• 제목/요약/키워드: representation of 'innocent'

검색결과 4건 처리시간 0.018초

평결범주와 일반인의 법적판단: '무죄표상'의 역할을 중심으로 (The verdict category and legal decision: Focused on the role of representation of 'innocent')

  • 한유화
    • 한국심리학회지:법
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    • 제13권1호
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    • pp.1-22
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    • 2022
  • 본 연구는 국민참여재판의 평결범주가 일반인의 법적판단에 미치는 영향과 그 과정에서 '무죄표상'의 역할을 확인하였다. '무죄표상'은 일반적인 의미의 무죄(잘못이 없음)판단을 위한 심리적 기준을 의미한다. 또한, 법률로 정해진 유죄판단 기준으로 간주되는 '합리적 의심의 여지없는 유죄의 증명(beyond a reasonable doubt: BRD)'과 개인의 역치에 대한 추정치인 IT(individual threshold)의 역치로서의 기능을 비교하였다. 본 연구는 평결범주(유죄/무죄 vs. 유죄/유죄아님)와 피고인 유죄가능성(낮음 vs. 높음)을 각각 두 수준으로 조작한 2×2 완전교차요인설계를 사용하였으며, 온라인으로 진행되는 실험에 자발적으로 참여한 137명의 자료가 분석에 사용되었다. 실험은 '무죄표상' 및 기소유죄확률 측정, 재판시나리오 제시, 피고인에 대한 법적판단(판단 확신감 및 피고인 유죄가능성 추정 등 포함) 순으로 진행되었다. 연구 결과, 평결범주는 일반인의 법적판단에 유의한 영향을 미치지 못하는 것으로 나타났으나 '유죄/무죄'의 평결범주를 제시받은 경우 '유죄/유죄아님'의 평결범주를 제시받은 경우보다 유죄판단 비율이 높은 경향이 있었다. 일반인들의 '무죄표상'과 평결범주의 상호작용은 이론적 유죄판단 역치(BRD)와 개인의 역치(IT)의 차이(역치 변화량)를 잘 예측하는 것으로 나타났으며, '유죄/무죄'의 평결범주를 제시받은 경우에 '유죄/유죄아님'의 평결범주를 제시받은 경우보다 '무죄표상'의 변화에 따른 역치변화량이 더 컸다. 역치로서의 BRD와 IT를 비교한 결과에서는 IT가 유죄가능성과 상호작용하여 일반인의 법적판단을 유의하게(p<.1) 예측하는 것으로 나타나서 IT가 BRD보다 더 좋은 역치 추정치라고 할 수 있었다. 본 연구는 법률가들 사이에서 종종 제기되는 문제인 국민참여재판 평결범주의 효과를 실험을 통하여 확인하고 그 효과의 심리적 기제에 대한 논리적인 추론 및 경험적 근거를 제공하였다는 데 의의가 있다.

일본군 '위안부' 영화의 자매애와 증언전수 가능성 (The Signification of Sisterhood and Testimony in Japanese Military 'Comfort Women' Films)

  • 권은선
    • 한국콘텐츠학회논문지
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    • 제17권8호
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    • pp.414-421
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    • 2017
  • 한일 위안부 합의 이후 관객들의 관심 속에 소개된 두 편의 영화 <귀향>과 <눈길>은 모두 '위안부' 소녀들의 우정을 다루면서 살아 돌아 온자가 살아 돌아오지 못한 자를 고향과 저승으로 보내는 해원의 이야기를 다루었다. 기존의 '위안부' 서사들과는 다르게, 이 두 영화는 '위안부' 여성의 전장에서의 로맨스 플롯을 가지고 있지 않으며, 일종의 여성공간을 구축하고 있다. 현실에서의 새로운 젊은 여성의 존재는 개인적 우정의 이야기를 자매애의 공동체 차원으로 확장시킨다. 특히 <눈길>은 '위안부' 할머니가 새로운 후속 세대 여성에게 증언을 전수하는 증언작업의 가능성을 제시하고 있다. 영화적 현재에서는, 이렇듯 일본군 '위안부' 서사를 여성주의적으로 사고할 수 있는 가능성을 보여주고 있지만, 과거 식민지 시절의 재현은 많은 부분 기존의 가부장제적인 민족주의적 관점을 벗어나고 있지 못하다. 주인공들이 여전히 '순수하고 순결한' 조선소녀들로 설정되어 있다는 것이 대표적이다.

Ideology, Politics, and Social Science Scholarship on the Responsibility of Intellectuals

  • Koerner, E.F.K.
    • 인문언어
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    • 제2권2호
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    • pp.51-84
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    • 2002
  • The 1990s have seen the publication of many books devoted to Language and Ideology (cf. Joseph & Taylor 1990. for one of the early ones) even though the term 'ideology' itself has remained ill-defined (Woolard 1998). The focus of attention has usually been placed on the particular use of language and often for some kind of 'political' ends, not on linguistic or other scholarship which might have been driven by some sort of ideology, i.e., a bundle of assumptions which themselves were taken as given. At least since Edward Said's 1978 book Orientalism, it has been clear to everyone that scholars construct their conceptualization of things in line with their understanding of the cultural, social, and political world in which they live, and that this often unreflected 'pre-understanding' effects their view of cultures that are different from theirs and more often than not geographically and temporally distant from theirs. This recognition has had a sobering effect no doubt, and Said's book has long since become 'mainstream.' Much more disturbing to the scholarly profession has been the publication of Martin Bernal's Black Athena in 1987, since it went much further, going beyond accusations of colonialism and cultural bias, in suggesting that the Western representation of Classical Greece over the past two hundred years was false and that what had been accepted until now about occidental antiquity must now be seen derived from African-Asiatic cultures of the Near East, notably that of the Ancient Egyptians, and that no other than Socrates should be seen as black man. While we may understand the intellectual climate in the United States that led academics to present 'myth as history' (Lefkowitz 1996), it is obvious that lines of regular scholarly principles of investigation have been crossed (cf Lefkowitz & Rogers 1996). The present paper investigates what may be seen as the ideological underpinnings of such work. After reviewing some recent scholarship in the area of linguistic historiography that have shown that academic work has never been 'value-neutral' (as may have been assumed or has been claimed by some practitioners), it is argued that in effect one must be aware of what Clemens Knobloch has recently termed Resonanzbedarf, i.e., the desire, whether conscious or not, of scholars-and probably scientists, too-to have their work recognized by the educated public and that, in so doing, their discourses tend to pick up on contemporary popular notions. These efforts may be harmless if everyone was to recognize these allusions and adoption of certain lexical. items(buzz words) as props or what Germans call Versatzstiicke, but history tells us that this has not always been the case. Still, as Hutton (1999) has shown, not all scholarship during the Third Reich for example can simply be dismissed as worthless because it was conducted in under a prevailing political ideology. Indeed, in seemingly innocent times, linguists can be shown to frame their argument in a way that makes them appear so utterly superior to their predecessors (cf. Lawson 2001). Upon closer inspection, those discourses turn out to be much like those of scholars in nationalistic environments that have tended to select their 'facts' to prove a particular hypothesis (cf., e.g., Koerner 2001). The article argues for scholars to take a more active role in exploding myths, scientifically unfounded claims, and ideologically driven distortions, especially those that are socially and politically harmful.

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샤르댕의 아동 교육 장르화 - 18세기 프랑스 부르주아의 계몽주의적 아동관 (Chardin's Genre Paintings of Child Education: The Enlightenment Views on Children of the French Bourgeois Class in the 18th Century)

  • 고유경
    • 미술이론과 현장
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    • 제8호
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    • pp.33-58
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    • 2009
  • This paper examines four genre paintings on the subject of child education by Jean-Baptiste-Sim${\'{e}}$on Chardin(1699-1779). The Governess, The Diligent Mother, Saying Grace, and The Morning Toilette garnered critical attention after they were exhibited in the Salon from 1739 to 1741. After the exhibition, the paintings were made into prints and frequently sold to members of the bourgeois class in Paris. The iconographical details of Chardin's genre paintings have, thus far, been compared to Dutch genre pictures of the seventeenth century. Further, most studies conducted on Chardin's paintings focus on formal analysis rather than the historical and social contexts. Through attempting social-contextual readings of Chardin's educational series, this paper argues that the significance of Chardin's painting series of child education lies in his representation of the ideal French bourgeois family and the standard of early childhood education in the eighteenth-century French Enlightenment period. In each of the four child education paintings, Chardin depicted a mother with children in a domestic space. Even though this theme derives from traditional Dutch genre paintings in the seventeenth century, the visual motifs, the pictorial atmosphere and the painting techniques of Chardin all project the social culture of eighteenth century France. Each painting in the child education series exemplifies respectively the attire of a French gentlemen, the social view on womanhood and the education of girls, newly established table manners, and the dressing up culture in a 'toilette' in eighteenth century France. Distinct from other educational scenes in previous genre paintings, Chardin accentuated the naive and innocent characteristics of a child and exemplified the mother's warmth toward that child in her tender facial expressions and gesturing. These kinds of expressions illustrate the newly structured standard of education in the French Enlightenment period. Whereas medieval people viewed children as immature and useless, people in the eighteenth century began to recognize children for their more positive features. They compared children to a blank piece of paper (tabula rasa), which signified children's innocence, and suggested that children possess neither good nor bad virtues. This positive perspective on children slowly transformed the pedagogical methods. Teaching manuals instructed governesses and mothers to respect each child's personality rather than be strict and harsh to them. Children were also allotted more playtimes, which explains the display of various toys in the backgrounds of Chardin's series of four paintings. Concurrently, the interior, where this exemplary education was executed, alludes to the virtue of the bourgeois's moderate and thrifty daily life in eighteenth century France. While other contemporary painters preferred to depict the extravagant living space of a French bourgeoisie, Chardin portrayed a rather modest and cozy home interior. In contrast to the highly decorated living space of aristocrats, he presented the realistic, humble domestic space of a bourgeois, filled with modern household objects. In addition, the mother is exceptionally clad in working clothes instead of fashionable dresses of the moment. Fit to take care of household affairs and children, the mother represents the ideal virtues of a bourgeois family. It can be concluded that the four genre paintings of child education by Chardin articulate the new standards of juvenile education in eighteenth century France as well as the highly recognized social virtues between French bourgeois families. Thus, Chardin's series of child education would have functioned as a demonstration of the ideal living standards of the bourgeois class and their emphasis on early childhood education in the French Enlightenment period.

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