• 제목/요약/키워드: Play Theory

검색결과 622건 처리시간 0.032초

큐레이터십과 관련된 권력 (The Power Relevant to Curatorship)

  • 이지호
    • 미술이론과 현장
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    • 제3호
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    • pp.51-66
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    • 2005
  • With the advent of the time when the competitiveness of a nation or a city can be evaluated by the extent of cultural reception, the art exhibitions, like other genres of art, are actively held in various ways by different institutions. The spaces of exhibition offered not only by public museums and galleries but also by private galleries, alternative spaces and open-air exhibition spots are being increased. Likewise, the number of exhibitions organized on a large scale by Biennales and local governments is on the increase. In accordance with actual tendency, the Ministry of Culture and Tourism has planned to increase the number of museums and galleries up to 500 by the year of 2011. Under these circumstances, the actual situation shows that the central and local governments are adopting beneficial measures to support the private galleries such as permission of construction on green belt areas and tax deduction. That is, our society has come to realize that the necessity and importance of public as well as private galleries to play their roles as cultural and educational institution. Now, the number of galleries is growing. Exhibitions are held everywhere. Therefore, spectators have more chance to visit them than before. With these conditions and the growing number of amateurs, social interest in curator organizing exhibitions is getting popular. Because of the rise of curatorial popularity on the social level, the influence of curators which is exercised within the gallery seems to become gradually enlarged. In reality, it is true that the curatorial influence cannot be ignored more than ever for appear in various fields their new features made from their professional cometence. The function of gallery is more strengthened and its position is more heightened than those in 80s. For these reasons, the curators whose playground is the gallery, they may be regarded as invisible power to the artists. Futhermore, their influence as such seems to be more likely because our world of art does not still have any reliable system of art criticism. Nevertheless, considering the actual situation in which national and public galleries as cultural institution would rather exist on the local sentiments or political dynamics than on autonomy, there must be some restrictions for the galleries and the curators to obtain the power. In this context, the actual moment is looked upon as transitional period to make the curatorship settled down. Before discussing the power relevant to curatorship, we are going to examine first the role and function of curator and then the new curatorial role and function at the age of information. Finally, we will see in sequence the development and problems of curatorship, the power and dilemmas of curator.

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'연구 업무 전담제'를 통해 살펴보는 국립현대미술관 전시 기획의 새로운 패러다임 (New Paradigm in exhibition organization at the National Museum of Contemporary Art)

  • 최은주
    • 미술이론과 현장
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    • 제3호
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    • pp.67-84
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    • 2005
  • Since the evaluation of its intellectual activities and abilities is done by curator's capabilities, planning exhibition is very important as the final result achieved by their own knowledge, information, and research. ARPA(Advanced Research Project on Arts) is suggested as the system which enables curators responding simultaneously to the society in the times, based on its special characteristics. If this system settles well, which means that the curators at NMCA(National Museum of Contemporary Art, Korea) play their roles as the professionals in each of their fields, the goal of consolidating the status of museum as the representative national museum, and building up competent department of curators, will be achieved at the same time. To clarify above, the curators set up the various assignments of research about the types of arts such as painting, Korean painting, sculpture, installation, new-media, design, craft, photogarphy, architecture, etc. And they establish the art objects classified by the regions, such as the Northern American, Southern American, European, Asian, and other Third World countries. They elaborate art objects more on the history, the work, the artist, and the issue of contemporary art. Furthermore, when the curators devote deeper study to those research subjects, they can have the opportunities to design an exhibition upon the research. Today, the museum of art is 'The Place for Communication and Encounter', it is regarded important to share the aesthetical, creative values with current artists, and to understand mutually with the spectators. It is needed to improve the curator's work, in order to meet the demands of the times and even to advance. Because the form of 'exhibition' is the tool that reveals the identity NMCA aiming at, the motivation, the development, and the realization should be leaded by the curators, who are the mainstream of the museum. ARPA is a system for identifying the exhibition like mentioned above. The main purpose of this system is to produce synergy effect, having the researching, collecting work in liaison with planning exhibition. ARPA will be able to improve the quality of exhibition through the way of developing the exhibition, passing through the stable process in the long run. So far, I have referred to a new paradigm of the exhibition design at NMCA via ARPA. Yet, there still remain missions in reality, such as analyzing the previous exhibition and reshuffling personnel and system, which should be done. When these matters settled, these plans would be suggested practically. At this point, it is the most significant that NMCA is attempting to let others aware of the importance of exhibition planning based on research. when the ARPA and exhibition planning is conjoined together successfully, the competent exhibition will be achieved, which can offer a meaningful exhibition to the art world, strengthen infra structure thru exchanging with public museum in the region, and eventually, establish a network with museum in foreign countries.

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중국 문혁기 모범극(樣板戱)의 시각이미지 - <홍등기(紅燈記)>의 혁명영웅상을 중심으로 (Visual Image of a Yangbanxi (Chinese "Model Play") Dating from the Cultural Revolution Period in China - With the Focus on Images of Revolutionary Heroes in the Beijing Opera The Red Lantern)

  • 문정희
    • 미술이론과 현장
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    • 제5호
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    • pp.197-215
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    • 2007
  • Yangbanxi("model plays") symbolize the Cultural Revolution(1966~1976) in China. The Eight Model Revolutionary Works include five Chinese Modern Peking Operas, namely, Taking Tiger Mountain by Strategy(智取威虎山), Harbor(海港), Shaijabang(沙家浜), The Red Lantern(紅燈記), and Raid on the White Tiger Regiment ; (奇襲白虎團), ballets such as The Red Detachment of Women(紅色娘子軍) and The White-Haired Girl(白毛女) ; and a symphony: Shajiabang(沙家浜). On April 24, 1967, Chinese leaders, including Mao Zedong, saw a performance of The White-Haired Girl. Yanbanxi was performed in Beijing between May 24 and June 15 the same year. The Red Lantern was designated as a work for the proletarian classes by Jiang Qing(Mao Zedong's third wife and the most influential woman in China) and spread nationwide. It was also made into a film to be enjoyed by many people. The modern Chinese operas went a long way in their creation of visual images of revolutionary heroes. The Red Lantern, in particular, came to be regarded as the most representative revolutionary opera. In the course of such a process, Jiang Qing used Yangbanxi as a political tool for compelling the people to worship and pledge their allegiance to Mao in an effort to turn the Cultural Revolution into a class struggle on behalf of her husband. During the Cultural Revolution period, artists were made to associate with workers, farmers and soldiers based on the idea of advocating revolutionary arts for the proletarian classes. The characters in The Rend Lantern were portrayed as heroes from the proletarian classes according to the demands of the era. Chinese leaders set forth the principles of artistic expression, stressing three important factors: politics, heroes, and heroic acts, which were to be applied to all the visual arts, including Yangbanxi. This paper attempts to present a new view of fine arts during the Cultural Revolution in China by focusing on the productive significance of a leading style of a specific era in the past. To that end, this paper sheds light on products made in conformance with political instructions, stressing the importance of revolutionary heroes in The Red Lantern.

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퍼지집합연산을 통한 다중 지질학적 선구조 관련자료의 공간통합 (Spatial Integration of Multiple Data Sets regarding Geological Lineaments using Fuzzy Set Operation)

  • 이기원;지광훈
    • 대한원격탐사학회지
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    • 제11권3호
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    • pp.49-60
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    • 1995
  • 지질학적 선구조선에 관한 특성은 일반적인 지질작용, 광물탐사 또는 자연재해 예측과 관련된 자료의 해석 및 분석단계에서 중요한 역할을 한다. 그러나 지질조사에 의하여 드러난 선 구조와 위성자료로 부터 정량적으로 판독된 선구조정보는 이들 자료 각각의 고유한 유용성을 가 지고 있으면서도 여러가지 이유로 인하여 실질적인 차이를 보이는 경우가 많다. 본 연구에서는 선구조와 연관된 위성영상자료의 효과적인 지질학적 활용으로서의 자료통합문제를 해결하고자 퍼 지집합연산방법을 실제 사례연구를 통하여 고찰하고자 하였다. 실제 응용으로서, 호명지질도 (1:50,000)가 포함하는 지역과 같은 지역의 Landset TM 자료를 이용하였고, 자료 통합과정에서는 지질도상에 있는 선구조선, 위성자료로 부터 도출한 선구조선 및 자유 배수 양상과 같은 자료는 시험적으로 이용하였다. 자료 통합단계에서는 각각의 자료에 있는 영상요소에 대하여 백분위수계 념을 응용한 퍼지소속함수를 정의한 뒤, 퍼지 산술합연산과정을 실시되었다. 비록 현재까지의 결 과로 본 방법의 유용성에 관한 일반적인 결론을 얻기에는 다소 미흡하지만, 본 사례연구지역의 경우에는 통합된 정보에서 다른 분석방법과는 구별되는 비교적 의미있는 새로운 선구조관련 지질 정보가 내포되어 있는 것으로 판단된다. 결론적으로 본 통합방법은 앞으로 본다 많은 기초 및 관 련 연구를 통하여 결정판단 보조자료를 얻기 위한 효과적인 공간사고방법으로 간주 될 수 있을 것으로 생각된다.

셔레이드에서의 비언어 기호와 서사적 변형의 상관성 연구 - 영화 <캐롤>에서 나타나는 주체의 형성 과정을 중심으로 (A study on the correlation between nonverbal signs in Charade and narrative transformation: Focusing on the formation process of the subject appearing in the film Carol)

  • 조은진;송치만
    • 기호학연구
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    • 제56호
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    • pp.109-136
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    • 2018
  • 본 연구는 셔레이드에서 발견되는 비언어 기호의 서사적 상관성을 살펴보는 것에 목적이 있다. 셔레이드는 비언어 기호들을 사용해 인물의 심리 변화, 타인과의 관계, 인물이 머무는 장소 등에 대한 정보를 제공한다. 이때 셔레이드에 관한 연구는 비언어기호를 통한 메시지의 전달뿐만 아니라 의미작용 또한 고려하여 접근해야 한다. 본 연구에서는 영화 <캐롤(Carol)>(2015)에 대한 서사기호학적 접근을 통해 내러티브를 분석하고, 주체의 행동을 촉발시키는 주체의 형성 과정을 살펴보았다. 이때 여성의 지위는 미장센을 통해 드러난다는 점에서, 미장센 영역에 속하는 셔레이드를 통해 이를 살펴보고자 하였다. 본 연구에서는 비언어 커뮤니케이션 이론을 토대로 하여 셔레이드에서 사용되는 비언어 기호들을 도출하였다. 이에 근거해 텍스트를 분석한 결과, 특히 여성 주체들의 지위를 표현하는 과정에서는 실내 장식의 활용이 돋보였다. 여성 주체들의 권력의 획득을 나타내는 과정에서는 응시의 사용이 두드러졌다. 그 외에도 액세서리, 영역, 제스처와 같은 비언어 기호의 사용도 주목할 만한 것이었음을 밝힌다. 이러한 비언어 기호들은 주체의 형성과 서사적 변형을 구상화하는데 중요한 역할을 한다는 것을 확인할 수 있다.

한국 정치극의 전개 양상 - 1920년대부터 80년대까지의 정치극운동을 중심으로 - (The Development Aspects of Korean Political Theatre Movement)

  • 김성희
    • 한국연극학
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    • 제52호
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    • pp.5-59
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    • 2014
  • This paper investigates the development and aesthetics of Korean political theatre from its quickening period 1920s to democratization era 1990s. Political theatre before 90s developed an antithesis resistant movement toward Korean modern history that had been scattered with suppressing political circumstances such as colonial era and dictatorial government, the movement has powerful activity and social influences. Just like the 20 century political theatre had been quickened under the influence of Marxism at Russia and Germany in 1920s, Korea's political theatre began in socialism theatre movement form around the same time. Proletarian theatre groups had been founded in Japan and Korea, and developed into practical movement with organized connection. However, the political theatre movement in Japanese colonial era was an empty vessel makes great sound but not much accomplishments. Most performance had been canceled or disapproved by suppression or censorship of the Japanese Empire. The political theatre in liberation era was the left drama inherited from Proletarian theatre of the colonial era. Korean Theatre alliance took lead the theatrical world unfold activities based on theatre popularization theory such as 'culture activists' taking a jump up the line and 'independent theatre' peeping into production spot as well as the important event, Independence Movement Day Memorial tournament theatre. Since 1947, US army military government in Korea strongly oppressed the left performances to stop and theatrical movement was ended due to many left theatrical people defection to North Korea. The political theatre in 1960s to 70s the Park regime, developed in dramatically different ways according to orthodox group and group out of power. The political theatre of institutional system handled judgment on sterile people and had indirect political theatre from that took history material and allegory technique because of censorship. In political theatre out of institution, it started outdoor theatre that has modernized traditional performance style and established deep relationship with labor spot and culture movement organizations. Madangguek(Outdoor theatre) is 'Attentive political theatre', satirizing and offending the political and social inconsistencies such as the dictatorial government's oppression and unbalanced distribution, alienation of general people, and foreign powers' pillage sharply as well as laughing at the Establishment with negative characters. The political theatre in 1980s is divided into two categories; political theatre of institutional system and Madangguek. Institutional Political theatre mainly performed in Korea Theatre Festival and the theatre group 'Yeonwoo-Moudae' led political theatre as private theatre company. Madangguek developed into an outdoor theatrical for indoor theatre capturing postcolonial historical view. Yeonwoo-Moudae theatre company produced representative political plays at 80s such as The chronicles of Han's, Birds fly away too, and so on by combining freewheeling play spirit of Madangguek and epic theatre. Political theatre was all the rage since the age of democratization started in 1987 and political materials has been freed from ban. However, political theatre was slowly declined as real socialism was crumbling and postmodernism is becoming the spirit of the times. After 90s, there are no more plays of ideology and propaganda that aim at politicization of theatre. As the age rapidly entered into the age of deideology, political theatre discourse also changed greatly. The concept 'the political' became influential as a new political possibility that stands up to neoliberalism system in the evasion of politics. Rather than reenact political issues, it experiments new political theatre that involves something political by deconstructing and reassigning audience's political sense with provocative forms, staging others and drawing discussion about it.

비계설정 유형 선정 및 이에 근거한 수업 실행과 분석 (The Establishment of the scaffolding type and the execution on experimental instruction)

  • 변원일;황혜정
    • 한국수학교육학회지시리즈E:수학교육논문집
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    • 제32권4호
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    • pp.495-517
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    • 2018
  • ygotsky(1978)에 따르면, 근접발달영역 이론은 학습자가 독립적으로 문제를 해결할 수 없으나 도움을 받으면 해결할 수 있는 범위, 즉 근접발달영역 내에서의 사회적 상호 작용을 통해 실제적 발달 수준에서 잠재적 발달 수준으로의 발달이 일어나는 효과적인 학습이 가능함을 주장하였다. 근접발달영역 내에서 이루어지는 이러한 도움과 지원체제는 Vygotsky의 '도움주기'라는 활동으로 시작해 이를 기초로 여러 학자들에 의해 확장되어 '비계설정'이라는 개념으로 발전하였으며, 이때 비계설정은 교사나 부모, 좀 더 유능한 또래가 안내나 도움을 제공해 학습에 도움을 주어 인지발달을 돕는 발판의 역할을 하도록 하는 체계를 의미한다. 이에 본 연구에서는 교사와 학생 간의 상호작용 중 도움을 적절히 조절하며 제공하는 근접발달영역 이론과 비계설정 이론을 근거로 효율적인 수업 실행에 적합한 비계 설정 유형을 마련하고, 이를 반영한 교수 학습 과정 및 지도안을 구안하고자 하였다. 이를 바탕으로 수업을 진행한 후 면담을 통해 기존 수업과의 차이를 탐색하여 분석하고자 하였다. 이를 위하여 전남 Y군에 소재한 H고등학교 1학년 남학생 5명을 대상으로 3차시의 수업을 실시하고, 3차시 수업 후에 반 구조화된 면담을 개인별로 실시하였다.

김해(金海) 대성동(大成洞) 환호유적(環濠遺蹟) 연구(硏究) (A study on enclosure in Daesoeng-dong Site, Kimhae)

  • 정의도
    • 헤리티지:역사와 과학
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    • 제35권
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    • pp.28-56
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    • 2002
  • There is no definite theory, which archeologists have believed to be built either for the protection or ceremonial purpose, of enclosure historical site exhibited from Bronze Age to Samhan era in Korea. The main conditions of choosing right enclosure were natural levee-backswamp-plateau, which all found in village on a hill. For this reasons Kimhae Daesoeng-dong enclosure discovered in 2001 is not an exception, and therefore this enclosure has been believed to be a beginning point of the farming society. In Korea there have been 2 types of enclosure. One is that enclosure entirely surrounds whole historic site itself and the other is that enclosure partially does. Although Kimhae Daesoeng-dong historic site has been discovered only part of it, it's not believed to have the first type-which surrounds the whole enclosure historic site In this research, 3 developing steps of enclosure historic site were defined. Enclosure surrounds only a part of the historic site is 1st step. Enclosure surrounds all around the site is 2nd step. The site discovered with big round clay pottery and developed into multiple enclosure is 3rd step. Since some researches have not been accomplished, the hypothesis above was suggested to have a better understanding of the development of enclosure historic site. The purpose of enclosure has been separately explained for the protection or for the ceremony. It is difficult to assert that excavation sites could be applied to only one of two purposes. But it is possible that both purposes of enclosure such as protection and as division from ceremonial area could be applied together. Kimhae Daesoeng-dong enclosure was shown for the purpose of division from ceremonial area. But we can not ignore that since Kimhae Daesoeng-dong enclosure exposed to the Sea and dwelling area was not shown from village hill, it would be probably for the protection. However enclosure of Gujibong village area in Daesoeng-dong had used for ceremonial purpose since the Bronze Age, even this enclosure would be possible to play an important role of being a center of legend of Gaya foundation. Many unsolved questions are still lying ahead. The enclosure was used for a short time, even if dwelling area was found in and out of enclosure, there were no differences between them, and although duplicate and triplicate enclosure were found, we could not sure which were before and after. Also we could not confirm the type of enclosure with location condition which was the flat land or the top of hill on floodplain. We should not divide the types of enclosure historic site due to differences from cross section of stratum. And I expect that we will have much data such as distribution of enclosure historic site in Yeongnam area where is concerned with origin and diffusion of Japan and China.

자동차 안전교육 VR 시뮬레이션 제작을 위한 프레임워크 (Framework for Car Safety Education Virtual Reality Simulation)

  • 셰차오;딩슈후이;장영직;윤태수
    • 한국융합학회논문지
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    • 제10권9호
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    • pp.37-45
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    • 2019
  • 최근 몇 년간 가상현실(VR, Virtual Reality) 기술의 등장은 안전교육의 새로운 모델을 제공하여 사용자로 하여금 가상 안전교육 환경에서 재난에 대한 지식습득 및 대응을 가능하게 한다. 그러나 현재 국내외의 연구개발과 관련된 관련 VR 제품은 비교적 간단하고, 특정 사고에 대한 실질적인 교육 방안이 없으며, 안전교육에서 충분히 역할을 할 수 있을 만큼 실용성적이지 않다. 본 논문에서는 재난의 유형 중 자동차 사고를 예시로, 자동차 안전교육 분야에서 적용된 VR 기술의 문제점과 단점을 고찰하고, VR 기술을 기반으로 한 자동차 안전교육의 시스템 프레임워크를 제안하고자 한다. 본 논문에서 제안한 자동차 안전교육 시스템은 이용자가 운전 안전의식을 향상시키고, 운전 시 안전지식을 습득하며, 자동차 안전교육에 매우 중요한 운전 안전기술을 습득하는 데 도움이 될 것이라 사료된다. 또한, VR 기술을 기반으로 한 안전교육의 설계와 제작방식은 VR 기술과 통합하여 관련 교재 제품을 개발하고 최종적으로 교육을 도입한다면 현대 교육 교학 이론의 적용에 중요한 참고적 의미를 갖으리라 사료된다.

비체로서의 샤일록 (Shylock as the Abject)

  • 이미선
    • 비교문화연구
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    • 제50권
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    • pp.483-507
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    • 2018
  • "베니스의 상인"의 샤일록은 악한이자 악마로서 간주되거나 기독교 사회에서 부당하게 박해당하는 피해자로 간주되어왔다. 신역사주의와 문화유물론 이후의 비평에서는 문학 텍스트나 문학 비평의 영역에서 배제되었던 타자의 문제를 새롭게 부각시켜서 유태인 샤일록을 베니스의 기독교 사회에서 억압당하는 인종적, 종교적, 경제적 타자로 해석해냈다. 이 논문은 크리스테바의 비체화 이론을 토대로 타자로서의 샤일록이 어떻게, 왜 비체로서의 샤일록이 되었으며 어떤 방식으로 비체가 되었는지 살펴보는 것을 목표로 한다. 샤일록은 베니스의 기독교 사회가 깨끗하고 동질적인 정체성을 유지하기 위해 그어놓은 경계선에 의해 주변으로 밀려난 타자, 즉 비체가 되었다. 샤일록을 비체로 만드는 장치인 경계선에는 게토와 특수한 유태인 복장 같은 눈에 보이는 경계선과 종교적, 경제적 측면의, 눈에 보이지 않는 경계선이 있다. 그러나 샤일록은 빌려간 돈을 제날짜에 갚지 못한 앤토니오에게 1파운드의 살을 떼어달라고 요구함으로써 이런 경계선을 넘어 기독교 사회의 정체성을 위태롭게 만든다. 경계선을 넘으려는 샤일록의 시도는 1파운드의 살에 대해 다른 해석체계를 제시한 포오샤에 의해 저지당하고 샤일록은 다시 비체의 자리로 추방된다. 비체로서의 샤일록에 대한 비평은 타자의 수동적인 측면뿐만 아니라 항상 경계를 벗어나서 지배 체제에 도전하고자 하는 욕망을 강조한다.