낭독과 클래식 기악 음악의 융합 - 레싱의 예술기호론으로 분석한 서울 바로크 합주단 앙상블 -

최혜성 한국문화융합학회 2022 문화와 융합 Vol.44 No.4

Classical instrumental music is gradually declining due to difficulties in communicating with the audience. While the number of audiences visiting classical instrumental music concerts and sales of classical instrumental albums are decreasing every year, popular music that can be easily assimilated and enjoyed is expanding its market wider. Amid the limitations of classical instrumental music, Hollywood actor John Malkovich read a novel by Argentine novelist Ernesto Sabato at a concert marking the 50th anniversary of the Seoul Baroque Ensemble on January 14, 2015. The “Reading Ensemble” by John Malkovich and the Seoul Baroque Ensemble showed the possibility that classical instrumental music performances could be revitalized. Media attention from around the world focused on John Malkovich and the Seoul Baroque Ensemble, and more than 50 additional requests for performances came after the London and Berlin tours. The ensemble of the Seoul Baroque Orchestra and John Malkovich is an achievement that the Korean Chamber Orchestra has never achieved before, and it can be seen as a successful fusion of reading and classical instrumental music. In this paper, based on the art preference theory of Lessing, an 18th-century German art critic, I would like to analyze the ensemble case of the Seoul Baroque ensemble and actor John Malkovich. In addition, I would like to describe based on the theory of interpretation level that reading plays a role in helping classical instrumental music and audiences communicate smoothly. In conclusion, we would like to prove that reading can contribute to the activation of classical instrumental music.

과연 우리나라에 건국절이 필요한가?

최혜성 철학문화연구소 2017 철학과 현실 Vol.112 No.-

金屬切削에 있어서 톱니形狀 칩의 發生에 關한 硏究

崔惠成 울산과학대학 1984 연구논문집 Vol.9 No.1

流動型 칩을 발생할 만큼 충분한 延性을 갖지않은 金屬을 切削할 때 균열은 칩 표면에 주기적으로 발생되고, 칩의 斷面은 톱니형상과 같이 된다. 이 톱니형상 칩을 流動型 칩과 비교하면 상당히 얇고 길며, 그 때의 切削力은 적게 소모된다. 本 硏究는 톱니형상 칩이 어떠한 경우에 발생하는가에 대해 조사하고 검토하였는데, 7-3 黃銅과 같이 유연한 금속을 절삭할 때 以前의 절삭에서 만들어진 加工硬化層을 절삭할 경우 塑性變形해서 脆化되기 때문에 톱니형상 칩은 자주 생기게 되며, 또 Magic ink의 塗布에 따른 Rebinder 效果도 역시 脆化를 증가시키므로써 톱니형상 칩을 발생시킨다는 것을 究明하였다. When a workpiece to be cut has not enough ductility to produce flow type chip, cracks are generated on the chip surface periodically and the section of the chip become just like the teeth of a saw. As compared with the regular flow type chip, the saw-toothed chip is remarkably thin and long, and requires less force to be produced. In this paper, it is studied that under what conditions and how this type of chip is produced. Due to the embrittlement by the plastic flow in the sub-surface layer made by the preceding cut, the saw-toothed chip is freqently produced in the preceding cutting of ductile metals such as 70-30 brass. The Rebinder effect of liquid also increase the brittleness.

레싱의 예술기호론을 통한 예술 융합 방법론 고찰- 로버트 윌슨의 "해변의 아인슈타인" 작품 분석 중심으로

최혜성,변혁 한국영상학회 2016 한국영상학회 논문집 Vol.14 No.5

현재 새로운 무언가가 필요하다는 시대적 요구에 의해서 ‘융합’이 시대의 유행이 되고 있다. 기술 융합, 지식 융합, 문화 융합, 예술 융합 등 사회 각 분야에서 다양한 융합의 시도가 이루어지고 있다. 특히 현대 예술은 20세기 중반 이후부터 디지털 미디어 시대에 이르는 동안 자발적으로 융합과 혼성의 길을 걷고 있기는 하지만, 아직도 근대 개별 장르화 체계가 큰 비중을 차지하고 있는 것이 현실이다. 이러한 현실 가운데 예술 융합은 점점 더 요구되고 있고, 융합의 시도들은 더욱 더 빈번해지고 있다. 그러나 무엇이 예술 융합을 가능하게 하는지에 대한 예술 융합 방법론 연구가 많이 부족한 상황이다. 이 시대의 예술 융합의 시도는 물질간의 융합을 통해 새로운 물질을 탄생시키려 했던 중세 연금술과 비슷한 입장인데, 예술 융합 방법론에 대해 더욱 체계적으로 연구해나가지 않는다면 연금술처럼 이루지 못할 꿈으로 끝날 수도 있겠다. 그러므로 본 논문에서는 예술 융합의 방법론을 연구하는 것을 목적으로 한다. 18세기 독일의 문예학자 레싱(Lessing)은 각각의 예술 장르들을 기호로 분류한 뒤 그 기호에 따라서 예술 장르 간의 융합가능성을 제시한다(Lessing,1766: as cited in Kim, 2006). 레싱의 예술기호론에 의하면 예술 장르 간 가장 완벽한 상호작용은 문학과 음악이고, 그 다음으로 이상적인 융합은 문학과 무용이며, 가장 불완전한 융합은 문학과 미술이다. 이러한 예술 기호론을 토대로 현대 공연예술계에서 융합의 대가로 불리는 윌슨(Wilson)의 대표작 오페라 “해변의 아인슈타인”을 분석하여 예술 융합의 원리를 연구해 보고 융합의 방법론을 모색해 보고자 한다. At present, convergence is a trend owing to the needs of the times and the requirement for something new. There are various type of convergence in each field in society, such as technical convergence, informational convergence, and cultural convergence. While there has been convergence in modern art spontaneously from the middle of the twentieth century to the era of digital media, modern individual specialization systems continue to play a major part. In this situation, convergence in arts is increasingly required, and attempts convergence are becoming more frequent. However, there is a lack of study on the methodologies of convergence in the art and what enables convergence in the arts. Attempts at convergence in art at this time are similar to medieval alchemy, which sought to create new substances through convergences of substances. Therefore, if we do not study more systematically the methodologies of convergence in the arts, the result may be a dream that cannot become true, akin to alchemy. Therefore, this thesis aims to study methodologies related to convergence in the arts and the factors that enable convergence in the arts. Lessing who was an eighteenth-century German literary scholar, classifies each art genre with signs and suggests the possibility of convergence between art genres according to the signs(Lessing,1766-1769: as cited in Kim, 2006). According to his symbology in art, the most perfect interaction between art genres is literature and music and the second is literature and dance but the most imperfect convergence is literature and art. According to symbology in art, here I study the principle of convergence in the arts by analyzing Robert Wilson’s major opera <Einstein on the Beach> and attempt to find a methodology of convergence.

한글을 통해 본 우리 역사의 사상적 맥락

최혜성 철학문화연구소 2019 철학과 현실 Vol.122 No.-

2-(Butylamino)ethanol 흡수제의 이산화탄소 흡수평형상수 측정

최혜성,박미소,신헌용 한국공업화학회 2013 한국공업화학회 연구논문 초록집 Vol.2013 No.1

고려후기의 공예: 입사 · 나전 · 상감기법 : 공예 기법간 유사성을 중심으로

최혜성 숙명여자대학교 문화예술관광연구소 2008 文化藝術觀光硏究 Vol.1 No.1

Inlay silver-thread(Ipsa) altar fittings of metal craft, inlaid(Sanggam) celadon of ceramic crafts and mother-of-pearl(Najeon) technique of wood-lacquer crafts among the works of art in the Goryeo dynasty are the representative craftworks achieved by Goryeo's original esthetic sense using advanced Inlay techniques. It is hard to conclude since when Najeon, Ipsa and Sanggam techniques started being used in Korean peninsula but the Inlay technique originating with the Mesopotamia in about 3000~2400 B.C., and introduced through China to Korean peninsula and has been used as the decoration techniques of metal craft since Three Kingdoms period and of wood-lacquer crafts Unified Silla dynasty and developed as the main technique for ceramic crafts since Goreyo period. In general, inlay of metal-thread on the surface of metal is called Ipsa, of mother-of-pearl, hawkbil or metal-thread on the surface of wood with lacquer, Najeon and of metal-thread on the surface of ceramic ware, Sanggam, and they differ only in their expression materials and whether to carve in and inlay surface directly or to use lacquer, however, their inlay methods of decoration materials on the surface of the molded craftworks are the same surface decoration methods. The period when these inlaid craftworks prevailed commonly in metal, wood-lacquer and ceramic crafts includes from late 12th to late 13th centuries, Euijong(1147~1170) and King Wonjong(1260~1274) years. There can be several background in which Ipsa, Najeon and Sanggam techniques had been developed in the mid-to-late Goryeo period and among those, notable one is the changes in the ruling class of the times, having enjoyed the beauty and subsequent changes in the aesthetic consciousness. In the period, the political power of Goryeo suddenly shifted from the civilian to the military due to the foundation of military regime(1170~1270) and also the society was unstabilized by Mongolian invasions and interferences of six times. Since the Goryeo period was an aristocratic socieity, where craftworks were manufactured upon the request of King and the nobility, the ruling class under the nationalized manual trade system, it can be assumed that the difference between civilian-centered and military-centered aesthetic consciousness brought the difference in the decoration techniques of craftworks. At the time, Goryeo society was centered around Buddhism, however in politics, civilian-centered noble families based on Confucianism were at the center of power. Thus, their senses of beauty might include lyrical, elegant Confucian mind that tried to express nature simply no less than Buddhist color. In contrast, unlike civilian noble families who read ancient writings and poetry and drawn pictures, influential families consisting mainly of military vassals and pro-Yuan powers, who probably had more realistic way of thinking, lived luxurious life with their privately accumulated wealth beyond civilian noble families and their aesthetic consciousness might pursue explicit, dynamic and visual exuberance rather than implicit, static elegance and splendor. Moreover, as the center of hegemony moved from Song to Yuan in China, the Goryeo culture came to be influenced by the Yuan culture which had strong disposition as Northern nomadic tribes. Therefore, the Yuan art enjoying boldness and visual splendor was probably in fashion among the ruling class of Goryeo. In addition, even if Ipsa, Najeon, and Sanggam techniques appeared in different periods, Three Kingdoms, Unified Shilla and Goryeo, respectively, the reason why they could prevail simultaneously since the Goryeo period seems that sharing among these craft techniques was possible. The ruling class of Goryeo built manual trade centers in Capital, Gaegyeong and fulfilled the demand for central governmental offices with products produced there. In the official manual trade centers, handicraftsmen in various kinds of industries produced various kinds of products with advanced internal specialization and it seems that it might be possible for the offices to share techniques. There are similarities among these techniques, not only in their engraving methods but also the shapes of vessels and decoration design. The examples of products that had same shape but was produced different materials in the Goryeo period craftworks can be easily found in ceramic wares and metal vessels. As seen in the legacy like cups with stand(Takjan), water vessels(Jeongbyeong) and brazen vessels in vessels(Mojahap), etc.,the shapes of vessels being in vogue at the same period might be common phenomena in which they were manufactured with various craft materials. In addition, commonly the decoration designs such as willow and fowls, chrysanthemum, cloud and crane, phoenix, chrysanthemum and vines, arabesque and vines, and Yeouidu appear in the engraved symbols on the surface of bronze ware, inlaid celadon and Najeon lacquer crafts. Among them, most preferred designs include willow-fowls and reeds-fowls. The vogue of Ipsa, Najeon and Sanggam techniques is not like having come into being suddenly and enjoyed the height of prosperity for a certain period. Instead, they have been handed down continuously based on long tradition and come to be used for various craftworks, geared with the flow of the times preferring such decoration techniques in the late Goryeo.

전자 부품 및 시스템 PHM 연구 리뷰

최혜성(Hyeseong Choi),강문식(Moonsik Kang),이현우(Hyunwoo Lee),허성준(Sungjun Hur),이현석(Hansuk Lee),권대일(Daeil Kwon) 대한기계학회 2020 대한기계학회 춘추학술대회 Vol.2020 No.7

[시선] 연속 인터뷰 - 한살림선언 영문판을 펴내며

황도근,최혜성,윤형근,박순열,구도완,조완석 모심과살림연구소 2021 모심과 살림 Vol.- No.18

Early Gonadogenesis and Sex Differentiation in the Korean Rose Bitterling, Rhodeus uyekii

구인본,김정은,김명훈,최혜성,공희정,이정호,박인석 한국발생생물학회 2016 발생과 생식 Vol.20 No.4

This report describes the sex differentiation of the Korean rose bitterling, Rhodeus uyekii, from hatching to 170 days post-hatch (DPH) in relation to total length (TL), body weight (BW), and integral water temperature (IWT). The growth curve of TL from just hatching to 83 DPH was 5.144e0.045t (R² = 0.961; t, time), and that of BW was 2.398e0.086t (R² = 0.725). Primordial germ cells (PGCs) were observed at 17 DPH (7.9 mm TL, 3.74 mg BW, 374°C IWT), and thereafter began to protrude into the peritoneal cavity. At 21 DPH (9.2±0.14 mm TL, 4.8±0.07 mg BW, 462°C IWT), some PGCs contained condensed chromatin and oocyte were observed in meiotic prophase. In contrast to the ovaries, which grew gradually after sexual differentiation, testes began multiplying at 25 DPH (10.1 mm TL, 5.42 mg BW, 550°C IWT), when testicular differentiation was first identified, and multiplied continuously thereafter. At 33 DPH (11.2 mm TL, 10.5 mg BW, 726°C IWT), the developing testes contained spermatogonia that exhibited mitotic activity. No spermatocyte or sperm cell was observed until 83 DPH (18.9 TL, 48.2 mg BW, 1,826°C IWT). At 170 DPH (32.5 mm TL, 270.1 mg BW, 3,740°C IWT), which was the end point of this study, the mature ovaries showed germinal vesicle breakdown, while the mature testes contained observable spermatocytes and sperm cells. These results allow us to identify the sex differentiation type of the Korean rose bitterling as differentiated gonochoristic.