• Korean Architects
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• s.594
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• pp.170-181
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• 2018

국립현대미술관은 김중업건축박물관과 공동주최로 건축사 김중업을 조명하는 '김중업 다이얼로그'전을 8월 30일부터 12월 16일까지 국립현대미술관 과천 중앙홀과 2전시실에서 열고 있다. 그가 설계한 30여 년간의 건축물과 관련된 사진과 자료 3000여 점이 전시중이다. 전시는 학예연구사의 안목과 해석작업이 중요하다. 역사와 문화라는 재료를 요리하는 학예연구사의 안목에 따라 그 가치가 빛나거나 그 반대일 수 있는데, 이런 이유로 학예연구사는 전시기획에 대한 권한을 갖고 역사해석, 전시방법 선택 등을 하게 된다. 정다영 학예연구사는 2011년부터 국립현대미술관의 건축부문 학예연구사로 일해 왔다. 올해 베네치아 건축 비엔날레 한국관 공동 큐레이터로 참여해 '스테이트 아방가르드의 유령'전을 기획했으며, 이번 '김중업 다이얼로그'전도 그의 작품이다. 월간 '공간'에서 약 6년간 기자생활을 하고, 학예연구사의 길을 걷고 있는 그녀는 전시라는 매체를 통해 건축의 영역과 담론을 확장 증폭시켜 관계를 맺고 퍼트리는 어쩌면 당대 건축계에 가장 필요한 일을 해주고 있다.

• Journal of Korean Public Health Nursing
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• v.10 no.1
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• pp.58-79
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• 1996

재미 한인들의 급격한 증가와 더불어 미국 간호학의 한인들에 대한 문화적 지식의 유입을 필요로 하게 하였다. 더구나 기존 연구들은 한인들이 질병을 비효율적이며 부적절하게 관리하는 것으로 보고하고 있어 이에 대한 연구의 필요성이 더욱 증가하였다. 기존 연구에 의하면 초기 이민 경험은 이민자들의 건강과 질병 관리에 크게 영향을 미치는 것으로 나타났다. 이 연구에서는 비평적 문헌 고찰을 통하여 초기 이민 경험이 재미 한인들의 질병관리에 어떻게 영향을 미치는지에 관하여 살펴보고 이에 근거하여 재미 한인들을 위한 적절한 간호의 방향을 제시하고자 했다. 의학도서 목록 전산망과 기타 문헌 자료를 이용하여 1966년부터 1995년까지의 의학, 보건학, 생물학, 심리학, 사회학 문헌들을 살펴보았다. 체계적인 문헌 고찰을 위하여 4개의 세부적인 주제 아래 문헌들을 구분하여 고찰하였다 첫째. 일반적인 이민자들의 초기 이민경험, 건강, 질병 관리가 고찰되었고. 둘째로 재미 한인들의 초기 이민 경험이 고찰되어졌으며, 셋째로, 재미 한인들의 건강. 질병관리가 고찰되어졌고, 마지막으로 이들을 위한 간호의 방향을 제시해 줄 기존의 간호 모델들이 고찰되어졌다. 문헌 고찰 결과, 재미 한인들의 부적절한 질병 관리는 그들의 초기 이민 경험들과 관련되는 것으로 나타났다 첫째 문화적으로 결정되어진 신념이나 태도들이 재미 한인들의 적절한 질병 관리를 방해하는 것으로 나타났다. 둘째, 재미 한인들도 본국인들과 마찬가지로 질병관리를 위해 현대의학. 한방, 무속, 민간요법을 사용하는 것으로 나타났는데. 한방의 사용이나 이러한 치료법들의 흔용은 한인들의 적절한 질병 관리를 방해하는 것으로 나타났다. 셋째, 문화적 차이, 언어장벽, 그리고 비언어적 의사소통의 차이점에서 오는 오해들이 재미 한인들의 질병 관리를 부적절하게 만드는 것으로 나타났다. 넷째, 이민생활에서 오는 여러 어려움들 또한 재미 한인들의 질병관리를 어렵게 만드는 것으로 나타났으며, 다섯째. 사회적 지지의 부족 역시 재미 한인들의 적절한 질병관리를 힘들게 하는 것으로 나타났다. 마지막으로 적절한 간호 모델의 부재가 이들을 위한 적절한 간호의 제공을 어렵게 하고 있는 것으로 밝혀졌다. 이러한 결과에 근거를 두고 초기 이민 적응기에 있는 재미 한인들에게 적절한 간호를 제공하기 위한 몇 가지 제안들이 제시되었다. 첫째, 이민자들에게 적절한 간호가 제공되기 위해서도 문화적 배경을 고려해야 하겠다. 문화적으로 적절한 간호를 위해서 간호 제공자들은 자신들의 문화와 다른 간호 대상자의 문화도 존중해 주어야 하며, 문화적으로 결정되어진 건강 신념들과 질병 관리 행태도 생명을 위협하지 않는 한 존중해 주어야 할 것이다. 또한 간호제공자들은 자문화 중심적인 사고방식에서 벗어나야 하며, 간호 대상자들의 상황을 총괄적으로 이해하여야 하고 이민자들의 어려움에 대해 공감을 가지고 간호를 제공하여야 하겠다. 둘째, 간호 제공자들은 한방에 관한 지식을 가지고 한 의학 혼용으로 인한 위험으로부터 간호 대상자를 보호하여야 할 것이다. 셋째, 문화적 차이나 자민족 중심적 사고방식으로 인한 오해를 막기 위하여 간호 제공자들은 간호 대상자와 자주 상호 교류함으로써 배우는 자세로 간호 대상자를 대하여야 할 것이며, 자신의 자민족 중심적인 사고방식을 인지하고 언어적, 비언어적 의사소통의 문화 집단별 차이를 앎으로써 오해의 소지를 줄여야 할 것이다. 넷째, 적절한 간호의 제공을 위하여 의사소통을 위해 대화만을 직접 번역해 주는 통역자와는 달리 문화적 배경까지도 이해하고 해석해 주는 문화적 통역자의 도움을 밟아야 할 것이다. 다섯째, 한국문화는 가족 중심적 문화이므로 간호 대상자의 혈연관계를 이해하고 그에게 크게 영향을 주는 가족원을 간호 중재에 참여시킴으로써 치료 효과를 높여야 할 것이다. 마지막으로 효과적인 간호를 위하여 재미 한인을 위한 적절한 간호 모델을 개발함으로써 체계적인 간호의 방향을 제시할 수 있어야 할 것이다.

• Cartoon and Animation Studies
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• s.29
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• pp.209-241
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• 2012

Is a failed blockbuster film? Is there no room for reconsideration of the value of the film in terms of its contents and forms? The purpose of this study is to answer these questions. In 2007, SHIM Hyung-rae's was in the limelight due to the nationalist discourse around the film rather than evaluation of the film itself. In terms of its narrative and formal properties, the film showed the difference from the Korean nationalist blockbuster films. It led to the disaccord and hard-to-understand results of having somewhat disappointed box-office success of 8,500,000 audiences in comparison to the input, of receiving well by a generous part of the audiences absorbed by nationalism, and of getting the critics' cynic criticism of the film's cinematic value. Eventually only provided the cultural battlefield of nationalism, was left as an unnoticed film in the realm of industry and criticism. However, it was interesting that there was a common ground between the film's supporters and the cynic critics. Both sides were being acknowledged that the spectacle of was way out of proportion to the degree that the spectacle was unbalanced with the story unfolding, achieved more than expected. Its spectacle overwhelming the narrative enfever a few audiences, and at the same time, it provided some reasons making critics face away from the film. In this context, the purpose of this study is to examine 's aesthetics that 'the spectacle dominating narrative' or 'the narrative as a pretext for showing spectacle,' leading to discussion of artistic/theoretical/critical value and to find out cinematic value of the film being regarded as a failure. In addition, this study is significant in that it suggests that is a new kind of moving image that it cannot be analyzed with existed critical methods of narrative film criticism; as a result, this study provides the chance to be evaluated through a new conceptual frame of the film. In order to grasp the narratological aesthetics, this study focuses on the concept of trickality that Andre Gaudreault suggests, and Tom Gunning's 'the cinema of attractions,' referring to the spectacle-oriented narrativity or the mode of production displaying the spectacle more than the narrative.

• (The) Research of the performance art and culture
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• no.20
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• pp.31-61
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• 2010

This thesis proposes to explore the theatre aesthetics of North-Korea during after the Liberation. From now South-Korean theorists have provided the theatre aesthetics of North-Korea to South-Korea, so we can say that it lacks of an equity. For example, South-theorists have said that North-Korean theatre only emphasized politics and propaganda, they have had not any aesthetics in performance. So this study focused on North-Korean critics and records for fairness and as a result something new is founded. The best theatres in North-Korea were some works which contains natural and proper lines to character, well-expressed inner desires of characters, realistic acting and stage design, and realistic life of working class. Of course they should reflect communist ideology and policy, but more important is that it did not mean everything in North-Korea. So we can say that it is fact that North-Korea should reflect their policy, which does not mean lack of aesthetics of performance. North-Korea had an obvious point of view for theatre, and they made an effort to realistic lines, movements and stage. During right after the Liberation, North Korea sought to find an answer for 'realization of true life', and sought to eliminate Japanese acting style in theatre. Concluded theatre aesthetics of North-Korea during right after the Liberation is realistic acting and directing style.

• Cross-Cultural Studies
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• v.44
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• pp.239-281
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• 2016

This article explores the fate of futurism not only by tracing the entire process from the birth and decline of Russian futurism in the early 20th century and the so-called "Korean futurism" in the early 21st century, but also by delving into how their characteristics were shaped. In the first chapter, we investigate four groups of Russian futurism - Ego-Futurism, Cubo-Futurism, Tsentrifuga, and the Mezzanine of poetry, which were born in the age of utopianism before the Revolution. In the opera Victory Over the Sun, which was the culmination of the Zaum project of Cubo-futurists, we can find the initial shortcomings at the levels of language (Kruchenykh), music (Matyushin) and decoration and costume design (Malevich). In the second chapter, we examine chronologically how the term 'futurism' appeared in Korean literature history. In Korea, the term 'futurism' was born following the naming and classification of critic Kwon Heok-Woong, not by the voluntary manifestation of experimental poets such as Hwang Byong-Seung, thus this specific situation provoked stormy polemics between critics for futurism and critics against futurism in the Korean literary world. These polemics on futurist poetics have led to considerations of the relation of criticism to poetry.

• The Journal of the Korea Contents Association
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• v.15 no.10
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• pp.46-55
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• 2015

This study is to re-read Yun, Baek-nam(1888-1954)'s editorial "Theatre and Society" from the perspective of postcolonial criticism. He was a man of the theatre who pursued practical interests in compliance with the colonial reality under the rule of the Japanese imperialism. His advocacy of theatre development work was based on the Japan-directional reformism and on Japan-friendly in following after Japan's improvement policy. His general discussion on Western theatre history had considerable errors as a result of focus on the social role and utility of the theatre. But his vindication of theatre-actor opened an era of interaction between theatre and intelligence in Korea. In addition, his enlightening view of a theatre became such as one of the cornerstones for the Shinkug Movement during Japanese colonial period in Korea.

• Korea Science and Art Forum
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• v.37 no.3
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• pp.113-123
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• 2019

In line with policy support and demand, mobile videos about science and technology have growth potential. For activation of domestic mobile video contents about science and technology, this article aims to analysis current global leading contents and draw implications for benchmarking. Therefore, this paper attempted to analyzed types and storytelling strategy of Science and technology channels on YouTube, which has the most influence among the mobile video media. The results are as follows. Fist, the YouTube contents about science technology are categorized into three types, activity-, explain-, review-centered type. Second, activity type channels are classified into 4 sub-types. Third, The core storytelling strategy of activity type channels is a combination of familiarity and unfamiliarity to deal with everyday material through specialized scientific and technological methods. Based on the results of this research, we expect to plan and produce global killer contents.

• The Critical Review of Religion and Culture
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• no.22
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• pp.15-50
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• 2012

This paper consists of two parts. The first part presents a review of academic studies on the concept of religion in Western countries; why the subject matters and how it has been discussed and evaluated. The second part contains a self-reflection of the conceptual analyses of religion from the Korean point of view; how we evaluate "their" studies and an attempt to understand the more than one hundred years of reception of the concept of religion in Korea. The idea of religion is an important part of the modern "map" that Korean society was obliged to accept in the middle of its crisis during the second half of the nineteenth century. Examining this process and the context of its reception can help to understand our intellectual and religious heritage. In this vein, it is of primary importance to consider how the modern concept of "Jonggyo" is different from the traditional concept of "Gyo".

• Cross-Cultural Studies
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• v.40
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• pp.61-90
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• 2015

The imagery of Ophelia appeared in Russian literature in the middle of the $19^{th}$ century. In contrast with Hamlet, whose name had been always in the center of the most intense debates through centuries, Ophelia had been understood relatively monotonously and simply associated with the images of a chaste maiden, a tragic heroine and a devoted lover. Only after the feminist literary criticism shed new light on the complicated inner world of the young girl, the imagery of Ophelia radically changed, and now it is not difficult to encounter various Ophelias on the contemporary stages and culture. In this paper we study the remarkable changes of the imagery of Ophelia in Russian modernism poetry, analysing A. Blok, A, Akhmatova, M. Tsvetaeva's Ophelia poems. Ophelia in Russian modernism, on the one hand, succeeding to the traditional view on Ophelia in $19^{th}$ century, assumes interesting new aspects, sometimes preempting feminist point of view.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.143-148
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• 2022

The subject of this paper is the practical examples of technoculture that critically thinks network technology, a strong material foundation in the era of data capitalism in the 21st century, and appropriates its socio-cultural metaphor as an artistic potential. In order to analyze its alternatives and the meaning of cultural politics, this paper examines the properties and influence of data capitalism after the 2008 global financial crisis, and the cultural and artistic context formed by its reaction. The first case considered in this paper, Furtherfield's workshop, provided a useful example of how citizens can participate in social change through learning and education in which art and technology are interrelated. The second case, Greek hackerspace HSGR, developed network technology as a tool to overcome the crisis by proposing a new progressive cultural commons due to Greece's financial crisis caused by the global financial crisis and a decrease in the state's creative support. The third case, Paolo Cirio's project, promoted a critical citizenship towards the state and community systems as dominant types of social governance. These technoculture cases can be evaluated as efforts to combine and rediscover progressive political ideology and its artistic realization tradition in the context of cultural politics, paying attention to the possibility of signifying practices of network technology that dominates the contemporary economic system.