본 연구는 그동안 우리나라에서 발표된 BTS 관련연구의 동향을 분류 하여 보다 체계적이고 발전적인 연구방향을 제시하기 위한 목적으로 실 시되었다. 분석대상 논문은 다양한 학문분야별 영역에서 BTS의 학문적 가치를 증명하기 위해 수행되었다는 전제로 2007년부터 2024년 2월까지 국내학술지에 게재된 논문 167편을 분석하였다. 선행연구 기반의 논문분 석 준거 틀에 따라 출처 및 연도별, 연구방법별, 연구분야별, 주제어 네 트워크 분석을 실시하였다. 연구동향 분석결과는 다음과 같다. 첫째, 연 구의 출처 및 연구별 연구동향에서는 2019년부터 본격적인 연구증가 추 세를 보였고, 2020∼2022년에 가장 많은 논문이 발표되었다. 둘째, 연구 방법별 동향에서는 질적연구가 128편(77%),으로 가장 많았고, 셋째, 연 구분야별 동향에서는 복합학분야가 50편(30%)으로 가장 높게 나타났다. 넷째, 주제어 네트워크 분석에서 가장 빈도가 높은 주요 키워드는 ‘방탄 소년단’, 케이팝‘, ’팬덤‘, ’한류‘로 나타났다. 이러한 연구결과를 토대로 K-팝 관련연구에서 BTS 연구가 주는 시사점과 연구방향을 논의하였다.

풍속에 따른 증발산량(수분흡수량)은 노랑조팝, 송악, 수호초 모두 같은 경향을 나타내었다. 세 식물 모두 4m·s -1의 강풍에서 가장 높은 수분흡수양상을 보였으며 풍속이 낮아질수록 수분흡수량도 함께 감소하는 경향을 보였다. 풍속처리없이 플라스틱 하우스 내의 기본 환경에 노출되어 있던 대조구는 바람에 노출되어 있던 처리구에 비해 수분흡수량이 가장 작은 것을 확인하였다. 하지만 풍속에 따른 식물의 생육을 조사한 결과 송악, 수호초 그리고 노랑조팝 모두 2m·s -1와 1m·s -1의 풍속을 처리했을 때 식물의 초장과 엽수의 증가에 가장 효과적이었다. 식물체의 수분흡수 양상을 수분흡수 기간 중의 평균기온 및 상대습도와의 관계를 비교해보면 평균기온 18.7°C 로 가장 낮은 기온과 평균상대습도 62%로 가장 낮았던 5월 20 일부터 26일까지의 모든 식물들의 수분흡수량이 낮은 경향을 나타내었다. 본 연구의 결과는 도심의 열섬화 현상을 경감시키기 위한 기초자료로 활용 가능할 것이며 바람이 많이 부는 도서지역의 녹지공간조성시에 풍속에 따른 식물생육과 활착 안정화에 효과적인 수종검토에 도움이 되고 공간이 협소한 도심지역 녹화에 효과적인 저면관수형 벽면녹화 수종선택에 큰 도움을 줄 수 있을 것으로 기대된다.

The purpose of this study is to develop a design as a high value-added exportable industrial product by developing a cultural product, that can be accepted as having universal beauty by people in the Western cultural area. This is done by, re-analyzing it from a modern perspective after applying the color representation, used in pop art, to Shin Saimdang’s Chochungdo (草蟲圖, insects on flowers) which clearly expresses Korea’s national emotion and aesthetic consciousness. The research method depends upon developing cultural products such as scarfs, neckties, handkerchiefs, and folding fans, which are communicated in the global market The expressive technique of pop art is utilized after reconstructing the color sensation of pop art in the aesthetic dimension of the natural, physical, and formative beauty of Chochungdo based on the whole understanding of our country’s genre of Chochungdo and Western pop art. With regard to the colors in the developed design, the basic colors were extracted and applied by selecting 10 pieces in the flower series, which were made with the silkscreen printmaking technique in the 1970s by Andy Warhol, a master in pop art. A work that integrates pop art, a global art trend, with Korean traditional culture is expected to highlight Korean traditional culture in the global cultural era.

The emergence of pop art in the 1960s exerted a profound impact on integrating art into the real lives of the general public, which continues in the current area of culture of post-industrial society. Thus, this study aims to attempt the popularization and modernization of Korean images by applying the concept of pop art to the development of a national symbolic image. This study utilized Mugunghwa, Taegeukgi, and the Great Seal, which are national symbolic images that establish the identity of Korea through differentiation, universality, and visual formativeness. It then proceeded with the development of neo-pop art motives and patterns using national symbolic images from the standpoint of symbolism, mix-match, and repetitiveness from among the characteristics of neo-pop art. This study carried out pattern design by departmentalizing each characteristic according to the standpoint of neo-pop art through scribbles composed of the following: Signs, pictograms, and childlike characters; drawing simplification for symbolism; a mix of the East and the West; a mix of subfashion and subculture for mix-match; the repetition of lines, characters, and icons; and the exaggeration and grotesqueness of characters and icons for repetitiveness. This study is expected to serve as momentum for raising the cultural value of Korea and for the development of a pattern design capable of achieving worldwide competitiveness through the combination of the permanence and continuity of national symbols with the popular universality of pop art.

This study examined the expression characteristics in pop art works of Jean-Charles de Castelbajac. The study here aimed at possibility to find a design development in building up the unique art world of creativity based on popularity, artistry, and originality without confinement to the trend only. For the research method, review of literature and analysis about Castelbajac's works reflecting the pop art feature in the collections from 2000S/S to 2012F/W were performed. The results of research are as follows. The external expression form of Castelbajac's works based on pop art was grouped roughly into use of mass culture image, appropriation of pop art expression technique, and parody of art works. First, his work appeared as application of the mass culture image such as symbolic thing in the modern consumer society, object in an ordinary life, character of well-known animation, national flag and famous star. Second, such appropriated pop art techniques showed as pop color in strong primary color and silk screen, photomontage, collage, assemblage, graffiti, and lettering. Third, a variety of images featured earlier in art works were shown in parody. These works are valuable in that they are expressed aesthetically through regeneration of popular culture's various images in view of fashion, they are described in the non-traditional value with frolic resistance and deviation out of existing fashion norm, and they are given the dynamic creativity integrated with art and fashion.

This study examines the work of Ed Ruscha (1937-present) and his relationship with the Ferus Gallery that vigorously promoted pop art in the western parts of the US throughout the 1960s and 1970s. Ruscha is a conceptual artist and recognized as an iconic figure in the history of LA pop art. His earlier works formed an organic relationship with the southern Californian area. He chose objects from the elements of pop culture, and worked on a wide array of media including painting, photography, artist books and film. By the 1960s, Ruscha has acquired a status as a significant, influential figure as a pop artist, photographer and conceptual artist. In the 1970s, he exhibited his works at the Leo Castelli Gallery in New York, expanding his influence to the east coast. But it was not until 2004 that his retrospective was held at the New York Whitney Museum. Before that, he was mostly known as an artist based in LA both geographically and in terms of his work. Indeed his better known work was created in LA, especially in the early days. Raised in Oklahoma, Ruscha moved to LA in 1956 to attend an art college at age 19. Seven years later, he had his first solo exhibition at the Ferus Gallery. Familiar with pop art elements of Hollywood, beach scenes, palm trees, film and automobiles, artists from LA established their own identity and art world, set apart from east coast-based artists. In particular, artists that worked with the Ferus Gallery were often associated with masculine images, and they adopted this as their persona. The group of them came to be called the Studs. Meanwhile, Ruscha took a slightly different approach. While blending in with other members of the Studs, he expanded or even overcome the macho image through humor and irony. Alexandra Schwartz did extensive in-depth research on Ed Ruscha, and noted that Ruscha could be understood as a mediating figure of the Ferus Gallery, as he was accepted in both the west and the east coast. Schwartz argued that although Ruscha widely used images of the west, he could take a more neutral perspective than other LA-based artists at the time. To him, LA was home and workplace, but Ruscha refused to play along with the cliché of the macho images. As a representative artist of the Ferus Gallery, Ruscha twisted the meaning of the Ferus Studs, intentionally and strategically, and expressed them in his work. With Jerry McMillan, Ruscha actively engaged in opinion-exchanges and image-creating. He augmented the significance of the Studs, which evolved to be a part of various public images that Ruscha experimented with. Ruscha added a new facet of artistic persona to the Studs. The masculine and aggressive images of the Studs members were reproduced in many photos. While connecting to them for solidarity, Ruscha humorously twisted the images, and moved away from the stereotype. Ruscha was a leading artist for the gallery, and widely experimented with the images of the Studs in his work.

This study aims to find methodical similarities between pop art and Robert Venturi's works. Pop art and Robert Venturi's works gave attention to periodical changes and wanted to communicate with the public. This study approaches a topic from psychological viewpoints, especially visual dissonance. The results are as follows: 1. Manufactured Products ; Commercial Ornaments → Character Changes in Experienced Stimulation 2. Daily Elements ; Traditional Elements(Classic) → Contextual Effect of Canonic Representation In these cases, visual dissonance attracted a lot of public attention, and people would develop new meanings of objet. Pop art and Robert Venturi's works indicated value change in post-industrial society, therefore, this study can help to understand the correlation.

핑크팝 보리수 열매와 잎을 기능성 식품의 재료로 활용하기 위하여 항산화 및 총 페놀성 화합물 함량을 측정한 결과는 다음과 같다. DPPH 및 ABTS radical 소거활성을 측정한 결과 분획물의 농 도가 증가함에 따라 DPPH 및 ABTS radical 소거활성이 증가하는 경향을 보였으며, 특히 잎의 부 탄올 분획물에서 가장 높은 DPPH radical 소거활성을 보였다. 또한 ABTS 라디칼 소거활성도 열매 와 잎의 여러 분획물 중 잎의 부탄올 분획물에서 가장 높은 소거활성을 보였다. 환원력과 FRAP 활 성도 분획물의 농도가 증가함에 따라 환원력과 FRAP 활성이 증가하는 경향을 보였으며, 잎의 부탄 올 분획물에서 가장 높은 환원력과 FRAP 활성을 보였다. Linoleic acid를 이용한 자동산화 억제활 성을 실험한 결과 다른 분획물에 비하여 부탄올 분획물에서 가장 높은 과산화 억제활성을 나타내었 으며, 총 페놀성 화합물은 잎과 열매의 부탄올 분획물에서 각각 106.34 및 252.46 mg/g으로 가장 높은 함량을 보였다. 핑크팝 보리수 잎 부탄올 분획물의 항산화 활성은 페놀성 화합물에 의한 것이 며, 이는 자유 라디칼에 의해 유발된 산화적 스트레스를 효과적으로 방어할 수 있을 것이다.

This thesis examines contemporary Chinese painting after the CulturalRevolution(1966~76), focusing upon so-called “Chinese Pop art”, which I termed as“Socialist Pop art”. I considered the art of this period within the broader context of socialchanges especially after the Tienanmen incident of 1989.After the Cultural Revolution during which idolization of Chairman Mao was at itspeak, one of the major changes in communist China was that an anti-Mao wave wasgenerated in almost every social class. For example, novels that revealed the hardshipsduring the Cultural Revolution were published. Posters that openly criticized the Maoismwere also produced and displayed on the walls, and demand for democracy spurredwidespread activist movements among young generations. These broad social changeswere also reflected in art. A variety of art movements were introduced from the West toChina, and after a period of experimentation with the new imported styles, artists began toapply the new artistic idiom to their works in order to visualize their own social andpolitical realities they lived in. It was a shift from earlier Socialist Realism to a newexpression either directly or indirectly, “Socialist Pop”, an amalgam of Socialist Realism andPop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communistgovernment quelled with brutal measures the students, workers, and ordinary people whorose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This timecoincided with the gradual emergence of art using Pop art vocabulary to satirize the socialreality, the Socialist Pop art, along with many other art forms all with avant-garde spirit.One of the most frequent subjects of Chinese Pop art was visual images of ChairmanMao and his Cultural Revolution, and new China that was saturated with capitalism, whichtainted the Chinese way of life with a Western way of consumerism and commercialism.The reason for the popularity of Mao’s image was spurred by the “Mao Craze”in the early1990’s. People suddenly began to fall in a kind of nostalgia for the past, and once again,Mao Zedong was idolized as an entity who can heal the problems of modern China whohad been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is nomore an object of worship of almost religious nature but he has become an iconographysymbolizing the complex nature of present Chinese society. During this process ofdepicting the social reality, Chinese artists are making the authority and sanctity of Maoismineffective. Dealing with this new trend of contemporary Chinese art in view of “Socialist Popart”two manners of re-creating Pop art can be illustrated: one that incorporates thepropaganda posters of the Cultural Revolution; the other borrows from Chinese traditionalpopular imagery or mass media, such as photos taken during Mao era. What is worthmentioning is that these posters and photos of the Cultural Revolution can be identified as‘popular’media, as they were directed to educate the popular mass, thus combination ofthis ingenuous pop media with Western Pop art can be fully justified as a genre unique toChina. Through this genre, we can discover a new chapter of the Chinese contemporarypainting and its society, as their Pop art can be considered as self-portraits true to theirpresent appearances.

노래로 만들어진 가사가 매우 뛰어난 시적, 문학적 성취를 보여주는 사례는 매우 많다고 할 수 있다. 밥 딜런(Bob Dylan)의 노벨문학상 수상은 그런 대표적인 경우라고 할 수 있고, 딜런 만큼 노래의 문학성을 인 정받고 있는 톰 웨이츠(Tom Waits)의 가사 역시 문학적인 성취가 매우 높다는 평가를 받고 있으며, 이 외에도 죠니 미첼(Joni Mitchell), 레오나 드 코헨(Leonard Cohen), 루 리드(Lou Reed)와 같은 가수들은 종종 시인 으로 여겨지며 그들의 노래 역시 훌륭한 시로 평가받기도 한다. T. S. 엘리엇의 많은 작품들은 음악과 매우 밀접한 관계를 갖고 있다. 헬렌 가드너에 의해 엘리엇의 『네 사중주』가 음악적 구성을 갖고 있다 는 사실이 지적된 후로, 많은 연구들은 엘리엇의 작품이 갖고 있는 음악적 요소에 많은 관심을 가져왔다. 하지만 반대로 엘리엇의 작품이 음악에 영향을 준 것도 충분히 고려해 볼 만한 이유가 될 수 있을 것이 다. 엘리엇과 대중문화의 관계를 생각해 볼 때, 엘리엇의 몇몇 시들은 1960년대 이후 대중음악에 산발적인 영향을 주었던 것이 명확해 보인다. 그런 면에서, 엘리엇의 문학이 현대 대중음악에 어떤 영향을 주었고, 또 그 문학적 영향이 어떻게 남아 있는지를 1960년대 이후 대중적 으로 널리 알려진 노래의 가사를 중심으로 살펴볼 것이다.

The purpose of this study is to examine the effectiveness of using songs for improving vocabulary acquisition and memory. A total of 19 students who are learning Korean as a second language participated in this study. They were divided into two groups; the experimental group who had their vocabulary class with the aid of a song and the control group who had the same class but without using the song. The pre-test results showed that within the two groups, there were no significant differences in the participants' knowledge of the given words. Each group had an immediate post-test right after their class. After a two-week delay of no class, they took another post-test and were given a questionnaire. It was hypothesized that there would be a significant difference in both short-term and long-term memory between the two groups. Looking at the results, there was a significant difference in the immediate post-tests between the groups. While the use of song in vocabulary teaching did not have a considerable impact on the short-term memory of the participants, there was a significant difference found between the groups in the delayed post-tests. This indicates that the use of song has a great influence on transferring a short-term memory into a long-term memory. These findings suggest that the use of a song in teaching Korean vocabulary may aid in the acquisition and memorization of vocabulary. These would make a great contribution to developing teaching materials and learning strategies for KSL learners.

본 연구는 <K팝스타> 심사위원의 평가를 분석하여 유아평가에 주는 시사점이 무엇인지 살펴보고 향후 유 아평가가 나아갈 방향을 모색하는데 있어 기초자료를 제공하는 데에 그 목적을 두었다. 이를 위해 <K팝스타> 시즌 5를 중심으로 2015년 11월 4일부터 2016년 4월 10일까지 총 21회 방송분의 ‘VOD 다시보기’를 통 해 자료를 수집한 후 ‘질적인 내용분석 방법’으로 분석하였다. 연구결과, 이해성을 지닌 평가라고 한다면 반 영성과 유연성 그리고 전체성을 지닌 평가여야 하며, 이러한 평가과정을 통한 교사의 주관적 판단은 유아 의 발달정도를 정확하게 이해하고 그에 따른 적절한 지원이 가능하여 유아가 긍정적으로 발달해나갈 수 있 도록 도울 수 있게 된다.