M.F. Quintilianus의 생애(生涯)와 교육사상(敎育思想) 관견(管見)

안상원 ( Sang Won Ahn ) 건국대학교 교육연구소 1980 교사와 교육(구 교육논집) Vol.5 No.-

Quintilian (A.D. 35 ~ 96) was the most prominent Roman writer on education, with his theory expounded in the "De Institutione Oratoria," a work in twelve books giving the principles for training the orator. For Quintilian, the orator was not merely the man who could speak eloquently: he was also the virtuous man skilled in speaking, the citizen who employed all his skill in the service of the state. So this thesis analysis his life and educational thoughts. The training of the orator falls into three stages: the early home education up to seven years of age: the general ``grammar`` school education: and the specific training in rhetoric. He discusses whether children under seven years of age should be made to learn, the question whether public or private tuition is the better for children. The grammar school training is considered by Quintilian in its two aspects, the moral and the intellectual. Also, the remarkable modernity of Quintilian`s opinions is evident in his remarks on corporal punishment. His works is the most comprehensive. It doutless appeared too late to influence Roman education greatly. So this thesis proceeds to the following procedures; Introduction in Chapter I, Quintilian`s life and his works in Chapter II, Quintilians educational thoughts, namely the aims of education, family education, formal education, methods of teaching, and curriculum in Chapter III, conclusion in Chapter IV.

산업혁명기(産業革命期) 영국(英國)의 산업학교(産業學校)와 유아학교(幼兒學校)의 연구(硏究) (1)

안상원 ( Sang Won Ahn ) 건국대학교 교육연구소 1982 교사와 교육(구 교육논집) Vol.6 No.-

This study was attempted to describe some aspects of "The Industrial School" during the age of the Industrial Revolution in the United Kingdom in the following sequences: 1. Introduction 2. The establishment, background and development of the industrial school 3. The characteristics, educational activities and source of revenue of the industrial school 4. Conclusion The method applied in this study was purely descriptive on the basis of educational and historical writings, documents, papers, letters including regulations, prescripts and laws during this particular period. The results of this study may be described as follows: 1) The industrial school in educational practice was rather a week-day school or full-time school, not a Sunday school opened only on Sundays. 2) The industrial school was an organization of education for the poor or working-classes, such as the Sunday school, the monitorial school which hired monitors and the infant school during the age of the Industrial Revolution in the United Kingdom. 3) The industrial school was founded in London in 1676 by Thomas Firmin (1632 ~ 1697) who wrote "Some Proposals for the Employment of the Poor, and for the Prevention of Idleness and the Consequence thereof, Begging. A Practice so dishonourable to the Nation, and the Christian Religion" (1681). The school of Thomas Firmin founded in 1676 in London was called "The Work House School". After the work house school was founded in 1676 by Thomas Firmin, there were several industrial schools such as the work house school which was proposed by John Locke (1632 ~ 1704), William Pitt (1759 ~ 1806), and Sarah Trimmer (1741 ~ 1810) finally established the industrial school in 1799 at Brentford. 4) But in order to disseminate the industrial schools, one society was organized in 1796. It was "Society for Bettering the Condition of the Poor (S.B.C.P), the leader of which was Thomas Bernard (1750 ~ 1818). 5) After the society mentioned above was founded, the industrial school was widespread, gained acceptance, and increased in great number rapidly. 6) The government of the United Kingdom privided the industrial school with a government subsidy in 1846, and legistrated "Industrial school Act" in 1866. 7) The industrial school aimed at ① religious education, ② moral education and ③ 3R`s such as reading, writing and arithmetic. 8) The industrial school was falling into a period of decadence from 1830 ~ 50 and discontinued gradually by the "Elementary Education Act" in 1870.

일반논문 : 책: 현실과 판타지 세계의 통로 -미하엘 엔데와 코르넬리아 푼케의 판타지 소설 연구-

안상원 ( Sang Won Ahn ) 성균관대학교 인문학연구원(성균관대학교 인문과학연구소) 2015 人文科學 Vol.0 No.58

본 논문은 엔데의 『끝없는 이야기』와 푼케의 『잉크하트』를 책과 독서의 관점에서 고찰하는 연구다. 두 작품에서 소설에 등장하는 허구의 책은 판타지 서사의 중심에 놓인다. 책은 현실과 환상 세계를 연결하는 통로로서, 『끝없는 이야기』의 바스티안은 책으로 들어가 이야기의 주인공이 되고, 환상나라의 경험을 통해 내적으로 성장한다. 반대로 『잉크하트』 에서는 주인공의 특별한 읽기 능력에 의해 이야기의 형상들이 현실로 소환된다. 모와 매기 부녀는 환상계의 개입으로 인해 교란된 현실의 질서를 회복시켜야 한다. 이들 소설에서 환상성은 독서행위를 매개로, 현실과 2차 세계의 혼합으로 인해 발생한다. 건강한 현실을 위해 환상의 중요성을 일깨우는 이 소설들은 또한 디지털 영상시대에 소멸되어가는 책문화에 대한 헌사이기도 하다. The aim of this study is to analyze and compare two German fantasy novels: Michael Ende``s The Neverending Story and Cornelia Funke``s Inkheart. In both narratives, the ``book`` plays a very important role. In the novels, the fantasy world and the real world are mixed by overlapping or clashing. It is the book that serves as a passage connecting the two worlds. The protagonists of the novels are book readers. While reading, they experience a peculiar fantasy world from the book. However, in both novels the fantasy world and the real world are related to each other in different ways. In the Ende``s work, Bastian, a boy, goes into the story of the book. The reader becomes a hero in the fantastic story. It means that in the reader``s imagination a fantasy world turns into a vivid reality. Bastian discovered "the true will" of love through a fantasy world tour. Then he returns to reality. In contrast, in the Funke``s novel, the fictive characters in the stories are called to the real world. Through the existences that came from the fantasy world, the order of the real world is interrupted, and the world falls into chaos and crisis. Maggie and her father must restore the order of the real world through a series of adventures. It is confirmed in these novels that the fantasy elements are caused by the blending of reality and the fictional world. In order to communicate lively with the fictional world in the book, the imaginative absorbed reading is required. In this sense, the protagonists of The Neverending Story and Inkheart are excellent readers. Therefore, these novels could be also a kind of homage to the reading culture which gradually disappears in the digital video era today.

부피가 큰 치환체를 포함하는 카바졸과 결합한 안트라센 화합물의 합성

안상원 ( Sang Won Ahn ),윤구영 ( Koo Young Yoon ),이승희 ( Seung Hee Lee ) 한국유화학회 2013 한국응용과학기술학회지 Vol.30 No.1

유기전기발광 소자에서 천연색을 구현하기 위해서는 적색, 녹색, 청색 발광물질이 필요하다. 그러나 적색과 녹색의 발광 물질에 대한 연구는 매우 활발하나 청색의 물질에 대한 연구가 미흡한 것은 높은 발광 에너지 때문으로 보인다. 본 연구는 발광 효율이 높으며 열적 안정성이 좋은 화합물을 합성 하려는 것으로 carbazole로 치환된 anthracene 화합물 합성에 관한 것이다. Tert-butyl 기로 치환된 carbazole에 전기 발광 성질과 열적 안정도가 좋은 anthracene을 직접 결합시킴으로써 정공전달 특성을 갖는 작용기와 전자전달 특성을 갖는 작용기 간의 거리에 대한 연구를 시작하고자 하였다. In order to express the natural color in organic light emitting diode(OLED), red, green, and blue luminescent materials are needed. While lots of red and green emitters are searched actively, not many useful blue emitters are found yet. It is due to the high energy gap for the blue emission. This research is about a synthesis of the blue emitting compound with high emission efficiency and thermal stability, which starts with carbazole and anthracene. Carbazole with bulky substituent, tert-butyl group, is connected directly to electroluminescent and thermally stable anthracene. The distance between the hole transporting group and the electron transporting group are studied for the relevance to the luminescence.

현대문학 : 상상 동물 일각수의 변형과 그 의미-전설, 태피스트리, 릴케 시문학을 중심으로

안상원 ( Sang Won Ahn ) 한국브레히트학회 2014 브레히트와 현대연극 Vol.0 No.31

14세기를 배경으로 한 에코 U. Eco의 소설 장미의 이름 Der Name der Rose (1980)에서, 수도원 살인사건을 조사하기 위해 윌리엄 수도사와 함께 장서관에 들어간 아드소는 일각수에 대해 이렇게 말한다. “일각수는 그리스도와 순결의 상징입니다. 일각수를 생포하려면 처녀를 숲으로 보내야 해요. 순결한 처녀 냄새에 이끌린 일각수는 다가와서 처녀의 품에 머리를 두고 눕습니다. 사냥꾼의 그물에 기꺼이 자신을 바치는 것이지요.” 아드소의 말에는 중세부터 전해오는 일각수 전설이 요약되어 있다. 그리스도와 순결의 상징이며 처녀에게만 복종하는 동물 일각수. 동방의 먼 나라 어딘가에서 ‘봤다’고 소문으로 전해진 이 동물은 그 소문들이 모여서 중세에 하나의 형상으로 수렴된다. 독특하게도 실제와 허구 사이에 존재하는 이 상상의 동물은 중세 이후 조형예술과 문학에서 꾸준히 애호된 모티브였다. 시대마다 다양하게 구현된 일각수 형상은 당대의 문화적 의미를 담아왔으며, 오늘날에는 특히 판타지 소설, 영화, 애니메이션에서 종종 발견된다. 본 연구에서는 일각수 전설이 중세 기독교ㆍ기사도 문화에서 갖는 의의를 파악하고 그것이 예술로 재창조된 형상과 의미를 규명코자 한다. 먼저 전설의 원천과 그 형성을 살핀 후에 조형예술과 문학에서 대표적 사례를 분석할 것이다. 분석대상으로 택한 것은 15세기의 일각수 태피스트리 연작과 시인 릴케 R. M. Rilke (1875-1926)의 몇몇 작품들이다. 일각수 태피스트리는 시대적 함의가 매우 중요한 작품이며, 릴케의 문학은 이 태피스트리와 500년을 뛰어 넘는 ‘상호텍스트적’ 관련을 맺고 있다. Das Ziel dieser Studie ist es, die Transformationen der Fabelwesen Einhorn in der Kunst und Literatur zu erforschen. Die eigentliche Einhorn-Legende wurde in der Spatantike zur Vollendung gebracht. Der Physiologus, der eine fruhchristliche Naturlehre in griechischer Sprache ist, deutete das Einhorn, das von einer Jungfrau gefangen wird, als eine Allegorie fur die Menschwerdung Christi. Es war im Mittelalter ein Symbol der Reinheit und Keuschheit und sein Horn stand fur die Erlosungskraft Christi. In der mittelalterlichen Heraldik war das Einhorn als Wappentier sowohl ein Symbol der Kraft und Starke, als auch ein Zeichen fur die Demut und Bescheidenheit. Außerdem weist sein Horn als Phallus-Symbol auf die mannliche Potenz hin. So hat es auch den sexuellen Symbolwert. Das Einhorn wird im Laufe der Jahrhunderte zu einem der faszinierendsten plurivalenten Symbole der europaischen Geistesgeschichte. Eine sehr bekannte Darstellung eines Einhorns gibt es im Musee de Cluny in Paris zu sehen: Die Reihe von sechs Wandteppichen, die auch als hervorragende Beispiele fur Millefleurs-Dekor im 15. Jahrhundert gelten. Die ersten funf Teppichen stellen jeweils 5 menschliche Sinne allegorisch dar, und der sechste vereint alle funf Sinne in sich. Diese Wandteppich-Serie hat den Dichter des 20. Jahrhunderts, Rainer Maria Rilke fasziniert. In den Teppichen-Beschreibungen in den Aufzeichnungen des Malte Laurids Brigge wird das Tier zu einem Bedeutungstrager der ‘besitzlosen Liebe’, die zu den Hauptthemen der Rilkeschen Dichtung gehort. Das Einhorn hatte bei Rilke eine sehr wichtige Rolle. Sogar im Einhorn-Sonett ist “das Tier, das es nicht giebt”, Sinnbild seiner Dichtung selbst. Das Einhorn lebt noch heute. Das Einhorn-Motiv ist besonders im Fantasy-Genre beliebt. Das phantastische Tier wird schopferische Einbildungskrafte weiter bewirken, so dass die neue Transformationen und Bedeutungen erschafft werden.

충효사상(忠孝思想)과 국민교육론(國民敎育論)

안상원 ( Sang Won Ahn ) 건국대학교 교육연구소 1977 교사와 교육(구 교육논집) Vol.2 No.-

This study has attempted to find out the main concepts and implications of loyalty and filial piety in the domain of Confucianism, and of, partly, Buddhism. The special purpose of this study is to provide foundations of moral and ethical principles of the national education for our modern spiritual and moral life. Modern societies progress favorably toward industrial society. The industrial society tends to emphasize the high level of material growth and of efficiency. The material growth and the nature of efficiency center, therefore, upon the values of skills needed for industrialization, evaluating our traditional value orientations including that of human existence. This study has described the following aspects. They are: 1) preface 2) the essential concepts and implications of loyalty and filial piety 3) the educational approach to the thought of loyalty and filial piety 4) conclusion The method used for this study was primarily descriptive one analyzing the various educational and historical research materials, documents, papers, letters including regulations, prescript and laws. The results of this study are as follows: 1) loyalty and filial piety are considered to be our traditional thought, traditional ethics, spiritual heritage, non-material culture, and norms of our life. 2) as the reults, our concept and feeling about the loyalty and filial piety is far from being the same concept of loyalty and filial piety found in the western world. 3) as the definition of loyalty is self evident in its form of word, loyalty means that it keeps its self-identity. In other words, it emphasizes the existential self-identity and responsibility of an individual. Realistically, it indicates the self-consciousness such as one`s inmost feelings, one`s true mind, one soul, and the divine will. 4) The original concept of filial piety is also found in its word, namely, that a junior is carrying a senior on his back. Subsequently, filial piety is the appreciative feeling for the birth of his life. 5) loyalty and filial piety hold rather together, not being independent each other. 6) the concept of loyalty and filial piety should be reconstructed from classic concept to contemporary one, and it also must be changed from vertical concept to horizontal one. The national education promoting the thought of loyalty and filial piety may be thoroughly accomplished by the educational system through which family education, formal education, and social education become one body.

모던 영화의 내러티브 문제 -크리스티앙 메츠의 분석과 관련하여

안상원 ( Sang Won Ahn ) 한국미학회 2011 美學 Vol.68 No.-

크리스티앙 메츠의 「모던 영화와 내러티브」(1966)라는 논문은 모던 영화라는 주제와 관련해 여전히 주목할 만한 글로 남아 있는데, 특히 영화의 내러티브에 대한 메츠의 독특한 시선 때문에 그러하다. 이것은 서사학 영역에서 의미되는 바대로의 내러티브가 아니라, 영화의 모든 광학적·청각적 요소들을 통해 가능한 의미작용 방식을 가리키는 것이다. 언어학에 기반한 기호학적 방법론에 대한 비판들에도 불구하고, 영화에서의 내러티브에 대한 메츠의 견해가 오늘날에도 가치있는 것으로 남아 있는 것은 그를 통해 고전과 모던이라는 두 시대의 관계에 대해 혁신적인 성찰을 할 수 있기 때문이다. 이 개념을 도입함으로써 모던 영화는 하나의 혁명으로 그러나 고전 영화에 기반한 혁명으로 고려될 수 있게 된다. 영화의 두 시대 간의 관계는 단절이 아니라 창조적 연속이다. 메츠의 내러티브 개념 분석을 계속 밀고 나가면 잠재성 개념에 도달하게 된다. 즉, 영화 이미지의 존재 양태로서의 잠재성. 이 개념을 통해서 볼 때, 우리는 영화의 고전 언어와 모던 언어 간의 뚜렷한 경계를 발견할 수 없게 되고, 영화 이미지를 관객의 해석에 의해 현실화되는 잠재적 암시로 이해하게 된다. Christian Metz a publie son article " Cinema moderne et narrativite " en 1966, epoque ou le cinema moderne a ete a son apogee. Cet article reste encore remarquable par rapport au sujet du cinema moderne, notamment grace a la notion metzienne de narrativite filmique. Malgre des critiques sur sa methodologie semiologique fondee sur la linguistique, sa notion de narrativite filmique apparait toujours precieuse, parce qu`elle permet une reflexion innovatrice sur la relation entre deux ages du cinema, classique et moderne. La notion metzienne de narrativite filmique ne renvoie pas au domaine de la narratologie mais indique une demarche de signification par tous les elements optico·sonores du cinema. Avec l`introduction de cette notion, le cinema moderne peut etre considere comme une revolution mais basee sur le cinema classique. La relation des deux ages du cinema n`est pas de rupture mais une continuation creatrice. A la limite de notre analyse de la narrativite metzienne, nous arrivons a la notion de virtualite qui signifie le mode d`etre de l`image cinematographique. Avec ce concept, nous trouvons qu`il n`y a pas de frontiere definie entre le langage classique et le langage moderne du cinema, mais que la comprehension d`un film depend purement et finalement d`un spectateur comme individu. L`image filmique reste comme allusion virtuelle, qui peut etre actualisee par l`interpretation d`un spectateur.

영화 이미지의 투명성을 둘러싼 논쟁- 장 미트리를 중심으로

안상원 ( Sang Won Ahn ) 한국미학회 2010 美學 Vol.64 No.-

Jean Mitry a manifeste dans les annees 1960 ses idees theoriques concernant le cinema, idees qui ne sont pas suffisamment examinees jusqu`a aujourd`hui. Par rapport a la nature de l`image du cinema, nous trouvons une certaine opposition entre Bazin et des marxistes (apres 68), et Mitry nous offre une possibilite de depasser cette opposition avec la notion de virtualite. Pour Bazin, l`image cinematographique est une vraie revelation de la realite en gardant sa ambigulte. Cette conception est une tentative de la perception globale de la realite. Mais, avec ce developpement theorique, nous trouvons un paradoxe de l`indetermination determine, l`image etant toujours quelque chose de fragmentee. Les marxistes des Cahiers du cinema et de la Cinethique, ont denonce la nature ideologique de l`image cinematographique. Avec l`image non precisee et l`appareil cinematographique de base ideologique, le cinema renforce toujours l`ideologie dominante. Mais, comme ils reduisent quasiment tous les elements theoriques a une certaine volonte de la classe bourgeoise, leur approche apparait trop essentialiste ainsi que celle de Bazin. Mitry considere la justesse de l`image cinematographique en rapport avec l`identification des objets dans l`image. C`est a deux niveaux : la reconnaissance perceptive immediate et la justification dans le tout. Ces deux elements peuvent etre expliquees par la notion de virtualite, parce que la justesse d`une image doit renvoyer finalement au jugement d`un spectateur. L`image cinematographique en tant que fragment indetermine, reste comme une puissance virtuelle pour etre actualisee par un spectateur. Cette puissance est evidemment distinguee de celle du kaleidoscope qui est un faux mouvement, et est liee necessairement a la dimension du vrai mouvement de la realite. L`image cinematographique n`est ni transcendantale ni ideologique mais virtuelle.

<싸이코>(1960)의 두 시선

안상원(Ahn, Sang-won) 경성대학교 인문과학연구소 2016 인문학논총 Vol.41 No.-

서스펜스의 대가로 이야기되는 히치콕의 영화들은 트릭들의 단순한 모음이 아니다. 그의 영화들에는 다양한 문화적 함의들이 숨겨져 있으며, 이는 늘 암시적인 방식으로 그의 작품 속에 등장한다. 특히 <싸이코>(1960)는 이러한 함축적 차원이 매우 절제된 방식으로 암시되는 경우라고 할 수 있다. <싸이코>는 전형적인 스릴러의 면모와 실존적 차원의 표현이라는 면모를 동시에 갖춘 영화다. 관객 심리의 조작이라는 점에서는 에이젠슈테인과 동일한 성향을 노출하지만, 모호함의 표현이라는 부분에서 에이젠슈테인과 궤를 달리하는 히치콕은 고전적 스타일과 모던 스타일을 혼합한다는 의미에서 포스트모던한 성향을 내보인다고 할 수 있다. The films of Hitchcock cannot be considered as a simple set of tricks, although he is considered as master of suspense. Various cultural connotations are hidden in his films, connotations which are referred by allusion. Especially, Psycho(1960) is a case where this implicative dimension is expressed by a very restrained way. Psycho has both aspects as an stereotypical thriller and as an expression of the existential dimension. Hitchcock, who shares with S. M. Eisenstein the tendency of manipulation of the spectator but differs from him in regard to the expression of ambiguousness, appears as an postmodernist in the meaning of coexistence of the classical style and the modern style.

책 미디어의 발전과 독서문화의 변화

안상원 ( Sang Won Ahn ) 성균관대학교 인문학연구원 2011 人文科學 Vol.0 No.47

Bei dieser Arbeit handelt es sich um eine Uberlegung uber die Einflusse der Lesemedien auf die Lesekultur. Das Alphabet hat einen endgultigen Beitrag zur Formung der fruhen Zivilisationen geleistet. Die Dominenz der Literalitat hat die auf Oralitat beruhende, primitive Gemeinschaft aufgelost und die Standeverteilung bewirkt. Von der Antike bis zur Moderne hat die Entwicklung des Lesemediums standige Einflusse auf die jeweilige Gesellschaft und Kultur ausgeubt. Die Erfindung des Buchdruckes im 15. Jarhrhundert hat die kirchlichen und weltlichen Autoritaten entkraftet. Sie hatte allgemeine Verbreitung des Wissens zur Folge, und beforderte den Fortschritt aus dem Mittelalter in die Moderne. Im 18. Jarhrhundert hat sich eine allgemeine Lesekultur in Westeuropa verbreitet. Zwischen der Produktion(Autor), der Rezeption(Leser), und der Distribution(Verlag/ Buchhandel) wurde ein kommunikatives System konstruiert. Nach dem Ende der ``Gutenberg-Galaxis`` ermoglichte die Digitaltechnik eine Revolution des elektronischen Publizierens. Das Lesemedium fur E-books hat sich vom PC zum tragbaren E-Book-Lesegerat entwickelt. Digital-Convergence-Medien wie Smartphone und Tablet-PC sind auch als Lesemedien zu gebrauchen. Digitale Publizierung und neue digitale Lesemedien verursachten eine Veranderung der Lesekultur. Dadurch wurden die Autor-Leser-Beziehung und die Struktur der Publizierung und Distribution neu definiert. Neue Medien haben neue Leseweise entstehen lassen. Mit einem digitalen Lesemedium wird die Mobilitat des Lesens am hochsten verstarkt. Uberdies erschaffen die Digital-Convergence-Medien eine mehrfache Raumlichkeit im Cyberspace. Man kann allein mit einem Digital-Gerat verschiedene Aktivitaten ausfuhren. Die Grenzen dieser Raume im Cyberspace sind sehr leicht zu uberschreiten, deswegen kann auch das konzentriertes Lesen leicht gestort werden. Fur de Jugendlichen, die ein Convergence-Gerat als ein Lesemedium verwenden, bekommt das Lesen eine neue Bedeutung als ein Kommunikationsakt. Die leicht lesbaren Texte, die jungen Leser gerne lesen, sind Medien fur ihre Kommunikation und ihre eigene Kultur. In der digitalen Lesekultur verandern sich auch die Funktion der Bibliothek. Sie bietet nicht nur analoge Materialien wie Bucher an, sondern auch digitale audiovisuelle Informationen durch verschiedene Medien. Zukunftige Bibliotheken konnen neue Aufgabe als ein Knotenpunkt ausfuhren, eine große Menge disitalisierte Informationen zu versammeln und miteinander zu verbinden.