鳥足文土器의 變遷樣相

崔榮柱(Choi, Young-joo) 한국상고사학회 2007 한국상고사학보 Vol.55 No.-

鳥足文土器는 토기 동체면에 새 발 모양의 문양을 타날한 토기를 말한다. 본고의 목적은 한국 중서부이남지역과 일본에서 출토되는 조족문토기에 대한 검토를 통해 조족문토기의 시기적인 변천과 지역적인 특성을 알아보고자한다. 청주 신봉동고분군과 나주 반남·복암리고분군의 유물공반관계를 통해 교차편년을 실시하여 크게 3개의 분기로 설정하고 다시 세분하여 6개의 소기로 구분된다. 중서부지역권은 4세기 중·후엽~5세기 중·후엽으로 한성백제 단계이다. 중서부지역권은 Ⅰ-1기는 한성 백제양식토기가 부장되고, 조족문토기가 출현하는 시기이다. Ⅰ-2기는 석곽묘가 출현하고, 한성 2기양식토기기종(개배, 광구장경호)의 부장이 확대되는 시점에서 조족문토기는 발전된 양식으로 변모한다. Ⅰ-3기는 석실분이 출현하고 토기 기종과 무구류와 마구류가 백제화된 시점으로 조족문토기는 다양한 요소를 보인다. 이후로 이 지역에서는 조족문토기가 소멸된다. 이 시기에는 일본의 須惠器系 개배가 확인되고, 조족문토기의 기종양식이 비슷한 점으로 미루어 보아 이 지역 세력들의 일부가 백제를 피해 일본으로 건너갔을 것으로 추정된다. 남서부지역권은 5세기 후엽~6세기 중엽으로 웅진백제 단계이다. 남서부지역권 Ⅱ-1기는 대형옹관묘 존속, 영산강식석실분의 등장과 장고분의 출현 등으로 보아 마한의 독자성이 인정되고 조족문토기는 주로 고분의 주구에서 출토되며 단경호 및 조리와 관련된 기종이 확인된다. Ⅱ-2기는 백제계 유물의 부장이 확대되고 관식이 확인되는 시점으로 조족문토기는 장제의례행위와 관련된 기종이 확인된다. 이 시기에 일본의 조족문토기는 주로 5세기 대에 생활유구에서 조리용 토기들이 확인되며, 5세기 후엽에서 6세기 중엽에는 주로 고분에서 단경호가 출토된다. 이런 양상으로 미루어 4세기 말~5세기 전엽 부터는 마한의 사람들이 일본으로 이주했을 가능성이 높은 것으로 보인다. 6세기 중엽 이후는 조족문토기가 소멸되는 단계이다. Chochohmun pottery is the pottery with bird's footprint shape on the surface which was imprinted by paddling technique. The purpose of this paper is to trace temporal change as well as spatial variations of the characteristics in Chochohmun pottery, whilch has been discovered in southern midwest Korea and Japan. Tumuli in Shinbong-dong, Chungju and in Bannam and Bokam-ri, Naju, can be divided into three major periods and into six minor stages through relative cross-dating. Midwest area belongs to the Hangsung Baekje style pottery appeared at the Ⅰ-1 stage and earliest Chochohmun pottery was included in it. At the Ⅰ-2 stage, the outer stone coffin appeared, and the burial of the Hangsung stage 2-style pottery characterized by lid and bowl set and large-mouth and short-nect jar expanded. In this period Chochohmun pottery was changed into the developing style. At the Ⅰ-3 stage, as stone chamber tomb appeared and the pottery, the weapons and the harness were changed into Baekje style, various types of Chochohmun pottery showed up. After this time, Chochohmun pottery disappeared in this area. However, at this time, the lid and bowl of Japanese pottery tradition was found and the style of Chochohmun pottery became as same as that of Japan. Therefore it can be presumed that some powerful group of people carrying Chochohmun pottery moved from Baekje to Japan. Southwest area belongs to the Ungjin Baekje period in between late fifth and mid sixth centuries. At the Ⅱ-1 stage in southwest area, Mahan's originality showed up in the construction of large jar coffin tomb, and the appearance of Young-san river style stone chamber tomb, and the emergence of Jang-go tomb. At this period, Chochohmun pottery were found in the circular moat of the tombs, and short-neck jar and culinary potteries were found. At the Ⅱ-2 stage, the burial of Baekje style relics expanded and coffin ornaments appeared. In this stage Chochohmun pottery, which was related to funeral ceremony, was found. During this period in Japan, Chochohmun pottery was found in culinary potteries in residential remains of fifth century, and short-nect jar of late-fifth and mid-sixth centuries were found in ancient tombs. These indicate the movement of Mahan people into Japan from early fifth century. After mid sixth century belongs to the disappearing stage of Chochohmun pottery.

간접 광대전에 의한 서브 마이크론 입자의 단극하전 특성

최영주,김상수,Choi, Young-Joo,Kim, Sang-Soo 대한기계학회 2003 大韓機械學會論文集B Vol.27 No.6

A new unipolar aerosol charger was developed by using an indirect photoelectric charging. The charger consists of two coaxial tubes, the inner UV lamp wrapped with stainless mesh and the outer Al cylinder. In this study, the effects of flow rate, particle size, and electric field were examined to search the optimal charging conditions with experimental and numerical methods. Monodisperse NaCl particles were fed into an annular space and the particles were charged by negative ions generated from Al plate exposed to the UV light. According to experimental results, the average number of elementary charge on particles increases from 2.5 to 5.5 as particle size increases from 50nm to 130nm at 2.5 L/min and 100V. The average number of elementary charge on particles was maximized at 25V as the electric potential between the stainless mesh and Al plate was varied from 0V to 400V.

아파트 거주자의 커뮤니티센터 시설 및 프로그램 만족도 -광주광역시 아파트를 중심으로-

최영주,김미희,Choi, Young-Joo,Kim, Mi-Hee 한국주거학회 2009 한국주거학회 논문집 Vol.20 No.5

The purpose of this study is to suggest the design guide-lines for the community center through the analysis of users' satisfaction on the community facilities and programs. This study was approached by using theoretical investigation, a field survey and a questionnaire survey. The field survey was analyzed the current situations by conducting a housing managers' interview and viewing a blueprint of the community center. The questionnaire survey was tested by examining five different apartment complexes of over 500 households in Gwang-ju, which were all built between 2005 and 2007, 268 users were interviewed for the questionnaire survey. After all the questionnaires were collected, the data was coded and analyzed using the SPSS 12.0 program. Statistics used from data analysis were frequencies, means, standard deviations, one-way ANOVA, t-test, and correlation analysis. To conclusion, the satisfaction and usage of community facilities and programs shows higher for the indoor exercise/sports; such as, yoga, golf, and health programs than others. There is no strong correlation between the location and layout of community facility in apartment complex. However, this study could be a reference data when planning a new community center where plans to have community facilities and programs to satisfy its future users.

안와 병변에 대한 감마나이프 방사선수술

최영주,이정일,김윤덕,Young-Joo Choi,M,D,Jung-Il Lee,M,D,Yoon-Duck Kim,M,D 대한안과학회 2008 대한안과학회지 Vol.49 No.4

Purpose: To evaluate the effectiveness and safety of treating orbital lesions with gamma knife radiosurgery (GKS). Methods: Between April 2004 and January 2006, ten patients who had orbital tumors or vascular lesions and who underwent GKS were included in this retrospective study. Results: Ten patients with orbital lesions were treated with GKS. The group of orbital lesions consisted of 5 meningiomas, 2 schwannomas, 1 cavernous hemangioma, 1 arteriovenous fistula, and 1 adenoidcystic carcinoma of the lacrimal gland. The most common symptom was proptosis. The tumors were located at the orbital apex in eight patients, and five of these patients were treated with fractionated stereotactic radiosurgery. The mean cumulative marginal dose was 17.0 Gy (12-20 Gy), and the mean cumulative maximal dose was 30.8 Gy (16.2-40.4 Gy). The follow-up period ranged from 3 to 25 months (mean 13.9 months). During the follow-up period, magnetic resonance imaging revealed a decrease of tumor volume in 3 patients with symptomatic improvement. In two patients, tumor volume increased. No radiation-induced optic neuropathy, retinopathy, or cataract was observed in any of the 10 patients during the follow-up period. Conclusions: Gamma knife radiosurgery is an effective and relatively safe treatment when orbital lesions have a high risk of neurosurgical deficits with surgery, when they recur after incomplete resection, or when complete removal of tumor is impossible.

안구운동장애를 동반한 눈꺼풀처짐 환자에서 실리콘줄을 이용한 이마근걸기술

최영주,김윤덕,Young-Joo Choi,Yoon-Duck Kim 대한안과학회 2008 대한안과학회지 Vol.49 No.4

Purpose: To determine the efficacy of frontalis sling operation with silicone rods in patients with compromised corneal protective mechanisms. Methods: The authors retrospectively studied 6 consecutive patients (7 eyelids) with severe blepharoptosis with poor ocular motility who had undergone frontalis sling operations using silicone rods. Results: Preoperative diagnoses included third nerve palsy in 4 patients, double elevator palsy in 1 patient, and suspicious oculopharyngeal muscular dystrophy in 1 patient. With a mean follow‐up of 27.7 months, a good final lid height was achieved in all 7 eyelids. Mild exposure keratopathy occurred postoperatively in 3 patients. During the follow-up period, no other significant complications, such as extrusion of the sling or infection, occurred. Conclusions: Silicone rods are effective and safe materials for use in frontalis suspension in treating blepharoptosis in patients with inadequate or absent Bell’s phenomenon, resulting in poor eye protective mechanisms associated with an increased incidence of corneal exposure. J Korean Ophthalmol Soc 49(4):548-554, 2008

박근형의 ≪청춘예찬≫에서의 현실주의 상상력과 일상의 재현 -서사의 수행성을 중심으로-

최영주 ( Young Joo Choi ) 한국연극학회 2006 한국연극학 Vol.0 No.28

While the reality is invented and the boundary between reality and virtual reality blurs, Park Geunhyung`s play is noteworthy considering the narratives center the marginalized individuals as a locutionary subject who have been excluded and suppressed from the traditional discourse. Especially the way his characters reflect the socal reality is very practical. This mirrors the 1990s` socio-cultural paradigm. In 80s the writer`s responsibility for the society aimed at criticizing socio-political conflicts and resulted in serious narratives. With the civil government of the 90s the writers responded to the various social aspects, the poverty, the isolated human relationship, the destroyed families, the joblessness, the individual dreamlike desire and even the lost grand narratives in a detailed touch. Focusing on the problems which the former realism play had granted naturally, they question them and explore the expressive style and reveal the individual everyday with the socio-cultural background. This gives rise to a different narrative style from the Western narratives of minimalism and Japanese ultra-realism style. Park`s Cheungchoon Yechan is a paragon about how the narrative can relate social conflicts focusing on individual private stories. In this, the narrative does not explain but show a `spacial map`, a metaphorical landscape. His style follows two directions as interweaved: the narrative and the performance. `Performativity`, `mapping space`, `audience participation` are normative to explain this style as this paper has surveyed. Especially in this play the performativity returns the narrative to performance itself, to the matrix of playwright/ director`s play. The narrative is characterized by contact, coding, collaboration, and conspiring. The correspondence between character and performer, the position of words, the vibration of sound, the collaboration of words and body, and silent body can open multiplicity in signification. As a result, though this play unfolds a family`s hopeless history without possibility, the metaphoric landscape is not totally tragic and destructive. The family relationship provokes warmth and human value and suggest the strength to survive human condition. This also advocates the way how the individual everyday can center in the narrative.

디바이즈 공연 방법론과 미학에 관한 이론적 고찰

최영주 ( Choi Young-joo ) 한국연극학회 2017 한국연극학 Vol.1 No.62

본고는 공동 창작이나 디바이즈 제작 방식이 국내외를 망라하고 공연계에 확산되고 있는 상황에서 이에 대한 이론적 논의가 소통되고 있지 않다는 점에 주목하였다. 디바이즈란 공동 창작의 과정에서 퍼포먼스 양식의 표현 가능성을 탐색하기 위한 실천 방법이며, 이러한 사실에 초점을 맞추어 디바이즈를 관습에서 벗어나 새롭고 직관적이며 즉흥적인 표현 방식의 개발 전략으로 보고자 한 것이다. 이를 통해 본고는 비록 제한적일지라도 다양한 사례를 통해 반복되어 발견되는 방법론을 분석하여 일종의 플랫폼을 제시하는 것이 이론과 실천을 매개하는 하나의 방법이라고 보았다. 본고는 이러한 목적으로 시도된 디바이즈 제작 방법에 관한 하나의 담화라고 할 수 있다. 먼저 1장에서는 두 용어가 지닌 개념을 살펴보았다. 그리고 나서 2장에서는 두 용어를 중심으로 이루어진 역사적 양상에 주목하였다. 3장에서는 디바이즈의 방법론을 고찰하고, 태도와 전제, 리서치와 디자인, 리허설과 디바이즈 하기의 순차적 과정을 살펴보았다. 4장에서는 예술로서의 디바이즈를 구성하는 요건을 미학적 측면에서 분석하면서 창의적 발상과 연극성, 형식적 총합과 몽타주, 시적 승화로 나누어 분석하였다. Regarding the situation the numbers of the devised theatre are unprecedently increasing, it is noteworthy that its theoretical discourses are surprisingly scarce in Korea. This paper aimed to provide a methodology on how to advance the process and how to achieve an artistic value in devised theatre. Of course, devising itself is free activity as a creative and spontaneous intuition is, and rejects to be systemized. Nonetheless, it would be at least possible to find the recurrent method or strategy of the process in the individual production of devised theatre in spite of the limits. To construct a devising methodology with an aesthetic value, my paper followed four steps of research. The definition, the historical background, the methodology, and the aesthetic value. Firstly, I started with the definition that both collective creation and devised theatre. Then I could grasp that the collective creation or the devised theatre invited the members as subjects for their creative process. Also, I paid attention to the current situation that devised theatre and collective theatre have been using at the same time. Secondly, I tried to give an overview of the historical development of them. I found the terms of devising were frequently being used as the director participated in the rehearsal process with a text. In this, I proposed that devising could be a strategy to improve creative impetus in theatre production. Thirdly, I suggested how to proceed the devising process with the resources, which were collected from the former practices: the pre-requiring attitudes for devising, research and design, rehearsal and devising, the open rehearsal and first performance. I also emphasized the essentials of each process. Lastly, I suggested devising conditions are required to get artistic value. The creative thinking, the theatricality, the formal organic completion, the montage, and poetic sublimation are the four aspects to it. As mentioned above, I aimed to construct a methodology for the devised theatre. This would be deductive reasoning and arbitrary in some respect when considering the devising is getting more diverse and more complex. However, it can not be doubted that this study would add fuel for the practitioners to find more creative process based on this already explored road.

삼국시대(三國時代) 토제연통(土製煙筒) 연구(硏究) : 한반도(韓半島)와 일본열도(日本列島)를 중심(中心)으로

최영주 ( Young Joo Choi ) 호남고고학회 2009 湖南考古學報 Vol.31 No.-

연극성의 실천적 개념

최영주 ( Young Joo Choi ) 한국연극학회 2007 한국연극학 Vol.0 No.31

멀티미디어 공연에서 비디오를 활용한 리얼리티 구축하기 -샤우뷔네의 <햄릿>과 리니아 드 솜브라의 <아마릴로>를 중심으로-

최영주 ( Young Joo Choi ) 한국연극학회 2014 한국연극학 Vol.1 No.53

본고의 의도는 6,70년대 비디오 기능을 재매개하여 90년대 이후 공연 현장에서 어떻게 미장센을 구성하며 이를 통해 어떤 방식으로 리얼리티가 강화될 수 있는 지를 살펴보는 것에 두었다. 비디오에 내재된 어떤 기능이 공연 예술에 수용되어 있으며 어떻게 의미를 심화시키고 표현 양식을 확장하는지가 본고가 관심을 두는 부분이었다. 이상의 논점에 천착하면서 본고는 비디오 기능에서 리얼리티를 구성하는 방식에 초점을 모아 분석하고자 하였다. 비디오가 공연 현장에서 미장센을 구성하는 배경에는 기존의 비디오 기술을 재매개하여 만들어진 핸드폰과 컴퓨터를 통해 이미지 문화가 개인을 그 생산자로 삼아 일상에 깊숙이 스며들고 있는 동시대의 문화적 현상과 관련된다. 또한 그것은 6,70년대 시작되어 전승되어 온 비디오 아트가 90년대 이후 동시대 공연 문화에 접목되는 것과도 관련되어 있다. 90년대 이후 공연에서 비디오가 미장센을 구성한 데에는 공연이 더 이상 기승전결 식의 재현 구조에 의존하지 않게 된 배경과 관련을 맺는다. 이미지를 통해 미장센을 구성하는 것이 공연 실천가들에게 자연스런 대안으로 제시된 것이다. 그러나 이들이 비디오를 택해 공연 현장에서 미장센을 구성하는 행위에는 비디오의 속성과 역사적으로 계발된 비디오의 비판적 기능과 미학적 기능이 의도적으로 재목적화 되고 있다는 것이 발견된다. 본고는 비디오가 비판적 기능을 통해 대상을 이미지로 포착하여 실제 시간 안에서 관객과 소통한다는 점과 프레임 안에서 상황을 강조하며, 대상을 일종의 제스쳐로 인용하는 속성을 지님으로써 리얼리티를 강화한다는 점을 포착하였다. 즉, 비디오는 현장을 기록하고 그 정보를 전달하는 소통 매개체로서 현장에 대한 인식을 고취시킴으로써 비판적 기능을 내재하고 있다고 하겠다. 또한 비디오는 디지털 기술과 결합하여 대상을 재현하는 것에서 나아가 환상을 창조함으로써 미학적 기능을 수행한다. 비디오가 대상을 기록하고 프로세싱하는 과정에서 편집 기술이 허용하는 클로즈업, 슬로우 모션, 다중의 초점, 몽타주와 콜라주 방식과 몰핑을 통한 이미지의 변형 등은 대상에 대한 관객의 기존의 지각 방식을 재분배함으로써 비판적 기능 외에 미학적 기능을 수행하게 된다. 본고는 이러한 비디오의 기능을 염두에 두고 국내에서 공연된 바 있는 오스트마이어 연출의 <햄릿>과 바르가스가 연출한 <아마릴로>를 분석하였다<햄릿>과 <아마릴로>를 살펴본 결과 본고는 비디오가 연출가의 의도와 관점을 수행하는 도구로 선택되었고, 여기에 대상에 대한 비판적 기능을 내재시키고 있음을 확인하였다. 역으로 비디오를 사용하는 데서 의도와 관점이 동반되는 않는 경우 단순한 시뮬라크르를 생산할 수 있다는 점도 확인하였다. 또한 두 공연에서 비디오가 하이퍼미디어 방식으로 미장센을 구축하는 것을 볼 수 있었는데, 이는 각 매체가 지닌 표현 영역을 상호 소통이라는 방식으로 더욱 확장하며 풍요로운 미적 체험을 배가시킬 수 있었던 방법이 되었다고 판단된다. 특히 하이퍼미디어 방식에서 대상이 자체의 의미와 표현 양식을 넘어 관객의 정서적 성찰에 의해 지각되는 경우, 미적 체험은 반성적 성찰이라는 인식의 확장으로 이어지고 여기서 대상에 대한 비판적 기능과 미학적 기능이 통합되고 있음을 알 수 있었다. When video composes mise-en-scene during the performance, it reflects the aspect of contemporary image culture, where the individual as creator joins in the image culture through the device of cell phone and computer remediating the former video technology. It also closely related with the contemporary theatre culture in which 1960’s and 1970’s video art was weaved into the contemporary performance theatre. With these cultural background, theatre practitioners regarded media-friendly mise-en-scene as an alternative facing the cultural landscape the linear representational narrative did not correspond to the present culture. Nonetheless, it can not be ignored that video in the performance theatre is remediating its historical function: to criticize the social reality. to enrich the aesthetic or emotional reality. I focused video in the performance theatre could feature the object with the image by realizing the realtime relay, emphasizing the situation within the frame, and strengthening the reality by alluding the object as a gesutre. So I explored its two historical manuel. First, video recorded the spot, communicated the information, and arose the audience’s recognition of the object to its critical function. Second, video in performance theatre could redistribute perceptual way according to the editing method like as close up, slow motion, multiple perspective, montage and collage, and transformation of the image to the aesthetic function. Reminding the historical function of video in contemporary performance theatre, I analyzed two shows, Schaubuhne’s Hamlet and Lenea de Sombra’s Amarillo which were introduced to Korean audiences during the 2010 Seoul Theatre Olympics. It is known to us that Ostermeir found real social reality as a text and made the play the context. In this, he used video as a vehicle to penetrate the social reality through the hero’s perspective. It is also noteworthy that Ostermeir understood Hamlet’s dilemma as these days’ young generation’s propensity. They delayed action while being involved in image culture. Besides his use of video in the piece revitalized the aesthetic function of video by hypermedial perceptual method. Amarillo combined documentary theatre method with installation, physical theatre, and video relay on the spot, and activated aesthetic function with the intermediality, its interacting co-relationship between the media. In this performance theatre, video has recorded and pursued the absent presence of the real people who died or lost in the desert. At the same time it fantasized the emotional aspect of the people at the moment of their death, which would be opaque or non prominent otherwise. As a conclusion, I found the video in contemporary performance theatre visualized the rupture between the media and perform their intermediality. It attempted to disturb the transparent immediacy to invoke the spectator’s perception to the theatrical situation, to open its emotional and spiritual aspect, and to remind the realities as with Schaubuhne’s Hamlet and Lenea de Sombra’s Amarillo.