예방의학회지(1997년)에 게재된 원저논문 영문초록의 질 평가

박종구,김춘배,Park, Jong-Ku,Hannibal, Desmond,Kim, Chun-Bae 대한예방의학회 1999 Journal of Preventive Medicine and Public Health Vol.32 No.1

Objectives. The purpose of this study was to evaluate the quality of abstracts of original articles. Methods. This subjects selected total 63 abstracts of the original articles of the Korean Journal of Preventive Medicine in 1997. The quality of abstracts was measured against a checklist of evaluation criteria, which were divided into eight categories and the numbers of inappropriate words (including grammar) according to criterionbased survey. A score for each abstract was obtained by dividing the number of criteria presented by the number applicable. The overall mean score was also determined. Results. The overall mean score of abstract quality was 0.55 out of 1. Of the abstracts subject selection 83% didn't include specific technical descriptors. Of those that gave conclusions 92% didn't address study limitations and 78% made no recommendations for future study. The overall mean number of inappropriate usage of words (including grammar) per abstract was 14.1. The overall mean number of English words was 283. In the multiple regression analyses, the research career of the first author and the number of English words to the number of inappropriate usage of words were statistically significant. Also, in the secondary regression model, the number of English words to the quality score of abstract was only statistically significant. Conclusions. Most of the abstracts provided some information pertaining to each evaluation criterion. However, they did not provide sufficient details to enhance the reader's understanding of the article. On the basis of the study the abstracts need improvement in its description of the reported subject selection, statements of limitations and recommendations, etc. The Korean Society for Preventive Medicine will recommend a proposal for more informative abstracts in Korean J Prey Med and will take into consideration the introduction of foreign review of abstracts. Future studies should address these issues and compare the quality of abstracts between different journals and their time of publication.

Abstract Art in 1980s Shanghai

Hayoon Jung(정하윤) 현대미술사학회 2013 현대미술사연구 Vol.0 No.33

Despite numerous articles and exhibitions about Chinese modern art, studies about Chinese abstract art are scant. Abstract art, however, is one of the most important topics in Chinese modern art. This paper discusses the concept, characteristics, and value of 1980s Shanghai abstract art by taking Li Shan (李山, b.1942)’s abstract paintings as a case study. Abstract art emerged as one of the major trends in Deng Xiaoping’s regime. It was Shanghai that abstract paintings were densely produced. One factor that made Shanghai a special stronghold of abstraction is, I argue, Shanghai’s early experiences with European modern art during the 1920s and 1930s. That is, the experiments with nonrealistic art or formalistic approach remained in Shanghai with its practitioners. Li Shan started to aggressively experiment with abstraction in this culturally amenable time and location. Many of Li Shan’s early works were lost, but among surviving series such as Order, Origins, and Extension, several significant aspects are recognizable. The first distinctive characteristic is Li Shan’s emphasis on individuality, which was expressed by vigorous brush strokes and his signature on paintings. Against Mao’s years that collectivity dominated the entire society, Li Shan proclaimed his identity as an individual artist and expressed his interest in individuality through abstract paintings. The second aspect to consider is the fact that he produced figurative and abstract paintings at the same time. This mixture of figurative and abstract is closely related to a common tendency to understand abstract art from abroad by relying on Chinese traditional art. Depending on Chinese literati paintings, Chinese scholars in the 1980s understood the concept of abstraction as an on-going process of capturing the essentials of an object, rather than a complete elimination of recognizable figures. Figurative and abstract are thus not incompatible concepts. I believe Li Shan was influenced by this concept. That is to say, his mixture of figurative and abstract paintings was generated by the localizing process of abstract art. Third, the closure and criticism of ‘83 Experimental Painting Exhibition where Li Shan exhibited his abstract paintings indicates that abstraction held political meaning in 1980s China. Since abstract art was prohibited during the Mao’s years, to allow abstraction indirectly meant allowing deviance from the Mao culture. Due to its inherent political meaning, regulations on abstract art constantly changed during Deng Xiaoping’s regime according to the shifting political climate. ‘83 Experimental Painting Exhibition is one of the most important examples of this fluctuating cultural policy of Deng, allowing us to see the inseparable, ambivalent tie between abstraction and the Chinese Communist Party. Characteristics of Li Shan’s abstract paintings are similar yet different from those of other locations and times. That is because new meanings were formed as abstract art was transplanted to a specific given time and space?1980s Shanghai. Li Shan’s experience and work indicate that there existed different meanings and values of abstraction, and help us to break out of a single, homogenous definition of abstraction. There are multiple local versions of abstract art, and Li Shan’s is its small, yet significant version. Although Li Shan’s abstract art cannot represent the entire story of 1980s Chinese abstract art, Li Shan’s abstract work is a significant example of the distinctive aspects of Post-Mao abstract art.

일본에서의 추상미술과 전통 담론: ‘한국적’ 추상미술 논의를 위한 시론

박소현 미술사학연구회 2010 美術史學報 Vol.- No.35

If abstract art had pursued to be an international and universal language, Could the 'Korean' abstract art be brought into existence? With this question I made an attempt to understand the deep structure of 'Korean' abstract art. 'Korean' abstract art indicating a collective originality has been defined by the return to or reinvention of her own tradition. When this relation to tradition was established within international network, the discourse of 'Korean' abstract art should be scrutinized with relation of the tradition discourse in modern Japan. In 1930s many Japanese artists and critics related abstract art to newly constructed Japanese tradition, i. e. Japanism especially through the unique interpretation of Cezanne. They reconstructed European modern art history since Cezanne including abstract art and by doing it naturalized their own tradition. Another group of them attempted to interpret Cezanne as the father of purity of modern art, denied Japanese tradition with such logic, and maintained the recovery of purity of modern art. But this kind of logic didn't give up the international hegemony of Japanese abstract art inconsistent with abstract art as international and universal language. When Japanism absolutized Japanese own tradition, ultimate modernists insisted overcoming tradition for complete modern abstract art. opposed to both of them Okamoto Taro attempted the third way that denied abstracted=nationalized tradition, and tried to depict new tradition marginalized in Japanese history. His abstract art was always in strained relations with another avant-garde of surrealism. However, the exhibition of Korean Contemporary Art held in 1968 lied in the context that Japanists and Ultimate modernists met within the national institutions excluding Okamoto Taro. So we can think this kind of situation contributed to define 'Koreanness' of that exhibition in Japan.

추상미술의 미학적 원리: 개념과 장르적 특성을 중심으로

민주식 미술사학연구회 2010 美術史學報 Vol.- No.34

Abstract art can be called most abstract in the sense of secession from the material objectiveness. However, it can be prominently concrete in the sense of the existential character of the work of art itself. Both abstract painting and abstract sculpture should pass over the geometrical figure or the solid geometrical construction which doesn't have human soul. But this fact does not necessarily require to represent the concrete real object such as human figure in sensible form. A complex of line and color is animated by the spouting passion and the spiritual strain, and is generated with the inner motion. By the way, there is a standpoint in which both representational art and abstract art can assert their legitimate existential right with equal qualification. If that is the case, we should reform the traditional idea that the painting is a kind of art to depict the objective things, and sublate to a new concept of painting. Accordingly, the orientation of painting in the system of art is required to be changed. The construction of painting is consisted of a figuration and at the same time an auto-figuration. It has a virtual form and a practical form. It has a semantic function to represent outer object and a formal organization which is inherent in themselves. There are two direction in abstract art. The one is the dominance of construction of artistic form over representation to figure the objects which are outside work of art, and the other one is the dominance expression of inner state over representation to draw the outer objects confronting with human being. Abstract art has developed in two directions, namely the geometrical constructive tendency which is cold abstraction and the non-geometrical expressive tendency which is hot abstraction. Furthermore, the abstract painting in constructive tendency step forward to architecture, and the one in expressive tendency becomes familiar with music. The imitative value of a work of art consists not merely in the representation of appearance of the outer object, but also in the representation of the real essence of the existence. Abstract art movement is a scene in the long history of rise and decline of artistic style. As it has happened as a reaction to the trend of past realism, it arouse a reaction to new concreteness. Recently, the restoration of objectivity is attracting attention on the other side.

Abstract Art in 1980s Shanghai : Li Shan’s Paintings

정하윤 현대미술사학회 2013 현대미술사연구 Vol.0 No.33

Despite numerous articles and exhibitions about Chinese modern art, studies about Chinese abstract art are scant. Abstract art, however, is one of the most important topics in Chinese modern art. This paper discusses the concept, characteristics, and value of 1980s Shanghai abstract art by taking Li Shan (李山, b.1942)’s abstract paintings as a case study. Abstract art emerged as one of the major trends in Deng Xiaoping’s regime. It was Shanghai that abstract paintings were densely produced. One factor that made Shanghai a special stronghold of abstraction is, I argue, Shanghai’s early experiences with European modern art during the 1920s and 1930s. That is, the experiments with non-realistic art or formalistic approach remained in Shanghai with its practitioners. Li Shan started to aggressively experiment with abstraction in this culturally amenable time and location Many of Li Shan’s early works were lost, but among surviving series such as Order, Origins, and Extension, several significant aspects are recognizable. The first distinctive characteristic is Li Shan’s emphasis on individuality, which was expressed by vigorous brush strokes and his signature on paintings. Against Mao’s years that collectivity dominated the entire society, Li Shan proclaimed his identity as an individual artist and expressed his interest in individuality through abstract paintings. The second aspect to consider is the fact that he produced figurative and abstract paintings at the same time. This mixture of figurative and abstract is closely related to a common tendency to understand abstract art from abroad by relying on Chinese traditional art. Depending on Chinese literati paintings, Chinese scholars in the 1980s understood the concept of abstraction as an on-going process of capturing the essentials of an object, rather than a complete elimination of recognizable figures. Figurative and abstract are thus not incompatible concepts. I believe Li Shan was influenced by this concept. That is to say, his mixture of figurative and abstract paintings was generated by the localizing process of abstract art. Third, the closure and criticism of ‘83 Experimental Painting Exhibition where Li Shan exhibited his abstract paintings indicates that abstraction held political meaning in 1980s China. Since abstract art was prohibited during the Mao’s years, to allow abstraction indirectly meant allowing deviance from the Mao culture. Due to its inherent political meaning, regulations on abstract art constantly changed during Deng Xiaoping’s regime according to the shifting political climate. ‘83 Experimental Painting Exhibition is one of the most important examples of this fluctuating cultural policy of Deng, allowing us to see the inseparable, ambivalent tie between abstraction and the Chinese Communist Party. Characteristics of Li Shan’s abstract paintings are similar yet different from those of other locations and times. That is because new meanings were formed as abstract art was transplanted to a specific given time and space—1980s Shanghai. Li Shan’s experience and work indicate that there existed different meanings and values of abstraction, and help us to break out of a single, homogenous definition of abstraction. There are multiple local versions of abstract art, and Li Shan’s is its small, yet significant version. Although Li Shan’s abstract art cannot represent the entire story of 1980s Chinese abstract art, Li Shan’s abstract work is a significant example of the distinctive aspects of Post-Mao abstract art.

한국 근대의 기하학적 추상 디자인과 추상미술 담론: 1920-30년대의 잡지 표지 디자인을 중심으로

서유리 미술사학연구회 2010 美術史學報 Vol.- No.35

This paper researched and analyzed the geometric abstract cover design of Korean Modern magazines in 1920-30s. These designs are worthy of notice because in the history of Korean modern art there are a few abstract paintings including geometric ones. This paper surveyed geometric abstract cover design of five kinds of modern magazines-<Siningan(New Human)>, <Sidae gongron(Public Discourse of Times)>, <Haebang(Liberation)>, <Jaeilsun(The First Line)>, <Singyedan(New Stair)>, <Sinsegi(New Century)> which were published from late 1920s to middle 1930s. These geometric abstract cover designs represented a new vision for upcoming modern age and their will to construct the modern society of a new culture. Magazines' titles mean new human, new century, new stair of future, the first line forwards new culture. These geometric cover designs were introduced and disseminated through several ways. Designer such as An Sukju who studied in the early 1920s of Japan composed some new types of abstract cover. Lee Soonsuk learned his Bauhaus style abstract design in Tokyo Art School and had a welcome-home show including several book cover designs of geometric abstract. Kim Gyutaek, a cartoonist and illustrator designed most covers of <Jaeilsun>, which were similar to Japanese commercial graphic design. Some Korean designers and students could read <Gendai shogyo bijutsui zenshu(The Complete Commercial Artist)>, a twenty-four volume illustrated compendium of commercial design published in Japan, which was owned by Gyonsung Commercial High School library. Magazines published in Japan like <Genchiku sekai(World of Construction)> flowed to colony Chosun and these magazines gave a chance to see new geometric abstract designs. Geometric abstract images, a sign of modernism, visible on magazines covers could not be seen on the painting canvas of same period. In the champ of art discourse, a hegemony was in the mouths of nationalists and socialists and the modernism painting was criticized as art decadent. In the late 1930s, some new artists who took a avant-garde attitude and learned geometric abstract painting in Japan asserted that Korean art scene must accept their abstract paintings. But the geometric abstract painting was rejected by a conservative painter O Ziho and criticised by a aesthetician and Gyongsung university professor Go Yusup, a socialist writer Im Wha and other intellectuals, whose critics influenced the young avant-garde artists. The artists compromised their abstract. Therefore a sign of nationality and traditionality or morality and spirituality such as a white porcelain, a cow and a mountain appeared in their painting afterward. This eclecticism met a need of times. The times of colonized nation made the intellectuals not be able to accept modernism, a symbol of capitalism of empire, commodities of colonial commerce, without a compensation of ethics. But the magazine cover area was free from this claim for ethics because their position in hierarchy of images was low. Abstract image was on the border line between high art and low commercial design.

글과 그림의 만남 가능성 비 모방 예술의 경우 -칸딘스키 추상미술과 고대 영감론의 시문학을 중심으로

노영덕 ( No Yeong Deog ) 한국미학예술학회 2003 美學·藝術學硏究 Vol.18 No.-

W.Kandinsky`s abstract painting which had exPressed the purely abstract concept of the idea regardless of the material object was a new inclination not to follow the traditional painting principle of the western at all. Because his abstract painting was the very non mimesis art, as far as mimesis was defmed to the concept of imitation after the material appearance of the object among the various interpretation of its meaning. His abstract painting is similar to the music, in that it does not need the physical image of the sensible object, and it is possible for his abstract painting to meet the poetry and literature in the meaning of trying to exPress the spirit. On the other hand, a poetry and literature in the ancient theory of an inspiration explained that the poet was written by a mysterious inspiration from Muse, that is to say, in Enthousiasmos, and also could be regarded as the attitude of the non-mimesis in art, considering that a poet was not affected from the image of the sense perception on the material, phantasma, and poem informed some revelation from god. Nowaday, it is impossible to look upon the kandinsky`s abstract painting as the product from an inspiration or an Enthousiasm. But, in the starting point of an artistic creation, its similarity to the poetry and literature in the ancient theory of an inspiration can be found on the ground that it intends to exPress the pure imagery of the spirit excluding the sense perception on the material, and to refuse the method of mimesis after an appearance of the object in the sensible world as an imitation. Moreover, we can say that they meet in the same point of view that the purpose of art is to reach the transcendental world. It was Plotin who brought up for an argument about the property of non mimesis in art and a beauty of the transcendental dimension. According to his theory, the art does not work on as a mirror to the sensible world but artist embodies a beauty in his spirit into the matter by his own inner intuition of Theoria instead of imitating after the sensible object. These conclusion results from his point of view of the ontological position of art. Plotin put an art on the middle area between the transcendental world and the sensible one, so that the art could be the mirror to a soul, and a steppingstone required in the returning of a soul to the One. In this way, the abstract painting and the poet and literature of the ancient theory of an inspiration are concerned with the Plotin`s art theory together. And these connection can be reduced to the problem between a picture and a word. Because the idea exPressed through the a word is a kind of image as the imagery on the spirit. In other words, regardless of a phantasma fiom the material or a pure imagery on the spirit, both arts meet in the argument that an image is subject to the object. Of course, there is no relation to a story, at least, the words as the narrative and some description on a situation at all in Kandinsky`s abstract painting in which any sentiment or atmosphere of an humanity is completely excluded. However, it is possible to say that Kandinsky`s abstract painting accord with the innate property of a language encounters with the world of the word, as far as the word itself, as a minimal unit in a language , is already abstract. Kandinsky`s abstract painting assumes, so to speak, to meet more the world of a verse than that of a prose, in that it is concerned with the abstract feature of a language itself not the logical one in the context of words. Therefore, we can investigate the possibility of the association the picture and the word in Kandinsky`s abstract painting and the poet and literature in the ancient theory of an inspiration by way of the Plotin`s theory of the non mimesis art. And, the meeting place of them may be the concept of the non mimesis in art.

초기 기하학적 추상화, 신-기하학적 추상화와 메타-미메시스

디에고스칼코 ( Diego Scalco ) 한국영상미디어협회 2015 예술과 미디어 Vol.14 No.1

형태성으로부터 동떨어진 회화는 추상적인가? 무엇보다 우리가 주목해야할 점은 추상 회화의 근본적인 단초가 발생초기부터 시각적 실재에 대한 형상적 재생산으로부터 만들어졌다는 것에 있다. 칸딘스키(Wassily Kandinsky,1866-1944), 몬드리안(Piet Mondrian,1872-1944), 그리고 말레비치(Kazimir Malevich, 1879-1935)는 작업 초기에 “모방적 재현”(imitative representation)을 크게 벗어나지 않았으며 그들의 목표는 즉각적인 외존을 넘어서 시각성의 차원에서 그림적 실재로의 전환을 추구하였다. 상호보완적이라기보다는 오히려 대안적 개념으로서 추상 과정은 현재, 할리(Peter Halley, 1953~) 및 블랙커너(Ross Bleckner, 1949~)의 작업에 근간이 되었다. 재현이란 용어로서 이들의 접근은 추상 기하하적 패턴의 사용이 두드러지며, 이 특징들은 “문화적 모방”(Cultural imitation, 고대 그리스의 미메시스)의 관습과 비교 가능하다. 그러나, “문화적 모방” 과 함께 “모방적 재현”(imitative representation)으로서 미메시스(Mimesis)의 개념은 기하학적 추상의 모든 다채로움을 연결하고 개별 그 자체의 특별함을 강조한다. 여기서 논의된 그림 그리기(회화)의 관습은 지금 여기의 조건 및 존재의 양상으로서 기하학적 추상에 대한 질문을 확장하고 공간과 행위의 실체적 개진으로서 유토피아 미학 및 이에 잠입한 문화적 이데올로기라는 디스토피아에 기초한 이론들의 이율배반에 대한 고찰이라 할 수 있다. 초기 기하학적 추상과 마찬가지로 유토피아에 대한 관점은 메타-미메시스의 작동 과정으로 적용되었는데 풀이하자면 이들은 내 ·외적인 자동제작을 뜻하는 미메시스에 의거한다. 여기서 접두사 “메타”의 뜻은 미메시스의 모방이라는 의미를 넘어선다. 다른 맥락에서 이것은 자가 생산의 방식으로서 경험적으로 결정된 대상에 대한 실재적 미메시스로의 이동을 드러낸다. 이러한 입장은 네오-기하학적 추상에 의해 마련되었고 유토피아와 대조적으로 반유토피아적 특성을 지닌 메타 미메시스의 경우로서 서양에서 문화 및 공간 구성 모델로서 자동적 제작 과정으로서의 기능을 뜻한다. 이러한 세부사항들은 추상 예술이라는 관습에 있어서 이중적 국면으로 이해되었고 조형적 재료 및 변형된 존재의 의미로서 기하학적 기호에 대한 해석으로의 의미심장한 이동을 나타내며 추상 기하학적 형태의 자율성 및 타율성의 쟁점과 비슷한 쟁점을 입증한다. 사실상, 상황에 의거하는 메타-모방적 접근은 유토피아적 또는 반유토피아적 개념의 통합 부분으로서 추상 과정을 출현시키며 이 안에는 초기 기하학적 추상으로부터 네오 기하학적 추상에 이르는 이행에 대한 이론적 함축과 미학적 탐사에 대한 관심이 어려 있다. Does painting become abstract solely due to remoteness from the figurative? First of all, we should note that abstract painting in its nascent stage made the transition from the figurative reproduction of visual reality to the abstraction of its fundamental mode of existence. In this respect Wassily Kandinsky (1866-1944), Piet Mondrian (1872-1944) and Kazimir Malevich (1879-1935) did not break, at least not entirely, with the practice of "imitative representation" (mimesis in ancient Greek). They sought to transcend immediate exteriority and to transpose, on the level of pictorial realization, the deployment itself of the visible. An alternative, if not complementary, conception of the abstractive process currently underpins the approaches to painting of Peter Halley (born 1953) and Ross Bleckner (born 1949). These approaches stand out through their use of abstract geometric patterns in representational terms. This characteristic makes them comparable to the practice of "cultural imitation" (mimesis in ancient Greek). Nevertheless, it has to be enphasized that all those variants of geometric abstraction are related, in a way that is specific to each of them, with mimesis as imitative representation as well as cultural imitation. The painting practices discussed here raise the question of the relationship of geometric abstraction to current conditions and modes of existence. This invites to consider the antinomy, outlined by the underlying theories, between the utopia of a concrete modification of space and behavior, and the dystopia of a dominant cultural ideology infiltrating aesthetics. As regards early geometric abstraction, the notion of utopia has been adapted to a process generated by meta-mimesis, that is, by the mimesis of the auto-poiesis (from autos, "oneself", and poiesis, "production", in ancient Greek) of inner and outer reality. Here, the prefix "meta" means that which exceeds and encompasses the mimetic means as well as mimesis itself. In another vein, it shows a shift from the mimesis of reality as an empirically determinable object to the mimesis of reality as a transcendent mode of self-production. Such a position is somewhat reversed by neo-geometric abstraction, which on the contrary has a dystopian character. Neo-geometric abstraction can also be considered as a meta-mimesis, but in its case the auto-poietic process functioning as a model is that of the dominant spatial organization and culture in the West. These details make it possible to recognize within abstract art practicesa significant shift in the interpretation of the geometric sign understood in a double sense, as a plastic medium and as a means for transforming existence. Thus, the issue of the autonomy or heteronomy of the abstract geometric form proves to be a pseudo-issue. In fact, according to the situation, the meta-mimetic approach emerges asan integral part of the utopian or dystopian conception of the abstactive process. Therein lies the interest of exploring the aesthetic and theoretical implications of the transition from the early geometric abstraction to the neo-geometric abstraction.

학생 논설문에 나타난 단어의 추상성 정도 분석 및 사전 구축

최영미(Choi Yeongmi),박영민(Park Youngmin) 학습자중심교과교육학회 2020 학습자중심교과교육연구 Vol.20 No.18

이 연구는 고등학생이 쓴 논설문에서 명사 488개를 추출한 후, 교사 148명과 중·고등학생 383을 대상으로 하여 이 명사의 추상성 정도를 측정하여 구체어, 중립어, 추상어로 분류하고, 추상성 정도를 바탕으로 한 ‘단어 추상성 사전’을 구축하였다. 측정한 추상성 정도(지수 M)을 바탕으로 학생 논설문의 단어를 분류한 결과, 구체어는 교사는 219개, 학생은 370개, 중립어는 교사는 1개, 학생은 0개, 추상어는 교사는 268개, 학생은 118개로, 추상성 정도에 대한 교사와 학생의 인식 차가 존재하였다. 이는, 교사는 전문가로서 단어의 추상성과 구상성의 정도를 폭넓게 인식하였지만, 언어 발달 과정에 있는 학생은 추상성 정도에 대한 이해가 교사와 달랐기 때문이다. 세부적으로 살펴보면, 교사는 단어의 개념이나 구체적인 대상의 대응 여부에 따라 구상성 정도를 인식하였지만, 학생은 구체적인 사물, 신체 등 대응되는 사물의 존재 여부, 상황과의 관련성, 단어의 친숙함과 익숙함 여부에 영향을 받아 구상성 정도를 인식하였다. 추상성의 정도에 대해서는, 교사는 개념, 사태, 상태, 상황 등을 고려하여 추상성 정도를 인식하였으나, 학생은 자신의 상태나 감정과의 관련성, 영어나 한자어 및 단어의 친숙함과 익숙함, 가정된 상황이나 부사어의 성질 여부, 보문이 올 수 있는 환경이나 ‘-하다’와 결합하여 동작성이 인식되는 경우 추상성의 인식에 영향을 받았다. 이후 연구에서는 학생 글뿐만 아니라 일반적인 글의 단어까지 확대하여 추상성 정도를 측정하여 한국어 추상성 코퍼스나 단어 추상성 사전을 구축할 수 있을 것이다. 추상성 정도에 대한 사전이 구축된다면 작문 분야에서는 학생 글에 나타난 필자의 인지 과정, 글 특성 및 언어 능력 발달 정도를 파악하는 데 기여할 수 있으며, 어휘 분야에서도 학생의 어휘 교육에 중요한 기초가 될 수 있을 것이다. 그리고 이를 응용한 자연언어처리 분야, 전산 언어학, 지식 정보 분야에서도 중요한 초석이 될 수 있을 것이다. This study was conducted to measure the degree of abstraction of 488 nouns extracted from essays written by high school students with 148 teachers and 383 middle and high school students, and classified them into concrete, neutral, and abstract words, and constructed abstract dictionary. Based on this, the perception of the degree of abstraction of teachers and students was analyzed according to the polarity of words, concrete words and abstract words category. As a result of classifying words based on index M, there were 219 teachers in concrete words, 370 students in neutral words, 1 teacher in neutral language, no student, 268 teachers in abstract words, and 118 students in abstraction. In detail, teachers are experts who recognize the degree of abstraction and globularity of words widely, but students thought that specific objects, bodies, words related to situations, and familiar words were more conceivable than teachers. Also, the degree of abstraction was judged to be more abstraction than the meaning of the word itself, and the words, emotion, state, and events related to the word, Chinese characters, and familiar words were judged to be more abstraction. After that, it will be possible to build Korean abstract corpus or abstract dictionaries by measuring the degree of abstraction by expanding not only student writing but also general words. A abstract dictionaries can contribute to grasping the cognitive process, writing characteristics, and language ability development of the author in the writing field of the student, and it will be an important foundation for the vocabulary education of the student in the vocabulary field. It will also be an important cornerstone in the field of natural language processing, computer linguistics, and knowledge information.

중국현대미술 전개과정에서 추상미술이 가지는 의미

신광 한국기초조형학회 2023 기초조형학연구 Vol.24 No.4

The purpose of this study is to confirm the importance and meaning of Chinese abstract art and its discourses in maintaining the cultural diversity of Chinese modern art in the current situation of globalized contemporary art. To this end, this paper first looks back on the development process of Chinese abstract art and confirms the historical meaning of its specific practices. Furthermore, based on the establishment of the relationship between Chinese abstract art and Western abstract art, the purpose and meaning of the theories are analyzed by tracking models that emphasized traditional Chinese thinking and suggested the possibility of conceptual abstraction. In particular, Chinese abstract art has been re-examined by several theorists who have found a mixture of Chinese real society and tradition over the past 20 years. This study confirms the relationship between the discourses and the theory in which the ‘independence’ of Chinese art was emphasized in the interpretation of Chinese modern art and emphasizes its limitations. In addition, it is judged that the occurrence, development, and discourse of abstract art in a specific cultural area of China were combined with its own cause and socio-cultural environment. It is consistent with the cultural hybrid phenomenon that Chinese society experiences in the process of modernization along with Westernization. Therefore, this study positively accepts the concept of “post-abstract” that enabled the interpretation of abstract implementation of conceptual art by appropriately tracking its potential as genealogy rather than confrontation in establishing a relationship with Western abstract art. In conclusion, the basis for the justification of abstract art in Chinese modern art cannot be confirmed through the dichotomous structure of the East and the West, but its specific meanings must be found in the relationship with complex and diversified contemporary culture.