한국전쟁기 남한 미술인의 전쟁 체험에 대한 연구 : 종군화가단과 유격대의 미술인을 중심으로

조은정 이화여자대학교 한국문화연구원 2002 한국문화연구 Vol.3 No.-

During the Korean War, a significant ideological disruption existed among the South Korean Artists. The ideology taken by the artists, whether it is right(Denmocracy-South Korea) or left(Socialism-North Korea), it is directly related with their life perse. Since much Korean territory was conquered by the U.N. troops and also by China over and over, most of the artists could not escape from treasonous felony. Therefore, the artists crossed the 38 Parallel and headed for South or North upon their ideology and became members of war-artists or volunteered for military service. During and After the Korean War, the Do-gang Pa, a group of artists who crossed the Han river and settled down in the South, assumed hegemony. This was a prelude for power games between groups of artists, a faction. Since then, the factionalism played a important role for competition of the Korean art contests. During the period of the Korean War, there was no further development of art works but a structural change was witnessed in the factionalism. This was a pro-America art group in one side and a conservative art group leaded by Ko, Hee-dong in other side. Most ideological conflicts in the world of Korean arts, experienced after the Korean War, in fact began during the Korean War. Because anti-communist ideology also emerged in the world of Korean arts after the Korean War. This study examines artists’ activities based on the ideological perspective in the South during the Korean War. Also this study reveals that collective behavior among the artists dominates the world of Korean arts and patterns of the art works. During the period of the Korean war, main art organization was the member of war-artists and irregular partisans and anti-communist military groups belonged to this organization. The reasons why the artists participated at the organization and the tasks what they did revealed the true nature of the Korean War. The member of war-artists participated at the organization to be shown as the right wing and fear against revenge from the Korean forces leaded the artists to become irregular partisans. This study showed for the first time the reality of art world of the irregular partisans artists who were taken advantage of psychological warfare. War experience of the Korean artists during the Korean War yielded no criticism for obedience and anti-communism against the hegemony which was the main stream to lead modernism. However, we witnessed a challenge against the taboo-subjects in the year of 1980s when new artists with no war-experience emerged in the world of art.

OPVS PISANI PICTORIS: 피사넬로와 초기 르네상스 메달

조은정 서양미술사학회 2006 서양미술사학회논문집 Vol.25 No.-

OPVS PISANI PICTORIS: Pisanello and the EarlyRenaissance Portrait MedalsCho, Eunjung _Seoul National University조은정OK 2006.8.21 8:44 AM 페이지34 g5 One fine example is the reverse of the portrait medal of Leonello to celebrate his marriage toMaria dAragon. A small putto holding a musical manuscript in front of a lion, which is a visualizationof the idea that the marriage between the Este family and the Aragon family would provide Leonellolove and power. Also the blindfolded Lynx, the sail on a mast fixed in the ground(festina lenteimpresa), and the three-faced putto images frequently found in the reverse of the Leonello medalsare the allegory of Prudence that Pisanello used to commemorate the virtue of this prince. Incomparison to the Leonello marriage medal, the large medal of Alfonso dAragon in 1449 emphasizesthe public image of king Alfonso as Triumphator et Pacificus as well as a provider of

간호대학 졸업생의 진로탄력성 예측 요인

조은정 한국보건정보통계학회 2023 보건정보통계학회지 Vol.48 No.1

Objectives: The purpose of this study was to identify correlates influencing career resilience of graduate nurses at five years post-graduation. Methods: A descriptive correlational design utilized using self-reported online questionnaires among 180 BSN (Bachelor of Science in Nursing) graduates fulfilled individual career plan program (ICPP) credits in academic year 2013-2016. The data from 90 nursing graduates were analyzed using descriptive statistics, ANOVA and regression. Results: Five years after graduation, the subjects’ career decision-making self-efficacy (p = 0.003) and career resilience (p = 0.006) scores were significantly lower than at final semester of BSN program, while career decision level seemed not to be changed. Among demographic char- acteristics, the effect of gender, current job field, length of employment and satisfaction in major on career decision-making self-efficacy, career decision level and career resilience were statistically significant. The model including career decision, career decision-making self-efficacy, and satisfaction in major significantly explained 72.2% of variability in career resilience of graduate nurses. Conclusions: Nursing educators implementing career decision-making self-efficacy and career decision level can increase early-career graduate nurses’ resilience by career planning and development program. The findings suggest that further research needs to develop a continuing education in professional career development that is to have a prolonged effect on BSN graduates career resilience. .

마황으로부터 췌장 Cholesterol Esterase 저해물질의 분리

조은정,류병호,이태훈,서판길,류성호,김희숙 한국식품과학회 1999 한국식품과학회 학술대회 Vol.1999 No.1

유아를 위한 정보책의 인식과 활용 실태

조은정 성균관대학교 生活科學硏究所 2003 生活科學 Vol.6 No.-

국제 기후클럽 (Climate Club) 동향 및 시사점

조은정,이종열,강병준,오지현 국가녹색기술연구소 2022 NIGT Brief Vol.2023 No.-

해방기 문화공작대의 의제와 성격

조은정 상허학회 2014 상허학보 Vol.41 No.-

This thesis empirically restored general view of Munhwagongjakdae (the cultural underground activities group) in the liberation period and presented discussions about the various problems related to this matter such as the direction of activities of the left-wing artists circles interlinked with political changes, the inner side and move of participatory artists, and the effects and influence of popularization. Federation of Korean Cultural Organization dispatched Munhwagongjakdae to the regions all over South Korea in the mid-1947 when most of progressive activities were outlawed in South Korea and considerable number of artists crossed over into North Korea. The left-wing cultural camp with Korean Writers Alliance as its center, which continuously emphasized the importance of cultural popularization movement and discussed the ways of practice, held ‘Joint Celebration General Art Festival’ to break the deadlock through the resumption of the 2nd Joint Soviet-American Commission. The artists, which were divided into a total of 4 groups under the slogan of ‘Culture for the People’ and ‘Culture to the People,’ planned composite art festivals for regional people. These events were comprehensive art festivals that included play, movies, music, comic talk, poetry reading, mobile exhibitions, photo exhibitions, etc., and the number of artists who were mobilized was estimated to be more than 150. Beginning with the 1st group that started for Gyeongsangnam-do on June 30, 1947, the groups were dispatched to Chungcheong-do, Gangwon-do, Gyeongsangbuk-do, and particularly in such places as Busan, Daegu, and Daejeon, a considerable number of audiences were attracted with successful performances. However, due to continued censorships and terrors, the festivals were faced with difficulties so that they could be summarized as a history of ordeals, and Joint Soviet-American Commission also virtually broke down, so they were able to be active only until early August. Such activities of Munhwagongjakdae are characterized by the facts that they were the last and the most active cultural practice that the left-wing cultural camp could choose amid the political and social situation, and that they appealed to national sentiments while reminding people of common memories of national exploitation by the Japanese colonial rule. And oppression on artistic activities became clear and the experiences of direct meeting with regional people were directly or indirectly related to the participatory cultural people’s conversion and crossing over into North Korea, but this matter will be supplemented by a separate follow-up thesis. 이 글은 해방기 문화공작대 활동의 전체상을 실증적으로 복원하고 이것과 관계된 여러 가지 문제들-정치적 변동과 맞물린 좌익예술계의 활동방향, 참여 예술인들의 내면과 이후 행보, 대중화의 효과와 영향 등-에 대해 시론적으로 논의를 제출하였다. 조선문화단체총연맹은 남한에서 거의 대부분의 진보적 활동이 불법화되고, 상당수의 예술인들이 월북한 시점인 1947년 중반에 남한의 지방 곳곳에 문화공작대를 파견했다. 해방 이후 지속적으로 문화대중화운동의 중요성을 강조하고 실천적 방침을 논의해왔던 문학가동맹을 중심으로 한 좌익문화진영은, 2차 미소공동위원회 재개를 통해 국면을 타개하기 위해 ‘공위축하종합예술제’를 개최했던 것이다. ‘인민을 위한 문화’ ‘문화를 인민에게’라는 슬로건을 내걸고 총 4개대로 나뉜 예술인들은 지방민들을 위한 종합예술제를 기획했다. 이 행사는 연극, 영화, 음악, 만담, 시낭송, 이동전람회, 사진전 등 각 분야를 망라한 종합적 예술제였고, 동원된 예술인들만 해도 150여명 이상으로 추산된다. 1947년 6월 30일 제1대가 경상남도로 출발한 것을 시작으로 충청도, 강원도, 경상북도에 파견되어 특히 부산, 대구, 대전 등에서 상당한 관객을 유치하며 성공적인 공연을 펼쳤다. 그러나 계속되는 검열과 테러로 인해 예술제는 수난사로 요약될 만큼 난관에 봉착했고, 미소공위도 사실상 결렬됨으로써 문화공작대는 8월초까지 활동할 수 있었다. 이러한 문화공작대 활동은 정치사회적 정세 속에서 좌익문화진영이 선택할 수 있었던 최후의 가장 적극적인 문화적 실천이었다는 점, 연극공연의 내용이 일제식민지배의 민족 수탈의 공동기억을 환기시키면서 민족감정에 호소한 점이 특징적이다. 또한 예술활동에 대한 탄압이 가시화되고 지방 민중들과 직접 대면한 경험은 참여 문화인들의 전향과 월북 문제에 직간접적인 관련을 가지는데, 이는 차후 별도의 논문으로 보완하도록 하겠다.

포스타 : 내분비,불임학 ; 폐경기 여성에 있어서 호르몬 대치요법이 혈중 Lipoprotein (a)에 미치는 영향

조은정,이병석,박원일,박기현,조동제,이국,송찬호 대한산부인과학회 1993 대한산부인과학회 학술대회 Vol.72 No.-

아동학대가정의 현황과 과제

조은정 한국지역사회연구소 2011 지역사회 Vol.65 No.-

텔레비전드라마 <로열패밀리>에 나타난 지배 이데올로기 대응 양상 연구

조은정 대중서사학회 2016 대중서사연구 Vol.22 No.2

텔레비전드라마 <로열패밀리>는 재벌과 복수라는 소재를 통해 시청자들의 흥미를 유발하고 있다. 그러나 구체적으로 그 이면을 들여다보면 보편적 가치라고 믿어왔던 신자유주의적 질서가 가진 모순에 저항하며, 현실사회를 지배하고 있는 이데올로기에 대해 재고해 볼 수 있는 계기를 제공하고 있다. <로열패밀리>는 18년 동안 억압당해왔던 며느리가 재벌 총수인 시어머니를 상대로 벌이는 복수 이야기가 근간을 이룬다. 그러나 기존 가족드라마와는 달리 <로열패밀리>는 남성보다 여성(능력 있는 딸이나 며느리들)을 전면에 내세워 경쟁 사회를 이끌어 나가는 욕망의 주체로 형상화 하고 있다. 배경인 정가원은 가족 공간보다는 오히려 살아남기 위해 끊임없이 경쟁해야 하는 신자유주의 사회의 축소판을 나타내고 있는 공간으로 해석할 수 있다. 동시에 이 공간은 모멸감을 불러일으키는 인간의 모습을 양산해 낸다. 텍스트는 개인의 복수라는 방식을 통해 지배 이데올로기의 구조가 가진 폭력성을 호출하고 있다. 김인숙의 복수는 성공 가도를 향하지만 결국 ‘주인공의 실종(부재)’이라는 결론으로 마무리된다. 이로써 텍스트는 시청자들이 텔레비전드라마에서 원하는 유토피아적 결말을 지양하고, 그 대신 일련의 과정들을 통해 인간적 성숙을 보여준 ‘조현진’이라는 새로운 신자유주의적 인간형을 내세우며 앞으로의 가능성을 시사한다. 김인숙이 이루려고 했던 ‘인간의 증명’은 신자유주의 사회 안에서 대외적으로는 성공했을지라도 순수한 인간의 존엄적 가치 차원에서는 실패했다고 볼 수 있다. 그럼에도 불구하고 <로열패밀리>가 의미 있는 이유는 공고한 신자유주의 구조 안에서도 ‘여전히 인간의 존엄성은 결코 훼손될 수 있는 것이 아니다’라는 명제를 시사하고 있기 때문이다.