• 한국사회복지학
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• 제53권
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• pp.155-178
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• 2003

독일은 현재 다양한 장애유형에 대해 보편적으로 확장된 사회안전망을 구축하고 있으며, 재활과 사회통합적 차원에서 장애인의 고용촉진정책을 적극적으로 시행해 오고 있다. 독일의 정당 가운데 사회 민주당(Sozialdemokratische Partei Deutschlands)은 사회주의적 이념을 기반으로 국가의 강력한 개입을 통해 사회내 소외계층의 복지증진을 추구해온 전통이 있다. 그러나 신자유주의적 세계화가 확산되면서 사민당의 노선에 변화가 일기 시작하여 '신중도'로 불리는 새로운 복지정책의 이념이 나타나게 되었다. 이러한 가운데에 장애인고용정책에도 신중도적 노선의 이념이 반영되리라고 유추해 볼 수 있지만 이에 대한 연구는 아직 발표되고 있지 않다. 본 논문은 우선 독일 사민당의 전통적인 사회복지적 접근방향에 대해 살펴보고, 현재 집권하고 있는 슈뢰더 정부의 변화된 접근관점을 전통적 관점과 비교해 보았다. 그런 다음에 1998년 이후부터 추진되고 있는 슈뢰더 정부의 중증장애인 고용정책에 대해 전반적으로 살펴보고, 정책의 효과를 분석해 보았다. 그 결과 슈뢰더 정부의 신자유주의적 복지이념은 장애인 고용정책에는 적용되지 않고 있음을 확인할 수 있었다. 이러한 분석을 통해 독일 장애인고용정책이 우리나라에 시사하는 함의를 제시하며 글을 맺었다.

• 과학과기술
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• 5호통권408호
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• pp.22-25
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• 2003

亞, 과학인프라 구축 열 올려/ TV 폭력, 시청자 인성형성에 큰 영향/ 징기스칸 자손은 1천 6백만명/ 슈뢰더, 독일과학예산 증액 약속/ 허리띠 졸라매는 프랑스 연구기관/ 첨단미디어 헐리우드 위협/ 80년된 커리큘럼에 과학 추가/ 생화학무기 탐지위해 닭 휴대/ 인도대학, 국제교류 제한

• 건축역사연구
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• 제25권1호
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• pp.69-83
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• 2016

Classic rationalist architecture came to play an important role in modern architectural discourse in the 1970s. But it has declined since the death of its most representative architects Aldo Rossi and O. M. Ungers. However, the phenomenon to be noted is that a new momentum was brought to the German architectural scene through some remarkable achievements by the disciples of Ungers after 2000. This study aims to read this phenomenon on the topography of german architecture and to catch out what potential it has to create balance in the international architectural debate. It is not the aim to analyze a single architect in detail, but to compare some important architects like Hans Kollhoff, Max Dudler, Eun-Young Yi and Uwe $Schr{\ddot{o}}der$. And further the study will try to give an overview of how far this phenomenon can change the topography of the German architectural scene. The buildings that have been examined here are Daimler Chrysler Building, Grimm Zentrum, Stuttgart City Library, and Haus Hundertacht. Through this study, it was found that some architects continue the attitude and the architectural languages of O. M. Ungers and develope their own unique architecture. And this phenomenon has the potential to influence todays architectural debate on a global scale.

• 미술이론과 현장
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• 제9호
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• pp.151-170
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• 2010

As an art group, De Stijl (1917-1931) led a total art movement encompassing painting, sculpture, design, and architecture. Among these, architecture, as a model of the total art pursued by the group, was encapsulated by the term 'plastic architecture.' The term reflects architecture's shared features with plastic art, especially its pictorial characteristics. Firstly, De Stijl architecture shares geometric form with painting. Assembled in simple, clear and rational structures, the geometric forms signified universal forms, and extended the pictorial experimentation that Mondrian exercised through Neo-Plasticism to architecture. Constructed with colour fields made of concrete wall, De Stijl architecture is geometric abstract painting embodied in space. Together with such pictorial characteristics, large plate glass windows, narrow window frames, and cantilever structure minimize the building's visual weight. De Stijl architecture, which appears suspended in the air, is an architectural version of the abstract paintings of the era that revealed unknown spaces beyond perspective. De Stijl architecture is also an 'open' architecture, where the units placed as if radiating from the center form relations with each other flexibly and organically. The observer in such a space is encouraged to experience space within time, as his/her physical and visual mobility and extension are maximized. De Stijl architecture is an example of how the time-space continuum, represented within picture frame through Cubism, Futurism, and abstract art, can be realized in space. By transforming the ideal space of painting into real space in this way, 'plastic architecture' turned out to be an architectural manifestation of the utopianism of the era, aimed at building a society in 'perfect harmony.' However, such rationalism and universalism are not free from the violence of totalization that deletes various differences. This is evident in the history that followed as the geometric form of architecture and urban planning proliferated across the globe, engulfing the diverse natural landscapes and local cultures.