• 대한건축학회논문집:계획계
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• 제34권10호
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• pp.119-130
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• 2018

In the late 1950s, departing from their unquestioning following of Soviet architecture, North Koreans attempted to discover the specificities of traditional Korean architecture and apply them to their contemporary monuments. This paper examines the ways in which North Korean architects developed their unique version of Socialist realism in the making of Pyongyang Grand Theater. The traditional elements in harmony with North Korea's political ideology-an early form of Juche ideology-and modern building technologies were to be viewed as contemporary elements, and not as a simple revival of the past. This study applies Socialist realism's compositional principle "national in form and socialist in content" to Pyongyang Grand Theater and examines specifically what "socialist content" and "national form" were and how the two were combined in the construction of Pyongyang Grand Theater. By situating the building in the context of localization of Socialist realism which is universal art principle of the communist world, this study contributes to the deeper and wider understanding of North Korea's Modern Joseon Architecture.

• 동유럽발칸연구
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• 제36권
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• pp.247-268
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• 2013

본 논문은 지하경제의 문제점을 통해, 동유럽 보통 사람들의 삶이 체제 이행 과정에서 어떻게 변화했는지 고찰하고 있다. 1989년 이후 동유럽 사회는 급격한 자본주의 체제로의 이행을 겪었다. 충격요법의 실행은 대량실업의 발생, 복지 혜택의 축소 등 동유럽 보통 사람들의 삶의 질을 급격히 악화시키는 결과를 초래하였다. 이제 많은 사람들이 살아남기 위해 공식 경제 영역이 아닌 지하경제 활동에 뛰어들게 되었다. 현실사회주의 시절 계획 경제의 경직성을 완화시켜 주던 지하경제는, '유연한' 자본주의 체제로의 전환했다지만 여전히 생계수단이 되고 있는 것이다. 체제는 바뀌었다지만 생계수단은 바꾸지 않은 셈인 것이다.

• 사회경제평론
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• 제31권1호
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• pp.107-145
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• 2018

이 글은 러시아 혁명에서 1) 마르크스와 레닌(과 볼셰비키)의 사회주의 구상과 이를 실현할 대안 민주주의관이 매우 달랐음 2) 이런 대안 민주주의의 실현이 실패하는 과정과 원인 3) 당과 국가가 이런 실현 실패와 상호작용하며 확대된 과정 4) 이 결과 당시 사회주의 건설의 핵심과제였던 사회주의 시초축적, 농업 집단화, 계획경제 건설이 실패한 과정을 서술한다. 그래서 러시아의 사회주의 이행이 혁명 지도부의 잘못된 사회주의 구상과 결합된 잘못된 대안 민주주의관의 실천에 의해 실패했다는 점과 향후는 올바른 사회주의 구상과 대안 민주주의 실천의 결합이 필수라는 점이 결론이다.

• 미술이론과 현장
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• 제7호
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• pp.125-163
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• 2009

The artworks of Socialist Realism of the former Soviet Union, with the beginning of the 21st century, are gaining a new attention from art collectors. One reason for this might consist in the fact that relevant art pieces exemplify the ways in which they visualize ideas on the basis of their high-profile art tradition and also in which they integrate their utopian ideals with mysticism. These aspects of the Soviet art goes far beyond the wide-spread assumption that their art, as a means of propaganda, principally represents a political allegiance to the system. With Stalin coming into power in the 1930s, the artistic trend of Socialist Realism obtained a nationwide sympathy and support from people, giving birth to a new art which essentially corresponded to the demands of the political power. An official art current of the USSR over the period from the 1930s to 1950s, Socialist Realism was in tandem with the Communist commitment to the party and popularity, symbolizing a loyalty to the cause. It was thus characterized by plainness and lucidity so that ordinary people could gain easy access to art. Its salient feature, over an entire range of art, was an optimistic pursuit of a utopian dream. Therefore, it tallied with the popular sentiment for a Communist paradise, giving form to their beliefs in human agency working at the materialist world and also to such abstract concepts as force, fitness, and beauty by adding even mythical ideals. Its main subject matter includes harvest feasts of collective farms, imaginary socialist cities, grand marches of heroic laborers and in this way it served as a propaganda for a sacred utopia of socialist totalitarianism. On the other end of the spectrum, however, rose the second camp of art, which put an emphasis on bona-fide artistic activities of plastic art and on an artist's personal expression and freedom, as opposed to the surface optimism of Socialist Realism. Central to the Russian Avant Garde art, which prized the above-mentioned values, were Malevich's Geometric Abstraction and A. Rodchenko's Constructivism. Furthermore, in the transitional era of the late 20th century and the 21st century it was recognized that film art or electronic media art, rather than traditional genre of paintings, would function as a more efficient way of propaganda. These new genres were made possible by ridiculing the stereotypes of the Russian lifestyle and also by ignoring ethical or professional dimensions of artworks. That is, they reinvented themselves into a sort of field art, seemingly degrading the quality of artworks and transforming them into artifacts or simulacres in the very sense of post-modernism. The advent of the new era brought about the formation and occupation of pop culture of the younger generations, calling into question the idea of art as the class-determined. It also increased the attention to field art, which extensively found way to modern art centers, galleries, and exhibition projects. It can be stated that this was a natural outcome of human nature.

• 한국경제지리학회지
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• 제19권4호
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• pp.743-763
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• 2016

본 연구는 개혁개방 이후 형성된 사회주의 시장경제 하 중국 주택체제의 성격을 중국의 공공주택 정책인 보장성 주택 정책을 중심으로 주택시스템 비교연구의 관점에서 분석하였다. 중국 주택시스템의 전환은 시장기능의 도입과 사회주의 토지공유제의 약화라는 점에서 차별적인 '사회주의 시장경제 주택시스템'의 형성이 아닌, 자본주의 주택시스템의 하위유형으로 전환한 것으로 볼 수 있다. 이것은 기존 정부 공급형 계획의 사회주의 방식이 정부의 간접적인 개입과 조정에 따라 시장요소를 통해 주택이 공급되는 정부 주도형 시장화의 방식으로 전환한 것이며, 정부가 가지는 시장주도력은 사회주의적 토지소유의 유산에 기반하고 있다는 점에서 차별화된다.

• 토지주택연구
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• 제10권4호
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• pp.31-39
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• 2019

Singapore, a city state with less than 6 million population, has continued successful cooperative development and become one of the most successful Asian countries in exporting expertise in urban and real estate development. This research aims to analyze Singapore's cooperative development with socialist countries including China and Vietnam from Singapore's perspective as an investor. For cooperative development projects in China, Singapore adopted Singapore-style physical urban planning concepts as well as its own institutional and administrative systems. Singapore-Vietnam cooperative development managed to acquire profitable land and diversify its portfolio in terms of industry types and rents. This made Singapore's industrial parks more competitive than other parks in Vietnam. By showcasing successful project implementation in China and Vietnam, Singapore has proved that its model for industrial park and urban development is transferable. Singapore's success in cooperative development with socialist countries provides important implications for future cooperative development between South and North Korea. For example, phased development approaches starting from individual industrial parks expanding to mixed-use townships will be very useful to realize sustainable urban planning in North Korea and reduce financial risks. Singapore dominated development opportunities in advance when socialist countries opened their economy. To pattern ourselves after Singapore, we should not only improve our relationship with North Korea but also prepare with practical components such as financing and organizational structure.

• 대한건축학회논문집:계획계
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• 제35권4호
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• pp.115-126
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• 2019

Construction of the Pyongyang Railroad Station began in 1907 as an important foothold for the Japanese colonization of the Korean Peninsula and the further invasion of Manchuria. As Pyongyang gradually grew in size and political significance, the Pyongyang Station came to have two responsibilities: Fulfill its functional role and serve as a monument to the growing dignity of the city. This study argues that the Pyongyang Station, newly rebuilt in 1958, was the first building to solve the demands for both functional expansion and the pursuit of monumentality. Stylistically, the original single-story wooden building became a three-story classical masonry building. The stylistic change symbolizes the political shift by which the building was reconstructed. The simple wooden building built by the Japanese, representing Pyongyang's status as a colonial provincial town, was transformed into an imposing gateway for the capital city of a newly born socialist state. Socialist Realism, correctly described by its slogan "socialist in content and national in form," harmoniously blended classical architecture, socialist symbols, and Korean local motifs. This study is significant in that it illustrates the historical changes and continuity of the Pyongyang Station from 1907, when it was first built, through the "liberated space" to the postwar reconstruction period of the 1950s.

• 농업과학연구
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• 제10권2호
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• pp.382-392
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• 1983

Land Reform is a distributive measure which transfers power, property, income and status from one group in the community to another. There are two strategies in land reform, capitalist strategy and socialist strategy. The two strategies are different not only in their objectives and ideologies, but also in the method of land allotment and confiscatin. Capitalist land reform is aimed at accomplishing the land -to -the -tiller program of which the implementing process is always included rent reduction and sale of public lands. Socialist land reform is aimed at achieving abolition of property right of land and application of all rent revenue from land to public purpose. The process of the socialist land reform is comprising Bauernbefreiung and land collectivization. In conclusion, the former is resulted in high productivity of land and the later is identified low productivity of land.

• 미술이론과 현장
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• 제6호
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• pp.27-50
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• 2008

This thesis examines contemporary Chinese painting after the Cultural Revolution(1966~76), focusing upon so-called "Chinese Pop art", which I termed as "Socialist Pop art". I considered the art of this period within the broader context of social changes especially after the Tienanmen incident of 1989. After the Cultural Revolution during which idolization of Chairman Mao was at its peak, one of the major changes in communist China was that an anti-Mao wave was generated in almost every social class. For example, novels that revealed the hardships during the Cultural Revolution were published. Posters that openly criticized the Maoism were also produced and displayed on the walls, and demand for democracy spurred widespread activist movements among young generations. These broad social changes were also reflected in art. A variety of art movements were introduced from the West to China, and after a period of experimentation with the new imported styles, artists began to apply the new artistic idiom to their works in order to visualize their own social and political realities they lived in. It was a shift from earlier Socialist Realism to a new expression either directly or indirectly, "Socialist Pop", an amalgam of Socialist Realism and Pop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communist government quelled with brutal measures the students, workers, and ordinary people who rose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This time coincided with the gradual emergence of art using Pop art vocabulary to satirize the social reality, the Socialist Pop art, along with many other art forms all with avant-garde spirit. One of the most frequent subjects of Chinese Pop art was visual images of Chairman Mao and his Cultural Revolution, and new China that was saturated with capitalism, which tainted the Chinese way of life with a Western way of consumerism and commercialism. The reason for the popularity of Mao's image was spurred by the "Mao Craze" in the early 1990's. People suddenly began to fall in a kind of nostalgia for the past, and once again, Mao Zedong was idolized as an entity who can heal the problems of modern China who had been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is no more an object of worship of almost religious nature but he has become an iconography symbolizing the complex nature of present Chinese society. During this process of depicting the social reality, Chinese artists are making the authority and sanctity of Maoism ineffective. Dealing with this new trend of contemporary Chinese art in view of "Socialist Pop art" two manners of re-creating Pop art can be illustrated: one that incorporates the propaganda posters of the Cultural Revolution; the other borrows from Chinese traditional popular imagery or mass media, such as photos taken during Mao era. What is worth mentioning is that these posters and photos of the Cultural Revolution can be identified as 'popular' media, as they were directed to educate the popular mass, thus combination of this ingenuous pop media with Western Pop art can be fully justified as a genre unique to China. Through this genre, we can discover a new chapter of the Chinese contemporary painting and its society, as their Pop art can be considered as self-portraits true to their present appearances.

• 한국경제지리학회지
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• 제11권1호
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• pp.24-44
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• 2008

지금까지 조절이론은 주로 경제적 및 사회적 측면의 조절과정에 주목해 온 반면, 공간적 측면의 조절과정은 간과해 왔다. 특히 탈사회주의 체제전환 과정에 대한 조절이론적 접근은 거의 이루어진 바가 없다. 이에 본 논문은 탈사회주의 체제전환 과정에서 나타나는 공간경제의 전환을 조절이론의 관점에서 이론화하고자 한다. 공간경제는 경제체제에 따른 사회적 관계를 반영하고 이를 조건지우는 맥락으로서 사회적 재생산이 일어나는 배경이다. 따라서 국가 사회주의에서 자본주의로의 체제전환 과정이 일어나면, 이와 관련한 사회적 관계의 변동이 수반될 뿐만 아니라 구체적 수준의 기업 및 산업 네트워크의 변동이 초래된다. 이와 같은 맥락에서, 우선 본 논문은 기업을 둘러싼 각종의 네트워크를 집합적 의미의'조절양식'으로 간주하는'기업 조절양식'개념 틀을 바탕으로 탈사회주의 체제전환과 관련한 기업 내, 기업 간, 기업 외 관계의 구체적인 분석 내용을 논의하였다. 다음으로 사회경제체계의 거버넌스와 관련한 제도 및 네트워크의 특성에 따라서, 탈 착근적(단선적 성격의 체제이행), 착근적(연속적 성격의 체제전환), 과잉 착근적(과거 유산에 고착된 성격의 체제전환)인 공간경제 유형을 제시하고 이를 이론적 수준에서 설명하였다.