• 한국산학기술학회논문지
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• 제14권6호
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• pp.3061-3067
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• 2013

본 논문은 제2차 세계대전 이후 미국 캘리포니아에서 전개된 케이스 스터디 하우스(CSH) 프로그램을 대상으로 유럽에서 시작된 근대주택의 개념이 미국화되어 가는 과정을 파악하고 그 건축적 특징을 제시하고자 한다. CSH 프로그램은 미국식 근대주택의 개념이 설정되어 가는 과정에서 선도적인 기여를 한 것으로 이해되지만, 동시에 실행과정의 한계때문에 공공사업으로 확대되지 못하고 소규모의 실험적 프로젝트로 한정되었다. CSH프로그램의 실행단계에서 가장 큰 난제는 주택시장의 유통과정에서 효과적으로 대응하지 못하고 가격경쟁력을 잃어버린 점이다. 하지만, 유럽의 근대건축을 수용하고 발전시켜 미국식 실용주의에 근거한 독자적인 건축양식으로, 그리고 미국 근대건축의 원형(prototype)으로 이해될 수 있도록 했다는 측면에서 CSH 프로그램의 중요성은 높게 평가받아야 한다. CSH 주택들은 유럽 근대주의의 연장선상에서 실용주의를 기반으로 한 미국식 근대주택의 개념을 대변하는 위치에 있다.

• 융합보안논문지
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• 제18권5_2호
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• pp.53-60
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• 2018

과학기술이 발전함에 따라 미래의 전쟁에서는 보다 복잡한 전장 환경에서 지금보다 훨씬 정밀하고 다양한 무기체계들이 활용될 것으로 예상된다. 이때 복잡한 전장 환경과 다양한 무기체계들을 하나로 연결하여 전장상황을 인식하고 전장을 가시화 함으로써 지휘관 및 참모들에게 필요한 정보를 제공해 주는 시스템을 지휘통제체계(C4I)라고 한다. 지휘관 및 참모들은 지휘통제체계를 활용해 효율적인 전투지휘를 위해 컴퓨터나 종이지도 등을 활용해 미리 충분한 예행연습을 함으로써 지휘통제 및 의사결정 능력을 향상시키는데, 이를 전투지휘훈련이라 한다. 지휘통제훈련은 이러한 전투지휘훈련의 한 과정이다. 과거에는 지휘통제훈련을 위해 2차원(2D) 종이지도나 컴퓨터 스크린을 활용하였기 때문에 가시선 분석, 통신장비의 난청지역 분석, 병력의 진지 편성, 그리고 부대의 기동로 판단 등이 제한될 수밖에 없었다. 하지만 최근에는 이러한 단점을 극복하기 위해 3차원(3D) 기반의 지휘통제훈련 시뮬레이터들이 개발되고 있다. 이러한 추세에 발맞추어 본 논문에서는 증강현실(Augmented Reality, AR) 글래스를 활용한 다중 사용자 기반의 지휘통제훈련 시뮬레이터를 제안한다.

• 영어영문학
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• 제57권4호
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• pp.529-552
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• 2011

My essay aims at reading Ginsberg's "Howl" and "Kaddish" with the concept of 'shaman-prophet-poet' to illustrate the dynamic relationship between his poetics and radical politics. Throughout his widely-ranging career, Ginsberg represents himself as a poet-prophet and commands a typical rhetoric of revelation as a way of decentering Cold War orthodoxies. While well aware of the oppressive and pervasive power of the dominant post-war ideologies, he adopts 'madness' to oppose conventional political, social, and religious institutions; by way of entering into the madness of this world and actively engaging himself as a victim, he can finally heal both himself and the world. This dual function of poet characterizes his rhetoric of revelation, but it doesn't appeal to the mainstream of American critical ideology where the post-structural approach to language and subject gives a skeptical look at any account of active human agency and humanistic belief in the possibility of language. In "Howl" and "Kaddish," Ginsburg persuades the reader of the truth of his own vision through the convincing and realistic portraits of his contemporaries as well as his own mother and family. Different from his visionary predecessors such as Emerson and Whitman, Ginsberg knew the difficulty of a negotiation between history and divine vision, and attempted to imbricate his family, friends, and even the larger social and political units within his visionary experience in order to avoid naive idealism, escapism, or solipsism. Furthermore, he deconstructs the Logos of Western prophecy and replaces it with the groundless identity and the nontheistic epistemology of Buddhism, which, in turn, leads to emptying his powerful language of absolutist meaning and prevents his prophecy from becoming re-reified as divine essentialism. Ginsberg's idea of poet and poem revitalizes the skeptical view on language and literary representation of our contemporary critical community which is unwilling to engage the experimental scope of his radical prophecy.

• 대중서사연구
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• 제26권1호
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• pp.211-240
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• 2020

이 글은 기존의 하이틴 관련 연구들이 누락하고 있는 물음인 '하이틴이란 대체 무엇인가'를 고찰한다. 하이틴은 전후 범 동아시아 팝 문화 씬 권역 중 일본과 한국에서만 통용된 일본발 외래신어이다. 전후 미국에서 형성된 '틴에이저' 문화와 맥을 같이 하는 하이틴은 단순히 대중문화의 하위 카테고리가 아니라 전후 일본 정치의 중요한 이데올로기적 알레고리로 이해돼야 한다. 이를 알아보기 위해 우선, 개념으로서 하이틴이 의미화된 초기의 사례를 고고학적으로 추적한다. 그리고 이를 바탕으로 일본의 전후 정치·이데올로기와 맞물리며 형성된 하이틴의 표상-이미지로서 우에다 히라오의 초기 하이틴물의 정치적 의미를 살펴본다. 그간의 하이틴 연구가 한국이라는 지엽적이고 단편적인 영역에 한정되었던 데 반해, 이 글은 전후 동아시아사라는 보다 보편적인 지평에서 '하이틴'을 논의하는 단초가 될 것이다.

• 한국노년학
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• 제39권3호
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• pp.429-449
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• 2019

본 논문의 목적은 제2차 세계대전 이후부터 신 노동당 정부까지 영국의 노인을 위한 개인적 사회 서비스 정책의 복지 다원주의의 역동성을 밝히고, 그것의 정책적 함의를 논하는 것이다. 이를 위해 1945년부터 2010년까지 보수당, 노동당, 신 노동당 정부 및 의회 보고서, 의회 회의록, 전당대회 원고, 법률, 국립기록보존관의 비밀 해제 문서, 각종 연구 기관의 보고서를 내용분석 한 결과, 노인을 위한 개인적 사회 서비스 정책의 복지 다원주의의 역동성에서 국가는 NHS에서와 달리, 해당 시기 내내 민간 영역의 보조 역할에만 머문 것으로 밝혀졌다. 이러한 구조에서 민간 영역의 역할이 국가의 역할 보다 지나치게 강화되었을 때 영국 노인들이 겪었던 부작용은 문재인 정부의 노인을 위한 커뮤니티케어 복지 다원주의 구조 형성에 유의미한 정책적 함의를 제공해주고 있다.

• 미술이론과 현장
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• 제13호
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• pp.35-71
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• 2012

The purpose of this essay is to examine the responses of artists on nuclear experiences through an analysis of the nuclear images represented in contemporary Japanese art. Japan has previously as twice experienced nuclear disaster in 20th century. The first atomic bombs were dropped in 1945 as well as the 5th Fukuryumaru, Japanese pelagic fishing boat, exposed by hydrogen bomb test operated by the US in 1954 nearby Bikini atoll. Due to Tsunami taken place by the great earthquake that caused the meltdown of Fukushima Nuclear Power Plant in March 2010, Japan is being experienced a nuclear disaster again. Despite practical experiences, comtemporary Japanese art has avoided the subject of nuclear disasters since the end of the Asia-Pacific War for a variety of reasons. Firstly, GHQ prohibited to record or depict the terrible effect of atomic bomb until 1946. Secondly, Japanese government has tried to sweep the affair under the carpet quite a while a fact of nuclear damage to their people. Because Japan has produced numerous war record paintings during the Second World War, in the aftermath of the defeated war, most of Japanese artists thought that dealing with politics, economics, and social subject was irrelevant to art as well as style of amateur in order to erase their melancholic memory on it. In addition, silence that was intended to inhibit victims of nuclear disasters from being provoked psychologically has continued the oblivion on nuclear disasters. For these reasons, to speak on nuclear bombs has been a kind of taboo in Japan. However, shortly after the atomic bomb dropped on Hiroshima, the artist couple Iri and Toshi Maruki visited to ruin site as a volunteer for Victim Relief. They portrayed the horrible scenes of the legacy of nuclear bomb since 1950 based on their observation. Under the condition of rapid economical growth in 1960s and 1970s, Japanese subculture such as comics, TV animations, plastic model, and games produced a variety of post apocalyptic images recalling the war between the USA and Japanese militarism, and battle simulation based on nuclear energy. While having grown up watching subculture emerged as Japan Neo-Pop in 1990s, New generation appreciate atomic images such as mushroom cloud which symbolizes atomic bomb of Hiroshima. Takashi Murakami and other Neo-Pop artists appropriate mushroom cloud image in their work. Murakami curated three exhibitions including and persists in superflat and infantilism as an evidence in order to analyze contemporary Japanese society. However, his concept, which is based on atomic bomb radiation exposure experience only claimed on damage and sacrifice, does not reflect Japan as the harmer. Japan has been constructing nuclear power plants since 1954 in the same year when the 5th Fukuryumaru has exposed until the meltdown of Fukushima Nuclear Plant although took place of nuclear radiation exposures of Three Mile and Chernobyl. Due to the exploding of Fukushima Nuclear Power Plant, Japan reconsiders the danger of nuclear disaster. In conclusion, the purpose of this paper may be found that the sense of victim which flowed in contemporary art is able to inquire into the response of artist on the subject of nuclear as well as the relationship between society, politics, culture, and modern history of Japan and international political situation.

• 비교문화연구
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• 제25권
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• pp.55-85
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• 2011

Many States such as Arizona, Texas, New Mexico, Colorado, California, New Mexico, Florida were obtained either from Spanish Empire or from Mexico. In 1848 due to the Guadalupe-Hidalgo treaty America could obtain half of the original territory of Mexico. American identity cannot be understood without the history of American expansionism further consolidated by the Spanish-American War in 1898, which brought other ex-Spanish colonies such as Guam, Puerto Rico, the Philippines to the US. The US's interest in these territories dates back to the Monroe doctrine in 1823 when Monroe "declared the Americas off-limits to any new European colonization." America justifies their expansion based on the notion of Manifest Destiny which was created by O'Sullivan at the hight of American fever to annex Texas to US. The intent of this paper is to study how Anglo-Saxon and Latin Culture clashed against each other especially right before and after the Spanish-American War. In this study the American hero, Theodore Roosevelt and Latin American hero, $Jos{\acute{e}}$ Martí will be compared, though they did not meet each other during the Spanish-American war due to Marti's early death in 1895 at the battle for the Cuba Libre. Their comparison is significant in that the former represents the American expansionist spirit and the latter the spirit of Anti-imperialism and Anti-Anglocentrism. Along with the concept of Manifest Destiny of America, 'American exceptionalism' is also mentioned which motivates U.S. to expand further even after the Spanish-American war in the form of 'informal imperialism' characterized by 'gunboat politics'of the US. These discussions will draw attention to how recent theorists such as Bryce Traister criticizes the Border Theory represented by $Jos{\acute{e}}$ David Saldívar. Here the Border Theory is criticized to repeat the discourse of the globalized capitalism which prefers the weak state and the transnational aspects by focusing on the in-betweenness of the border. In the end the paper will focus on how the Border theory as represented by Saldivar is political enough and sets up a resistant example against American expansionism of today in its focus on the call for pan-American and pluri-versal subjectivity of the borderlands. This point will be supported by a discussion of how Saldivar's view is confirmed by Walter Mignolo who advocates the "bottom up" resistance of the indigenous people of Chiapas and other social forums such as World Social Forum and the Social Forum of the Americas derived from the Zapatistas' movement whose motto is "A World in which many world co-exist."

• 해양안보
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• 제2권1호
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• pp.151-184
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• 2021

21세기 최대의 화두 중 하나는 기후이변으로 인한 지구 온난화 현상이다. 지구온난화는 글로벌 생태계를 위협하는 재앙인 동시에, 북극항로의 상용화를 통한 물류비용 절감이나 광물자원 개발 등을 가능케 하는 기회이기도 하다. 지구의 생태·환경 위협과 새로운 경제적 기회가 병존하는 '북극의 역설'이 글로벌 국제환경에 심대한 영향을 미치게 될 것임을 예고한다. 빙하가 사라지면서, 수에즈-파나마 운하를 통과하지 않고 북극해를 통과하는 루트가 '제3의 항로'로 떠올랐다. 이는 기존 항로의 거리를 30% 정도 줄일 수 있다. 아울러 지구 온난화는 지정학적 패러다임의 변화를 몰고왔다. 북극 얼음이 녹아내리기 시작하면서 북극이 '상수'가 아닌 21세기 최대의 지정학적 '변수'로 떠오를 조짐이다. 이에 따라 탈냉전 시대에 들어 '평화와 협력의 공간'으로 인식되던 북극이 군사·안보측면이 강조되는 새로운 전략환경에 직면하고 있다. 냉전종결 이후 한동안 환경보호 등을 중심으로 협력적 모습을 보이던 북극이 다시금 '냉전 2.0'을 예고하며, 강대국들 간의 새로운 경쟁과 대결의 무대로 변모하고 있다. 본 연구의 목적은 북극해의 전략적 가치를 지정학적 및 지경학적 관점에서 평가하고, 북극 일대에서 벌어지는 신냉전 다이내믹을 분석함으로써, 이를 바탕으로 우리에게 주는 전략적 함의를 도출해 보는 것이다.

• International Journal of Costume and Fashion
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• 제13권2호
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• pp.79-92
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• 2013

This article explores 1940's fashion. Much has been documented about the huge influence Dior's 1947 New Look had on fashionable clothing, as the industry conspired to reinvent itself as an economic and cultural power after World War II. The introduction of highly feminised and luxurious styles reinstated fashion as a viable concern globally and has arguably been recognised as the defining style of the 1940's. During World War II the fashion system of design, manufacture and export within the western world, virtually ceased. Many dress historians (Arnold, 2008; Breward, 1997; Guenther, 2004; McDowell, 1997; Robinson, 1976; Taylor, 1992; Steele, 1998; Veillon, 2002; Walford, 2008; Wilson & Taylor; 1989) have suggested that fashion ideas froze from 1939 to 1947. Deeper research identifies that during this period of style and trend starvation, many diverse and interesting design ideas arose from the restrictions imposed and Veillon (2002, p.145), has suggested that this period instigated what we now identify as Street Style (Polhemus, 2010). This research investigates the diversity of design ideas produced between 1939-1947 in order to establish whether pre or post 1947 can be upheld as the definitive 1940's look, one that influences contemporary fashion designers and one that we identify with as a conclusive style today.

• 동남아시아연구
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• 제21권2호
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• pp.217-261
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• 2011

This study is an attempt to construct a basic framework of analysis about China's political and economic influence on Southeast Asia through traditional Sinocentrism, anti-colonial nationalism, Cold War socialism and post-Cold War capitalism. As to the historical status of Southeast Asia vis-a-vis external forces such as India, China and the West, the colonial discourse tends to put excessive emphasis upon its dependence, and the posy-colonial discourse upon its autonomy. However, this study elucidates the political and economic interactions between China and Southeast Asia in a dynamic perspective, focusing on their reciprocal interactions beyond the essentially static dichotomy of autonomy and dependence. Chinese influence on Southeast asia can be divided into active and reactive one, with the former referring to direct and intended consequences and the latter to indirect and unintended consequences. In the historical process of active and reactive influence, both China and Southeast Asia were fundamentally proactive actors. Thus, the autonomy or dependence of Southeast Asia is just a question of relative one, with its actual extent and degree varying with specific spatial and temporal conditions.