알루미늄 폐드로스를 이용한 재활용 방안 연구

박은화,임남웅 한국폐기물자원순환학회 2002 한국폐기물자원순환학회 학술대회 Vol.2002 No.1

朝鮮初期(1392-1500) 繪畵의 對中交涉

朴恩和 한국불교미술사학회 ( 구 한국미술사연구소 ) 2002 강좌미술사 Vol.19 No.-

The extant paintings and documented evidence indicate that in the early Joseon period, from the founding of the dynasty in 1392 to around 15.., landscape painting flourished and developed in a new direction. Drawing on the native Goryeo dynasty painting and adapting various styles introduced from China, Joseon artists began to produce landscapes with more distinctly Korean characteristics. It is generally accepted that in landscape painting. early Joseon artists followed Li Cheng (919-967) and Kuo Xi (c. 1001-c.1090) tradition which transmitted to Korea through the Jin and Yuan dynasties. Chinese landscape styles of another Northern Song Master Mi Fu (1052-1107), and Southern Song landscapists Ma Yuan (fl. before 1190-c.1230) and Xia Gui (fl. c.1220-1250) are also represented among the works produced by the painters of the fifteenth centuries. Another Chinese landscape style reflected in Korean painting of the period is the Zhe school style of the early Ming dynasty. It is important to know as exactly as possible what influence Korean artists of the period received from China to properly understand the unique characteristics of Joseon painting. Unfortunately, our knowledge of Korean painting of this period is very limited because only small number of works have survived the destruction and displacement caused by successive wars. This article intends to illuminate how Chinese painting traditions were adapted and modified by Korean artists and finally Koreanized in early Joseon period through careful stylistic analysis of the extant landscape paintings dateable to the fifteenth century and related Chinese works. However, without Chinese paintings extant in Korea it is difficult to clearly establish the range and character of Chinese works which were available as models for the early Joseon painters. Only a close stylistic comparisons lead us to recognize the probable sources of styles directly influenced on Korean painting. Such study confirms that in terms of composition, brushwork, and rendering of landscape motifs, the extant Korean landscape paintings reflect the various stylistic sources available to the fifteenth-century Joseon painters. They also indicate the Koreanized compositional designs, pictorial elements and technical manifestations developed out of Chinese models, which became the major artistic traits in the landscape tradition of the early Joseon and beyond. I also shows how Chinese painting styles and techniques of the Song, Yuan, and early Ming periods contributed to the formation of the Korean landscape tradition through the interregional cultural exchange.

자녀존중과 부모존경을 위한 상호작용 프로그램 적용효과

박은화,이소희 한국코칭학회 2021 코칭연구 Vol.14 No.2

본 연구는 긍정심리학 이론을 바탕으로 자녀존중과 부모존경을 위한 상호작용 프로그램을 구성하고, 그 적용효과를 검증하는데 목적이 있다. 본 연구의 목적을 달성하기 위해 황금원모델, TREASURE Talk 코칭모델, STOP모델을 재구조화하여 ‘마음꽃’ 자녀존중 부모존경 상호작용 프로그램을 개발하고, 실험집단을 선정하여 프로그램을 실시하였다. 자녀존중 부모존경 프로그램 개발을 위하여 예비연구를 실시하고, 전문가집단의 적합성을 확보하였다. 실험연구를 위하여 초등학교 자녀가 있는 학부모 38명을 표집하여 각각 19명씩 실험집단과 비교집단을 구성하였다. 본 연구 결과, 자녀존중과 부모존경을 위해 9회기로 구성된 ‘마음꽃’ 프로그램과 교육·훈련체계가 개발되었으며, 효과를 검증하기 위한 자녀존중 척도와 부모존경 척도가 구성되었다. 개발된 프로그램의 적용결과 실험집단에서 자녀존중과 부모존경의 점수가 유의미하게 높아졌으며, 실험집단의 추수 연구 질적분석 에서도 부모 자녀의 긍정적인 관계가 향상된 것으로 나타났다. The purpose of this study is to construct an interaction program for child respect and parental respect based on positive psychology theory and to verify the effectiveness of its application. In order to achieve the purpose of this study, the Golden Circle model, the TREASURE Talk coaching model, and the STOP model were reorganized to develop a 'heart flower' parental respect interaction program, and the experimental group was selected and implemented. Preliminary research was conducted for the development of parental respect programs for children and the suitability of expert groups was secured. For experimental research, 38 parents with elementary school children were collected and 19 each were organized as experimental groups and comparative groups. As a result of the study, a "Heart Flower" program consisting of nine sessions and an education and training system were developed to respect children and respect parents, and a measure of parental respect was formed to verify the effectiveness. As a result of the application of the developed program, the score of child respect and parental respect in the experimental group significantly increased, and the quality analysis of the harvest research by the experimental group also showed that the positive relationship between parents and children improved.

북송 말(北宋 末)-남송 초(南宋 初)의 소경(小景)과 소경화(小景畵)

박은화 미술사학연구회 2018 美術史學報 Vol.- No.51

북송 초기에 활동한 시승화가(詩僧畵家)인 혜숭(惠崇, 약 965-1017)이 시작했다고 알려진 소경은 1074 년경 편찬된 곽약허의 『도화견문지』에 처음 언급되었고 1121년경 편찬된 『선화화보(宣和畵譜)』와 1167 년경에 완성된 『화계(畵繼)』에는 화목의 하나로 분류되어 수록되었다. 따라서 소경은 오대나 북송 초에새로운 회화형식으로 제작되기 시작하였고 북송 후기에서 남송 초에 새로운 화목으로 정착되고 발전하였음을 알 수 있다. 이전의 기록에 없는 새로운 화목의 등장은 당시 화단의 상황 및 회화 제작과 감상의변화 양상을 반영한다. 특히 『선화화보』와 『화계』가 편찬된 북송 말에서 남송 초에 이르는 시기는 중국회화사상 커다란 전환기에 해당하여 산수화, 화조화, 인물화의 주제와 표현양식, 화풍이 다양해지고 회화창작의 배경, 화가들의 활동 양상에서 큰 변화가 이루어졌다. 또한 회화이론에 대한 관심도 높아져 화론(畵論)과 화사(畵史)에 대한 저록이 크게 증가한 시기이다. 따라서 이 시기에 새로운 화목으로 대두된소경은 당시 회화의 변화양상을 반영하는 회화형식으로 중요한 의미를 지닌다. 이 글에서는 현존작품과 문헌기록을 통해 소경의 의미와 소경화가 독립된 화목으로 발전하게 된 배경을 파악하고 송대 회화에 대한 기왕의 연구 성과를 바탕으로 소경화의 성격 및 특징이 북송 후기에서 남송 초에 이르는 시기 회화의 양식적 변화를 어떻게 반영하는지 고찰하여 송대 회화의 전개와 흐름에서 소경이 차지하는 위치를 규명하였다. 소경은 커다란 경관을 그린 대관산수화나 전경식 화조화에 비해 작은 범위의 취경(取景)이나 취상(取 象)에 의한 경관의 묘사를 의미하며 처음에는 개념이 엄밀하게 규정되지 않았지만 점차 작은 크기의 화면에 물가의 경관을 배경으로 각종 수금(水禽)과 화목(花木), 죽석(竹石) 등의 제재(題材)를 근경 위주로묘사해 멀리 아득하며 맑고 담박한 의경(意境)을 표현한 새로운 회화형식으로 발전하였다. 소경은 북송 말기 산수화와 화조화의 새로운 방향이 모색되던 시기에 나타났으며 구양수(歐陽修), 문동(文同), 소식(蘇軾), 황정견(黃庭堅), 미불(米巿) 등 문인들이 제시한 ‘서화일률론(書畵一律論)’을 비롯한 문인화의 이론이 전개되는 과정에서 화면에 산수 경물과 화조화의 요소를 함께 도입하고 문인들이추구하던 시적 정취나 문인적인 정서를 화면에 담아낸 소경에 대한 인식과 재평가가 이루어지면서 대관산수화(大觀山水畵)나 전경화조화(全景花鳥畵)와 구별되는 회화형식으로 부각되었다. 또한 문인들의강남회화에 대한 관심의 고조, 화조화의 발전 및 화첩과 선면화의 유행도 소경화의 제작이 성행하는데큰 작용을 하였다. 한편 소경은 화가와 그림, 관화자(觀畵者)가 교감하는 시정(詩情)의 표출로 새로운 화경(畵境)을 추구하여 문인계층을 중심으로 높이 평가되고 감상되었고 수많은 제화시(題畵詩) 창작의 원천이 되었다. 나아가 문인들과 가깝게 교류하면서 소경화에 대한 인식을 공유했던 종실화가들, 문인들이주도한 회화의 새로운 경향에 주목하고 그들의 회화관을 궁정회화의 지도이념으로 수용한 휘종의 영향으로 화원화가들도 소경화를 활발하게 제작하면서 소경은 하나의 화목으로 대두되었다. 현존작품에 나타나는 소경화의 특징은 소경을 그린 대표적인 화가로 알려진 조령양의 화풍으로 수렴되어 소경화의 전형적인 양... Xiaojing which can be translated into intimate scene, began to be painted by the monk poet-painter Huichong(c.965-1017) during the early Northern Song period. It first recorded in the Tuhua jianwenji by Gou Ruoxi in 1074, and appeared as one of the painting categories in the Xuanhe huapu compiled in around 1120 and Huaji by Deng Chun completed in 1167. The twelfth century when the xiojing painting became popular and widely appreciated, marks one of the turning points in Chinese painting history, and the appearance of new painting category reflects the changes in production and appreciations of painting during the time. This article aims to illuminate the meaning of xiaojing and examines the social, cultural, intellectual background behind the development of xiaojing painting, and impact of the painting style on later period through the literary and visual evidences. Xiaojing appeared when the monumental landscape style and full-scale bird-and-flower painting which prevailed among the court painters of the Northern Song reached its peak during the reigns of emperor Shenzong(1067-1085) and Zhezong(1086-1100), and painters began to look into new directions in stylistic and technical mode. Northern Song literati found the Southern Tang(937-975) painting style described the tender, muted scenery with flora and fauna of the southern Chinese region more appealing to their aesthetic temperature and highly evaluated the innate quality of xiaojing painting as the embodiment of literati tradition in which verbal and pictorial images interact and enrich the meaning of the art work. Thus the emergence of xiaojing related to the evolvement of literati painting theory formed by Su Shi and his circle, who considered the practice of painting as a means of private expression and personal interaction. The development of bird-and-flower painting and the increasing use of album leaf and fan painting format also influenced the popularity of the genre. Emperor Huizong’s support for the theory of literati painting consistent with the ideas of literati artists in spite of their differences in political opinions accelerated the emergence of xiaojing and wide acceptance among professional painters of the academy, as well as the aristocratic and literati painters alike. Xiaojing paintings depicted the various kinds of flowers, birds, and trees in waterside landscape setting focused on near ground, became intimate in scale, yet spatially expansive with an emphasis on seasonal, temporal atmospheric mood and pictorial unity. The simple, almost mundane scenes marked a vivid contrast to monumental landscape painting and large scale bird-and-flower painting, and convey a visual and emotional intimacy with poetic appeal to the viewers. Stylistic comparison of xiaojing painting with other Northern Song examples clearly shows technical and stylistic changes that occurred in painting during the twelfth century. By exchanging the immeasurable vastness of composition for a more limited, more intimate view and exploring new brush and ink technique for depicting pictorial motifs, xiaojing painting provided the stylistic ground for the development of the Southern Song styles of landscape, bird-and-flower painting, and formed a painting tradition continued to inspire later painters as one of the sources of fanggu, imitating old styles. Therefore, close study of the xiaojing which came to be appreciated and recognized as an important genre of Chinese painting would shed more light for the better understanding of the Song painting.

文震亨의 長物志 중 ‘懸畵月令’과 明代 末期의 繪畵鑑賞

박은화 한국불교미술사학회 2017 강좌미술사 Vol.49 No.-

Wen Zhenheng(1585-1645), one of the most representative literati of the late Ming period, and a scholar, artist, and arbiter of taste, wrote the manual Zhangwuzhi(Treatise on Superfluous Things) to provide detailed information about the art of living and rules of style and taste for literati trying to aestheticize the details of daily living, and to maintain their position among China’s social elite class, when object became the agent for both the assertion of individuality and integration into the elite culture. Zhangwuzhi includes ‘Calendar for the Display of Scrolls’ that advises on the appropriate images for paintings to hang on major holidays and special occasions, which is hung for short duration and useful for charting the passage of the time around the year. It lists the precise circumstances and times of the year when certain types and subjects of painting suitable for the literati’s taste could elegantly be displayed, and reflects the concept of time manifested in Chinese visual and material culture. Wen Zhenheng provided a detailed calendar as to what images should be hung at what time of year, showing that as a renowned literati painter and connoisseur, he was not indifferent to subject matter of painting, and even in regard to the highly prestigious art form of painting, he was aware of traditional apotropaic, performative and decorative functions of picture making and painting appreciation. He also emphasized that when paintings were seen was as important as what they depicted. ‘Calendar for the Display of Scrolls’ also shows reasons for the popularity of certain themes of painting, and Wen’s reference to displaying Song and Yuan paintings on certain themes testifies that already by the Song, specific imagery were used for the special season and time, and in the mid-Ming period, the themes of paintings he mentioned became important items to collectors to amass in their collections. Therefore, it provides a good indication not only of the practice of hanging scrolls of different subjects to suit season and occasion, but also of the increasing demands on painting that facilitated the production of professional painters’ works and forgeries for the antique market. The choice of paintings to be displayed on a particular time or occasion depends largely on individual taste and preference. However, Wen’s list explains that certain rules and traditions of painting appreciation were adopted by the literati of refined taste, which influenced development of different styles and diverse subject matter of the late Ming painting with a proliferation of writings on collecting and connoisseurship. It also offers some insight into a little studied concept of time underlain Chinese painting and helps understand the meaning and social, cultural background of the extant Ming and Qing paintings more precisely. 文徵明(1470-1559)의 曾孫이며 대대로 학문과 예술로 명망이 높았던 집안 출신으로 명대 말기 강 남 지역의 문인 사회를 대표하는 인물의 하나인 文震亨(1585-1645)의 長物志는 衣, 食, 住, 行, 用, 出遊, 鑑賞 등을 망라해 당시 문인들이 지향하던 고상한 취미와 우아한 생활을 위한 지침서이자 당시문인계층의 심미의식과 문인문화를 반영하는 백과사전적인 저술이라고 할 수 있다. 長物志의 「書畵」편은 서화의 감상 및 소장과 관련된 다양한 내용을 수록하였으며 「書畵」 편에 수록된 ‘懸畵月令’은 때에 따라 걸어놓고 감상하는 그림의 畵題를 月別, 특정한 시기별로 제시한 것 으로 명대에 많이 출간된 문인들의 玩賞品과 감상 및 소장에 대한 閑事를 기록한 다른 저술에서는 찾아볼 수 없는 독특한 내용으로 연구자들의 주목을 받았지만 회화사의 관점에서 깊이 있는 연구는 이루어지지 않았다. 이 글에서는 ‘懸畵月令’의 내용을 정확하게 파악하여 중국 회화의 畵題와 회화감 상의 양상, 그리고 회화의 창작과 감상에 내재된 시간관념을 살펴보았다. 禮記의 「月令」 편에서 유래한 月令思想에 기반한 ‘懸畵月令’은 歲時에 의거해 진행되는 節令 활동과 관련되면서 점차 시간개념을 표현하는 전통이 된 그림의 종류를 매우 구체적으로 열거하였다. 특히 중요한 절기와 관련된 화제는 회화 감상에 그림의 주술적인 효용성이나 민속적인 요소가 포함되었고 장식적인 용도도 감안되었으며, 문인들의 회화감상이 문인화의 화제나 양식에 국한되지 않았음을 말해주어 주목된다. 또한 ‘懸畵月令’에 송,원대 작품이 거론된 것으로 보아 이미 송대부터 도석인물화나 풍속화, 산수화가 특정한 절기와 관련해 제작되거나 감상되었을 가능성이 대두된다. ‘懸畵月令’을 통해 문인화가들이 즐겨 그리고 감상한 화제도 특정한 계절이나 때를 위해 그려진 예가 많음을 확인할 수 있고, 절기에 따라 수요가 증가하는 鐘馗圖, 壽星圖와 같이 동일한 화제가 여 러 화가들에 의해 빈번하게 그려진 경우 화가의 독자적인 해석이나 양식을 반영하여 그림이 제작되고 소장가들은 자신의 안목과 취향에 따라 그림을 선택하여 감상함으로 당시 회화의 양식과 畵意의표현에 영향을 주었을 것으로 여겨진다. 이렇듯 ‘懸畵月令’은 사회적 지위와 문화적 배경을 바탕으로 형성된 영향력을 통해 화제와 회화 양식의 다양화에 기여함으로 명대 말기의 화단을 더욱 다채롭게 만든 문인들의 회화 소장이나 감상에 시간개념이 포함된 시대적 상황을 밝혀준다. 나아가 회화 제작 및 유통, 감상과 소장의 양상을 반영함으로 현존작품이 지니는 의미를 더욱 다각적이고 유기적으로 고찰하고 이해하는 근거가 되며 당시 회화의 성격과 특징을 비롯해 변화의 양상과 그 원인을 밝히는 데에도 도움을 주어 중국회화사연구에서 중요한 가치를 지닌 문헌자료라고 할 수 있다.

장기평균비용곡선을 이용한 장기비용효율의 분해 : 한국 증권산업을 중심으로

박은화,강상목,이대식 한국경제통상학회 2018 경제연구 Vol.36 No.4

The paper aims to measure global long-run cost efficiency (GLEF) based on long-run avereage cost curve and decompose it into long-run cost efficiency(LEF) and long-run capacity utilization(LCU) in Korean listed securities companies. The main point of the paper focuses on the case that long-run capacity do not manage properly, which is one of factor to occur inefficiency in securities companies. Based on this, we can confirm the moderate level of capital stock and the state of scale economy in Korean securities companies. We measure long-run cost efficiencies by output-fixed and changed models and verify cost-driven and output-driven inefficiencies by the decomposition of GLEF. Especially, as the average LCU for most of Korean securities companies showed less than one(1), it is considered that the securities companies took their position within the area of scale economy. That is, augmenting fixed input and output, there is possibilities they may drop cost per output. 본 연구의 목적은 한국의 증권회사에 있어서 장기평균비용에 기초한 전체장기비용효율(GLEF: global long-run cost efficiency)을 측정하고 이를 내부적으로 장기비용효율(LEF: long-run cost efficiency)과 장기생산용량 이용률(LCU: long-run capacity utilization)로 분해하고자 함이다. 본 연구는 증권회사의 비효율의 한 요인으로 장기생산용량(long-run capacity)이 적절하게 이용되지 못하는 경우에 초점을 둔다. 이에 기준하면 한국증권회사들이 적정하게 자본시설을 이용하고 있는지 그리고 규모경제의 상태를 확인할 수 있다. 본 연구에서는 산출량고정모형과 변화모형을 통하여 장기비용효율을 측정하고 또한 GLEF의 분해를 통하여 비용과 산출량의 비효율의 정도를 확인한다. 특히 대부분의 증권사들이 LCU의 평균이 1이하로 나타나서 규모경제의 영역에 위치하고 있다. 즉, 고정투입물과 산출물을 증가시키면 산출물 단위당 비용은 더 떨어질 수 있는 여지가 있다.

南宋의 文人山水畵

박은화 한국미술사학회 2008 美術史學硏究 Vol.260 No.260

With the establishment of the Southern Song court in 1127 after the collapse of the Northern Song, the center of cultural activities moved to the new capital, Hangzhou, and with the strong support of Emperor Gaozong, the Southern Song painting underwent significant development. The landscape style of Northern Song was transmitted to the Southern Song by the painters who had been active since the late Northern Song period, but the monumental landscape style was gradually replaced by the simplified, more intimate Southern Song style. Previous studies on Southern Song landscape painting mainly focused on the works produced by the professional court artists, and regarded the tradition of literati landscape painting was inherited by the painters of the Jin Dynasty rather than by those of the Southern Song. Based on the results of recent research on Southern Song landscape paintings, this article examines the extant works and relevant literary records in an effort to identify how painting theories and styles of literati landscape developed in the late Northern Song period were transmitted and evolved in the artistic milieu led by the Southern Song literati class, and how they influenced the florescence of literati landscape painting in the subsequent Yuan period. Mi Youren, the archetypal painter of the early Southern Song period, painted the natural scenery of the Xiao and Xiang region with his distinctive ink and brush technique, re-interpreting it on the basis of his perceptions and experiences. In this way, he created his own mode of landscape which is highly individual and expressive. He also greatly influenced the later literati landscape paintings, including Master Li's Dream Journey over Xiao and Xiang, which is related to the Xiao and Xiang region. Zhao Bosu's Palace in the Pines and Li Jie's Fishing Society at Xisai Mountain, conveying the painters' individual ideas and emotions through the depicted scenes, ultimately became the inspiration for landscape paintings entitled with real-place names of the Yuan dynasty, which represented the hermitages, private residences and gardens of the literati. In the meantime, Fishing Society at Xisai Mountain and Zhao Kui's After a Poem by Du Fu were closely linked to the ci poetry and poem of the Tang Dynasty, constituting fine examples of the harmonious interaction of poetry and painting which literati painters sought to perfect. As the literati culture spread to the various social classes during the Southern Song period, the literati searched for painting themes and styles which differed from those of the professional painters, in an effort to express their own values and tastes. The six landscape paintings discussed in this article demonstrate that the Southern Song literati painters, who developed new painting concepts and styles on the basis of the Northern Song literati painting theory, established unique characteristics for their paintings distinct from the works of professional painters such as Li Tang, Ma Yuan and Xia Gui, and they also laid the foundations for the development of Yuan literati landscape painting. As more in-depth and multidimensional studies on the significance of the extant works are carried out, they would provide insight into the better understanding of Southern Song literati landscape paintings, as well as the development of the literati paintings of the Yuan and subsequent dynasties. 북송이 멸망하고 남송이 건립되면서 회화의 중심지는 새로운 수도인 항주로 옮겨갔고 고종의 적극적인 후원으로 강남지방의 회화가 크게 발전하였다. 북송 말부터 활동하던 화가들에 의해 북송의 산수화풍이 전해졌지만 웅장하고 강건한 북송의 大觀山水畵는 점차 강남의 자연경관에 기초한 남송산수화로 대체되었다. 남송대 산수화에 대한 기왕의 연구는 주로 화원화가를 중심으로 하는 직업화가의 작품에 집중되었고 문인산수화의 전통은 남송보다 금의 화가들에 의해 계승된 것으로 여겨졌다. 이 논문은 남송 산수화에 대한 최근의 연구성과를 바탕으로 현존하는 작품의 분석과 관련된 문헌자료를 통해 북송 후기에 형성된 문인산수화의 이론과 화법이 남송대 사대부사회의 문인문화를 배경으로 어떻게 계승되어 전개되었는지, 나아가 원대의 문인산수화 발전에 어떠한 영향을 주었는지를 고찰하였다. 남송 초를 대표하는 화가 米友仁은 수묵이 지닌 표현가능성을 극대화한 독특한 필묵형식으로 오랜 문학적 전통을 지닌 소상지역의 실경을 자신의 경험과 의식에서 재해석한 자연으로 그려내어 私的이면서 개성적인 산수화를 완성하였고 역시 소상지역과 관련된 舒城李生의 <瀟湘臥遊圖>를 비롯한 후대 문인산수화의 발전에 큰 영향을 미쳤다. 구체적인 장소를 묘사한 趙伯驌의 <萬松金闕圖>와 李結의 <西塞漁隱圖>는 그림에 화가의 이념과 감정을 이입하고 화가와 정경이 합일되는 새로운 의미를 부여함으로 원대에 유행한 문인의 은거지, 사유지, 정원 등을 묘사한 실지명산수화의 선례가 되었다. 한편 <西塞漁隱圖>와 趙葵의 <杜甫詩意圖>는 唐代의 詩詞와 연결되면서 문인화가 추구한 詩畵一致의 경지를 보여준다. 남송대에 문인문화가 다양한 사회계층으로 확산되면서 문인들은 자신들의 가치관과 취향을 표현하기 위해 직업화가의 작품과 구별되는 주제와 양식을 모색하기 시작하였다. 이 글에서 살펴본 여섯 점의 산수화는 남송의 문인화가들이 북송대 문인화의 전통을 이으면서 새로운 회화이념과 양식을 통해 李唐과 馬遠, 夏珪로 대표되는 당시 직업화가들의 작품과 완연하게 구분되는 문인산수화의 특징을 확립하였고 원대 문인산수화 발전의 기반을 마련하였음을 설명해준다. 이처럼 현존작품이 지니는 의미를 다원적이고 유기적으로 파악하는 연구는 남송대 산수화의 양상과 원대 이후 문인화의 전개과정을 구체적으로 이해하는 데에 도움을 줄 것으로 여겨진다.

The Level of Motivation and Effort Regulation, and the Relationship between Motivation and Effort Regulation

박은화 융합영어영문학회 2022 융합영어영문학(구.English Reading and Teaching) Vol.7 No.3

This study aimed to determine the levels of intrinsic motivation, extrinsic motivation, and effort regulation and to demonstrate whether the two determinations of motivation are related to effort regulation. For the measurement, the Motivated Strategies for Learning Questionnaire created by Pintrich and Garcia (1991) was utilized. 12 questions among a total of 81 questions from the MSLQ were selected: four questions from the intrinsic motivation scales, four questions from the extrinsic motivation scales, and four questions from the effort regulation scales. A total of 98 participants completed a survey for this study. The results showed that the students demonstrated the higher levels in intrinsic motivation (M= 5.77, SD= ,909) than in extrinsic motivation (M= 5.36, SD= 1.115). In addition, the levels of effort regulation of the participants in this study also were high. In the results related to the relationship between the two determinations and effort regulation, intrinsic motivation was found to be less correlated to effort regulation, while extrinsic motivation was determined to likely be correlated to effort regulation. Based on these results, this study suggests that instructors or teachers should facilitate their students in order that they be motivated as well as make use of effort regulation while learning of English.

접촉즉흥(Contact Improvisation) - 그 실체로의 접근

박은화 한국무용예술학회 2005 무용예술학연구 Vol.16 No.-

金代의 山水畫와 華北山水畫風의 傳承

박은화 미술사학연구회 2009 美術史學報 Vol.- No.32

After the collapse of the Northern Song in 1127, the Jurchen took over in north China and the Jin dynasty(1115-1234) lasted over a century during which painting flourished with the strong support and active participation of the members of Jin ruling family and scholar-officials who shaped the culture of the Jin period. This article intends to illuminate distinctive characteristics of Jin landscape painting by careful analysis of extant paintings securely dated to the period by internal and external evidences such as related documents and literary sources, and the works attributed to Jin on the basis of the stylistic similarities. Early Jin painters inherited the monumental landscape traditions, the Northern Song literati painting heritage, and eclectic landscape style of the late Northern Song court painting and gradually formed particular landscape style during the reigns of emperor Shizong(r. 1161-1189) and Zhangzong(r. 1189-1208), that cannot be represented by Northern Song painting. Wind and Snow in the Fir-Pines by Li Shan, The Red Cliff by Wu Yuanzhi, Fir-Pines in Wind and Snow by Guo Min represent unique Jin landscape style characterized by the distinctive use of brushwork and ink in depictions of motifs, exaggerated contrasts in tonality and texture, and the shifting points of view or arbitrary spatial juxtapositions. They also testify that landscape painters in the north during the late twelfth and early thirteenth centuries further developed the northern landscape style with North Chinese regional distinctiveness and created individual styles throughout the synthesis of the past styles. Dusk over Sparse Woods, mural in the tomb of Feng Daozhen(1189-1265), The Red Cliff attributed to Yang Shixian, Traveling among Fir-Pines attributed to Li Shan, Traveling among Streams and Mountains by Taiguyimin, and Clearing after Snow in the Min Mountains by anonymous artist, produced during the interim period of Jin and Yuan dynasties, correspond in many details to the styles of Li Shan, Wu Yuanzhi and Guo Min. They carried on northern landscape tradition reinterpreted and transformed by the Jin artists and provided stylistic ground for the development of the Yuan Li-Guo landscape style. Secluded Bamboo and Withered Tree by Wang Tingyun(1156-1202), The Red Cliff by Wu Yuanzhi with poems and colophons written by the leading literati Zhao Bingwen(1159-1232) and Yuan Haowen(1190-1257) also evidences that Jin literati painters in the north preserved, developed and transmitted the essential modes and values of the Northern Song literati painting tradition to the early Yuan literati such as Zhao Mengfu(1254-1322), Gao Kegong(1248-1310), and Li Kan(1245-1320) who retransmitted the tradition to southern artists and laid the foundations for the development of Yuan literati landscape painting. Distinguishing Jin landscape paintings from the works attributed to the Northern Song or Yuan through stylistic analysis and careful investigations of related materials would enables us to understand various characteristics of Jin landscape and the influence of Jin in shaping the early Yuan landscape style more comprehensively.