수대 장안,낙양지역 불교조각 연구

양은경 ( Eun Kyong Yang ) 한국불교미술사학회 2002 강좌미술사 Vol.18 No.-

The style of Buddhist sculptures in Ch`ang-An and Lo-Yang regions during Shi Dynasty basically took over the characteristics of the Northern C`hi and the Northern Zhou Dynasty and had the regional characteristics as well. Furthermore, the style the sculptures of Ch`ang-An and Lo-Yang regions was combined and mixed with east and west regions and south and north regions due to the nation wide unification during Sui Dynasty. Especially, the style of the Northern Chi brought influences in east, west and other places with Ch`ang-An, capital city. For instance, Buddha garments, such as Y-shaped patterning robe, thick layered robe, the robes covering the pedestal, knotted upper garment, U-shaped pattering cloth, mudra holding clear vase or willow branches on each hand. However, the style of buddhist sculptures during Dynasty was unified and continued to Early T`ang Dynasty. The coverig mode from the nothern C`hi, taking over the style of the northern C`hi capital Yeh had been spreaded in the center of Lo-Yang, another capital during late Sui dynasty and it inflenced to not only Lo-Yang area, Ch`ang-An area Briefly, Buddhism was combined with east and south area from the center of Ch`ang-An and Lo-Yang and the style of Buddhist sculpture from Ch`ang-An area had influence to other areas. Nationwide archeological and political unification led the style of Buddhist sculptures to the unified on during Sui Dynasty. moreover, movement of ministers and monks through all regions during Sui Dynasty helped the unification more naturally happen both capitals It is clear that the style of Buddhist sculpture in Northern C`hi, the North and South Dynasty was different, even though they influenced each other during late the North and South Dynasty. But it started to become on unified style from Ch`ang-An and Lo-Yang during Sui Dynasty with the unification and this unified style continuously influenced to the next Dynasty, T`ang. This fact is the biggest significance of Suk Dynasty to Buddhist sculpture. However, there`s still regional characteristics remained in spite of the unification. there are lots of differences in materials for sculptures as well. there were lots of S´akyamuni Buddha discovered in Ch`ang-an, where as there were many Amitabha Buddha and Maitreya in Lo-Yang The Buddhist sculpture in Ch`ang-An and Lo-Yang influenced each other and got development with buddhism and it continued T`ang dynasty There are relations with Ch`ang-An style and Lo-Yang style which has Lung-mun caves in Ze Tian Wu Hou the years of reign and the style of Buddha from Ch`ang-An and Lo-Yang regions gave influences to nationwide area. Therefore, understanding the characteristics of Buddhist sculpture during Sui Dynasty is important that it offers the fundamental information for studying more about T`ang Dynasty

수대 돈황 막고굴과 장안·낙양 : 통일 그리고 Silk Road Dream

양은경 ( Yang Eun Gyeng ) 중앙아시아학회 2020 中央아시아硏究 Vol.25 No.2

This study explores East-West cultural interactions during the Sui dynasty by examining the structures and murals of the Dunhuang Mogao Caves, also known as the Thousand Buddha Grottos, which so far have received less attention than their importance merits. It focuses on the relationship between Dunhuang and the Changan and Luoyang regions, rather than on the interactive relationship between Dunhuang and the countries to the west of China hitherto emphasized by academic circles. Furthermore, it examines the important role that Dunhuang played during the Sui dynasty and the impact of the revival and subsequent frustration of Sui Emperor Yang's pipedream Silk Road initiative on the Dunhuang Mogao Caves. First of all, in terms of the grottos' structure, the central-pillar grottos, which were prevalent in the Northern and Southern dynasties, continued into the Sui dynasty, but there was a change in both the shape and height of the central pillar and in the Buddha statue enshrined in the central pillar. The overall structure has been confirmed as forming a set relationship with the three-wall structure, each wall having a niche. Investigation of the Mogao Caves has identified not only the popular but short-lived three-wall structure with niches characteristic of the Sui dynasty, but also a cave structure with an altar set into the front wall (正壁設壇窟), which was only built during the reign of Emperor Yang of Sui, and a cave structure with three walls, each with an altar (三壁設壇窟). These grotto structures have all been found to share similarities with those in the regions of Hebei, Henan, and Shanxi, which date from the Northern and Southern dynasties to the Sui dynasty. In addition to the different grotto structure, the Sui Mogao Caves contained fewer of the murals of the Buddha's Life Story and the Buddha's Previous Birth Story popular during the Wei-Jin and Northern and Southern dynasties, and instead featured a new style of mural, “Paintings of Sutras”. First, the Murals of the Vimalakirti Sutra in the Sui Mogao Caves depict statues of Vimalakirti and Manjusri sitting inside house-shaped buildings. In fact, this layout differs from that of the Mogao Caves in the Northern and Southern dynasties, and rather seems to be connected with the sculptures inside the grottos, represented by the Liushi Cave of the Longmen Grottos, in the Henan region. A close examination of the painting of the Amitabha Buddha's Pure Land in the Sui Mogao Caves, with the focus on the canvas structure expressing the Western Paradise World and the posture of the Amitabha Triad, revealed many similarities with those of the Nan Xiangtangshan Caves in Northern Qi. The newly discovered details of the structure and murals of the Sui Mogao Caves are different from those of their counterparts in Central Asia, which were strongly reflected in the Dunhuang grottos in the Wei-Jin and Northern and Southern dynasties, and are closely connected with the grottos in the Changan and Luoyang regions of Eastern China in particular. This suggests that, during the Sui dynasty, there was a close interaction between the Dunhuang region and the Changan and Luoyang regions. Among such interactions, human interactions are deemed the most important. First, as regards the movement of people, the examination of history books and cemetery names has made it possible to identify political officials who were appointed to the Dunhuang area from inland China. Second, when the Stupa to Emperor Wen of Sui was erected in 601, it is noted that the monk Jiui, who stayed in the Mogao Caves Jisang monastery-Sunggyo Temple for several years after being sent there, was identified as a monk of Northern Qi lineage. Furthermore, analysis of the Buddhist scriptures discovered in Dunhuang revealed that the monks who lived in Changan moved to the Dunhuang area, suggesting the spread of the Buddhist culture of the Changan and Luoyang regions. Lastly, Emperor Yang's Silk Road initiative was presented as the reason for and background to the massive change that occurred once again in the Mogao Caves during the reign of Emperor Yang of Sui. Emperor Yang sent Baegu to Dunhuang on a diplomatic mission with various western countries, and he himself traveled to the Hexi region in 607. This fact is presumed to constitute the background to the major changes that occurred in Dunhuang, a key center of East-West exchange at that time, and in the Mogao Caves. However, Emperor Yang's Silk Road initiative lost its force with the fall of the dynasty, and, as a result, it is presumed that the excavation of Mogao Caves and new elements also lost the light of their glory.

초등학교 4 학년 음악 수업의 PBL ( Problem - Based Learning ) 적용

양은실(Eun Shil Yang) 한국음악교육학회 2002 음악교육연구 Vol.22 No.-

The purpose of this study aimed to design a music program which helps a learner to develop his or her musical problem solving ability and musical creativity and to investigate the possibility of a PBL based music class by applying the program into class. For the purpose of the study, PBL applied music program was developed and introduced to 44 fourth graders in an elementary school. The program focused on the following factors; a learner`s acquisition of learning contents about music, his or her experiencers as a self-directed learner and as a cooperative learner through group-based classes, the relations between the problems involved in the actual features of music and the learners interest and concern for learning, and a teacher`s role to lead the PBL based music class. The process of data analysis took through the students` satisfaction in class, self- and mutual assessment, observation, interviewing, and self-reflection journals. The conclusions were as follows: First, there found some changes in musical understanding, musical activities, and musical attitudes of a learner. The learners were observed to effectively solve problems by increasingly using musical terms and developing their musical ability. Second, the students learned in a self-directed way by, for example, selecting an assignment that fit their own musical ability, aptitude, need, and interest. As the result, they got to actively participate in classes, appear as an active learner, and improve their self-directed learning ability. Third, the learners could accomplish the cognitive awareness of music and the definitional learning purposes by responsibly taking part in learning as a cooperative learner solving problems in collaboration with other students. Fourth, the students participated in the problem solving process concerning music with interest and active attitude, which proves that a PBL based music class does have influence on students` musical responses and their interest in music. Fifth, the teacher turned out to act as a guide and adviser from the beginning to the closing of the class, leading the PBL based music class. Sixth, a new possibility of music education was sugjlgested at the result of the application of PBL in music class.

가야 연화문과 가야 불교

양은경(Eun Gyeng Yang) 부산고고학회 2017 고고광장 Vol.- No.21

This article begins by asking the question whether Buddhism existed in the Kingdom of Gaya. I traced Gaya’s brand of Buddhism based on real materials, i.e. lotus flower patterns, rather than engaging in research focusing on existing literature. I compared the lotus flower patterns of China with those of the Three Kingdoms on the Korean Peninsula (Silla, Baekje, and Koguryeo), using historic sites and relics of Gaya associated with them as basic materials. Although few lotus flower patterns of Gaya remain today, they display a wide range of shapes, and there are many whose periods have not yet been identified. Thus, I engaged in the work of estimating the period of the remaining patterns and how they changed over time by classifying them into types. Thus, the remaining lotus flower patterns of Gaya were divided into six types. As regards their shapes, there are single, double, and triple petals, with pointed petals outnumbering round-shaped ones. About half of them display decorative petal lines/angles or ovaries, while the other half do not. I traced the periods of lotus flower patterns of Gaya by using information on the sites from which they were unearthed and a method based on classification of their types. Thus, No. M3 Tomb in Okjeon, Hapcheon and No. 8 Tomb in Dohang-ri, Haman are said to date back to the late fifth century; No.2 Kiln in Songrim-ri, Goryeong and the one in 158-2 Goa-ri, Goryeong to the early sixth century; and the tomb with murals in Goa-dong to the mid-sixth century. As for the lotus petals, single/plural petals were prevalent in the late fifth century and double petals in the sixth century. Pointed petals were in fashion in all the periods. However, I could not confirm the connection between decorative lines/angles pips and the periods. As it was impossible to determine the periods of the lotus flower patterns made on convex roof-end tiles, they were estimated by comparing them with the concave roof-end tiles unearthed together with them and examining their production techniques. The lotus flower patterns made on the convex roof-end tiles collected from the sites of Dae Gaya royal palaces were estimated to date back to the period preceding the fall of the kingdom in the sixth century based on the shape of decorative lines on the single petals, the way convex roof-end tiles were joined to their concave counterparts, and the way concave roof-end tiles were made. Some of the lotus flower patterns made on the convex roof-end tiles unearthed from Jisan-ri, Goryeong display similarities with those on the original roof tiles of Heungryunsa Temple in terms of the patterns themselves and the production techniques. Thus, they were also estimated to date back to the period preceding the fall of Dae Gaya in the sixth century. I surmise that the lotus flower patterns found in East Asia are associated with Buddhism, and also that the lotus flower patterns made in China from the late fifth to the mid-sixth century and those of the Three Kingdoms on the Korean Peninsula - when the lotus flower patterns of Gaya were made - are directly linked to Buddhism. This article also looks at how lotus flower patterns developed in order to ascertain the interrelationships between the lotus flower patterns of Gaya and Buddhism, and whether Buddhism existed in Gaya, with the help of the relevant literature. The lotus flower patterns of Gaya are thought to have been associated with Goguryeo and the Southern Dynasties of China in the late fifth century and with Baekje and Silla by the early sixth century. Only a few lotus flower patterns of Gaya remain, but they appear to have derived from diverse sources and systems. Gaya was engaged in a direct diplomatic relationship with the Southern Dynasties of China in the late fifth century, yet the writer could not identify any factors associated with them in the lotus flower patterns of Gaya. In this sense, the lotus flower patterns found in No.8 Tomb in Dohang-ri and the si 본고는 가야에는 과연 불교가 존재하였는가에 대한 의문점을 던지면서 출발하게 되었다. 이에 필자는 기존의 문헌중심 연구에서 벗어나 연화문이라는 실물자료를 기준으로 가야 불교를 추적하였다. 가야 연화문은 현존하는 수량은 적지만 다 양한 형태를 보일 뿐만 아니라 연대가 밝혀지지 않은 사례들이 많았다. 그렇기 때문에 필자는 일차적으로 유형분류를 통 한 연화문의 변화상과 연대를 추정하는 작업을 하였다. 형식분류 결과 가야 연화문은 총 6가지로 구분되었다. 연판의 형태는 단판, 복판, 중판이 모두 확인되었으며 판단은 뾰족한 형태가 둥근 예보다 많은 수를 차지하였다. 능선 혹은 능각의 장식유무와 자방부의 유무는 반반을 차지하는 양상으로 나타났다. 가야 연화문에 대한 연대는 유물이 출토된 유적지의 기존 연대를 활용한 방법과 유형분류를 기초로 한 방법으로 나누어 추적하였다. 연판의 형태는 5세기 후반에는 단판과 복판이, 6세기에는 중판이 확인되었다. 판단은 뾰족한 형태가 시기를 막론하고 유행하였다. 능선, 능각 등의 장식과 연자배치는 시기적인 차이가 확인되지 않았다. 유적의 연대가 규명되지 않은 연화문은 모두 수막새에 표현된 것이었다. 이에 수막새의 제작기법과 동반 출토된 암키 와와의 비교분석도 참고로 하여 연대를 추정하였다. 전 대가야궁성지에서 지표 채집된 연화문 수막새는 단판 능선의 연판 형태, 수키와被覆接合法, 고식 암키와 조와술을 통해 6세기대 대가야 멸망 이전시기로 추정하였다. 고령 지산리일대에서 출토된 연화문수막새 중 일부 유형은 흥륜사 창건와와 문양, 제작기법면에서 유사성이 발견되어 6세기대 대가야 멸망 이 전시기로 편년하였다. 일반적으로 동아시아에서 연화문은 불교와 관련이 있는 것으로 추정되고 있다. 그러므로 본고에서는 가야 연화문과 불교와의 상관관계를 고찰하기 위해 연화문양의 계통문제를 살펴보았다. 그리고 이를 바탕으로 하여 문헌기록과의 결부를 통해 가야에 불교가 존재하였는지를 고찰하였다. 가야 연화문양은 5세기 후반에는 고구려, 남조와의 관련성이 엿보였으며, 6세기로 접어들면 백제, 신라와의 영향관계가 확인되었다. 현존하는 가야 연화문은 그 수량은 적지만 기원처와 계통은 다양하다는 것을 알 수 있었다. 특히 가야는 5세기 후반 중국 남조와의 직접적인 외교관계를 진행하였음에도 불구하고 오늘날까지 남조적인 요소를 확인할 수 없었다. 이러한 의미에서 도항리 8호분과 송림리 가마터의 연화문은 남조와의 교류를 시사하는 중요한 자료로 평가할 수 있다. 고아동벽화 속 연화문은 고구려 고분벽화와 동일하게 불교적인 의미를 내포한 것으로 파악하였다. 고령에서 발견된 연화문수막새 역시 당시 중국, 삼국과 동일하게 불교적인 내용을 가진 것으로 추정하였다. 이러한 추론은 가야인들이 불교를 인식하고 있었기 때문에 가능하다고 보았다. 가야인들의 불교인식에 대한 근거로는 『三國遺事』기록 속 452년 금관가야 왕후사의 존재와 월광태자의 명칭에서 확인되는 불교식 명칭, 6세기 초중반 백제가 불교를 외교정책에 적극적으로 이용한 사실을 제시하였다.

소아 대엽성 폐렴에서 마이코플라즈마 폐렴의 임상적 특성

양은애 ( Eun Ae Yang ),강미현 ( Mi Hyeon Gang ),유선영 ( Sun Young You ),김진환 ( Jin Hwan Kim ),이재호 ( Jae Ho Lee ) 대한소아알레르기호흡기학회(구 대한소아알레르기 및 호흡기학회) 2012 소아알레르기 및 호흡기학회지 Vol.22 No.3

Purpose: This study was conducted to evaluate the prevalence, clinical characteristics and laboratory findings of lobar pneumonia in children caused by Mycoplasma pneumonia and to find a diagnostic tool for identifying M. pneumoniae infection in children. Methods : We analyzed medical records of 78 children between March 2010 and December 2011, who were admitted to our hospital and diagnosed with lobar pneumonia on the basis of chest X-rays. White blood cells (WBC), C-reactive protein (CRP), procalcitonin (PCT), specific antibodies to M. pneuomoniae, and cold agglutinin (CA) were measured at the time of admission. Children were divided into 2 groups: those with M. pneumoniae infection (group A) and those without infection (group B). Group A children were also subdivided into 2 categories: those with increased CA (group 1) and those without (group 2). Results: The prevalence of lobar pneumonia was higher in the year 2011 than in 2010. M. pneumonia infection usually occurs in summer and autumn. Group A children accounted for 75.6% (59/78) of all the cases. The onset ages was higher in group A than in group B (P =0.016). WBC counts and PCT values were higher in group B than in group A.(P =0.015 and P =0.011, respectively) Radiologic findings showed that the lower lobe was most commonly involved without predilection for either side and pleural effusion was present in 13.6% of all the cases. The duration of fever before admission was longer in group 1 than in group 2.(P =0.019) Conclusion : It is concluded that lobar pneumonia caused by M. pneumoniae can be more accurately diagnosed using serum PCT values than using CRP values.

황순원의 「왕모래」에 나타난 욕망의 의미

양은창 ( Yang Eun-chang ) 국제어문학회 2005 국제어문 Vol.33 No.-

The predominant goal of literature researches to decode meaning from within the literary work. Encountering a good piece of literary work makes research enjoyable. Hwang Sun-won`s `Wangmorae` is not placed in high importance in literary history and neither is this novel one of his representative works. However, it is meaningful in that it describes one generation so well in the form of fiction. That is to say, it reveals a ruined consciousness in the midst of war and also shows a completely destroyed interior human consciousness. Accordingly, it contains comprehensive meaning in terms of its capacity to detect human essence as well as understanding the human interior consciousness; it`s aesthetic structure, and how it develops as a novel are important from the aspect of desire. After we trace `Wangmorae`s interior world in his character, we can see the compactness of the inner view of humanity and the tragic meaning typical of 1950`s novels. A nine year old boy has to face with his father`s death and is also deserted by his unfilial mother. He stays with other families until he becomes seventeen. He seeks maternal affections badly and gets caught up in a kind of Oedipus complex. This improves our understanding of the inner human desire as well as the tragic elements of the 1950s. In a compact way, this work introduces various relationships between humans and reality, and between reality and the novel. `Wangmorae` is a comprehensive text covering the relationships between the war and the human interior consciousness, and at the same time deals with this Oedipus complex and the rite of passage from the aspect of interior consciousness and therefore it includes most of the elements related with 1950s`s novels. Accordingly, it summarises the characteristics of 1950 novels. In that sense this novel is significant as it is closely related to reality and sheds light on the history of novels.

중국 수당대 고분 주변 불교시설물에 대한 연구

양은경(Yang, Eun-gyeng) 한국고대사탐구학회 2019 한국고대사탐구 Vol.31 No.-

본고는 중국의 전통 예제사상이 강하게 반영된 수당대 황제릉의 능원에 불교적인 시설물이 본격적으로 등장한 이유와 그들이 담당한 기능이 무엇인지에 대한 의문에서 연구검토를 진행하게 되었다. 이에 본문에서는 수당대 황제릉 주변의 불교시설물에 대해 그 종류와 특징, 능원 속 입지조건, 능침제도 속 기능과 의미에 대해 살펴보았다. 필자는 우선 오늘날 그 흔적을 확인할 수 있는 사원지와 불당, 석경당을 연구대상으로 삼았으며, 고고조사내용과 문헌기록을 종합하여 발원자, 발원목적, 조성시기, 현상에 대해 살펴보았다. 수 문제 태릉의 사원, 당 태종 소릉의 요대사, 당선황제 건초릉・광황제 계운릉의 광업사는 황제의 발원에 의해 능사로 조성되었으며, 당 고조 헌릉의 석불당, 소릉 요대사지의 석경당은 귀족들과 일반인들의 발원에 의해 만들어졌음을 알 수 있었다. 요대사는 무덤이 조성될 당시 무덤과 동시기에 건립된 능사이었으며, 나머지 능사들과 석불당, 석경당은 무덤이 완성된 이후 만들어진 것으로 확인되었다. 그러므로 요대사는 능원에서 주된 장소를 선점할 수 있었던 것으로 추정되며, 나머지 사례들은 전체 능원 속에서 고정된 장소 혹은 일정한 규정을 가지며 배치된 양상을 보이지 않는 것으로 판단되었다. 다시 말해, 무덤과 부속시설물들은 능침제도에 기초하여 조성되고 배치되었기 때문에, 후대에 안치된 불교시설물은 처음의 능원계획 속에 포함되지 않았을 가능성이 높다고 판단하였다. 그렇기에 이들은 무덤, 능묘석각, 침전 등 시설물들이 안치된 공간 이외의 장소에 배치되었을 가능성이 높은 것으로 추정하였다. 마지막으로 필자는 수당대 능원에서 불교시설물이 담당한 기능과 역할에 대해 고찰한 결과 수릉, 추복, 유람장소라는 세 가지 키워드로 요약할 수 있었다. 그러나 능사에서는 齋會등 불교식 추복활동이 거행되었을 것으로 추정하였으며, 이러한 내용은 중국 전통 예제사상에 기초하여 추모활동을 한 예제건물과는 다른 불교적인 역할로 해석하였다. 당대 극성한 불교는 중국인의 상장문화에 일정한 영향력을 미쳤으며, 이러한 사회적인 분위기는 황제 능원에도 그대로 반영된 것을 확인하였다. 결론적으로 당대 능원은 전통의 예제사상과 불교가 함께 공존한 곳이었으며, 당대에는 전통사상과 외래종교가 융합하여 이전 시기와는 다른 새로운 능원, 능침문화를 형성하였던 것으로 해석하였다. 그리고 이렇게 새로이 형성된 능원, 능침문화는 송대 황실에도 계속 영향을 미쳤던 것으로 추정하였다. This paper concerns the background of and certain practices in Buddhist facilities at royal tombs during China’s Sui and Tang Dynasties. It focuses on the types and characteristics of such facilities, and examines the significance and functions of the traditional Chinese funeral customs and protocol. I carried out the research by combining results and evidence based on the remains extracted from the Mausoleum temple sites, Buddhist shrines, and Dharani pillars, along with other relevant archaeological survey and record in order to find out who prayed for blessings at the tomb temples, the purpose of such prayers, and the construction date of the facilities. It was found that the temple at the Tailing Mausoleum of Emperor Wen of Sui, Yodaesa(瑤臺寺) at the Zhaoling Mausoleum of Emperor Taizong of Tang, Gwnageopsa(光業寺) at the Jianchu Mausoleum of Emperor Xuan and the Qiyun Mausoleum of Emperor Guang were built as royal tomb temples according to the wishes of the emperors, whereas the Buddhist shrine at the Xiàn Mausoleum of Emperor Gaozu of Tang, Dharani pillar at the temple site of Yodaesa(瑤臺寺) at the Zhaoling Mausoleum of Emperor Taizong of Tang were built according to the wishes of aristocrats and commoners alike. It was also discovered that, among the abovementioned structures, Yodaesa was built together with the tomb as a royal tomb temple, while the other royal tomb temples were built after the construction of the tombs. Thus, it is presumed that Yodaesa was an important part of the royal tomb, while the other tomb temples were not. In other words, these royal tombs and their ancillary facilities were established based on the customs and practices associated with the royal tombs, but the Buddhist facilities, which were built there later, were not. It seems likely that the Buddhist structures were established in locations other than at the sites of tomb-related stone structures and burial chambers. The results of the study suggest that the functions and roles assumed by the Buddhist facilities built at royal tombs dating from the Sui and Tang periods were associated with a place of burial, a place where prayers were made for the peace of the dead, and a place akin to limbo before leaving this world. It is presumed that Buddhist rites involving prayers for the peace of the dead were performed at the royal tomb temples, and that the role of these rites differed from that of other traditional Chinese funeral customs. It is thought that Buddhism, which had a significant influence on China at that time, also influenced the country’s funeral customs, including those of the royal family. The country’s traditional etiquette, together with Buddhist rites, formed the royal funeral and tomb culture, which remained influential during the ensuing Song period.

위험에 처한 몸

양은경(Eun Kyung Yang) 사단법인 언론과 사회 2016 언론과 사회 Vol.24 No.2

이 글은 한국사회의 미디어에서 ‘생활습관병’ 개념의 확산에 주목하면서, 최근의 건강증진담론의 성격을 사회문화적 관점에서 이해하기 위한 것이다. 이론적으로 후기 근대성 이론과 통치성 연구를 ‘위험의 개인화’에 대한 논의를 중심으로 상호보완적으로 살펴보았다. 미디어에서 건강관리 담론은 사람들로 하여금 일상생활 속에 만연한 위험 요인들을 인지하게 하고, 의학적 관리의 대상으로 포섭되도록 함으로써 모든 사람들을 잠정적으로 환자의 위치에 놓이게 한다. 주체화의 양식에서 대중들은 스스로의 건강에 대해서 관심을 갖고 적극적으로 지식을 획득하여 자신에 대한 전문가가 되도록 격려된다. 그러나 이는 상당 부분 의료상품 소비자로서의 위치에 국한된다. 전문가들에 의해 독점되던 과학적 지식들이 적극적으로 대중들에게 공유되도록 하는 방향으로의 전환을 보여주지만, 여전히 과학적 지식이 대중들의 경험적 지식이나 다른 형태의 지식보다는 우월성을 가진다는 식으로 구성되고 있다. 위험의 담론을 통해 건강은 옳은 선택을 하는 적극적이고 책임 있는 주체의 문제로서 도덕적인 함의를 띠게 된다. 이러한 방식으로 건강은 자율적이고 능동적이며 책임 있는 신자유주의 시민의 상징이 된다. This paper tries to understand the characteristics of recent health promotion discourse on socio-cultural perspective, while focusing on the spread of concept called ‘lifestyle disease’ in Korean society’s media. It takes complementarily both post modernity theory and governmentality study, while focusing on ‘individualization of risk’. Discourse on health care in media allows people to recognize risk factors in lifestyle, and puts everyone into a potential patient’s position who is under the medical supervision. Publics are encouraged to be engaged with their own health and acquire knowledge to become an expert for oneself. However, this is limited to the position of being the consumer of medical products. Scientific knowledge is considered to be superior than the public’s knowledge gained by experience or other forms of knowledge, while public nowadays can access to the scientific knowledge that was limited to the expert. Through risk discourse, health has a implicit moral meaning that choosing the right thing is the matter of a responsible being. Health symbolizes the citizen of free, active, and responsible society.

신동엽 시의 서정 양상

양은창(Eun-Chang Yang) 어문연구학회 2006 어문연구 Vol.50 No.-

  This study is about lyricism of Shin, Dong-Yeoup"s poem, who is usually considered as a realism oriented poet. Generally, a realism oriented poet is a writer who participates in historical/public affairs, and expresses their point of views on the affairs through their poems. Lyricism is normally regarded as an opposite feature of realism oriented poem. So, the discovery of lyricism in Shin, Dong-Yeoup"s poem means that we need various views in order to explain one"s poem.   Also, lyric study of Shin, Dong-Yeoup which has been ignored in this aspect of his poem shows the possibility of acceptance of both extremes. Specifically, Korean people encountered modernism in 1950"s and 1960"s at the first time. The experience brought division of tradition and modernity which never can be met. However, Shin, Dong-Yeoup included the two different concepts in his poems. It means that he identified himself with a movement against the power of foreign country. On the other hand, he also focused on recurrence of tradition in the same breath. The acceptance of such two extreme worlds leaded him to the poet as a realist and lyricist at once. Therefore, I extract below conclusion in the perception of history and lyricism   First of all, the titles of his poem have a specific pattern of phrase or clause. It suggests that his poem has descriptive feature which is a useful technique for describing a fact. The thing which his descriptive poems have lyricism implies that lyricism is a intrinsic character of his poem.   Secondly, his poem has a form of reminiscences which is related to lyricism. Especially, recurrence of tradition or past-oriented attitude are mainly used for expressing lyricism. As a result, the intention of Shin, Dong-Yeoup"s poem is recurrence of tradition, and the natural disposition of his poem is lyricism.   Thirdly, another feature of his poem is deviation from ideologies. Lyricism seems to be the general character of the poems which deviate from ideologies. It will be impossible to say that Shin, Dong-Yeoup"s poem does not have any ideologic side, but it can not be denied that his poem has lyricism as much as ideologic part.   Finally, Shin, Dong-Yeoup not only wrote about historical consciousness and social issues but also expressed personal emotions and feelings. The lyric feature will be obvious when his poems are read from a point of view of deviation from ideologies.   To sum up, it will be said that Shin, Dong-Yeoup lived different two worlds and wrote them at the same time. One is the life of an intelligent who could not deny the social problems in his period. However, the other is the life of a lyric poet who describes feeling. Therefore, comparative study of his different two worlds should be investigated more in the future.

삶의 "전환"을 살아간다는 것: 초보 예술가들의 전환적 생애경험을 중심으로

양은아 ( Eun A Yang ) 한국교육인류학회 2012 교육인류학연구 Vol.15 No.1

본 연구는 인생의 중후반기에 예술가로서 새로운 삶을 기획하게 된 세 명의 초보 예술가를 대상으로 무엇이 이들의 전환적 삶을 가능하게 했는지 주요 생애사건을 중심으로 분석하였다. 그 결과 이들에게는 공통적으로 두 번의 결정적인 ‘전환’사건이 있었다. 하나는 예기치 못한 ‘가족의 죽음’을 직면하면서 경험한 사건이고, 다른 하나는 ‘나의 죽음’으로 상징되는 존재적 위기를 지나면서 경험한 사건이다. 이로 인해 외형적으로는 동연적인 파장과 패턴을 보이지만 이 두 가지 변화를 동일한 차원으로 볼 수는 없다. 첫 번째 사건 이후로의 시간은 삶의 ‘지속’을 단절한 시간이었다. 물론 그 안에서 치열한 생존의 노력과 학습이 활발히 일어나지만 철저히 ‘나’의 존재가 의식 밖으로 밀려난 ‘단절’의 활동이다. 즉 나로 사는 것 같으나 나의 존재가 상실된 삶이다. 반면 두 번째 시련을 겪으면서는 이전과 다른 삶의 질적인 전환을 경험하게 된다. 상황으로부터 ‘나’를 분리시키고 존재적 조건으로서 의식 밖으로 그림자화시킨 과거와의 연결을 스스로 찾아나서는 질문을 던지게 된다. 그러나 그 과정은 저절로 이루어진 것이 아니었다. 과거로의 팽창을 통해 나를 환기시키는 상징적 단서인 ‘꿈’을 재발견하게 되고, 그것이 현실의 구체적인 예술적 도구와 연결되면서 현재의 가능성을 다시 붙들고 갈 수 있는 시작점을 찾게 된다. 여기에서 꿈은 그때그때마다 존재를 구성해간다는 의미에서 잠재성이고, 그래서 꿈은 지금 나의 실존에 속한다. This study analyzed what caused three novice artists who embarked on new artistic careers in their mid- to latter part of lives to lead transformational lives, with a focus on their major life events. As a result, it was found that they all had two decisive ‘transformational’ events in their lives. One was the event they experienced while facing the unexpected ‘death of a family member’ and the other was the event they experienced while undergoing the existential crisis symbolized by ‘my death’. The time after the first event was the time that cut off the ‘continuance’ of life. Of course, intense efforts and the learning of existence happen actively inside, it is the activity of ‘severance’ where the existence of ‘myself’ is thoroughly pushed outside. On the other hand, while undergoing the second trial, they experience qualitative transformation of life that is different from the previous life. They throw a question of looking for a connection with the past that becomes a ‘shadow’ outside the consciousness as the existential conditions of ‘me’. ‘Dream’ which is a symbolic clue that reminds me of myself through the expansion into the past is rediscovered and as it is connected with concrete artistic tools of the realities, the starting point from which the possibility of the present can be grasped is found.