• 영어영문학
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• 제64권4호
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• pp.617-628
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• 2018

The aim of this essay is to discuss the relationship between Korean literature and Korean intellectual scenes. Since its first introduction to the local context, literature as a genre has served as a field in which colonial and post-colonial intellectuals have attempted to win the accreditation of Western enlightenment. Literature has been regarded as a crucial instrument of liberal arts and education in Korea. Literature has functioned as a social movement in Korea since its inception. During the colonial period, radical intellectuals and literary writers published essays and articles in literary journals. This status as a social movement is still a distinctive characteristic of Korean literature. From the outset, Korean literature has functioned as an enlightenment project for cultural development. As such, Korean literature retains a political meaning of "literariness," which reshuffles the hierarchy of the sensible and creates novelty against given aesthetic regimes. As a result, in the process these regimes are thereby de-purified of their status as purely aesthetic movements; their perspectives thereby come into contact with other discourses and practices outside the art world. This essay argues that as a genre, Korean literature always functions as "world literature" in Korean intellectual scenes.

• International Journal of Advanced Culture Technology
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• 제10권1호
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• pp.102-107
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• 2022

The emergence of independent cinema in the United States in the 1960s was the earliest sign of postmodernism in the country, which was often referred to as "underground cinema". The works, in a counter-cultural stance, overturned the thought of depth of traditional art cinema, not exploring the meaningful relationship between form and content in terms of artistic technique, but creating an aesthetic that echoed the "Pop Art" of the time by collaging established means of expression with traditional and fashionable ones in a consumerist manner. In this paper, American independent cinema was examined, firstly by analyzing the local and external factors that contributed to its rise. Secondly, two genres of independent cinema core paradigm, "underground cinema" and "pop cinema" were focused on, as a way of demonstrating the attention and influence that independent cinema has gained. Finally, we found that independent cinemas are also seeking for alternative exploration and diverse expressions in the context of the times.

• 기독교교육논총
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• 제67권
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• pp.11-44
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• 2021

21세기 초반 제4차 산업혁명 기술과학의 발전 속에서 갑자기 다가온 코로나19 전염병의 세계적 대유행은 한국사회의 산업, 경제, 사회, 교육, 문화, 종교 등 모든 분야가 큰 어려움을 겪고 있다. 코로나19 전염병의 확산을 막기 위한 정부 방역 당국의 방역 지침은 안전을 위하여 '삼밀금지', 즉 밀집, 밀접, 밀폐를 금지 혹은 축소하는데 초점이 있다. 이러한 방역 지침은 한국교회는 물론 주일학교 운영을 더욱 어렵게 만들었다. 일반적으로 20세기 후반에 들어서면서 한국교회 주요 교단의 통계자료를 살펴보면 교회 성장의 정체 혹은 퇴조기에 들어섰음을 보여주고 있다. 주일학교 역시 학생 수가 감소되고 있음을 알 수 있다. 연구자는 21세기에 들어서면서 한국교회 주일학교의 위기를 가져온 원인을 네 가지로 파악하였다. 첫째, 포스트모더니즘의 경향성인 근대 보편주의의 해체, 지식의 확실성과 객관성의 해체, 거대담론의 해체와 분산의 세계관 등의 영향이다. 둘째, 한국사회의 인구절벽시대에 노인 인구의 증가와 반대로 젊은 인구가 감소하는 현상이다. 한국교회 미래의 주인공이 될 젊은 인구가 감소하기 때문에 주일학교는 위기에 직면해 있다. 셋째, 코로나19 팬데믹에 따른 교회와 주일학교 교육활동의 제약이다. 마지막으로, 교회의 비전 상실과 교육열 감소 현상 등으로 분석하였다. 이에 따라 연구자는 한국교회의 다수를 차지하고 있는 교인수 200명 이하 규모에서 운영하는 주일학교를 염두에 두면서, 다음 세대를 위한 주일학교의 새로운 방향을 네 가지 내용으로 제시하였다. 첫째, 모든 것이 불확실하고 상대화된 포스트모던 시대에 절대적 기독교 진리를 확신하는 교사가 필요하다. 둘째, 젊은 세대의 인구가 감소하는 인구절벽 시대에 가정 친화적인 주일학교 패러다임으로 전환이 필요하다. 셋째, 위드 코로나19 시대에 대면과 비대면을 적절히 활용하는 방식의 교육활동이 필요하다. 마지막으로, 어려운 시대적 상황에 처한 한국교회 주일학교는 그럼에도 불구하고 '주님의 지상명령'(The Great Commandment, 마 28:18-20)을 따라 복음을 전파하고, 가르치는 교육의 비전과 열정을 회복해야 할 것이다. 본 연구가 모두가 어려운 시대에 한국교회를 다시 세울 미래세대를 위한 주일학교 교육활동에 작은 단초가 되기를 소망한다.

• 한국콘텐츠학회논문지
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• 제11권7호
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• pp.168-178
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• 2011

현대 그래픽디자인은 포스트모더니즘이라는 거대한 소용돌이치는 파도 속에서 모더니즘 이후에 이루어진 단순한 미학을 뛰어넘어 급진적으로 탈바꿈 되고 발전해 왔다. 그리고 타이포그래피는 모더니즘의 산물인 그리드의 규범에서 국제 타이포그래피 양식으로 발전하면서 현재로 오게 되었다. 이러한 양식의 대표적 인물 중 한 사람인 에드워드 펠라Edward Fella를 꼽을 수 있으며, 펠라는 현재 캘리포니아 예술학교CalArts에서 열정적으로 그래픽디자인과 타이포그래피 강의를 진행하고 있다. 펠라는 오랜 시간을 해체주의적 표현의 결과물 창출과 미학이 바탕이 된 디자인 아이덴티티 정립 연구에 매진했다. 이에 프랑스 근대 철학과 미학을 바탕으로 전 세계의 그래픽디자인계와 타이포그래피 교육의 획을 긋고 있는 펠라의 그래피즘을 살펴보며 현대그래픽디자인에 끼친 미적 범주를 연구 하였다. 펠라의 작업은 무의식과 잠재의식 속에 존재하는 그래픽 모티브를 활용하여 여과 없이 걸러진 작업들을 펼치게 된다. 이에 따른 그의 그래픽 형식을 해체주의적 미학으로 여기며 연구하게 된다. 현시대가 포스트모더니즘의 끝자락에서 표류하며 불확실한 시대로 흘러 하는 탈형식의 시대로 규정하지만 이러한 시대에 그의 타이포그래피를 통하여 현재와 미래의 세계 그래픽디자인의 흐름을 고찰하며 표현양상을 포괄적으로 파악하는 계기가 될 수 있음을 시사하고 있다고 하겠다.

• 미술이론과 현장
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• 제2호
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• pp.49-74
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• 2004

It has been frequently pointed out that the established art history with the stylistic and iconographic interpretations and monographic analysis is fallen behind the currency of modern art. Among those who claimed the crisis in the discipline of art history, there is a suggestion that the art historical study should be fostered by other factors in the fields of the humanities. The so called New Art History or 'visual Culture Studies' insists that art history has to be restructured to integrate the broader study of culture and society, and by now, such an opinion is not a novelty at all. One of the most significant yet overlooked elements that induced the new currency of art history is properties of contemporary art that conflict the traditional claim of art historians. Although the idea that art is not purely aesthetic but that it has many other functions has been brought up by the art historians, it was the artists that provoked such a perception. When Arthur C. Danto and Hans Belting proclaimed the End of Art and Art History in the 1980s, the concept of art has been changed radically through the avant-garde tendency of Modernism and a new pluralism of Postmodernism. One dominant concern that strikes art historians is to find a new approach to art, since the traditional method and goal of analysis for past art and past art history seem unavailable. The perplexity arising from the situation is intensified in the field of teaching art, especially for those who teach art history in art school. Basically art history is a pursuit of learning of art in history, and its purpose is to reconcile the present with the past and the future as well. Since Modernism, as it is confusing sometimes because it implies the present state, somehow art became considered 'tradition-less'. It does not mean that a work of art stands aloof from the past attainments, hut modern art imposed itself on a task seeking after the new for its own sake, turning its back on the tradition. And now in the era of Postmodernism, an historians face the requirement to revaluate the whole history of art including modernism. The necessity of art history in art education is indisputable, but methods and contents in the academic courses should he reexamined now. Because artists' concept of history and past art has been altered, and art history as a humanistic discipline can only maintain its identity through incorporation with art itself. Academics teaching art history, or, strictly speaking, past works of art and history, to the student in art school, confront with the need to rethink the object of art history and its meaning to the artists.

• 조형예술학연구
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• 제9권
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• pp.49-87
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• 2006

Narrative has broad domains. So it is related to the everything man faces in his daily life and also performed in various modes. Narrative is revealed through all media including a character, which is also applied to plastic art. And narrative objects formed beyond the differences in media aid forms of expression are commonly based on a language. The study on such objects which created a new conceit of narratology can be said to be a spiritual trend by which to understand the world and man from the viewpoint of a 'story'. Plastic art took high interest in narrative in the same period as the rise of postmodernist art in the latter half of the 20th century, which was also applied to sculpture. The researcher, therefore, investigated through the history of sculpture in the 20th century the process in which narrative was denied under the value system of modernism and reappeared with the quickening of postmodernism. And as a result this period could be briefly characterized by 'return to figure' and 'reappearance of narrative'. The is, such flow means that late sculpture converted its center of interest from simple geometric abstract forms to irregular, figurative images. The researcher chose as the subject of his study the work of Louise Bourgeois, who was judged to have performed narrative positively and successfully among a great number of performed narrative positively and successfully among a great number of postmodernist sculptors who adopted it as their own strategy of expression. As the central artist of postmodrnist sculpture, She expressed human desire and condition as sexuality through the introspection of her own personal experience in contrast to the character of pop art sensitive to external world. The researcher borrowed narrative semiotics as a method of analyzing more elaborately the problem about the generation of narrative shown in her works. For it, he selected as the sample work for analysis Bourgeois's , which were judged to contain narrative most abundantly and as the metaphor of a gaze and recollection presented a new woman self that sublimed love, hatred, and loneliness. The narrative in her works are characterized by introspection questioning one's own trauma. It has independent domain and characteristics and clearly reveals narrative and content-centered characteristics, which are commonly discovered in postmodernist sculpture. The researcher could more concretely and definitely understand the characteristics of narrative through figurative images by analyzing the sample work. The researcher wanted to call your attention to the fact that the sculpture in the late 20th century contained narrative commonly and uniformly despite being characterized by various expressions and modes. And the focused on highlighting the fact that the narrative was more effectively revealed through figurative images of human body and simultaneously analyzing the formalizing process and structure for narrative. Besides he wanted to argue that the position of narrative defining the characteristics of sculpture should be valued more justly. Also, such acceptance of narrative, which is discovered in the sculpture, will have to be understood as the characteristics of the period reflecting the cultural aspect of the present time.

• 디자인학연구
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• 제17권3호
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• pp.293-302
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• 2004

20C초 바우하우스(Bauhaus)로부터 정립된 산업디자인의 엄격한 미적기준과 기계미학은 모더니즘을 한층 강화시켰으며 그 규범은 반세기 이상을 이어져 나갔다. 1950년대 후반이후부터 팝아트(Pop art)나 팝디자인(Pop Design)같은 반 모더니즘에 대한 운동이 시작되었다. 테크놀로지의 발전과 더불어 그 당시 젊은 세대의 라이프 스타일과 문화 등을 반영하는 휴머니즘을 강조하는 디자인이 나타나게 되었다. 물리적인 요소의 완성을 초월하여 심리적인 부분을 충족시키는 시도, 즉 인간의 감정과 감성을 산업디자인에 이입시키려는 시도는 1960년대부터 비롯되었으며 여러 상황 속에서 다양하게 그 모습을 나타내었던 것이다. 그것은 휴머니즘을 바탕으로 한 구체적 디자인 스타일로써 1960년대의 반 모더니즘(Anti-Modernism)디자인 1970년대의 상업주의, 소비자 중심주의, 하이테크 등을 거쳐 1980년대 포스트 모더니즘이란 필터를 통과함으로써 산업디자인에서 정착할 수 있었다. 그것은 감정이나 감성을 디자인에 적용함과 아울러 하이 테크놀로지와 결합하여 물리적인 요건의 충족과 아울러 심리적으로 사용자들에게 만족감을 전달할 수 있는 디자인 요소가 강조된 디자인 경향으로 이해할 수 있다. 따라서 본 연구는 1960년대에서 1980년대까지의 디자인사로부터 인간의 감정과 감성이 이입된 디자인을 추출하여 그 스타일을 정의하며 현대 산업디자인의 흐름을 이해하려는 시도를 기울였다. 이 연구는 또한 인간감정과 감성이 적용된 디자인이 오늘날 어떻게 발전되어져 왔는가의 연구로 이어지는 토대를 제공하기 위함이다.

• 한국콘텐츠학회논문지
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• 제21권9호
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• pp.88-104
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• 2021

포스트모던의 영향을 받은 해체적 그래픽디자인의 시각 표현은 명확한 이미지와 텍스트로 구성된 전통적 형식의 그래픽디자인 표현법과 달리 도전적이고 실험적이었다. 이런 해체적 그래픽디자인의 시각 특징들은 작품을 감상하는 데 있어 미적 경험의 주체로서 독자의 중요성을 강조했다. 본 연구는 수용자 즉 독자 중심적인 문학 연구 이론인 수용미학(Aesthetics of Reception)을 중심이론으로 상정하여 해체적 그래픽디자인의 실험성으로 인해 나타나는 특징들에 대한 이념적 틀을 새롭게 형성하고자 한다. 해체적 그래픽디자인의 작품 해석을 위해 볼프강 이저의 수용미학의 특징들을 도출하고 이론의 범주로 대입하여 해석이 어떻게 확장되는지 분석하였다. 그 결과 수용미학은 작가와 독자 간의 상호 작용에 관심을 둔 문학 연구 이론이지만, 포스트모던의 영향을 받은 해체적 그래픽디자인에 대한 새로운 작품 분석 방법론으로써 이론적 토대를 마련, 작품 해석의 지평을 넓혔다. 또한 현대 그래픽디자인을 감상하는 능동적이고 창의적인 역할이 강조되는 독자에 대한 상호 콘텐츠 연구의 새로운 방향성을 제시하였다.

• 복식
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• 제65권3호
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• pp.47-61
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• 2015

Dress functions as a clear boundary between gender differences In the past. However dress in the 21st century, due to movement of feminism during the 1960's, advance of mass media and the influence of postmodernism, the boundary of gender differences has been blurred. Especially in men's fashion, where there was no little changes in traditional menswear, it is noteworthy that there appears some changes. The research about gender has developed to queer theory, subjected on gender itself, founded on the gender diversity. The purpose of the study is to conduct the implied meanings of dress in contemporary society, when gender diversity has been expressed in men's fashion, and to review the characteristics of contemporary men's fashion through the collections and advertisements of post 2000's as well as internet sites. This research is based on theory of Judith Butler, which is on the center of feminism and queer theory. Homosexual expressions which are presented in male clothing and advertisement produce rejection of the dichotomous view of gender concept and allowing of individual gender identity expression.

• 한국실내디자인학회논문집
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• 제21호
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• pp.3-9
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• 1999

Contemporary society that is apt to be homogeneity because of the development of computer communication and mass-media desires to seek its own identity in native realm. Contemporary Korean architecture has endeavored continuous discussion and practice to keep its identity within the current tendency. The purpose of this study is to grope the alternative for genuine 'Koreaness' to analyse the variant trend of its characteristics 1990's. The variation of Korean society in 1990's that emphasize self-regulation and individual value has influence on the realm of architecture so much. The cognition of 'Koreaness' has changed with center in the individual and small -size design group, not present accommodation of past, but continuous research to find archetype of tradition which can play a decisive role of linking present and future on the foundation of past. Many attempts and practical works that express 'Koreaness' in 1990's are performed in the area of residence works that reflect Korean emotion and life-style directly. This change can be an answer to solve the problem of peculiarity and universality in 'Koreaness'. After 1960's the main theme of 'Koreaness' was traditional architecture form, but because of the induction of Postmodernism and at once its reflection and critical attitude with limit of formal duplication, which lost its meaning. In 1990's, research for spatial form as korean emotion and image has carried out and played an important part of original expression for 'Koreaness'