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.

주요 우울 장애, 정신분열병, 양극성 장애 및 정상 대조군에서의 N100 진폭경사

양은경,이승환,오성희,김상래,Yang, Eunkyoung,Lee, Seung-Hwan,Oh, Sunghee,Kim, Sangrae 대한생물정신의학회 2009 생물정신의학 Vol.16 No.3

Objectives : N100 amplitude slope(the intensity dependence of the cortical auditory evoked potentials) is widely considered as an indirect indicator of central serotonergic neurotransmission. However, there are only a few studies about N100 amplitude slopes of major psychiatric disorders. In this study, we examined N100 amplitude slope differences among major depressive disorder(MDD), bipolar disorder(BD), schizophrenia (SCZ) and normal controls(NC). Methods : We measured the N100 amplitude slopes of 35 patients with MDD, 33 patients with BD, 27 patients with SCZ and 35 NC subjects. Amplitude differences from N1 to P2 at the five different sound intensities(55, 65, 75, 85 and 95dB) were examined at Cz electrode. The N100 amplitude slope was calculated as the linear regression of five N1/P2 peak-to-peak amplitudes across stimulus intensities. Results : BD patients showed significantly reduced N100 amplitude slope compared with NC(0.54${\pm}$0.70 vs. 0.96${\pm}$0.72, p=0.035). N100 amplitude slope of SCZ patients was significantly reduced compared with NC(0.50${\pm}$0.47 vs. 0.96${\pm}$0.72, p=0.027). N100 amplitude slope of BD patients was significantly lower than that of MDD patients(0.54${\pm}$0.70 vs. 0.94${\pm}$0.60, p=0.046). SCZ patients also showed significant reduction of N100 amplitude slope compared with MDD patients(0.50${\pm}$0.47 vs. 0.94${\pm}$0.60, p=0.036). There was no significant difference of N100 amplitude slope between MDD patients and NC(0.94${\pm}$0.60 vs. 0.96${\pm}$0.72, p=1.000). Conclusion : Interestingly, the N100 amplitude slopes of BD and SCZ were reduced compared to NC and MDD patients. Our results suggest the predictive use of N100 amplitude slope in making differential diagnoses of major psychiatric disorders. Clinical implications of N100 amplitude slope in major psychiatric disorders were discussed.

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

측광 후처리 가공에 의한 유연 광직물의 발광 효과

양은경 ( Eun Kyung Yang ),이주현 ( Joo Hyeon Lee ) 한국감성과학회 2011 감성과학 Vol.14 No.4

The plastic optical fiber has been previously known to have the limits in fabrication and care, due to its lack of flexibility and durability. Recently, an innovative technology of ``water-resistant & flexible optical fiber``, in which the surface of etched POF(i.e., plastic optical fiber) is to be coated with a type of synthetic resin, has been developed. In this study, the post-treated POF-based flexible textiles were evaluated in terms of luminance, physical visibility and perceived visibility, according to the fabric lengths and colors of the light source. The POF-based flexible textile with 10㎝fabric length and green light source appeared to show relatively higher illuminating effects. The maximum distance for perceived visibility of the POF-based flexible textiles was found to be 100m. Therefore, the results of this study are expected to be utilized as a fundamental for the further studies to develop the digital color clothing with application of POF-based flexible textile.

중국 운강석굴 상부 북위 불교사원지의 가람배치와 동서문화 교류

양은경(EunGyeng Yang) 한국상고사학회 2016 한국상고사학보 Vol.92 No.-

운강석굴 상부 대지면에 위치한 불교유적지들은 발굴조사 내용이 구체적으로 공개되지 않은 이유로 인 해 유적지의 존재 자체를 인지하지 못하거나 혹은 연구자들로 하여금 혼동과 오류를 범하게 하고 있다. 이 유적지들은 중국 불교사원과 탑을 복원하는데 중요하지만 구체적인 연구는 이루어지지 않았다. 이에 본고 에서는 발굴자료와 현지조사에 근거하여, 유적지들의 위치와 조사내용을 구체적으로 정리하였다. 그리고 특이한 가람배치를 보이는 제33굴 상부 사원지의 기원문제와 중국화에 대해 집중적으로 분석하였다. 또한 불교사원지에서 동서문화의 교류가 이루어진 배경과 이 곳에 거주한 승려, 사찰이름에 대해 문헌기록, 고 고자료를 중심으로 추적하였다. 운강 제33굴 상부 불교사원지는 북위시대에 건립된 것으로 추정되며, 장방형을 이룬 중정의 중심부에 탑이 위치하고 탑의 네 주변을 승방이 에워싸고 있는 가람배치를 보인다. 필자는 이러한 가람배치를 동시 기에 건립된 사원불사지, 영녕사지의 1탑1금당식 구조와는 차이점이 명확한 독립적인 한 유형으로 분류하였다. 이 사원지의 전체적인 가람배치는 다소의 차이는 존재하지만 간다라의 지상사원에서 기원처를 찾을 수 있는 것은 부정할 수 없다. 그러나 이 사원지에서 확인되는 다층 누각식 목탑과 판축의 건축공법 은 중국 전통적인 특징으로 추정된다. 결국 이 곳에서는 동서 불교문화가 서로 융합되어 나타난 것으로 확인되며, 이는 북위의 동서문화 교류의 한 단면을 보여주는 점에서 중요하다. 필자는 운강석굴 개착공사의 책임자였던 담요스님이 거주한 통락사라는 사찰이름을 주목하여 그 위치를 추적한 결과, 운강석굴 상부 대지면에 소재한 것으로 추정하였다. 담요는 석굴 공사를 총책임지면서 동시에 간다라, 서역 출신 승려들과 함께 이곳에서 역경작업을 하였던 것이다. 간 다라, 서역 승려들이 운강에 거주한 사실은 이곳의 불교사원에서 간다라적인 가람배치가 출현하 는데 결정적인 역할을 하였을 것이다. 후한대 불교가 중국에 전래되면서부터 북위시대까지 확인되는 승원식 가람배치는 1탑1금당식 배치와는 다른 유형이라는 사실에 주목해야 한다.왜냐하면 우리나라 고대 불교사찰의 가람배치 에서도 차후 발견될 가능성이 있음을 시사하기 때문이다. Despite its critical role as a source for restoration works on Buddhist temples and pagoda, the Buddhist sites located in the upper plot of the Yungang Cave(雲岡石窟) have not been sufficiently studied. In this paper, location of sites and full information acquired through field trip and excavation data are presented. In particular, this paper addresses issues regarding the origins of an unique temple layout and paintings of No.33 upper cave and assimilation into Chinese style. In addition, what caused the east-west cultural exchange in Buddhist temples and the monks who had resided here, are discussed, based on the historical re¬cords stating temple names and archaeological data. It is thought that the Yungang Cave upper Buddhist temple site of cavern No.33 was estab¬lished in the Northern Wei Period. Pagoda is positioned in the middle of the garden with a rectangular outline and surrounded by monk’s residential pavilions. This arrangement type is distinguished from the one pagoda-one Buddha hall system represented by the Siyuanfosi(思遠佛寺) and Yongning temple(永寧寺) sites. The origins of this temple layout can be sought in the Saidu and Takht-i-Bāhī temples of the Gandhara region. However, Yungang’s layout is different from that of Gandara and cen¬tral Asia where the monastery tended to have been separately placed from the area where pagoda was positioned. Although the pagoda at the Babar-khäna site Locality B of the Jandiāl temple and that of the Pippala temple site showing the location of the temple at the center with surrounded buildings is claimed to be the direct origin of the patterns at Yun¬gang. However, the time lag between the pagodas and monasteries, and overlapped various building foundations questioned the assumption suggested above. It cannot be denied that the ultimate origins of the entire layout of the Yungang temple is the overground temples of the Gandhara region, but the influence of Chinese brick-built ar-chitecture is detected in the multiple tiered castle-like wooden pagoda and the rammed- earth construction techniques which indicate the fusion of cultural styles between Gandha¬ra-esque aspects and those of China. This is important in that it reflects east-west cultural exchange of the Northern Wei dynasty. Considering the name of temple Tongle(通樂) where the monk, Tanyao(曇曜), responsible for construction of the Yungang cave, lived, it is assumed that the temple was in the upper plot of the Yungang cave. While supervising the construction of the cave, Tangyo was thought to have been working on translation of Buddhist bibles with monks from Gandhara and the Western Regions. Thus existence of monks from Gandhara and the Western Regions may have played a decisive role in appearance of the temple layout with the influence of Gand¬hara style. As the power the Northern Wei Emperor Taiwu(太武帝) had spread to the Western Regions, cultural exchange with the Western Regions had been highly intensified. Archaeological find¬ings in Datong(大同) region illustrate such social aspects of that time. Thus it seems natural that the Ganhara style temple layout had appeared in Pincheng region of the Northern Wei, considering its close relation with the Western Regions.

논문 : 미륵사지 출토 벽화편의 제작기법과 제작년대-중원(中院) 김당지(金堂址) 출토품을 중심으로-

양은경 ( Eun Gyeng Yang ) 한국고대학회 2014 先史와 古代 Vol.41 No.-

미륵사지 중원(中院) 금당지(金堂址) 서편 기단 외부에서 출토된 벽화편의 보존상태는 양호하지 않았지만 유물관찰이 가능한 12점을 중심으로 하여 벽화의 제작기법, 문양의 종류, 제작년대, 원래의 모습에 대해 살펴보았다. 벽화편의 제작기법은 뒷면에서 앞면으로 볏짚과 석영계통의 흰색 돌이 섞인 점토, 사립이 섞인 고운 점토, 회칠, 안료를 이용하여 문양을 그린 순서로 이루어졌다. 몇 겹의 점토층 위쪽에 백회를 칠하고 채색을 한 것은 백제, 발해, 중국, 일본 불교사찰을 비롯한 목조 건축물에서 확인되는 공통된 요소이다. 그러나 미륵사지 벽화편에서는 제석사지 폐기장, 발해 상경성 사원지의 벽화편에서처럼 벽화 뒷면에 각목 혹은 대나무를 사용한 골조흔 혹은 산자를 엮듯 새끼줄로 엮은 흔적 등은 확인되지 않는다. 이는 화재와 후대의 파손 등의 원인으로 인해 이미 파손되어 현존하지 않을 가능성도 배제하기 힘든 것으로 추정하였다. 문양으로는 대나무, 꽃무늬, 불명확한 기하학무늬 등이 확인된다. 이중 대나무 문양, 꽃무늬잎의 양식을 통해서 7세기 대나무, 초당대 보리수잎 유형과 유사성이 발견된다. 또한 이러한 문양은 경변도와 관련되었을 가능성은 낮으며 대나무의 모습은 일본 7세기대 옥충주자에 그려진 대나무와 유사하다. 그러나 적은 수량과 파편으로 수습된 벽화편을 통해, 벽화의 전체적인 모습을 추정하는 작업은 불가능하다. 미륵사지 출토 벽화편의 제작년대는 발굴 당시의 층위와 동반 유물을 통해 추정할 수 있었다. 벽화편들은 통일신라시대 기와, 백제 수막새와 함께 수습되었다. 벽화편이 출토된 유물층은 고려시대 유물층과는 층위 구분이 뚜렷할 뿐만 아니라 기단 북편과 기단 내의 일부 교란층에서 보여주는 고려시대 유물층과는 다른 양상으로 확인되었다. 발굴결과를 통해 보면 중원 금당지 서편에서 출토된 벽화편은 고려시대 유물은 아닌것은 확실하며 백제 혹은 통일신라 초기 유물로 추정된다. The extant condition of a part of a wall mural painting excavated on the outside of the west stylobate in the central court main hall of the Mireuksa temple site(彌勒寺址). From an examination of twelve pieces of the mural wall painting the method of production, the type of patterns, the date of production, and original appearance were gleaned. First, in terms of the production method, rice straw and quartz-like white stones mixed with clay between the back and front side were spread and then sandy clay with coated over the top. After the top was lime washed in white, patterns were drawn on the extreme outside using black, red, and white pigments. White lime was painted on the upper part in several layers. This is a shared element of the wooden structures of Buddhist temples of Baekje(百濟), Balhae(渤海), China and Japan. However, the main hall of the central court at the Mireuksa temple site as with the excavated pieces of mural paintings from the rubbish heap of the Jaeseoksa temple site and the temple site of the Sanggyeong-seong Fortress(上京城) of Balhae, remains of the framework or lattice sticks across the roof of the rafters but there is no evidence of a straw rope woven together. This was damaged by fire and due to the cause the possibility is that the extant was excluded. The confirmed patterns drawn on the excavated mural painting piece from the Mireuksa temple site include bamboo, flower designs, and unknown geometric designs. Among these, the bamboo and flower designs are similar to the seventh century bamboo and linden type designs of the early Tang(唐). In addition, it is possible that these kinds of designs and the subject matter of sutra paintings and related images is flatter. Moreover, the bamboo is very similar to that of the bamboo that is drawn on the Okchung Juja(玉蟲廚子) of seventh century Japan. However, it is not possible to surmise the entire images of the wall mural painting because of the small number of pieces. It is possible to estimate the dating of the wall mural painting because of the layer of the excavation and the associated artefacts. The pieces of the wall mural painting were recovered together with Unified Silla roof tiles and Baekje roof-end tiles. The layer from which the wall mural painting was excavated is not only clearly different with that of the north side stereobate layer of the partially disturbed layer from which Goryeo(高麗) Period artifacts were excavated, both layers have a different aspect. It is clear from the results of archaeological excavations that the mural painting and artefacts correspond to Baekje or perhaps Unified Silla(統一新羅) rather than Goryeo.

3D 캐릭터 가상의상 제작을 위한 소프트웨어의 사용성 평가

양은경(Yang, Eun Kyoung),김숙진(Kim, Sook Jin) 한국디지털디자인협의회 2014 디지털디자인학연구 Vol.14 No.1

3D 가상의상은 3D 가상착의 시뮬레이션 분야와 3D 캐릭터의 가상의상 분야로 나뉘고 두 분야는 서로 다른 기술을 사용한다. 그러므로 3D 가상착의 시뮬레이션을 이용하는 패션전공자가 3D 그래픽 소프트웨어의 전문지식을 요구하는 3D 캐릭터의 가상의상 분야에 접근하기는 쉽지 않다. 따라서 본 연구는 패션전공자들의 3D캐릭터 가상의상 제작 프로세스에 대한 이해를 증진시키기 위해 3D 캐릭터 가상의상 제작 소프트웨어를 소개하고 그 사용성을 분석하는데 목적을 둔다. 본 연구의 범위는 포저(Poser) 소프트웨어와 포저용 3D 캐릭터의 가상의상 콘텐츠 제작으로 한정한다. 본 연구의 방법과 내용은 1차로 3D 가상의상의 정의와 제작 소프트웨어들의 이론을 고찰하고 포저용 3D 캐릭터 가상의상의 특징과 제작 방법에 대해 정리한다. 2차로 독특한 패턴 디자인의 실제 원피스를 선정하여 디지털 클로딩 소프트웨어를 이용하여 3D 가상의상으로 제작하면서 그 표현 특성을 분석하였다. 3차로 포저를 이용하여 앞서 제작된 3D 가상의상을 포저용 3D 캐릭터의 가상의상으로 변환하는 프로세스를 살펴보았다. 이 과정에서 포저를 사용할 때의 장점과 문제점, 보완점 등을 분석하였다. 그 결과 포저는 인터페이스의 구성과 기능이 단순하고 소프트웨어 내에서 제공되는 제한된 3D 캐릭터 에디팅 툴을 이용하면 쉽게 3D 캐릭터의 가상의상을 제작할 수 있는 소프트웨어임을 확인할 수 있었다. 하지만 직물의 물성표현과 소재의 특성 표현에 있어 아직 미흡한 부분이 많아 후속연구가 기대되었다. 본 연구를 통해 패션업계와 학계에 많은 관심이 확대되길 기대하며, 이를 통해 패션산업의 활동 영역이 새로운 첨단으로 확대되길 바란다. Virtual fashion field is divided into ‘3D virtual cloth-fitting simulation’ and ‘3D character clothing‘. Both parts employ different technologies to make virtual clothes. So approaching to 3D Character clothing which requires specialized knowledge about 3D graphic is not easy for people for who majored in fashion. Therefore, the purpose of this study is to introduce 3D Character virtual costumes creation software and analyze its usability to enhance comprehension of 3d character virtual costumes producing processing to the people who major in the fashion. The scope of this study is limited to Poser software and Poser Virtual costume contents produce of 3D character. As the methods and contents of This study ; Primarily, to define 3D Virtual costume and to examine theories of 3D virtual costume producing software and to summarize 3D character virtual costume’s characteristics and producing methods. Secondly, we selected the actual dress designed by unique Patterns and analyzed characteristics of expressing way of it by producing 3D Virtual costume using Digital clothing software. Thirdly, we observed the process that is converting previously produced 3D virtual costume into Poser 3D character Virtual costume by using Poser. While observing it we analyzed advantages, problems, and the part which needs to be supplemented of Poser. As result of analysis, we confirmed that Poser is easy to use to produce 3D character virtual costume by using Limited editing tools which are provided by the program, due to familiar interface and simple 3D character control functions. But it was still insufficient to represent texture of fabric the physical properties of the materials, so we expected a follow-study. We expect that this study can expand the interests of Fashion industry and academia. And further, fashion industry business area can be expanded to new contents market.

고구려의 역사적 의의 및 계승 발전 방향 ; 대륙(大陸)과 해양(海洋)을 품은 고구려(高句麗) 불교조각(佛敎彫刻)

양은경 ( Eun Gyeng Yang ) 한국고대학회 2008 先史와 古代 Vol.28 No.-

노년의 삶과 죽음에 대한 사회적 상상: 코로나19 팬데믹 시기 요양시설에 대한 미디어 재현 연구

양은경(Eun-Kyung Yang) 충남대학교 사회과학연구소 2024 사회과학연구 Vol.35 No.2

This study aimed to examine how the lives and deaths of elderly people living in nursing facilities are meaningfully represented in the media during the coronavirus disease-2019 (COVID-19) pandemic. The study used the concept of ‘social imaginary’ in conjunction with the concept of ideology to examine the negative signification and othering of the Fourth Age in media representations. The COVID-19 pandemic can be seen as a very important opportunity to frame public perceptions about the elderly and care facilities for them, amidst the conflicting stances of protecting the most vulnerable elderly from an epidemiological perspective and the reduction and privatization of social care for the elderly from the perspective of population management, which has been prevalent before COVID-19. In its representation of older people at risk from the COVID-19 pandemic, the social imaginary that the news creates is not one of infectious disease risk and fear, but of fear and dread of old age as a strange and alien entity of being frail and sickly, and of a life in a nursing home, which can happen to anyone.

스포츠 선수의 초국적 이동과 유연한 민족정체성의 형성

양은경(Eun Kyung Yang) 한국언론학회 2012 한국언론학보 Vol.56 No.4