• 대한치과기공학회지
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• 제17권1호
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• pp.41-57
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• 1995

전문대학의 교육목표는 중견기술인을 교육하고 직업교육을 통하여 현장에 취업케 하는 것인바, 치기공과는 치과보철학의 이론 및 실습을 통하여 치과에서 의뢰한 치과기공물을 제작할 수 있는 치과기공사를 교육하는 학습내용이 요구된다. 임상실습은 3년제 교과과정의 가장 중요한 부분으로 대부분의 전문대학이 임상실습 학점을 강제규정으로 요구하고 있으며 임상실습은 단순한 실기능력 향상 만을 기대하기보다는 실기능력 향상과 이에 따른 실무적응능력과 취업률의 향상, 그리고 치과기공소의 유능한 기공사의 확보에 있어 임상실습의 3년제 교과 과정중 가장 중요한 점으로 인식되고 활용되어야 한다. 그러나 임상실습은 본인과 학교의 노력만으로 되는 것이 아니고 기관의 임상실습의 중요성에 대한 인식과 전폭적인 지원이 요구되어야 하며 임상실습은 취업과 연계되어 치과기공사의 질적인 향상은 궁극적으로는 치과기공소의 경영에 유익을 주는 것이다. 3년제 교과과정의 임상실습을 산학협동체제로 교육함에 있어 졸업 후 취업현장에 바로 투입될 수 있도록 운영되어야 하는데, 임상실습기관에 대한 사전 정보를 수집하고 분석하며 임상실습기관과 유기적인 관계를 맺는 것은 임상실습교육의 효율적인 운영과 실습효과의 제고와 이에 따른 취업율을 향상시킬 수 있는데 도움이 되고자 본 대학의 서울지역 임상실습기관과 협조 의뢰하게 될 27개 치과기공소 대표자를 대상으로 설문조사를 하고 이와 아울러 전국 14개 전문대학 치기공과 교과과정표에 나타난 임상실습교과목을 검토하여 다음과 같은 결과를 얻었다. 임상실습기관 대표자의 연령은 35-39세가 40.7%로 가장 많았고, 남자가 96.3%로 대부분이며 학력은 전문대 졸업 이상이 97.5%와 경력 10년 이상이 92.6%이며 85.2%가 도재기공물 분야에 주력하고 있었다. 교육을 위한 세미나실이 준비되어 있는 기공소는 29.6%였는데, 건평이 40평 이상인 기공소에서는 11.1%로 가장 높았고, 30-34평과 35-39평이 각각 7.4%였다. 치과기공소의 경영측면에서 치과기공소에 제작하는 기공물의 종류를 보면, 전 분야의 기공물을 제작하는 곳은 29.6%였으며, 교정장치물 또는 토재기공물의 단일 품목만을 전문으로 하는 곳은 각 각 7.4%와 3.7%였다. 거래치과수는 30-39개소가 40.7%가 가장 많았고, 1일 의뢰 건수는 10-19건수가 40.7%가 가장 많았고, 의뢰받은 기공물의 제작기일은 77.8%가 3-4일이었다. 임상실습에 대한 협조 의뢰에 대하여 충분히 고려한 후 수락하겠다가 51.9%, 순서대로 수락하겠다가 36.0%였고 교육가능 인원은 1개 대학 3명까지가 40.7%, 2개 대학 3명까지가 37.0%였다. 기공소 대표자 3년제 교육과정 연장에 따라 졸업생에 대한 견해는 3년제 교육과정 교육연한의 연장으로 인한 3년제 졸업생들의 초임을 포함한 임금에 대한 견해는 지급 수준보다 높아야 한다가 44.4%, 그렇지 않다가 55.5%로 더 높았고, 3년제 졸업생들은 2년제보다 치과기공사로서 직업에 종사하는 비율이 증가할 것이라고 기대하는 사람은 74.1%나 되었고, 교육과정 연장에 따라 이론 및 실기 모두가 향상할 것이라고 기대하는 것은 51.9%, 실기면에서 우세할 것이 29.6%, 이론이 향상할 것이다는 14.8%의 순서로 96.3%가 향상될 것으로 기대하고 있어 긍정적인 견해를 가지고 있었다. 임상실습시 기대는 단지 실습기회만 제공한다가 59.3%였고, 임상실습시 별 문제가 없었다가 33.3%였으나 시간낭비와 번거롭다가 25.9%, 29.0%였으며, 임상실습시 강조점은 투철한 직업관 확립이 44.4%로 가장 높았다. 본 대학 임상실습기관으로 협조 의뢰 할 치과기공소는 임상실습을 위하여 선별된 것으로 비교적 규모면에서 면적이 널고 경영상태가 양호하나, 대부분의 기공소는 경영규모가 영세하고 작업 환경이 열악하므로 실습생을 교육할 수 있는 일정 규모 이상의 임상실습기관을 확보하기가 어렵고, 임상실습기관인 치과기공소는 단지 실습지를 제공하는 공급자의 입장에서 실습지도를 할 인력이나 시간도 제한되어 있다. 따라서 학교 간의 일정한 시간 차를 두어 실습시기를 탄력적으로 운영하며, 치과기공소의 경영유형에 따라 일부 기공물을 제작하지 않는 곳도 있고 또 단일 품목의 전문 치과기공소도 있어서 이들은 상호 연결하여 실습생들이 실습기관을 순환하는 방법을 활용하는 것이 바람직하며 산학협동차원에서 임상실습이 취업이 연계될 수 있도록 인턴사원제로 적극 활용을 유도해야 할 것으로 사료된다.

• Asia Marketing Journal
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• 제12권2호
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• pp.83-110
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• 2010

기업의 서비스 실패로 인해 부정적 경험을 겪은 고객은 무의식적으로 그 원인의 추론을 통해 실망이나 후회의 부정적 감정을 얻게 되는데 이때 고객의 자기조절성향에 따른 감정의 발생은 각기 달리 나타나며, 이때 형성된 부정적 감정들은 서로 다른 고객반응을 일으키게 된다. 이러한 부정적 반응은 기업의 이미지 및 브랜드 가치에도 적지 않은 영향을 미칠 뿐만 아니라 장기적으로는 기업 매출에도 부정적 영향을 미치며 서비스 회복 노력에 따른 추가적 비용도 발생하게 된다. 본 연구는 서비스 영역에서 서비스 실패에 따른 고객의 부정적 감정의 선행요인 및 그 결과변수인 고객반응에 초점을 두고 있다. 즉 서비스 실패 시 자기조절성향(평가지향성과 목표지향성)이 부정적 감정에 미치는 영향과 이때 귀인과정(내적귀인 vs 외적귀인)에 따른 고객의 부정적 감정(후회감과 실망감)의 차이를 살펴보았다. 그리고 이러한 부정적 감정들이 체념과 구전활동이라고 하는 고객 행동반응에 미치는 영향을 실증분석하였다. 분석결과, 자기조절성향에 따른 후회감의 차이는 목표 지향적 성향이 강한 고객보다는 평가지향적 성향이 강한 고객일수록 후회감이 더 크고 반대로 목표지향적 성향이 강한 고객은 실망감이 더 큰 것으로 나타났다. 고객의 부정적 감정들은 귀인과정의 조절적 역할(내적귀인-후회감, 외적귀인-실망감)에 따라 서로 다른 감정이 형성되는 것으로 나타났다. 그리고 후회감과 실망감은 소비자의 서비스 실패 후 행동반응에 상이한 영향을 미치는 것으로 나타났는데 본인의 의사결정에 따른 선택에 대해 후회감을 느낀 고객은 체념적 반응이 높게 나타났으며 반면에 실망감을 느낀 고객은 서비스 제공자나 제3자에 대한 구전행동이 높은 것으로 나타났다.

• 한국조경학회지
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• 제44권2호
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• pp.108-121
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• 2016

본 연구는 '대한민국환경조경대전'에 나타난 동시대 조경의 쟁점을 통해 설계 교육을 위한 시사점을 발견하고자 하는 것이 목적이다. 이를 위해 2004년부터 2014년까지 '대한민국환경조경대전'의 주제와 수상작들의 대상지와 심사평을 분석하였다. 연구 결과는 다음과 같다. 첫째, 대한민국환경조경대전 주제는 공모 지침일 뿐만 아니라 조경의 새로운 영역이나 역할 모색과 관련되어 있다. 둘째, 가장 많이 다루어진 대상지 유형은 '산업유산과 재생공간', '녹색기반시설'이지만, 최근에는 다양한 유형의 대상지가 다루어지고 있다. 셋째, 대상지는 수도권에 집중되어 있고, 수도권 소재 대학에 비해 비수도권 소재 대학들의 참여와 성과가 매우 저조했다. 넷째, 심사평에 내포된 평가 기준을 븐석하여 '개념(아이디어)의 참신성', '설계과정의 논리성', '대상지의 선정과 분석(해석)의 충실성', '설계매체의 표현과 마스터플랜의 완성도', '주제와의 정합성', '개념(아이디어)과 결과물의 연계성', '실현가능성'이라는 일곱 가지를 평가 기준으로 도출할 수 있었다. 평가 기준은 디자인 언어의 정교함을 높이고 설계 교육 방법 모색에 유용한 시사점을 제공한다. 그 시사점은 다음과 같다. 첫째, 참신한 아이디어를 도출하는 훈련이 필수적이지만, 개념 편향적 교육은 경계할 필요가 있다. 둘째, 대상지와 관련된 문제를 정의할 수 있는 능력을 배양할 수 있는 훈련이 요구된다. 셋째, 설계 논리를 보다 중시하고, 개념이 결과물로 이어지게 하려는 진정성 있는 노력이 필요하다. 넷째, 설계 내용과 관련성 없는 '현혹적 이미지' 사용은 자제할 필요가 있다. 다섯째, 주제를 풀어나가는 과정에 대한 연습이 설계 교육의 주요 과정으로 다루어질 필요가 있다. 여섯째, '실현 가능성'과 '창의적 사고'는 서로에게 도움이 되는 호혜적 관계로 인식할 필요가 있다. 일곱째, 우리의 문제를 스스로 이야기할 수 있는 설계 언어에 대한 고민과 정체성 모색이 필요하다. 본 연구는 대한민국환경조경대전 심사평을 직접 인용하여 연구자의 주관성을 최소화하면서 동시대 조경의 쟁점을 보다 직접적이고 생생하게 추적하고자 하였다. 이는 메타크리티시즘(meta criticism)으로서 또 다른 비평을 기다리는 기록이 된다. 이런 측면에서 본 연구는, 후세의 조경가들이 현재의 조경 이론이나 설계 사고를 고찰할 수 있는 통로이자 사료가 된다는 의미가 있다.

• 미술이론과 현장
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• 제9호
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• pp.93-121
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• 2010

This study is about Yoo Young-kuk's early works which show constructivism, especially focus on his debut painting, for the 7th Dokuritsu Bijutsu Kyokai(獨立美術協會, the Independent Fine Arts Association) in Tokyo in 1937. The work was painted 2 years after he had started his study in Japan in 1935. It was the first painting that applied Constructivism. played an important role for Constructivism to be a leading art in his abstraction. After this picture, Yoo was soon devoted to the principles of Constructivism-- Faktura(material), Tektonika (tectonics), Tekhnika(technique), space, construction-- in his painterly reliefs. This article examined why Yoo concentrated on Constructivism for , what the characteristics were, and what influences were on other works from 1935 to 1949. In addition, I investigated in which period was painted and how Constructivism was spread in 1930s and early 1940s in chapter 2. I scrutinized Rhapsody in chapter 3. When Yoo created Japan was under the Fifteen Years War(1931-1945), and a major discourse was the Japanese Spirit at that time. It was connected with construction of an ideal nation which the Japanese ultra-national fascism pursued. This ideological pursuit was intended to unite the Japanese people for total war system and to restore a national dignity which had been fallen down due to Manchurian Incident(1931). Thus, on the hand, Kokusai Bunka Shinkokai(國際文化振興, The Society for International Cultural Relations) and the Nippon Kosaku Bunka Renmei(日本工作文化連盟, Japanese Werkbund) were supported financially by the Japanese government. On the other hand, the government enacted regulations to opposing parties which would distract Japanese people's unification. As for the Japanese art world, the merge of art groups was carried out through remodeling of Teikoku Bijutsuin(帝國美術院, The Imperial Fine Arts Academy) in 1935. This brought out continuous dispute and disorder. Young artists who felt difficulty of entering an entry of Imperial Fine Arts Exhibition repeatedly grouped and disbanded for small art groups to build their standing, which they pursued Surrealism and Abstract art. Among them Constructivism was considered as the latest trend and was popular in craft, design, architecture as well as fine arts. In the year before he painted , Avant-garde theatres including Constructivism theatre were introduced in a feature article of September, 1936 in Atelier, which was dealing with mainly avant-garde arts. Books related with Constructivism were translated into Japanese, and Gestaltung Education had become active since the publication of A Compendium of Gestaltung Education("構成敎育大系"(1934)), Salvador Dali(1904-1989) was also introduced, so Surrealism was drawn more attention by young artists. reflected popular trends. Yoo analyzed the Japanese avant-gardists' archaic taste in the Independent Art Association that he submitted his painting to. And then he entitled 'Rhapsody' which derives from Ancient Greek's epic poetry and deliberately set up images in a scene. In chapter 3, I examined a theme which was planned carefully by sorting favorite images from the Japanese Surrealism. was a result that Yoo Young-kuk observed objectively the phenomenon that young artists dreamt of Utopia or longed for Nostalgia passively and lethargically under wars. And then he otherized himself from that circumstance. First of all, for he used the typical icons of Japanese Surrealism such as the horizon, flowing clouds, and vast plain that were considered stereotypes of Arcadia. He, however distinguished himself form those Japanese Surrealists. He made his own vision about Utopia by referring Lyubov Popova(1889-1924)'s stage design. His objective point of view was expressed by positive and dynamic images of structure and human's actions. Constructivism which was attempted in had an effect on other early constructive works, and the principles of Constructivism were sought hard in reliefs, paintings, and photos.

• 미술이론과 현장
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• 제9호
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• pp.171-193
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• 2010

This paper examines Fernand Khnopff's Symbolism, focusing on the I Lock My Door upon Myself as a manifesto of his artistic credo in style and theme. Its title was originally in English, originating from the poem "Who Shall Deliver Me?" by Dante Gabriel Rossetti's sister Christina Rossetti. I use the term "Social Symbolism" which combines a nationalist perspective with traditional French Symbolism, in order to explain how the image of Bruges is represented in his oeuvre. Symbolism calls for psychological introspection evoking death, love, silence, and solitude and recluse from realty in pursuit of the Unknown and the Ideal. Although Khnopff shared this idea, he departed from symbolist tradition by incorporating a political milieu in his paintings. First, I discuss Khnopff's early stage in the formation of his artistic concept, including his family background as well as his early opportunity to visit the Exposition Universelle in Paris where he formed his early interests in aesthetics, philosophy, literature, mythology and Egyptian art. His early works, La Painture, la Musique, la Poesie(1880-1881), Le Crise(1881), and En ecoutant Schuman(1883) reveal his favorite subjects which were quite prevalent in the symbolist traditions of both Belgium and France. By looking at Khnopff's paintings, I endeavor to situate his Symbolism in the context of the development of Belgian modernity and cultural nationalism. Second, my analysis of Khnopff creates a new overview of Symbolism in Europe, especially in Belgium. In the absence of socio-political integration, the Symbolist painter adds nostalgic meaning to the landscape of Bruges. The scene of Bruges illuminates the social atmosphere in Belgium at that time. Since Belgium became an independent country, it tried to differentiate its own cultural and national identity from France. There was a powerful social movement for Belgium to claim its own identity, language, and culture. Bruges was, for Symbolists, the epitome of Belgium's past glory. This encouraged the formation of Belgian nationalism centering on Brussels, as I demonstrate in Khnopff's Bruges-la-Morte(1892). The relationship between Symbolist artist and writers is crucial for understanding this development. Khnopff, for instance, illustrated or provided frontispieces for many Symbolist writers such as Rodenbach, Peladan, Spencer and Le Roy. Khnopff did not objectify the exact meaning, but rather provided his own subjective interpretation. In this respect, I Lock My Door, inspired by Rossetti, started from the same motif, but Khnopff seeked escape into silence and death while Rossetti searched for Christian salvation. Finally my paper deals with the social context in which Khnopff worked. He was a founding member of Les XX in 1883 and later La Libre Esthethetique he also participated in the exhibition of le Salon de la Rose + Croix. Les XX was not a particular school of art and did not have a uniform manifesto, but its exhibitions focused on decorative arts by encompassing art for all people via common, everyday objects. The Periodical, L'art moderne was founded to support this ideal by Edmond Picard and Maux. Les XX declared art as independent art, detached from all official connections. Khnopff designed the 1890 catalogue cover of Les XX and the 1891 cover. These designs show decorative element of Art Nouveau in an early example of "modern poster." Les XX pursued all art including graphic arts, prints, placard, posters and book illustrations and design. These forms of art were l'art social and this movement was formed by the social atmosphere in Belgium in terms of social reforms and strikes by working class. Khnopff designed the book cover for la Maison du Peuple. The artist, however, did not share the ideal egalitarianism of the working class to a certain degree, while he was working in his villa he designed under the ideal motto, "on n'a pas que," he expressed the nihilistic emotions toward society by the theme of interiority such as solitude, silence, narcissism, introspection, and introversion. In the middle of his Symbolism, we find the "cultural nostalgia" or longing that the artist develops in the I Lock My Door upon Myself. Khnopff's longing toward the lost city of "Bruges" form the crux of his "Social Symbolism."

• Asia pacific journal of information systems
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• 제17권4호
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• pp.207-228
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• 2007

Measuring Information Technology(IT) organizations' activities have been limited to mainly measure financial indicators for a long time. However, according to the multifarious functions of Information System, a number of researches have been done for the new trends on measurement methodologies that come with financial measurement as well as new measurement methods. Especially, the researches on IT Balanced Scorecard(BSC), concept from BSC measuring IT activities have been done as well in recent years. BSC provides more advantages than only integration of non-financial measures in a performance measurement system. The core of BSC rests on the cause-and-effect relationships between measures to allow prediction of value chain performance measures to allow prediction of value chain performance measures, communication, and realization of the corporate strategy and incentive controlled actions. More recently, BSC proponents have focused on the need to tie measures together into a causal chain of performance, and to test the validity of these hypothesized effects to guide the development of strategy. Kaplan and Norton[2001] argue that one of the primary benefits of the balanced scorecard is its use in gauging the success of strategy. Norreklit[2000] insist that the cause-and-effect chain is central to the balanced scorecard. The cause-and-effect chain is also central to the IT BSC. However, prior researches on relationship between information system and enterprise strategies as well as connection between various IT performance measurement indicators are not so much studied. Ittner et al.[2003] report that 77% of all surveyed companies with an implemented BSC place no or only little interest on soundly modeled cause-and-effect relationships despite of the importance of cause-and-effect chains as an integral part of BSC. This shortcoming can be explained with one theoretical and one practical reason[Blumenberg and Hinz, 2006]. From a theoretical point of view, causalities within the BSC method and their application are only vaguely described by Kaplan and Norton. From a practical consideration, modeling corporate causalities is a complex task due to tedious data acquisition and following reliability maintenance. However, cause-and effect relationships are an essential part of BSCs because they differentiate performance measurement systems like BSCs from simple key performance indicator(KPI) lists. KPI lists present an ad-hoc collection of measures to managers but do not allow for a comprehensive view on corporate performance. Instead, performance measurement system like BSCs tries to model the relationships of the underlying value chain in cause-and-effect relationships. Therefore, to overcome the deficiencies of causal modeling in IT BSC, sound and robust causal modeling approaches are required in theory as well as in practice for offering a solution. The propose of this study is to suggest critical success factors(CSFs) and KPIs for measuring performance for IT organizations and empirically validate the casual relationships between those CSFs. For this purpose, we define four perspectives of BSC for IT organizations according to Van Grembergen's study[2000] as follows. The Future Orientation perspective represents the human and technology resources needed by IT to deliver its services. The Operational Excellence perspective represents the IT processes employed to develop and deliver the applications. The User Orientation perspective represents the user evaluation of IT. The Business Contribution perspective captures the business value of the IT investments. Each of these perspectives has to be translated into corresponding metrics and measures that assess the current situations. This study suggests 12 CSFs for IT BSC based on the previous IT BSC's studies and COBIT 4.1. These CSFs consist of 51 KPIs. We defines the cause-and-effect relationships among BSC CSFs for IT Organizations as follows. The Future Orientation perspective will have positive effects on the Operational Excellence perspective. Then the Operational Excellence perspective will have positive effects on the User Orientation perspective. Finally, the User Orientation perspective will have positive effects on the Business Contribution perspective. This research tests the validity of these hypothesized casual effects and the sub-hypothesized causal relationships. For the purpose, we used the Partial Least Squares approach to Structural Equation Modeling(or PLS Path Modeling) for analyzing multiple IT BSC CSFs. The PLS path modeling has special abilities that make it more appropriate than other techniques, such as multiple regression and LISREL, when analyzing small sample sizes. Recently the use of PLS path modeling has been gaining interests and use among IS researchers in recent years because of its ability to model latent constructs under conditions of nonormality and with small to medium sample sizes(Chin et al., 2003). The empirical results of our study using PLS path modeling show that the casual effects in IT BSC significantly exist partially in our hypotheses.

• 한국콘텐츠학회논문지
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• 제16권2호
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• pp.652-665
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• 2016

국가직무능력표준(NCS)은 산업현장에서 직무 수행에 필요한 능력들을 체계화 및 표준화한 것으로서 전문직업인 양성이 교육목적인 전문대학에 NCS를 적절히 적용할 수만 있다면 현장 중심의 인력 양성에 많은 도움이 될 것으로 보인다. 그러나 인문사회계열 학문인 사회복지 분야에서는 실기보다는 이론 숙지가 주를 이루며 또한 사회복지사 2급 자격을 위한 과정이수형 교육과정을 편성하고 있기 때문에 기존의 자격제도 변화없이 NCS를 교육과정에 도입하는 것은 매우 어렵다. 이에 본 연구에서는 과정이수형 교육과정을 운영하고 있는 전문대학 사회복지과 교육과정에 NCS를 적용하기 위한 교육과정 설계모형을 다음과 같이 제시한다. 첫째, NCS 능력단위 중심의 교육과정 설계가 아닌 기존 교과목에 NCS 능력단위를 매핑하는 역공학적 접근을 시도한다. 둘째, 주 취업시장의 직무능력 함양을 위하여 노인, 아동, 장애인 등 대상에 따른 사회복지 서비스 제공에 관한 능력단위를 개발 추가한다. 셋째, NCS 능력단위를 주 취업시장의 직무와의 연관정도에 따라 유형 1,2,3 등 3 유형으로 분류하여 적용한다. 넷째, NCS 직업기초능력 중 사회복지 분야에 적합하다고 판단되는 4개 요소를 추출, 독자적인 과목으로 개설한다. 다섯째, 주 취업시장에서의 직무능력 함양을 위한 능력단위들의 조합을 하나의 가상 능력단위로 간주하고 유형 1, 유형 2, 유형 3 등의 순으로 3단계에 걸쳐 유기적으로 배치한 다음 학습 범위를 주 취업시장에서의 직무 수준으로 조정하여 3단계에 공통적으로 적용한다.

• 미술이론과 현장
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• 제4호
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• pp.33-56
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• 2006

'문화 전쟁(Culture Wars)'은 1980년대 말부터 1990년대 초 미국에서 보수주의자와 진보주의자 사이에 벌어진 문화적 논쟁을 일컫는다. 이 용어는 제임스 헌터(James Hunter)의 책 "문화 전쟁: 미국을 정의하려는 노력(Culture Wars: The Struggle to Define America)"의 출간으로 대중화되었고, 당시 공화당 대통령 후보였던 패트릭 부캐넌(Patrick Buchanan)에 의해 급부상하게 된다. 그는 "이 나라에는 지금 종교 전쟁, 즉 냉전만큼 중요한 '문화 전쟁'이 일어나고 있고, 이것은 미국의 영혼을 위한 전쟁이다." 라고 부르짖으며 급변하는 문화 정체성의 위기 속에서 미국적인 전통을 지키고자 하였다. 이 문화 전쟁은 여러 다양한 논쟁을 함의하고 있었는데, 교목제도의 폐지, 교육기관에서의 다문화주의(multiculturalism) 커리큘럼 도입, 동성애자의 군복무, 낙태, 총기 소지 등의 허용 문제로 당시 미국의 교육계, 문화계뿐만 아니라 정치계, 입법부에서도 첨예한 대립 구도를 형성하였다. 미술계에서 가장 치열했던 문화 전쟁은 안드레 세라노(Andres Serrano)의 작품전과 ${\ll}$로버트 메플소프: 완벽한 순간(Robert Mapplethorpe: The Perfect Moment)전${\gg}$이 공공기금인 국립예술진흥기금(National Endowments for the Arts, NEA)의 지원을 받아 개최되는 것이 타당한 것이냐에 대한 논쟁에서 표출되었다. 이 두 전시를 기점으로 그 뒤로도 여러 미술 전시회와 음악회, 연극 등을 둘러싼 NEA 기금 지원과 관련한 분쟁은 한동안 계속된다. 이 글은 이러한 미술계 문화 전쟁의 발전 과정과 몇몇 논점에 초점을 맞추되, 세라노나 메플소프의 작품 자체를 분석하고 비평하는 글이 아님을 밝혀 둔다. 본 연구는 분쟁의 전개에 대한 상세한 기술적, 연대기적 조사보다는 그 발단과 전개 과정에서 몇 가지 핵심적인 사항들을 기술하고, 이 사항들이 암시하는 정치적, 미학적, 미술사적 시각의 충돌에 대해 지적하는 글이 될 것이다. 더 나아가 당시 이러한 논쟁이 미국 미술계에 의미하던 것, 미국 문화 전체에 의미하던 것은 과연 무엇인가에 대한 비평적 질문으로 글을 맺고자 한다.

• 미술이론과 현장
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• 제4호
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• pp.123-144
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• 2006

Foreigners who arrived in Korea after the age of enlightenment were Japanese, Chinese and 'Westerners' who were Europeans and Americans. The westerners were diplomats who visited Korea for colonization or for increasing their economical profits by trading after the spread of imperialism, and tourists curious of back countries, artists, explores and missionaries to perform their roles for their religious beliefs. They contacted with Korean cultural and educational people as missionaries and instructors during Japanese colonial period. In 1945, the allied forces occupied Korea under the name of takeover of Japanese colony after Japan's surrender and the relation between foreigners and Korean cultured men enter upon a new phase. For 3 years, American soldiers enforced lots of systems in Korea and many pro-American people were educated. This relationship lasted even after the establishment of the government of Korean Republic and especially, diplomats called as pro-Korean group came again after Korean War. Among them, there were lots of foreigners interested in cultures and arts. In particular, government officials under American Forces who were influential on political circles or diplomats widened their insights toward Korean cultural assets and collected them a lot. Those who were in Korea from the period of independence to 1950s wrote their impressions about Korean cultural assets on newspapers or journals after visiting contemporary Korean exhibitions. Among them, A. J. McTaggart, Richard Hertz and the Hendersons were dominant. They thought the artists had great interests in compromising and uniting the Orient and the West based on their knowledge of Korean cultural assets and they advised. However, it was different from Korean artist's point of view that the foreigners thought Korean art adhered oriental features and contained western contents. From foreigners' point of view, it is hard to understand the attitude Korean artists chose to keep their self-respect through experiencing the Korean war. It is difficult to distinguish their thought about Korean art based on their exotic taste from the Korean artists' local and peninsular features under Japanese imperialism. We can see their thought about Korean art and their viewpoint toward the third world, after staying in Korea for a short period and being a member of the first world. The basic thing was that they could see the potentialities through the worldwide, beautiful Korean cultural assets and they thought it was important to start with traditions. It is an evidence showing Korean artists' pride in regard to the art culture through experiencing the infringement of their country. By writing about illuminating Korean art from the third party's view, foreigners represented their thoughts through it that their economical, military superiority goes with their cultural superiority. The Korean artist's thought of emphasizing Korean history and traditions, reexamining and using it as an original creation may have been inspired by westerners' writings. 'The establishment of national art' that Korean artists gave emphasis then, didn't only affect one of the reactions toward external impact, 'the adhesion of tradition'. In the process of introducing Korean contemporary art and national treasure in America, different view caused by role differences-foreigner as selector and Korean as assistant-showed the fact evidently that the standard of beauty differed between them. By emphasizing that the basis to classify Korean cultural assets is different from the neighborhood China and Japan, they tried to reflect their understanding that the feature of Korean art is on speciality other than universality. And this make us understand that even when Korean artists profess modernism, they stress that the roots are on Korean and oriental tradition. It was obviously a different thought from foreigners' view on Korean art that Korean artists' conception of modernism and traditional roots are inherent in Korean history. In 1950s, after the independence, Korea had different ideas from foreigners that abstract was to be learned from the west. Korea was enduring tough times with their artists' self-respect which made them think that they can learn the method, but the spirit of abstract is in the orient.

• 미술이론과 현장
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• 제4호
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• pp.77-104
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• 2006

The propaganda paintings in oil colors or in forms of posters made from 1949 to 1966 have gone through some changes experiencing the influence of the Soviet Union Art and discussion of nationalization, while putting political messages of the time in the picture planes. The propaganda paintings which have been through this process became an effective means of encouraging the illiterate people in political ideologies, production, and learning. Alike other propaganda paintings in different mediums, the ones which were painted in oil colors and in the form of posters have been produced fundamentally based on Mao Zedong's intensification of the literary art on the talks on literature at Yenan. Yet, the oil paintings and posters were greatly influenced by the socialist realism and propaganda paintings of the Soviet Union, compared to other propaganda paintings in different mediums. Accordingly, they were preponderantly dealt in the discussions of nationalization of the late '50s. To devide in periods, the establishment of People's Republic of China in 1949 as a diverging point, the propaganda paintings made before and after 1949 have differences in subject matters and styles. In the former period, propaganda paintings focused on the political lines of the Communists and enlightenment of the people, but in the latter period, the period of Cultural Revolution, the most important theme was worshiping Mao Zedong. This was caused by reflection of the social atmosphere, and it is shown that the propaganda painters had reacted sensitively to the alteration of politics and the society. On the side of formalities, the oil paintings and posters made before the Cultural Revolution were under a state of unfolding several discussions including nationalization while accepting the Soviet Union styles and contents, and the paintings made afterwards show more of unique characteristics of China. In 1956, the discussion about nationalization which had effected the whole world of art, had strongly influenced the propaganda paintings in oil colors more than anything. There were two major changes in the process of making propaganda paintings in oil colors. One was to portray lives of the Chinese people truthfully, and the other was to absorb the Chinese traditional styles of expression. After this period, the oil painters usually kept these rules in creating their works, and as a result, the subject matters, characters, and backgrounds have been greatly Sinicized. For techniques came the flat colored surface of the new year prints and the traditional Chinese technique of outlining were used for expressing human figures. While the propaganda paintings in oil colors achieved high quality and depth, the posters had a very direct representation of subject matters and the techniques were unskilled compared to the oil paintings. However, after the establishment of People's Republic of China, the posters were used more than any other mediums for propagation of national policy and participation of the political movements, because it was highly effective in delivering the policies and political lines clearly to the Chinese people who were mostly illiterate. The poster painters borrowed techniques and styles from the Soviet Union through books and exhibitions on Soviet Union posters, and this relation of influences constantly appears in the posters made at the time. In this way, like the oil paintings, the posters which have been made with a direct influence of the Soviet Union had developed a new, sinicised process during the course of nationalization. The propaganda paintings in oil colors or in forms of posters, which had undergone the discussion of nationalization, had put roots deep down in the lives of the Chinese people, and this had become another foundation for the amplification of influences of political propaganda paintings in the following period of Cultural Revolution.