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미술을 그린다는 것으로부터 출발했다고 볼 때, 그린다는 것은 선으로부터 시작되었다는 것이 고대 벽화에 그려진 외곽선의 형태들에서 찿아 볼 수 있다. 우리가 흔히 알고 있는 선이란 무수히 많은 점들의 집합이다. 선은 그 차체만으로도 충분히 운동방향을 나타낼 수 있을 뿐 아니라, 인간의 내면세계를 표현하는데 중요한 요소라 할 수 있으며, 선을 긋는다는 그 자체만으로도 창조적 동기를 갖추는 시작점이 될 수 있는 것이다. 일반적으로 작품의 인상이 강렬한 이미지를 갖게 되는 것은 독특한 소재와 차별화된 구도 등 여러 요인도 있겠지만 동일한 대상의 표현방법도 작가마다 동기부여와 심상세계가 다름에 따라 작품에 표현되는 이미지도 각기 달라진다는 것을, 인상주의 이후로 현재까지 회화의 무한 가능성이 내포된 “선”의 성격을 작가 개인의 뚜렷한 감성을 그대로 표현하여 창조된 작품으로 지금까지 세계인들의 무한한 사랑을 받고 있는 고흐와, 자연형태에서 모티브를 빌려 새로운 표현을 얻고자, 덩굴풀이나 담쟁이 등 식물의 형태가 연상되는 파상곡선 아르누보 양식의 선구자인 클림트의 작품 사례를 살펴보고 “선묘화법”을 이용하고 있는 이정섭의 작품 변화과정과 비교하여 봄으로써 구상회화의 표현방식으로 선의 성격이 어떻게 이용되고, “선묘화법”이 현대 회화 표현기법에서 적응할 수 있는 가능성을 검증 해 본다. Line-drawing technique that is illustrated in the works of Gogh in the latter part of his life expresses his sensibilities from the nature with rough lines. Wasn't his expressive format of composing the canvas vehemently at times while gentle at other times not his unique means of coping with his uncertain life environment? This could have been the volition of the artist attempting to pursue new changes. Expressive behavior of Gogh of mixing the paint on the canvas and making long lines would have been the expression of uncontrollable changes of his emotions that can only be felt on the site. As an artist confronts the Mother Nature, changes in cogitation are induced ceaselessly, because the emotions arising within due to blowing of wind, warm twinkle of sunlight and changes in the length of the shadow could be felt sufficiently differently. However, the lines illustrated in the self-portraits and figure paintings of Gogh, unlike the lines in his landscape paintings, are much shorter and expressed with uniform directionality. This is perhaps because he was able to maintain composure of his emotion when working indoors. Klimt used lines most in expressing the costumes or backgrounds of characters. This can be considered as usage as symbolic significance rather than to accurately express certain form. Semiotic forms, rectangles, triangle, circles and lines using the stems of plants are quietly flowing in alignment. Although these are thin and fragile lines, they induce gentle flow with elongation of collection of several lines while forming surfaces. These are straight lines at times and curved lines at others, thereby changing the ambience of the painting in accordance with the flow of such lines. Ultimately, flow of such lines in the works of Klimt is used as one of determinant expressive method of illustrating his intended ambience. Lines of Klimt form surfaces and become the element that determines the features of the surface. Lines illustrated in the works of Lee, Jung Seop, are defined as ‘lines of wind'. Even within the seemingly still space, the artist is carrying out conversation on the canvas with the gazes of viewers through the flow of wind with diverse range of length, thickness and colors as well as the directionality of the line that is ceaselessly moving. Such expressive technique of line was first introduced in 2001. Initially, it was only a flow of small lines, which at first may be recognized as pointillism. However, while the pointillism of the post-impressionists was expressed with points in primary colors, little lines in the works of Lee, Jung Seop are moving busily on the canvas. As though used as expressive method of sincerely conveying the momentary emotions in accordance with the flows of light and wind in the outdoor works, expressions include wide range of types of lines, while self-restraint and intended tranquil lines are flowing in the works done indoors. As illustrated above, it can be seen that each of the artists uses characteristics of lines with different significance in their expressive format of painting using line-drawing technique. As completely different significances can be endowed in accordance with how the lines are used, the line-drawing painting technique has been continuing to undergo progress, transcending space and time, until now.
Son, Chun-seop, 2014. A Study on the Korean Affixation. Korean Semantics, 45. This study considers the aspects and characteristics of Korean affixation classified by origin. For this study, affixes of Korean native words and affixes of Chinese words are extracted from 〈The standard Korean dictionary〉> and three other grammars, and the productive foreign words are selected from new coinage and internet search. Here is the summary. First, the most typical grammaticalization, which lexical morphemes become grammatical ones, appears in affixation of Korean native words. Modifiers like nouns, verbs, adverbs, and adnominals are affixed, and grammatical morphemes like postpositions and endings are affixed, too. Second, in the case of the chinese words, the words with lexical meaning are mostly affixed. Prefixes are usually affixed from predicates, and suffixes are usually affixed from substantives. This has something to do with the restrictive function of prefixes and the fact that the most of the chinese suffix derivation is from nouns. Some chinese expletives became Korean affixes, but the number is few. Some western loanword affixes are used as Korean affixes as they are. Foreign pronouns are affixed as Korean prefixes and foreign nouns are affixed as Korean suffixes. So these affixation creates a lot of new words. Some of the noun affixation expands their territory, keeping their relationship with similar Chinese affixes. Foreign predicates become Korean affixes, and mostly foreign adjectives are changed into Korean prefixes. Lastly, affixation of foreign words are created by disassembling a word and making one of the disconnected roots into Korean affix. In this case, either the head or tail of the words can be used as affixes. Some of the affixes are not settled as Korean yet, but the productivity is increasing.
Hyeon,Seop,Byeon,Mi,Na,Han,Seong,Tae,Han,Mun,Hui,Chae,Shin,Seok,Kang,Rae,Hoon,Jang,Chang,Seop,Kim,Hye,Won,Jeong,Bo,Young,Jeon,Byeongwoo,Ahn 충북대학교 동물의학연구소 2020 Journal of Biomedical and Translational Research Vol.21 No.4
We report a massive outbreak of human Q fever cases, which occurred at totally 11 humans. The occurrence was related to a goat farm where Coxiella burnetii infection was diagnosed from goat tissues and environmental specimens. From January of 2018, continuous abortions from 6 goats occurred. Laboratory tests from 77 goat specimens for C. burnetii showed that 54 (70.1%) and 63 (81.8%) goats were positive by polymerase chain reaction (PCR) and enzyme-linked immunosorbent assay (ELISA), respectively. The infection was also confirmed from the farmer, his wife and 9 persons from all 16 veterinary officials who had visited the farm for protective measures and preparing goat specimens for laboratory tests. The farm was found to be extensively contaminated with C. burnetii from the examination to the environmental specimens and epidemiological inspections, which might be the main source of C. burnetii infection to humans. The extensive contamination to the farm was derived from the uncareful handling of postpartum animal tissues or discharges by the farm owner. This report will contribute to the establishment of educational system on the biosecurity to novice farmers.