• 한국실내디자인학회논문집
• /
• 제20권4호
• /
• pp.54-62
• /
• 2011

Fast industrialization caused from Descartes' dichotomy has enormously developed our world, but endangered the ecosystem. In this study, the ecosystem aesthetics is not only a critique against existing growth-ideology and technical civilization, but also the art pursuing the life as an artistic state and achieving the dream for qualitatively different new future. Lao-tzu's Natural Beauty assumes that the adaptation to natural laws can lead every purpose's achievement. Based on such theoretical alternative, the earth construction as a medium for coexisting mankind, nature and construction interacts with the other objects through the natural affinity, the energy efficiency, the material generation. The earth construction provides the images of naivety, naturalness, folk as well as emotional stability in cultural terms. This study's direction and method are as follows. First, it researches the ecosystem aesthetics from the Taoism viewpoint, the alternative for environmental healing based on theoretical reviews about the ecosystem aesthetics. Second, it researches the earth construction's ecosystem aesthetic features and construction features from the low-tech aspect in continual construction genealogy. Third, it analyzes some cases targeting domestic buildings by drawing out expression methods and features through the connectivity of earth construction and ecosystem aesthetics. The earth construction lies between the heaven and the earth, but coexists in natural cycle. The earth construction caused from ecosystem aesthetics will be a future alterative, and various studies about its features and methods should be continued.

• 보건행정학회지
• /
• 제10권4호
• /
• pp.1-19
• /
• 2000

We have witnessed several kinds of new discourses and practices in health and medicine since the 1970s, such as popular concerns with alternative or complementary medicine, inordinate attention to the promotion of 'healthy' living, rapid resurrection of traditional medicine and ecological management of health. Four structural and situational factors are discussed to underlie these new trends：(i) as 'crisis' in health care of the 1970s was translated into health care reform of the 1980s backed up by neo-liberal political philosophy, the state responsibility for nation's health is being transferred to the individual ；(ii) it resulted from the limits of biomedical paradigm in dealing with chronic diseases；(iii) medico-scientific knowledge of disease is transformed into the subjective discourses and technologies of health in postmodern society ； and (iv) it is deeply associated with the considerable increase in environmental risk perception of health and disease. There are some inherent countervailing forces in these new discourses and practices. First, while they derive from lifestyle-oriented behavioral change, medicalization of life and death is still consolidated in the new trends. Second, inasmuch as new tides are reliant upon science, they. are likely to be remote from techne that means not the practical application of theoretical knowing but a special form of practical knowing. Third, as new discourses and activities accomplished＇in the name of health＇increasingly occupy important strategies in forming the self-identity, they serve as moral apparatus which involves prescriptions about how we should live our lives and conduct our bodies, both individually and collectively. Therefore, two points are suggested to consider seriously whether these streams will succeed in improving the‘healthy’living of all the people. Instead of limiting tile perspective to medicine, healing and health care, a new matrix that interweave welfare, ecology and labor along with them is timely needed for enhancing the health for all. In addition, as the World Health Report fm strongly shows, inequality in health heavily depends upon socio-economic development of a society, and it is not the richest countries that have the best health status, but those that have the smallest income differences between rich and poor.

• 한국언론정보학보
• /
• 제18권
• /
• pp.7-36
• /
• 2002

본 연구는 사회적 담론의 형성, 발전, 변화 과정을 공간적 모델의 관점에서 분석함으로써 상이한 담론들 간 상호적으로 작용하는 권력관계의 복합성과 유연성, 역동성을 고찰하는 것을 목적으로 한다. 사회적 담론 공간은 내부/외부라는 차별구조를 갖는다. 그리고 개별담론이 사회적으로 지각, 인지, 통용되기 위해 공간 내부에 진입해야 하며, 권력 획득 정도에 따라 사회적 담론공간 내에 중심부/주변부라는 불균등한 위치성을 갖는다. 따라서 사회적 담론공간 에서는 다차원적인 권력관계가 다방향적으로 작용한다. 하지만 후기 자본주의의 실제 정치과정에서 신자유주의적 정치권력과 신보수주의적 문화권력이 대두하면서, 사회적 담론공간이 개인주의적 소비주의나 획일적인 집단주의로 동질화되고 양분되는 경향을 보여왔다. 더불어 선택적이고 차별적인 문화적 시민권이 사회적 담론공간을 규제하는 기능을 담당하게 되었다. 이러한 맥락에서 미시권력과 거대권력 혹은 보수주의와 자유주의가 충돌하는 권력의 중첩지점, 즉 지배권력 대한 타자적 위치가 저항적인 개별담론들이 성장할 수 있는 대안적 공간으로서 고려되어야 한다. 나아가 타자의 담론이 사회적으로 생산되고 전달될 수 있는 민주적인 담론공간을 구성하는 것이 필요하다.

• 미술이론과 현장
• /
• 제7호
• /
• pp.7-36
• /
• 2009

This paper intends to examine the significance of the "Minjoong Misool(People's art)" of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked under the dominant discourse that has emphasized their political role as a collective group. In particular, this paper scrutinizes the work of "Critical Realists" by examining the way in which they perceived Korean society in the early 1980s and visualized their experiences of the period. The figurative art newly emerged in the early 1980s challenged the formalist Modernism, which was adopted into Korea and translated into monochrome paintings and the work of the conversative academicism of the 1970s. The figurative art encouraged a social communication and moreover it intended to criticize the conflicts in the political, economical, and social domains in Korea. The targets of its critique include the unavoidable results of the unprecedented development of economy, various social phenomena of the post-industrial society, and the growth of the commercialized kitsch culture. Along with Shin, Hak-chul's work that incorporates collage technique since the 1980s, the work of some members of "Reality and Utterance" and "Im- sul-nyun" exemplify their critical interests in disclosing the false dream of wealth and happiness by both referring to and drawing on the utopian fantasy manipulated and distributed by mass media and commercial advertisements. This paper pays particular attention to Nouvelle Figuration emerged in France and Europe during the 1960s, which is comparable to the new figurative art emerged in Korea during the 1980s. Nouvelle Figuration criticized the autonomy in art isolated itself from political and social reality after WWII, in particular the indifference of Informel and abstract art as well as American abstract art. Moreover it became rather politicized around May of 1968. Given that French Nouvelle Figuration was introduced in Korea in 1982 and made a significant contribution to the formation of figurative art in Korea, it should be noted that the new figurative art emerged in the 1980s in Korea cannot be categorized merely in relation to People's Art. This paper intends to critically redress the notion that People's art was formed in the particular political, economical, and cultural context of Korea independent of the contemporary artistic practices outside Korea. It will provide a critical examination and analysis of the content and form of the new figurative art, from which People's Art was germinated, in the global context.

• 비교문화연구
• /
• 제48권
• /
• pp.325-359
• /
• 2017

영문학자 프랑코 모레티(Franco Moretti)의 연구는 문학의 여러 방면에서 두드러진다. 교양소설 혹은 성장소설에 관한 독특한 해석, 세계문학을 보는 새로운 시각, 디지털 아카이브를 구축하여 문학사를 다시 읽는 방법, 또한 그러한 거시적인 방법을 통해 던지는 사회비평 등등, 폭 넓은 시야와 심도 있는 분석으로 다방면에 족적을 남겼다. 본 논문은 모레티의 세계문학론을, 그가 제안한 '멀리서 읽기'(distant reading)라는 거시적 방법론과 그 사례들을 살피며 타진해보고자 한다. 그의 방법론은 문학사에서 잊힌 비정전을 포함하여 거시적인 아카이브를 구성하고, 그 안에서 반복적으로 등장하는 현상을 하나의 계열로 묶어, 그 패턴의 형태적 의미를 파악하는 방식이다. 이 방법이 구체적으로 적용된 사례가 "그래프, 지도, 나무"(Graphs, Maps, Trees)라는 책이다. 이에 본 논문은 그 책에 초점을 맞추어 그가 제시한 형태론적 세계문학을 비판적으로 이해한다. 비판의 시각은 매체론, 특히 한국문학의 매체론적 관점이다. 신문과 잡지와 같은 매체에 대한 관심은 괴테가 세계문학론을 제창했을 때부터 있었고, 특히 미국의 영문학에서는 최근 정기간행물 연구(periodical studies)라는 영역이 새롭게 개척되어 다시금 주목받고 있다. 또한 한국문학에서는 서구 문예 수입, 장르의 형성, 문학의 사상화(思想化), 출판시장의 분화, 작가 등단 제도 등 근대문학 형성에 있어서 신문과 잡지와 같은 정기간행물, 혹은 매체의 역할은 따로 떼어놓고 생각할 수 없다. 따라서 본 논문은 모레티의 세계문학론과 세계문학 연구를 위한 방법으로 제시된 '멀리서 읽기'를, 매체론의 한 사례인 한국 근대문학의 입장에서 바라보고, 그가 간과하고 있는 측면(문학지식의 계열화에 수반되는 물적 토대)에 근거하여 몇 가지 문제제기를 하려 한다.

• 영미문화
• /
• 제10권2호
• /
• pp.73-97
• /
• 2010

Representation of destitution may be considered as an expression of a social desire toward forging a bond or solidarity with the impoverished. However, political and ethical demands of the solidarity force the formulaic framework structuring the form of representation to its limits. The thesis aims to examine the responses to such demands within the tradition of modernist literature that can be traced from Charles Baudelaire, Knut Hamsun to Franz Kafka and that somehow culminates with Samuel Beckett, and to analyze how the issue of destitution that weaves through Beckett's works criticizes and inherits such a heritage. Whereas destitution in 19th century Realism is structurally fixed and its potential for change is inherently excluded, for these writers, destitution is no longer the state of rigid reality in which any possibility is limited. It is destitution as an imperative that calls for exploitation of possibilities that can be recuperated from the impoverished condition of destitution. What these writers consistently resist against is destitution that leads to compensation and reward. Since occupying a superior position toward the other as the subject of description or sympathy can be seen as one form of profit or reward, they have persistently pursued absolute solitariness and austere conditions rather than prematurely simulating a sense of solidarity and community. The ultimate goal of destitution as an imperative is to pursue destitution in order to worsen it by identifying and then excluding and expending possessions and assets to a state of penury. This is a paradoxical process that opens up the realm of possibilities of destitution and redefines it as abundance and wealth. Destitution for Beckett as seen in the writers above is the objective of literature. But, what he focuses on is to amplify the shreds of economic world that still remain in a state of poverty and to reveal extreme poverty as a state of odd affluence and to transform it into a pursuit of accumulation and profit. One of his famous axioms, "less is more", contains the essence of such a paradoxical strategy. In a sense, such approach is a twist on the strategy that identifies and uses any remaining potential hidden in destitution as was pursued by other writers. It also expands on the imagination of the destitute described by Hamsun. But Hamsun and Beckett are diametrical opposites. Unlike Hamsun, Beckett does not link imagination with a sense of guilt. Imagination is not intended to overcome the destitute reality nor to culminate in artistic martyrdom as in the case of Kafka's hunger artist. The imagination of the impoverished in Beckett is simply a hilarious game and not an escape that ends in a sense of guilt. This game formulates a "rhetorical question" or derision at the ironical situation where the pursuit of hunger and art as the disinterestedness has been turned into symbolic capital. It is inherently a fundamental critique at the aestheticization of destitution that has been pursued by Modernism. Beckett's efforts at divulging falsehood inherent in non-profit acts such as charity, donation and hospitality are dissections of social fictions in which aestheticization of destitution remains a part of the whole.

• 철학연구
• /
• 제117호
• /
• pp.139-167
• /
• 2017

본 논문은 취미의 자발적인 도야가 어떻게 가능하고, 도야된 취미를 갖는 것이 왜 성품의 교화와 문화 발전을 위해 필요한지 그 이유를 밝힌다. 이는 취미가 자신의 판정을 항상 '쾌'로 반성하는 것과 관련이 있다. 취미는 자신의 판정의 타당성을 검사할 때마다 보편타당한 근거를 발견하는데, 이러한 '발견의 기쁨'이 취미를 자발적으로 도야하게 만드는 것이다. 도덕적 성품을 갖기 위해서는 자신의 행위의 도덕성을 스스로 평가해 보는 훈련이 필요하고, 시대를 대표해 계승할 만한 작품을 선별하기 위해서는 높은 안목이 필요하다. 그러나 우리는 작품의 미를 평가하면서 이러한 자율적 사고를 즐겁게 습관화할 수 있다. 본론에서는 이 같은 사실을 칸트가 <연역>에서 제시한 세 가지 부정적 취미판단의 사례를 통해 규명하려고 한다. 칸트에 따르면 부정적 취미판단은 현재 아름다운 작품이 불쾌감을 준다는 뜻이지만, 이를 통해 주장하는 것은 취미가 도야되었다는 것이다. 필자는 세 가지 사례에서 드러난 취미의 반성 방식을 '버티기', '결함 지적하기', '스스로 번복하기'라는 도야방식으로 정식화한다.(2장) 그리고 이를 통해 이러한 취미의 도야 방식은 이성이 도덕적 관심을 갖도록 자극함으로써 인성의 교화에 영향을 줄 수 있다는 점에서(3장) 그리고 문화 계승의 산물을 취미가 직접 심사한다는 점에서 취미의 도야가 필요함을 역설한다.(4장) 본론 마지막 장에서는 이것이 어떻게 가능한지를 규명하기 위해, 취미의 반성방식을 좀 더 근원적으로 탐색해본다.(5장) 특별히 실러의 '유희충동' 개념을 빌려 그 이유를 밝히는데, 그의 설명은 취미의 발견의 기쁨이 주는 역동성을 이해하는데 도움을 주기 때문이다. 취미는 대립하는 마음의 활동에서 서로의 활동을 '추동'하는 근거를 발견하고, 이러한 자기 활동에 스스로 고무되는 특징이 있다. 말하자면 취미는 작품이 불만족스러운 상황에서도 유희충동을 '만들어내기' 때문에, 즐겁게 앞의 두 과제를 감당하도록 마음을 촉진하는 것이다. 결론에서는 그런 의미에서 취미에 의한 유희충동은 창작을 통해 극대화된다고 보고, 창작하는 예술가처럼 이를 직접 체험할 수 있어야 함을 밝힌다.(6장)

• 비교문화연구
• /
• 제37권
• /
• pp.211-231
• /
• 2014

Comment faciliter l'apprentissage du français pour rendre notre enseignement plus efficace? Beaucoup de recherches ont ${\acute{e}}t{\acute{e}}$ $men{\acute{e}}es$ sur cette question; en $r{\grave{e}}gle$ $g{\acute{e}}n{\acute{e}}rale$ l'enseignement de la langue d'une part et l'expression ${\acute{e}}crite$ et la $r{\acute{e}}flexion$ d'autre part ${\acute{e}}taient$ $men{\acute{e}}es$ $ind{\acute{e}}pendamment$. Notre intention dans ce $pr{\acute{e}}sent$ travail a ${\acute{e}}t{\acute{e}}$ d'introduire et $d^{\prime}e xp{\acute{e}}rimenter$ pendant $l^{\prime}ann{\acute{e}}e$ scolaire des cours associant le $d{\acute{e}}bat$ $d^{\prime}id{\acute{e}}e$ et la $r{\acute{e}}flexion$ $th{\acute{e}}matique$ avec l'apprentissage linguistique(grammaire, vocabulaire${\dots}$), afin de susciter $l^{\prime}i nt{\acute{e}}r{\hat{e}}t$ des apprenants, leur $curiosit{\acute{e}}$ et leur $vivacit{\acute{e}}$, au $del{\grave{a}}$ des $d{\acute{e}}fis$ $pos{\acute{e}}s$ par la langue française. Nous avons en particulier $utilis{\acute{e}}$ une $publicit{\acute{e}}$ comme support d'apprentissage des bases linguistiques et comme moteur $d^{\prime}{\acute{e}}veil$ ${\grave{a}}$ la civilisation française pour mobiliser leur attention et stimuler leur $activit{\acute{e}}$ cognitive par $l^{\prime}interdisciplinarit{\acute{e}}$. Nous avons donc $expos{\acute{e}}$ ici les exemples d'argumentation autour les deux $s{\acute{e}}quences$ publicitaires conduites avec les ${\acute{e}}tudiants$ et les arborescences $d{\acute{e}}gag{\acute{e}}es$ de ces analyses. Presque concomittamment ${\grave{a}}$ "voir" et "${\acute{e}}couter$", l'information est $trait{\acute{e}}e$ par $l^{\prime}activit{\acute{e}}$ "$d{\acute{e}}coder$". Nous approfondissons ensemble cette $interpr{\acute{e}}tation$ $s{\acute{e}}miotique$, et l'analyse de la façon dont la $publicit{\acute{e}}$ capte l'attention du spectateur nous $am{\grave{e}}ne$ ${\grave{a}}$ $d{\acute{e}}gager$ des faits de $soci{\acute{e}}t{\acute{e}}$ et ${\grave{a}}$ y $r{\acute{e}}fl{\acute{e}}chir$; comment, avec l'exemple de la $publicit{\acute{e}}$ jouant la musique $d{\acute{e}}licieuse$ de la gourmandise, nous entrevoyons la $r{\acute{e}}alit{\acute{e}}$ obscure de $l^{\prime}ob{\acute{e}}sit{\acute{e}}$ infantile. Ces approches interdisciplinaires ${\grave{a}}$ partir du multi-$m{\acute{e}}dia$ $r{\acute{e}}pondent$ ${\grave{a}}$ la $n{\acute{e}}cessit{\acute{e}}$ de distance critique que requiert la $soci{\acute{e}}t{\acute{e}}$ contemporaine. $L^{\prime}{\acute{e}}tude$ d'une $s{\acute{e}}quence$ publicitaire ne permet certes pas $d^{\prime}appr{\acute{e}}hender$ la $soci{\acute{e}}t{\acute{e}}$ française dans sa $globalit{\acute{e}}$, mais en $consid{\acute{e}}rant$ que notre travail consiste tout autant ${\grave{a}}$ stimuler la $facult{\acute{e}}$ critique $qu^{\prime}{\grave{a}}$ favoriser l'apprentissage linguistitique, notre $strat{\acute{e}}gie$ nous permet de $r{\acute{e}}aliser$ plusieurs objectifs autour d'un $m{\hat{e}}me$ axe d'enseignement.

• 비교문화연구
• /
• 제42권
• /
• pp.505-524
• /
• 2016

이 연구는 2009년에 개봉한 영화 District 9이 인간과 외계인의 접촉을 주제로 삼는 SF 장르를 재작업하는 방식을 살펴본다. 같은 해에 개봉한 영화 Avatar처럼 District 9은 인간과 외계인 간의 갈등과 혼종성의 문제를 재고하고 인간과 대비되는 비인간들을 침략자가 아닌, 인간들의 억압과 잔인함의 대상으로 소개한다. 많은 공상과학 영화가 불분명한 미래의 시점에서 발생하는 반면, District 9 영화는 SF 장르의 경계를 넘어 도시 리얼리즘을 가까이 하며 현재의 도시 인구 문제들에 대한 비평을 제공한다. 외계 생명체는 인간의 기록된 과거의 한 부분으로 등장하게 되며 이 영화의 사건은 명확하게 확인되는 현재 시점과 요하네스버그라는 잘 알려진 도시에서 발생된다. 명백한 반-할리우드 영화인 District 9은 남아프리카의 대도시와 역사적으로 연관되어 있는 분열과 갈등, 그리고 도시 빈곤과 불법 이민의 문제점들을 다루면서 타자와의 접촉에 대한 인간의 불안감을 탐구한다. 이 논문은 이 특정 배경이 어떻게 이 영화를 구성하는지 그리고 외계인들이 도시 슬럼가의 비참한 환경에서 인간 이주민들과 혼합체를 이루며 도시 인구 정책아래에 생존하는 과정을 그려내면서 남아프리카의 가장 큰 도시와 오늘날의 대도시들이 직면한 현대의 사회 문제점들의 현실적인 검토를 어떻게 유도하는지를 들여다본다. 또한 이 논문은 이 영화에서 나타난 인간과 외계생물체 간 이루어진 하이브리드를 통해 타자에 대한 인간의 착취에 저항하는 힘으로써의 잠재력에 대해 살펴본다. 비록 이 영화의 배경은 매우 지역적이지만, District 9은 영리를 추구하는 다국적기업의 명백한 착취의 관습을 그려냄으로써 보다 더 넓은 범위의 세계 관객에게 일침을 가하기도 한다. SF 영화이면서 도시 인구 충돌에 대해 사회 비평을 시도하는 영화 District 9은 불안정감과 타자에 대한 공포감이 가득한 불확실하고 잠재적 폭력성을 가진 현대 인간 세계를 그리고 있다.

• 미술이론과 현장
• /
• 제4호
• /
• pp.181-202
• /
• 2006

"When it comes to art, nationalism is a goodticket to ride with", says the title of a report in the Indian Express (Mumbai, 29 Oct 2000). The newspaper report goes on to say that since Indian art was kept "ethnic" by colonialism, national liberation meant opening up to the world on India's own terms. Advocacy, at the tail end of the 20th century, would contrast dramatically with the call by Rabindranath Tagore, the founder of the academy at Santiniketan in 1901, to guard against the fetish of nationalism. "The colourless vagueness of cosmopolitanism," Tagore pronounced, "nor thefierce self-idolatry of nation-worship, is the goal of human history" (Nationalism, 1917). This contrast is significant on two counts. First is the positive aspect of "nation" as a frame in art production or circulation, at the current point of globalization when massive expansion of cultural consumers may be realized through prevailing communication networks and technology. The organization of the information market, most vividly demonstrated through the recent FIFA World Cup when one out of every five living human beings on earth watched the finals, is predicated on nations as categories. An extension of the Indian Express argument would be that tagging of artworks along the category of nation would help ensure greatest reception, and would in turn open up the reified category of "art," so as to consider new impetus from aesthetic traditions from all parts of the world many of which hereto fore regarded as "ethnic," so as to liberate art from any hegemony of "international standards." Secondly, the critique of nationalism points to a transnational civic sphere, be it Tagore's notion of people-not-nation, or the much mo re recent "transnational constellation" of Jurgen Habermas (2001), a vision for the European Union w here civil sphere beyond confines of nation opens up new possibilities, and may serve as a model for a liberated sphere on global scale. There are other levels of collectivity which art may address, for instance the Indonesian example of local communities headed by Ketua Rukun Tetangga, the neighbourhood headmen, in which community matters of culture and the arts are organically woven into the communal fabric. Art and collectivity at the national-transnational level yield a contrasting situation of, on the idealized end, the dual inputs of local culture and tradition through "nation" as necessary frame, and the concurrent development of a transnational, culturally and aesthetically vibrant civic sphere that will ensure a cosmopolitanism that is not a "colourless vagueness." In art historical studies, this is seen, for instance, in the recent discussion on "cosmopolitan modernisms." Conversely, we may see a dual tyranny of a nationalism that is a closure (sometimes stated as "ethno-nationalism" which is disputable), and an internationalism that is evolved through restrictive understanding of historical development within privileged expressions. In art historical terms, where there is a lack of investigation into the reality of multiple modernisms, the possibility of a democratic cosmopolitanism in art is severely curtailed. The advocacy of a liberal cosmopolitanism without a democratic foundation returns art to dominance of historical privileged category. A local community with lack of transnational inputs may sometimes place emphasis on neo-traditionalism which is also a double edged sword, as re kindling with traditions is both liberating and restrictive, which in turn interplays with the push and pull of the collective matrix.