Recreation specialization and consumptive orientation are two important constructs to understand anglers’ attitudes and behaviors. Although theoretical explanations and previous studies in different countries addressed the relationships between the two constructs, limited support has been provided in a context of anglers in Korea. This study developed a conceptual model explaining the causal relationships between recreation specialization, anglers’ preferences (activity-specific and activity-general) and consumptive orientation. An on-site survey was conducted to anglers in the city of Busan and Gyeongnam province in 2018. A total of 614 data were analyzed using Structural Equation Modeling The study results showed that recreation specialization positively and indirectly influenced consumptive orientation via anglers’ activity-specific and activity-general preferences. Theoretical and practical implications are further discussed.

이 논문은 베트남전쟁기 게릴라 화가들의 활동을 추적하기 위해 먼저 베트남 근대미술 의 형성과 베트남전쟁기 저항미술이 나타난 경위를 고찰한다. 전쟁에서 경험할 수 있는 폭력적인 참상에도 불구하고 게릴라 화가들은 적에 대한 적개심보다 근거지에서의 평범 한 일상을 표현하는데 주력했다. 게릴라이자 화가였으므로 옻칠회화나 유화보다 연필이 나 펜으로 그린 스케치와 수채화가 대부분을 차지하고 있기 때문에 이 드로잉들은 거의 일기와도 같은 것이었다. 전쟁의 현실을 직접적으로 그려낸 이 드로잉을 통해 게릴라화 가들이 파악하던 베트남전쟁의 성격을 이해하는 데는 소중한 참고가 될 것이다. 또한 자신들이 겪고 있는 현실을 미화하거나 과장하지 않고 표현했다는 점도 중요하다. 이 논문의 의의는 베트남 근대미술과 저항미술의 형성과정을 고찰하고 이를 바탕으로 한국 에는 잘 알려지지 않은 베트남전쟁기 게릴라 화가들의 활동과 작품을 고찰한 것에서 찾 을 수 있을 것이다.

Korean families were separated in the wake of division of Korea into north and south. Separated families became refugees, defecting from North Korea. Therefore, it can be said that all of the North Korean refugees, who have currently settled down in South Korea, fall under the category of separated families. Under these circumstances, group experience and homesickness of North Korean refugees have been the driving force of their artistic creation, which has been reflected in their works. It was found that the North Korean refugee painters had felt homesick. Young-rim Choi also is North Korean refugee painter. He described the utopia that he had dreamed of in his works as they put emphasis on pain from loss of hometown and nostalgia for childhood. He also reflected his hometown indirectly in his works. His works have the common features such as landscape that is similar to that of his hometown, influence by tumulus murals, which can be assumed based on iconic and expressive technique. It is right to say that the common features express objects of ideology that is intrinsic to painter’s mind, rather than simple landscape or person. This is because his paintings connote painter’s longing, memory, dream, and hard feelings of deep sorrow simultaneously. As the painter look for images that are similar to those of his hometown due to physical absence of homeland, such images mean that consciousness of internal diaspora of Korea among North Korean refugee painter is expressed in the passive way. This study was meaningful in that the works and achievements by Young-rim Choi were examined in the perspective of internal diaspora of Korea, even though he has never been investigated until recently, with a view to getting an in-depth understanding of his works and positioning the painter on the historical map.

제도적 환경에서 형성된 제도적 규범을 받아들인 조직이 제도적 환경과 유사해 짐으로써 조직의 정당성을 얻게 된다. 조직의 정당성은 제도적 환경에서 필요한 자원을 획득하는데 필수적인 부분이 된다. 이러한 필요 자원획득이 조직성과에 영향을 미친 다면 제도적 환경에서의 동형화와 조직성과는 매우 밀접한 관계를 갖게 된다. 우리나라의 사회적기업이 형성되기 위해서는 사회적기업육성법(2007)에 따라 어떠한 형태로든 조직전환되어야 인증 사회적기업으로서 활동할 수 있다. 이러한 인증 사회적기업은 생존하기 위해 제도적 환경에 순응해야 한다. 본 연구의 목적은 사회적기업의 제도적 환경에의 동형화가 조직성과에 미치는 영향을 알고자 한다. 즉 제도적 동형화가 자원획득에 필수적이라면, 제도적 동형화가 높을수록 조직은 높은 성과를 유지하게 된다는 가설이 설립되는데, 이에 대한 검증이 본 연구의 목적이다. 연구표본은 정부로부터 인증을 받은 서울·경기지역에서 활동하고 있는 사회적기업을 대상으로 통계 폐키지 SPSS 20.0과 AMOS 20.0을 활용하여 탐색적 요인분석, 상관관계분석 및 공분산 구조분석(covariance structure analysis)을 실시하여 가설을 검증하였다. 분석결과 강제적 동형화와 모방적 동형화는 조직성과에 유의한 영향을 미치고 있으나 규범적 동형화는 관계가 없는 것으로 나타났다. 또한 강제적 동형화와 조직성과 간에 모방적 동형화는 매개역활을 하고 있으나 간접효과는 크지 않는 것으로 나타났다. 본 연구는 이제까지 사회적기업의 일반적인 특징이나 현상 분석을 진행한 연구들이 많이 있으나 제도적인 관점에서의 분석은 많지 않다는 점에 주목하여, 제도적 동형화가 조직성과에 미치는 관계를 분석함으로서 제도주의 이론을 사회적기업에 도입하였다는데 의미를 갖는다.

Julio Romano decorated the facade of his house in Mantua with a statue of Mercury to give expressions to his ideas on painting. Hereby the painter from Rome could show his home to the world as that of a painter. To be concrete, Mercury was the planet god to which visual artists belonged, and so was basically related to visual arts. In his role to deliver diverse features of art works Mercury could also convey concepts and emotions expressed in a picture to the viewer. The power of a painting to arouse certain emotions or move the mind of the viewer was further connected to the role of Mercury as the guide of the human soul. This function again related the Roman god to the characteristic of a portrait to present absent persons to the viewer. Above the statue of Mercury, a Lucian head of the god is seen, so that they together form the central axis of the facade. This seems to emphasize that the theme of the facade decoration was the powerful persuasive forces of eloquence. The two masks on the left could then refer to sources of eloquence, I.e. various beautiful expressions of a language and its generative process. On the other hand, the masks on the right could represent consequences of eloquence, for instance, prudence, evil effects which come about to imprudent listeners, and other influences on listeners. Finally, it would be useful to remind us of a line from On Architecture by Leon Battista Alberti. According to the humanist architect parts of a building which are seen from the outside, like a facade, should be appropriately designed, since the decoration of a house could play a significant role to enhance the fame and honor of the family and its fatherland. This theory of Alberti could have provided the foundation to the facade decoration of the Casa Pippi which proudly presented the profession of painting to the public in visual form.

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People’s Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of ‘Korean’we usually consider ambiguous, and prompts careful attention to the silence of ‘some Koreans’forced to live against their will in the blurred boundaries between nation and people. This dissertation regards ‘Koreans’who came to live in the border of nations, especially ‘Korean-Japanese third generation women artists’ who are marginalized both Japan and Korea. It questions the category of ‘Korean women’s art’that has so far been considered, based on the concept of territory, and presents a new perspective for viewing ‘Korean women’s art’. Almost no study on Korean-Japanese women’s art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of ‘Korean women’and ‘Korean women’s art’ considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority’s diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist’s cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual’s historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with post-colonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women’s art.

‘와카’는 오래전부터 일본인의 심정을 표현하는 정형시(詩)로 고대부터 계승되어온 일본문화의 핵심이라고 할 수 있다. 와카의 창작이란 문예적 창작이며 개인 심정의 표출임에도 불구하고, 이것이 향수되는 장소나 방식은 위정자(為政者)와의 관계를 끊을 수 없었다.9세기에 궁정에서 천황에 의해 개최된 ‘우타 아와세(歌合)’는 와카의 창작이 집단적으로 행해졌고 또 그 와카의 우열(優劣)을 승부하는 시합 형식으로 오락성을 겸한 행사였다. 천황이 왕비의 외가세력에 대항하기위해 ‘우타 아와세(歌合)’를 열고 칙찬집(勅選集)의 편찬으로 이어지기도 했다. 12세기 후 ‘우타 아와세(歌合)’에 종교적인 색채가 더해져 와카 계의 뛰어난 가선(歌仙)들의 공양이라는 ‘에이구(影供) 우타 아와세(歌合)’가 탄생하였고, 이는 절이나 신사(神社)에서도 열렸는데, 그 배경에는 ‘언령신앙(言霊信仰)’이 있었다. 또 이 시대에 새롭게 정권을 장악한 무사계급에게 전통성을 가진 와카는 자기 정당성을 구현하기에 중요한 역할을 했었다. 17세기 포르투갈의 카드로부터 전래되어 형성된 ‘햐쿠닌잇슈 가루타(百人一首カルタ)’가 성행하고, 메이지(明治) 시기에 들어와 그 방식이 획일화됨으로써 근대국가의 정신적 통제 수단의 역할을 완수하기에 이르렀다.집단적으로 와카를 향수하는 ‘우타 아와세(歌合)’, ‘에이구(影供)’, ‘햐쿠닌잇슈 가루타(百人一首カルタ)’는 와카의 계승에 큰 역할을 했는데 그 전통성 유지에 있어서는 정치적요소도 배제할 수 없다.

Gustave Courbet was a French painter who led the Realist movement in 19th-century French painting. Since After dinner at Ornans in 1849 Courbet’ s subject had been drawn from the actual life or the living human experience, because he believed that art should reflect the realities in actual life. To represent the hero of today, Courbet used “colossal” dimension required of history painting which the Paris Salon esteemed as painter’s highest calling but rejected as unsuitable for a genre painting. And he employed a larger than life-size which is appropriate for a culture hero. He wanted to give everyday subjects the effect of a monumental history painting. This was to be a transgression of the academic principle. In 1855, Courbet submitted fourteen paintings for exhibition at the Universal Exposition. His monumental paintings, The Artist’s Studio and The Burial at Ornans which are his major works of Realism are not admitted to the Universal Exposition. So he decided to organize his own show called The Pavilion of Realism which was a temporary structure that he erected opposite to the Exposition Universe of 1855. In short, he challenged the rigid categories of the Academy not only in a series of his paintings but also in his actual life. The artist disregarded authority and convention of the academy. However, the trace of the academic tradition remains still in Courbet's painting. This means he was not immune from the Salon’s view. In this paper I examine the relation between Courbet and the Paris Salon, focusing on the composition and rhetoric of The Artist’s Studio . As I demonstrate, the composition of the picture relates to the academic history painting’s central composition, especially The Sabine Women of Jacques-Louis David. The Artist's Studio was called allegory by Courbet. Allegory is the principle rhetoric of the academic history painting. In 19th-century salon’s paintings, the purpose of allegory was the personification of an abstract concept. He was interested in the allegory as an indirect or veiled mode of expression rather than the allegorical personifications. He created his own realism simultaneously using the tradition and the difference. In The Artist’s Studio, Courbet's massed figures The Contradiction of Gustave Courbet: on The Painter’s Studio, A Real Allegory Summing up a Seven-Year Phase (1855) Lee, Jaeeun(Sungshin Women's University, Lecturer) locate theirs place in the academic composition and are to be the allegorical personification. The kind of contradiction was due to the Salon’s gaze that controled the mainstream art of 19th-century Paris.

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.

농촌 경관에서 파편화가 조류 군집에 미치는 영향을 파악하고자 경기도 양평군 강하면 성덕리와 항금리 두 지역에서 수종 구성과 산림환경구조, 농촌 경관의 구조, 조류상 및 조류 군집의 길드 구조를 분석하였다. 성덕리 지역은 항금리 지역보다 수종의 종 수와 흉고직경 6~10cm 임목의 헥타당 밀도는 높았으나, 흉고단면적은 낮았다. 2m 이하와 12mn 이상의 엽층에서 피도량은 성덕리 지역보다 항금리 지역에서 높았다. 한편 성덕리 농촌 경관은 12개의 조각을 가지고 있었으며 낙엽송과 아가시 나무의 점유 비율이 높았다. 항금리는 11개의 조각을 가지고 있었으며 리기다소나무, 밤나무, 낙엽송, 논의 점유 비율이 높았다. 두 지역에서 조류의 우점종은 동일하였으나 항금리 지역에서 36종으로 나타나 성덕리 20종보다 훨씬 많았다. 여름철새의 비율은 도로에 의해 파편화가 진행되지 않은 항금리에서 높았다. 수동, 관목층. 지면 영소길드와 물가, 관목, 지면 채이길드의 종 수 및 서식밀도는 항금리 지역에서 높았다. 도로에 의한 파편화가 진행되지 않은 항금리 농촌 경관에서 인간에 의한 영향이 상대적으로 적고 중, 대경급 임목이 생육하여 수동 영소길드 종 수 및 서식밀도가 높은 것으로 생각된다. 또한. 2m 이하 하층 피도량이 높고 논, 밭, 계류 조각이 28.4%를 차지하는 항금리 경관은 관목층과 지면 길드 및 물가 채이길드의 종 수 및 밀도를 높인 것으로 생각된다. 따라서 도로는 농촌경관에서 이질적인 조각을 점유할 뿐만 아니라, 인간의 교란을 쉽게 유도하여 농촌 경관의 생물 서식지의 다양성을 줄이고 가장자리 효과를 감소시켰다고 판단된다.

BTDA-BAPP, DSDA-BAPP, BTDA-4,4'ODA의 폴리아믹산(PAA)으로 막을 주조하고 부분이미드화하여 산소와 질소의 투과특성을 조사하였다. 가열이미드화로 이미드화가 증가할수록 투과속도는 초기에 증가하여 최고점을 나타내고 감소하였다. 가열이미드화할 때 ?에는 PAA 수소결합의 소실로 기체투과가 증가하나 이미드화가 증가하면 치밀화로 인하여 기체투과 감소효과가 커지는 것으로 추정되었다. BTDA-BAPP, DSDA-BAPP, BTDA-4,4'-ODA는 각각 이미드화율 37%, 47%, 55%일때 최고투과계수 8.3, 0.3, 0.8 barrer을 나타내었다. 그러나 투과선택도는 이미드화와 무관하게 거의 일정하였다.

탄산화가 고전도성 시멘트 복합재료의 전기전도도에 미치는 영향에 대해 실험적으로 확인 하였다. 탄소나노튜브(carbon nanotube, CNT)가 혼입된 페이스트형 및 모르타르형 시멘트 복합재료를 설계하였으며, 제조된 시편을 촉진탄산화 환경에 노출 시켰다. 반년간의 노출 후 확인한 결과 시멘트 복합재료의 전기전도도가 급격하게 감소한 것을 확인 할 수 있었다. 이 특성은, 전도성 시멘트 복합재료를 콘크리트용 센서로 사용했을 때, 탄산화에 의해 복합재료의 전기전도도가 변화할 수 있음을 고려해야 한다는 증거임과 동시에, 이 복합재료가 탄산화 센서로 사용될 수도 있다는 것을 의미한다. 본 논문은 본 연구 진의 기존논문 Lee et al.(2019)를 요약한 것이다.

In order to study carbonation progress after surface repair of carbonated concrete, each carbonation penetration velocity from different repair materials of concrete structure is compared through the experiment of carbonation accelerating CO2 concentration to 100%

전기저항은 콘크리트의 내구성을 판단하기 위하여 빠르고 간단히 측정하여 활용될 수 있으나, 탄산화가 진행되면 콘크리트의 미세구조가 크게 변화하기 때문에 측정의 오차를 초래한다. 본 연구의 목적은 콘크리트의 탄산화가 전기저항에 미치는 영향을 분석하고 정량화 하는데 있다. 다양한 물시멘트비 조건에서 시험편을제조하여 330일동안 탄산화 촉진을 시키면서 전기저항의 변화율을 고찰하였다. 탄산화된 콘크리트에서 전기저항 측정치가 높은 것으로 나타났으며, 이러한 경향은 탄산화가 진행됨에 따라 더욱 뚜렷한 경향을 보였다. 전기저항과 탄산화깊이와의 상관관계를 도출하였으며, 기중상태 대비 탄산화된 콘크리트의 전기저항 비율은 일정한 탄산화깊이까지는 급격히 낮아지는 경향을 보였으나, 포화상태 대비 탄산화된 콘크리트의 전기비율은 탄산화 깊이와 선형관계를 보였다. 본 연구를 토대로 탄산화로 인하여 전기저항치의 측정오차를 보정할 수 있는데 실질적으로 활용될 수 있을 것으로 기대된다.

This paper introduces a dual-arm robot painter system which is capable of sketching a camera-captured image with short line segments. To express various curved edges in the image by combining line segments, we first apply edge detection algorithm to the entire image, split the edged image into small boxed pieces, and then apply Hough Transformation to each piece so that the edges inside the piece can be approximated with short line segments. To draw the picture within a reasonable time, we designed a simple dual-arm robot system and controlled both arms concurrently according to linear interpolation algorithm. From the experiments, we could verify that simple linear motions can describe various images effectively with a unique brush style.