RISS 학술연구정보서비스

검색
다국어 입력

http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.

변환된 중국어를 복사하여 사용하시면 됩니다.

예시)
  • 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
  • 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
닫기
    인기검색어 순위 펼치기

    RISS 인기검색어

      검색결과 좁혀 보기

      선택해제
      • 좁혀본 항목 보기순서

        • 원문유무
        • 음성지원유무
        • 원문제공처
          펼치기
        • 등재정보
          펼치기
        • 학술지명
          펼치기
        • 주제분류
          펼치기
        • 발행연도
          펼치기
        • 작성언어
        • 저자
          펼치기

      오늘 본 자료

      • 오늘 본 자료가 없습니다.
      더보기
      • 무료
      • 기관 내 무료
      • 유료
      • KCI등재

        A novel MLL2 gene mutation in a Korean patient with Kabuki syndrome

        김수진,조성윤,맹세현,손영배,김수진,기창석,진동규 대한소아청소년과학회 2013 Clinical and Experimental Pediatrics (CEP) Vol.56 No.8

        Kabuki syndrome (KS) is a rare genetic disease with a distinctive dysmorphic face, intellectual disability,and multiple congenital abnormalities. KS is inherited in an autosomal dominant manner. As the primary cause of KS, MLL2 mutations have been identified in 56–76% of affected individuals who have been tested,suggesting that there may be additional genes associated with KS. Recently, a few KS individuals have been found to have de novo partial or complete deletions of an X chromosome gene, KDM6A , which encodes a histone demethylase that interacts with MLL2 . Nevertheless, mutations in MLL2 are the major cause of KS. Although there are a few reports of KS patients in Korea, none of these had been confirmed by genetic analysis. Here, we report a case of a Korean patient with clinical features of KS. Using direct sequencing,we identified a frameshift heterozygous mutation for MLL2 : (c.5256_5257delGA;p.Lys1753Alafs*34). Clinically, the patient presented with typical facial features, and diagnosis of KS was based on the diagnostic criteria. While KS is a rare disease, other malformations that overlap with those found in individuals with KS are common. Hence, the diagnosis of KS by mutational analysis can be a valuable method for patients with KS-like syndromes. Furthermore, in the near future, other genes could be identified in patients with KS without a detectable MLL2 mutation.

      • KCI등재
      • KCI등재

        Rousseau’s Volonte Génèrale Demystified

        김수진 한국정치사상학회 2019 정치사상연구 Vol.25 No.1

        Jean-Jacques Rousseau’s concept of the “General will” (Volonte Génèrale) remains the locus of heated interpretative debates in political philosophy to this day. Specifically, scholars have puzzled over the passage in the The Social Contract where Rousseau states that the individual is wrong about his interests when his conception of interests diverges from the General will. This passage raises the following interpretative questions: in what way(s) may the individual fail to recognize his own interests? And how are the interests that one may fail to recognize related to one’s interests in upholding the General will? I address these questions by proposing an interpretation of the General will that is both faithful to the basic tenets of methodological individualism, and to Rousseau’s claim that the General will is not reducible to the mere sum of individuals’ interests.

      • KCI등재

        육조시대 산수화론의 形神觀 연구 - 「畵山水序」의 불교적 고찰을 중심으로

        김수진 부경대학교 인문사회과학연구소 2019 인문사회과학연구 Vol.20 No.2

        In the Buddhist history of China, the Period of Six Dynasties is the period of ideological co-existence and confrontation for the foreign religion of Buddhism against Confucianism and Taoism. Under the circumstance, the issue of existence and non-existence of form and spirit was resulted in sharp dispute between the people of pro-Buddhism and anti-Buddhism regarding the Chinese understanding of samsara (the eternal cycle of birth, death, and rebirth) and retributive justice. While there was this dispute, Zong Bing(宗柄) of Eastern Jìn Dynasty drafted 「Ming Fo lun(明佛論)」on the basis of influence from his master, Lushan Huiyuan(廬山 慧遠) with the idea of Imperishable form-spirit ideas and presented with powerful pro-Buddhism. On the basis of the form-spirit ideas that denied monistic occurrence and extinction of form and spirit, he proposed the existence of spirit still surviving after the extinction of form. For Zong Bing, spirit that existed along by breaking away from the restraint of the form implies the return of original spirit, ultimatum for Buddhist principles as well as Dharmakaya itself. In addition, it implicates through the landscape as he marches toward the exclusively existing spirit. Originally, the landscape for famous people of the Period of Six Dynasties had been revered as the space to break away from the social chaos and personnel conflict as well as escaping from the restraint of moral principles. Zong Bing also toured all around the landscape with his passionate aspiration on such landscape all through his life, and furthermore, he handled the development of spirit at the level of Buddhist asceticism through his tour. In other words, for Zong Bing, the landscape is the realization of Buddhist doctrines as well as the space of divine response that is the foundation for sacred men to clear spirit in a way of fulfilling the truth in the form of character. Through 「Hua shan-shui hsu(畵山水序)」, he demonstrated the relativity of sacred man and landscape, as well as landscape and landscape painting, and considered that the function as the clearness of spirit for landscape actual existing is consistently applied and operated on the object of landscape painting. The interaction between landscape and landscape painting that he mentioned would be understand as the same logic to have the image for a relation becomes an object to be responsive to the high dignity of Dharmakaya. As such, his landscape painting theory that transformed the idea of Imperishable Spirit of Buddhism into the landscape painting theory clearly demonstrates how closely landscape and landscape painting, and the realization of Buddhism related with respect to the relativity of form and spirit. As such, the ideological system that Zong Bing structured has been accepted as comprehensive materialization for the implication of landscape perception and Buddhist acceptance as the space to break away with the meaning of transcending the world. 중국 불교사에 있어 육조시대는 외래종교인 불교가 유·도교와의 사상적 공존과 대립을 이어가던 시기라 할 수 있다. 그 가운데 육체[形]와 정신[神]의 존속과 비존속의 문제는 윤회와 인과응보의 중국적 이해에 관한 호불·배불론자 간의 첨예한 논쟁을 낳게 된다. 이러한 논쟁의 가운데에서 동진의 종병은 스승인 여산 혜원의 신불멸적 형신관의 영향을 받아 이를 바탕으로 한 명불론을 작성하여 강력한 호불론을 제시한다. 그는 形과 神 의 일원론적 발생과 소멸을 부정하는 형신관을 기반으로, 形의 소멸 이후에도 존속하는神의 존재를 상정한다. 종병에게 있어 이 形의 속박을 벗어나 독존하는 神은, 본래적 神 의 회귀이자 불법의 궁극이며 곧 法身이 된다. 또한 그는 이 독존하는 神으로의 나아감을 山水를 통해 말한다. 본래 육조시대의 명사들에게 산수란 명교의 속박을 벗어나고 사회의 혼란과 인사의 갈등에서의 탈피를 이룰수 있는 공간으로 숭상되었다. 종병 역시 일생 그러한 산수에의 열망을 품고 산수간을 유람하였으며, 나아가 그는 이 유람을 통한 정신의 창달을 불교적 수행의 차원에서 다룬다. 즉 종병에게 산수란 佛道의 구현인 동시에 感應의 공간으로 기능하며, 형질을 가지고 있으면서도 道를 꾸미고 聖人에게 있어 神을 명징케 하는 터전이 된다. 그는 「화산수서」를통해 성인과 산수, 그리고 산수와 산수화의 관계성을 밝히며, 실재하는 산수의 神의 명징이라는 기능이 산수화라는 物에도 동일하게 적용되어 작동된다고 본다. 그가 말한 이와같은 산수와 산수화 간의 작용은, 機緣이 되어주는 象이 법신의 위용에 감응하는 事物이되는 것과 같은 이치로 풀이될 수 있다. 이와 같이 신불론적 불교사상을 산수화론으로 구현시킨 그의 산수화론은 形과 神의관계성을 기반으로 산수와 산수화, 그리고 佛道의 체현이 어떻게 긴밀히 관계하고 있는가를 여실히 보여준다. 이렇게 종병이 구축한 사상체계는 세속의 초월을 의미하는 탈피적 공간으로써의 산수인식과 불교적 감응의 의미를 종합적으로 구현한 것이라 할 수 있다.

      • KCI등재

        조선 왕실에서의 왜장병풍 제작과 그 문화사적 의의

        김수진 미술사와 시각문화학회 2019 미술사와 시각문화 Vol.23 No.-

        The folding screen has been one of the most representative formats in painting throughout East Asian art history. However, its historical development has shown their respective trajectories in China, Japan, and Korea, depending on its difference in materials, appearances and uses. Korea has more tended to produce portable folding screens decorated with paintings and calligraphy, which can be easily relocated and reassembled as an indoor ornamental article. During the first half of the Joseon dynasty, paintings were mounted in four different formats: 1. folding screens, 2. handscrolls, 3. hanging scrolls, and 4. albums. Among these, the format of folding screens increasingly dominated mountings of royal court paintings for rituals or interior decorations during the 18th and 19th centuries. My study first pays attention to a phenomenon in which the terminology “Waejang folding screen” newly appeared among the royal protocols regarding the national wedding ceremony for royal family members since the 18th century. Waejang literally means “the Japanese mounting” or “mounted in the Japanese style” referring to hinge-connected screens, compared with “gakjang” which refers to isolated panel screens. It is commonly known that the Joseon court artisans already attained a level of technique high enough to produce hinge-connected panel screens before the 18th century. So why did the Joseon court begin to use the terminology “Waejang” for wedding ceremony folding screens only after the 18th century? To answer this question, this study examines a list of 250 pairs of Japanese folding screens sent to the Joseon court as diplomatic gifts by the Japanese government in order to see how these screens were understood by Joseon intellectuals, particularly regarding their origins, uses, and functions compared with their Korean counterparts. To get a fuller picture of the phenomenon, this study also consults the literature of scholars such as Seo Yugu (1764-1845) who compiled an encyclopedia with entries regarding folding screens. In conclusion, this study argues that the Joseon court and elites had a common acknowledgement that Japanese screens were produced mostly for decorative purposes rather than for conveying historic or moral themes. As a result, some scholars such as Seo Yugu even misunderstood that the format of folding screens itself originated from Japan, not from China, as shown in Seo’s entry on them in his encyclopedia. To provide an auspicious wedding space for royal family members, court artisans created a dazzling stage with the eyecatching screens by appropriating “decorative” and “hinged-connected panels” from Japanese screens. This is what the late Joseon people called “Waejang folding screen,” the format that attached more weight to aesthetically useful “decorativeness” than to Confucian “edification.” 본 연구는 18-20세기 왕실 문헌에 보이는 ‘왜장병풍(倭粧屛風)’의 용례를 정리하고 그 문화사적 의미를 논의하였다. 조선 전기의 문헌에는 왜장병풍이라는 용어가 보이지 않을 뿐만 아니라 조선 후기에도 이 용어는 왕실 혼례 관련 기록에만 등장한다. 이에 본 연구에서 필자는 먼저 왜장병풍을 언급하고 있는 왕실 문헌을 조사하여 왜장병풍이라는 용어의 사용 맥락과 문화사적 의미를 논하였다. 두 번째로 필자는 왜장병풍의 등장 배경을 밝히는 차원에서 일본이 조선 왕실에 보낸 병풍 예물의 성격을 검토하였다. 15세기부터 20세기 전반까지 일본은 조선 왕실에 250쌍 500좌 이상의 병풍을 보냈다. 조선 후기에 일본 병풍을 언급한 서유구(徐有榘, 1764-1845)의 기록에는 병풍의 기원이 일본에서 유래된 것으로 언급되어 있을 정도로 많은 일본 병풍이 조선으로 전해졌다. 이러한 현상은 다수의 일본 병풍이 조선에 유입되는 과정에서 병풍의 시원을 삽병(揷屛)이 아닌 접이식 병풍으로 이해한 데에서 온 오류라고 생각된다. 마지막으로 본 연구는 왕실 문헌에 보이는 병풍장(屛風匠), 회장장(繪粧匠), 배첩장(褙貼匠), 장황인(粧潢人)이라는 직역의 전문가들이 분화되는 현상을 분석함으로써 이것이 왜장병풍의 유행과 결부되어 있음을 논의하였다. 본 연구를 통해 조선 왕실에서 장엄(莊嚴)과 의구(儀具) 의 기능을 담당한 병풍의 역할이 구명되고 그 문화사적 의의가 밝혀질 것으로 기대한다.

      • KCI등재

      연관 검색어 추천

      이 검색어로 많이 본 자료

      활용도 높은 자료

      해외이동버튼