직장암 환자에 수반된 Listeria 뇌막염

최병길,서환조 慶熙大學校 醫科大學 1987 慶熙 醫大 論文集 Vol.12 No.1

용접기술의 현황과 전망

최병길,Choe, Byeong-Gil 재료연구소 1996 機械와 材料 Vol.8 No.4

프리다 칼로의 회화에 나타난 부정적 아니무스에 관한 연구

최병길,신혜순 원광대학교 대학원 2008 論文集 Vol.40 No.-

Among the works of artists are those which touch our hearts without any particular reasons. It can be said that Frida Kahlo works belong to them. Why are our hearts touched by her works? It is, perhaps, because our unconsciousness is influenced by some elements inherent in them. What, then, is the unconsciousness? According to Carl Gustav lung, 'the unconsciousness is the depths of our minds that we all possess, but do not yet know of.' Are the unknown depths all understandable? To some extent, our experiences might render them so. Yet it is impossible to explain or to understand every aspect of them. In his studies of the unconsciousness explored by Sigmund Freud, lung maintains that the unconsciousness-that is, a sphere of our minds that we are unconscious of-comes from individuals' life experiences. He also maintains that the individual unconsciousness exists which is connected with each individual's own life, and so do basic and universal elements, in a deeper depth, which every man has, regardless of the differences of culture, race, the spirit of the times, or geographical condition. lung calls the depth consisting of these elements the collective unconsciousness. The individual unconsciousness is what matters to the individual life, whereas the collective unconsciousness is the sum total and accumulation of what mankind have repeatedly experienced throughout their history. Thus, lung thinks that the collective unconsciousness, a potential energy far anterior to the individual life, is bestowed upon human beings at the time when they are brought into the world. The collective unconsciousness is the root of the mind, and is like a seed in which lies the possibility of every creation and destruction. lung names many transcendental conditions with this possibility the archetype. In his observations of people's dreams and fantasies, Jung has discovered a mythical element which is repeated, in the same way, in the dreams and fantasies of people of different races and of various cultural and religious backgrounds. He has found that not only does this element appear in patients' experiences of their diseases-like in their fantasies, delusions or abnormal actions, in healthy people's dreams, and in thoughts of primitive men or children, but also it appears in dogmas or religious manners of higher religions, in the works of poets and artists, and in folk beliefs (Buyoung Lee, 『Analytic psychology』, Seoul Iljogak, 1978/1995, pp. 41-112). When prior conditions for the types of actions, which are all possessed by ancient and modern people as well as Western, Eastern and African people, are observed with the images that we can recognize, we call them archetypal images, which are found in dreams, folktales, myths, religious phenomena, spirits and works of artists, pathological phenomena, and so on. From studying the meaning of the archetypal images, we are able to infer the basic conditions for human actions behind it. It can safely be said that Frida Kahlo has transformed into her works all the things that have confronted her. Probably, in them lie the aspects of the collective unconsciousness including those of the individual unconsciousness. It seems that, as her life suggests, Frida Kahlo, without evading any hardships in her life, has expressed in her works all the things on which she has worked. This study aims at understanding what her works have shown from the viewpoint of analytic psychology.

고유섭(高裕燮)의 미의식 연구

최병길 한국동서철학회 1995 동서철학연구 Vol.12 No.1

GIS에 의한 비오톱지도 제작에 관한 연구

최병길,나영우 仁川大學校出版部 2006 工學技術硏究所論文集 : 인천대학교 Vol.21 No.2

益山 石佛里 佛像 彫刻의 美的 特徵 硏究

崔炳吉 한국종교사학회 1995 韓國宗敎史硏究 Vol.3 No.-

만성중이염 수술 후 고실도의 변화

최병길,이지수,홍성광,이효정,김형종 대한이비인후과학회 2019 대한이비인후과학회지 두경부외과학 Vol.62 No.10

Background and Objectives Pre-operative eustachian tube function (ETF) is an importantfactor for the postoperative success after tympanoplasty, though much debates have been reported. In this study, we investigated the tympanogram changes after tympanoplasty, indirectlychecking up ETF, to find out the relationship between tympanogram changes and associatedfactors of tympanoplasty. Subjects and Method Included in this study were 238 cases of tympanoplasty (canal wallup mastoidectomy with tympanoplasty type I or tympanoplasty type I only) performed by onesurgeon for chronic otitis media from January, 2012 to June, 2017. In all cases, tympanometrictests were undertaken at one month, three month, six month, and one year post-operatively,and pure tone audiometry tests were taken at 1 year, post operatively. Results The average hearing level and air-bone gap were 41.8±19.7 dB, and 17.1±9.3 dB,pre-operatively, and 29.9±21.1 dB, and 6.9±8.5 dB, 1 year post-operatively, respectively. Mostof the cases showed improvement in hearing. The results of tympanometry showed that hearingimprovement was greater for the A type than for the B or C type (p<0.001). The smaller thesize of the tympanic membrane was, the higher, the type A tympanogram appeared to be (p=0.008). Conclusion The estimation of pre-operative ETF using post-operative tympanogram changescan give insight to the degree and process of recovery of the normal middle ear after tympanoplasty

J.J. 빈켈만 美學에서 '寓意'의 槪念

최병길 圓光大學校 社會思想硏究所 1993 社會思想硏究 Vol.3 No.-

미국 현대조각의 형태학 : 인간 자아의 해석적 특성

최병길 범한철학회 2001 汎韓哲學 Vol.23 No.-

스타인버그의 도상해석학에 의한 포스트모던 미술의 특성

최병길 유럽문화예술학회 2013 유럽문화예술학논집 Vol.4 No.2

Leo Steinærg' s art history whose I1'"eth여01맹r was introduCErl from Irwin 뻐nof훤r' S lconology attempted to ini:erpret rnstrrrxiem 많t by COI꽤xmng Renaissance art with m:xiem art. 11 1fO ugh his repr얹entative book, αher Oiteriα(1972) , he n쩡ulated the starting • rnint of rnstmx:lem 따 as ‘O )I nbine 없m마19’ by Roèert Rauschenberg, and de:finErl its charaαer as jlatbed piαure p뼈, g Steinberg prαg최Erl his thmry out of exclusion of Forrrnlistic 많t αiticism to which C뼈nær맹an l\1crl뼈 sm intended. He rejoc뼈 the view of history by Q없따:1"g who 잃w l\hl꺼lÌsm as æing in a continuous stage of developrren t. Steinærg ’ s idea of jlatbed pidure plane was empl꼬s1때 as a pictorial character to shift from J\Ilixlernism to Postrrrxiemism Fm남1얹mre, it l::Jæarre a tool for e빼aining a transfer from vertimliη of 며st 많t to 170바imtality of m:xiem art. As for Greenærg, he suggestE최 Moclemism' s self αiticism as its essence as it intr여uces s리f→αiticism for the co~tenæ of its discipline. He wi패Erl to restore pLOψ 다lIDugh s리f αiticism by 햄때I1g it to mxiem 맹inting. As a I1'"e thod for that pnα::ess, he l::Jæarre to 따J)JIæCh to jlatness as one of n빼um's d퍼rac떠'"S. But, Steinærg rose in revolt ag머nst hypxrisy of this I1'"ethodol맹y, and 따d his at따ltion to 뼈nof빼7’ S I1'"e미여olc횡y as its al뼈13tive. 냥eing that ITDst 때sts from the Renaissance to mxiem tiI1'"eS have c따:entra때 파Dn the concepts of sε~lf-rtier.α1ce and r.ξpresenαíon of M뼈nism, he watchErl the d퍼nge in the p비losophy of world by the 때 sts up to the α않ent by 1멍버ating th얹1 as a Vlπ따windau. He notably regardErl jlatbed pidure p.뼈7R by Rauschenærg as an Ìn1j:XJπant attempt to distinct hαizontal stage of rultw- e from vertical stage of fαure. His αiti,떠1 inteIπ-etation as such i뼈cates that artwork has a natural relationship of anal맹y with humm exj:BÏence, and it mwed to one of 며votal birunγ of decisive Structuralistic an~l명y. As a res내t, he æcaræ to Ii리ect hummistic and [ff æptive vie wp:> int of art, 밟 to possess anti-hummistic 띠e찌lpüint related to heterogen머ty or di펴lSlon And he rerrnrked that Rausch랴1terg ’ spal뼈19 is rela때 tobo단1 따t and life. For m퍼피ng this IJUI1X)Sβ Rausche따~g prcrluα화 많tworks by α)ITiliining with he따Dgenous rm따j려s. And he ac때때 the characteristics of dnnιe and iη7prcJl)í~rn through Cage’s rrusic, and írrproví양irn through Cunnin양1éII11’ s 떠næ. In Stei비::ffg ’ s assertion as such, his 암1sitivity to the 잭J2Ctator’ α::cupied an nnpoπant position In particular, as for the interpretation of Dermíselles d'Avígnα1by H떠SSO, it entailed that the relation양1Ìp ætwæn 얄ro따or and 맹inting in mxlem 많t eventually relies 따X)il a linguistic rætaphor 0\\때g to a dispute ætw않11파n and Barr. It in때es a transition from a narrative or third- [ff son delivl많ing ræfu여 to second- [ffSO n delivering ræth여, which is suggested as a new ræthα::l that painting confronts with the spectator.