예배자와 현실 사이의 이중적 관계 이해하기: 미학적 관점에서 본 예배자의 자율성과 사회성

권용준 한국복음주의실천신학회 2023 복음과 실천신학 Vol.68 No.-

Worshippers often find themselves trapped in a false dichotomy between escaping from reality(autonomy) and assimilating with reality (sociology). Worshippers who solely focus on autonomy from reality tend to withdraw from becoming socially engaged Christians due to their fear of being tainted by the sinful aspect of reality. They use their worship as a collective defence mechanism to isolate themselves from reality. Conversely, worshippers who emphasise sociality at the expense of autonomy fail to acknowledge both the sinfulness of the immanent reality and the transcendent realm (the not-yet-kingdom of God). They struggle to maintain a healthy distance from reality, leading their worship to become a mere ritual for the social, political, and ethical progress of humanity, or worse, a tool for perpetuating a sinful society. The article aims to help worshippers understand that their autonomous and social characteristics are not in conflict but rather mutually complementary. To achieve this objective, the article enters into dialogue with aesthetics. Worshippers, being human beings created as God’s artworks, share characteristics with artworks that are both autonomous and social. This article begins by exploring the dual feature of art and suggests the movements of art that arise from its characteristics as follows: 1) having aesthetic distance from ordinary reality (autonomy); 2) resisting against reality (autonomy); 3)imagining an alternative reality (sociality); and transforming reality(sociality). Subsequently, the article examines the dual feature of worshippers, which mirrors the characteristics and movements of art, and presents four aesthetic movements of worshippers as follows: 1) having doxological distance from sinful reality (autonomy); 2) resisting sinful reality (autonomy); 3)imagining an alternative reality (sociality); and 4) transforming the reality(sociality). Worshippers can both reject sinful reality and socially take part in God’s work of redeeming and restoring reality simultaneously. 예배자들은 현실로부터의 도피(자율성) 아니면 현실로의 동화(사회성)라는 그릇된 이분법에 사로잡히는 경향이 있다. 현실로부터의 자율적이기만 한 예배자들은 현실의 악한 측면에 오염될 것에 대한 두려움때문에 사회적인 기독교인이 되기를 포기한다. 그들은 예배를 현실로부터 그들 스스로를 고립시키는 폐쇄적 방어 도구로 사용한다. 반면에자율성과 분리된 사회성을 강조하는 예배자들은 현실로부터 거리두기에 실패하기 때문에 내재적 현실의 죄악성과 초월적 세계(아직 오지 않은 하나님 나라) 모두를 인식하지 못한다. 그 결과, 그들의 예배는 단지인류의 사회적·정치적·윤리적인 진보를 위한 의례가 되었으며, 더나쁜 경우에는, 죄악된 사회를 유지하기 위한 도구로 변질된다. 이 글은 예배자들이 그들의 자율적 특성과 그들의 사회적 특성을 대립 관계가 아니라 공존 관계로 이해하도록 돕는 것을 목적으로 한다. 이를 위해, 이 글은 미학과의 대화를 시도한다. 왜냐하면 예배자는 하나님의예술작품이며, 따라서, 예배자는 자율적인 동시에 사회적인 예술과 그특성을 공유하기 때문이다. 이 글은 먼저 예술의 이중적 특성을 살펴보고 그 특성이 생성하는 예술의 미학적 움직임을 다음과 같이 제안한다. 1) 일상적인 현실로부터 미적 거리감 가지기(자율성), 2) 현실에 저항하기(자율성), 3) 대안적인 현실을 상상하기(사회성), 4) 현실을 변화하기(사회성). 그 이후, 이 글은 예술의 특성과 움직임을 반영하는 예배자의이중적 특성을 살펴보고 예배자의 네 가지 미학적인 움직임을 다음과같이 제시한다. 1) 송영적 거리감 가지기(자율성), 2) 죄악된 현실에 저항하기(자율성), 3) 대안적 현실을 상상하기(사회성), 4) 현실을 변화하기(사회성). 자율성과 사회성의 상호작용이 만들어낸 이 미학적인 움직임을 따라 살아갈 때 예배자들은 타락한 현실을 거부하는 동시에 그것의 구속과 회복을 위한 하나님의 사역에 사회적으로 참여할 수 있을 것이다.

일개 전자부품 사업장에서 발생한 오존노출이 원인으로 추정되는 호흡곤란 7례

권용준,우극현,김진석,윤성용,조성용,송인웅,김주안,유재영 대한직업환경의학회 2011 대한직업환경의학회 학술대회 논문집 Vol.2011 No.11

Adriamycin의 毒性으로 야기된 Rat의 非正常心電圖에 대한 Coenzyme Q analog의 影響

權容駿 대구효성 가톨릭 대학교 1984 연구논문집 Vol.29 No.2

Unlike with Co Q10, an analog of Co Q10 having M.W. of 320.4 had no effect on Adriamycin-caused widening of QRS interval or elongation of QT duration of electrocardiogram. The analog itself did not affect on the parameters of electrocardiogram or on the growth of body weigth in rats.

샤갈의 작품에서 나타난 아폴리네르의 ‘신정신 l'esprit nouveau’ - 아폴리네르의 「유럽을 가로질러 A travers l'Europe」와 샤갈의 「아폴리네르에게 바치는 경의 Hommage à Apollinaire」를 중심으로 -

권용준 한국프랑스학회 2010 한국프랑스학논집 Vol.69 No.-

Si l'on définit en bref le caractère de l'esprit nouveau d'Apollinaire, qui ouvre et dirige toujours une nouvelle époque, ce serait la surprise. Et le principe de la surprise se trouve à la découverte de l'inconnu et de l'inattendu, qui conduit les artistes vers la création d'un nouveau réalisme. Cet esprit nouveau poussait Apollinaire, au niveau poétique, jusqu'a la création du poème pictural et du poème-conversation, qui aboutira finalement au calligramme. Au niveau de l'art plastique, cet esprit a mené les nouvelle tendances, le cubisme et l'orphisme, que le poète a soutenues ardemment comme leur porte-parole. A cette époque et dans cette atmosphère artistique, le peintre que le poète avait découvert comme un vrai aventurier était Marc Chagall, qui venait d'arriver à Paris de la Russie en 1910. La plupart de ses oeuvres montre un grand univers avec de vives et diverses couleurs. En s'appuyant sur ce fait, le poète considère Chagall comme un des plus grands coloristes de l'époque. Mise à part les couleurs, Chagall juxtapose, aux angles de la figure, des faits divers dans une toile : le visible et l'invisible, l'intérieur et l'extérieur et, en même temps, le passé, le présent et l'avenir. Aux yeux d'Apollinaire, ces caractères chagalliens se révèlent à travers l'esprit nouveau, comme il les définit ‘surnaturels’. Et c'est la réalisation d'une vraiment nouvelle tendance. Grâce au poète, Chagall ouvre sa première exposition personnelle à la galerie Der Sturm à Berlin en 1914. Apollinaire écrit son A travers l'Europe pour ce catalogue, et il le dédit finalement au peintre. Pour cette raison, l'univers fantastique et ambigu de Chagall se reflète dans ce poème. Cependant, à ce temps-là, Apollinaire perd malheureusement son amour, Marie Laurencin. Son chagrin d'amour s'y dissout aussi bien. De la part de Chagall, il dédit au poète quatre portraits, parmi lesquels on peut prêter attention sur Hommage à Apollinaire. Chagall y notifie précisement quatre noms des poètes : connaisseurs voyant à cette époque-là comme Apollinaire, Cendrars, Canudo et Walden. Il représente aussi une figure de l'androgyne, Adam et Eve, devant un grand cadran vivement colorié. Pour Chagall, ils sont peut-être artistes d'avant-garde qui donnent, métaphoriquement parler, à l'homme un univers indépendant de Dieu, univers proprement humain, même si l'homme doit vivre comme un être temporellement limité, c'est-à-dire comme un être mortel. Nous pouvons considère le rôle joué par Adam et Eve pour l'humain au même niveau que celui d'Apollinaire dans le domaine de l'art. De la sorte, Apollinaire et Chagall comportent le même esprit, le meme tentative artistique pour la création d'une nouvelle monde. Et on peut dire comme de point de réunion, point commun de ces deux artistes le surnaturalisme, un autre réalism échappant au canon de l'art du passé : le plaisir des yeux.

Internal Quality Assurance Status of Stool Examination as Assessed by a Questionnaire in Korean Clinical Laboratories

권용준,원은정,기승정,김수현,신명근,신종희,서순팔 대한진단검사의학회 2018 Laboratory Medicine Online Vol.8 No.1

This study aimed to survey the status of quality control (QC) assurance for stool examinations at clinical laboratories in Korea. We sent a questionnaire related to QC practices in stool examination by electronic mail to Korean clinical laboratories that performed stool examination. Overall, 20 of the 39 laboratories (51.3%) reported performing stool concentration methods, and 28 (71.8%) examined the slides using only saline. A large proportion (74.4%) of respondents did not check the internal QC because of the restriction of appropriate control materials. Only four laboratories (10.3%) checked the reactivity of the dye solution routinely. For appropriate external QC systems, QC slides (43.6%) were preferred, followed by QC materials (30.8%), virtual slides (17.9%), and a combination of the above options (7.7%). The most commonly observed parasites in stool samples at the clinical laboratories were Clonorchis sinensis (75%), followed by Endolimax nana, Enterobius vermicularis, and Entamoeba coli. The present study describes the difficulties in internal QC assessment due to the absence of standardized QC materials and systems. We hope the findings of this report will provide a foundation for a QC assessment program for stool examinations in the near future.

최소 면적의 CMOS 기능셀 설계도면을 찾는 휴리스틱 알고리즘 ( A Heuristic Algorithm for Minimal Area CMOS Cell Layout )

권용준,경종민 대한전자공학회 1987 대한전자공학회 학술대회 Vol.1987 No.7

소방차량용 소방펌프의 방수특성에 관한 연구

권용준,윤명오,방창훈 한국화재소방학회 2022 한국화재소방학회논문지 Vol.36 No.2

The water shooting performance of existing fire pump vehicles was found to be insufficient when extinguishing fire atthe Go-yang Reservoir, and thus, the need for a high-pressure pump was raised. Therefore, the National Fire Agencyenforced the standard for high-pressure pumps as 4.0M Pa; further, they categorized fire pumps into general pumps andhigh-pressure pumps. In this study, an empirical experiment was conducted on the water shooting characteristics of ahigh-pressure pump by manufacturing a device equipped with a high-pressure pump that conformed to the abovementionedstandards. A water shooting test similar to fire suppression activities was conducted by connecting fire hoses and nozzlesat a straight distance of 300 m. The experiment confirmed that, based on the pump pressure of 1.5 MPa, the tip pressureconsiderably fluctuated during water shooting, and the difference in pressure loss rate at the low-pressure and high-pressureoutlets was confirmed. Because these characteristics threaten the safety of fire-fighters during field activities, a need wasconfirmed for technology development that can improve the limit on the tip pressure increase in the high pressure pumpstandard and the rapid pressure increase. 최근 발생된 고양저유소 화재 진압과정에서 기존의 소방펌프차의 방수성능으로는 대응이 충분하지 않다는 것을경험함에 따라 고압펌프의 필요성이 제기되었다. 이에따라 소방청에서는 고압펌프에대한 표준규격을 4.0 Pa로 하고 일반펌프와 고압펌프로 종류를 구분하였다. 본 연구에서는 표준규격에 적합한 고압펌프가 장착된 장비를 제작하여 고압펌프의 방수특성에대해 실증적 실험을 하였다. 실험0 은 소방호스와 관창을 3 m0 수준의 직선거리로 연결하여 화재진압활동과 유사한 형태에서 방수실험을 하였다. 실험결과 펌프압력 1.5 MPa를 기준으로 방수 시 선단압력의 변동이 매우 심하고 저압 및 고압 방수구에따른 압력손실률의 차이를 확인하였다. 이와 같은 특성은 화재진압대원이 현장활동 시 안전을 위협받는 상황이기 때문에고압펌프 규격에선단압력 상승에대한 제한 및 급격한 압력상승을 해소할 수 있는 기술개발의 필요성이 있음을 확인하였다.

방폭설비 성능유지 실태분석을 통한 관리방안 연구

권용준,변정환,Kwon, Yong Jun,Byeon, Junghwan 한국안전학회 2020 한국안전학회지 Vol.35 No.2

In Article 311 of the Regulation on Occupational Safety and Health Standards requires the use of Korean Industrial Standards Act in accordance with the Industrial Standardization Act. However, the classification, inspection, maintenance, design, selection, and installation of explosion hazard locations for explosion and explosion prevention and internalization of 'safety' in the performance maintenance phase of electrical machinery and equipment There is no technical and institutional management plan for remodeling and alteration. Analysis of actual conditions and problems related to the installation, use, and maintenance of explosion-proof equipment, comparative analysis of domestic and international technical standards and systems, technical, institutional and administrative systems and systems related to installation, use, and maintenance of explosion-proof equipment, technical personnel and qualifications, etc. It is to propose legislation, system improvement, and technical standard establishment related to the maintenance of explosion-proof facility performance through improvement of the necessity and feasibility study for establishment of the legal status of the management site and management plan. As technical measures, KS standard revision (draft), KOSHA guide (draft) and explosion-proof facility performance maintenance manual were presented. In addition, the institutional management plan proposed the revised rule on occupational safety and health standards, the revised rule on the restriction of employment of hazardous work, and the manpower training program related to the maintenance of explosion-proof facilities and the qualification plan. Enhance safety at the installation, use, and maintenance stage of explosion-proof structured electrical machinery. It is expected to be used to classify explosion hazards, select related equipment, and to update and standardize standards related to installation, use and maintenance.

조각비평에 나타난 아폴리네르의 예술관

권용준 한국프랑스학회 2011 한국프랑스학논집 Vol.73 No.-

Jusqu’à présent, on a souvent estimé le fait qu’Apollinaire en tant que critique d’art, non pas en tant que poète, a fait part d'analyses intéressantes dans le domaine de la peinture, notamment concernant l’art moderne et l’art abstrait comme le cubisme. Mais son travail comme critique de sculpture est rarement pris en compte. Bien que la vision critique d'Apollinaire en matière de sculpture soit proche de sa vision de l'art dans son ensemble, nous allons nous concentrer sur cette première dans cet article. Il donne en premier lieu un regard très positif sur l’image conceptuelle et déformée d’Archipenko et de Duchamp-Villon qui sont des sculpteurs du cubisme. Ils sont des pionniers de la sculpture basée sur ‘la surprise’ et ‘l’inattendu’, ce qui est une étape du développement de ‘l’esprit nouveau' auquel il attribuait de l’importance. Apollinaire estime que ces nouveaux sculpteurs trouvent leur inspiration dans l'œuvre de François Rude. Il a vu la plasticité poétique que son œuvre véhicule par le prisme de la déformation de l'esprit de la sculpture contemporaine. Donc, comme critique de sculpture, il a réussi à redécouvrir François Rude qui n’avait pu qu'attirer l’attention à une époque où l'esprit moderne dominait. Puis Apollinaire place Auguste Rodin comme successeur de l’esthétique de Rude. Rodin est un sculpteur qui a dépassé les limites de la sculpture esthétique qui n’avais pas pu s’échapper de l’académisme, et c’est un précurseur qui a établi l’esthétique de la sculpture propre à elle-même. Apollinaire a réussi à discerner le fait que Rodin est une des raisons pour lesquelles les autres sculpteurs n'arrivent pas à faire de progrès et il recommande aux jeunes artistes de ne pas rester sous l'ombre de l'esthétique de Rodin et ensuite de le dépasser. Sa vision était alors particulièrement exacte et pénétrante. Apollinaire développe un intérêt particulier pour la nouveauté. C'est- à-dire dans l'esthétique que la sculpture seule peut avoir et les caractéristiques des œuvres plastiques de la sculpture moderne. Ceci apparait dans le concept du ‘tactilisme’ ou ‘d’art tactile’, ainsi que dans l’utilisation de matériaux différents pour stimuler la créativité des jeunes artistes. Il va jusqu'à proposer le concept de la ‘sculpture en rien, en vide’ qui n’a ni forme ni matière. Aussi, le point de vue d’Apollinaire qui porte de importance à la modernité et au nouvel esprit ne s’arrête pas seulement aux sculpteurs d’avant-garde. Sa critique est positive aussi pour les artistes de l’académisme. Apollinaire les soutient avec une verve particulière quand il trouve que les artistes académiques font un effort pour la créativité. Ces visions critiques, souples, sont les formes de critique d’Apollinaire et il valorise ‘la critique poétique’ qui fait primer la valeur de l'esprit, ainsi que ‘de la critique de journal’ qui soutient et fait découvrir des artistes créatifs tout en correspondant au courant moderne. Son point de vue a son importance non seulement en peinture, mais aussi par de nombreux textes qui prévoient l’avenir de la sculpture. Pourtant jusqu’à présent, nous n’avons pas porté grande attention à ses critiques de sculptures. Il est grand temps de considérer son apport en tant qu'authentique critique de sculpture. En faisant des recherches plus approfondies sur les textes de critiques d’Apollinaire portant sur la sculpture, on pense que de découvrir sa contribution au développement de la sculpture moderne pourra établir sa présence et son statut en tant que critique de sculpteur.

별리 외 1편

권용준 천년의시작 2008 (계간)시작 Vol.7 No.3