데페이즈망 회화기법을 응용한 바디아트 일러스트레이션 -르네 마그리트 작품을 중심으로-

박소정 ( So Jeong Park ),김주경 ( Joo Kyung Kim ) 한국미용학회 2010 한국미용학회지 Vol.16 No.4

Depaysement, which brought new stimulation and change to modern figurative art, is one of the many techniques of surrealism. The purpose of this study was to analyze and apply the characteristics of depaysement based on the visual effects of body expressions shown in the works of Rene Magritte to expand the artistic realm of body art illustration and to develop creative thinking and various techniques of expression. The characteristics of Rene Magritte`s body illustration are about separating certain parts of the body to express isolated worlds, replacing them with foreign objects to create new images, overlapping images to condense the body into one with the background, or creating a paradox by putting another object that cannot coexist with the body in the same canvas with the body. This study used the above results of analysis to discuss and apply the method of depaysement.「Nostalgia」separates a part of the chair that utilizes the body and overlaps it with the background. Then, it combines the hard part of the chair with the body to contrast two foreign objects. It was a preliminary experiment of body art. In 「Androgyny」, which used the artistic techniques of depaysement as the basis to create a valuable artwork, male and female bodies coexist and the parts of the bodies are separated and reconfigured to create a shocking image.「Survival Harmony」brought the foreign objects of nature and machine, which hardly go together, into one canvas. It engenders vagueness and confusion by juxtaposing a new space and improves its value as a work of body art illustration that allows the viewers to experience a new world.

바디 포지티브 문화 이해하기에 대한 자문화기술지

김가영 한국리듬운동학회 2023 한국리듬운동학회지 Vol.16 No.3

This research aimed to understand body-positive culture through the method of autoethnography. The researcher focused on the concept of positive body image and reflected upon and analyzed body-positive culture from their perspective. Additionally, the study aimed to identify and interpret body-positive messages within a cultural context. Ultimately, the research focused on how body-positive culture is being developed in our society. The research questions were, “How did the researcher come to understand body-positive culture?” and “How did the experiences of the researcher lead to a different interpretation of current body culture?” In conclusion, first, the researcher realized that the reflections obtained during the research process ultimately led to a study on positive body image. Second, based on the reflective research brought about by the sexual objectification of female body images, the importance of education about ‘body image’ and establishing a healthy body perspective became evident. Third, while reflecting on oneself within the culture, the researcher contemplated the memories of everyday conversations about bodies, the societal norm of appearance judgments, and why the perspectives of others are significant.

현상학적 몸: 김춘수의 「꽃」과 이청준의 귀향

권택영 ( Kwon Teck-young ) 한국문학이론과 비평학회 2010 한국문학이론과 비평 Vol.48 No.-

Human body had been regarded as the source of evil thereby repressed by the law in male dominated society. At the end of Modernity, however, body, along with other repressed strata such as writing, women, the colored people, and sexuality, began to be arising accompanied with the flowering intellectual movements of Deconstruction, and consecutively the Cultural Studies. Placing the human right of women, race and sexuality in equal position to the established groups, the body plays the crucial role to shift a paradigm. For instance, M. Foucault utilizes Nietzsche's concepts of not only genealogy but Dionysus, the Greek God of body (or pleasure) who is the counterpart of Apollon, a God of law. Foucault rewrites the history of sexuality of the family-oriented modern society in which homosexuality was strategically repressed as evil, while Judith Butler rereads this "materialized body" for the purpose of lesbian movement, so called "Queer." Now in the 21th century, we are revisiting the phenomenology of Heidegger and Maurice Merleau-Ponty who enlarged human body in terms of experience to the extend of things, environment, and Nature. This paper is about phenomenological body in the context of Korean poem and fictions. Chunsoo Kim depicts how body becomes a "Flower" with the name designated by a lover. Since we are born from the earth (or thing) into the world, and eventually return to the earth, we need a meaning and a purpose to live in this world. Hence, we give a name to a body and turn a thing to be the absolute Being, but the veil of language cannot hide the trace of body completely, because body is more powerful than language. There is always a surplus of name as Kim expresses it "Flower" which is still transient, yet eternal. On the other hand, the surplus of body becomes a cause of changing direction from home to the city, and vice versa in Chungjoon Lee's fictions. In his works, a narrator who proceeded to the society gets tired and sick but endures it with a fantasy of home-coming. The body or thing(bird or tree) makes the narrator turn the directions for the circulation of life by going and coming back between home and society just like the cycle of Nature.

심신의학과 마음치유

정혜정(丁惠貞) 원광대학교 원불교사상연구원 2015 원불교사상과 종교문화 Vol.66 No.-

현대인은 심신의 이원화, 자아의 분리화⋅협소화⋅고착화를 강화하면서 살아가는 경향이 있다. 인간이 태어나서 죽을 때까지 하는 일은 자신을 전체로부터 분리하고 자신을 몸과 마음으로 나누며 본성으로부터 소외된 에고적 자아를 자신의 정체성으로 삼아 이에 집착하는 일일 것이다. 아시아 전통의학인 한국의 동의보감이나 인도의 아유르베다에 의하면 우주를 이루는 근원적 요소가 인간의 심신을 이루고 있고, 몸과 우주가 하나로 순환하며, 허심합도에 이르는 인성도야가 행해질 때 심신이 치유되고 본질적 삶이 가능함을 말한다. 아유르베다와 동의보감은 우주와 순환하는 심신의 통로로서 각각 ‘경락과 나디’, ‘담음⋅삼시충과 아마’, ‘삼관과 마르마’라는 개념을 말하여 심신순환의 이치를 구체적으로 설명하고 있다. 본 연구는 이들 심신의학에 나타난 ‘우주의 심신구성과 일체성’을 살펴보아 인간 이해를 돕고, 우주순환의 통(通)과 불통(不通)에 따라 건강과 질병을 이해하는 심신의학의 치유 원리를 탐색하여 몸에서 시작하여 영성에 이르는 심신의학의 마음치유법을 제시하고자 하였다. From birth until to death people would separate the mind from body of oneself, and they would distinguish themselves from the whole presence. It constitute the ego as identity by separating it from the true human-nature. Donguibogam(東醫寶鑑) and Ayurveda are the Asian tradition to heal the human by the integrating the body and mind. They emphasize that the fundamental elements of the universe forms the human mind and body. And the circulation is oneness of body with the universe. Also body-mind medicine emphasizes that it is possible to heal the disease and to realize essential life, when people train their human nature and they reach to the integration with ‘Tao(道)’ and no-mind(無心). Donguibogam(東醫寶鑑) and Ayurveda said that the circulation of the body-mind can make the integration with circulation of the universe. So they have the spiritual aims to realization of “true Self”. Everything is connected to one such as relationship of the trees and the leaves. If we don’t aware that there are different expressions of one presence, we will be more worse and narrowing. Originally the words of healing, whole, holy came from the same root word. In our society the most urgent thing is training of the body-mind, and we must integrate body and mind, into spirituality. As a method of body-mind training, Donguibogam emphasizes the breathing of Togonapsin(吐故納新) and meditation of Jonsabeop(存思法). And Ayurveda emphasizes the nutrition of both of body and mind, meditation, marma therapy, and so forth. From the point of view of body-mind medicine, we need to know the holistic idea and to train ourselves with oneness of body-mind.

몸의 사회학적 연구 현황과 새로운 과제

김남옥 한국이론사회학회 2012 사회와 이론 Vol.21 No.-

This article examines the context in which body became one of the major topic of interest in the discipline of sociology. Also, the achievements and limits of the researches allowed “Sociology of Body” to establish an independent field within a realm of sociology are discussed while exploring the current challenges Sociology of Body is facing and possible tasks at hand. Body has long been excluded in the endeavors of sociological analyses. It was not until 1980s that body rose as the major theme for sociological research. Such rise to in interest in body among sociologists could be explained by the appearance of anti-dualistic ontology and the effects of post-capitalist culture. Previous literatures dealing with body can be grouped into three categories: ‘modern power and body’, ‘post-capitalism and body’, and ‘feminism and body.’ Regardless of which category, all these studies should deem important for it is their challenge to Cartesian myth using social constructionism that brought body back into the center of sociological imagination and made active debates on body possible. Now, it is about time that more in-depth researches on the relationship between body and technological science took place. Since our body has been reduced to information, it not only can be extracted, separated, decoded, reorganized and downloaded but also can access machineries, be strengthened and replaced with capital, currency, commodity and raw materials. This is in line with the very essence of ‘Information Capitalism’, the new face of capitalism feeding off of information itself. Therefore, body in the high-tech age should be viewed through the prism of information paradigm, and a new frame to which such argument can be argued is in order. 본고는 몸이 사회학의 핵심 주제로 부상하게 된 배경과 사회학 내에 ‘몸의 사회학’이라는 독립적인 영역을 구축하는 데 기여한 지금까지의 연구 성과 및 한계를 검토하고, 이후에 수행되어야 할 새로운 과제를 모색해본다. 몸은 오랫동안 사회학적 탐구 영역에서 배제되어오다가 1980년대에 이르러 사회학의 핵심 주제로 부상(浮上)하였다. 그것은 탈(脫)이원론적 존재론의 등장과 후기 자본주의의 문화적 결과에 기인한 것이다. 지금까지 수행되어온 몸에 대한 연구들은 ‘근대 권력과 몸’, ‘후기 자본주의와 몸’, ‘페미니즘과 몸’ 등 세 가지로 범주화할 수 있다. 이들은 데카르트적 신화에 대한 도전과 사회구성주의적 관점을 공통의 전략으로 내세워 유폐되었던 몸을 사회학적 상상력의 구심점으로 호명해냄으로써 몸에 대한 광범위하고 활발한 논의를 이끌어냈다는 점에서 매우 의미 있다. 이제 기술과학과 몸의 관계에 대한 심층적인 연구가 본격화되어야 한다. 오늘날 우리 몸은 추출해내고, 분리하고, 해독하고, 재조직하고, 다운로드하고, 기계와 접속하고, 강화할 수 있으며, 자본 또는 화폐, 상품, 원료로 치환될 수 있는 것으로 간주된다. 이는 우리 몸을 정보로 환원시킨 결과이며, 정보 자체를 원료로 삼는 자본주의의 새로운 얼굴, ‘정보 자본주의’의 본질과 맥을 같이한다. 그러므로 고도 기술 시대의 몸은 정보화 패러다임의 프리즘을 통해 보아야 하며 이를 논증하기 위한 이론 틀을 구축하는 것이 필요하다.

라틴 아메리칸 댄서의 몸 이미지 유형

권세영(SeYoungKwon) 한국체육학회 2015 한국체육학회지 Vol.54 No.5

이 연구의 목적은 라틴 아메리칸 댄서의 몸 이미지 유형을 분류하는데 있다. 이를 위해 질적 연구의 지적 전통 중사례 연구를 실시하였다. 유목적 표집법을 이용하여 프로 댄서 10명을 주된 연구참여자로 선정하였다. 연구 자료는 심층면담, 비 참여관찰, 관련문서 등을 통해 수집되었다. 수집된 자료는 N-Vivo 10 프로그램으로 정리ㆍ분석하였다. 그 결과는 다음과 같다. 첫째, 댄서들의 훈육ㆍ단련된 몸, 규범화된 몸, 자기감시에 놓인 몸을 통해 관리되는 몸 이미지가 도출되었다. 둘째, 댄서들의 투자ㆍ가공된 몸, 나르시시즘적인 몸, 성적 매력을 발산하는 몸을 통해 시선을 사로잡는 몸 이미지가 도출되었다. 셋째, 댄서들의 경쟁 커플을 의식하는 몸, 남성 파트너를 의식하는 몸, 우승을 의식하는 몸을 통해 의식하는 몸 이미지가 도출되었다. 넷째, 파트너와 교감하는 몸, 심사위원에게 인정받는 몸, 관중과 소통하는 몸을 통해 감흥을 자아내는 몸 이미지가 도출되었다. 몸과 몸 이미지의 유형화 결과를 확대ㆍ해석하여 모든댄스나 표현형 예술 스포츠에 적용하는 것은 무리가 있다. 그러나 행위 주체가 지향하는 몸에 대한 인식을 사회ㆍ문화적 맥락 내에서 파악할 수 있는 단초를 제공해 줄 수 있을 것이다. This study described Latin American dancer``s body image type, presented ‘A typology of body use in action’, and focused on the matters of body and action. Five male and five female professional dancers were selected as research participants by purposeful sampling method. The average career of male dancers were 13 years and the females were 10 years. This study was conducted through non-participatory observation. Furthermore, this study collected through in-depth interview and materials associated with the study``s theme. All data was organized and analyzed by N-Vivo 10. Triangulation, peer debriefing, self-reflection, thick description, and members check were used for authenticity of the study. First, Latin American dancers performed the Managed body image through the viewpoints of Disciplined and trained body, Standardized body and Self-monitoring body. Secondly, the Eye-catching body image through the viewpoints of Invested and processed body, Narcissistic body and Sexually charming body. Thirdly, the Conscious body image through the viewpoints of Conscious body to rival team, Conscious body to male partner and Conscious body to victory. Fourth, the Inspiring body image through the viewpoints of Communed body with partner, Recognized body from judge and Communicative body with spectators. It is a typological approach, the body and body image interpreted to apply to all kinds of dance and other expressive and communicative activities are limited. However, awareness of the body will be able to provide a clue to identify in the socio-cultural context.

3차원 데이터를 활용하여 시니어를 대상으로 한 바디쉐이퍼의 보정기능성 평가

김소영,홍경희,이희란 한국의류산업학회 2019 한국의류산업학회지 Vol.20 No.2

The Fourth Industrial Revolution has increased studies on observing the cross section by overlapping the clothing worn using 3D human body data. However, there is a lack of studies on the effect of pressure clothing that contracts the shape of the human body. Therefore, this study objectively evaluated the shaping functionality of body shapers using 3D scan and 3D data. Two types of commercial body shapers were selected for this study. The nude body and body wearing body shapers were then scanned. A 3D program evaluated the shaping functionality by overlapping the nude state with the body wearing body shaper A and B respectively. As a result, it was found that the effect of body shapers could be adequately observed according to body parts. The smaller body shaper was shown to have superior shaping capability with the abdomen more affected. Analysis of the horizontal cross section indicated that the waist circumference decreased by 6 cm when wearing body shaper A and decreased by 12cm when wearing body shaper B. The volume of the waist part decreased by 8.6% when wearing body shaper A and by 20.4% when wearing body shaper B. Therefore, it is more effective to compare the objective shaping functionality by body parts using the overlapped 3D scanned data rather than using exterior evaluation or length measurement when wearing clothing that contracts the body shape.

바디 페인팅의 독립 장르 제기를 위한 연구

최민령 ( Min Lyoung Choi ) 한국미용학회 2008 한국미용학회지 Vol.14 No.2

This study aims to bring into question the awareness on the ``body painting`` in the existing literature that it has only to be put to use secondary and auxiliary to the othter field of art without finding its place as an independent genre of art. The existing approaches to the body painting has been dominated by the angles focused on the ``performance`` and the ``body art``. The performance-focused approach, in which body painting serves simply as a make-up for the performer, one of the elements of performance to help it communicate effectively its meaning and come to perfection, might be in itself lacking in the attention to the placement of the body painting as a new genre of art. In the body art-focused approach, the body art, although closely similar to the body painting in employing the human body as the vehicle of expression, is quite different from the body painting in that a body-artist ``acts`` by his/her own body while a body-painter ``expresses`` himself/herself by other`s body i.e. a model`` body, and in that it, coupled with the technology, even transforms the human body into the cyborg; it thus appears that the body art is not to provide the arguments for the placement of the body painting as a new genre of art.

하곡(霞谷) 정제두(鄭齊斗)의 내관적(內觀的) 신체관과 그 의의

정진욱 한국철학사연구회 2022 한국 철학논집 Vol.- No.72

There are two ways to examine our body: an external way to observe the outer appearance and an introspective way to feel inside. In particular, in the body that is internally reflected, we abstract things such as emotions and thoughts and calls it the mind. The thought of Hagok Jeong Je-doo, a scholar of the doctrines of Wang Yangming in the Joseon Dynasty, is characterized by introspective thinking of the body in relation to the mind. Therefore, his view of the body can be established from an introspective perspective. From an introspective perspective, the body and mind are consciously appeared. Hagok's theory of Li[理] and Qi[氣] was established on the basis of appearing with the mind, and emphasizes thinking that Li and Qi are not seperated. He sees the whole being conscious as Qi, and also calls the part of it that is qualitative and fully appears Qi, and calls the part of it that is essential and communicates with the divine things Li. If this theory of Li and Qi is applied to the body, the ‘qi of the shape[形氣]’ is a life as the whole qi. Such life has the essence of life and the basis of life, and they corresponds to Li and Qi, respectively. In the body, the ‘qi of blood[血氣]’ and the ‘quality of shape[形質]’ that are full and qualitative are in an integral relationship with ‘living Li[生理]’. According to Hagok, the mind as ‘Yang-ji[良知]’ is revealed and expanded in the body and practiced at an object world on the communication of the senses in the body. He is saying that although the body has ‘selfish li[自私之理]’, it is possible to develop the ‘great qi of spirit[浩然之氣]’ and achieve a honorable body by judging the truth and cultivating morally while following the dynamic living Li. In Hagok's introspective view of the body, he not only sees the body as having an inner essence, not just an outward appearance, but also explains the doctrines of Wang Yangming at the body level. 우리가 신체를 살피는 방법은 외형을 관찰하는 외관적 방법과 내적으로 느끼는 내관적 방법이 있다. 특히 내적으로 반성되는 신체에서 감정이나 사유와 같은 것들을 추상해 내어 마음이라고 부른다. 조선시대의 양명학자인 하곡 정제두의 사상에는 신체를 마음과의 관계에서 내관적으로 사유하는 특징이 있다. 따라서 그의 신체관을 내관적 시선에서 정립해 볼 수 있다. 내관적 시선에서 몸과 마음은 의식적으로 현상된 것이다. 하곡의 리기론은 마음으로 현상하는 것을 바탕으로 성립되었으며, 리기불리(理氣不離)적 사유를 강조한다. 그는 의식하는 전체를 기로 보면서, 다시 그 가운데 충실하게 현상하는 질적인 것과 영통하는 본질로서 신적인 것을 구분하여 기와 리로 부르고 있으며, 인간의 마음에 있는 생리가 물리를 통섭하여 전체적인 주체가 된다고 보았다. 하곡의 리기론을 신체에 적용시킨다면 신체의 형기는 전체적인 기로서 하나의 생명이며, 이러한 생명은 생명의 본체와 생명의 바탕이 있어서 각각 리와 기에 대응된다. 신체에 있어서 혈기와 형질은 충실하고 질적인 것이라면, 생리는 영통하는 신적인 것이며, 이들은 일체적인 관계에 있다. 하곡은 신체에 있어서 감각의 소통을 바탕으로 마음이 양지로서 드러나고 확충되어 대상세계로 실천된다고 하였다. 그는 신체가 ‘스스로를 이롭게 하는 리[自私之理]’를 갖지만, 생동하는 생리를 따르는 가운데 진리를 판단하여 도덕적으로 수양해 나감으로써 호연지기를 기르고 호연한 본체를 이룰 수 있다고 말하고 있다. 하곡의 내관적 신체관은 신체를 단지 외형이나 바탕으로 보는 것이 아니라 내적인 본질을 지닌 것으로 봄으로써 양명학의 학설을 신체 차원에서 설명하고, 천지만물이 모두 내적인 본질에서 하나로 통하여 있다는 것을 깨달을 수 있음을 보여주는 의의가 있다.

몸 기반 문화예술교육의 의미

오레지나 한국무용교육학회 2020 韓國舞踊敎育學會誌 Vol.31 No.3

The Body-based Arts and Culture Education is a newly formed concept that is not in the existing categorization or classification of the arts but in the recognition of body as a common medium of the artistic forms such as Music, Dance, Theatre, and Cinema. That is an effort to find an essential element in the artistic forms and to connect each art with human body. The body is where life-ness begins. It is the reality of the mind that reflects our culture. Body, therefore, is important in Arts and Culture Education that tries to understand and create Life on a new dimension. The system of Body-based Arts and Culture Education shows a borderless integration and cycle of Body-Movement-Life. It pursues connecting Ecosystem- Life-Recovery Activities through Arts and Culture Education. Such a form of education has the qualities that are body-centered, practice-centered, life-centered, and relationship-centered. Also, it shows communications based on movements harmonious to the ecosystem. The first step of Body-based Arts and Culture Education is “body-design” as the creative ways of connecting body, movement, and life is the most important in its goal. Body-design attempts to form a continuation of a good repeating practice of order, which is harmonious to the ecosystem, in a body after the stages to diagnose problems in the body and mind and build a problem-solving plan. This bodydesign is totally based on the point of view that is harmonious to the ecosystem, and its continuation is acquired through repetition of simplicity and shinmyeong (spiritual pleasure). Body-based Arts and Culture Education is an effort to rebuilding Body-ness, that is, Life harmonious with Nature. Body-based Arts and Culture Education is an aesthetic practice to rebuild life through accomplishing creative rhythm in our daily lives.