• 미술이론과 현장
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• 제1호
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• pp.145-168
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• 2003

Im 18. Jahrhundert stritt man urn allgemeing$\"{u}$ltige Kriterien f$\"{u}$r die Kunstkritik, welche ebenda aufzubl$\"{u}$hen begann. Im Zentrum dieser Auseinandersetzung, die uns als "Laokoon-streit" bekannt ist, befanden sich Johann Joachim Winckelmann einerseits und ein franz$\"{o}$sischer Bildhauer Etienne-Maurice Falconet(1716-1791) andererseits. Die beiden waren von ganz unterschiedlichen Kunstideen $\"{u}$berzeugt. Obwohl sie niemals zusammentraf, fielen sie in eine heftige schriftliche Diskussion. Wie bekannt, vertrat Winckelmann den aufkommenden Klassizismus. Er setzte die griechische Kunst auf die h$\"{o}$chste Rangstufe auf und bezeichnet sie als Tr$\"{a}$ger der sogenannten "edlen Einfalt und stillen Gr$\"{o}{\beta}$e, die sonst in der Natur verborgen bleibe. Nach Winckelmann sollte der K$\"{u}$nstler die griechischen Vorbilder wie Apollo von Belvedere und Laokoon nachahmen, um das wesentlich Sch$\"{o}$ne zu erlernen. Falconet $\"{u}$bte eine scharfe Kritik gegen die Meinung Winckelmanns und die Diletantismus in der Kunstkritik aus. Selbst als Theoretiker warf er vor, dass die Klassizisten um ihr dogmatisch struktuiertes Lehrgeb$\"{a}$ude willen alle andere Eigenschaften der Kunst sowie Kunstwerke $\"{u}$bersahen und ihre Apotheose der klassischen Kunst auf die Entwicklung der Kunst eher als Hindernis wirkte. Im besonderen Hinblick auf den Ausdruck der menschlichen Leidenschaft distanzierte Falconet sich von der Lehrmeinung des Klassizismus, n$\"{a}$mlich Zur$\"{u}$ckhaltung derselben Leidenschaft wegen der idealen Sch$\"{o}$nheit. Vor dem Laokoon teilten Falconet und die Klassizisten ihre Meinung un$\"{u}$berbr$\"{u}$ckbar voneinander. F$\"{u}$r diese war der Laokoon die Repr$\"{a}$sentation des erhabenen Menschen, der leidet, ohne seinen Affekt zu enth$\"{u}$llen. Im Gegensatz sah Falconet in demselben Werk einen erlungenen Ausdruck des menschlichen Gef$\"{u}$hls. Sein Deb$\"{u}$twerk ist also die Visualisierung seiner Kunstauffassung. Unter Einfluss Pierre Pugets sowie seines Lehrers Jean-Baptiste Lemoyne bem$\"{u}$ht er sich darum, den Ausdruck der menschlichen Leidenschaft durch kunsttechnische Leistung und wissenschaftliche Forschung zu erstarken. Daraus ergab sich die expressive Ausdrucksform des Affekts. In diesem Fall verband sich Falconet mit der Tradition des barocken Kunstwollens, aber er ging einen Schritt weiter, indem er die Ausdrucksweise noch realistischer und lebendiger zu machen vermag. Faconet war vielleicht der einzige K$\"{u}$nstler, der Vorteile det barocken Kunst ausnut zen konnte, ohne dabei die klassische und realistische Formensprache zu verlieren. Dutch sein Werk und seine theoretischen Schriften er$\"{o}$ffnete er neue Prinzipien sowohl f$\"{u}$r die Kunstpraxis als auch f$\"{u}$r die Kunstkritik, deren wesentliche Sinn jedoch erst in der Romantik anerkannt wurde.

• Strategy21
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• 통권41호
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• pp.174-207
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• 2017

Human history shows diverse strategies for survival and prosperity. This study introduces the concept of the expansion of wealth as a key to explain choice and behavior of political entities. American scholar, -Bruce Bueno de Mesquita-, offers theoretical grounds for this concept in that the cores of selectorate theory is settled. The political entity consists of two groups, -the winning coalition that has power to replace leader and non-winning coalition that has not. Leaders implement policies serving for the welfare of winning coalition in return for their loyalty. Both internal problems caused by demographic changes and external ones of climate changes, epidemic disease, or invasion compel leader and winning coalition to adopt policies of expansion that they believe may lead to the acquisition of wealth needed to counter those problems. The process starts by occupying one spot where other entities reside and then connecting it to its own. The line between spots functions as a foothold to form a new line to other spots. By repeating this process, a space is created in which new laws and orders are instated. In the early stage of expansion, war is hardly avoidable. Once finished successfully, the political circumstance tilts to encourage economic activities in order to generate national revenues to strengthen political power of winning coalition. However, as scale of economic activities grows, so does political power of civic classes in production and trade. To gain financial support required to run the political entity, delegation of power or bestowing autonomy to non-winning coalition is inevitable. Thus, expansion is not the ultimate solution, only to prolong the political survival if succeed. Maritime power came to attractive option when overland expansion had become obstructed. It offered much greater advantages in terms of political risks and financial burdens in exploring new regions of precious commodities than overland expansion. Each political entity around world have been, for the first time in human history, connected by maritime means since 15th century. It is worthy of noting that land conditions propelled people out to sea. Political and economic situations created opportunities to exploit geographical position in pursuit of wealth. In the 21st century, we witness the operation of international winning coalition that presides over the rules of expansion. Competing for market is synonymous to the expansion in this era, the cause and aim of it has not been changed though. Energy and dollars are key factors of expansion since the end of the 2nd world war. No matter what the forms and conditions change, naval power is still the most relevant means for expansion as it retains unique characters of maneuver, flexibility, continuity, display and projection of power. The strategy for using naval power should be in line with two different approaches for expansion: Approaches to the international winning coalition by making contribution to world order, and approaches to the non-international winning coalition by enhancing military diplomatic activities. The former will serve our share of winning coalition while the latter will open chances to acquire further prosperity.

• 미술이론과 현장
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• 제14호
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• pp.7-32
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• 2012

The exhibition was started in 2010 in the New Acropolis Museum of Athens and embarked a journey since 2011 as a travelling exhibition inside Greece and abroad. The main purpose of the exhibition was to draw attention of the general public to the value of the 'rescue excavation' and of cultural heritage of Greece, by presenting the reconstruction bust of a girl whose skull was found in Kerameikos cemetery of ancient Athens. The new Kerameikos excavation was initiated by the construction of Metropolitan Railway lines in the center of Athens between 1992 to 1998. It revealed a pit of a mass burial where about 150 people were inhumed in a very hasty way without proper funeral rites or offerings. These bodies are identified as the victims of the infamous plague of Athens in the first years of the Peloponnesian War(430-426 BC). The epidemic disease killed almost one third of the city population including Pericles, and brought extreme fear and panic to the Athens society. The traditional funerary rites were totally disrupted, and the social decorum and the morality among the citizens became enfeebled. The plague and the civil war were the decisive factors to end the Golden Age of Democratic Athens. However, the exhibition organizers did not focus on the tragic aspect of this disaster and its casualties. Their main concern was to simplify the scholarly works of archaeological excavation and microchemistry analysis so that the exhibition viewers will easily understand and empathize the living value of the scholarly works of ancient Greek civilization. The centripetal element of the exhibition was the vivid face of an 11 years old ancient girl 'Myrtis', which was carefully reconstructed based on both the scientific data and artistic imagination. Also the set up of the exhibition was structured in order to stimuli cognitive and emotional experience of the visitors who witnessed the rebirth of a vibrant human being from an ancient debris. The museologists' continuous efforts to promote projects of contemporary artists, publications, and school programs related to the exhibition indicate that the ulterior motive of this exhibition is the cultural education of the present and future generation through the intimate experiences of ancient Greek life. Also this is the reason why the various museums that held the travelling exhibition try to make the presentation as a gesture of memorial service for an anonymous Athenian girl who deceased circa 2400 years ago. The pragmatic efforts of Greek scholars and museologists through exhibition show us a way to find a solution to the continuous threat of cultural resources by massive construction projects and land development, and to overcome public indifference to the history and cultural heritage.

• 한국조경학회지
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• 제17권1호
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• pp.1-16
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• 1989

^x As mentioned above, I consider the change of role that is related with Japanese thought of Natural Environmental Conservation, and I divide each part of periods into forest, farmland, open space, urban planning, environmental conservation etc. To summary the content of each period of Natural Environmental Conservation thought is as follows. 1) Previous period before formation(before 1919) In the previous period of Meiji, it could be said that the consciousness of the Natural Environmental Conservation was coming to existence. In this, so called, Natural Environmental Conservation, the thought of Forest Preservation was the main current and it was the thought of territorial integrity for the security of resource, the forestry conservancy and flood control in the forestry farmland. Since the age of Meiji, the theory of Natural Conservation appears from the theory of Japanese landscaping and systematic management about public parks was enforced, but the regular theory of Natural Environmental Conservation did not attain full growth. 2) The period of formation(1919~ 1954) In the period of formation, the base of Natural Environmental Conservation had been established. Parks and Open spaces were admitted as a public facilities in each city, and legislations which supported it had been continuously enacted and so on. In this period, the afforestation counter plan was emphasized on the side of territorial integrity. In the mountainous district. tree planting was emphasized to recover the forest which had been destroied by war. 3) The period of development(1955~ 1974) In the period of development, varied policies was institutionalized for the Natural Environmental Conservation. However, all sorts of development policy had performed simultaneously, thus development had complicated relation with preservation. But after 1970's the framework of system of Natural Environmental Conservation improvement was constituted to control the many kinds of development, and the spontaneous campaign of nature preservation by private lead was being taken root. This is the more progressive period. 4) The pried of root(after 1975) After the latter of 1970's, the role of Natural Environmental Conservation began to take root not in the direction of control but inducement, and, getting out of development - oriented policy, aimed at relation between human being and natural environment and the side of amenity of human environment. Besides, the current of Natural Environmental Conservation had been seperately progressed in the cities and forests. Since this period, it was the character that cities and forests began to be unified as 'amenity'space of man.

• 해양안보
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• 제1권1호
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• pp.215-240
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• 2020

2017년 8월 미(美) 국방성 산하 DARPA(Defense Advanced Research Projects Agency)는 "모자이크전(mosaic warfare)"이라는 새로운 전투방식을 제안하였다. DARPA의 전략기술국장(Director of Strategic Technology Office) Timothy Grayson에 따르면 모자이크전이란 "지정된 위치에 딱 들어맞아야 제 역할을 할 수 있는 특정 모양의 "퍼즐조각(puzzle pieces, 특정임무가 지정된 플랫폼)"이 아니라 호환 가능한 "타일(tile, 센서 및 타격 기능)"이 복합체계로 구성된 전투방식"이다. 모자이크전 이론 및 최근 동향을 살펴보기에 앞서, 모자이크전에 대한 배경과 몇 가지 핵심전제를 분석하였다. 미 국방성은 중국 A2/AD에 대한 자국 자산의 방호가 극도로 제한된다는 점을 암묵적으로 인정하고 있다. 또한 미국은 여전히 다른 나라의 영토와 영공에서도 완전한 군사적 우위를 추구하고자 한다. 미국은 모자이크전을 통한 재빠른 전투손실 회복력, 인명피해 최소화로 대량의 물량이 필요한 소모전도 감수할 수 있을 것이다. 모자이크전의 핵심은 "의사결정 중심전(Decision Centric Warfare)"이다. 이를 구현하기 위해 아군에게는 적응력과 융통성을, 적에게는 복잡성과 불확실성을 제공하는 것으로, 인간의 "지휘(command)"와 기계의 "통제(control)"를 결합·활용하여 분산된 전력의 신속한 구성 및 재구성한다. 이를 통해 우군에게 더 많은 방책을 제공하고, 궁극적으로 상대의 의사결정 체계(OODA loop)를 붕괴시킨다. 이런 모자이크전 수행을 위한 핵심 요소는 적응형 킬웹(Adaptable kill web), 조합형 전력 패키지, 인공지능, 상황중심 C3 구조 등이 있다. 최근 CSBA(Center for Strategic and Budgetary Assessments)에서는 모자이크전의 의사결정과 관련하여 의미 있는 워게임 결과를 발표했다. 전통적인 전투수행 조직/방식(전통적 팀)과 모자이크전 수행방식의 팀(모자이크팀)간 분명한 차이점이 발견되었는데, 모자이크팀에서 더 많은 동시다발적 작전 수행 및 복잡성으로 상대의 의사결정 체계를 압도하고, 우군의 인명손실은 적었다. 또한 우군의 의사결정 속도를 증가시켜 지휘관 작전적 템포를 보다 신속하게 할 수 있었다. 한국군의 발전방향으로 우선 우리 안보환경을 고려한 '모자이크전'에 대한 연구와 발전이 필요하다. 미래전에 대비하여 영역에 상관없이 전력을 조합할 수 있는 전반적 군 구조를 검토해야 한다. 제한된 국방재원과 예산을 고려하여 선택과 집중이 필요하며, 주변국의 미래전 발전 동향에 대해 예의주시해야 한다.

• 미술이론과 현장
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• 제15호
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• pp.167-198
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• 2013

This paper explores rich and complex implications of Marcel Duchamp's Mile of String which he created for "First Papers of Surrealism," the Surrealist international exhibition in New York in 1942. Part of a larger project devoted to investigating Duchamp's role in Surrealist exhibitions and his relation to the avant-garde group, this paper focuses on Duchamp's exhibition installation in the 1942 show. Under the title of "g$\acute{e}$n$\acute{e}$rateur-arbitre" Duchamp played an important role as installation and exhibition designer in a series of major Surrealist exhibitions in the 1930's-1960's. The "First Papers of Surrealism" was held by Surrealists who exiled in New York during World War I, and Duchamp created a labyrinthine installation of string for the exhibition, which physically blocked the spectator and optically hindered his or her contemplative view. Unraveling the intricately related meanings of Mile of String as an independent work of art and an installation for a specific exhibition, I examine the work on two levels: first, how the work was situated in the context of Duchamp's oeuvre, particularly his earlier work employing string or thread; second, how and in what way the installation rendered a critique on Surrealism as a group and an avant-garde movement. More specifically, by exploring the concepts of 'pataphysics' and voluntary 'nomadism' implicated in Duchamp's work, I suggest that his Mile of String asserted a critical stance against nationalism and collective identity of Surrealism and manifested a radical individualism founded upon what he called the spirit of 'expatriation.'

• 한국지역지리학회지
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• 제10권2호
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• pp.235-251
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• 2004

이 논문은 한국지리학계의 중국연구에 대하여, 시기별, 분야별, 연구지역별로 나누어 경향을 검토하고 있다. 1945년 이후 1990년대 초반까지 남한에서는 중국과의 교류가 사실상 단절되어 있었고, 따라서 중국에 대한 지리학적 연구는 심각하게 제한되어 있었다. 그러나 1980년대 중반 이후, 특히 1992년 한 중 국교 수립 이후 교류가 가능해졌으며, 이에 따라 지리학분야에서도 중국에 대한 연구가 활발하게 이루어졌다. 중국연구는 2003년 12월 현재까지 89편의 논문이 발표되고 9명의 박사학위취득자가 배출되는 등, 양적으로나 질적으로 한국 지리학계에서 가장 빠르게 성장한 분야 중의 하나이다. 초기에는 옌볜을 중심으로 한 동포학자들의 기여가 컸으며, 시간이 지나면서 국내 학자들의 연구도 활성화되었다. 특히 도시지리 및 경제지리 분야에서의 연구가 많았다. 이러한 성과에도 불구하고, 이론의 구성과 개발, 연구 주제의 다변화, 중국 내 지역에 기반한 연구 둥의 과제를 안고 있다.

• 미술이론과 현장
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• 제4호
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• pp.7-32
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• 2006

This study is about the cultural policy related to fine art under the U. S. Military Government in Korea(USAMGIK), from September 8, 1945, to August 15, 1948. Drawing on the previous studies of Korean art history in the 'Liberation Period', this study especially concentrates on intention, attitude and activities of the USAMGIK. Particularly the historical documents, stored at the National Archives at the College Park, Maryland, U.S.A., were valuable to do research on the cultural policy of USAMGIK. The cultural policy was subordinated to the political objectives of occupation that can be summarized to building a stronghold of anti-communism in South Korea. Under the U.S. Military government control, cultural matters were assigned to the Cultural Section, the Bureau of Education, which later turns into the Bureau of Culture, the Department of Education. The Bureau of Culture dealt with matters of the ancient Korean art treasures and of the Korean contemporary art. USAMGIK reopened the Korean National Museum which had been closed by the Japanese since the World War II period. After that, U.S. Department of State sent arts & monuments specialists to South Korea for investigating ancient Korean art and culture. Although some of the destructed art treasures were restored during the occupation, th ere were many negative cases including intentional destruction of historic sites or loot of art treasures by U.S. army. In contrast to their interest in the Korean antiquities, USAMGIK payed little attention to promoting the Korean contemporary artists and their arts. USAMGIK distrusted and suppressed the artists of leftism, while they kept good relations with the pro-American artists and the right-wing artists. In conclusion, the visual-cultural policy of USAMGK was mainly planned and carried out in order to preserve the national interest of the United States. This period produced long-term effects on the fine art and visual culture of South Korea, in terms of institution, policy, and reorganization of art community based on anti-cummunism.

• 한국조경학회지
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• 제26권2호
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• pp.1-14
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• 1998

The purpose of this study is to find out how the urban landscape of Korea, especially Seoul, changed during the last half century since 1945. The modernization of Korea, which had begun in 1960's after the chaotic period caused by Korean War, influenced the rapid growth of cities and the radical changes of its structures. But the Western-minded planning theories based on rationalism and positivism was directly applied in developing our traditional cities and consequently the modern urban landscape including urban pattern, architectural style, and commercial and residential landscape revealed disharmony, discrepancy and inconsistency in skylines, streetscape and so on. The findings are summarized as follows. 1. Because the urban structure and pattern changed in undesirable manner in terms of land use and traffic circulation, cities as a whole resulted in exclusive and heterogeneous landscape, and citizens lost their identity and felt alienated. 2. Because the architectural forms of important and monumental buildings which influenced the character of streetscape were not so successful in inventing contemporary Korean Style in true sense, we still have difficulty in creating the urban landscape of originality and legibility. 3. Because from the beginning of this era almost all highrise buildings were designed by modernism-oriented western architects, the commercial landscape of central cities did not evoke a sense of place, and after the introduction of postmodernism this tendency is ore striking even in everyday ordinary streetscape. 4. The newly formed residential landscape which was mainly composed of highly dense and highrise apartment, not only evolved very overwhelming and ugly visual impact but also exposed many social problems in living condition, neighboring and face-to-face contact. In conclusion, in ordr to define the 'Koreanness' of our urban landscape, we have to struggle to combine traditional architectural heritage and native townscape with Western shape, thought and theory, no matter how difficult it may be.

• Strategy21
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• 통권42호
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• pp.224-257
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• 2017

As the Trump administration withdraws the Paris Climate Agreement and shows its antipathy toward free trade, the U.S.'s soft power is most likely to weaken and its behaviors could be perceived as acts to surrender the U.S. hegemonic leadership in the world stage. Hegemonic stability theory notes that the existence of a hegemonic power contributes to international stability in the sense that it provides international public goods. A lack of the U.S's leadership in international politics, however, could be recognized as its denial of a hegemonic status. Is it intentional or accidental? The U.S's denial of hegemonic roles is the byproduct of the Trump administration's "American First" policy, not the showcase of its intention to transit hegemony to others. What is noteworthy is that China targets a niche market of hegemony as the U.S. denies its roles as the international leader. Put it another way, China attempts to ride hegemony for free when the U.S. denies its hegemonic roles accidentally. Faced with a niche market of hegemony, China has begun to accelerate its national strategy to make "Chinese Dream" come true. To that end, China promised again to keep the Paris Climate Agreement and attempts to play more active its roles in Shanghai Cooperation Organization(SCO), Asia Infra Investment Bank(AIIB), and "One Belt, One Road". Despite all these efforts, the U.S. is most likely to withdraw its denial of hegemony any time soon. The U.S's resumption of Freedom of Navigation Operations(FONOPs) could be a precursor of the return to a hegemonic power's willingness. In this vein, it is noteworthy that the South China Sea serves as a quasi-war zone for hegemonic conflict.