어려웠던 점을 부정적 요인으로 인식하였다. 본 연구에 앞서 비대면 무용교육을 위한 수업 모형 개발 당시, 실제 수업 시간 대비 영상 제작을 위한 준비 과정에 많은 시작과 노력을 들여야 하는 점이 가장 큰 부담으로 작용하였다. 그럼에도 특수 상황에 적절히 대응하며 교육의 본질적 가치를 지켜나갈 수 있었던 점이 교수자에게 있어 가장 큰 성취이자 도전이었다. 본 연구가 비대면 한국무용 교육 플랫폼의 기초적 표본으로 가치 있게 활용되길 바란다. This study, which focuses on the non-face-to-face class model produced under the special circumstances of Covid-19, emphasizes the importance of basic dance education under the theme of Park Geum-seul, and aims to establish value as a platform for non-face-to-face Korean dance education. Based on the class model developed at the actual online dance education site, it conducted online education for eight second-year Korean dance majors attending K Art Middle School in Gyeonggi-do for 10 weeks. Since then, surveys and in-depth interviews have been conducted for basic evaluations and their effects have been examined. As a result, most learners were positive about the quality and effect recognition of the class, and learners equally appreciated the features of the Park Geum-seul basic task that researchers recognized as an advantage. The biggest advantage of non-face-to-face dance practical training was intensive exploration and self-directed learning through repetitive learning, and the disadvantage was recognized as the lack of instantaneous interaction. In addition, items evaluated as positive factors of academic achievement and satisfaction for learners include limited space learning, efficient time management, advantages of repetitive learning, identifying self-skill through task submission and practice, improving practical skills through feedback, and achieving self-directed learning. On the other hand, it was perceived as a negative factor that it was rather lazy to think that it could be done at any time because it was possible to watch repeatedly, and that it was difficult to immediately ask questions and feedback. I hope that this study will be used as a basic sample of the non-face-to-face Korean dance education platform.

우슬 분말의 현미조직에 관한 연구

정성욱 ( Jeong Seong Ug ),임덕빈 ( Im Deog Bin ),이영종 ( Lee Yeong Jong ) 대한본초학회 2003 大韓本草學會誌 Vol.18 No.4

N/A Objectives : In Korean and Chinese herbal medicine market, different plants are used as U-seuHAchyranthes and Cyathula Root). The plants used as U-seul(Achyranthes and Cyathula Root) were analyzed and compared according to the factors such as the original plant, where it is from, and when it was collected Methods : For samples, herbs distributed as U-seul(Achyranthes and Cyathula Root) was widely collected from Korean and Chinese markets. The genuineness and quality of the samples were checked and examined. To make the specimen, the samples were grinded, and the powder was mounted by a solution of Glycerin, Acetic acid and Water at the rate of 1 : 1 : 1. The specimen was observed by optic microscope, photographs were taken and the characteristics were sketched in lines. Results : According to the factors such as the original plant, where it is from, and when it was collected, the powders showed the following morphologic characteristics. 1. The morphologic characteristics of Achyrmthes japonim Nakai collected on June, August and October in Korea and Achyranthes bidentuta Blume cultivated in China, are such as the following. 1) The powder is light yellowish brown. 2) The wccd fibers are forming bundles with a diameter of 13-25jm The wall of the fiber is comparatively thin. And the pit which has not yet become wooden forms a V shape. 3) The sabulous crystal of calcium hydroxide is rather few. It is in the immature tissue cell full or scattered. They are in a triangular or arrow shape and it`s diameters are about 7jm1. 4) The vessels are mostly bordered pits and reticulate vessels. It`s diameter in Achyrmthes japonim Nakai is 28-55p, and in Achymnthes bidentata Blume is about 80pm and the wall of the vessels has not become wooden. In some bordered pits, the opening of the groove exceeded the edge. 5 ) The accessory cell is light yellow or yellowish brown. From the surface, it looks like a polygon. 2. The morphologic characteristics of Cyathula oficidis Kuan cultivated in China are such as the following. 1) The powder is grayish brown. 2) The wood fibers are mostly forming bundles, but some are scattered. They mostly form shapes of a long branch or a square pyramid, and some of them splits at one side. The diameter of the wood fiber is 13-49m. The wall of the fiber has not yet become wooden. The opening of the groove of the bordering pit is oblique. Some are single oblique pit. They appear in a + or V shape. 3) The sabulous crystal of calcium hydroxide is rather many in the immature tissue cell. It`s shape is triangular, angular or arrow shape and it`s diameter is about 8㎛. The angular crystal of calcium hydroxide are rather few, which are in a rectangular shape. 4) The vessels are mostly bordered pits with the diameter of 18-1l0㎛. The wall of the vessels has not become wooden. The bordered pits are in a circular or elliptical shape. 5) The accessory cell is light yellow or yellowish brown. From the surface, it looks like a polygon. Conclusion : From microscope investigation, there was no significant morphologic difference in Achymthes japonia Nakai according to the season of collection. The powder of Achyrtmthes japonim Nakai and Achymthes bidentata Blume was also very similar only different in the diameter of the vessels. But the powder of Cyathula &cinalis Kuan showed morphologic difference compared to those of Achyrmthes japonim Nakai and Achyranthes bidentata Blume in point of powder`s color, measurements and shape of sabulous crystal of calcium hydroxide, and largeness of vessel and wood fiber.