西洋服 製作用語에 관한 硏究 : 敎育用語와 現場用語의 現況分析 An Analysis of the Status of Educational Terminologies and the Terminologies Used in Practice

金敬淳 한국의류학회 1986 한국의류학회지 Vol.10 No.3

In order to control the formaldehyde release from D.P. finished fabric, cotton fabric was padded in DMDHEU resin bath containing either Zn(NO,)2 or MgC12 catalyst and a formaldehyde scavenger like Glycerol, Sorbitol, Formamide, Polyvinyl alcohol (PVA, n=2000) or diols, then dried and cured. The results are as follows: 1. When Lewis acid catalyst like Zn(N0_3)_2 or MgCl_2 was added in pad bath, the fabric finished with Zn(N0_3)_2 catalyst released the lower formaldehyde than with MgCl_2. 2. When the effect of pad bath pH was examined with varying the kinds of catalyst and the scavenger, it was found that the pad bath pH influenced on the amount of formaldehyde release and the optimum pad bath pH is at 4.3. Especially, in case of finishing at pad bath pH 4.3 with adding Formamide, the amount of formaldehyde release was decreased by about 45-35% with Zn(N0_)_2, while by about 20∼45% with MgCl_2 catalyst. In case of varying the concentration of a scavenger (Formamide), 1% concentration of a scavenger was found to be the optimum level and the higher the curing temperature up to 180℃, the lesser the amount of formaldehyde release were observed. 3. When the diol was used as scavenger, the amount of formaldehyde release was decreased by about 40-50%, but the longer the intramolecular length between OH groups, the lesser the amount of decrease of formaldehyde release were observed. 4. When the mixture of scavengers (Formamide and Glycerol) was added in the pad bath, .synergistic effect on formaldehyde release between the two scavengers wasn't observed. 5. The tensile strength of the resin finished fabric was reduced with increasing the pad bath pH and was influenced by the kind of scavengers, and the tensile strength was severely reduced when scavengers, especially Formamide, was added. The wrinkle recovery property is generally improved by resin finish on cotton fabric. When Formamide was added, the wrinkle recovery property is slightly decreased compared with that of the fabrics resin finished without a scavenger, and when polyol was added, the wrinkle recovery property showed almost no change.

러시아 대한반도정책의 변화와 전망

김경순 국방부 군사편찬연구소 1998 군사 Vol.- No.37

따돌림 받은 초등아동 대상 통합적 예술심리치료에 대한 현상학적 연구

김경순 한국미술교육학회 2019 美術敎育論叢 Vol.33 No.1

This study was carried out as a phenomenological method by developing integrated art therapy. The subject of study is children who were bullied in elementary school. The results of the study are: the subject is ʻa child's appeal in a bushy puddleʼ, and 3 upper categories and 10 sub-categories were extracted. The top categories are ʻdisconnection of relationshipsʼ, ʻsomatic symptomsʼ, ʻpower of changeʼ. Children who were bullied were severed from disconnection of relationships and had difficulty expressing themselves. Nevertheless, they approached peers in order to become a member of the classmates' group. And they showed duplicate somatic symptoms and showed internalized feelings. These two factors 'destroyed' them. The pivotal moment of crucial change for children was when they recognized the limitations of their present social skills. Factors of change in the bullied children through therapy are desire to change, their resource perception, catharsis experience, disappearance of somatic symptoms and emotion regulation, and interpersonal skills acquisition. This study suggests treatment strategies for children who are bullied. 본 연구는 초등 저학년과 중학년 시기에 따돌림을 받은 아동을 대상으로 통합적예술심리치료를 하고 이를 현상학적 연구 방법을 적용하여 결과를 도출하였다. 연구 결과로 주제 ʻ수풀에 가린 웅덩이에 빠진 아이의 호소ʼ, 상위 범주 3개, 하위범주 10개가 도출되었다. 상위범주는 ʻ관계 단절ʼ, ʻ신체 증상ʼ, ʻ변화의 힘ʼ이다. 관계단절의 경우, 따돌림 피해 아동들은 대인 관계에서 단절을 경험하고, 자기표현에어려움을 가졌다. 그럼에도 불구하고 또래 집단에 소속되고자 또래에 다가가는모습을 보였다. 따돌림 피해 아동들은 각기 다른 따돌림과 관련된 중복된 신체증상과 내면화된 정서들을 보였다. 이 두 요인들은 그들을 ʻ망가지게ʼ하였다. 피해아동들에게 변화의 결정적 순간은 기존의 자신들의 대인 관계 대처 방법에 한계를인식하면서이다. 적용된 프로그램을 통한 변화의 요인은 변화하고자 하는 욕구, 자신의 자원 인식, 정화감 경험, 신체 증상의 소멸과 정서 조절, 그리고 대인 관계기술 습득이다. 연구는 따돌림 피해 아동을 위한 치료적 접근과 전략들을 제안하였다.

추사 김정희의 한글 편지 해독과 의미

김경순 어문연구학회 2013 어문연구 Vol.75 No.-

秋史金正喜(1786~1856)의 한글 편지에 관한 연구는 한글 편지 자료, 문학적, 국어학적, 서예학적 연구는 많은 진척을 이루었으나, 추사의 한글 편지 판독에 관한 연구는 없었다. 이에 본 연구에서『秋史한글 편지』영인본 중에서 오독이 많이 나타나는 제1편·제20편·제31편을 선택하고, 영인본의 판독문에서 발견되는 오독문제를 검토하고, 새로운 판독에 의하여 편지의 내용을 해독하였으며, 편지자료의 활용 방안을 제시하였다. 추사 한글 편지는 부정형의 진흘림 필사체로 연결되어 있고, 다양한 변형의 글씨를 자유자재로 혼서하여 썼으며, 작품이 아닌 관계로 같은 뜻의 글자가 서로 다른 글자로 誤記되어 혼용하였으며, 당시의 한문 투로 글자가 붙여 쓰여 있어, 정확한 판독에 많은 혼란을 일으키고 있다는 것을 확인할 수 있었다. 본 연구에서는『秋史한글 편지』의 영인본 글씨를 판독할 때 일차적으로 시각상으로 판단하고, 애매한 글씨는 문맥으로 판독하였다. 그 결과 오자라고 판정한 41자를 기존 판독문과 비교하여 해독하고,『秋史한글편지』의 영인본과, 필자가 판독한 새로운 판독문을 제시하고, 새로운 해독의 근거를 설명하며, 편지내용을 요약 설명하였다. 그리하여, 기존 판독문을 비교한 결과, 오독으로 인하여 그 내용이 상당히 달라졌다는 것을 알 수 있었다. 한글 편지는 국어학적 측면에서 국어사 연구에 사회언어학적 접근 가능성을 열어 주기도 하며, 언해위주의판본자료를 보완하는 것에 활용될 수 있을 것이다. 편지의사 연속에는 당시의 실생활이 그대로 녹아있어 생활사, 민속사, 사회사 등 여러분야에서 살아있는 자료가 될수 있다. 또한 추사체의 독특한 서체가 한글편지에도 반영되어 있으므로 서예사 자료로도 요긴하며, 한글 서예 교본으로도 활용할 수 있을 것이다. 이와 같이 추사의 한글 편지를 정확히 판독하면 국어학 분야뿐만 아니라 다양한 분야의 기초 연구 자료로 활용될 수 있다. 본 연구에서는 추사 한글 편지 3편만을 판독하였으나, 앞으로 편지 40편을 모두 판독하여, 서간 문학의 기초 자료로 사용되어야 할 것이다. 한글 편지에 대한 오독을 줄이기 위해서는 국문학은 물론 국어학, 한문학, 서예학 등 학제간 교류 연구가 활성화되어야 할 필요가 있으며, 정확한 판독을 위한 추가적인 연구가 이루어져야 할 것이다. Studies on the letters written in Korean by Chusa Jeong-hee Kim(1786~1856) have made advances in collection of data on Korean letters, literary, linguistic and calligraphic findings; however, there have not been a study on deciphering Korean letters of Chusa. This paper examines 1st, 20th, and 31st photoprints of “ Chusa’s Letters in Korean,” those with particularly frequent misinterpretations, and offers new interpretations as well as methods to better utilize the epistolary materials. Chusa’s Korean letters are written in irregular longhand with various types of letterings combined in a free style. As it is not a work of art, characters with the same meaning were confused with characters of different meanings. Moreover, the characters are spaced according to the Chinese character writing style of the time, creating further confusion inhibiting accurate interpretation. This paper first used visual methods and then contextual methods to interpret vague passages of Chusa’s Korean letters. As a result, this paper could interpret the forty-one misspelled characters by comparing them with previous interpretations and presents the photoprints of Chusa’s Korean letters along with the interpreted version. It also provides explanations of the interpretations with evidences as well as summary of the content of the letter. Such efforts led to the conclusion that previous interpretations include many misinterpretations leading to largely inaccurate understanding of the letter. From the perspective of Korean Linguistics, the Korean letters open up a new possibility for sociolinguistic approach within the field of History of Korean language. It can also be used for complementing the original materials with annotations. The content of the letter directly reflects the events of the times which could serve as useful data of social, folk and everyday life history of the respective era. Moreover, Chusa’s unique handwriting style is shown in the letters making it an ideal reference material for history of calligraphy as well as a sample for Korean calligraphy. As mentioned above, accurate interpretation of Chusa’s Korean letters can contribute to various research efforts including the fields of Korean linguistics. This paper limited interpretations to three Korean letters of Chusa but future endeavors will need to include all forty letters to contribute further to Korean epistolary literature. To minimize misinterpretations of Korean epistolary data, multidisciplinary approach including Korean literature, linguistics, Chinese literature, calligraphy, etc. will be necessary. Further research is needed to increase accuracy of the epistolary materials.

작크 샤이에와 음악문헌학

김경순 연세대학교 음악연구소 1996 음악이론포럼 Vol.4 No.-

Situated in the realm of non-European culture, Korean traditional music has often been treated as an autochthonous and particular musical phenomenon while western music has been dubbed "universal". This dichotomy results not only in the inadequate representation our traditional music but also in the inability to forge a desirable pedagogy of music. One possible solution to this problem may lie in the records of the International Congress of Musicolgy of Utrecht in 1952, where the French musicologist Jacques Chailley declared the creation of an original research field named Philology of Music designed to approach musical languages in an entirely new light. While the novel approach is on the verge of earning progressive recognition in the wider musical community, it does open new visitas on the problem of musical language. Jacques Chailley, born in 1910, played an important role in the French musical world of the twentieth century not only as a musicologist but also as a composer, a conductor, a pedagogue, and an administrator. By creating in 1962 the Department (U.E.R) of Musicology at the University of Paris IV-Sorbonne, he ushered in an imprecedented wave of research in the science of music in France. As a musicologist his contribution was exceptionally vast and fruitful. He explored music ranging from the Ancient Greeks to Messiaen and traversed diverse topics, old Chinese musical theories to French folk songs. His 350 works can be classfied under four different categories - philology, history, education and analysis of music. Of these, the category of philological research occupies the place of greatest importance by far in Jacques Chailley's scholastic career. He borrowed the term "philology" from literature, although in fact, he was not the first who applied the term to music. At the end of the nineteenth century, Italian musicologists used the word philology for their studies on the relationship between text and melody. But instead of adhering to the narrow sense of the teminology, Chailley broadened the concept by following the examples of Ferdinand Brunot, linguist and Henri Focillon, an art historian. Their philological methods showed him how seemingly meaningless facts can become a clue not only for understanding the spirt of a society or epoque, but also for finding affinities among dispersed historical and cultural events. Chailley's approach resembles that of philologists of linguistic. Both disciplines do not content themselves with syntactic analysis but make use of what might be termed depth analysis, such as studies of evolutionary process and semantic synthesis. What Chailley attempts is not so much a comparative description of simple musical phenomena as a discovery of universal laws out of evolutionary changes. He lets us understand the fact that artistic and cultural expressions, be they European or Asian, are rooted in the broader linguistic contexts transcending any particular time and space. Realizing the tensions between traditional and modern music, and conscious of the necessity of a universal framework for explaining Western and non-Western music, we hope that Chailley's works will engender fruitful insights for musical creativity and research.

괄루인 렉틴의 특성

김경순,최근호,박종옥 ( Kyungsoon Kim,Gunho Choi Jong Ok Park ) 생화학분자생물학회 1994 BMB Reports Vol.27 No.5

Trichosanthis fructus Lectin (TFL) was partially purified by ammonium sulfate fractionation, heat treatment, DEAF-Sephadex ion exchange chromatography and Sephadex G-200 gel chromatography. The molecular weight of TFL was estimated by gel filtration and SDS-PAGE. The Molecular size of the lectin was determined to be 67,000 dalton, which was composed of two subunits having molecular weights of 34,000 and 35,000 dalton, respectively. The effect of sugars and metal ions on the hemagglutinating activity of lectin was also examined. The hemagglutinating activity of the lectin was inhibited by some sugars (β-Lactose, α-Lactose, D-(+)-Galactose) and metal ions (Hg^(2+), Cu^(2+), Mg^(2+), Ca^(2+), pb^(2+)).

바가바드기타와 인간이 추구해야 할 의식

김경순,박태수 濟州大學校 學生生活硏究所 2004 學生生活硏究 Vol.25 No.-

Modem people are gradually becoming impure and dark souls who are strained and confused because of the richness of materials and the development of information and communication. What is the road that leads to mental balance and harmony or tranquility of their mind from their strain and confusion? The Indian Yoga Bible Bhagavadgita shows a road that leads to enlightenment as humans live faithfully during their life in this world. Bhagavadgita was written around 200 B.C. and mentions Jnana Yoga(road to wisdom), Bhakti Yoga(road to sacrifice), and Karma Yoga(road to performance) and suggests the road of meditation for the three Yogas to be correctly practiced. Jnana Yoga views the cause of human agony as ignorance and tries to discover the true self through acquiring correct knowledge and philosophical thought. Bhakti Yoga views sacrifice to god as performance, and Karma Yoga views the cause of human agony as the result of actions done in the past, vanishing the retribution by completing his given duties. The 'road to wisdom', 'road to sacrifice', and 'road to performance' of Bhagavadgita face the same goal. People have differences in thought, emotion, activity based on their born temper. Therefore, the road to wisdom for people with brilliant rational thought, the road to sacrifice for people with rich emotions, and the road to performance for people with strong activity are considered right. One of them is not the only road. However, each person has all the thought, emotion, and activity only with different strength. So, the three roads to enlightenment should always be walked together. Therefore, the three roads humans should pursue, i.e. the road of wisdom, road of sacrifice, and road of performance, are more effective when they become integrated, not independent. Let's take an example of a person taking a road of performance. His first goal is to perform without clinging to the result of performance. He could walk the road successfully through strict self-control. However, he could reach his destination more surely if he walks the road of performance by using the power of wisdom and asking, "Why do I want to have it? Why do I want the things to be done this way? Will peace come if the things are done as I wishes? Will I be freer if I make it belong to me?" Moreover, if the road of sacrifice like serving the god is added to all the performance, he could reach his goal more surely and quickly. It is Yoga that leads to the road of performance which can help the thought of the life of modern people enjoying the richness of materials but being full of desires because of clinging to materials be wise, sacrificial, and unclinging. Yoga is not a philosophy or religion but a performance as something that should exist and my own efforts to change myself. According to Bhagavadgita, the way for modem people to escape their desires and agony is to catch their desires occumng in their life and get out of them and that is possible only by experiencing directly through performance. Living existences cannot help acting in any way. Only by acting without clinging to its result, he could be free from the chains of performance.

광고의 시각적 의사소통의 원리와 교수법

김경순 한국조형교육학회 2006 造形敎育 Vol.0 No.28

본 연구 논문의 주제는 광고의 시각적 의사소통(Visual Literacy/ Visuelle Kommunikation)의 원리, 주요 개념인 ‘텍스트’와 ‘그림’ 그리고 그 교수법에 관한다. 시각적 의사소통의 영역은 매우 넓기 때문에 본 논문에서는 그 영역을 이차원적 지면광고에 한정하여 다룬다. 그것은 각 영역에 따라 시각적 전달매체가 다른 체계를 가지고 있기 때문이다. 그러나 논문 전체 텍스트에서 시각적 의사소통원리와 텍스트와 그림에 대한 이해는 동영상에서 나오는 텍스트와 이미지에도 상관할 정도로 그 내용들은 일반성을 지닌다. The study dealt with visual communication principles and didactics of advertising. The field of visual communication is very wide. This study focused on two-dimensional advertising because each area of visual communication has different conveying media and systems. The study has three goals. The first goal is to define the principles of visual communication and their basic concepts ‘text’ and ‘image’. This problem is put out: The principles of visual communication are argued with W. Koch’s scheme and these are supported with the neuropsychological theory that the information in text draws the surface of the text, textual meaning and mental model in the brain. The second goal is to deal with the main concepts of visual communication argued with the terminology of ‘text’, ‘image’, ‘icon’ and ‘sign’ in the context of advertising and semiotics, and to bring the problem of didactics for visual communication. The study argues also about the problem of how to approach image and text analysis in advertising by students. The third goal is to take the text and image as a main learning subject and to build the foundation-stone of didactics for visual communication. The study argues and analyses the problems of layout with examples in advertising. The study will make a contribution to win the basic category for education of visual communication. And it will show how to introduce visual communication to schools and to orientate didactic problems with semiotic advertising.

삶의과정에서 본 사랑의 의미

김경순 濟州大學校 學生生活硏究所 1999 學生生活硏究 Vol.20 No.-

The puroose of this study is to correct the wrong awareness about love and to research 1) what is love? 2) the types of love 3) the elements of love ane their relationship, and 4) a sussessful love, so as to understand love correctly. Love is an act to practice with a will for helping mental growth of oneself and otheres, and it's basis is derived from attachment relationship. There are three types of attachment, that is, stable attachment, uneasy and two-pronged emotional at achment, and evading attachment. Meanwhile, the reason why one can't win love is that one seeks s perfect love, so to peak, the most romantic love in the world and the most passionate and harmonious love, in addition to a feeling of uneasiness to refusal. The kinds of love are classifiled by some standards such as 1) classification by commensal oneness, 2) classification by the productivity, 3) classification by give-and-take, 4) Maslw's classification, 5) Lee's classification, and 6) Sternberg's classification. Many scholars have been interested in whether love consists of one-dimensional pattern or multi-dimensional pattern. Sternberg(1988) presented that the elements of love are intimacy, passion, and determination/practice. According to Fromm(1978), the basic element of productive love is identical even though the bject of love is different and the depth and quality of love is different. He stated that the basic elements of love are care, responsibility, respect, and knowledge. Meanwhile, in the relationship of love, Sternberg(1988) presented love triangle as the shape of those three elements of intimacy, passion and determination/practice. This love triangle shows the intensity of love and is considered to be. The balance of love is showed by the shape of love triangle. A regular triangle represents the balanced pattern of those three elements. On the other hand, if those three elements are not balanced, the angle is large in the biggest element. To obtain a successful love, 1) one should know each other's favorite love pattern, 2) one should let the other know what one wants, 3) one should respect each other's love pattern, 4) one should try to change oneself first, and 5) one should expros properly one's request of the other's change.

존 케이지 음악에 있어서 주역(周易)

김경순 한국서양음악학회 2009 서양음악학 Vol.12 No.2

For better understanding of John Cage, we have tried to approach his music with the alternative perspective, away form the conventional western way. We found that there were three philosophical sources which constituted the basis of his music. At first, Cage got inspired from the Indian philosophy and Buddhism that "Art is the imitation of nature in her manner of operation". And then from the Zen practice, he came to realize that the music should be freed from the personal intentions and memories of the composer so that it's proper sounds be produced within the "totality of possibilities". At last he discovered that the I-Ching was the perfect instrument for making the music which he idealized in its divine nature. He perfectly comprehended the principles of the chance operation of I-Ching and applied them to the composition of music; that is, starting from the elements of Yin and Yang representing sounds and silence, to the sophisticated manifestation of hexagram in the form of structural sound events. For better understanding of John Cage, we have tried to approach his music with the alternative perspective, away form the conventional western way. We found that there were three philosophical sources which constituted the basis of his music. At first, Cage got inspired from the Indian philosophy and Buddhism that "Art is the imitation of nature in her manner of operation". And then from the Zen practice, he came to realize that the music should be freed from the personal intentions and memories of the composer so that it's proper sounds be produced within the "totality of possibilities". At last he discovered that the I-Ching was the perfect instrument for making the music which he idealized in its divine nature. He perfectly comprehended the principles of the chance operation of I-Ching and applied them to the composition of music; that is, starting from the elements of Yin and Yang representing sounds and silence, to the sophisticated manifestation of hexagram in the form of structural sound events.