수학자 테일러의 선 원근법과 화가 커비의 해설서

조은정,Cho, Eun-Jung 한국미술이론학회 2009 미술이론과 현장 Vol.7 No.-

In the development of linear perspective, Brook Taylor's theory has achieved a special position. With his method described in Linear Perspective(1715) and New Principles of Linear Perspective(1719), the subject of linear perspective became a generalized and abstract theory rather than a practical method for painters. He is known to be the first who used the term 'vanishing point'. Although a similar concept has been used form the early stage of Renaissance linear perspective, he developed a new method of British perspective technique of measure points based on the concept of 'vanishing points'. In the 15th and 16th century linear perspective, pictorial space is considered as independent space detached from the outer world. Albertian method of linear perspective is to construct a pavement on the picture in accordance with the centric point where the centric ray of the visual pyramid strikes the picture plane. Comparison to this traditional method, Taylor established the concent of a vanishing point (and a vanishing line), namely, the point (and the line) where a line (and a plane) through the eye point parallel to the considered line (and the plane) meets the picture plane. In the traditional situation like in Albertian method, the picture plane was assumed to be vertical and the center of the picture usually corresponded with the vanishing point. On the other hand, Taylor emphasized the role of vanishing points, and as a result, his method entered the domain of projective geometry rather than Euclidean geometry. For Taylor's theory was highly abstract and difficult to apply for the practitioners, there appeared many perspective treatises based on his theory in England since 1740s. Joshua Kirby's Dr. Brook Taylor's Method of Perspective Made Easy, Both in Theory and Practice(1754) was one of the most popular treatises among these posterior writings. As a well-known painter of the 18th century English society and perspective professor of the St. Martin's Lane Academy, Kirby tried to bridge the gap between the practice of the artists and the mathematical theory of Taylor. Trying to ease the common readers into Taylor's method, Kirby somehow abbreviated and even omitted several crucial parts of Taylor's ideas, especially concerning to the inverse problems of perspective projection. Taylor's theory and Kirby's handbook reveal us that the development of linear perspective in European society entered a transitional phase in the 18th century. In the European tradition, linear perspective means a representational system to indicated the three-dimensional nature of space and the image of objects on the two-dimensional surface, using the central projection method. However, Taylor and following scholars converted linear perspective as a complete mathematical and abstract theory. Such a development was also due to concern and interest of contemporary artists toward new visions of infinite space and kaleidoscopic phenomena of visual perception.

논문편 : 도시 신혼기가계의 주거이동계획에 관한 연구

조은정,배순영 ( Eun Jung Cho,Soon Young Pae ) 대한가정학회 1992 Family and Environment Research Vol.30 No.4

구조적 충격의 영향과 동적 반응의 추정

조은정,김태호,Cho, Eun-Jung,Kim, Tae-Ho 한국통계학회 2011 응용통계연구 Vol.24 No.5

본 연구에서는 기존의 벡터자기회귀모형에서 내생변수의 충격을 식별 가능하도록 모형의 당기 구조교란항 계수행렬에 사전 제약을 가해, 외생적 충격에 대한 변수들의 장단기 동적 반응을 추적해 보았다. 구조형 모형에 특정 이론에 의거하지 않고 현실상황에 상응한다고 판단되는 식별제약을 설정하여 추정하고 각 변수의 변동에서 각 구조적 충격이 차지하는 상대적 중요도를 계산하였다. 분석결과는 식별제약 및 모형의 추정결과와 일관성을 유지하는 것으로 판명되었다. This study investigates long and short run responses of variables to exogenous shocks by imposing prior restrictions on a contemporaneous structural shock coefficient matrix of the model to identify shocks by endogenous variables in the vector autoregression. The relative importance of each structural shock in variation of each variable is calculated through the identification of proper restrictions (not based on any specific theory but on researcher judgment corresponding to actual situations) and an estimation of the structural vector autoregression. The results of the analyses are found to maintain consistency.

Commutability Assessment of Frozen Human Serum Pools for External Quality Assessment of Tumor Markers

조은정,Sun Hyun Kim,Jinyoung Hong,이혜영,Jungwon Hyun,Sung Eun Cho,Woochang Lee,김현수,오은지,Sail Chun,Won-Ki Min 대한임상검사정도관리협회 2022 Journal of Laboratory Medicine And Quality Assuran Vol.44 No.2

Background: Commutability is essential to harmonize different measuring systems and to evaluate the performance of participating laboratories in external quality assessment (EQA). This study aims to assess the commutability of EQA materials in the tumor marker program of the Korean Association of External Quality Assessment Service. Methods: We analyzed commercial quality control (QC) materials, individual patient samples, and frozen human serum pools (FSPs) based on the Clinical and Laboratory Standards Institute guidelines. Alpha-fetoprotein (AFP), carcinoembryonic antigen (CEA), and total prostate-specific antigen (PSA) were assayed in triplicate in all samples using four analytical systems at the three laboratories. The results obtained from pairs of assays were plotted and assessed using Deming regression analysis. The criterion for commutability was a 95% prediction interval, and bias for noncommutability was calculated. Results: FSPs were commutable in all AFP, CEA, and total PSA assay methods. Bias for AFP, CEA, and total PSA ranged from –203% to 27%, –67% to 45%, and –9% to 12%, respectively. Commercial QC materials for AFP and PSA were commutable in four assays, whereas for CEA, noncommutability was observed. Conclusions: Our results validated that the frozen serum pools were commutable across different platforms for tumor marker assays. Therefore, validation findings from materials like FSPs and information about their commutability needs to be reported, for the applicability of EQA programs.

과거와의 대면 : ${\ll}$미르티스${\gg}$ 전시를 통해 기억된 아테네 대 역병

조은정,Cho, Eun-Jung 한국미술이론학회 2012 미술이론과 현장 Vol.14 No.-

The exhibition <Myrtis: Face to Face with the Past> was started in 2010 in the New Acropolis Museum of Athens and embarked a journey since 2011 as a travelling exhibition inside Greece and abroad. The main purpose of the exhibition was to draw attention of the general public to the value of the 'rescue excavation' and of cultural heritage of Greece, by presenting the reconstruction bust of a girl whose skull was found in Kerameikos cemetery of ancient Athens. The new Kerameikos excavation was initiated by the construction of Metropolitan Railway lines in the center of Athens between 1992 to 1998. It revealed a pit of a mass burial where about 150 people were inhumed in a very hasty way without proper funeral rites or offerings. These bodies are identified as the victims of the infamous plague of Athens in the first years of the Peloponnesian War(430-426 BC). The epidemic disease killed almost one third of the city population including Pericles, and brought extreme fear and panic to the Athens society. The traditional funerary rites were totally disrupted, and the social decorum and the morality among the citizens became enfeebled. The plague and the civil war were the decisive factors to end the Golden Age of Democratic Athens. However, the exhibition organizers did not focus on the tragic aspect of this disaster and its casualties. Their main concern was to simplify the scholarly works of archaeological excavation and microchemistry analysis so that the exhibition viewers will easily understand and empathize the living value of the scholarly works of ancient Greek civilization. The centripetal element of the exhibition was the vivid face of an 11 years old ancient girl 'Myrtis', which was carefully reconstructed based on both the scientific data and artistic imagination. Also the set up of the exhibition was structured in order to stimuli cognitive and emotional experience of the visitors who witnessed the rebirth of a vibrant human being from an ancient debris. The museologists' continuous efforts to promote projects of contemporary artists, publications, and school programs related to the <Myrtis> exhibition indicate that the ulterior motive of this exhibition is the cultural education of the present and future generation through the intimate experiences of ancient Greek life. Also this is the reason why the various museums that held the travelling exhibition try to make the presentation as a gesture of memorial service for an anonymous Athenian girl who deceased circa 2400 years ago. The pragmatic efforts of Greek scholars and museologists through <Myrtis> exhibition show us a way to find a solution to the continuous threat of cultural resources by massive construction projects and land development, and to overcome public indifference to the history and cultural heritage.

Implementation of Asthma Management Guidelines and Possible Barriers in Korea

조은정,Mi-Yeong Kim,Sae Hoon Kim,Yong-Eun Kwon,박혜경,Sang-Heon Cho,장윤석 대한의학회 2020 Journal of Korean medical science Vol.35 No.12

Background: There could be a gap between asthma management guidelines and current practice. We evaluated the awareness of and compliance with asthma management guidelines, and the internal and external barriers to compliance, for the first time in Korea. Methods: From March to September of 2012, 364 physicians treating asthma patients at primary, secondary, and tertiary teaching hospitals were enrolled. They completed a questionnaire on the awareness of and compliance with asthma management guidelines, and the barriers and alternatives to their implementation. Results: Of the 364 physicians, 79.1% were men and 56.9% were primary care physicians. The mean age was 40.5 ± 11.2 years. Most of them were aware of asthma management guidelines (89.3%). However, only a portion (11.0%) of them complied with the guidelines for asthma. Pulmonary function tests for diagnosis of asthma were performed by 20.1% of all physicians and 9.2% of primary care physicians, and by 9.9% of all physicians and 5.8% of primary care physicians for monitoring. Physicians stated that ‘asthma monitoring’ was the most difficult part of the guidelines, followed by ‘environmental control and risk factors.’ Only 39.6% (31.9% of the primary care physicians) prescribed an inhaled corticosteroid (ICS) as the first-line treatment for persistent asthma. The internal barriers were physician's preference for oral medications, difficulty in use even with inhaler training, and concern over ICS side effects. The external barriers were possible rejection of medical reimbursement by health insurance, refusal by the patient, cost, and a poor environment for teaching the patient how to use the inhaler. Alternatives proposed by physicians to implement asthma management guidelines were to improve medical reimbursement policies and the level of awareness of such guidelines. Conclusion: Compliance with the asthma management guidelines, including ICS prescription, is low despite the awareness of the guidelines. It is necessary to develop a strategy to overcome the internal and external barriers.

오토 왕정기(1833-1862) 국립고고학박물관 건립 사업을 통해서 본 19세기 그리스 사회의 ‘헬레니즘(Ελληνισμός)’

조은정(Cho, Eun Jung) 서양미술사학회 2018 서양미술사학회논문집 Vol.49 No.-

본 논문은 오토 왕정(1833-1862) 기간 동안 추진된 국립고고학박물관 건립 사업을 통해서 19세기 그리스 사회 내부의 정치적, 문화적 헤게모니가 외국인 친그리스주의자들로부터 자국인들로 이동되는 과정을 고찰한다. 오토 정권 초기 아테네 신수도 건설과 더불어 국립고고학박물관 건축 계획을 추진한 이들은 헬레니즘의 이상을 추구하기 위해서 그리스를 찾은 외국인들이었다. 1836년 클렌체의 〈판테크네이온〉과 1860년 랑게의 설계안이 보여주는 바와 같이, 이들은 바바리아 왕실의 신고전주의 모델을 출발점으로 삼았다. 그러나 초기 계획들 대부분은 동시대 그리스 사회의 현실과 근세 유럽인들의 이상 사이에서 큰 간극을 보여주었으며, 당시 그리스 사회의 정치적, 경제적 어려움으로 인해서 실제로 구현되지 못했다. 또한 오토 정부의 경제적, 정치적 무능으로 인해 반 바바리아 정서와 민족주의가 확산되면서, 고대 문화유산 관리 감독의 주체는 내국인들로 급격하게 교체되었다. 실제로 1880년대에 국립고고학박물관의 건축물과 콘텐츠를 완성한 주체는 19세기 후반 그리스 고고학의 획기적인 성과들과 더불어 성장한 카바디아스와 같은 내국인 제2세대 고고학자들이었다. 이처럼 오토 왕정 기간 동안 현대 그리스 인들에게 있어서 서유럽 친그리스주의와 고전주의는 자신들 스스로 국가적 정체성(헬레니즘)을 구축하기 위한 지지대이자 족쇄로서, 결국에는 극복해야 할 양가적인 대상이었다. This paper outlines a series of events leading up to the foundation of the National Archaeological Museum during the Othonian monarchy (1833-1862), illustrating how the cultural and political hegemony shifted from foreign phihellenes to Greek nationals in the process. It was a cadre of foreign scholars and architects who had come to Greece in pursuit of Hellenism that initiated the Museum project. Their ideas were based on the Bavarian Neoclassical model, as demonstrated in the Pantechneion proposed by Leo von Krenze(1836) and the design proposed by Ludwig Range(1860). However, such proposals revealed a huge gap between the modern European ideals and the realities of contemporary Greece. As the Othonian government’s incompetency stoked the anti-Bavarian mood, the foreigners in charge of administering classical antiquities became rapidly replaced by Greek nationals. In the end, it was the second generation Greek archaeologists, like Panagiotis Kavvadias, who oversaw the completion and inauguration of the Museum in the 1880s. Such a course of events reflected the ambivalent state of modern Greeks toward the European philhellenism and classicism – they had to depend on the support of foreign philhellenes and at the same time overcome foreign influence in their efforts to build the Hellenistic national identity.

문화예술교육사의 지역화 과제와 역할 : 목포대학교의 「문화예술교육개론」 운영 사례를 중심으로

조은정(Eunjung CHO) 한국조형교육학회 2021 造形敎育 Vol.- No.77

본고는 2014년 개정 문화예술교육사 2급 교육과정의 직무역량 교과목 중 하나로 편성되어 있는 「문화예술교육개론」의 운영 현황을 목포대학교의 사례를 통해서 분석한다. 「문화예술교육개론」은 개정 교육과정의 전체적 출발점으로서, 학습자가 문화 예술교육사의 정체성과 역할을 가늠할 수 있는 역량을 키워주기 위한 분야 간 통합 교과목이다. 목포대학교 재학생과 졸업 생, 교수자 인터뷰 내용과 교과목 운영 자료들은 개정 교육과정에서 이 교과목이 차지하고 있는 중요성을 명확하게 보여주고 있다. 지역사회에서 문화예술교육사가 수행해야 하는 역할, 해당 지역 문화예술 자원의 교육 콘텐츠 활용 필요성에 대한 공감, 세부 분야별 직무역량과 교수역량을 융합하는 토대로서의 문화예술교육 개념에 대한 이해 등이 선행될 때 주체적이고 능동적인 기획 역량이 발휘될 수 있다는 의견이 교수자와 학습자들 사이에서 제기되었다. 이러한 현장의 요구는 중앙 주도형 문화예술 교육정책에서 벗어나서 지역 문화예술교육 생태계를 활성화해야 한다는 최근 정책 방향 및 정부 문화예술교육 지원사업의 지향점인 지역화 과제와도 연결된다. 문화예술교육사를 양성하는 지역 대학과 교육기관에서는 예비 예술가-교육자 들이 지역사회와의 관계 맺기를 통해서 향후 지역사회에 뿌리를 내리고 활동할 수 있도록 도와줄 필요가 있다. This paper examines the operation status of the course Introduction to Arts and Culture Education, focusing on the case of Mokpo University. Introduction to Arts and Culture Education is the starting point of the 2014 Revised Curriculum for the Art & Culture Education Instructor (2nd Grade). Its purpose is to make the learners recognize social role of the Instructor, as well as to provide them the concept of consolidating various fields of art & culture education. The survey interview with the course participants of Mokpo University shows us that it is preferentially important for the learners to recognize the role of the Instructor in their community, and to understand the value of local cultural resources for educational context. Such opinions posed in the field accord with the current directions of community-led local development policy and government support projects. And it is the responsibility of local universities and institutions to train Art & Culture Education Instructor to teach the future instructors how to build a relationship with the community where they would take root and act.

1950년대 전반 한국미술에서 他者읽기

조은정(Cho Eun-jung) 한국미술사학회 2003 美術史學硏究 Vol.- No.240

South Korea in the early 1950 underwent the construction of the nation after the demise of Japanese imperialism. In this period, Korea recognized its own domain as a deadlock spot of Cold War between the East and West through the U.S. military government where the remains of Japanese imperialism couldn' t be removed. Korea also met the West directly through the Korean War. When the Korean War broke out on the peninsu1a of Northeast Asia, the U.S. as a giant country involved in it, and the UN as a combination of the world took part in the war. Then Koreans realized their own land was an important area in the world situation. Furthermore, they recognized Korea was the front line against communism, where it had a value to be protected by all the people in the world. This anti-communism elitism has the nationalist color painted over anti-communism. However, they considered the western world, a third party, as allies who were in the same position as Korea or advanced countries. As a result, the former made the Korean people identify with them and the latter let them be considered as an exemplary model, which became the motive to develop worship of the powerful within our mind. The purpose of this study is to observe the other in self and the other as self in Korean art in the early 1950's. Goddess of Liberty hung on the outer wall of Busan City Hall in 1952 was painted by Korean famous painters, but it resembles a lot Liberty Leading the People by Delacroix. Through this picture, we can see France as the other within self and Korea bearing feminine images, which is ambiguous and antinomic. Identification with France is well presented in the point that it was France where most artists left for during and after the war. The reason they chose France, and not Japan as the third country, was because they didn't know that the world art had moved to the U.S. and recognized France as a home of art. It is undeniable that his attitude resulted from Japan. regardless whether it was true or not. Despite the U.S.'s efforts to introduce U.S. art in the late 50's, U.S. art had been regarded as a subordinate one of French art for a long time. It was not because the revolt against the art of U.S. capitalism, but because French art was already transferred into our tradition. The western painting circles, which were the mainstream at that time, accessed reflectively towards japanese western art after the Independence. The reflection may be presented as an enthusiasm to access art by visiting the home of western art. Consequently, the concept of the other in early 1950 resulted from the rise of many dormant motives rather than from the U.S. However, there was also the influence of the U.S. Korean people gradually realized the view of the U.S. through a large number of magazines, printing media, and news photos. This view was proven in the photos filled with refugees crossing the broken bridge and picture meaning the Korean War, as well as Du-hwan Kim's A Field Hospital. Du-hwan Kim's A Field Hospital represents the other angle through news photos, dealing with the figures of people injured by the war. If Liberty Leading the People makes people read the other within the self, who identifies one's own country with France. A Field Hospital shows the other as the self. The other in Korea art in early 1950 includes the self and surroundings adjusted by careful Orientalism in Japanese imperialism as well as the U.S. or the West. It proves that more complex society situation and discourses should be examined to analyze the content of Korean art. The concept of the other object resulted from the ethics are nationalism that made Japan the other from imperialism to independence: considering the pro system against establishing a single government as anti-national subjects: criticism about people except for the extreme right, regarding the West and Japan as countries with advanced consciousness. etc. In particular, the anti-comm

펠라 히드리아와 고전기 후반 마케도니아 사회의 문화적 이데올로기

조은정(Cho, Eun-Jung) 서양미술사학회 2014 서양미술사학회논문집 Vol.40 No.-

The so called 〈Pella hydria〉, an Attic vase found at the agora cemetery of ancient Pella in 1980 reveals us the cultural state of the Macedonian society which began to prosper under the rule of King Archelaos at the end of the 5th century BC. Its red-figure scene depicts the contest between Athena and Poseidon over Attica, and many scholars agreed that it was directly adapted from the composition of the Parthenon pediment. The fact that such a mythical subject which regained significant political meaning to the Athenians during the Peloponnesian War also appealed to an anonymous but wealthy citizen of Pella sheds light on the cultural taste of the kingdom of Macedonia in the late classical period. It should be considered as well that the figure of Dionysos whose cult was particularly popular in northern Greece was emphasized in the Pella hydria. During his reign, king Archelaos reinforced the military and administrative system of the state, and rebuilt the city of Pella as a commercial and cultural center in northern Greece. Macedonia became a major market for Athenian cultural products including red-figured pottery. He also invited prominent artists from southern Greece to his court, which was a significant change of policy in comparison to his predecessors. And these cultural imports spread immediately into the upper society of Macedonia where the king has the complete control of the whole state. It is the cultural heritage of classical Athens which contributed the high advance of Macedonian culture during the late 5th and early 4th century BC. It also became the means of political propaganda for the Macedonian dynasty to appeal to the wider Greek public as we can see in the Panhellenic iconography of the Macedonian coinage in the later period.