혼성반사 모델을 이용한 영상으로부터의 형상복구 ( Reconstruction of 3-D Structure Based on the Hybrid Reflectance Model )

정은진,이상욱 대한전자공학회 1994 대한전자공학회 워크샵 Vol.1994 No.-

14세기 시에나 시청사(Palazzo Pubblico)의 벽화들: 정치적 이데올로기를 중심으로

정은진 미술사학연구회 2010 美術史學報 Vol.- No.34

This paper explores political ideology in the frescoes in Palazzo Pubblico in Siena. In the introductory part, I discuss how geopolitical conditions, natural resources, and entrepreneur sprit contributes to the prosperity of Sienna. In the second chapter, I consider the various activities of le Noveschi (1287-1355), which include civic pane, a series of public enterprises, territorial expansion, and patronage of art. The third chapter deals with "Maestà" and "Guidoriccio da Fogliano." In particular, I argue that Simone Martini's Maestà gives voice to the solidarity of good politicians and citizens in addition to traditional faith of Virgin Mary. On the other hand, the portrait of Guidoriccio da Fogliano describes in a realistic way contado, which Sienna has just secured. The fourth chapter turns to Ambrogio Lorenzetti's "War and Peace," which is comprised of "Allegory of the Good Government," "Effects of Good Government on the City Life and the Countryside," and "Bad Government and the Effects of Bad Government on the City Life." The main message of these paintings is that justice is the cardinal virtue of political leaders. The frescoes in Palazzo Pubblico as a whole, reveals that Sienna's political ideology in fourteenth century is 'good politics' based on Christianity.

근대적 일상의 탐구와 기록정신 (해제) : 이가환의 『정헌쇄록』해제

정은진 민족문학사학회 2006 민족문학사연구 Vol.31 No.-

관계중심 자아의 관계갈등이 창의성에 미치는 영향

정은진,이수진 한국인사ㆍ조직학회 2012 한국인사ㆍ조직학회 발표논문집 Vol.2012 No.3

The conflict literature, which has been mostly conducted in Western cultures, has assumed that members in a group perceive the similar levels of conflict. In contrast, research on conflict asymmetry-referring to members perceiving different levels of conflict in a group-has just begun. This paper integrates relational self theory in social psychology with conflict research in the organizational literature to predict the conditions under which conflict average versus conflict asymmetry generates positive outcomes at work (i.e., enhanced creativity) in Eastern cultures. Most people in Eastern cultures are the "relational self"-who define themselves by close relationships with others. In this paper, we develop hypotheses and present preliminary findings from an experiment.

‘끼치다’의 어휘사 : 기티다[遺]’와 ‘ᄭᅵ티다[撒]’의 통시적 의미 변화를 중심으로

정은진 국어사학회 2021 국어사연구 Vol.- No.32

동사 ‘끼치다’는 두 개의 동음이의어로 구별되며, 각각 ‘기티다[遺]’와 ‘ᄭᅵ티다[撒]’로부터 기원하여 별개의 의미 변화를 겪었다. “남기다” 의미의 ‘기티다’는 17세기 이후 “남에게 은혜나 피해를 주다”의 의미가 파생되었고, 긍정적인 상황과 부정적인 상황에 모두 쓰이다가 점차 부정적인 의미 운율을 갖게 되었다. “(물을) 뿌리다” 의미의 ‘ᄭᅵ티다’는 20세기 이후 결합 대상이 [액체]에서 [기체], [기운], [감정]으로 확장되었다. 결합 대상 확장 및 의미 변화에 따라 타동사에서 자동사로 문법적 변화가 수반되었다. 또한 ‘찬 기운이 끼쳐 소름이 돋다’로부터 ‘소름이 끼치다’의 구성이 새롭게 등장하였다. The verb kkichida is distinguished as two homonyms: kkichida1, kkichida2. kkichida1 originally meant ‘to give’. After the 17th century, the sense ‘to give’ was specified to ‘to cause sb inconvenience’ or ‘to grant sb a favor’. As kkichida1 get negative semantic parosody, it became to be used mostly in a negative context. kkichida2 originally meant ‘to scatter water at once’, as a transitive verb. After the 20th century, the sense was extended to mean ‘(For a smell, energy, or emotion) to rush in at once’ and became to be used as an intransitive verb. The collocational expression ‘soreum-i kkichida(to get goose flesh)’ can be explained as a sentence structure made by metonomical cognition mechanism.

벨리니家의 화가들 : 15세기 베네치아 회화에 나타난 이국적 특징

정은진 미술사학연구회 2008 美術史學報 Vol.- No.30

The purpose of this study is to find the exotic characteristic of the 15th century Venetian paintings of the Bellini family painters which had the greatest reputation among family studios in Venice and cultivated as many as three representative painters of the Republic- Jacopo Bellini, Gentile Bellini, Giovanni Bellini. In chapter Ⅱ, the history of the Venetian family studios- Bottega- and the position of the Bellini family within it was dealt. For the family studios in Venice, generally the family’s unique style of painting is traditionally carried down, however it is a prominent characteristic of the Bellini family studio that the uniqueness of each individual painter is evident. The commonality of the three painters of the Bellinis is that they were influenced from ‘outside Venice’ on establishing their own unique style of painting. In chapter Ⅲ the exotic taste of the painters of the Bellini family were examined. Jacopo made it clear through the two sketchbooks which showed his diverse taste that the Venetian paintings did not put coloring above the near space organization. During his travels of the East Gentile encountered the Islam culture and he took in their scientific outlook and vividly showed the true picture of those times through his record paintings. Giovanni took interest in the new motives from over the north of the Alps and expressed it through his unique formative arts. The otherness of the Venice did not naturally come into being in their atmosphere, it resulted out of selectively reacting to the new tides from the outside and making it more abundant through fusing it with what existed inside. The painters of the Bellinis had an exquisite talent in developing unique styles of painting by absorbing the new stimuli from around them. The significance of this thesis is bringing out the ‘exotic fertilization’ of the Venetian paintings of the 15th century.

『청대일기』 소재 청대 권상일의 한시와 그 성격

정은진 영남대학교 민족문화연구소 2016 민족문화논총 Vol.62 No.-

This paper did an in-depth analysis of the data related to the Chinese poetry in 『Cheongdae Journal』 by Cheongdae Kwon Sangil. 『Cheongdae Journal』 which Cheongdae had recorded for 57 years is strewn with Literary writings in the form of drafts such as his poetry learning materials, literature review, Chinese poetry, funeral orations, letters, etc. In chapter 2, the paper analyzed the present conditions of his literature review, poetry, and prose in 『Cheongdae Journal』. Cheongdae, a member of Nam party in Yeungnam had stated his esteemed opinion expressing a tone of flexibility, having been interested in the literary works of two writers, Kim Changhyup of Noron and Imjae, an outsider. At the same time, he followed the principle of Onyudonhu(溫柔敦厚) by Yi Hwang, a member of the Nam party in Yeungnam, and showed an attitude of avoiding writing novel literature. When it comes to the present conditions of his poetry and prose, 164 chinese poems with 110 titles and 12 proses are included in 『Cheongdae Journal』. It suggests that the Chinese poems are much greater than the prose in number. As for the creation period, many works were done throughout his twenties until his mid fifties. Among them, only twenty-three Chinese poems and two proses were all included in 『Cheongdae's Collection』, which was published posthumously. That means 121 Chinese poems and 11 proses were omitted in 『Cheongdae's Collection』 but were included in 『Cheongdae Journal』. As part of Cheongdae's valuable literary works, they contained not only his personal monologue but also public records he left while working as a government official. In chapter 3, the paper studied the content and features of the literary works in 『Cheongdae Journal』 focusing on his Chinese poems, classifying them into four areas 'his youth aspirations and academic orientation', 'secret stories , duty as a government official and intellectual’s consciousness for the people’, 'Oryeong(吾嶺) ceremony and sightseeing record' and ‘the imagery of separation and death'. 『Cheongdae Journal』 shows a candid Cheongdae in his youth, who intends to embody respect(敬), justice(義), and as well as a vigorous youth. Wolgwasi(月課詩) was written when he was assigned to Seungmunwon after a successful state examination shows Cheongdae's sensuous poetic talent. In addition, it contains government officials' secret stories(祕話) and the consciousness for the people as a Yeungnam intellectual. Cheongdae as a member of Nam party in Yeungnam also explored the beautiful scenery of Yeungnam including Sangju, Andong, etc. and he expressed its beauty and affection for the Silla Dynasty in a Chinese poem, which reveals that he brought the political posture called 'we Yeongnam(吾嶺)' to his creation of literature. He left a large number of memorial poems(挽詩), which reflect his sense of documentation intending to console the deep sorrow of the people who died of disease and famine and remembering the unknown people. The Cheongdae shown in the literary works of 『Cheongdae Journal』 so far was a man of flexibility and at the same time a man of principle. Though he was excellent in poetry and prose, he was rather interested in the discipline of confucianism. He also tried to establish his own identity as a member of Nam party in Yeungnam and reflect it in his literary works. He was a man with a gentle nature who reflected in depth about humanity and death and could sympathize with pain of others. 본 논문은 청대淸臺 권상일權相一(1679~1759)의 『청대일기』에 수록된 한시 관련 자료를 심층 분석한 것이다. 청대가 57년 동안 기록한 『청대일기』에는 청대의 시 학습 자료 및 문학 논평, 그가 창작했던 한시・제문・ 편지 등 초고 형태의 문학 작품이 산재되어 있다. 이에 2장에서는 『청대일기』 소재 문학 논평 및 시와 산문 현황을 분석하였다. 영남 남인이었던 청대는 문학 논평에 있어 노론의 김창협이나 방외인에 속한 임제의 문학에 관심을 가지거나 고평高評을 하는 등 유연한 자세를 보이면서도, 문학 창작의 기준에 있어서는 영남 남인 이황의 온유돈후溫柔敦厚 원칙을 계승하여 새롭거나 기이한 신기新奇의 문학은 지양하는 면모를 보였다. 시와 산문 현황에 있어서는 『청대일기』에 110여 제목에 걸쳐 164수의 한시가 수록되어 있었고, 산문은 13편이 수록되어 있어 한시가 절대적으로 많았다. 시기는 20대에서 40대, 50대 중반에 지은 작품이 많았는데, 이 중에서 청대 사후 편찬된 『청대집』에 수록된 것은 한시 23수, 산문 2편이 전부였다. 곧 『청대집』에 누락된 한시 121수, 산문 11편은 『청대일기』에만 있는 청대의 소중한 문학작품으로, 청대의 사적 독백은 물론이거니와 그가 관리로 재직하며 남겼던 공적 기록까지 포함되어 있다. 이에 3장에서는 『청대일기』 소재 문학 작품의 내용과 특징을 한시를 중심으로 ‘청년시절 포부와 학적 지향’, ‘관직생활의 비화祕話와 사족士族의 위민爲民의식’, ‘오령吾嶺의식과 탐승探勝 기록’, ‘이별과 죽음의 형상화’라는 네 분야로 나누어 살펴보았다. 곧 『청대일기』에는 혈기 넘치는 청대의 모습부터 경敬과 의義를 실천하고자 하는 청년 청대의 솔직한 면모가 드러나며, 과거 합격이후 승문원에 배속되어 창작한 월과시月課詩는 감각적인 청대의 시적 재능이 표출되어 있었다. 이 외에도 외교문서 작성 및 면신례免新禮 등 관직생활의 비화祕話와 영남 사족으로서의 위민의식이 표출되어 있었다. 또한 청대는 영남 남인으로서 상주 및 안동 등 영남의 승경을 방문하여 한시로 표현한다거나 신라 왕조에 대한 애정을 담아내는 등 ‘우리 영남[吾嶺]’이라는 정치적 입장을 문학창작에 투영시켰다. 아울러 그는 만시挽詩를 남기기도 하였는데, 이는 18세기 전후 질병과 기근 속에 죽음을 맞이해야 했던 인물들의 한을 위로하고 무명의 인물을 기억하고자 하는 청대의 기록의식이 반영된 것이었다. 이상 『청대일기』 소재 한시에서 느껴지는 청대는 유연적이지만 원칙적이고, 관각의 시문에 뛰어났지만 성리학적 수양에 보다 관심을 두었다. 또한 영남 남인이라는 고유의 정체성을 확립하여 문학작품에 투영시키고자 노력했으며, 인간과 죽음에 관해 깊이 성찰하며 고통을 공감할 수 있는 따스함을 지닌 인물이었다.

고려대 육당문고본 『진휘속고(震彙續攷)』 고찰

정은진 한림대학교 태동고전연구소 2017 泰東古典硏究 Vol.39 No.-

This thesis is studies in Jinhuisokgo, which is possessed in Korea University, Yukdangmungo. This book’s compiler is unknown but is seemed to be published roughly in 1850s. Originally these books are consisted of four books(Spring, Summer, Autumn, Winter) but now only article of ‘Summer’ is preserved. In Jinhuisokgo of Yukdangmungo, it loaded doctor, fortune teller, devoted son, low level servant, loyalist, helot, poet, crafty fellow, private slave, artisan, ugly, gormand, lookalike, ghost, violent criminals, theft and those are written by 18 sections and included approximately 750 people’s personal journals. Material information is worth to be valued because it is anticipated that people reorganized Jinhuisokgo to Jinhuisokgo sokpyeon whose journals are minimized to 180. Some journals are very specific or written by only few words based on person’s trait but we can grasp author’s purpose that tried to prevent destruction of journals. When it comes to main character it contains moral standards but at the same time, it includes professionals, villains, and who left vital legacy in one’s major. However, brief number of noblemen are only 60 and rest of them are people of middle or lowest class. Therefore, the author of Jinhuisokgo tried to combine period and status harmoniously but emphasize professional, role, and loyalty in order to exhibit value and identity of them at the same time. This shows after the middle of 19th century, new conscious of mankind’s existence and value are formed which are part of ideology of the Josan Dynasty. On the other hand, content of Jinhuisokgo is not result of author’s own creative writing but gathered information from literatures Awooyadam(『於于野談』), Jibongyouseol(『芝峯類說』), Paegwanjapgi(『稗官雜記』), Seonghosaseol(『星湖僿說』) and Cheongjangguansunsaw(『靑莊館全書』) etc and later adapted. During that procedure, author displayed insight to relocate original and put pressure on showing person’s own characteristic. This can be used to figure out author’s reading/writing capacity and we can anticipate that author’s knowledge of chinese classic is outstanding so he/she can publish adaptation which is ‘Second Creation’. Although author did not directly indicated in Jinhuisokgo(『震彙續攷』), additional references in 38books are found based on current literatures. Couple of them are not known to academia so Jinhuisokgo plays huge role in understanding writing culture of Josan Dynasty. 본 논문은 고려대 육당문고에 소장된 <진휘속고>를 고찰한 것이다. 이 책의 편저자는 미상인데, 1850년 전후 편찬된 것으로 보인다. 원래 춘(春)․하(夏)․추(秋)․동(冬) 4책이었는데, 현재는 ‘하’책 만이 전해진다. 육당문고본 <진휘속고>에는 의원․점쟁이․효자․서리․충신․천인․겸인․공신․시인․간인(奸人)․사노비․공장(工匠)․못난이․대식가․닮은 사람․귀신․흉악무도한 사람․도적 등 18항목에 걸쳐 750여 명의 사적이 실려 있다. 후대 <진휘속고>를 재편한 것으로 보이는 <진벌휘고속편>에는 180여 명으로 줄어든 바, <진휘속고> 소재 인물 정보는 중요한 가치를 지닌다. 인물에 따라 사적이 구체적인 경우도 있고 매우 간략하게 한 줄로 기록된 경우도 있지만, 인멸을 방지하지 위해 노력한 편저자의 의도를 엿볼 수 있다. 등장인물을 보면 선악의 도덕적 가치 기준을 담으면서도 전문 기능인, 악인을 포함한 특이 캐릭터, 특정 분야에서 위업을 남긴 인물을 다루고 있다. 신분 역시 중인층의 여항인뿐만 아니라 사대부․천민까지 아우르고 있다. 하지만 사대부는 60여명이고 나머지는 전부 중하층 인물들이다. 때문에 <진휘속고>의 편저자는 시대나 신분을 통합적으로 기술하되, 조선시대 중하층 인물의 전문성, 역할 내지 특이성, 의리 등을 최대한 풍부히 부각시키고 이들의 가치와 주체성을 드러내고자 하였다. 이는 19세기 중엽 이후 조선 사회에 필요한 인간의 존재와 가치 등에서 새로운 의식관이 형성되고 있음을 반영한다. 하지만 <진휘속고>에서 다룬 내용은 편저자의 독창적 저술이라기보다, <어우야담>․<지봉유설>․<패관잡기>․<성호사설>․<청장관전서> 등 전대 문헌에서 정보를 모으고 개작한 것이 많다. 그 과정에 편저자의 안목을 발휘하여 원본을 재배치하면서도 생동감 있고 인물의 특성이 부각되도록 노력했다. 이는 편저자의 독서능력과 문장솜씨를 파악할 수 있는 것으로, 방대한 문헌을 접하고 개작이라는 제2의 창작을 할 만큼 한문학적 소양이 뛰어난 인물임을 입증한다. 편저자가 <진휘속고>에 직접 참고문헌을 밝힌 책은 총 42책이다. 비록 밝히지는 않았지만 현전하는 문헌에서 확인되는 것도 38책이다. 이 가운데는 학계에 알려지지 않은 서책 정보도 많아, 조선시대 서책문화를 이해하는 데도 <진휘속고>는 유용한 정보를 제공하고 있다.

천국의 풍경: 프라 안젤리코의 <성모대관>

정은진 서양미술사학회 2008 서양미술사학회논문집 Vol.29 No.-

This study is about <The Coronation of the Virgin>, made by Fra Angelico (c.1387-1455), a brother and priest of the Dominicus Monastry. <The Coronation of the Virgin>, in which the Son of God, Christ, or the Father awards the crown to Mary, it takes place at the end of the life of the Virgin Mary and at the same time takes place at the end of the Christian iconographical repertoire, where the Old Testament meets the New Testament. The purpose of this study is to question to theological and realistic significance that <The Coronation of the Virgin> conveys. The introduction deals with the origin of <The Coronation of the Virgin> and the process of development until the 15th century as well as Filioque's controversy and Dante's Divine Comedy which is an important background to <The Coronation of the Virgin>. Chapter Ⅱ deals with <San Edigio Altarpiece>. In <San Edigio Altarpiece> Fra Angelico visualized the motif of scintillation, from Dante's Divine Comedy as a metaphor describing heaven. Chapter Ⅲ analyzes <The Coronation of the Virgin> which is painted in fresco in the San Marco Monastry. Especially, <The Coronation of the Virgin>, which is painted in the room where the priest prays, expresses scintillation, which appeared in <San Edigio Altarpiece> in a new manner, in order to express the mystique of the Blessed Trinity. Dante experiences the mystique of the Blessed Trinity at the highest point of heaven. In other words, he sees mysteries that are difficult to explain and understand in the phenomenal world in heaven. Heaven can be seen as the acme of the space of the soul, but due to its perfection it surpasses the human language. That is, heaven is the very world that cannot be expressed by words, and the mystery of the Trinity. Chapter Ⅳ deals with the Fiesola Altarpiece, which reflects the kingdom of Heaven of the 15 century churches - the dual Heaven that is divided into paradise and heaven. The Fiesola Altarpiece maintains a unified space, while separating paradise, a space for saints and heaven, where the coronation takes place, with stairs as motif. In conclusion, the realistic significance of <The Coronation of the Virgin>, painted by Fra Angelico is not only the finale of Virgin Mary's noble lifetime, but the sight of heaven that the church delivers. 프라 안젤리코의 <성모대관>이 전하는 신학적이고 실재적인 의미가 무엇일까? 라는 질문이 본 연구의 목적이다. 이를 위해 <산 에지디오 제단화>, <산 마르코 프레스코>, <피에졸레 제단화>를 다루었다. 결국 프라 안젤리코가 그린 <성모대관>의 실재적인 의미는 마리아의 숭고한 일생의 대미(大尾)일 뿐 아니라 15세기 교회가 전하는 천국의 풍경이다.

성스러운 유방: 14세기 이탈리아의 "수유하는 마리아(Maria Lactans)"

정은진 미술사와 시각문화학회 2012 미술사와 시각문화 Vol.11 No.-

14세기 이탈리아, 특히 피렌체와 시에 나를 중심으로 한 토스카나 지방에서는 <수유하는 마리아(Maria Lactans)> 이미지가 증가한다. 이 글은 <수유하는 마리아>의 기원, 14세기의 증가원인, 그리고 그 신학적 의미를 다루었다. 연구자가 주목한 것은 해부학적 위치와 거리가 먼 오브제처럼 표현된 마리아의 유방으로, 이는 마리아의 동정 성을 부각시키는 동시에 현실의 여성신체를 초월하는 다양한 메타 포를 지닌 ‘성스러운 유방’이다. This essay discusses the theological meaning of Maria Lactans image and the cause of its increasing production as altarpieces in Tuscany region in the 14th century. The origin of Maria Lactans in Christian Art is traced back to Isis Lactans in Egypt, which symbolized eternal life, and Kourotrophos in Greece, which symbolized motherhood and infant caring. The breast-feeding image of Mary in the early third-century catacomb developed into an icon called Galaktotrophousa in the Byzantine art. Typically represented in the fourteenth-century Italy was the figure of Mary seated on the ground without a throne, thus combining Maria Humility and Maria Lactans. The rapid increasing in this type's production was the result of the contemporary social anxiety caused by plague and famine, and reflected the deficiency of breast feeding and infant caring. The author especially focuses on the specific images of Maria Lactans, in which the breast of Mary was represented as a symbolic fruit and the milk from Maria's breast was interpreted as a gift from God, thus making a metaphor of salvation and divine care. The breastfed Christ Child turned His head to visitors in this type of paintings, and provided an intimate communication with believers. And the body of Christ Child, symbolizing the Host, was often referred to as "holy milk." In this sense, the breast of Mary in Maria Lactans represented the holy breast, which transcended the contemporary negative notion of female body.