• 조형예술학연구
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• 제1권
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• pp.125-164
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• 1999

The Grid, a lattice structure adapted in paintings, is one of thesimplest plastic structures based on the intersection of horizontal and perpendicular lines. Though mankind has, from the pre-history to the present day, put it to good use in everyday life as a traditional practice or a magical, esoteric, religious emblem in the case of the teciform of primitve art, it was in the paintings of Piet Mondrian that the Grid showed its modern, artistic transformation. As we suggest in the title, before I state the Grid as a plastic construction of modern painting, this dissertation inquires the Grid structure that extends over paintings through the ages as a painterly conept, especially focused on their formation and deconstruction. To begin with, my dissertation investigates, as a historical background, a general idea of the geometrical structure and phases of its transition in art, prior to dealing with the Grids as plastic strures in modern painting. the core of my study on formal Grids is permeated through the third chapter. The first chapter concentrates on, firstly, difining the notion of the Grid and geometrical structure, secondly, searching for a historical backgrounb with whict the so- called modern Grid-paintings come in, inquiring into the formation of the illusion-Grid as aresult of discovering the linear perpective and the situation of the conflict and reconciliaton between reality and illusion. Based on these considerations, the second cecond chapter will examine the various sitations of formation and adaptation of the paintery Grids in the Literalism-Grid, as we have already seen in the chapter one. And the cardinal third chapter devotes itself to the process of the formation of the so-called Object-Grid and Literal-Grid in the Literalism or Minimalism as its logical extension of the Painterly Grid. With it we can get to an interpretation and understanding of the meaning and qualites of Grid dwelt in Modernism thst transformed the structure of Painterly Grid originally as a plane concept to the third dimentionl structure. And then, the fourth chapter, we try to draw a new meaning andre-interpretation of the Formal-Grid as a representatuinnal structure appeared in the post-modernist paintings, going with its deconstructional situation. Therefore, we can, in our study on Grids, see the various points of view in the interpretation of them as illusion-structure, as plane-structure, and as cubic-structure; its concept differs form times, oscillating between its formation and deconstruction. The Grid, as we have seen in my dissertation, contains various problems and significations in art that deserve to investigate throughly, including some important plastic problem such as space and plane, and, in the case of do-grid, time. We may expect new concepts of it that will have difference meanings. 1 hope my study makes some contributions to understanding the coordination of the abstruse modern and contemporary art.

• 한국가금학회지
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• 제6권2호
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• pp.91-102
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• 1979

The basic problem of the broiler industry is that of fluctuating prices, mainly thanks to unstable supply of and inelastic demand for products as usually indicated as a peculiarity of agricultural commodities. This particularly brings the producer to a great economic risk, because he has to sell products under the condition of pure competition, whereas others from whom he has to buy deal under the condition of oligopoly or even monopoly. Therefore, producers economic position is generally placed in the worst comparing others dealing with, which results in unbalanced economic status of elements involved in broiler operation and further obstruction of industry development as a whole. A certain type of business coordination to overcome such a problem should be measured in order to improve the efficiency of entire operation and thus assure the balanced industry development. The concept of the economic integration developed in modern business system had been adapted to U.S. poultry industry which became common later around the world as a means of stabilizing producers price and whole industry as well. There are two main typos of integration; horizontal and vertical The former refers to the general grouping of similar business units, eg. a hatchery tying with other hatchery, while the latter refers to the knitting together of two or more stages of economic activities, eg. tying together among units of hatching, fled milling, production, processing and marketing. By having the industry integrated, risk and uncertainty involved in various stages of operation could be diversified. The typo of integrating contract between producers and integrators include the share of profits, flat fee payment, feed conversion payment and salary basis. In the U.S., extensive changes in production, processing, and marketing during the last few decades have changed the thicken broiler industry from one of small, widely scattered farms to one that is largo, concentrated and efficient. More than 99 percent of all broilers produced are grown under contract and by integrated firms which vary in size of operation and complexity. About 84 percent of all production is concentrated in 10 States. Some of the other factors ;hat contributed to these choses arc costs, energy use, prices, processing, marketing and demand. No integrated broiler production system has yet been applied in Korea's poultry industry, thus all stages all broiler operation run independently seeking for its own profit. Consequently, producers price fluctuate very widely around the year even more than 50 percent in a few months. This also leads to disadvantages of material supplies, processors and distributors and enforce the industry unstable. The current economic environment in Korea seems that the time for broiler integration comes and as an ideal integrator, feed millers, food processors and producers group may be considered.

• 헤리티지:역사와 과학
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• 제54권1호
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• pp.184-205
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• 2021

사회 운영 및 공공 정책 관리의 새로운 개념과 원리로서 거버넌스가 중시되고 영향력도 점차 강화·확산되고 있다. 다양한 거버넌스 이론과 사례 분석 연구가 활성화되는 가운데 여러 거버넌스 개념을 포용하면서 참여와 타협을 넘어 상호의존성과 책임감을 높이고 최적화된 사회적 조정 양식을 혼합·활용하여 새로운 공공 가치를 창조하는 협력적 거버넌스 개념이 주목받고 있다. 문화재 분야에서도 공공 정책 집행의 효율성과 지속가능성, 공공 서비스 확장성을 위해 거버넌스 관련 연구가 이어지고 있다. 본 연구는 협력적 거버넌스의 정부 역할론(촉진·중재·여건조성)에 주목하면서 문화재 분야 협력적 거버넌스의 운영 체계를 파악하고자 '문화재지킴이' 정책을 연구 대상으로 삼았다. 문화재 분야 거버넌스 정책의 흐름 속에서 문화재지킴이 정책의 도입과 전개 과정, 운영 방식 등을 통해 문화재지킴이 정책의 위상과 역할, 특징을 조명해보았고 협력적 거버넌스 관점에서 전반적인 참여 주체와 협력 구조, 협력 방식과 상호작용, 정책적 특징의 분석과 함께 문화재지킴이 정책의 파트너십 부문은 안셀·개쉬(Ansell & Gash) 모형의 분석틀로 활용하여 세부적인 협력 체계와 작동 방식을 확인하였다. 문화재지킴이 정책의 특징과 분석 결과를 보면 문화재 분야에서 민간 주도 또는 수평적 민관 협력의 협력적 거버넌스로 본격화된 정책적 대표성을 갖는 점, 민간 모델의 정책 도입과 연대 및 전담 조직과 전문 인력이 주요한 성공 요인으로 작용한 점, 그리고 모형 분석에서는 자원·지식의 불균형과 협력 선례 등이 참여 유인 증가의 배경이 되고 다자간 협력 지향의 개방성과 포괄성, 전담 조직의 공공 리더형 리더십과 참여기관의 오너십 확장, 협력 과정의 순서 재배열 등을 확인할 수 있었다. 한편 정책 운영의 환경과 조직, 협력 방식에서 한계를 가져 협력 중심의 포괄적인 법률적 안정성 구축, 전담 조직의 전략적 개편, 중간 지원 조직의 역량 강화와 지원, 분야별로 개별적·다자간 협의체 운영 등의 활성화 방안을 제시하였다.