농업인의 시간제약과 시간관리에 관한 인식 분석

최윤지(Choi Yoon Ji),김경미(Gim Gyung Mee),이진영(Lee Jin Young) 한국지역사회생활과학회 2011 한국지역사회생활과학회지 Vol.22 No.4

This study aimed to provide an efficient time management scheme for farmers by analysing how they experience time constraints in spending their time and understand time management. Firstly, farmers found that they didn’t have enough time for farm keeping as a result of house work obligations. It was caused by excessive time for agricultural work. Thus, 93.7% of respondents recognized that ‘they were pressed for time’ because there is relatively less time to spend for socio-cultural and physiological matters. In addition, 83.0% responded that they felt the pressure of something. Respondents who were in forties reduced their sleeping hours due to lack of time. The majority of people who were in the farmhouse doing controlled horticulture cannot enjoy their own time for leisure owing to a lack of time. Secondly, respondents under thirty-nine years of age were solving the problems of time constraints as prioritizing matters, planning handling time and utilizing household instruments. On the other hand, respondents who were in forties found the solution by reflecting on their conduct toward a time consumption plan, self-evaluation and received help from their family and/or neighbors. A group of respondents who had already graduated from college or higher education often reflected on their conduct and self-evaluated. Respondants who participatied in farmhouse controlled horticulture, generally took turns in managing their house work. For reducing farmers’ time constraints and managing their time efficiently, they should standardize matters done repeatedly and also manage time by dividing work among family members. Furthermore, if a long-term time scheme such as more than a month is established and practiced, time constraints may be somewhat solved.

영화적 기법을 통한 현대시의 시간과 사유

박한라 ( Han Ra Park ) 현대문학이론학회 2016 現代文學理論硏究 Vol.0 No.65

본고는 시를 영화적 기법으로 해석해보았을 때 두드러지는 이미지의 흐름을 통해 시간의 흐름을 추적하고 그것이 어떻게 사유와 연관되는지 모색해보았다. 실례로서 김기택, 오규원, 이성복 시를 살펴보았으며 각각 근거리 쇼트, 원거리 쇼트, 몽타주를 통해 시간의 특성과 사유를 고찰하였다. 먼저 김기택 시의 창작 기법은 미세한 대상을 전체로 확대하는 근거리 쇼트와 유사 하다. 근거리 쇼트를 통해 시의 시간을 살펴보면 시제 어미가 동일하게 진행될 지라도 현실의 시간에서 대상의 시간으로 흘러가는 양상이 드러난다. 이는 작은 대상이 전체로 확대될 때 시공간이 추상화되어 대상만의 이미지로 탈영토화 되기 때문이다. 이처럼 근거리 쇼트를 시에 적용할 때 개별적 대상들의 외면을 통해 그것의 숨겨진 내면으로 흘러가는 시간과 사유의 흐름을 알아낼 수 있다. 오규원의 날 이미지 시는 흘러가는 시간을 바탕으로 살아있는 이미지를 묘사하기 때문에 영화적 기법 중 ``원거리 쇼트``와 유사하다. 원거리 쇼트를 통해 시를 바라볼 때에 는 ``현재진행형``인 시간의 지속성과 ``동시성``을 살펴볼 수 있다. 현재진행형의 시간은 과거, 현재, 미래의 구분 없이 시간의 지속성에 집중하여 본연 그대로의 대상의 속성을 펼쳐나간다. ``동시성``은 대상들이 상호주체적인 관계를 맺으며 개방적 구조에 의한 세계를 만들어가고 있음을 보여준다. 이 두 시간의 특성은 날 이미지 시가 언어로 상징 화되기 이전의 훼손되지 않은 풍경을 사유하고 두두물물의 본연성을 드러낸 결과임을 보여준다. 이성복의 시는 현재와 과거의 편린들을 재구성하므로 영화적 기법 중 몽타주와 유 사하다. 여기서 ``과거와 현재의 혼용``이 관찰되는데, 맥락의 유무에 따라 사유의 층위가 달라진다. 이러한 점을 살펴보기 위해서는 ``고전적인 몽타주``와 ``현대적인 몽타주``를 시에 적용해볼 수 있다. 전자는 맥락이 있는 시간의 혼용이기 때문에 ``화자의 의식`` 층 위에서 문제의식을 펼쳐나가 결과적으로 깨달음의 감흥을 얻어낸다. 그러나 후자는 맥락 없는 시간의 계열체로 등장하기 때문에 시간의 틈새가 강조되며, 이것은 ``화자의 무의식`` 층위에 머무는 진정한 문제의 존재를 향해 추리하는 방식으로 나아간다. 몽타주의 시간은 이성복 시가 자기 성찰에 대해 의식과 무의식을 모두 동원하고 있음을 보여준다. The study aimed to analyze poems through cinematic expression and examine characteristics and thinking of poems by focusing on the flow of time with regard to the flow of space time that stands out the most in terms of cinematic expression. First of all, director Kim Gi-taek``s creative methods are similar to a short-distance short that expands a very minor subject to embrace all. At that time, the aspects of time can be divided into ``mixed-melting time`` and ``stationary time.`` As a minor subject is enlargedto embrace all, the time transcends to realize an exclusive world of minor subjects. At that time, the flow of time is mixed and melted between the past and the present to create poetic effects of describing perception of subjects. Second of all, in the ``stationary time,`` the time halts in a certain section, and diversified meaning of an adjacent image is gradually interpreted to create dramatic significance. Oh Gyu-won``s poems are similar to a long-distance short in dramatic expression as they observe images reviving overtime. The flow of time based on a long-distance short can be divided into ``present progress`` and ``simultaneity.`` As the time flows in a present progressive way, captured subjects form fortuitous and spontaneous relationships to create an existential landscape. As a long-distance short screen is wide enough to capture diverse subjects at once, it is effective in indicating ``spontaneity,`` and these characteristics frequently appear in live image poems. In live image poems, time divides one moment into metonymic space to express simultaneity while unveiling a moment of potential where the past, the present and the future are integrated. As Lee Seong-bok``s poems reconstitute pieces of memory, they are similar to a composite sketch in terms of cinematic expression. The time of poems viewed from a composite sketch can be divided into ``closed time`` and ``open time.`` The former can be observed through an attraction composite sketch technique and creates present inspirations through conflicts between the past and the present. The latter can be examined through an expanded composite sketch technique and create a world of open meaning through revolution of memory. At that time, the time roams in unconsciousness, so clear identity is not defined, and this non-time and pure-time aim at the unknown in the outside instead of the known. After all, arts share the same root, so mutual relationships cannot be ignored, and poetic study based on cinematic techniques has relevant connectivity befitting the era of multimedia.

시간과 욕망의 비극: 『로미오와 줄리엣』

김문규(Kim Moon-Gyu) 신영어영문학회 2003 신영어영문학 Vol.25 No.-

This paper is to examine the relationship between time and desire in Romeo and Juliet. In Romeo and Juliet Shakespeare tries to prove the belief true that "love is not time's fool", by dramatizing the heroic vision of romantic love against the hostility of time. From the start Fortune and stars are blamed for the lovers' tragedy, but their malign influence is incorporate in the more palpable hostility of time. At first fateful meeting, lovers are filled with a tragic knowledge of death and death's companion, time. But once lovers are awakened to true desire for each other, they experience their own different order and rhythm of time. The lovers' meetings dissolve time, making it speed up or stop and standstill, as the present moments is transformed into the time of love. Thus, time newly means for them metamorphic principle that makes them advance to the rebirth into a higher stage of existence. Even against "untimely death", They assert that death is a transcendental form of consummation; Romeo wills his death as a means to permanent union with Juliet, and Juliet also makes her death as a heroic act of love's constancy. But after the consummation of the lovers' death, the drama again proves the belief true that "love is not time's fool" in secular, earthly sense of immortality, by displacing the lovers' desires onto a perpetual narrative of love. This ending paradoxically suggests that to accept rather than deny time is to prove that our deepest life ultimately craves growth Conclusively, Romeo and Juliet can be viewed as the tragedy of time and desire because it proves that human desire and human identity are essentially related to the metaphysics of time.

신석정 초기시의 시간현상학적 의식 지향성 연구

강희안(Hee-ahn, Kang) 어문연구학회 2011 어문연구 Vol.69 No.-

Through Seokjeong’s early poems, 『Candle』(1939) and 『Sad Pastoral(牧歌)』(1947) the writer has seen the poet’s imaginative scheme and the transformation process where time consciousness contains. This is to validate how Seokjeong responded to the principals of the poems work and what is called colonial fetters. Because time is another reality closely accumulated by the concrete reality and refraction of consciousness that the poet faces. Consisting of reflections with historical reality revealed early on the vertical time is a quick summary of the discussion as follows. In the early poems of Seokjeong the tragic reality in the colonial domination is the default condition in understanding Seokjeong’s poetic world. When Seokjeong keeps distance from historical time, he takes the accommodative stance(↓). Thus, while it appears denying the current time accompanied by a separate self-consciousness. That is, this poetic way revealed by the disappearance of mechanism the tragedy of reality is an axis of early poetic world to recognize the reality passively. This kind of attitude toward life is the aspect of condition reflex behavior or a simple mechanical way of life. Another feature revealed in Seokjeong’s early poems is a strong vertical time of transcendent nature(↑) This kind of time is revealed as an upward attribute opposing the tragedy of reality. Time based on the so-called continuation of time aims at the attributes of religious time contrast with time of routine; continuance, deity, identity, existence and unity. That’s because the attribute of transcendence is to resolve the contrast and conflict between historical reality and ideal reality. This transcendent world means moving forward transcending space to the horizon spacially and temporally it means going back to the historical time; past, present, and future at the same time. As identified in the beginning, Seokjeong’s time in his early poems is the vertical time divided into two parts. Then while existential time is earth-oriented based on the moment of present, a transcendent time contains aspect-oriented spatialization. The lower part is refracted by the belief and commitment toward a world of death but the top part has the characteristics that is devoted to the religious world to transcend the tragic routine. This kind of time consciousness was two basic devotions that Seokjeong himself could choose, who kept consistent in the situation where he could not fight against the history in the colonial face to face.

오장환의 시간 ―『병든 서울』에 나타난 시간의 중의적 의미를 중심으로

오세나(Oh, Se-na) 건국대학교 스토리앤이미지텔링연구소 2019 스토리&이미지텔링 Vol.17 No.-

본 연구는 근대시인 오장환의 시집 『병든 서울』에 나타난 시간의 중의적 의미를 밝히는 것을 목적으로 한다. ‘병든 서울’에서 ‘병든’에 사용된 관형사형 어미 ‘-ㄴ-’은 과거형과 현재형이 동시에 사용될 수 있다. 그 의미는 ‘병들어 있는’의 현재 상태를 나타낼 수도 있고 ‘병들어 버린’의 과거의 의미로 해석될 수 있다는 것이다. 이 시간의 차이는 오장환의 시 의식을 이해하는데 중요한 방향성을 제시해 준다. 『병든 서울』에 수록된 시들은 1945년에 창작되었기 때문에 해방기 시간을 연구 범위로 한다. 또한 시간에 대한 이해는 하이데거의 현존재가 바라보는 존재론적 관점으로 이해하고, 기독교적 시간 이해 방법인 크로노스와 카이로스를 통해 ‘현재’적인 시간과 ‘과거’적인 시간으로 나누어 살펴본다. 연구 결과 『병든 서울』에는 오장환이라는 현존재가 병든 서울의 모습을 ‘현재’(크로노스)로 바라본 부정적 현실과 그것을 ‘과거’(카이로스)로 넘기고 새로운 소망의 시간, 기회의 시간을 기다리는 의식이 포착되었다. 이 연구를 통해 시간의 주관적 변용에 대한 이해가 시에 투영된 시인의 의식을 파악하는데 상당히 중요하다는 것을 알 수 있으며 나아가 시간연구의 지평을 넓혀 줄 것을 확신한다. The purpose of this study is to identify the ambiguous meanings of time shown in the poetry Sick Seoul by Oh Jang-hwan. The suffix ‘-ㄴ-’ used in 병든[Sick] in ‘Sick Seoul(병든 서울)’ can be used in both past and present forms. The meaning can be the present status ‘is getting sick’ and at the same time it can be interpreted as past as ‘caught an illness and is sick’. The difference of time presents important direction in the understanding of his poetic awareness. As poems in Sick Seoul were written in 1945, this article dealt with the time of independence. In addition, the time is understood as the ontological view of Heidegger, and it is divided into ‘current’ time and ‘past’ time through Chronos and Kairos, the Christian method to understand the time. The study results show that in Sick Seoul there is a negative reality that Oh Jang-hwan as Dasein looks at the image of sick Seoul as Present(Chronos) and the consciousness of waiting for the time of new hope so to speak the time of opportunity passing the negative reality as the Past(Kairos). Through this study, it was identified that the understanding of the subjective transformation of time would be very important to identify the consciousness of the poet projected in poems and it will surely further expand the horizon of studies on time.

Time Frequency Domain Reflectometry 기법을 이용한 Coaxial Cable에서의 결함 감지 및 추정

송은석 ( Eun Seok Song ),신용준 ( Yong June Shin ),최덕선 ( Tok Son Choe ),육종관 ( Jong Gwan Yook ),박진배 ( Jin Bae Park ),( Edward J. Powers ) 한국항행학회 2003 한국항행학회논문지 Vol.7 No.1

In this paper, a new high resolution reflectometry scheme, time-frequency domain reflectometry (TFDR), is proposed to detect and locate fault in wiring. Traditional reflectometry methods have been achieved in either the time domain or frequency domain only. However, time-frequency domain reflectometry utilizes time and frequency information of a transient signal to detect and locate the fault. The time-frequency domain reflectometry approach described in this paper is characterized by time-frequency reference signal design and post-processing of the reference and reflected signals to detect and locate the fault. Design of the reference signal in time-frequency domain reflectometry is based on the determination of the frequency bandwidth of the physical properties of cable under test. The detection and estimation of the fault on the time-frequency domain reflectometry relies on the time-frequency domain reflectometry is compared with commercial time domain reflectometry (TDR) instrument. In these experiments provided in this paper, TFDR locates the fault with smaller error than TDR. Knowledge of time and frequency localized information for the reference and reflected signal gained via time-frequency analysis, allows one to detect the fault and estimate the location accurately.

비디오 아트에서 시간과 기억 이미지 - 베르그손의 시간 개념을 중심으로 비디오 작품 사례분석 -

김현석 ( Kim Hyunsuk ),김효숙 ( Kim Hyosook ) 한국영상미디어협회 예술과미디어학회 2016 예술과 미디어 Vol.15 No.4

In Video Art, time represented by delay a moment or split up vision for dissemble story, not same as cinema. Problem of time and present is rational interest in video art. In the early video history, artistes focalized real-time for record time as it is. But Nowadays in video art, time represented as constantly repeat and temporal image. In particular, time in digital art realm became important feature for makes abstract rhythm. This study investigate the concept of time of Bergson for analysis video art, According to Bergson, time means the state itself which constantly changes. So the current is continuously generated, not already is given. And duration is co-existed with past, present, future that is not separated as a point. Past memories are not disappeared but conserved as potential images surrounding our present. To evaluate these memories and concept of duration, this paper analysis Robert Cahen`s video art and Jeremy Blake`s digital video art in terms of the time. In Cahen`s video art, the time is represented as images in various resolutions intertwined emotional state that does not belong in one feeling. His video shows overlapping images in the previous image with slow motion. Memories that do not decayed involve in present and create variety of qualitative differences. Blake makes photographic images to the color field by dissolving and switching original images. Rhythm of color shows process of dismantling and reconstructing the narrative of the story and convert real life to the memory. In slow time, artists makes image superimpose and gradually disappear by using digital conversion. So the real of invisible time thought figurative process becomes perceptible. Thus, video art reveals their own aesthetics by visualizing the reality that overlap with potential and flexible image thought mechanical perception.

비온의 연구에 나타난 시간성의 정신분석적 의미 : 버지니아 울프의 소설 『등대로』를 중심으로

이은도(Lee, Eun?Do),이준호(Lee, Joon?Ho) 한국현대정신분석학회 2020 현대정신분석 Vol.22 No.1

“Time flows” is a natural phenomenon. But it’s psychoanalytic implications may not be obvious. In Bion’s study, measurement of time becomes possible for infants who can endure frustration, and through the process of “Unconscious wakeful thinking”, the notion on continuity of time is created in the infant’s mind. Time is classified as K time and O time according to the thought’s direction upon the aspect of time in this article. Failure of recognition of time can be generated from the splitting of time that is inevitably accompanied with the transformation of O, and it is generated when one tries to transform into O but cannot endure the frustration so as to escape into –K. In this case, K time can be used as a defense. When failure of recognition of time occurs, it can manifest as a certain symptom related to time. Virginia Woolf’s diary, “Rodmell 1926” would be this case. “Rodmell 1926” is Virginia Woolf’s diary when she wrote her autobiographical novel, To the Lighthouse. In the novel, her alpha function, the confrontation and attempt at transformation of O, the escape to –K due to intolerance of frustration, and splitting of time and annihilation were well illustrated. The symptoms of time that appeared in “Rodmell 1926” can be considered as the case of failure of recognition of time that Virginia Woolf wrote about in her novel, which was expressed in reality.

Time-Lapse 촬영방법을 이용한 도심 광장의 이용행태에 관한 연구 -청량리 역광장을 사례로-

조창완,진양교 한국조경학회 1998 韓國造景學會誌 Vol.26 No.3

The ultimate goal of this study can be summed up as follows: First, the utility of Time-Lapse that observes and records people's behavior will be shown and its merits and demerits will be discussed through comparing with other data-collecting methods such as the naked- eye observation, and the specific way in which Time-Lapse can be put to use will be suggested. Second, analysis of use behavior boserved in the plaza of Chungryangri station by Time-Lapse will be made, on the basis of which suggestions will be made concerning planing, designing, layout, and management of the station plaza. Time-Lapse can observe and records the plaza of Chungryangri Staton through 6 different ways of recording in Time-Lapse: 30 seconds, every minute, every two minutes, second every five minutes, every one tenth of a second, and every one fifth of a second, and these different ways of recording were analyzed through comparison from one to each other to check their respective utilities. And also analysis of tracks of pedestrians, density, and use behavior of users were made, according to which the way in which Time-Lapse can be utilized was examined. Several useful results obtained from this study are shown as follows. First, Time-Lapse made it possible to continuously observe for a long time using minimu efforts, and a single tape which is able to cover from 12 hours up to 25 days is useful for observing variation of behavior in space with the passage of time and seasons. Second, among six ways of recording, the recording every one tenth of a second and every one fifth of a second are useful for finding the tracks of pedestrians, the number of users, the member compositions, the time spent in one place, and manner of use. And besides the moving direction and its purpose can be recognized in a short time, which makes it possile to see where crossings of moving directions occur. Third, the recording every thirty seconds, every minute, every two minutes, and every five minutes are useful for analyzing the density in space as well as for finding the number of users and frequency of facilities use. In particular the recording every thirty seconds made it possible to keep the track of pedestrians' walking, and to observe even slowly moving motions such as cleaning. But when the recording interval exceeds one minute, this was not possible. Fourth, time-lapse has advantages over the naked eye observation in several respects. Time-lapse can measure observed behavior and density in terms of number, and locate the position of users. Time-Lapse, if accompanied by other methods such as interviewing and question that can examine psychological aspects like satisfaction or the purpose of use and be a useful device for space studies.

김훈 소설에서 시간과 윤리 - 『칼의 노래』를 중심으로

심유미 ( Yumi Sim ) 단국대학교 한국문화기술연구소 2017 한국문화기술 Vol.23 No.-

Novel is an art of time. Inquiry related to time has important meaning so that time could be a main figure in modern novel. According to Paul Ricoeur, human beings are ultimately temporal beings, so they have to ask for the meaning of time in order to know the meaning of existence of human beings. The meaning of time, that is, meaning of human beings who feel, experience, and act can be explained through story where history and fiction intersect. In this regard, aspects of time depicted in Kim Hoon `s historical novels are interpretations of the time of the ancestors who lived at a certain time on this land and those who live in the present. The aspects of time that are shaped in 『The Song of the Sword』, one of Kim Hoon `s historical novels can be discussed based on the understanding of time by Paul Ricoeur, not the contemporary and dichotomized western traditional view of time. Time theory of Paul Ricoeur is a spectrum formed with both extremities of cosmic time and experienced time, rather than view of time clearly divided in dichotomy. The third time created between both extremities is called as time of human beings. But the time is played variably between cosmic time and experienced time. The first type of the third time is a chronological time, this time is a humanized time by clock and calendar, and history is often told based on this time. The third time created by the fictional story is based on chronological time and conspiracies created on the basis of cosmic time and experienced time, but varies from one work to another and is played variably with a new time again. The third time created by 『Song of Sword』 is a swirling time. Yi Sun-sin fought desperately to defend the nation and protect people in the period of cruel war, Japanese invasions of Korea. His experienced time comes and goes to a certain point of the present and past complicatedly without pause as if it corresponds to disorder of the chronological time when the external event proceeds. When dizzy narrative flow where the point of time is specified in 61 times from the beginning to the end of the work is closely observed, you can summarize this vortex in the form of various relationships that occur between the times that Ricoeur identifies. There are four aspects that time relates to each other. That is, aspects in which chronological and experienced time are involved, aspects in which cosmic time and experienced time are unified, aspects in which cosmic time and experienced time are cut by destructive chronological time, aspects in which cosmic time, experienced time, and chronological are articulated. Each relational aspects of such four times can be time of human beings developed in the work. Especially, time of articulation which is the fourth aspects is connected to ethic told by 『Song of Sword』. The experienced time of Yi Sun-sin is time of body rather than inner time as shown on western thinking history or novel history. Of course, consciousness related to body appears together with senses of body but its consciousness is always related to senses of body. Ethic directed by Yi Sun-sin or works is associated with pain of body. This is because the ethic comes from pain of body and experience of death. In order to turn the chronological time of the confused and incomprehensible rulers into compatibility of an understandable life, the harmony among cosmic time, experienced time, and chronological time is best, but the best is hardly realized. The second best that can be taken by helpless individuals is the life and death to accept the time around but to maintain the unity of my life in relation to my time, and to have the `unbearable mind` or `mind that cannot do something (不忍之心)` for the others with absolutely helpless body. Ethic for the helpless about swirling human time. This is the very time and ethic of human beings living today that responds to the past which Song of Sword』 symbolizes.