Earticle

The current research projects we have in the German language areas, presenting trends predominantly within the field of East Asian Art History, are concerned with transculturality and transmediality, with a transregional focus on the whole of Asia as well as on Africa and Europe. The application of the term “Transculture” has also produced many fashionable studies in Europe, such as »Global Art History«, »World Art History«, and »Horizontal Art History« and so on. As a result, most of these already mentioned institutions now offer curricula of art histories in global and transcultural contexts. Referring to my own three research topics as an example, I will try to define in which way the theoretical and methodological approaches can be understood in terms of transculturality and transmediality, and how we apply these in practical analysis: - Case study one: Transculturality in terms of transmedia practices from painting to photography in the age of modernity - Case study two: Transcultural processes of translation, appropriation and new interpretation as well as visual misunderstandings as an example of Buddhist art - Case study three: At the limits of transcultural theoretical applications, we utilize of “the eye of parallel seeing”. The aim of this talk is the defining the terms and its practice in more compact way: I could say, that the term transculturality can be understood as a phenomena or concept of meta and basic theory of cultural history, or art history in global context. Under the terms transmediality and translation I understand the approaching methods, which are used to explain the development processes and traces of transcultural phenomena. By using these methods we should find out who translates (actors of transculturalizing) and what (objects of transculture), where (transregional analysis), when (in global-historical context) in which way or how (transcultural practice) and why (anthropological analysis in transcultural, global context). The “parallel seeing” is also one of the comparative approaching methods for anthropological cultural studies on almost visual aesthetical level.

필자는 비개념적 내용의 정체성을 밝힘으로써 이 주제를 둘러싸고 쉽게 혼동될 수 있는 여러 입장들의 지도를 그려보고자 한다. 이를 위해 필자는 다음과 같은 논증의 단계를 취하고자 한다. 첫째, 비개념적 내용의 정체성을 밝히기 위해서는 개념적 내용이 무엇인가에 대한 논의가 선행되어야 한다. 이를 위해 개념적 내용을 규정하려는 여러 시도가 구별된다. 논란의 대상이 되는 것은 무의식적인 정신 상태가 아니라 내용을 갖춘 정신적 상태이며, 이를 철학적 용어로 다시 말하자면 지향적인 정신 상태이다. 필자는 지향성에 대한 다양한 규정들이 상호 함축적이지 않다는 것을 보일 것이다. 둘째, 이렇게 다양한 지향성 개념에 대응하여 비개념적 내용 역시 다양하게 규정된다는 것을 보인다. 이를 통해 비개념적 내용에 대한 여러 입장들이 구별하고, 대표적인 비개념적인 내용의 사례로 네 가지를 분석할 것이다. 개념적 내용의 다양성과는 달리, 비개념적 내용은 다양성과 동시에 통일성을 갖고 있음을 보일 것이다. 셋째, 비개념적 내용을 받아들이는 철학적 입장이 단지 ‘개념’이나 ‘내용’에 대한 언어적 재정의에 불과한 것이 아니라는 것을 보이기 위해 비개념적 내용이 철학적으로 요구되는 정당한 근거를 보일 것이다.

In this paper I clarify what nonconceptual content is and thereby sort out various and sometimes confusing claims concerning this issue. I shall follow the following three argument steps: First, we need to clarify what conceptual content is in order to clarify the notion of nonconceputal content. Conceptual content, philosophically paraphrased, is what is about in content-directed mental states, or mental states with intentionality. I shall enumerate eight characterizations on intentionality which shows that they are not implied by one another. Second, in relations with various characterizations of intentionality, I shall show that there are four typical kinds of nonconceptual content. Third, I shall show that nonconceptual content debate is not just a verbal dispute by showing that nonconceptual contents play a philosophically indispensable role in justifying our empirical content.

The Art of the Buddha's Life which depicts the life and before-life of Buddha flourished in Sanci and Bharhut in the ancient India and in Gandhara during the Kushan period. More than one hundred scenes from Buddha's life were represented in the form of relief sculpture or wall painting. They are found in Gandhara and Mathura during the Kushan period, Amaravati and Nagarjunakonda during the Satavahana period, in Mathura and Sarnath during the Gupta period, and during the Pala Period. They unfolded in various forms and styles according to the text(Buddhist scripture), layout, and expressive technique. In Mathura, where the Evolution of the Buddha image was made about the same time as in Gandhara during the Kushan period, the Buddha's life was presented in a number of scenes related to the sacred sites; in four or eight scenes. In the case of the Eight Great Events of the Buddha's Life, the four scenes out of eight were different from those that were represented in Sarnath during the Gupta period, manifesting a transitional period. The Gupta period is widely known as the time when the classic artistic style was established. The art of Buddha's Life was produced only in Sarnath during this period, and it was the time when the Eight Great Events of the Buddha's Life was established as iconography, providing a model for those of the Pala period. Also, it was the time when the single image of Buddha was produced such as the 'Buddha delivering his first sermon,' 'Buddha's Enlightenment,' and 'Buddha's Death,' thus showing the emergence of the single Buddha image from the narrative Buddha's life image. In this paper, a general introduction of the relief sculpture of the Buddha's life from Sarnath during the Gupta period was given. The art of Buddha's life gave great influences on that of China, Korea, Japan and Southeast Asia, and can be emphasized as an important subject in understanding the development of the Buddhist art in East Asia. A further study will be made on the art of Buddha's Life of Southeast Asia in the future, which will enhance the understanding of the art of Buddha's Life in East Asia as a whole.

본 논문에서는 위성 궤도 정보를 사용하지 않는 새로운 에피폴라 기하모델을 제안하고, 선형 Pushbroom 영상의 에피폴라 기하모델을 위한 방법들과 정량적으로 비교 분석을 한다. 정량적 분석에 사용된 에피폴라 기하모델은 항공영상에 적용되는 중심투영(Perspective) 센서의 에피폴라 기하모델, Gupta와 Hartley의 에피폴라 기하모델, 궤도정보를 사용하는 Orun과 Natarajan 센서모델의 에피폴라 기하모델이다. 대전과 보령의 SPOT 영상과 대전과 논산의 KOMPSAT 영상에 대해 지상기준점, 지상기준점에서 생성한 모델링데이터, 위성 궤도정보 및 숙련된 운영자가 추출한 독립검사점을 사용하여 실험을 수행하였다. 실험 결과에 따르면 중심투영 센서의 에피폴라 기하모델과 Gupta와 Hartley의 에피폴라 기하모델은 평균적으로 1픽셀 이내의 정확도를 보였으나 일부 검사점에서 높은 오차를 보였다. 제안한 에피폴라 기하모델은 중심투영 센서나 Gupta와 Hartley의 에피폴라 기하모델보다 정확도가 높고, 궤도 정보를 사용하는 Orun과 Natarajan 센서 모델의 에피폴라 기하모델과 유사한 정확도를 보였다.

In this paper, an epipolar model without the ephemeris data is proposed. Also, various epipolar models such as the epipolar geometry of perspective sensor, the one proposed by Gupta and Hartley and the one based on the Orun and Natarajan's sensor model are reviewed and their accuracy are quantitatively analyzed using devised measure. Modeling data from ground control points, ground control points, ephemeris data and independent checking points are selected on SPOT over Taejon and Boryung area and KOMPSAT over Taejon and Nonsan area. Based on the results, the epipolar model of perspective sensor and the one by Gupta and Hartley have the average accuracy within 1 pixel but show high errors in several checking points. The proposed epipolarity model provides better results than that of perspective sensor and by Gupta and Hartley. Also, it shows the accuracy similar to the one based on Orun and Natarajan's sensor model.

This paper examines how Tanika Gupta’s 2019 revisionist adaptation of Henrik Ibsen’s A Doll’s House works as a forceful postcolonial critique, resituating and redefining the original work and its characters in the imperial India of 1879. Gupta’s colonial mise-en-scene features a mixed-race marriage between Niru (Ibsen’s Nora), a young Bengali woman, and Tom (Ibsen’s Torvald) Helmer, an English colonial administrator based in Calcutta. Sharply critical of the power dynamics of oppression and subjugation and the stereotyping of race and gender, Gupta’s reworking of Ibsen’s classic play details the impact of colonialism on those who are dominated, laying bare the subjective realms of imperialism. During this process, Niru’s representational need for liberation from cultural mimesis gradually surfaces, as she proceeds from naive ignorance and identity denial to an awakening of personal and ethnic consciousness, in her resistance to the discrimination and oppression emanating from colonizer and colonized. Furthermore, building on Ibsen’s portrayal of patriarchal, androcentric discourse and the liberation of his heroine’s female consciousness, Gupta’s female protagonist manifests her previously marginalized voice through the rejection of colonial rule and the decolonization of the subaltern subject. In conclusion, Gupta’s character-driven adaptation problematizes Indian subjugation and confronts the received truths of the British empire and the institutional refashioning of history, bringing a new urgency to contemporary issues of race, gender, patriarchy and colonial suppression. Niru’s cry for liberation from imperial oppression and the male gaze still echoes in the present day, resonating beyond the confines of the stage.

본 연구는 출산에 대한 가장 기초적인 지표인 출생아 수에 대하여 Das Gupta 분해 방법론(Das Gupta, 1993)을 적용하였다. 합계출산율은 출산 지연으로 인해 완결출산율을 과소추정하게 된다. Das Gupta 분해는 이 점을 고려하여 기준년도와 비교년도의 출생아 수 차이를 두 시점 간 세 요인인 가중평균 여성인구(weighted-mean generation size), 출산량 효과(quantum effect), 지연효과(tempo effect)의 차이로 분해하여 분석하는 방법이다. 본 연구에서는 통계청 데이터를 이용하여 2000년을 기준으로 비교년도인 2001년~2018년에 대하여 분석하였다. 전국단위에 대하여 분석한 결과, 연령그룹별 가중평균 여성인구와 출산량 효과는 2000년 대비 출생아 수 감소의 주요요인이며, 특히 출산량 효과는 출생아 수에 가장 큰 영향을 미치는 것으로 나타났다. 시·도 단위로는 출산율 감소에 대한 가중평균 여성인구 효과, 출산량 효과, 지연 효과가 각각 상이하게 나타났다. 본 연구 결과, 우리나라 출생아 수 감소 요인은 가중평균 여성인구와 출산량 감소로인한 것임을 알 수 있다. 따라서 향후 저출산 정책은 출산량 효과에 우선순위를 두어 1인당 절대적인 출산량을 증가시킬 수 있는 방안을 수립해야 하며 각 지자체는 각 요인의 기여도에 따라 맞춤형 출산 정책을 마련해야 한다. 또한, 향후 국가 통계로 조정 합계출산율(tempo-adjust TFR)과 관련된 지표 산출을 고려할 필요가 있다.

In this study, the Das Gupta decomposition methodology(Das Gupta, 1993) is applied to the number of births, which is the most fundamental indicator. The total fertility rate is underestimated by delayed delivery. Taking this into account, Das Gupta's approach is the decomposition of overall birth rates to mean generation size, quantum effect, and tempo effect. These are three factors that differ in the number of births between the base year and the comparative year. Using the data released by the National Statistical Office, we set the year 2000 as the base year and years 2001-2018 as the comparative year. The national-level analysis shows that the mean female population size and the quantum effect of each age group are the main factors of the decrease in the number of births compared to the year 2000. In particular, the quantum effect has the most significant impact on the number of births. According to the analysis by local governments, the three effects: the impact of mean generation size, the quantum effect, and the temp effect on the reduction of the birth rate show different patterns. The present study shows that the decrease in the number of births in Korea is attributable to the decline in the mean generation size. Therefore, the policies of low fertility should be focused on the quantum effects, and each local government should prepare a customized birth policy according to each factor's contribution. It is necessary to consider producing indicators related to the adjusted total fertility rate (TFR) as the national statistics.

서평이므로 영문초록 및 한글초록은 싣지 않았습니다.

The Art of the Buddha's Life which depicts the life and before-life of Buddha flourished in Sanci and Bharhut in the ancient India and in Gandhara during the Kushan period. More than one hundred scenes from Buddha's life were represented in the form of relief sculpture or wall painting. They are found in Gandhara and Mathura during the Kushan period, Amaravati and Nagarjunakonda during the Satavahana period, in Mathura and Sarnath during the Gupta period, and during the Pala Period. They unfolded in various forms and styles according to the text(Buddhist scripture), layout, and expressive technique. In Mathura, where the Evolution of the Buddha image was made about the same time as in Gandhara during the Kushan period, the Buddha's life was presented in a number of scenes related to the sacred sites; in four or eight scenes. In the case of the Eight Great Events of the Buddha's Life, the four scenes out of eight were different from those that were represented in Sarnath during the Gupta period, manifesting a transitional period. The Gupta period is widely known as the time when the classic artistic style was established. The art of Buddha's Life was produced only in Sarnath during this period, and it was the time when the Eight Great Events of the Buddha's Life was established as iconography, providing a model for those of the Pala period. Also, it was the time when the single image of Buddha was produced such as the 'Buddha delivering his first sermon,' 'Buddha's Enlightenment,' and 'Buddha's Death,' thus showing the emergence of the single Buddha image from the narrative Buddha's life image. In this paper, a general introduction of the relief sculpture of the Buddha's life from Sarnath during the Gupta period was given. The art of Buddha's life gave great influences on that of China, Korea, Japan and Southeast Asia, and can be emphasized as an important subject in understanding the development of the Buddhist art in East Asia. A further study will be made on the art of Buddha's Life of Southeast Asia in the future, which will enhance the understanding of the art of Buddha's Life in East Asia as a whole.