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      • 角抵塚의 服節表現과 編年硏究

        전혜숙 동아대학교 생활과학연구소 2001 생활과학연구 논문집 Vol.9 No.-

        Kak-Geo-Chong tomb was named by a Japanese scholar because the mural paintings of bravery was painted in its tomb. The thinking of the ancients as opposed to the existence of the life after death is described very well in the mural paintings. We can assume the life style and the costumes of the ancients through it. I would like to research the ancients' life style and way of thinking as found in the mural paintings of Kak-Geo-Chong tomb. In the Chapter I and the Chapter II, I have reviewed the features of Keo-Geo-Chong tomb. In the Chapter III, I have reviewed the expression of the costumes and the characteristics of setting. In the Chapter IV, I tried to express my opinion on the chronicle of Kak-Geo-Chong tomb which has several opinions as the characteristics of a style of mural paintings.

      • KCI등재

        뉴미디어 아트에서의 신체성: 촉각성을 중심으로

        전혜숙 미술사학연구회 2009 美術史學報 Vol.- No.33

        The new perspectives towards bodies since 1960s based on the trio of Phenomenology, Psychoanalysis, Cognitive Science, generally show the deconstruction of Cartesian mind/body dichotomy and new concept of inter-subjectivity. The body-artists in 1960s-70s used their bodies as raw materials, the sites of the inscription of cultural meaning. But the new media artists in 1990s approached to a concept of 'extended body' or 'bodies in code' which are submitted to and constituted by an unavoidable and empowering technical deterritorialization - bodies whose embodiments are realized , and can only be realized, in conjunction with technics. In this essay, I studied first, (Re)Mediated bodies through Sterlac's 'Cyborg Performance' and Paul Sermon's 'Virtual Body'. Sterlac has developed his own way that can make his body combine with technology(machine) and function in electronic world efficiently. Paul Sermon's work tells us that digital communication by virtual bodies is not disembodied, rather opens to experiences of embodied senses and tactilities. The encounter of body and technology has expressed and explored from the beginning of new media art. New media arts which have used digital technology with the context of human senses, have focused a relationship of sight and tactility. In this figuration, we can get to Merleau-Ponty's phenomenological existence, that is, primary tactility or infra-tactility comprise a kind of primitive or not yet differentiated, virtual, or potential reversibility out of which arises not simply the division of the senses, but more fundamentally, the divisions that comprise sensation per se. I examined the concept of 'Inter(sur))face' for validating of touch as a way of communication, of the phenomenological approach to the sight and tactility, and of the possible encounter with Others by skin. New media works like <Liquid View>(1993, Monika Fleisxhmann and Wolfgang Strauss) and Thecla Schiphorst's <Bodymaps: Artifacts of touch>(1996) in this essay, will be good examples for explaining concepts of sight/tactility, image/body, real/virtual, and digital technology, touch, skin-ego etc.

      • KCI등재후보

        미술 속의 인터페이스 : 르네상스 이후 미술에서 스크린과 프레임 개념의 변용

        전혜숙 이화여자대학교 이화인문과학원 2009 탈경계 인문학 Vol.2 No.3

        The Interface is a border-face between two different systems, or is a kind of nod that machine-users inter-communicate their information. It is, as well, a surface which can provide efficient communication between two spheres. In this essay, I study the picture-planes as interfaces that artists, especially painters, have used for seeing, experiencing and representing the world. It is a two dimensional surface, that is a screen in or on which the representation is put into operation. For this purpose, I surveyed the concepts of window, mirror, and frame. In the history of art, they have been used metaphorically by artists for providing various meanings of screens. However, they are divided into two categories. The first is the function of ‘transparent window’ that is based on perspective, and the other is the function of ‘opaque surface’ that is characteristic of modern painting in the 20th century. Recently, in new media art, electronic screens and digital interfaces can function as places that make it possible for artists to show experiences of space and time concretely. Therefore, we need a kind of new aesthetic for new screen interfaces. There are points which attract our attention. The points are our body's role as the foremost media of perception and the relation of our body to new media. Our bodies as subjects of immersion have become frames that are receiving all kinds of information perceptively in digital convergence cultures. In this way, we shall be able to think about bodies as interfaces.

      • 1920년대 여성운동과 단발에 관하여

        전혜숙,임윤정 東亞大學校 附設 生活科學硏究所 2003 생활과학연구 논문집 Vol.11 No.-

        Women's hair style expresses individual women's aesthetic sense, way of thinking and consciousness and further represents social aspects. It provides information about situations of a relevant society and times and values members of the society have. Hair style was also used as a measure for evaluating behaviors of women who received modern education in the period of Chosun's modernization, collectively called 'the new woman'. The new woman who were educated with modern ideas, started women's movements with Western ideas based in order to resolve Japanese colonial rule. Thus the purpose of this study is to determine correlations between such women as participants of the movements and their short-hair(斷髮). Results of the study can be described as follows. First, changes in the view of woman brought by modern education for women led to changes in women's social position and roles, forming a new group of women, collectively called 'the new woman', who took modern education and modern ideas in the 1920s. Women's movements made by group during Japanese colonial rule were different among them according to whether they were based on liberalism or socialism. Second, correlations between feminists and their short-hair(斷髮) varied in accordance with characteristics of women's movements. For liberal feminists, short-hair(斷髮) represented love and faithfulness and at the same time symbolized advanced social position of women and innovated consciousness of life. As far as social feminists were concerned, short-hair(斷髮) was a means of showing their strong wills to achieving women's emancipation, obtaining women's rights and escaping from conventional systems suppressing women. Those feminists returned to long-hair(長髮) in the late 1920s as their short-hair(斷髮) was not socially accepted and supported by old women. This suggests the limit of women's movements at that time. Through the study, this researcher could find that changes in hair style were not just the expression of desires for beauty, but also the clue with which changes in social consciousness could be determined.

      • KCI등재후보
      • KCI등재

        강릉방언의 성격과 특징

        전혜숙 영남대학교 민족문화연구소 2002 민족문화논총 Vol.25 No.-

        A goal of this study considered that Kangnung dialect character and feature. Kangnung dialect such as self-dialect not various precede study achievement also not enough data as compared with other region. There are many reason for this problem, first of all, Kangnung dialect that belong to Kangwon province that revert to Kyonggi province or the central districs dialect, so another dialect held a biased view a much feature as compared with standard dialect. In according to this study watch for Kandgnung dialect for phonological system, phonological phenomenon, morphophonology and grammar, so Kangnung dialect have many feature able to a core- dialect of ones, that was made of value significant. Consequently, first of all had a sport inspection that of a party an agricultural distric. This manuscript was made up of it is as follows. 1 Chapter as an introduction simplified for study objection and study achievement. Chapter 2,3,4 as main subject researched for sound system and the existing state of sound, grammar and morpho-phonemics. Mainly, in 2 Chapter researched a consonant and a single vowel 'e' 'ε, 'ø 'y' change, in a diphthong 'jŧ', 'jø' and length, pitch. in 3 chapter, nasul vowel, palatalization, and umlaut, a front vowel of the stem of a word, conservation of consonant, phonological. contraction. In Chapter 4 prove feature of this dialect that researched alternation an auxiliary of grade, and a suffix of close ' - a/∂' . At the conclusion proved for many feature of Kangnung dialect that objection of this study.

      • KCI등재

        비디오 아트에 나타난 변형된 시간성의 의미: 더글라스 고든과 빌 비올라의 작품을 중심으로

        전혜숙 서양미술사학회 2008 서양미술사학회논문집 Vol.0 No.29

        This essay treats with video art works that transform and manipulate the time or temporality with various ways especially digital technologies. The works which are treated in this essay are Douglas Gordon's <24 Hour-Psycho>(1993), Bill Viola's Passion series, Christian Kessler's <Transverser>(2000), Martin Reinhart and Virgil Wiedrich's <TX-Transform>(2000). Recently many attention has been given to role of video image as privileged mediator of the transition from the cinema to digital. That is the singularity of video images as a kind of mediator between extensive and intensive (or human and machine) time. Originally video is inherent time, many video artists use this factor for re-operating human perception and for generating psychological effects. For example, Scottish artist Douglas Gordon's appropriation pieces involving digital manipulation of found film footage engage the temporal dimension of cinema through a practice that is specific to video not only as a technical image medium but as the privileged mode through which images, as the material basis of contemporary perception, are actually lived or experienced. By reproducing Alfred Hitchcock's film <Psycho>(1960) in extreme slow motion, Gordon's <24 Hour-Psycho> makes the viewer disrupt the original narrative of the film to such a degree that memory and perception clash over the reconstruction of the film. The viewer fails to recreate the original story and has a kind of temporal stake - the loss of time, the need for time which is critical to depressed subjectivity. Bill Viola uses a technical capacity intrinsic to cinema, the capacity to shoot at high-speed, extended and transformed by video, in order to contaminate the perceptual present with a non-lived that is not, as in photography or the cinema of time-image, the recurrence of a tertiary past, but rather the material infrastructure of 'the enlarged now itself'. It is Viola's insight into the autonomy of emotion from time and thus from any temporal fixation of it in any particular medium that makes his work the exemplar of the medial revolution. Viola's aesthetic deprivileges the technical frame in favor of the framing activity of a body affectively open to the nonlivable, nonactual, and imperceptible. This digital aesthetics makes us see that digital image in fact is affection-image. 본 연구는 비디오 아트를 통해 구현되는 시간 및 그 의미들이 여러가지 방식에 의해 조작되고 변형되는 것을 살펴본다. 특히 슬로모션으로 시간을 연장시킨 작품들을 통해 비디오 아트의 근본 속성으로서의 내재적 시간성이 어떻게 변화를 겪게 되는가를 추적하고, 그것이 인간 주체의 신체 및 지각, 심리적인 변화에 대해 갖게 되는 관계를 다룬다.

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