• 문화기술의 융합
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• 제9권3호
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• pp.451-459
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• 2023

이 글의 목적은 새로운 전쟁의 영역으로 떠오르고 있는 인지전(Cognitive Warfare)에서 제기될 수 있는 윤리적 문제를 평가하는 데 있어 정의전쟁론(Just War Theory)의 한계를 규명하는 것이다. 이를 위해 먼저 우리는 인지전이 등장하게 되는 배경을 설명하고 인지전에 대한 개념적 분석을 통해 인지전의 특성을 도출하여 인지전이 전통적 전쟁과 어떠한 차이점이 있는지를 제시할 것이다. 이후 논의를 전환하여 전쟁에 관한 포괄적 윤리적 문제를 평가하는 이론으로서 정의전쟁론의 배경과 주요 논의 영역을 살펴볼 것이다. 이어서 우리는 이이론을 구성하는 3가지 영역인 전쟁 자체의 도덕(jus ad bellum), 전쟁 수행의 도덕(jus in bello), 전쟁 후의 도덕(jus post bellum)에서 제시하는 윤리적 판단 기준을 구체화하고 각 영역에서 제시되는 기준을 인지전의 양상에 적용할 것이다. 마지막으로 우리는 각 영역별로 인지전에서 윤리적 판단의 적절성을 평가하고 정의전쟁론의 윤리적 판단 기준이 적용될 수 없는 영역을 제시함으로써 인지전에 적용할 수 있는 새로운 윤리적 평가 기준의 필요성을 제기할 것이다.

• 문화기술의 융합
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• 제9권5호
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• pp.57-63
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• 2023

이 글의 목적은 하이브리드 전쟁(hybrid warfare)의 양상을 분석하고 그 과정에서 제시되는 도덕적 문제로서 행위자의 도덕적 책임을 평가하는 원리인 jus in bello의 한계를 제시하는 것이다. 전통적 전쟁에서 제시되는 전쟁의 도덕성에 관한 이론으로서 정의전쟁론(just war theory)은 널리 수용됐으며 특히 jus in bello는 전쟁에 참여 또는 관계하는 개인의 행위에 관한 도덕적 정당성의 기준을 제시한다. 하지만 다양한 전쟁 양상이 복합적으로 작용하는 하이브리드 전쟁은 전통적 전쟁과 대비하여 그 차이가 명백하며 이 차이는 전쟁에서 나타나는 행위에 대한 도덕적 평가와 책임의 귀속을 결정하는 데 어려움을 초래한다. 하이브리드 전쟁에서 발생하는 도덕적 문제를 적절하게 해소하기 위해서는 기존의 도덕적 정당화에 관한 이론의 한계가 구체적으로 무엇인지 밝힐 필요가 있다. 이를 위해 이 글에서 우리는 먼저 하이브리드 전쟁에 대한 개념적 이해를 제시하고 전통적 전쟁과 하이브리드 전쟁의 차이점을 구체화한 후 jus in bello를 구성하는 3가지 원리에 비추어 하이브리드 전쟁에서 그 적용의 한계를 보이겠다.

• 융합보안논문지
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• 제21권3호
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• pp.81-91
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• 2021

본 연구의 목적은 전쟁이론 관점에서의 COVID-19를 분석하고, 이를 극복할 수 있는 방안을 모색하는 것이다. 전쟁이 국제적인 상황에 따라 그 패러다임과 국가 위기관리 시스템을 변화시키는 것과 마찬가지로 최근의 COVID-19도 언택트 문화를 특성으로 하는 New Normal의 시대를 야기하고 있다. COVID-19와 관련된 학술적 연구가 주로 의학, 관광, 경제적인 분야에 초점이 맞추어졌지만, 군사학이나 전쟁이론 측면에서의 연구는 미진한 형편이다. COVID-19가 국가의 생명과 재산상에 막대한 위협을 주고 있기 때문에 전쟁이론 측면에서 COVID-19를 극복해야 할 적으로 간주 할 수 있으며, 전쟁이론 중에 전쟁의 속성과 양상, 승리요인 측면에서 현 COVID-19 상황에 대해 분석이 이루어진다. 정석적 분석 및 설문을 통한 정량적 결과 COVID-19는 전쟁의 속성 및 양상 측면에서 실제 전쟁과 매우 유사한 점이 존재하기 때문에 과거 전쟁의 승리요인을 바탕으로 COVID-19의 효과적인 극복 방안을 도출할 수 있다. 또한 분석적계층과정(AHP)을 통한 극복요인의 우선순위를 분석한 결과 명확한 목표와 동맹관계 확립이 COVID-19를 성공적으로 극복하기 위한 우선 시 되어야 함을 알 수 있다.

• 미술이론과 현장
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• 제13호
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• pp.7-33
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• 2012

The memory of the Korean War is about the time period when people lived toughly during evacuation, due to being exposed to the natural climate such as intense cold or heat without any protection, leaving their comfortable home and living in temporary built shelters which were barely enough to avoid the wind. 'Death is concealed and only the figures of evacuation for survival were expressed, just as how the government ordered. Since the experience of the battlefield is personal and fragmentary, that is broken into pieces, it does not have compatibility. As war is a distorted experience that cannot be placed in a big picture, it is not possible to take a view of the war's big picture. Having this individualized experience as a common collective memory is an issue and it is the will that people tries to pursue. The reason why the evacuees from north to south, and as well as from the south to further south were all able to be adopted as the theme of artworks due to the military action that emptied the occupied territories of the North Korean Army under the forced removal command. In such situations, the natural state of the 'snow' was like a symbol of the 1.4 Recession. The group of people who were thrown into the intense cold displaced the war damage of loosing their base livelihood, and symbolized the obedient citizens who faithfully follow their government's command. The figure of advocating anti-communism is projected as a figure of a refugee during cold winter-time and it contains ones past which he or she obeyed its own country's commands. Evacuation, especially the evacuation during the winter is a visual device that can confirm these kinds of country's command. The consequences were same for the artists as well. Therefore, the situation being communal could be found due to the individual experiences during war are ideological. The image of the refuge shown in the picture played the role of strengthening the consciousness of defecting to South Korea into the meaning of the 'Finding Freedom.' I would like to express that the reason of them leave their home during the harsh winter is in order to avoid the oppression of the Communist Party. The evacuation that people went through was not to 'Finding Freedom', but 'To Survive'. Later, this evacuation has been imprinted as a behavior of choosing free Republic of Korea, which was an ideological issue. Anti-communism was the rule of survival in South Korea society, and people have the tendency to remember what they want to remember. As it is not the people who possesses an incident, but the memory that possesses ones, people cover their memory with disguised plots in order to forget the violence and to live a different prologue. They share the incident of violence as a hurtful memory. The tragedy of the Korean War was the result of Ideology and being in between the powerful nations' rights, but the violence during the war has been depicted as a natural disaster, which was the evacuation in heavy snow.

• 미술이론과 현장
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• 제4호
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• pp.203-239
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• 2006

As it is known, during the Second World War Greece has fought on the side of the allies and the end of the war found the country on the winners' side. However, the struggle for authority right after 1945 was merciless and extremely difficult, as well as dangerous for the course of the country to the future. The political powers were divided between the legal authorities that were represented by the king and formed the exiled government on the one hand and the part of the resistance teams and the rebels of the left that had a soviet friendly direction on the other. Thus, the start of a civil war was just a matter of time. It fin ally started in 1947 and lasted for more than two years. The consequences were disastrous for the country's economy and decisive for the future course of Greece. The national army prevailed with the help of, mostly, the English. Royal parliamentary democracy was established with a clear political turn to the west, as a completion and adaptation of the Agreement of the Great Powers at Yalta. Art had a 'similar' route. Dipolar, contradictory: conservative choices on the one side, and a will for pioneering inspiration and perspective on the other side. The 'dominate' trend was first evident in sculpture and mainly in the public monuments. Their construction aimed mostly at the public propaganda and at the promotion of the sovereign ideology. On the one side we have the public sculptures composed of faces of contemporary heroes or leading figures of the civic war and the national resistance. On the other side we have monumental statues mainly that appeal to a 'public' outside of the country's borders and mostly of the north borders, where there are countries with a communistic regime, like Bulgaria, Serbia and Albania. Their subject is derived from the heroic events of the Balkan Wars (1912-1913) and ancient historical figures like Alexander the Great as the Greek army leader, his father, Philippos II and Aristotle, who was of a north-Greek origin. The political message is twofold: on the one side the 'inner enemy' the communists that were defeated and the promotion of the new liberal social system and on the other side the north neighbours, which not only represent the East Block, but they also conspire the history and the culture of the Greeks. This is the way how the 'Cold War' was resulted in a full and totalitarian expression in art.

• Strategy21
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• 통권41호
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• pp.5-29
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• 2017

The Mahan's seapower theory has been the basis of US Navy to date as it can enjoy the supremacy status in all of the seas of the world. His theory is very straightforward. A nation can be a great country in the world just through the use of maritime commerce that could be protected by a strong and powerful navy. Mahan's theory on seapower was substantiated in the Spanish-American War with respect to how important the naval power is. The best thing to make US a great nation was to make sure that flow of international trade is smooth, and the unhindered trade could be made possible only by the destruction of enemy's fleet that may obstruct the SLOCs. That's why Mahan insisted that a strong navy was needed and a decisive battle by the navy's fleet at sea should be encouraged as a way of ensuring the safety of the SLOCs. The newly-arrived Trump administration seems to be in line with the Mahan's theory seapower in its policy on naval forces structure. It is expected that US will continue to support the Pivot to Asia policy that has been adopted by the previous administration through an increase in its naval fleet forces. The number of US navy ships will be 355 in 2030, rendering it much more powerful navy than before. The catch phrase "3rd Fleet Forward" proposed by the president Trump indicates that two carrier strike groups will be present in the Asia Pacific region, being able to make the confrontation between US and China more tense than before. The presence of the US naval forces in the area may function as some sort of pressure against China that Trump insisted had been responsible for the closure of 60,000 factories and the loss of 3,000,000 jobs in the United States.

• 건축역사연구
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• 제15권2호
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• pp.39-54
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• 2006

Focusing on the emergence of the basic course in American schools of architecture, in particular Gyorgy Kepes' courses at MIT, this paper studies the transformation of architectural pedagogy during the years after World War II. Kepes centered his architectural pedagogy on the picture plane, which was to function as the primary media for applying the principles of Gestalt psychology, that is the identification of the whole and its parts and the reciprocity between the internal human organism and the outside world. Kepes hence introduced a set of unconventional visual practices that were not readily assimilated to architectural conventions. Paralleling the establishment of the basic course, MIT also formulated a functionalist and spatial pedagogy with its two initial design studios, courses 4.721 and 4.722. These studios shared the notion that architectural design evolved from the inside toward the outside, an idea that took hold not just in the pragmatic environment of MIT's studios but also in conservative academic programs as well as in popular magazines, picture books, and exhibitions for the consumer public. The architectural surface became inseparable from the objects of art, furniture, and design, all of which were to be the generators of space. Hence, during the 1950s, the architectural surface provided a specific locus of intersection between the visual fundamentals of the basic course and the working principles of architectural design. Kepes, however, had by this time become disillusioned with architecture's potential as the medium of unity. Though he maintained the Gestalt logic of identity, he expanded it toward the goal of grander synthesis of society and consciousness freeing himself from the constraints of disciplinary instruction. In the case of Kepes, the mediating role of the picture plane was foregone in a regressive turn toward a primal, innocent, and direct experience.

• 한국사회복지학
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• 제63권4호
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• pp.225-251
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• 2011

이 연구는 우리나라 사회복지조직의 조직성장유형을 알아보고 각 조직성장유형의 조직운영방식을 살펴보았다. 본 연구를 위해서 사회복지서비스 제공 역사가 40년 이상된 사회복지법인의 설립자와 동일 법인에서 20년 이상 근무한 관리자가 연구에 참여하였다. 연구자는 연구에 참여한 20명과의 심층인터뷰, 문헌을 통한 정보수집, 결과에 대한 참여자의 확인과 동료연구자와의 협력적 분석을 진행하였다. 자료분석은 근거이론 방법을 활용하여 총 169개의 개념, 49개의 하위범주 그리고 21개의 상위범주가 유목화되었다. 연구결과 우리나라 사회복지조직의 조직성장유형은 '가족애(家族愛) 실천형', '지역사회변화 유도형', '선도(善導)적 선도(先導)형' 등 3가지 유형이 존재하는 것으로 나타났다. 이러한 연구 결과는 우리나라 사회복지조직이 가지고 있는 태생적 특성에 대한 심층적 이해, 사회복지조직성장유형의 이론 구축 그리고 사회복지조직운영에 대한 실천적 함의를 제시하고 있다.

• 한국한의학연구원논문집
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• 제2권1호
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• pp.71-83
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• 1996

Hyang-Yack-Ku-Keup-Bang(鄕藥救急方) is our own, medical work written about the middle of the time of Korea Dynasty. I restored and researched this book because it needed to be illuminated about its medico-historic value and then I came to some conclusions as follows. 1. Hyang-Yack-Ku-Keup-Bang was published in Dae-jang-do-kam(大藏都監) of Kanghaw island(江華島) about the middle of Korea Dynasty. Choi Ja-ha(崔自河) republished it on original publication ground in Euiheung(義興) of Kyungsang-Province(慶尙道) in July, Taejong's(太宗) 17th year of Chosen Dynasty (A.D.1417) and this book was published again in Chungcheng Province(忠淸道) in Sejong's(世宗) 9th year(A.D.1427). The book published in Taejong's days was in the possession of books department of Kung-nae-cheng(宮內廳) in Japan and was the oldest medical book of existing ones. 2. Bang-Jung-Hyang-Yack-Mock-Cho-Bu(方中鄕藥目草部) of this book was originally intended to be adjusted in each division with the title of Bang-Jung-Hyang-Yack-Mock(方中鄕藥目). But Herb part(草部) only followed editing progress of Jeung-Lew-Bon-Cho(證類本草), the rest is not divided into each part and is together arranged at the below of Herb part with the title of Bang-Jung-Hyang-Yack-Mock-Cho-Bu. The Korean inscriptions on some drugstuffs in this book are different between Native Name(鄕名) of three volumes of provisions and general-spoken(俗云) of Bang-Jung-Hyang-Yack-Mock-Cho-Bu. In this, it is estimated that the publishing time and editor of tile volume of provisions and Bang-Jung-Hyang-Yack-Mock-Cho-Bu are different. I think Choi Ja-ha compiled this behind three volumes of provisions when he published. 3. This book picked some prescriptions which consisted of obtainable drugs with ease in Korea in the books of Chell-Keum-Yo-Bang(千金要方), Oi-Dae-Bi-Yo(外臺秘要), Tae-Peong-Sung-Hye-Bang(太平聖惠方), Ju-Hu-Bang(?後方), Kyung-Hum-Yang- Bang(經驗良方) Bo-Je-Bon-Sa-Bang(普濟本事方) Bi-Ye-Baik-Yo-Bang(備預百要方) and so on and got together our own prescriptions. On the whole Bi-Ye-Baik-Yo-Bang was a chief referrence book, On this, other books referred to and corrected. 4. In provisions quoted from Hyang-Yack-Jip-Sung-Bang(鄕藥集成方), there are seven provisions; leg-paralysis part, coughing part, headache part, obstetrics part, etc. don't show in this book. This is why Choi Ja-ha published only certain texts on Dae-jang-do-kam edition his own posession. So we can think the existing edition has a little misses compared with original edition. 5. This book recorded only names of drugstuffs in animal drug department like fowls, crab, goldbug, earthworm, etc. and didn't tell us ways of taking those. This is effect of Buddhist culture on medicine. This is efforts to practice 'Don't murder';one of Five Prohibition of Buddhism. 6. Beacause this book was published at the time, when our originative medicine would be set forth. This followed the Chinese ways in Theory, Treatment, Prescription and used 'Hyang Yack' in Medication out of theory of Korean medicine, which was a transitional form. So this is all important material which tell us aspects of development of 'Hyang Yack' the middle of Korea Dynasty.and this is also the beginning of originative, medical works like Dong-Eui-Bo-Kam(東醫寶鑑), Dong-Eui-Su-Bo-Won(東醫壽世保元). 7. There are few contents based on 'Byen-Jeung-Lon-Chi(辨證論治)'in this book. So we can see this book is not for doctors who study medical thoughts but for general public who suffer from diseases resulted from war. Because this book was written for a first-aid treatmeant, this is an index of medical service for the people those days. And this is also an useful datum for first-aid medicine or military medicine in these modern days. 8. Nowadays, parts of learned world of Korean medicine disregard essential theories and want to explain Korean medicine only by the theories or the methods of Western medicine. Moreover they don't adopt Chinese and Japanese theorys & thoughts about Oriental medicine in our own style and just view in there level. What was worse, there is a growing tendency for them to indulge in a trimming policy of scholarship and to take others' ideas. I think these trends to ignore our own medical thoughts involving growth of 'Hyang Yack' in the middle of Korea Dynasty, Dong-Eui-Bo-Kam and Dong-Eui-Su-Se-Bo-Won. So we, as researchers of Korean medicine, must get out of this tendency, and take over brilliant tradition and try to develop originative Korean medicine.

• 미술이론과 현장
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• 제14호
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• pp.53-83
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• 2012

This thesis is a study of artistic measures and climate refugees, based on Hack's World Climate Refugee Camp project. According to Hack, climate refugees appeared with the process of globalization. Hack claimed that the people who put climate refugees in danger are the industrialized nations, and therefore, their rejection of refugees is nonsense. He also stated that the fundamental solution would be the active participation of such nations. Thus, he travels around the world, encouraging participants and globalizing his project. Interestingly, the practical participation method of his climate calamity project is divided into four methods, which are all related to realizing the danger and presenting various solutions. First, the aesthetic of survival: the reason Hack focused on the warming trend and claimed that we have to accept the climate refugees as refugees comes from the thought that we are all potential refugees, and the anxiety that climate refugees may cause war in the end. The solution Hack found for surviving in such a world is to create "refugee camps" to notify people about the seriousness of climate change, and to put the "aesthetic for survival" in action. Second, a relation-oriented relationship: communication between Hack and the participants was done in various ways. They are experiencing a bond and emotions of an interrelationship through their actions in the experimental field, experiencing a new form of art, which they were not able to experience in a museum. Third, a utopian measure: Hack's utopian measure started from the fear of dystopia but Hack still believes that it is not only a dream, but that it can be realized. He claims that even though the start may be feeble, it is possible to rescue children from starvation and to treat climate refugees as proper human in the end, when communication and cooperation is done the right way and properly. Fourth, the aesthetic of global relation, the internet: the new solution Hack is trying on the internet is to make more people participate in his project. It is fate that "human are the wrongdoer and the victim at the same time", but according to Hack's opinion, social disaster can be avoided through effort and it is optimistic that we can give form to the culture revolution we are experiencing now. Hack's project illustrated the importance of daily life, compared to art inside a museum, through active participation of the people and opened up a new method of art through realistic responses to disasters. This is distinctive from the past exhibitions, where artists gave shape and form to ideals and an imaginary world, in that it shows that the artist and audience aim for creating a community-like structure, just like Bourriaud's art method. Hack's project of climate calamity illustrates that installation and action art is not only an art genre which shows installation and activities, but that it can include social and political issues and that it can be completed with the help of participants, consequently becoming a genre of modern art. Hack raises a question about art's identity through various descriptions. Artists as planners, who base their artworks on their subjectivity or the characteristics of a specific period, the people as participants, the duet of art work and play, human and human, and further, human and nature. The practical participation method, as a measure for "disaster", reveals the new art of the 21st century within Hack's artworks. Even though there are several problems with Hack's usage of art as a measure for disaster, it will actively open up a new page for the 21st century's art with the theme of disaster.