• 수완나부미
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• 제15권1호
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• pp.61-89
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• 2023

This research explores the fall of pre-independence Sultanates and its continued political, economic, and cultural influence in post-colonial Indonesia. By using qualitative and historical methods, this paper compares the Sultanates of Mataram in Yogyakarta and Al-Kadrie in Pontianak, which represent different historical paths supporting the struggle for independence during the mid-20th century. Sultan Hamid II of the Al-Kadrie was a supporter of federalism whereas Sultan Hamengkubowono IX of Yogyakarta was an advocate of the republican system. Eventually, Indonesia became a Republic, and the idea of federalism was sidelined, which led to the abolition of sultanates in the rise of the = Indonesian nation-state, except for the Sultanate of Yogyakarta. After the 1998 Reform, the current development of democracy created political opportunities for the Al-Kadrie to reclaim its authority through engagement with various civic organizations. Meanwhile, the Sultanate of Yogyakarta faces internal friction because of succession concerns.

• 수완나부미
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• 제9권2호
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• pp.7-34
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• 2017

Various models have been presented to describe early Southeast Asian political formations that draw on both indigenous and imported Indic ideas. The most influential of these are the "Mandala" (Wolters 1968, 1982, 1999), "Galactic" (Tambiah 1976), "Negara" (Geertz 1980), and Anderson's 1972 "The idea of power in Javanese culture." This paper represents an initial attempt to compare the salient features of these models with historical and archaeological data from South Sulawesi where, exceptionally and importantly, societies developed independently of Indic ideas. South Sulawesi is unique in being the only region of maritime Southeast Asia where there are sufficient written and oral sources, often substantiated by archaeological data, to document the social evolution of its society from scattered, economically self-sufficient communities with ranked lineages practicing swidden agriculture to large political units (kingdoms) constructed around indigenous cultural and political concepts with economies based on wet-rice agriculture. This wealth of data provides us with a much more detailed picture of the emergence, development and support structures of early kingdoms than found in the models, which makes South Sulawesi of fundamental importance in understanding the social and economic evolution of pre-Indic influenced Austronesian societies in Maritime Southeast Asia.

• 문화기술의 융합
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• 제4권3호
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• pp.41-50
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• 2018

본 논문은 문화예술이 갖는 '기억의 재생과 잠재된 변화 욕구에 대한 민중들의 의지를 불러내는 매개자'로서의 기능과 역할에 주목하였다. 진보적 문화예술 활동이 광주민주화운동을 기점으로 사회변화의 기폭제가 되었다는 판단에서 이들 사이의 상관성을 살펴보고자 하였다. 다시 말해 광주민주화운동을 기점으로 조직화된 민중문화 혹은 민중예술이 한국사회의 변화에 어떠한 영향을 주었는지 확인하고자 한 것이다. 문화에 대한 정의는 너무 광범위하여 특정할 수는 없지만 여기서 문화는 5.18민주화운동이라는 특정한 사건에서 시작하여 한국 민주주의 발전이라는 사회변화의 지속 과정에 치열하게 참여했던 일련의 행위에 초점을 맞추고자 했다. 그런 점에서 민중문화운동과 민중예술인들이 한국사회의 문화를 바꾸는데 기여한 바는 충분히 평가되어야 한다고 판단한다.

• 교육심리연구
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• 제31권4호
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• pp.767-794
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• 2017

창의성은 사회문화적 맥락에서 발현되고 형성되는 사회적 산물이다. 창의적 수행과 결과물에 영향을 미치는 문화 요인들은 초국가문화, 국가문화, 직업문화, 조직문화에 따라 다르다. 그러나 그동안 수행된 창의성 연구의 대다수는 사회 및 문화요인들을 주된 주제로 다루지 않았다. 극히 드물지만 문화와 창의성 간의 관계를 탐색한 연구들은 대부분 개인주의와 집단주의와 같은 초국가문화의 특성들만을 다루면서 동서양 문화권에서 개인이 보이는 창의성 수준 간 차이를 제시하고 있을 뿐 영역 특수성을 고려한 창의성이나 이것에 직, 간접적으로 영향을 미치는 직업이나 조직 문화의 특성 등을 간과하였다. (초)국가 문화처럼 거시적 관점이 아닌 보다 미시적인 관점에서 창의성을 연구하는 것은 독창성과 유용성을 창의성의 주요 능력으로 간주하는 오늘날의 창의성에 대한 개념적인 이해와 맥을 같이 한다. 본 연구는 문화와 창의성간의 관계를 규명하기 위해서 창의적 사고와 아이디어 생성에 영향을 미치는 사회, 문화적 요인들을 초국가와 국가문화를 포함하는 가치문화와 직업과 조직 문화로 구성된 관습문화로 구분하여 관련 문헌들을 심도 있게 검토하였다. 초국가 및 국가 문화의 특성으로 각각 개인주의와 집단주의, 예술친화적인 사회분위기와 다문화 경험 등을 논의하였고, 관습문화에 포함된 직업 및 조직 문화의 경우, 창의성의 두 가지 핵심 능력인 독창성과 유용성간의 균형을 중시하는 건축 영역을 중심으로 살펴보았다. 문헌분석결과, 창의적 사고와 아이디어 생성에 영향을 미친 문화적 요인들은 관습 문화와 가치 문화에 따라 다르게 나타났으나 연구 결과들이 일관적이지 못한 한계를 보였다. 저자들은 논의한 선행연구의 문제점들을 문화에 대한 다차원성 고려 부족, 국가문화와 창의성 간 관계 규명의 어려움, 개인 또는 집단 창의성에 영향을 미치는 요인에 대한 차별적인 인식의 필요성, 관습과 가치문화에 대한 인위적인 구분 등으로 요약하였고 이를 후속 연구들을 위한 제언과 함께 논의하였다.

• 조형예술학연구
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• 제1권
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• pp.165-188
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• 1999

When we think about visual art, we can't pass over the matter of images and spaces. An image is fixed in a painting space. If the image were posited in the river of time, it would be changed as time flowed on. Its image might be created, rigged, transfigured or it might vanish or remain as traces. The image is changed through the process of expressing them on the painting surfaces. In paintings the changing of the image is caused not only by working processes but also recognizing the objects. In modernist painting, the idea of space was important, but in postmodernist view, the idea of time becomes essential. In this thesis I will focus on the matter of time and image of painting in the late 20th century. Studying the relationship of image and time is not familiar because we had considered the space as being more related to painting distinction than time. Presently, the concept of space can't be divided from that of time. In Physics, they recently called it as a united concept- time-space. Painting space also becomes one asking and recieve the concept of time actively. Now in painting, time is no more a supporting matter but becomes a major matter. In the late 20th century, we can find many trials to catch the change of images as time flowes on and express them as a trace through using verioty media. One of the way to drawing the change of images as time passes could be seen through various joint images in one painting space and another in the traces of one image. The other could be done by using new media such as computer in the example of fractal art. It shows the images chainging of practically as time changes. New understanding about time of this era has to be affirmatively accepted because it reflects the contemporary cultural situation and in art, the concern about the possiblity of it and finding new medias which has to go on.

• 복식
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• 제57권10호
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• pp.129-141
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• 2007

In the cultural realm of Hinduism centering around India, traditional costumes such as Sari, and Dhoti are worn up to date under the influence of religious faith, tradition, and fundamentalism. The purpose of this study is to clarify the religious meaning of unstitched traditional Indian costume and inquire into the figurative beauty of it. This study revolved around India, and the aesthetic feature affected by hinduism was examined based on the literature references and the figurative feature and aesthetic value of unstitched costume were analyzed. The most important feature of Indian costume is the unstitched costume without joining pieces of cloth by using a needle and thread, symbolizing the purity based on the cosmology of Hindu. In the unstitched costume of India, natural drapery that is the large cloth, slipped or tied on body, wrapping it affluently, is emphasized. Unstitched costume of India, based on cosmology of Hindu and the concept of purity, is still broadly worn by people under the influence of fundamentalism and conservative atmosphere. Religious idea is expressed and a beauty of concealment, emphasizing the chastity, is shown in the unstitched costume of India, while a beauty of nature is distinctively revealed in the non-structural and asymmetric drapery costume due to the unique wearing style. In addition, 'A beauty of symbolism' appears in the wearing method, color, the part of wearing, and ornament. Religion has affected overall culture that is inclusive art, aesthetics, and social structure and has contributed to the formulation of costume style. Unstitched costume of India is the unique tradition of India and identity, based on the religious idea.

• 복식
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• 제61권8호
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• pp.18-31
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• 2011

Gianni Versace was a designer who established his unique fashion world by thinking creatively and using rich design sources. The purpose of this study is to present designers a methodology for creative and characteristic design development by searching Gianni Versace's idea source for fashion design. As a method of the study, visual and textual data were investigated for Versace's fashion and design source especially focusing on those elements that inspired him. Versace was born in the southern area of Italy in 1946. Ever since his childhood, he had a lot of experience with clothes because his mother was a dressmaker. His first collection was made in 1978, and Versace became one of the most famous fashion designers in the world within 20 years. He used a wide range of design sources such as history, culture, and art and created his design world with it. He focused on four important epochs. They were classicism, Byzantium, the eighteenth century centering on Baroque, and the 1920s and 1930s centering on Madeleine Vionnet and Madame Gres. Among cultural elements, costume design for ballet and opera and rock 'n' roll music inspired him greatly. Also, Pop art and various paintings such as Chagall's and Delaunay's had a huge effect on Versace. With these elements, he created a bold and unique coordination of style by mixing & matching history, genre, material, and style into his design. Thus he completed an extraordinary and original fashion style by emphasizing on decorative and glamorous points and changing a way of thinking.

• 디지털융복합연구
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• 제15권2호
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• pp.155-163
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• 2017

우리나라는 급속한 경제발전 과정에서 양극화, 저출산, 고령화, 자원 문제, 환경문제 등 사회문제들이 복합적으로 발생하며 경제, 문화, 교육 등에서의 사회적 격차가 심화되고 있다. 이로 인한 사회문제 발생과 복지예산의 증가는 불가피한 실정이다. 이러한 전망에서 정부와 기업들은 기술 개발과 경제 활성화를 통한 사회문제 해결에 집중하고 있다. 하지만 사회문제 해결을 위한 기술은 단순한 현상이 아닌 본질적인 발생 원인과 이해관계자, 지역성과 문화에 대한 복합적 조사를 기반으로 개발되어야 한다. 본 연구는 디자인 사고 프로세스를 활용하여 효과적인 사회문제 해결형 아이디어 구체화 프로세스를 개발하기 위한 시사점 제안을 목적으로 한다. 이를 위해 미국의 혁신회사 IDEO, 스텐포드 d.school등의 디자인 사고 기반 문제 해결 프로세스를 비교 분석하고 아이디어 구체화 과정에서의 문제점과 고려 사항을 도출하였으며, 이를 기반으로 사회문제 해결을 위한 제품/서비스화를 위한 아이디어 구체화 프로세스를 제안하였다. 본 연구는 사회적기업, 소셜벤처, NGO, 공익활동가 등이 자신의 전문성을 활용하여 지역의 문제를 해결하기 위한 가이드라인으로 활용될 수 있다는데 연구의 의의가 있다.

• 비교문화연구
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• 제50권
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• pp.347-370
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• 2018

이 논문은 비교문학방법론의 쇄신과 재개념화의 방향을 제안한다. 비교문학은 서구중심주의와 식민주의의 흔적을 여전히 간직하고 있고 보편-특수라는 서구 근대학문의 인식론에 갇혀있으며 비교문학연구 방법론은 이러한 한계를 계속 유지하고 강화하는 수단으로 작동하고 있다. 비교문학은 기존의 등가 등치 관계에서 벗어나 디목의 "약한 이론," "긴 네트워크," 푸코의 "작가의 소멸" 등의 개념이 제시하는 방향, 즉 서구학문의 보편성 과학성의 한계를 드러내고 문학 담론의 역사성과 사회적 관계를 보여주는 방향으로 이동해야 하며 이를 위해 연구방법론의 변화가 담보되어야 한다. 인류학자 클리포드 기어츠의 "켜켜이 쌓인 묘사"라는 개념은 비교문학연구방법론을 재개념화하기 위한 유용한 출발점이다. 이 개념은 문화를 텍스트에 대한 해석들이 쌓아올리는 두께로 재정의하고 국민국가의 국가성을 다언어적 혼돈 위에 재설립하며 인문학의 과학성을 픽션화한다. 또한 근대학문의 체계화와 분류화, 추상화를 최대한 피하면서 과학성 합리성 보편성이라는 이름으로 행해지는 서구내셔널리즘을 문제화하고, 인간 삶과 그 의미의 풍부함을 충실히 드러내면서 문학담론을 더 '약하'고 더 '길'며 더 '두꺼운' 네트워크로 재개념화할 수 있도록 해준다.

• 비교문화연구
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• 제21권
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• pp.53-86
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• 2010

This paper is focused on splitting of the first Soviet theatre, MKhAT and collapse of Soviet theatre. A close attention has been paid to Art Theatres's circumstances leading to splitting, critical conscience about division between ideal and real theatres and other concrete situation before the verge of collapse. Administrative reform of the Soviet theatre at the period of Perestroika and Glasnost', its results and conflicts, occurred in the process of transition into market system. These are considered under the premise of that the problems of MKhAT were not so different to the other soviet theatres at that time. As it is known that Moscow Art Theatre is a symbol of Russian theatre. And the status of MKhAT as a symbol of Russian theatre had formulated not only the well-known Stanislavsky' system and his legendary performance The Seagull, Three Sisters etc. It was made by party's effort to make MKhAT as the first Soviet theatre and by directors, artists and critics, they had believed and tried to protect idea of MKhAT as the 'battlements' of Soviet theatrical art. One of them is O. Yefremov, a former leader and artistic director from 1970 to 2000. Actually from the periods of Sovremennik Yefremov knew that does not exist the ideal MKhAT, excepting myths, legends and administrative attitudes. Nonetheless he chose the duty of MKhAT's artistic director to construct ideal MKhAT, theatre as the best moral institution, theatre as union based on common belief. It is same motive that he had led split of MKhAT. But split of theatre did not bring the expected results. After spliting MKhAT has become almost collapsed under collapse of USSR and subsequent turmoil at 1990's. And as soviet theatre disappeared into history, Russian theatre became lost its special significance, the super-theatre's idea.