• 공연문화연구
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• 제36호
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• pp.289-312
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• 2018

판소리는 여러 세대를 거쳐 전승되면서 시대에 따라, 혹은 명창의 자질과 능력에 따라 생성, 변모를 거듭해 온 예술장르이다. 무형문화재 제도는 이러한 판소리의 생명력을 보전, 전승하기 위해 만들어진 것이므로 그 지원과 보호의 책임을 다해야 한다. 따라서 새로 제정된 법률안의 올바른 시행을 위해서는 먼저 판소리 전승의 주체와 우리 문화 전반의 인식이 변화할 점은 없는지를 살펴보는 일이 필요하다. 판소리는 21세기 현재성과 대중성을 담보하며 향유 양식도 다양하게 변화하고 있다. 이 시대 판소리의 예술성과 보편성을 어떻게 만들어나갈지는 결국 우리의 몫으로 남는 것이다. 이러한 점에서 무형문화재법의 변화 양상, 현재 국가무형문화재와 전북무형문화재를 중심으로 전승의 현황을 살펴보았으며 그 문제점을 개진하였다. 보유자의 수나 종목의 다변화가 필요하며 이를 위해 조사지표나 실기능력지표를 고려하여 신청하고 지정하여야 함을 논하였다. 아울러 보유자 지정을 위한 항목들의 문제점을 지적하고 개선할 방향을 논의하였다. 판소리의 경우 유파별 보유자 지정, 정기조사와 정기 신청, 대중화를 위한 이수자 역할의 확대, 지역 명창의 목록 조사, 보유자에 대한 감독과 모니터링, 전수교육을 위한 매뉴얼 확립 등을 개선안으로 제시하였다. 이를 통해 판소리의 전승이 더욱 활발해지고, 전수교육이 체계적으로 이루어질 수 있도록 노력해야 한다. 무형문화재법 시행 초기이므로 앞으로도 개선해야 할 내용은 지속적으로 드러나게 될 것이다. 판소리가 우리만의 것이 아니고 인류의 것이라는 점에서, 법률과 문화가 서로 보완 상생하며 나아갈 때에 더욱 바람직한 전승지원이 이루어질 것이라는 점은 확실하다.

• 무역상무연구
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• 제43권
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• pp.3-23
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• 2009

The meaning of Good faith is honest intent to act without taking an unfair advantage over another person or to fulfill a promise to act, even when some legal technicality is not fulfilled. The term is applied to all kinds of transactions. According to the CISG only regulated Art. 7. that is in the interpretation of this Convention, regard is to be had to its international character and to the need to promote uniformity in its application and the observance of good faith in international trade (1) and questions concerning matters governed by this Convention which are not expressly settled in it are to be settled in conformity with the general principles on which it is based or, in the absence of such principles, in conformity with the law applicable by virtue of the rules of private international law (2). In the other hand PICC is related to the good faith and fair dealing, each party must act in accordance with good faith and fair dealing in international trade (1) and the parties may not exclude or limit this duty (2). Good faith of PECL is these principles should be interpreted and developed in accordance with their purposes. In particular, regard should be had to the need to promote good faith and fair dealing, certainty in contractual relationships and uniformity of application. Further more regarding to the good faith and fair dealing, same to the PICC regulations.

• 가정과삶의질연구
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• 제22권5호
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• pp.345-355
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• 2004

The purpose of this study is to recommend the roles, Qualification, and fostering system of healthy families specialist. In 2003, 'Organic Law to Develop the healthy Families' was legislated. The law endows the responsibilities and duties of the government, local government, and families, in order to embody the healthy families. Also, this suggests appropriate ways to solve diverse families problems and identifies the necessities of establishing social policies to increase the well-being of family members. The enactment system of this law is to place 'Healthy Families Center' under the Prime Minister, and to foster 'healthy families specialist' who have professional knowledge and skills for strengthen diverse families. The major recommend are as follow. First, the roles of healthy families specialist are a practician, deliverer, and administrator to enact the law's philosophy and ideal. Secondly, to protect the competency of those, the qualification is restricted to university and the same level school graduate people, who majored in Home Economics, Social Work. and Women Studies. Finally. to foster and qualify this specialist. the Council of Healthy Families will be compound.

• 보존과학회지
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• 제26권1호
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• pp.69-76
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• 2010

행정박물이란 공공업무의 활동을 반영하는 유형적 증거물로서 역사적 상징적 문화적 예술적 가치를 지니는 영구기록물이며, 공공기관의 업무수행과 관련하여 생산 및 활용한 형상기록물로 행정적 문화적 예술적 가치가 높은 기록물이다. "공공기록물 관리에 관한 법률"에서는 행정박물을 기록물관리 범위에 처음으로 편입시키고 있으며, 기록물관리법령 제3조에서는 행정박물의 보존 및 관리체계를 법제화하고 있다. 행정박물의 관리는 형태 재질별 분류만으로는 기록으로서 행정박물의 특성을 반영하기 어렵다. 행정박물은 일반적인 기록물과 비교해 다양한 연유에서 수집되기 때문에 행정박물에 대한 기초적인 재질 조사와 적합한 보존 및 관리 방식이 필요하다. 행정박물은 문화재로서 아직 그 수요량이 많지 않으나, 국민 의식수준 향상 및 알 권리를 위한 행정박물의 공개 가능성이 증가되고 있으며, 향후 역사 및 문화의 해석을 위해 보존 활용 가능하며 근대문화유산으로서의 가치를 가질 수 있다. 우선적으로 행정박물의 보존적인 측면에서 열화를 방지하기 위해서는 각 유물별 손상등급을 부분적으로 분류, 관리하여 상태를 점검할 수 있는 표준조사카드를 만들어야 한다. 또한, 다양한 재질의 행정박물에 대한 관리 및 운영 방안을 체계적으로 확립하고 행정박물을 보존적인 측면에서 연구할 수 있는 전문 인력을 육성하여 종합적이고 선진화된 행정박물의 보존 복원 및 활용이 이루어져야 한다.

• 무역상무연구
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• 제36권
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• pp.3-26
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• 2007

This article attempts to describe and analyze discussions on the matter of ex tunc effect or a ex nunc effect of rescission under Korean law in comparison with those under the CISG). In addition, it tries to scrutinize the various rules on the right to damages as an effect of rescission in a comparative way. Furthermore, it compares the various rules of Korean law with the CISG as to the right to damages and evaluates them in light of the discipline of comparative law. It maintains that the liquidation theory in Korean law is more close to the CISG in that there is no ex tunc effect in rescission and in other aspects. It also argues that the construction of the effects of rescission in accordance with the liquidation theory is more plausible when one considers Korea is one of the contracting states of the CISG. In addition, the theoretical analysis and the comparative study with the CISG shows that the insistence of ex nunc effect and its interpretation on the scope of damages extends to damages for expectation interest. It is also submitted that the position under the CISG on the assumption of ex nnuc effect, is regretted in that the restitution in value of the goods in the event of impossibility of the physical restitution is not allowed in some cases which the damage claims can not be awarded for the seller due to the application of the CISG Art. 79.

• 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.

• 의료법학
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• 제13권1호
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• pp.331-357
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• 2012

Obwohl die Preisbekanntmachung der individuellen Gesundheitsleistung(PiG), die im Jahr 2010 im Arztrecht neu eingef$\ddot{u}$hrt wird, zum Management der Gesundheitskosten sehr n$\ddot{u}$tzig werden soll, muss eine verfassungsrechtliche Rechtfertigungspr$\ddot{u}$fung von PiG zun$\ddot{a}$chst durchgef$\ddot{u}$hrt werden. Angesichts der staatlichen Regulierung und Lenkung auf die Wirtschaft des Art. 119 Abs. 2 KV besitzt die PiG zun$\ddot{a}$chst eine Verfassungsrechtfertigung. Nach der st$\ddot{a}$ndigen Rechtsprechung des koreanischen Verfassungsgerichts folgt das Selbstbestimmungsrecht der Verbraucher aus der Menschenw$\ddot{u}$rde von Art. 10 Abs. 1 Koreanische Verfassung(KV) und dem Recht auf Gl$\ddot{u}$ck von Art. 10 Abs. 2 KV. Demnach k$\ddot{o}$nnen Konsumenten den Einkauf der G$\ddot{u}$ter und Service, die Partei des Vertrags, Gesch$\ddot{a}$ftsbedingungen, usw. frei entscheiden. Indem der Preis der individuellen Gesundheitsleistung mithin bekanntgemacht wird, werden das Selbstbestimmungsrecht der Verbraucher sowie das Recht der Konsumenten sicherlich gew$\ddot{a}$hrleistet. Dar$\ddot{u}$ber hinaus steht die PiG im Einklang mit dem Recht auf Information, aber auch z$\ddot{a}$hlt sie nicht zu den Informationen der Nichtbekanntmachung vom Gesetz $\ddot{u}$ber die Bekanntmachung der Information(GBI). Nach der staatlichen Gesundheitspflicht des Art. 36 Abs. 3 KV kann die PiG eine Verfassungslegitim$\ddot{a}$t besitzen. Im Hinblick auf die Berufsfreiheit kann die PiG einen Eingriff in den Gesch$\ddot{a}$ftsaktivit$\ddot{a}$ten der Unternehmen bedeuten. Trotzdem ist die PiG als eine verfassungsrechtliche Legitimit$\ddot{a}$t zu qualifizieren. In der Konsequenz kann die PiG, die auf dem Selbstbestimmungsrecht, dem Recht auf Information, dem Gesundheitsrecht, der Regulierung und Lenkung auf die Wirtschaft von Art. 119 Abs. 2 KV, und dem Recht der Verbraucher beruht, als eine verfassungm${\ddot{a}}{\ss}$ige Politik gesch$\ddot{a}$tzt werden.

• 미술이론과 현장
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• 제7호
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• pp.37-64
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• 2009

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.

• 헤리티지:역사와 과학
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• 제53권3호
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• pp.128-141
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• 2020

이 논문은 조선총독부의 고적조사와 일련의 사업을 통해 한국에 미술공예 개념이 수용된 과정과 그 과정에서 성립된 공예의 전통과 캐논에 대해 고찰한 글이다. 「고적 및 유물 보존규칙」과 「조선보물·고적·명승·천연기념물 보존령」의 제정을 통해 법률상으로 제시된 공예는, 조형물을 만들어낸 정교하고 뛰어난 기술, 더 나아가 회화, 조각과 같은 미술의 한 장르를 의미했다. 이왕가박물관과 총독부박물관은 미술공예라는 용어를 대중에 확산시키는 역할을 했고, 여기에 전시된 공예는 과거의 전통을 시각적으로 구체화하였다. 이와 같이 공예라는 용어는 고미술을 가리킬 때 빈번히 사용되었고, 구체적으로는 법률상의 보물로 지정되거나 박물관에 전시되어 지키고 보존해야 할 전통이 되었다. 공예의 전통과 캐논이 성립되자 당대에 제작되는 공예에 큰 영향력을 행사했다. 이 일련의 과정에는 일본의 문화 정책과 제국적 취향이 절대적으로 작용했다. 일반적으로 근대기에 성립된 공예 개념은 산업으로서의 공예와 미술로서의 공예, 두 가지로 구분되어 왔으나, 미술로서의 공예라는 개념 안에도 여러 층위가 존재했다. 캐논이 된 고미술은 동시대 제작의 준거가 되었으며, 실제로는 동시대에 제작되던 공예의 양상도 모두 같지 않았다. 이제까지 일괄적으로 논의되던 미술공예 개념을 세분화하는 작업이 공예에 있어서 '만들어진 전통'과 근대기 공예계의 양상을 정확히 파악하기 위한 기초가 될 것으로 기대한다.

• 대한안전경영과학회:학술대회논문집
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• 대한안전경영과학회 2011년도 추계학술대회
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• pp.717-725
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• 2011

This study carried out surveys for 197 nail shop practitioners and 195 customers 1) to study the real condition of their hygiene awareness and safety consciousness and 2) to grasp their awareness of the necessity of legislating a related bill so as to build an independent domain of business and to propose data on the national qualification system of nail care. As a result, it was found that the level of the nail care practitioners' experiences of safety education was very low, and that the customers attached importance to the necessity of nail salon practitioners' certificate and license and the nail treatment-related bill more than the nail care practitioners themselves. In conclusion, the preparation of a nail art-related bill is required at the state level for the management of the safety and hygiene of national health, and systematic and regular education related to hygiene should be carried out.