케이팝(K-Pop), Korean과 Pop Music의 기묘한 만남 -K-Pop의 한국 대중음악적 진정성에 대한 탐구

이수완 ( Su Wan Lee ) 서울대학교 인문학연구원 2016 인문논총 Vol.73 No.1

I approached K-Pop with a rather critical look. The tension between K which represents Korea and Pop which means American Popular music is essential in understanding K-Pop. The term “K-Pop” was named abroad and it means Idol-based -Western- dance- music. And the culture industry plays a leading role in its production. “Kayo” which is the Korean word for Korean Popular music had been considered as authentic Korean popular music, historically. However, Kayo is replaced by “K-Pop” which discards Korea’s musical identity and historical context. This elimination is due to K-Pop’s target of musical globalization. Instead, it took on contents of American popular music and gained musical universality. The proofs of musical universality are individual emotion’s expression regardless of local character and dance oriented music by means of trans- media strategy. These traits maximize economic profit. K-Pop aims to become a transnational popular music and in this process ‘K’ transformed into a brand name for exporting goods. K- Pop became a fictitious concept. K-Pop shows that class, nationality, gender based authenticity is thrown away in 21th century popular music.

『미학(美學)』 : 서구 대중음악론에서 진정성 개념의 의미에 대한 소고

이수완 ( Su Wan Lee ) 한국미학회 2011 미학(美學) Vol.65 No.-

Authenticity is a vague concept which is changing and has been constructed in popular music history. This article focuses on the discourse about function of authenticity in popular music, especially in Rock Music. Authenticity in Popular Music Studies is related to the ethical and political value in popular music. It is claimed that authenticity is the opposite concept of ``the artificial`` and ``the commercial``. So authenticity was used for the aim of legitimating of the popular music. Adorno thought that searching for authenticity in modern times shows the people`s desire for real and unique experience in popular music. Authenticity in popular music is argued in two aspects. (1) authenticity which is related to community (2) authenticity as artistic expression. In (1), authenticity of Rock Music is advocated in relation to Youth Culture`s resistance and Folk Music`s characteristics such as reflection of community`s experience. In (2), Rock Music is advocated as artistic expression and musician`s authorship. But S. Frith criticized these aspects because authenticity is kind of ideology as sales promotion and legitimating the value judgement about Rock Music. In 1980s, Rock Music became successful musical item and musical mainstream, so Rock lost its authenticity and its difference from other popular music. But the pursuit of authenticity in Rock music is same as before. It shows that authenticity will keep its value in the capitalistic society. Authenticity does not come from musical structure but from audience who wants to find real experience. Audience feels enjoyment and finds meaning from popular music even if he knows music is produced for economic profit. People appreciate popular music for their purpose, and in that process they find their identity. Judgement on authenticity relies on relation between people, group, and music.

기업의 문화예술지원에 관한 연구

이수완(Su-Wan Lee) 충남대학교 사회과학연구소 2013 사회과학연구 Vol.24 No.3

Under the circumstance in which neo-liberalism is globalized, and cultural marketing by corporations becomes a trend, corporate support for culture and art has gradually moved its focus from its previous charitable, supportive character to a strategic viewpoint of ‘marketing’. Raising awareness about corporate support for culture and art as a firm’s social responsibility is requested especially in Korea where a history of corporate support for culture and art is relatively shorter than that of the advanced nations. This dissertation takes notice of social responsibility that is often overlooked when a company supports culture and art, inquiring into the implication and direction of such support in terms of its social responsibility. To attain this, I have intensively analyzed the cases of the Cartier Foundation for Contemporary Art and Hermes Foundation. The two foundations have something in common: they have concentrated their supports on only contemporary art in a long-term basis, remaining independent and autonomous from commodities and brands of their mother corporations. The characters of the two foundations are after all marked by such elements as ‘public-ness, continuity, and sincerity’. Accordingly, I intend to underline the continuity of corporation mecenat as social contribution separate from any marketing goal and long-term mecenat serving as momentum to practice a firm’s social responsibility. I wish that the cases of the two foundations would work positively in setting the direction of a firm’s support for culture and art.

음악, 지역, 신화 : 아프리카에 대한 서구적 신화에서 벗어나기 아프리카 음악과 탈식민주의 비평

이수완 ( Su Wan Lee ) (사)음악사연구회 2014 음악사연구 Vol.3 No.-

The aim of this thesis is to introduce post-colonial criticism in music and its main task. The object of post-colonial criticism in music is to find the real value of musical culture of regions where people had experience of colonial period. So it focuses on post-colonial political and historical background. But above all, postcolonial critics asserts to reconsiderate traditional discourses of western Musicology before trying to recover musical identities of people who live postcolonial times. Especially in my paper, I examined Kofi Agawu’s project about constructing post-colonial theory in African music. Agawu criticized main ideas of Western ethnomusicology such as musical representations of Africa, musical archives of Africa, and musical analyzing tools. He thought that those ideas should take blame for making all the myths about African music. He tried to show how political power during colonialism formed knowledge about music, which affects modern Western musicology even until today. And he sought for Afro-centric means to understand African music. I think that post-colonial criticism about all its related regions (including Korea) should begin by examining presentations of ethnographic musical data and correcting false assumptions and prejudices.

아도르노의 재즈 에세이

이수완 ( Su Wan Lee ) 한국미학회 2007 미학(美學) Vol.52 No.-

아도르노의 라디오 음악론

이수완 ( Su Wan Lee ) 한국미학회 2007 미학(美學) Vol.49 No.-

지체장애인의 자가운전에 대한 부산지역 일반인들의 인식도 조사

차수민 ( Su Min Cha ),이지원 ( Ji Won Lee ),오현정 ( Hyeon Jeong Oh ),이수완 ( Su Wan Lee ),이지숙 ( Ji Sook Lee ) 고령자·치매작업치료학회 2015 고령자.치매작업치료학회지 Vol.9 No.1

Objectives: The purpose of this study was to present the basis for the necessary help enable future driving rehabilitation plan prepared by examining the public awareness of busan on self-driving by the people with physical disability. Methods: From May 10th, 2014 to May 23th, 2014 visit to the surveys were conducted to examine the operation of the self-awareness of the handicapped for the public 150 people in Busan. Results: For most of the physically disabled had to recognize safe driving is difficult. But the move was necessary to secure the rights for the disabled driving needs and desires of the self, and that the expansion of education and training facilities and personnel required for this purpose. Conclusion: Driving awareness of the need to improve the public for the disabled and handicapped targeted at professional and systematic driving rehabilitation system activation is required. In addition, laws and institutions will be needed to support this improvement.

모바일 컴퓨팅 환경에 적합한 데이터 관리 기법

박수완 ( Su-wan Park ),김정녀 ( Jeong-nyeo Kim ),이덕규 ( Deok Gyu Lee ) 한국정보처리학회 2014 한국정보처리학회 학술대회논문집 Vol.21 No.2

모바일 클라우드 컴퓨팅 환경에서 다양한 데이터 서비스가 가능해지면서 데이터의 분산관리가 주요 이슈로 떠오르고 있다. 개인이 아닌 그룹 내에서 공동으로 사용하는 모바일 퍼블릭 클라우드의 경우 그룹 내 사용자 모두 공동의 그룹키를 사용하여 데이터를 암호화 하게 된다. 하지만 그룹 내의 기존 사용자가 그룹을 탈퇴할 경우 그 사용자가 접근 가능했던 데이터가 탈퇴한 그룹원에 의해 노출되게 된다. 이를 방지하기 위해 탈퇴한 멤버에 의한 데이터 유출을 막기 위해서 새로운 그룹키를 갱신하여 모든 데이터를 다시 암호화 해야 한다. 하지만 이 과정에서 대용량 데이터의 암복호화 과정에서 막대한 오버헤드가 발생하게 된다. 이러한 문제점을 해결하기 위해 본 논문에서는 이러한 그룹 멤버의 가입과 탈퇴에 독립적인 그룹키 관리 방식을 제안한다

황달, 복수, 부종을 주소로 하는 간암 환자에 인진오령산가미 투여로 호전된 1례

박수완 ( Su Wan Park ),김대준 ( Dae Joon Kim ),곽민아 ( Min A Kwak ),변준석 ( Joon Seok Byun ),이자영 ( Ja Young Lee ) 대구한의대학교 제한동의학술원 2014 제한동의학술원논문집 Vol.12 No.1

Objectives: This case study was made to evaluate and observe the treatment for juandice, ascites and edema in patient with liver cancer by Injinolyungsangami. Methods: Herb medication, acupuncture and moxa therapy were applied for treating patient``s chief symptoms. And the effects of treatments were measured with blood test results, abdominal girth and circumference of foot. Results: After the patient was treated with Injinolyungsangami these clinical symptom was improved. Conclusions: Based on the clinical results, Injinolyungsangami is believed to be effective for treating juandice, ascites and edema, and further studies should be conducted to provide more valuable information.

통합형 공유경제 플랫폼 ‘공구친구’ 연구개발

박수완(Su-Wan Park),서경원(Gyeong-won Seo),서현민(Hyeon-min Seo),이서정(Seo-jung Lee),조유진(You-jin Jo),허진혁(Jin-hyeok Heo),김상진(Sang-jin Kim) 한국정보기술학회 2024 Proceedings of KIIT Conference Vol.2024 No.5

2022년 기준 대한민국의 1인 가구의 비율은 34.5%를 차지한다. 이러한 1인 가구는 경제, 건강, 사회적 고립등 다양한 사회적 문제와 직면하고 있다. 그러나 사회적 네트워크를 활발히 유지하고 있는 1인 가구는 공동체와 연대하는 특징이 있다. 본 연구에서는 이러한 개인화된 사회 변화에 주목하였다. 공동 구매, 택시비 공유, 커뮤니티 기능을 통합한 공유 경제 플랫폼 ‘공구친구’를 제안한다. 해당 앱을 통해 사용자들이 여러 서비스를 하나의 플랫폼에서 접근할 수 있게 하여 사용편의성을 향상하고자 한다. As of 2022, the proportion of one-person households in Korea accounts for 34.5%. These households face various social issues, including economic challenges, health concerns, and social isolation. However, one-person households that actively maintain social networks often experience a sense of solidarity with their communities. This study focuses on these personalized social changes. We propose “Gonggu Chingu”, a sharing economy platform that integrates joint purchase, taxi fare sharing, and community functions. Through the app, users can access multiple services on one platform to enhance their convenience.