청주예술의 현황과 발전방향에 관한 연구

김태철 청주대학교 예술문화연구소 2000 淸藝論叢 Vol.17 No.-

디자인 領域에 對한 考察 : 文化人類學的 見地에서 接近해 본

姜熙秀 청주대학교 예술문화연구소 1990 淸藝論叢 Vol.4 No.-

I have now come to the end of a survey of the design as to human life. In accordance with this broader conception of design, more space has been given to the teachings this province. Because we are now able to see more clearly the advanced, artistic and revolutionary trends of our times. It is an appropriate time to ask ourselves a number of questions. What is the meaning of design? Do you learn anything valuable form the study of design? what is the fate of: our own civilization of design? Is there a way, destined to escape, form decay, disintegration and succumbing to temptation? And the other vocabulary ; ideology, thought, concinnity, nature, liberty, temps(time), espace(space) and methodology. And now, I am only standing on a strange stage, vague thought on design. But the time has long sinced passed when modern man could think of the world as consisting of the art and the design. The purpose of this work is to present a compact survey of man's struggle for civilization from ancient times to the present. No major area or country of this globe has been omitled. In the field of design, the entire span of human history can be devided in two sorts, a age of recreation and a age of creation. The development to the provicne of design has been depended on both the former and the latter, but especially it has been created in great force. In short, our recent civilization will be existing created by the working of our modern designing, and by the acting of it's works.

21세기 한국 문화정책 발전을 위한 모색 : 유럽연합(EU)의 '문화 2000'을 중심으로 focused on 'Culture 2000' in EU

이미재 청주대학교 예술문화연구소 2000 淸藝論叢 Vol.17 No.-

Notion of culture is very extensive in our life. But culture is common notion of society's domination and an organized capacity, which can also improve 'quality of life'. After the 18th century, European artists discovered that art has human sprite in it with great possibility that can demonstrate: known as an autonomous world. Culture of course can be divided into big two groups: western and eastern. Speaking of western culture, European Union (EU)'s Maastricht contract, article 151 (former article 128) states "European cultural plan of operation policy" which has already started and plan to continue with a cultural development policy 'Cultural 2000' which will be a homework for 21st century. In such a busy world today, EU's attempt of making cultural policy as part of law is not only epochal but also creative thought that can be an important issue and that is why this study has touched on the issue. Although EU has made one of the biggest step of unifying European currencies, looking at cultural aspect, each EU country still maintain and allow their history and own culture. EU nations has view their future with "Kaleidoscope", "Support for culture cooperation Projects in the EU", "Ariene cultural policy" and "Raphael", which was aimed to protect cultural inherits. All the above teach us a lesson in a sense of 'union' or 'community' that Asian cultural policy still has a lot to work on and teach us 'what we should do'. EU's cultural policy not only allow diversity and characteristic of its cultural but also shows each other's cooperation and benefit that they share as a community ; European cultural as united. Our world facing America's globalization, this is one of European's action from preventing America's standardized cultural. Only from respecting variety of cultural will lead us to globalization. EU's idea of "jointly owned" cultural ; protecting and exploiting identifying cultural of each European nation will help facing devolvement of new decade we are facing. Speaking quality of life here, people are able to think more philosophically and think freely. Such a people's mentality will makes better quality of life that improves quality of society teach people to keep and respect their culture's identity. One of the leading countries for EU's policy is Germany. Their economic technique comes from potential power of cultural. German's potential power played an important role and showed underlying strength on German unification. One of the remarkable issues is ; although Germany still face and will generate problems in the future due to cultural differences caused from long separation, the problem is building foundation of completing united Germany. After the unification Germany faced more of an economic problem trying to balance up the living standard between eastern and western that cultural was not a priority issue but now, culture is a given task for 21st century. Just in time for 21st century, Germany is making very active, progressive and being systematical in a given task to protect and restore cultural assert. However, Germany's cultural and economy is already reciprocal proportional with each other. Because of such a relationship, many corporations are participating a lot of cultural events and these corporations' position is no longer 'supporting relationship' rater concrete 'accompanying relationship'. From the aspect above, Korea must pay attention to the progress that western and eastern Germany has made to overcome and bring separated cultural back as one. Germany and Korea will face different issues and problem but a conjunction here is an assignment of unifying divided cultural as one. Also the fact that the divided cultural both present capitalism and socialism. This is the reason why Korea should pay attention to what has happen to Germany. Further research and studies are also required before big steps. As a final step, we should know appropriate and inappropriate situation from the studies for our nation and lastly take German's mistake as a lesson. Many countries today are worrying that one might loose one's culture identity inside one's own history. This foreshadows us that cultural dimension is a given task for 21st century. The society's interest on 'quality of life' has reached higher point that people discuss more about it at some point. This can also be an explanation ; now that our society has reached its satisfactory point materialistically, people's thirst over mental affluent circumstance is very naturalistic rational part of our mind. In following sentence it should be closed the thesis: Der Geist ist staerker als die blosse Macht. Darauf koennen wir auch in zukunft vertrauen. -Barthold c. Witte-

지방자치단체 문화예술 보조금의 지원 및 활용에 관한 제안 : 청주시를 중심으로

김태철 청주대학교 예술문화연구소 1998 淸藝論叢 Vol.15 No.-

스크린쿼터 지키기의 문화적 의미

김수남 청주대학교 예술문화연구소 1999 淸藝論叢 Vol.16 No.-

The pursuing of the meaning of keeping the screen quota leads to the new understanding of the concept of Korean cinematic culture itself. Which is, 'to maintain the screen quota.' equals to preserve the Korean cinema, and the discussion of the 'cultural meaning' will naturally leads to the discussion of the identity of the Korean culture. 1. The screen quota as a protection of Korean cinema. The Korean goverment had been carring out some cultural policies to safeguard and to foster the Korean cinema. There were for example the upbringing policy of outstanding Korean cinema producers and exporters(1958), and the previledged treatment by the Ministry of culture and education both of the participators of the foreign film festival and of the import and distribution company of the foreign films. Following that policy, 5.16 military goverment established a screen quota system which forced the movie theatre-owner to present home cinema for a certain period of the year(1961). Since that, after four time renovations, the screen quota law prescribes that the movie theatre located in the cities of larger than 300,000 population should present Korean cinemas for more than 40 per cent of the whole working days(146) of the year. These days, however, the original intention of screen quota seems to be becoming vague. Instead, a tension is formed between the producer who insists on the observation of screen quota and the owner of movie theatre who prefers the reduction of screen quota. 2. The logic of film industry and the logic of culture. The Hollywood film industry which grasps 80 per cent of world cinema market prospels the free trade of the cultural product such as film, video, disk, c.d. to monopolize the world cultural market. In this sense, the screen quota could be the biggest obstacle for the monopolism of the U.S.A.. All the countries of the world that are conscious of the cultural influence of cinema agree with the operation of the screen quota and they treat screen quota an exception of the free contract of GATT/WTO & OECD. However the Korean board of trade seems to give up screen quota in the negotiation with U.S.A. They see film industry not with cultural logic but with a industrial point of view. Since Cinema portrays Korean spirit and mind, it cannot be treated as a common industrial product. 3. The world media industry and cultrual imperialism. As I mentioned above, to keep the Korean cinema is to preserve the Korean identity. The powerful coutries armed with new media aimes at new mental enterprize of the future. By substituing the shift of power with the shift of culture, these countries pursue the maximum of interest. The aim of the cultural imperialism is to conquer the 'brain(the central contorl system)' of the global-body. The infiltration of the American image culture could be more dangerous in that it could destroy the identity of the Korean culture, than it could destroy the producing system of Korean cinema. Now a days the concept of 'globalization' is supposed to concern the meaningful future of all the global families. However some countries put emphasis upon material-oriented 'globalization' and insists on free trade of the cultural product. The globalization should concern the identity and traditional values of every country.

미술행위에서 창조력 배양을 위한 방법론적 부정성 연구 : 해체론을 중심으로

엄기홍 청주대학교 예술문화연구소 1997 淸藝論叢 Vol.11 No.-

日本의 藝術大學 Design 系列學科 Curriculum 事例 分析 (Vol. 1)

李化洙 청주대학교 예술문화연구소 1988 淸藝論叢 Vol.2 No.-

In the times of rapid development of indersties and explosion of informations, ti is a general tendency that the number of applicants in the field of design in the Colleges of fine arts in Japan has been gradually increased in recent years, and Korea is not an exceptional case. In accordance with this, the trend of entrance examinations of design departments in Japan has Changed to meet the Situation, and the new curriculum of the departments shows fresh and efficient aspects. Furthermore, it makes us have a Self-examination when we compare Japanese curriculam which can cope with the various conditions and social needs effectively with ours which can't break from the conventional and stereotyped habits. I hope that this paper will be a reference and give a help someone who is interested in trying to conceive the new Curriculum.

디자인의 미학적 배경에 관한 고찰

이재국 청주대학교 예술문화연구소 1999 淸藝論叢 Vol.16 No.-

보다 아름답고 가치있는 디자인을 창출하기 위하여 디자인의 미적 배경에 대해 고찰하였다. 우선 디자인의 미적 배경의 의미와 필요성에 대한 문제를 제기하고, 이를 토대로 디자인의 미적 근원과 디자인의 미적 대상, 그리고 디자인의 미적 경험에 대한 심도있는 탐구를 통하여 디자인의 미적 배경을 이해하는데 주안점을 두었다. 이에 더하여 서로 다른 문화적인 배경과 시대상황에 따라 다양하게 존재하는 디자인의 미가 어떻게 창출될 수 있는가에 대하여 탐색하였다. Aesthetic background of design is studied to create more beautiful and valuable design. First of all, a problem is suggested to the meaning and necessity of aesthetic background of design. On the basis of this, every effort can be made to understand of aesthetic background design by searching aesthetic source of design, aesthetic object of design, and aesthetic experience of design. In addition, another research is tried to know how aesthetic design can be created which is existed variously under the different cultural background, period, and situation.

한국의 문화적 특성과 미의식을 배경으로 한 한국적 색채에 관한 연구

박영원 청주대학교 예술문화연구소 1997 淸藝論叢 Vol.12 No.-

현상학적 운동과 회화적 표상

엄기홍 청주대학교 예술문화연구소 1995 淸藝論叢 Vol.9 No.-