• 대중서사연구
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• 제25권1호
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• pp.349-392
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• 2019

한일국교정상화를 전후하여 '일본이 또 다시 한반도로 온다'라는 막연한 불안과 공포의 정조가 조성되었으며, 그에 대한 반작용으로 '왜색' 비판담론이 강력하게 대두되었다. 다만 기존의 '왜색' 비판담론이 미처 처분하지 못한 식민지 잔재에 대한 민족적 반감을 표명하는 것이었다면, 1960년대 비판담론은 대중문화 속에서 새롭게 생성되고 있던 '왜색'에 신경을 곤두세우고 있었으며 그것을 한국에 대한 '일본의 변함없는 악의'가 징후적으로 드러나는 현상으로서 파악하고자 했던 것이다. 이처럼 국교정상화를 전후하여 대두된 '왜색' 비판담론은 기존 비판담론과는 질적인 차이를 지녔다. 이 새로운 '왜색' 비판의 논리는 "국경을 넘는 문화적 현대성의 매개", 즉 냉전체제하 지정학적 질서 속에서 유동하고 연쇄되었던 서구(미국)발 탈민족적·탈국가적 '대중문화'와 그것의 소비주체로서 성장한 '대중'에 대한 경계와 검열의 의지를 동반하고 있었던 것이다. 따라서 1960년대 한국에서 '대중적인 것=왜색적인 것=소비적인 것'의 위상학은 그 사회 내부에 존재했던 "도덕적 요구의 역설"을 드러내 보인다. 이는 일본이라는 타자와의 직접적 접촉을 회피하도록 하면서도 동시에 그것에 한없이 이끌리며 가까이 다가가도록 만드는 분열적 순환구조를 고착화하는 계기가 된다. 그것은 자타를 엄밀하게 가르는 도덕적 절단을 통해 대상을 저편으로 밀어내면서도 한편으로는 그 대상에 매료되어 다시 이편으로 끌어들이는 반복강박을 내포하는 것이다. 이 글은 그것이 구조화된 궤적을 더듬어보고 그에서 반복되어 나타난 불협화음의 의의를 정치미학적 차원에서 해명하고자 당대에 발생된 상이한 소리들에 귀를 기울여 볼 작정이다. 그것은 곧 한국사회의 내적 통제원리를 구축하려는 권력이 강력하게 발동하면 할수록, 혹은 그 권력이 지닌 억압적이고도 폭력적인 이면을 감추기 위해서라도 되풀이하여 끌어들어야만 했던 '일본(적인 것)'이라는 대타성, 즉 완전히 자신의 일부로 받아들일 수도 없고 소멸시켜 버릴 수도 없는 역설에 대한 고찰이 될 것이다.

• 디자인학연구
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• 제2권1호
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• pp.63-97
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• 1989

There is nothing more important than the form and function in design, because every design product can be done on the basis of them. Form and Function are already existed before the word of design has been appeared and all the natural and man-made things' basic organization is based on their organic relations. The organic relations is the source of vitality which identifies the subsistance of all the objects and the evolution of living creatures has been changed their appearances by the natural law and order. Design is no exception. Design is a man-made organic thing which is developed its own way according to the purposed aim and given situations. If so, what is the ultimate goal of design. It is without saying that the goal is to make every effort to contribute to the -human beings most desirable life by the designer who is devoting himself to their convenience and well-being. Therefore, the designer can be called the man of rich life practitioner. This word implies a lot of meanings since the essence of design is improving the guality of life by the man-made things which are created by the designer. Also, the things are existed through the relations between form and function, and the things can keep their value when they are answered to the right purpose. In design, thus, it is to be a main concern how to create valuable things and to use them in the right way, and the subject of study is focused on the designer's outlook of value and uk relations between form and function. Christopher Alexander mentioned the importance of form as follows. The ultimate object of design is form. Every design problem begins with an effort to achieve fittness between the form and its context. The form is the solution to the problem: the context defmes the problem. In other words, when we speak of design, the real object of discussion is not form alone, but the ensemble comprising the form and its context. Good fit is a desirable property of this ensemble which relates to some particular division of the ensemble into form and context. Max Bill mainatined how important form is in design. Form represents a self-contained concept, and its embodiment in an object results in that object becoming a work of art. Futhermore, this explains why we use form so freguently in a comparative sense for determining whether one thing is less or more beautiful than another, and why the ideal of absolute beauty is always the standard by which we appraise form, and through form, art itself. Hence form has became synonymous with beauty. On the other hand, Laszlo Moholy-Nagy stated the importance of function as follows. Function means the task an object is designed to fulfill the task instrument is shaping the form. Unfortunately, this principle was not appreciated at the same time but through the endeavors of Frank Lloyd Wright and of the Bauhaus group and its many collegues in Europe, the idea of functionalism became the keynote of the twenites. Functionalism soon became a cheap slogan, however, and its original meaning blurred. It is neccessary to reexamine it in the light of present circumstances. Charles William Eliot expressed his idea on the relations between function and beauty. Beauty often results chiefly from fittness: indeed it is easy to manitain that nothing is fair except what is fit its uses or functions. If the function of the product of a machine be useful and valuable, an the machine be eminently fit for its function, it conspicuously has the beauty of fittness. A locomotive or a steamship has the same sort of beauty, derived from the supreme fittness for its function. As functions vary, so will those beauty..vary. However, it is impossible to study form and function in separate beings. Function can't be existed without form, and without function, form is nothing. In other words, form is a function's container, and function is content in form. It can be said that, therefore, the form and function are indispensable and commensal individuals which have coetemal relations. From the different point of view, sometimes, one is more emphasized than the other, but in this case, the logic is only accepted on the assumption of recognizing the importance of the other's entity. The fact can be proved what Frank Hoyd wright said that form and function are one. In spite of that, the form and function should be considered as independent indivisuals, because they are too important to be treated just as the simple single one. Form and function have flexible properties to the context. In other words, the context plays a role as the barometer to define the form and function, also which implies every meaning of surroun'||'&'||'not;dings. Thus, design is formed under the influence of situations. Situations are dynamic, like the design process itself, in which fixed focus can be cripping. Moreover, situations control over making the good design. Judging from the respect, I defined the good design in my thesis An Analytic Research on Desigh Ethic, "good design is to solve the problem by the most proper way in the situations." Situations are changeable, and so is design. There is no progress without change, but change is not neccessarily progress. It is highly desirable that there changes be beneficial to mankind. Our main problem is to be able to discriminate between that which should be discarded and that which should be kept, built upon, and improved. Form and Function are no exception. The practical function gives birth to the inevitable form and the $$\mu$ti-classified function is delivered to the varieties of form. All of these are depended upon changeable situations. That is precisely the situations of "situation de'||'&'||'not;sign", the concept of moving from the design of things to the design of the circumstances in which things are used. From this point of view, the core of form and function is depended upon how the designer can manage it efficiently in given situations. That is to say that the creativity designer plays an important role to fulfill the purpose. Generally speaking, creativity is the organization of a concept in response to a human need-a solution that is both satisfying and innovative. In order to meet human needs, creative design activities require a special intuitive insight which is set into motion by purposeful imagination. Therefore, creativity is the most essential quality of every designer. In addition, designers share with other creative people a compulsive ingenuity and a passion for imaginative solutions which will meet their criteria for excellence. Ultimately, it is said that the form and function is the matter which belongs to the desire of creative designers who constantly try to bring new thing into being to create new things. In accordance with that the main puppose of this thesis is to catch every meaning of the form and function and to close analyze their relations for the promotion of understanding and devising practical application to gradual progression in design. The thesis is composed of four parts: Introduction, Form, Function and Conclusion. Introduction, the purpose and background of the research are presented. In Chapter I, orgin of form, perception of form, and classification of form are studied. In Chapter II, generation of function, development of function, and diversification of function are considered. Conclusion, some concluding words are mentioned.ioned.