• CHINESE LITERATURE
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• v.100
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• pp.209-242
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• 2019

"韜光養晦"相傳是鄧小平強調的對外戰略方針. 目前, 這一古老的成語已經提升到一種意識形態, 成爲構建中國成長模式的核心環節. 本文著眼於作爲一種意識形態的 "韜光養晦", 討論這一意識形 態經過什麽樣的歷史過程, 成長到現在的樣子. 爲此, 本文從三個層面考察這一問題. 第一, 細緻分 析 "韜光養晦"一詞的形成過程與意味脈絡. 第二, 根據有關鄧小平的一手資料, 嚴格考察鄧小平與 "韜光養晦"的關係. 第三, 追蹤鄧小平以後 "韜光養晦"經常出現的語境.

• The Science & Technology
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• v.35 no.8 s.399
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• pp.43-66
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• 2002

[통치자의 과학기술 리더십] 정책조정자형 과학기술 리더십 전환시급, 체계적 보좌기초 목표달성체제 구축해야/ [국내 역대대통령의 과학기술 정책] 박정희대통령 과학기술 초석놓고 전두환 이어 김대중대통령 변화기 진입/[외국 역대대통치자의 과학기술 정책/미국] 역대 대통령 '과학기술은 국력' 인식, 레이건은 '스타워즈'로 소련붕괴 불러와/[외국 역대대통치자의 과학기술 정책/일본] 역대 총리 6명이 과학기술청 장관 출신, '나카소네수상' 원자력 선진국 기틀 마련/[외국 역대대통치자의 과학기술 정책/중국]'모택동' 국방기술 개발에 총력 핵탄 완성, '등소평' 과학기술은 제일의 생산력 강조/[외국 역대대통치자의 과학기술 정책/영ㆍ독ㆍ불ㆍ러]프랑스 - 과학기술 선진국 나폴레옹과 드골 초석, 러시아 - 레닌 이후 모든 통치자 科技 위해 정책 펴

• Cartoon and Animation Studies
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• s.45
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• pp.321-343
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• 2016

The purpose of this thesis is to look through the political and social background of China preparing for a new era after getting out of the Communist Party of Mao Zedong, rapid inflow of the Western modernism and the avant-garde art arising in China with the focus of art works of Xu Bing, which contributed to the expansion of printmaking of China. Particularly, 85 New Wave Movement arose by young artists since 1985 and the China/Avant-Garde Exhibition held in Beijing in 1989 are the two important issues which reflect a new change from the traditional Chinese art. The artists of 85 New Wave Movement, who pursued a historical revolution and novelty, worked very actively by leading private exhibitions. Since the Cultural Revolution, the government owned the National Museum of Fine Art Beijing had exhibitions on a large scale displaying various visual arts such as performing art, installation, painting, sculpture but the Chinese government interrupted exhibitions two time due to bold performing art and unconcealed installation. Some artists were even taken to the police when performing art. Under these circumstances, Xu Bing, who majored printmaking, produced one of his major works, Books from the sky(1988), while he was working on various experiments focusing on the production process of printmaking and its repetitiveness. Xu Bing devised letters, carved them in trees and finally created approximately 2000 characters. Going further he displayed it as installation work, which means the developed characters go beyond a printed form, for audiences. This made him earn favorable reviews since it was a form of western art coupled with Chinese contents 'Chinese character'. After he received unfavorable reviews, however, he went to America leaving his last work in China, Ghost Pounding the Wall, in 1990, which was not able to exhibited. In those days, China society was going through a chaotic era thanks to the extinction of the Cultural Revolution and Deng Xiaoping's(1904-1997) reformation after the debacle of Tiananmen Massacre. This study looks into Xu Bing's artworks from his initial print works until he went to the US in 1991 and examines how he performed experiments utilizing reproductivity and plurality of prints tinged with Chinese traditional elements, and ultimately became one of the avant-garde artists representing the period.