• 영어영문학
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• 제56권2호
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• pp.357-382
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• 2010

Motherhood as an ideological construction has been regarded as an oppressing apparatus enforced by patriarchism. On the one hand, demystifying motherhood helps expose dehumanization of women, and accordingly liberate women from being an ideal mother. On the other hand, however, feminists' attempts to unearth the distorted images of mothers result in devaluation of such values as love and sacrifice attached to motherhood. "Tell Me a Riddle" by Tillie Olsen, who is a declared socialist as well as a feminist, occupies a significant position in a sense that it neither condemns motherhood as evil nor idealizes it. Through the main character, Eva, it examines the meaning of motherhood in a way that a real mother experiences it in a real life, and thus Olsen challenges the readers to ponder upon the mothers' dilemma: a conflict between a desire for self-fulfillment and sacrifice for others. Eva, a mother of seven grown-up children, and now dying, shows an ambivalent attitude toward motherhood. She realizes that she is a victim of idealized motherhood in that, toward the end of her life, she feels uncomfortable accepting her personal desires as they are. Yet at the same time, she appreciates her experiences as a mother in that she could consume her passion for the ideals as she has spent her youth working toward, trying to construct an idealistic socialist country. Eva's real ideal, as a human being, is to live "with" others, not just "for" others. In other words, she does not want to allow herself to live only for others in the name of the mother because she does not have any alternatives to do otherwise. Rather, she desires to live a life of voluntary sacrifice and love. In this way, through Eva, Olsen tries to help us to construct a community where we--not just mothers-can live "with" others.

• 대순사상논총
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• 제21권
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• pp.409-452
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• 2013

This paper aims to cast light on the theoretical characteristics of Korean new religions' utopian theory from the perspective of theology and apply the findings to the utopian theory of the new religions in Korea. The utopian theory of the new religions in Korea occurred to meet people's aspiration towards a new world on the background of the national ordeal and its consequential psychology in the late Chosun dynasty. As a result, it has the characteristics of a shift from a pure religious framework to participation in reality to realize religious ideals 'right here, right now'. Thus, it basically defined an utopian theory as the product of a society and history, and explained the utopian theory as the projection of the thoughts about current conflicts. However, an approach in this way may leave the likelihood that the individual characteristics of Daesoonjinrihoe would be overlooked and the utopian theory would be limited to the byproduct of the age, only. Thus, this paper has dealt with the religious experience of the founders as the lead of discussion, not a sociological approach. In this context, the religious experience of founders can be more significant clues to view the characteristics of an utopian theory. This directivity of a study can be understood as an attempt to improve the previous sociological methodologies, the leading discourses, and to contribute to the different perspectives on an understanding of the utopian theories of Daesoonjinrihoe. Furthermore, this paper is anticipated to give salience to the individual characteristics reflected in the new religions in Korea and to enhance its status in the history of thoughts, not as the trend of the thought limited to the past.

• 한국심리학회지 : 문화 및 사회문제
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• 제23권1호
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• pp.25-52
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• 2017

본 연구의 주요 목적은 공익제보 과정에서 공익제보자들이 경험하는 동기, 기대, 결과, 태도의 측면을 탐색하는 것이다. 이를 위해 전국에서 공식적으로 공익제보자로 등록되어 있는 공익제보자 14명을 대상으로 얻은 인터뷰 자료를 현상학적 접근에 기초해서 분석하였다. 그 결과 동기적 측면에는 직업정신과 도덕적 가치 특성이 두드러진 것으로 나타났고, 이들이 기대하는 것은 공익의 증가와 공적 지지였다. 그러나 결과적으로 돌아오는 것은 개인의 피해 경험과 사회적 관계 파괴, 조직적 차별 처우 등의 부정적인 결과가 압도적으로 많았으며, 일부 긍정적인 사회변화의 경험이 포함되어 있었다. 즉, 공익제보자들이 기대한 것과 현실간의 괴리는 상당히 큰 것으로 나타났다. 그럼에도 불구하고, 이와 같은 상황에 다시 처하게 되는 경우 공익제보에 대한 태도를 분석했을 때, 제보의지가 매우 높게 나타났다. 또한, 공익제보에 따른 부정적 결과에는 문화적 특성 중 수직적 집합주의의 영향력이 큰 것으로 나타났고, 그 개선을 위한 제도적인 장치들이 제시되었다.

• 항공우주정책ㆍ법학회지
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• 제26권2호
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• pp.203-237
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• 2011

1957년 소련의 스푸트닉 위성 발사 성공에 이은 미 소간 그리고 이후 다수 국가에의한 우주의 군사적 이용 및 우주공간에서의 군비경쟁은 인류의 공동자산으로서의 우주의 평화적 이용을 규정한 우주조약(OST)을 비롯한 다수 국제 조약의 이념에 배치되고 있다. 동서냉전의 격화와 더불어 이 같은 우주에서의 군사적 이용 및 경쟁은 더욱 가열되어져 왔으며, 우주의 평화적 이용 이념은 침략적 목적이 아닌 한 사실상 군사적 이용이 가능하다고 해석되고 있다. 군사적 이용은 주로 우주공간의 위성을 공격하거나 위성으로부터 공격을 하기위해 지상-우주, 우주-우주, 우주-지상의 세 방향으로 핵무기, 운동/초고속 무기, 레이저, 분자 빔, 근접 폭발, 교란 무기 등 현재 및 미래에 이용 가능한 기술을 사용하고 있다. 우주에서의 군비 통제는 주로 UNCOPUOS를 중심으로 국제조약의 제정과 관련 국가의 많은 노력으로 이루어지고 있으며, 대량살상무기의 우주 공간에서의 배치가 금지되고 있다. 대표적인 국제사회의 군비 통제 노력을 열거하면 신뢰구축조치(CBM), 기존 조약 내용의 강화, 부분적 조치, 국가 및 지역적 접근, 종합적 접근, 법적 구속력 있는 대안 등을 통하여 추구되어지고 있다. 미국은 우주 선진국으로서 우주의 군사적 이용 면에서도 관련국가를 훨씬 앞지르고 있어 2000년대 초 우주조약에서 탈퇴함으로써 우주의 평화적 이용을 위한 국제사회의 노력과 엇 박자를 내고 있다. 우주에서의 군비 통제를 통하여 인류의 평화가 확보되고 환경보전이 이루어질 수 있도록 국제사회 및 관련 국가간 협력과 이행이 절실히 필요하다. 한반도에서도 북한의 핵실험 및 미사일 발사에 따른 핵무기 보유, 남한의 우주 로켓트 발사 등 제반 상황으로 볼 때 국제사회의 군비통제 노력에 적극 동참할 것이 요구되고 있다.

• 헤리티지:역사와 과학
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• 제55권2호
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• pp.50-64
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• 2022

본 논문은 2005년 전라북도 유형문화재로 지정된 전주향교 소장 완영책판 중 <동의보감> 책판의 현황과 그것의 문화재적 가치를 제고(提高)하는 것을 목적으로 한다. 전주향교 소장 완영책판은 전라감영에서 서적을 인출할 때 사용하였던 것이었고, 현재 10여 종의 책판이 전하고 있다. 1987년 전주향교의 장판각에 목재 서가를 설치하여 보존하였고 현재는 전북대학교박물관 수장고에 보존 관리되고 있다. 그 중 <동의보감> 책판은 1814년에 전라감영에서 인출한 『동의보감』 판본의 판목인 것으로 추정되고 있다. 『동의보감』의 가치는 이미 오래전부터 국내외에서 인정을 받았다. 1610년 편찬된 『동의보감』은 1613년 개주 갑인자 목활자로 처음 간행되었고, 간행된 이후 조선뿐 아니라 중국과 일본에서도 간행될 정도로 그 가치를 인정받았고, 2009년에는 『동의보감』 초간본이 유네스코 세계기록유산에 등재되었다. 이처럼 『동의보감』의 판본은 인정을 받아 온 반면 판본을 찍었던 책판에 대해서는 그 의미와 가치에 대해 조명한 사례가 극히 드물다. 이에 본 논문은 <동의보감> 완영책판의 현황을 분석해보고 그것이 가진 의미와 가치를 제고시키고자 한다. 『동의보감』초간본의 세계기록유산 등재 과정에서도 언급된 바와 같이 『동의보감』은 공공의료와 예방의학의 이상을 선포한 조선의 혁신적 지시에 따라 편찬되고 보급된 의학서이다. 그 과정에서 책판은 바로 전국적인 보급을 위한 조선의 의지를 실현시킬 수 있었던 중요한 도구였다고 볼 수 있다. <동의보감> 책판은 목판 쇄의 목적을 넘어 위정자의 애민정신이 깃든 것이며, 백성을 위한 의학 지식의 보급에 더 의미를 부여할 수 있는 것이었다. 따라서 이 글에서는 『동의보감』에 대한 전반적인 내용들을 점검해보면서 전북대학교박물관 수장고에 보관 중인 완영책판 <동의보감>의 현황과 함께 그것의 의미와 가치를 제고해 보고자한다. 완영책판 『동의보감』은 감영에서 제작한 것으로는 거의 유일하게 전하는 목판이라는 점과 책판은 목활자본과는 달리 완정한 판본을 오래 보존하고 널리 유포하려는 데 목적을 둔다는 점에서 완영책판의 의미를 찾고자 한다.

• 벤처창업연구
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• 제11권2호
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• pp.1-8
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• 2016

본 연구에서는 창업태도와 행동의도에 영향을 미치는 선행변수로 자기규제초점과 심리적 거리에 주목하였다. 자기규제초점은 향상초점과 예방초점으로 구분할 수 있다. 본 연구에서는 향상초점집단과 예방초점집단이 창업에 대한 심리적 거리에 따른 창업태도와 행동의도의 영향력을 이원변량분석을 통해 살펴보았다. 분석결과, 자기규제초점에 따라 창업태도와 행동의도에 차이가 나타났다. 즉, 예방초점집단보다는 향상초점집단에서 행동의도가 더 높은 것으로 나타났다. 심리적 거리에 따라 이들의 영향이 어떻게 달라지는지 살펴본 결과, 향상초점집단에서는 창업에 대해 심리적 거리가 멀 때보다는 가깝다고 느낄 때 창업태도와 창업의도가 높게 나타났다. 반면에 예방초점집단에서는 창업에 대해 가깝다고 느낄 때보다는 멀다고 느낄 때 창업태도와 행동의도가 더 높게 나타났다. 이러한 연구결과를 바탕으로 연구의 학문적 의의와 실무적 시사점 그리고 연구의 한계점을 제시하였다.

• 한국의류학회지
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• 제34권8호
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• pp.1364-1377
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• 2010

Although the human body is a biological subject with definite and distinctive physical features, its actualization and perception differs among societies. The aesthetics of the human body are based on diverse cultural perceptions that must be considered prior to design development. This study establishes the foundations of newly adopted concepts of beauty that are presumed to have been established in the first half of the twentieth century that continue to affect our mindset even now. The research includes human figures in the articles of women's magazines and cosmetic advertisements in the early $20^{th}$ century. The results are as follows: First, the change of perception in the human body: Instead of being a subject of preservation, the body has become a subject of sculpture with emphasis on health in the 1920's and on beauty in the 1930's. The recognition of the importance of the body has created intensive attention on physical training and an increased sense of hygiene. The body exposed to the public perceives itself through the eyes of others that alter one's own perception of oneself as well as become a target of evaluation. There is an additional emphasis on the exotic eroticism of a passive subordinate. Western culture became the standard for modernization along with the dissociation of traditional standards and values. Through the effect of education and western thinking, the awareness of women's rights and self-appreciation was developed. Second, ideal beauty can be summarized as follows: Unprocessed natural beauty was extolled as ideal in the 1920's, but the 1930's, it highlighted big eyes and an aquiline nose that are the characteristics of western women. Taking care of one's appearance was recognized as an important value for every social class. Cosmetics and skin care treatments promised soft and white skin. In contrast to western cosmetics, dark and shiny hair was highly favored. Exercising and traveling, differing seasonal and regional skin treatments were also widely accepted. In its initial stages, the research had originally assumed that the beginning of the twentieth century would be a time in which traditional concepts of beauty and new, westernized aesthetics coexisted. However, as the research progressed, it was clear that the idea of beauty had already adopted occidental ideals by that time. Thus, it seems necessary to continue the study on the shifting paradigms of beauty that must have occurred in the nineteenth and late twentieth century.

• 복식
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• 제64권7호
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• pp.172-183
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• 2014

The term "new woman" (신여성 [Sinyeoseong], 新女性) refers to an idealized image of contemporary women during the so-called modern period in East Asia. In Korea, these "modern girls" were also referred to as modan (毛斷), or "cut-hair", reflecting changes in appearances that rejected the traditional value system in favor of "the new" in everyday life. Although it was used to refer to the perceived educated leaders of this new period, it also had the negative connotation of referring to frivolous women only interested in the latest fashion. The popular discourse on this "new woman" was constantly changing during this early modern period in East Asia, ranging from male-driven women's movements to women-driven liberal and socialist movements. The discourse often included ideals of what constituted female impeccability in women's domestic roles and enlightened views on housekeeping, yet in most cases the "new woman" was also expected to be a good wife and mother as well as a successful career woman. The concept of the "new woman" was also accompanied by an upheaval in women's social roles and their physical boundaries, and resulted in women repositioning themselves in the new society. The new look was a way of constructing their bodies to fit their new roles, and this again was rapidly reproduced in visual media. Newspapers, magazines, and plays had gained immense popularity by this time and provided visual material for the age with covers, advertisements, and illustrations. This research will explore the fashion of the "new woman" through archival resources, specifically magazines published in the 1920s and 1930s. It will investigate how women's appearances and the images they pursued reflected the ideal image of the "new woman." Fashion information providers, trendsetters, and levels of popular acceptance will also be examined in the context of the early stage of the fashion industry in East Asia, including production and distribution. Additionally, as the idea of the "new woman" was a worldwide phenomenon throughout the 19th and early 20th century, the effect of Japanese colonialism on the structure of Korean culture and its role as a cultural mediator will also be considered in how the ideal image of beauty was sought, and whether this was a western, colonial, or national preference.

• 미술이론과 현장
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• 제2호
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• pp.169-190
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• 2004

The purpose of this article is to delve into the problems of originality of the artwork by examining issues of reproduction within the contemporary art market. In contemporary arts, especially in terms of art production and consumption, we can't overlook society and its economic structure and its connection with of capitalism. As the purity of art creation has turned into an exchange value, art, especially an object as artwork, has fallen into the status of production in an economic marketing system. Walter Benjamin mainly referred to that point in his thesis Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, which originated the sociology of plastic arts. This thesis, published in 1936, traced how the artistic functions of photograph and movie had been changed through the social development. His main concerns were movie and photograph but what I am concentrating from his point of view, is that even in the field of plastic arts, the manufacture of reproduction has been practiced as a primary method within the social and political contexts and development. Though I am referring to this in the main body of this article, reproduction in contemporary art strongly needs a new definition since it has been spread all over like a newest virus, not only by collector's personal taste or hut also by commercial circulations of these reproductions to the public. This relates to Benjamin's argument about the value of an exhibition at a museum(Ausstellungswert). Since the function of an artwork has been one of cultural industry, the manufacturing of reproduction raises unexpected problems, such as, the originality of the artwork, the value of an exhibition at a museum, its achievement as documentary and as a territory of art criticism. In this point of view, I want to inquire into the value and criteria of an exhibition in contemporary art through the review of the definitions and the intrinsic attributes of reproduction. Somehow in a broad sense, the reproduction is a product coming out of representation or copy (replica) of an original art work or an model. Therefore, the problems it presents differ from the Simulacre, which is an image without an original one. In terms of the Meanings of reproduction, we can distinguish it as reproductions, copies, and productions. These types of reproductions are not the original artworks reflected by the creative intention of the artists. For example, a publishing company reproduced some of lithographs of Salvador Dali in the 1960s. They are commercial copies in the form of representation or reproduction with no artistic and creative intention of the artist. However, In despite of this theoretical basis, reproductions of the famous artists are still displayed without any verification for of the public's quest for the artworks. Moreover, many commercial companies that are planning to exhibit art works of the world-famous artists only for their profits keep trying to speak ill of and judging by the law the honest art critics' articles which discuss the true values of exhibition. If freedom of expression is one of the ideals of democracy, even the judgment of the originality of the artworks should be freely expressed.

• 시큐리티연구
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• 제7호
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• pp.233-285
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• 2004

‘Defined legally as a violation of law' (Sutherland, E. H. Principles of Criminology, Lippincott, Chicago, 1939) Crime within the group is essentially and primarily antisocial in that the criminal who is welfare of his group acts instead against it and breaks the principles of social solidarity not merely by not doing what these principles prescribe, but by doing something exactly opposites. Any program set up to attack crime and delinquent behavior at their sources. A program of his nature needs the constant and comprehensive collaboration of psychiatrists, social works, educations, lawmakers, and public officials, since crime is a social problem and it should be treated as such. Some crime preventives which should be mentioned are as follows, (1) The insurance that every child will be decently born and that his home life be socially and economically adequate; without socially mature parents the chid is handicapped at the start; thus parental education, integrated with the public school system, should be developed now. (2) A more meaningful educational program which would emphasize ideals of citizenship, moral integrity, and respect for the law and the police. (3) A periodic check made for potential delinquents throughout the public schools and treatment provided if possible; and if not, proper segregation in institutions. (4) Careful attention paid to press, movies, and radio so that crime may no longer appear to be glamorous. This can be done by women's clubs, civic bodies, and other educational groups exerting pressure on the movie syndicates and broadcasting companies to free their productions of the tawdry and lurid characteristics of crime and criminals. Aggression associated with the phallic stage of development, The child ordinarily comprehends sexual intercourse as an aggressive and sadistic act on the part of the male, and specifically on the part of the penis. Evidence that the penis is phantasied as a weapon of violence and destruction come from unconscious productions of normal adults. Limerick, for instance, often refer to the penis as square, or too large, etc., so that intercourse is dangerous and painful for the partner, This may wall be a projection of the male's own fear of coitus. A certain portion of the death-instinct always remains within the person; it is called 'primal sadism' and according to Freud is identical with masochism. 'After the chief part of it(the death instinct) has been directed outwards towards objects, there remains as a residuum within the organism the true erotogenic masochism, which on the one hand becomes a component of the libido and on the other still has the subject itself for a object.' Criminalism, compulsive-neurotic frequent repetition of criminal acts in a compulsive manner. Like most symptoms of the compulsive-neurotic, such antisocial act are closely rated to feelings of hostility and aggression, often against the father. Because these acts are symptomatic, they afford only temporary relief and are therefore repeated. One patient with compulsive-neurotic criminalism was apprehended after breaking into hardware store and stealing money. He later confessed to many similar incidents over the preceding two years. At the same time it was apparent that he stole only for the sake of stealing. He did not need the money he thus obtained and had no special plans for using it.