• 한국콘텐츠학회논문지
• /
• 제15권6호
• /
• pp.73-80
• /
• 2015

에이젠쉬테인은 1939년에 쓴 "영화의 구조The Structure of the Film"에서 파토스(pathos)를 예술 창작의 기본 원리로 설명한다. 그의 페이소스 또는 파토스는 관객을 엑스타시(ecstasy)로 이끄는 효과로 정의된다. 관객의 감정을 질적으로 변화시키는 것을 목표로 하는 파토스 구성은 에이젠쉬테인의 몽타주와 동일선상의 영화형식이며, 영화 표현의 핵심이다. 이 연구는 에이젠쉬테인이 예술가로서의 지위에 머물지 않고, 관객의 변화를 이끌기 위해 몽타주를 실험하고 그 연장에서 파토스 효과를 구축하고자 했던 논의의 배경을 살펴보았다. 에이젠쉬테인이 설명하는 예술작품에서의 파토스적 의미를 고찰하고, 관객의 감정을 변화시키기 위한 목적의 파토스 구성을 그가 분석한 영화의 사례를 통해 살펴보았다. 위대한 영화감독 가운데 하나인 에이젠쉬테인은 영화예술의 이론화를 추구하면서, 충돌 몽타주, 지적 이미지론, 파토스 구성 등의 원리를 통해 영화의 창작과 이론을 융합하고자 했던 것이다.

• Journal of Information Technology Applications and Management
• /
• 제29권6호
• /
• pp.123-134
• /
• 2022

War films are a general term for films that have battlefields as their main background. Although war films as a genre directly deal with combat situations, they also deal with characters or subjects related to war. War films promote patriotism and nationalism, but they also argue against war by highlighting the disastrous war. This study is based on the color theory that the meaning of film color is temporarily and infinitely generated according to the cultural differences, with Eisenstein's creative theory on film color and pathos. I wanted to clarify the pathos effect and the meaning of color green expressed in the Korean war films. In war films, colors are visualized in art forms such as symbols, similes and metaphors. In war films, color green symbolizes life. On the battlefield, the green of nature stands against the catastrophic situation. The green of ecology, which insists on the flow of life, evokes fear in ecological crises such as war, disaster and climate change. The dark green caused by a catastrophe like war warns of the destruction of life. The connotation of color is temporarily and infinitely expands according to the cultural differences. The dark green, which visualizes the battlefield of destruction, is a form and element of pathos that indicates changes in emotions such as sadness, pity, grief and despair. Pathos as an emotional appeal is a leap from the quality to the quality of the means of expression and refers to the departure from Dasein. The green color that dominates the visuals of war films is a symbol of life and functions as a pathos that makes emotional changes take a new leap. A qualitative leap through pathos means all changes that become new.

• 대한수학회논문집
• /
• 제35권1호
• /
• pp.1-12
• /
• 2020

A pathos block line cut-vertex graph of a tree T, written P BL_c(T), is a graph whose vertices are the blocks, cut-vertices, and paths of a pathos of T, with two vertices of P BL_c(T) adjacent whenever the corresponding blocks of T have a vertex in common or the edge lies on the corresponding path of the pathos or one corresponds to a block B_i of T and the other corresponds to a cut-vertex c_j of T such that c_j is in B_i; two distinct pathos vertices P_m and P_n of P BL_c(T) are adjacent whenever the corresponding paths of the pathos P_m(v_i, v_j) and P_n(v_k, v_l) have a common vertex. We study the properties of P BL_c(T) and present the characterization of graphs whose P BL_c(T) are planar; outerplanar; maximal outerplanar; minimally nonouterplanar; eulerian; and hamiltonian. We further show that for any tree T, the crossing number of P BL_c(T) can never be one.

• 한국콘텐츠학회논문지
• /
• 제16권7호
• /
• pp.633-639
• /
• 2016

'공황연극(Panic theatre)'의 미학을 실천하며 현대 전위연극의 기수인 페르난도 아라발 작품 ${\ll}$게르니카${\gg}$의 실제 춤-연극 창작을 통해 광적의식과 움직임의 시적표현에 나타난 집단페이소스를 분석하였다. 분석논리는 인간의 내면적 대립과 모순의 이원적 요소를 근거로 비현실과 비논리를 뛰어넘는 부조리극의 페이소스 특성에 기초하였다. 작품 ${\ll}$게르니카${\gg}$에서 부조리 춤은 광적의식에서 비롯된 집단페이소스 현상으로 나타났으며, 단계적인 몰입구조를 통해 시적표현의 연계반응과 춤 표현의 새로운 소통구조의 틀로 분석되었다.

• 한국정보시스템학회지:정보시스템연구
• /
• 제28권3호
• /
• pp.83-104
• /
• 2019

Purpose Recently, Internet personal broadcasting has been widely spreaded as a new media type by replacing traditional legacy media such as TV. Considering this phenomenon, this study aims to explore the effect of Aristoteles' persuasion factors on Internet personal broadcasting from a rhetorical view. The reason why users watch the Internet personal broadcasting is that they are persuaded by creator's expertness, empathy, or content usefulness. These factors can be regarded as persuasion factors. Therefore, with Aristoteles' rhetorical persuasion factors composed of ethos, pathos, and logos, this paper tries to investigate how persuasion factors affect user's emotional\ attachment and voluntary donation intention. Design/methodology/approach This paper proposes a model of the relationships among three rhetorical factors, user's emotional attachment, and donation intention. Specifically, ethos is regarded as creator's expertness and trustworthiness, and pathos refers to creator's empathy and social interaction. Last, logos refers to content usefulness and credibility. For testing a hypothetical research model, this study collected 468 surveys and empirically tested hypotheses using a structural equation model. Findings This study investigated how rhetorical factors (ethos, pathos, and logos) and emotional attachment further influence user's donation intention. The findings suggest that rhetorical factors of ethos and pathos enhances emotional attachment, followed by donation intention. Contrary to an expectation, however, logos was not significantly related to emotional attachment. Creators of Internet personal media and MCN providers should focus on the different effects of rhetorical factors and pay attention to the role of emotional attachment to encourage user donation.

• 철학연구
• /
• 제114호
• /
• pp.27-51
• /
• 2016

칸트에 따르면 도덕은 단지 유익할 뿐만 아니라 무엇보다 인간의 인간다움을 지키고 보존하는 사회제도다. 그러나 이런 도덕도 병리현상을 일으키거나 동반할 수 있는데, 니체의 도덕비판을 그런 병리현상, 특히 도덕의 자기기만에 한 통렬한 비판으로 읽을 수 있다. 도덕의 구체적 병리현상에 한 니체의 비판으로부터 칸트적 입장에서 있는 사람도 많은 것을 배울 수 있을 것이다. 그러나 그런 비판이 수행되는 기본적인 자세 및 관점과 관련해서는 끝내 좁혀질 수 없는 간극이 존재할 터인데, 칸트적 입장에 따르면 도덕의 가장 근본적인 자세는 존중이기 때문이다. 이와 달리 "거리의 파토스"는 무시와 경멸에 기반하고 있다.

• 한국독어학회지:독어학
• /
• 제10집
• /
• pp.231-249
• /
• 2004

In dieser Albeit wird der Versuch unternommen, die Charakteristik der Rhetorik von Hitler zu analysieren. Im Abschnitt fwei wird die allgemeine Charakteristik der Hillers Reden beschrieben. Die Reden von Hitler sind Elemente eines verzweigten, flexiblen und inhaltlich nor schwer bestimmten Komplexes von Manipulations-und Machttechniken, die trotz seiner Tendenz zur Zentralisierung nur schwer als System zu fassen sind. Dies macht die Schwierigkeit jeder analytischen Erfassung aus. Seine Rede vermag im Bezug auf Logik und Argumentation wenig zu $\"{u}berzeugen$, aber or wirkte. In diesel Analyse wird die Rede von Hitler folgende Systematisierung $m\"{o}glich$: 1) Am Anfang weist Hitler auf die allgemeine Not hin. 2) Danach diffamiert or seine Gesner und provoziert starke Emotionen bei seinen $Zuh\"{o}rern$. 3) Zum $Schlu{\ss}$ $l\"{o}st$ Hitler bei den Deutschen eine starke Kampfbereitschaft aus und entwickelt vor semen $Zuh\"{o}rern$ seine Vision eines $bl\"{u}henden$, starken Deutschlands. 4) $Abschlie{\ss}end$ erkifirt Hitier seine $pers\"{o}nlichen$ ethischen Vorstellungen und seine sich daraus ergebenden Handlungen. Er liegt $gro{\ss}en$Wert darauf, die Ethik seine Handlungen zu $begr\"{u}nden$. Danach wird die Selbstdarstellung von Hitler beschrieben. $F\"{u}nf$ Realisierungsformen sind $daf\"{u}r$ relevant: a) $pers\"{o}nliche$ $Erz\"{a}hlungen$, b) Diffamierungen, c) sittlich wertvolle Ermahnungen, d) Taten und e) Ziele. Im Abschnitt drei wird die Rhetorik von Hitler gemacht. Hier handeit es sich um Ethos und Pathos. Hitler versuchte, die durch die Aktivierung zwischen ihm und Publikum vorhanden, $unbewu{\ss}ten$ psychischen Potentiate, die durch den Akt der Rede aktiviert werden, zu realisieren. Er hat jeder Sammlung nur gesagt, was sie $h\"{o}ren$ wollte, den wahren Sachverhalt nur auf $h\"{o}chst$ vordergryndige Weise.

• 인문언어
• /
• 제6권
• /
• pp.381-405
• /
• 2004

Elegie und Iambos gehoren zu den altesten Genre der griechischen Lyrik. Erst in diesen Gedichten aus den 7. Jh. v. Chr. beginnt der Dichter als pers nliches Subjekt seine eigenen Erfahrungen auszusprechen, w hrend or im Epos objektiv und leidenschaftslos hinter seinem Stoff zur ckblieb. So behauptet man, dass in den Gedichten der beiden Genre 'das Erwachen der Personlichkeit' (B. Snell) erfolge. Doch dieser pers nliche Charakter der fruhgriechischen Dichtung darf nicht im Sinne der Subjektivit t verstanden werden, wie man sie in der modernen Lyrik findet. Dem subjektiven Gef hl, das in den uns tradierten Fragmenten aus der fr hgriechischen Dichtung zum Ausdruck kommt, kann man n mlich ein gemeinsames Pathos ablesen, das die Elegiker und Iambographen in der Zeit des politischen Umwandels angesichts der conditio humana empfunden batten, das Pathos n mlich, das sich wohl unter dem Begriff amechanie am besten zusammenfassen lasst. In solchen Grenzsituationen, wie Krieg, Ungluck, Altern, sprechen sich die Dichter vollig hilflos aus und beklagen sich uber die menschliche Unwissenheit uber das erh ngte Schicksal. Bezeichnend f r ihre Begegnung mil der Hilflosigkeit des menschlichen Daseins ist jedoch der Realit tssinn, den sie aus ihren Erfahrungen der conditio humara bzw. amechanie gewonnen haben: Sie wollen sich weder durch einen heroischen Gedanken uber den Nachruhm noch durch einen religiosen Glauben an das Jenseits tauschen lassen. Sie wollen vielmehr hic et nunc einen Weg finden, sich mit der amechanie abzufinden. Und dabei werden zwei verschiedene Lebenswege eingeschlagen, der Weg des erotischen Hedonismus (Mimnermos und Semonides) und der des 'sardonischen' Realismus (Archilochos). Damit weisen uns die fruhgriechische Lyrik auf zwei typische Lebensrichtungen hin, die sich spater in der griechischen Ethik einb rgern sollen.

• 한국지반공학회지:지반
• /
• 제6권4호
• /
• pp.65-74
• /
• 1990

본 연구는 깊은 바다에 퇴적되어 있는 정규압밀된 점토 시료에 대한 등방 및 이방 압밀 비배수 삼축압룩 시험을 시행하고, 압밀응력의 이방성이 간극수압 거동에 미치는 영향을 분석하였다. 등방 압밀된 시료와 이방압밀된 시료의 비배수 전단시 험 시의 간극수압은 모두 최대주변형 인 축변형율의 쌍곡선 함수로 표시되었다. 그리고 두가지 시험의 유효음력 경로를 이용하여 간극수압의 차이를 해석하여 그 두 경우의 간극수압을 관련짓는 계수를 도출하였다.

• 한국정밀공학회:학술대회논문집
• /
• 한국정밀공학회 2002년도 추계학술대회 논문집
• /
• pp.616-619
• /
• 2002

The z-map structure is widely used for NC tool path verification as it is very simple and fast in calculation of Boolean operations. However, if the number of the x-y grid points in a z-map is increased to enhance its accuracy, the computation time for NC verification increases rapidly. To reduce this computation time, we proposed a NC verification method using 3-D graphic acceleration hardwares. In this method, the z-map of the resultant workpiece machined by a NC program is obtained by rendering tool swept volumes along tool pathos and reading the depth buffer of the graphic card. The experimental results show that this hardware-based method is faster than the conventional software-based method.