• 정보처리학회논문지B
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• 제13B권1호
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• pp.63-70
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• 2006

말뭉치(corpus)는 많은 언어 정보를 포함하고 있으며, 언어처리 및 계산언어학 분야에서 다양한 용도로 사용되고 있다. 그러나 말뭉치에 언어 정보를 부착하는 데는 많은 시간과 인력이 소요된다. 이 문제를 완화시키기 위해서 말뭉치 구축 도구가 반드시 요구된다. 본 논문에서는 한국어 의존구조 부착을 위한 말뭉치 구축 도구의 설계 및 구현에 관해서 기술한다. 가장 이상적인 방법은 주석자가 전혀 개입하지 않고, 말뭉치를 구축하는 것이나 이것은 사실상 불가능하다. 따라서 대부분의 말뭉치 구축 도구는 반자동으로 구성되어 있으며, 본 논문에서 제안된 도구도 반자동이다. 제안된 도구는 언어 분석기의 분석 결과에 내포된 오류를 효과적으로 수정할 수 있고, 또한 가능한 한 반복적인 작업을 피할 수 있으며 쉽게 사용할 수 있도록 인터페이스를 설계하였다. 제안된 시스템을 이용해서 20어절 이상의 1만 문장에 의존구조를 부착해 보았다. 잘 훈련된 8명의 주석자들이 매일 4시간씩 2개월 동안 구축하였으며, 그 결과는 정확하고 일관성 있는 말뭉치를 구축할 수 있었으며, 작업 시간과 인력도 크게 줄일 수 있었다.

• Journal of the Korean Data and Information Science Society
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• 제24권2호
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• pp.369-377
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• 2013

이 연구는 미국여자프로골프협회 (LPGA)가 제공하는 경기 기술요인을 통해 어떠한 요인이 선수들의 성적에 가장 큰 영향을 미쳤는지 검증하였다. 이를 위해 2004년부터 2012년까지 총 9년 간의 성적자료를 분석에 사용하였으며, 분석대상선수들은 Top 10에 진입한 선수들의 경기 기술요인 사용하였다. LPGA가 제공하는 경기 기술요인 즉, 평균타수, Top10 진입횟수, 평균 퍼팅, 평균 버디, 평균 이글, 드라이버 비거리 및 드라이버 정확도, 그린 적중률, 샌드 세이브율, 그린적중률 당 퍼팅 수를 변인으로 설정하고 이들 변인이 시즌랭킹을 결정짓는 획득상금에 미치는 영향을 분석하였다. 자료처리는 SPSS 20.0을 이용하여 단계적 다중회귀분석을 실시하였으며, 그 결과는 다음과 같다. 최근 9년 간 LPGA Top 10 선수들의 성적에 가장 큰 영향을 미친 경기 기술요인은 평균타수, 평균퍼팅, 드라이버 비거리, Top 10 진입 횟수 순으로 나타났다. 또한 연도별로 살펴본 결과, 2004년 평균타수, 2005년 그린적중률, 2006년 평균 이글, 2007년 Top 10진입횟수, 2008년 평균타수, 2009년 평균퍼팅이 가장 큰 영향을 미친 경기 기술요인으로 나타났으며, 2010년은 평균타수, 그린적중률, 그린적중률당 퍼팅 수 순으로 나타났다. 2011년은 평균버디, 2012년은 그린적중률 당 퍼팅 수가 선수들의 시즌성적에 가장 큰 영향을 미친 것으로 나타났다.

• 비교문화연구
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• 제26권
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• pp.465-485
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• 2012

Instructing "History of Spanish Literature" class faces various types of limits and obstacles, just as other foreign language literature history classes do. Majority of students enter the university without having any previous spanish learning experience, which means, for them, even the interpretation of the text itself can be difficult. Moreover, the fact that "History of Spanish Literature" is traced all the way back to the Middle Age, students encounter even more difficulties and find factors that make them feel the class is not interesting. To list several, such factors include the embarrassment felt by the students, antiquated expressions, literature texts filled with deliberately broken grammars, explanations written in pretentious vocabularies, disorderly introduction of many different literary works that ignores the big picture, in which in return, reduces academic interest in students, and finally general lack of interest in literate itself due to the fact that the following generation is used to visual media. Although recognizing such problem that causes the distortion of the value of our lives and literature is a very imminent problem, there has not even been a primary discussion on such matter. Thus, the problem of what to teach in "History of Spanish Literature" class remains unsolved so far. Such problem includes wether to teach the history of authors and literature works, or the chronology of the text, the correlations, and what style of writing to teach first among many, and how to teach to read with criticism, and how to effectively utilize the limited class time to teach. However, unfortunately, there has not been any sorts of discussion among the insructors. I, as well, am not so proud of myself either when I question myself of how little and insufficiently did I contemplate about such problems. Living in the era so called the visual media era or the crisis of humanity studies, now there is a strong need to bring some change in the education of literature history. To suggest a solution to make such necessary change, I recommended to incorporate the visual media, the culture or custom that students are accustomed to, to the class. This solution is not only an attempt to introduce various fields to students, superseding the mere literature reserch area, but also the result that reflects the voice of students who come from a different cultural background and generation. Thus, what not to forget is that the bottom line of adopting a new teaching method is to increase the class participation of students and broaden the horizon of the Spanish literature. However, the ultimate goal of "History of Spanish Literature" class is the contemplation about humanity, not the progress in linguistic ability. Similarly, the ultimate goal of university education is to train students to become a successful member of the society. To achieve such goal, cultural approach to the literature text helps not only Spanish learning but also pragmatic education. Moreover, it helps to go beyond of what a mere functional person does. However, despite such optimistic expectations, foreign literature class has to face limits of eclecticism. As for the solution, as mentioned above, the method of teaching that mainly incorporates cultural text is a approach that fulfills the students with sensibility who live in the visual era. Second, it is a three-dimensional and sensible approach for the visual era, not an annotation that searches for any ambiguous vocabularies or metaphors. Third, it is the method that reduces the burdensome amount of reading. Fourth, it triggers interest in students including philosophical, sociocultural, and political ones. Such experience is expected to stimulate the intellectual curiosity in students and moreover motivates them to continues their study in graduate school, because it itself can be an interesting area of study.

• 미술이론과 현장
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• 제6호
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• pp.77-99
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• 2008

The purpose of this study is to show that the reason behind the ambivalent characteristic displayed in Niki de Saint Phalle's works is in her trauma and how such characteristic can be extracted from her works. During her creative years, Saint Phalle worked on various materials from different genres such as assemblages, shooting paintings, a series on Bride and Monster, 'Nana', 'Tarot Garden'and public sculptures. One commonality found among her various works is the ambivalent characteristic that contains contrasting elements simultaneously. Saint Phalle suffered a terrible psychological damage inflicted by her parents during her childhood. Specifically, she was sexually assaulted by her father and emotionally neglected by her mother, the trauma that affected her for the rest of her life. As a result, she came to develop extreme love- hate relationships with her parents and this became the main reason for the ambivalent characteristic displayed in her works. The love-hate relationship Saint Phalle developed can be identified through various researches done on the subject of the affect of sexual assault. It is common for incest victims to develop ambivalent feelings towards the perpetrator and Saint Phalle was no exception. Dissociation disorder and a snake well explain the trauma from her father. It is a generally accepted belief in the field of psychology that dissociation disorder commonly occurs to children who experience incest. And dissociation disorder is similar to the characteristic of ambivalence in the sense that a single entity contains more than two contrasting elements at the same time. In addition, the amputated doll objects used in her assemblages coincide with the expression of body detachment of people with dissociation disorder. These facts clearly indicate that the trauma from her father is showing through in her works. A snake is a subject matter that reflects the ambivalent tendency of Saint Phalle that resulted from her trauma. She remembers her father's rape as an image of a snake which is related to a phallic symbol in mythology or art reflecting her trauma. Moreover, she displays a similar pattern of ambivalent emotion like love and hate or fear towards a snake and her father. This is also confirmed by her portrayal of a snake as a monster or reversely as a creature with fundamental vitality in her works. The lack of affection from her mother can be explained by her mother's maternal deprivation. It appears that Saint Phalle's mother possessed all the causes for maternal deprivation such as maternal separation, personality disorder and inappropriate attitude towards child rearing. Especially, a study that shows mother's negative attitude towards child breeding tends to increase dissociation experience of children is another important evidence that supports Saint Phalle's dissociation tendency. These traces of Saint Phalle's trauma are clearly revealed in her assemblages and shooting paintings. The violent objects in her assemblages such as a hammer, razor, nail represent the rage and defensiveness towards her father. The objects such as fragments of broken plates of feminine patterns, pots and mirrors that her mother used symbolize the affection towards her mother. On the other hand, the destructed objects can be interpreted as her hate and resentment towards her mother. Shooting paintings contain her extreme fury and hate. Things such as acts of shooting and the image associated with blood after shooting are blunt expressions of her bursts of emotions. I have tried to define and classify the ambivalent characteristics shown in her assemblages and shooting paintings as hate, rage, violence, calm, love and pleasure according to the frame of Thanatos and Eros. Out of the six, hate, rage, violence and clam are associated with Thanatos while love and pleasure are associated with Eros and they correspondingly form an ambivalent structure. These ambivalent characteristics can be found in her assemblages and shooting paintings. The objects in her assemblages such as a razor, saw, hammer imply hate, rage, violence and the silence felt throughout her works represent calmness. And, as mentioned, the feminine objects can be seen as symbolizing love. In shooting paintings, hate, rage, violence can be found in the use of force and in the traces of watercolor after shooting, and a sense of pleasure in her feelings of catharsis after her shooting. Moreover, a shielded calmness can be found on the plywood all covered with plaster before the shooting. This study looked into the ambivalent characteristic of Saint Phalle's works by examining her trauma to find its correlation, and a meaning of this study can be found from the fact that it refocused the origin of Saint Phalle who is generally known as a feminist artist. Additionally, a meaning of the study can be found also from the fact that it examined the ambivalent characteristics of her works through a frame of Thanatos and Eros.

• 여성건강간호학회지
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• 제4권1호
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• pp.161-178
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• 1998

In spite of the great progress of the theory and skill of the Nursing Care & Medical area in relation to pregnancy, nurses in clinics face up to many challenges in maternity nursing care areas. The reason is that the mobility and mortality of mothers was sharply decreased and the unknown high-risk diseases of pregnancy woman in the past is made public. That's why it is difficult to meet the pregnancy woman in natural process from pregnancy to delivery in recently. Admission rooms are filled with high-risk pregnancy women. As a matter of fact, we have done nursing care into the surface symptoms and diseases of high-risk pregnancy women so far. We have been indifferent to a long period hospitalization, separation from family, and conflict of repeated examination. Therefore, it is widely spread to understand the emotional conflict experienced by high-risk pregnancy women and to need for nursing intervention to bring up about emotional support and the ability of perception in psychological crisis. Although the pregnancy woman judged in high-risk should carry out normal task of pregnancy, she have to be confronted with secondary risk situation. The health of self & fetus threatened by the risk situation could be decreased through care plan, but psychological stress increases. Therefore, the pregnancy brings into non-control state. It is important to ask that what the hospitalized pregnancy women in high-risk think of themselves status. Because misunderstanding or serious anxiety of themselves status put into mother and fetus in danger. And adaptation mode makes all the difference. I would like to consider how nurses could deal with this high-risk circumstances in the position of pregnancy woman on the basis of the above fact. This study uses phenomenological method to suggest the basis material for nurses to do nursing intervention in view of pregnancy woman. Because this method understands the nature of true life of pregnancy woman throughly. The phenomenological method is the sources to describe or explain affluently the process generated in confirmation areas and environment and is the application for readers to understand and recognize clinic reality and then apply this method to reasoning study place or other places. Specifically, the phenomenon study method, one of the phenomenological method, is applied. The use of that method is to describe and generalize the experience in environment exactly. The study of this study is as follows : Among 187 descriptive stamens from 8 study participants are classified into 42 theme cluster at the stage of the first analysis. Those theme is categorized into 8 sub-subjects such as anxiety of uncertainty, foreknowledge about risk circumstance, will power about overcome, unsettled feeling about hospital, relief, optimistic thought, family support, and indifferences. At the last stage of analysis, those things are categorized into 3 subjects. When high-risk pregnancy woman foretell the situation, they feel unsettlement about uncertainty and untrust feeling about hospital. But they are ease with family support and hospital support. On the other hand, they express indifferent 3-way structure response to the situation having will of overcome and exceeding optimistic thought. In those statements, the experience by pregnancy woman shows 3 respect subjects. 1. They are anxious of this situation and are in desperation and don't recognize their role to be carried out 2. They think of this situation as normal process of pregnancy and are not concerned that this can give themselves and fetus fatal damage. 3. The pregnancy women will never confront this situation. This study shows the pregnancy woman has anxiety and optimistic relief about the situation, and ignores and optimistic relief about the situation, and ignores many things. Therefore, nurses in clinic should give pregnancy woman knowledge and information about the high-risk and help them to deal with the situation spontaneously. High-risk pregnancy woman should have the care plan in respect of the right perception. And the nurse know that their support help out pregnancy woman overcome the crisis in this respect of the special nursing intervention.

• 한국중재학회지:중재연구
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• 제17권3호
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• pp.3-30
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• 2007

The New York Convention(formally called "United Nations Convention on the Recognition and Enforcement of Foreign Arbitral Awards") done in New York on June 10, 1958 has been adhered to by more than 140 States at the time of this writing, including almost all important trading nations from the Capitalist and Socialist World as well as many developing countries. The Convention can be considered as the most important Convention in the field of arbitration and as the cornerstone of current international commercial arbitration. Korea has acceded to the New York Convention since 1973. When acceding to the Convention, Korea declared that it will apply the Convention to the recognition and enforcement of awards made only in the territory of another Contracting State on the basis of reciprocity. Also, Korea declared that it will apply the Convention only to differences arising out of legal relationships, whether contractual or not, which are considered as commercial under the national law of Korea. The provisions relating to the enforcement of arbitral awards falling under the New York Convention begin at Article III. The Article III contains the general obligation for the Contracting States to recognize Convention awards as binding and to enforce them in accordance with their rules of procedure. The Convention requires a minimum of conditions to be fulfilled by the party seeking enforcement. According to Article IV(1), that party has only to supply (1) the duly authenticated original award or a duly certified copy thereof, and (2) the original arbitration agreement or a duly certified copy thereof. In fulfilling these conditions, the party seeking enforcement produces prima facie evidence entitling it to obtain enforcement of the award. It is then up to the other party to prove that enforcement should not be granted on the basis of the grounds for refusal of enforcement enumerated in the subsequent Article V(1). Grounds for refusal of enforcement are stipulated in Article V is divided into two parts. Firstly, listed in the first Para. of Article V are the grounds for refusal of enforcement which are to be asserted and proven by the respondent. Secondly, listed in Para. 2 of Article V, are the grounds on which a court may refuse enforcement on its own motion. These grounds are non-arbitrability of the subject matter and violation of the public policy of the enforcement country. The three main features of the grounds for refusal of enforcement of an award under Article V, which are almost unanimously affirmed by the courts, are the following. Firstly, The grounds for refusal of enforcement mentioned in Article V are exhaustive. No other grounds can be invoked. Secondly, and this feature follows from the first one, the court before which enforcement of the award is sought may not review the merits of the award because a mistake in fact or law by the arbitrators is not included in the list of grounds for refusal of enforcement set forth in Article V. Thirdly, the party against whom enforcement is sought has the burden of proving the existence of one or more of the grounds for refusal of enforcement. The grounds for refusal of enforcement by a court on its own motion, listed in the second Para. of Article V, are non-arbitrability of the subject matter and public policy of the enforcement country. From the court decisions reported so far at home and abroad, it appears that courts accept a violation of public policy in extreme cases only, and frequently justify their decision by distinguishing between domestic and international public policy. The Dec. 31, 1999 amendment to the Arbitration Act of Korea admits the basis for enforcement of foreign arbitral awards rendered under the New York Convention. In Korea, a holder of a foreign arbitral award is obliged to request from the court a judgment ordering enforcement of the award.

• 한국환경생태학회지
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• 제32권3호
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• pp.323-331
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• 2018

본 연구는 도로변 선형의 가로녹지 조성이 고밀시가지 대로와 건물 사이에 조성한 보행로 및 오픈스페이스의 미세먼지 농도에 미치는 영향을 살펴보고자 부산시 중앙대로와 부산광역시청 건물 사이에 폭 약 70m로 조성된 오픈스페이스를 대상으로 연구를 진행하였다. 조사결과 가로녹지가 없는 지역의 경우 주중과 주말 모두 차도와 인접한 오픈스페이스의 농도차이가 미미하였으나, 반대로 가로녹지가 조성되어 있는 지역은 차도에 비해 오픈스페이스의 농도가 현저히 높음을 확인할 수 있었다. 특히 가로녹지가 조성된 지역은 차도와 보도 모두에서 미조성지역보다 미세먼지량이 높게 나타나고 있어 차도와 건축물 사이가 넓은 공간의 경우 가로녹지의 조성이 전체적으로 도로 밖 오픈스페이스의 미세먼지농도를 높이는 효과를 보였으며, 특히 차도보다 오픈스페이스에 미치는 영향이 더 큰 것으로 확인되었다. 이러한 현상은 차량에 의해 발생한 미세먼지가 빠른 바람흐름에 의해 가로변 관목림을 통과하지만 바람흐름이 줄어든 보행공간에서는 확산이 이루어지지 않아 발생하는 것으로 판단되었다. 본 연구에서와 같이 넓은 오픈스페이스를 확보하고 있는 도심 도로변 지역의 경우에는 가로녹지가 오히려 바람에 의한 확산을 억제하여 하여 차량이동에 따른 부유 미세먼지를 녹지 내부에 가두어 보도를 포함한 오픈스페이스의 미세먼지 농도를 높이는 것으로 확인되었다. 도로에서 발생하는 미세먼지를 줄이기 위한 가로녹지의 조성에 있어 도로와 건물의 거리는 매우 중요하게 작용하는 것을 확인하였다.

• 한국토양비료학회지
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• 제10권1호
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• pp.61-67
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• 1977

수도(水稻)에 대(對)한 Zeolite 첨가(添加) Ball Complex 비료(肥料)의 심층(深層) 추비(追肥) 방법(方法)과 현행(現行) 표층(表層) 추비법(追肥法)과의 비효(肥効)를 비교(比較)했다. 대조구(對照區)와 Ball Complex 구(區)의 기비(基肥) 질소(窒素)를 동량(同量)으로 시비(施肥)하고 질소(窒素) 추비(追肥)는 대조구(對照區) 3회(回) 표층(表層) 시비(施肥)를 했고, Ball Complex 구(區)는 출수(出穗) 전(前) 35일(日)에 12~13cm 깊이로 4주간(株間)에 한개(個)씩 심층(深層) 추비(追肥)를 1회(回)했을 때 얻어진 결과(結果)를 요약(要約) 하면 다음과 같다. 1. Ball Complex 구(區) 수도체(水稻體)는 질소(窒素), 가리(加里)를 수확기(收穫期)까지 지속적(持續的)으로 흡수(吸收)하는데 비(比)해서 대조구(對照區) 수도체(水稻體)는 출수(出穗) 후(後) 부터 이들 양분(養分)의 흡수(吸收)는 급격(急激)히 감소(減少) 경향(傾向)을 보인다. 등숙기(登熟期)에 있어서 수도체(水稻體)의 질소(窒素), 가리(加里) 일당(日當) 흡수량(吸收量)은 대조구(對照區)가 주당(株當) 각각(各各) 0.45mg, 0.68mg에 불과(不過)하나 Ball Complex 구(區)는 각각(各各) 4.8mg 7.0mg 이다. 2. 물질(物質) 생산 속도(速度)는 각(各) 처리구(處理區) 수도(水稻)의 양분(養分) 흡수(吸收) 양상(樣相)이 잘 반영(反映)되어 대조구(對照區)는 출수(出穗) 직후(直後) 최고(最高) 값을 나타 내였다가 등숙기(登熟期)에는 떨어지지만 Ball Complex 구(區)는 오히려 등숙기(登熟期)에 크다. 3. Bali Complex 심층(深層) 추비구(追肥區)는 무효(無効) 분얼(分蘖)이 적어 유효(有効) 경율(莖率)이 높기 때문에 주당(株當) 수수(穗數)는 대조구(對照區) 수도(水稻) 보다 많다. 4. Ball Complex 심층(深層) 추비(追肥)는 수당(穗當) 완전입수(完全粒數), 등숙율(登熟率), 천입중(千粒重) 모두 다 크다. 5. 수량(收量)은 10a당 대조구(對照區)가 423kg이고 Ball Complex 구(區)는 528kg로서 25%가 많았다. 6. 심층(深層) 추비(追肥) 수도체(水稻體)의 형태적(形態的) 특징(特徵)은 지엽(止葉), 제(第)2엽(葉)의 엽신장(葉身長), 엽(葉) 면적(面積)이 표층(表層) 추비(追肥) 수도체(水稻體) 보다 크다. 7. Ball Complex 비료(肥料)의 심층(深層) 추비(追肥)는 등숙기간중(登熟期間中) 질소(窒素), 가리(加里)의 흡수(吸收)가 많아서 엽신중(葉身中)의 질소(窒素) 농도(濃度)를 높이 유지(維持)하기 때문에 수도체(水稻體)의 지엽(止葉), 제(第)2엽(葉)의 엽신(葉身) 신장(伸長)을 촉진(促進)하여 엽(葉) 면적(面積)이 넓어지고 엽신중(葉身重)이 무겁고 단위(單位) 동화능(同化能)을 높여 광합성(光合成) 능력(能力)을 향상(向上) 시킨다. 또한 표층(表層) 추비(追肥) 수도체(水稻體) 보다 하엽(下葉) 고사(枯死)가 적고 생엽수(生葉數)가 많아 수도체(水稻體) 군(群)의 엽면적(葉面積) 지수(指數)의 감소(減少)를 적게 하므로 본시험(本試驗)에서는 현행(現行) 표층(表層) 추비법(追肥法) 보다 더 증수(增收)가 가능(可能)하였다. 8. 이상(以上)과 같은 결과(結果)로 보아서 Ball Complex 비료(肥料)는 현존(現存) 비료(肥料)의 시비(施肥)보다 추비효과(追肥効果)가 컸으며, 추비(追肥) 방법(方法)은 심층(深層) 추비(追肥)가 현행(現行) 표층(表層) 추비법(追肥法) 보다 훨씬 좋았다.

• 미술이론과 현장
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• 제5호
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• pp.43-80
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• 2007

PASKYULA was formed in September, 1923 through the union of artists involved in two art groups: Kim Ki-Jin, Kim Bok-Jin, Yeon Hak-Nyeon who had previously participated in the ToWolHoi, and Park Young-Hi, Lee Sang-Hwa, An Seok-Ju, former members of the BaeckJo. After its founding, the PASKYULA artists had been searching for the social function of art to reform the harsh reality of Minjung and the nation with criticism toward society as well as art world. Their art theory for MinJung could grow relatively ease in relation to changing social and political conditions in the early 1920s. In August, 1925, PASKYULA organized the Korea Artista Proletaria Federatio with the YeomGunSa, and laid the groundwork for Proletariat art movement which was regularized in the late 1920s. From PASKYULA up to the early state of KAPF, the theory of art advocated by Kim Bok-Jin and An Seok-Ju could be summarized as "art for MinJung". At that time, widely ranging discourses on MinJung, however, was spawned in art theory, because many intellectuals-including artists and writers-begun to pay more attention to MinJung, who emerged as one of the social forces after the Samil Independent Movement. Sometimes, MinJung was construed as the target of enlightenment from a negative viewpoint. On the other hand, several intellectuals under the influence of individualism asserted that the discussion itself on MinJung exerted an evil influence on art. In contrast of these cases, the PASKYULA artists including Kim Bok-Jin, An Seok-Ju perceived that MinJung had the potential to change society, and regarded them as "a creator of genuine civilization and art". In the PASKYULA artist's writings, the concept of MinJung was often overlapped with the meaning of the Choson nation suffering under colony. Although their concept of MinJung was transformed gradually into the proletariat as they were under the strong influence of socialism, it did not change that they grasped the realities of the whole Choson Peninsula through the proletarian consciousness. In the early state of PASKYULA, the methodology for social function of art was presented in a twofold manner. First of all, Kim Bok-Jin emphasized on the necessity of education to improve MinJung's way of life through art, and it was embodied by the organization of ToWol Art Workshop and public lecture. Also, he championed "the popularization of art", which was one of methods to distribute art to MinJung. According to the PASKYULA artists, art should be not art for art' sake but art for MinJung. That was why they advocated the convergence of art and MinJung's life. Especially Kim Bok-Jin affirmed a link between art and industry because he considered industry the field inextricably linked with MinJung's life. In this context, his idea could be read as the generalization and equalization within the framework of possession. Kim Bok-Jin thought that the social ramifications of capitalism deprived MinJung of their right to enjoy art, and emphasized the artist' social role to return the right to them. That is, the even distribution of art was mainly discussed than the contents of art in the half of 1920s. By 1925, the contents of art itself became an issue in the PASKYULA art theory, and it was based in realism. Kim Bok-Jin and An Seok-Ju insisted that art should be reflection of real life. At that time, realism acquired the representation of MinJung and the nation's realities not realistic style. In fact, the various Western art styles including Futurism, Constructivism, Cubism etc. were exploited in the PASKYULA's visual images. Western art, target of criticism on theory, was selectively adopted in the works which were produced by Kim Bok-Jin and An Seok-Ju. Kim Bok-Jin's MoonYeUnDong cover design was conceived of as the example in which Western art was adopted with it's ideology under the influence of MAVO, while Western art shown in An Seok-Ju's illustrations served as a decorative function in many cases. Especially, An Seok-Ju attempted the various styles of Western art simultaneously, which may be seen as representing that PASKYULA did not have a firm ideology for their style. Also, it can be read as showing his hasty zeal to overcome Western art rapidly. The wish to establish "art for MinJung" as soon as possible was accompanied with the will to jump over the all steps of Western art though it was superficial. This aspiration of PASKYULA was expressed through the mass media, which had the potential for communicating to MinJung. At this point, there was a significant disparity between PASKYULA and another art groups in the first half of 1920s. However, the PASKYULA's method on the basis of the mass media could not but have a certain limitation because of the medium's properties. Nevertheless, PASKYULA' attempts may be considered to be valuable in sense that they expended the boundaries of Korean modern art into the commercial art questioning the matter of the distribution for art.

• 동남아시아연구
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• 제20권3호
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• pp.263-297
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• 2010

The relics of the Southeast Asian civilizations in the first phase are found with the relics from India, China, and even further West of Persia and Rome. These relics are the historic marks of the ancient interactions of various continents, mainly through the maritime trade. The traces of the indic culture, which appears in the historic age, are represented in the textual records and arts, regarded as the essence of the India itself. The ancient Hindu arts found in various locations of Southeast Asia were thought to be transplanted directly from India. However, Neither did the Gupta Hindu Art of India form the mainstream of the Gupta Art, nor did it play an influential role in the adjacent areas. The Indian culture was transmitted to Southeast Asia rather intermittently than consistently. If we thoroughly compare the early Hindu art of India and that of Southeast Asia, we can find that the latter was influenced by the former, but still sustained Southeast Asian originality. The reason that the earliest Southeast Asian Hindu art is discovered mostly in continental Southeast Asia is resulted from the fact that the earliest networks between India and the region were constructed in this region. Among the images of Hindu gods produced before the 7th century are Shiva, Vishnu, Harihara, and Skanda(the son of Shiva), and Ganesha(the god of wealth). The earliest example of Vishnu was sculpted according to the Kushan style. After that, most of the sculptures came to have robust figures and graceful proportions. There are a small number of images of Ganesha and Skanda. These images strictly follow the iconography of the Indian sculpture. This shows that Southeast Asians chose their own Hindu gods from the Hindu pantheon selectively and devoted their faiths to them. Their basic iconography obediently followed the Indian model, but they tried to transform parts of the images within the Southeast Asian contexts. However, it is very difficult to understand the process of the development of the Hindu faith and its contents in the ancient Southeast Asia. It is because there are very few undamaged Hindu temples left in Southeast Asia. It is also difficult to make sure that the Hindu religion of India, which was based on the complex rituals and the caste system, was transplanted to Southeast Asia, because there were no such strong basis of social structure and religion in the region. "Indianization" is an organized expansion of the Indian culture based on the sense of belonging to an Indian context. This can be defined through the process of transmission and progress of the Hindu or Buddhist religions, legends about purana, and the influx of various epic expression and its development. Such conditions are represented through the Sanskrit language and the art. It is the element of the Indian culture to fabricate an image of god as a devotional object. However, if we look into details of the iconography, style, and religious culture, these can be understood as a "selective reception of foreign religious culture." There were no sophisticated social structure yet to support the Indian culture to continue in Southeast Asia around the 7th century. Whether this phenomena was an "Indianization" or the "influx of elements of Indian culture," it was closely related to the matter of 'localization.' The regional character of each local region in Southeast Asia is partially shown after the 8th century. However it is not clear whether this culture was settled in each region as its dominant culture. The localization of the Indian culture in Southeast Asia which acted as a network connecting ports or cities was a part of the process of localization of Indian culture in pan-Southeast Asian region, and the process of the building of the basis for establishing an identity for each Southeast Asian region.