• 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.

• 미술이론과 현장
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• 제8호
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• pp.123-144
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• 2009

The history of art during the first half of the last decade was founded the discussion with highly impressive and confident. The art might establish its unique area based on self recognition at that era. The self-confidence of modern art may be possible on enlightenment, which is the firm relationship for knowledge and reality. However the faith of modernism which shows rational tendency, objective, and the existence of universal knowledge has been drastically doubted and criticized thereafter. A internal ideological system which had leaded the modern art was exhausted. Postmodernism revolved to the dramatic openness leaning against the deoedipalizational confession. According to the dissipation of the vitality of modern art postmodern art has been evolved and then various phenomena which follow the trends has been emerged. The avant-garde and resisteive attribute of modern art was diluted fast due to the influx of popular culture. As time goes it can be attracted by spectacle taste than metaphysical peculiarity. It has to inevitably justified the drift of light and quick themes, contents, and images. Such as these phenomena realistically shows fact that postmodern art had been failed to open a new chapter of consilience which intermediates beauty and usual communication to overcome the solipsism of modernism. A trial to pursuit the opened esthetics conceived more 'heroic' 'Star-Subject' than before by dismantling the modern 'Hero-Subject'. Postmodernism has been recorded as a regression of art, which is the technology of profound spirit that mitigates antagonism and confrontation and mediates mutual encountering of human being. Prevailing of postmodern freedom had been accompanied by popularity, osetentation consumption, marketing, gambling level exitement, mixtures of desires with price fluctuations. We witness 'self-confinement' and 'lasting absence of exit' phenomena in postmodernism ideology and practice. We have to deal postmodernism as an 'ideology which closes the discussion for the future' in the context of 'absence of way' at this point. We are going to investigate how postmodern ideology and practice takes part in the prospection beyond thereafter through discussion. We also pay attention to the 'absence of prospection' as a internal problem in itself nevertheless mention the three merge points such as tradition or memory, earthy thought, the self who confrontation others as the clue of prospecting thought which is allowing coming over postmodern absence.

• 비교문화연구
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• 제38권
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• pp.115-144
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• 2015

The purpose of this study is to look into the support activities of the 17th century spanish plays which had been taken in various paths in terms of responses of the then-public who had been enthusiastic about great plays and artworks. Such a phenomenon clearly appeared in the open-air theater 'corral' where 'Teatro nacional' was performed at that time. Therefore, this study tries to investigate the functional relation between the public's responses and the prosperity of then-plays from the concrete standpoint of Lope's public-oriented plays. Although Lope's plays basically include system-protection ideology, they are thoroughly based on the public's support and popularity. In short, at that time, Lope's dramatic reform and entailing remarkable hit and success were made possible through thorough compliance with the public's preference and thereby the public's absolute support and affection. The tendency of his public-oriented plays appears in two aspects. One is the common people persecuted and punishment of a wicked man of power. The typical plays in point are Lope's Perib??ez y el comendador de Oca?a and El mejor alcalde, el rey. Through the plays, the playwright Lope not only implemented praise of absolute monarch very effectively, but soothed the wounded heart of the common people who had suffered pains due to their unfair and lowly social status. In this way, his plays might give senses of reliefs and satisfaction to most viewers who identified with the common people in the plays. The other one is the decisive raise of status of an exemplary commoner, the subject matter which had been used by Lope as one of useful means to show the public-oriented tendency of his plays. The cases in point are Los Tellos de Meneses and its succeeding work Valor, fortuna y lealtad. The two-part work of Lope is about the hard journey, ups and downs, and ascent to the nobility of Tello, an exemplary and rich farmer, and hits young son Tello. Through the two-part play, Lope demonstrated how an exemplary and good-mannered commoner rose to the nobility and thereby gave vicarious satisfaction to the then-public and received a lot of praise from them. As mentioned earlier, through his public-oriented plays, Lope not only satisfied the public's desires and achieved his realistic goal of big success. Not all Lope's plays are public-oriented. Nevertheless, the popular success of 'Teatro nacional' made by Lope and his followers is based on the public's preference and the plays' dramatic responses to their desires, and the strategic elaboration to comfort the public suffering lot of pains in daily life.

• 비교문화연구
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• 제25권
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• pp.775-798
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• 2011

From Post-Modern Edo-language of Japan, it is possible to find expression formats related to current Tokyo language. However, in some cases, Tokyo language and Edo-language has the same format but different usage. One example is the ending portion of a sentence. This research investigates conclusive expressions of Edo-language in literary works excluding the usage of "ダ". Various formats of conclusive expressions appear in a conversation, and the usage is closely related to the speaker's sex, age, and social status. Also from the study, it was possible to see that the social relationship between a speaker and a listener and a conversation circumstance has an effect on the usage of conclusive expressions. In addition, usage does not conform to the current standard Japanese. 1. Currently "である(dearu)" format is seldom used in speaking, it is used with "だ" only in writing. The study found no case of "である(dearu)" in conclusive expressions but some use of "であろうて(dearoute) であらうな(dearouna)" "であったのう(deattanou) であったよ(deattayo)" only in old aged male. 2. "であります(dearimasu)" format is a typical Edo-language used by society-women (Japanese hostess who has a good education and an elegant speaking skills). This format was used once in "浮世風呂"(ukiyoburo) and 14 times in "梅?"(umegoyomi), but speakers were always a female. The reason for 14 occurrences in "梅?" is closely related to the fact that the main characters are society-women and genre is "人情本(ninjoubourn)" which is popular type of cultural literature (based on humanity and romance) in late Edo period. 3. "でござる" format is originally used as a respect-language but later changed to a polite language. The format is always used by male. It is a male language used by old aged people with a genteel manner such as a medical doctor, a retired man, or a funny-song writer. 4. "ございます(gozaimasu) ごぜへます(gozeemasu)" The study found the speaker's social status has a connection with the use of "ごぜへます(gozeemasu)" format. Which is "ございます(gozaimasu)" format but instead of [ai], long vowel [eː] is used. "ごぜへます(gozeemasu)" is more used by a female than a male and only used by young and mid-to-low class people. The format has a tough nuance and less elegant feel, therefore high class and/or educated ladies have a clear tendency to avoiding it

• 비교교육연구
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• 제18권4호
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• pp.27-55
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• 2008

질 관리와 개선이 고등교육기관의 생존과 국가 경쟁력의 중요한 요소로 부각되면서, 질 관리 방안은 국가 차원뿐만 아니라 국경을 넘어선 관심사로 떠오르고 있다. 많은 나라들이 질 관리 체제를 확립하고 적용하기 위한 노력을 경주해 온 가운데, 이것이 실제 고등교육 기관에서 어떻게 적용되고 있는가에 대해서는 충분한 연구가 이루어지지 못하였다. 따라서 본 연구는 영국의 고등교육 질 관리체제를 대학 차원에 초점을 두고 스코틀랜드를 중심으로 살펴보고자 한다. 스코틀랜드의 질 관리와 개선시스템(Quality Assurance and Enhancement)은 학생의 참여와 질 관리 문화를 강조하는 만큼, 본 연구는 이해관계자 이론에 근거하여 에든버러대학 교육학부를 중심으로 내부 이해관계자들의 인식을 분석함으로써 대학에서 이루어지는 질 관리의 실태를 살피고 더 나은 실천을 위한 방안과 시사점을 도출하고자 하였다. 이해관계자 분석 결과 질 관리와 개선 시스템(QAE)은 학교 내부 이해관계자들의 질 관리에 대한 높은 이해와 관심수준을 보이며 비교적 성공적으로 적용되고 있으나, 현재 활용되고 있는 전략은 여전히 학생과 교직원 일부에서 충분히 기능하지 못하고 있는 것으로 나타났다. 따라서 더 나은 실천을 위해서는 더욱 폭 넓은 정보의 공개와 점진적 평가 과정, 의사소통과 행정적 지원이 요구된다.

• 문화경제연구
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• 제20권2호
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• pp.149-171
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• 2017

본 연구는 국내 복승식 베팅자료를 통해 경마 베팅시장의 비효율성 문제를 분석하고 있다. 국내 비선호마 역설 현상과 위험 선호적 태도는 객관적 우승확률과 주관적 우승확률 간 유의한 차이에서 기인되며, 이는 잘못된 가격책정의 시장 비효율성과 밀접한 관련이 있음을 논의하였다. 또한 한계배당률 정보를 활용한 적중함수를 추정했고, 이에 기반된 복승식 베팅 시뮬레이션을 시행한 결과를 추가 논의하였다. 국내 복승식 베팅자료에 대한 비선호마 역설 현상 분석결과와 두 효용함수의 추정결과는 위험 선호적 결과를 일정부분 시사하는 것으로 나타났다. 이는 사람들이 국내 복승식 베팅시장에서 수익률의 분산이 상대적으로 높은 비선호 베팅조에 대한 베팅을 선호하고 있었음을 의미한다. 전체 7개의 베팅전략 중 무려 4개의 베팅전략에서 시장 기대수익률 이상의 추가 수익이 발생 가능한 것으로 나타났다. 그 중 3개의 베팅전략에서는 최상위 베팅조 구간의 실제 수익률을 훨씬 상회하는 초과 수익이 관찰되었고, 이러한 결과는 국내 경마 베팅시장의 비효율적 측면을 재확인시켜주는 것으로 해석된다. 본 연구에서는 스마트정보로서 한계배당률 변수를 발굴하고 이를 정보 제공과 연계하는 과정을 제시하였다는데 얼마간의 긍정성을 가진다. 한계배당률의 적중함수를 통해 핵심적이지만 아직 공개되지 않은 정보의 비대칭성 문제가 완화될 수 있다. 또한 스마트정보의 적극적 활용은 객관적 우승확률이 상대적으로 낮음에도 불구하고 단지 고배당률 수치에 유인되는 사행성 문제의 해소에도 도움이 될 수 있다.

• 대한화장품학회지
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• 제31권1호
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• pp.25-33
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• 2005

본 연구에서는 효모에서 분리한 melanoston이라고 명명된 멜라닌 생성을 억제하는 물질의 작용 기전을 밝히기 위한 것이다. $\alpha$-MSH를 처리한 B16 melanoma 세포에서 melanoston은 tyrosinase mRNA 발현양을 $10\%$ 정도 저해되는데 그쳤으며 western blotting을 이용한 단백질 측정에서도 이와 비슷한 정도의 단백질 생성 억제를 보였다. 그러나 B16 세포 배양액에 melanoston을 첨가할 경우 세포내 tyrosinase 활성이 $30\%$까지 감소되는 것으로 나타나 melanoston이 tyrosinase inhibitor는 아니지만 세포내 tyrosinase 활성화(activation) 과정을 억제하는 것으로 추측할 수 있었다. 또한 광학 현미경을 이용한 morphology 관찰에서 $\alpha$-MSH를 처리한 세포에서는 많은 dentrite가 형성되면서 세포분화가 일어나는 반면 melanoston를 처리한 경우에는 dendrite가 감소하면서 세포형태가 대조군과 비슷하게 회복되는 것을 알 수 있었다. 또 FITC-anti-tyrosinase-Ab를 이용한 형광염색을 통해서는 $\alpha$-MSH만 처리한 세포에서는 tyrosinase의 분포가 dendrite를 포함한 세포 전체로 퍼져나가는 것을 관찰 할 수 있었고 $\alpha$-MSH와 melanoston을 동시에 처리한 세포에서는 대조군과 비슷하게 tyrosinase가 핵 주변에서만 관찰되어 melanoston이 B16 melanoma 세포의 분화과정에서 이를 억제하는 효과를 주고 있음을 알 수 있었다. 이상의 결과들을 종합해 볼 때 melanoston은 $\alpha$-MSH에 의해 진행되는 B16 세포의 분화를 억제하고 이 과정에서 멜라닌 생성의 주된 효소인 tyrosinase의 활성화를 억제하며 결과적으로는 멜라닌 생성을 저해하는 것으로 사료된다.

• 한국연극학
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• 제48호
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• pp.385-419
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• 2012

Son Jinchaek got into his directing career since 1976 when he founded the theatre group Minye with Huhgyu and others. His experience in Minye was the turnaround of his life; Huhgyu was a teacher in his artist's life whereas Brecht was a teacher for his ideology to make 'Korean Theatre'. From these two teachers, he learned how and why Korean Theatre should be made. Since then, Korean theatre was his calling for 40 years of his directing career. As he established Michoo in 1986, it served a turning point in his art. His focus was on intrinsic attributes of Korean Theatre with Madang Jungshin. With Madang Jungshin, he tried to get over the former generation's fixation on external materials of Korean traditional theatre and folk culture to make Korean Theatre. Rather, he believed Korean Theatre could be realized when it grafted Korean social reality onto the stage, while the form was subsequent. He advocated Korean Theatre should mirror present social reality and circulate social energy. Also, he did not give up aesthetics. On the contrary, his aesthetic style was conspicuously evident in his productions. In spite of his life long career with noteworthy works, the critical discourses are strikingly scarce especially when compared with other senior and peer directors such as Hugh Gyu, Ahn Minsoo, Oh Taesok, and Lee Yoontaek. During his career he has crossed into various genres from Changeuk, Madangnori, and to theatres, which were too versatile to thread them into a discourse and caused a lack of theoretical greeting. Madangnori has anchored its artistic structure on its polished aesthetics which were acclaimed by the general audience for 30 years. For theatre, he concentrated on one production per year to grasp its own style. Theatre works also had revealed his own style of being opened and of being emptied which was certainly different from Madangnori, but had same aesthetic principle within it. This paper attempts to recompose his stylistic features with 'Madang aesthetics' which were based on open space, open acting style, and graphic ensemble. This paper tries to demonstrate how his 'Madang aesthetics' has refined his productions in scenography, acting style, and in more like metaphoric and metonymic symbolic expression of the graphic ensemble. To do this, two productions were explored: eLee Chunpoongjeun and Yulha Ilgyee Manbo. Madangnori was sorely explored by Son Jinchaek with his artistic colleagues Yoon Munshik, Kim Jongyeup, Kim Sungnyu, music designer Park Buhmhoon, and choreographer Guk Sooho. Though it has been ignored for its popular appeal by the doctrinaire theoretical opinions, it started to pull academic attention recently. His theatres are also getting sharp with his 'Madang aesthetics' as well as minimalistic expression in scenography, acting style, and graphic ensemble. Madang Jungshin is the soul and Madang aesthetics is the body in his artistic works. The Madang Jungshin animates the Madang aesthetics, so they become alive in his theatre.

• 한국콘텐츠학회논문지
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• 제19권8호
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• pp.473-482
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• 2019

사회적인 삶의 인식 변화로 인해 사람들의 여가활동이 증가되었다. 여행과 캠핑문화의 발전으로 캠핑카가 인기를 얻고 있다. 하지만 경제성과 사용성의 어려움으로 캠핑카의 구매 및 렌트가 쉽지 않고, 제공자 또한 많지 않아 캠핑 인구에 비해 이용객이 많지 않다. 그래서 공유 서비스를 접목시켜 캠핑카 서비스 방안에 대한 연구를 하고자 한다. 이 연구를 통하여 캠핑카의 합리적인 사용성과 경제성을 고려한 공유의 개념으로 일상속에서 사용할 수 있는 캠핑카 공유서비스를 제공하고자 한다. 본 연구는 국내외 문헌자료 및 인터넷 자료를 참고하여 공유 서비스 및 캠핑카의 개념과 특성 및 현황을 분석하여 공유 서비스를 적용한 캠핑카 활용의 기초자료를 제공하고자 하였다. 또한 공유 차량과 캠핑카의 사례조사를 통하여 현재 공유차량의 시장과 소비자 인식을 파악하였다. 연구 결과 P2P와 B2C, 렌트 회사 및 개인을 통합 연결하여 공유하는 A2P(All to People)서비스 디자인을 도출하였다. 주차 공간의 자율성과 사용자가 원하는 장소와 시간에 이용 가능한 자신만의 공간이 생겨나는 것이다. 본 연구는 현대인들의 일상 속에서 캠핑카를 쉽게 접하고 경험할 수 있는 캠핑 혹은 이색적인 이동형 공간 서비스 디자인이다. 사용자의 경제적인 면인 유지 및 관리비의 부담을 덜어 줄 것이며 또한 픽업, 반납이 자유로워 서비스가 사용자에게 다가가는 사용자 중심이 될 것이다. 이 공유 서비스 디자인을 통하여 다양한 여가 활동의 문화가 생겨날 것이며 또한 캠핑카 산업의 활성화에 크게 기여할 것이다.

• 보건행정학회지
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• 제29권1호
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• pp.58-67
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• 2019

Background: In this study, we aimed to investigate the drinking behaviors and drinking-related problems of college students in South Korea to produce national alcohol statistics. Methods: We carefully examined the questionnaires and previous research developed in the previous research project and selected questions that reflect the special environment and culture of college students. In order to stratify a nationally representative sample of college students, the distribution of students around the country were found through the educational statistics database of the Korea Educational Development Institute. Based on this information, we conducted a survey in collaboration with Gallup (Korea) to survey and analyze the drinking behaviors of 5,024 Korean students. Results: A nationwide cross-sectional survey was conducted in 2017, for Korean college students. A total of 5,024 students were recruited and analyzed. The monthly drinking rate was 78.0% for male students and 72.9% for female students. The high-risk drinking rate was 23.3% for male students and 17.2% for female students. The most popular category for number of drinks per drinking session was 'more than 10 glasses' per drinking session for both male (44.1%) and female (32.8%). On the alcohol use disorders identification test, the greatest proportion of male students were in the high-risk drinking category (score 8 to 15) 43.8%, followed by the 'low-risk drinking' (score 0 to 7) in 43.6%, 'alcohol abuse' (score 16 to 19) 7.2%, and 'alcohol dependence' (greater than 20) 5.4% categories, respectively. For female students, the greatest proportion of female students were in the 'low-risk drinking' in 49.6%, followed by 'high-risk drinking' 37.1%, 'alcohol abuse' 8.4%, and 'alcohol dependence' 4.9% categories, respectively. Conclusion: The results of the study showed that the drinking behavior of Korean college students was excessive. Overall, it was found that the college population has a greater high-risk drinking behaviors than general adult population. Furthermore, these problem drinking behaviors were prominent among female college students. Results from the present study suggest that it is necessary to monitor the drinking behavior of college students with constant interest and to prepare policies and strategies suitable for these circumstances.