제 5공화국의 문화정치와 그에 대한 저항(抵抗), ‘민중문화운동’

김현화 미술사문화비평학회 2020 미술사문화비평 Vol.11 No.-

1980년대는 문화정치의 시대였다. 군사정부는 문화정책을 통해, 민간에서는 문화운동을 통해 문화의 헤게모니를 장악하고자 치열하게 대립했다. 문화는 정신을 지배하는 근간이 된다. 제5공화국 군사정부와 민중문화운동 모두 전통민족문화를 통한 역사의 주체성 확립과 민족적 자긍심을 정립하고자 하는 공통의 목표를 가졌다. 그러 나 군사정권이 충효사상을 근본으로 둔 사대부 전통문화를 통해 국가주의를 확립하고자 했다면, 민중문화운동은 민중을 역사의 주체로 규정하며 민중중심주의를 실현 하고자 했다. 이렇듯 양자는 역사를 바라보는 방향이 서로 달랐다. 1980년대는 민중문화운동의 시대였다. 일반적으로 민중문화는 문화 안에 속하는 소범위이지만 1980년대는 군사정권이라는 정치적 환경으로 인해 민중문화운동이 문화운동보다 우위에 있는 특수한 구조가 형성되었다. 민중문화운동은 민중을 역사의 주체로 내세우고 궁극적으로 군사정권의 타도를 목표로 한 문화투쟁, 문화정치였다. 민중문화운동은 사회학, 미학, 철학, 종교 등의 인문학이 중심이 되어 이념을 계발했고, 시위나 집회에서의 현장실천에 있어서는 예술분야가 적극적으로 활동했다. 이념적으로는 마르크스주의와 민족주의가 중심이 되었고, 실천적 방안에는 전통연행예술 이 대표성을 가졌다. 또한 민중미술, 포스터, 판화 등의 시각예술분야의 활동도 매우 적극적이었다. 1980년대 후반에 민주화 열망이 전 국민적 지지를 받고 시위가 대규모로 펼쳐지면서 예술분야의 역할이 증대되었고 따라서 민중문화운동 용어도 민중문 화예술운동, 민중문예운동으로 불리기도 했다. 민중문화운동의 확산에 있어 대학생들의 역할이 매우 중요했다. 민중문화운동에 참여한 반체제 지식인들은 친북적 성향으로 거부감을 불러일으키기도 했지만, 대학생들의 활동은 민주화에 대한 순수한 열망으로 받아들여져 국민적 공감을 샀다. 반체제적인 운동은 대학가의 문화로 자리 잡아 사회주의 이념을 공부하는 소모임이 만들어지고 특히 연극반, 탈춤반, 농악반 등 전통연행예술 동아리는 이 같은 대학문화를 선두에서 이끌었다. 특히 매년 대학축제로 열리는 대동제는 군사정부에 대한 정치적 집회와 시위를 주도했다. 대학대동제는 역사 속에서 민중혁명으로 무참히 죽어간 희생자들에 대한 관심을 불러일으켜 현실에서의 민주화 실현에 대한 결연한 의지, 현실 치유의 희망을 증폭시켰다. 민중의 희생을 환기하는 목적은 민중중심의 세상을 건설 해야한다는 당위성과 필연성을 공고하게하기 위함이다. 민중문화운동은 문화예술이 경제와 정치 분야의 투쟁을 보조하는 역할이 아니라 사회의 이념적 방향을 바꾸게 하는 정신적 가치라는 것을 증명했다. 결국 군사정권은 종식되었다. The 1980s was an era of cultural politics. The military government and the civil people confronted each other, using cultural policy and cultural movement, respectively, to seize cultural hegemony. Culture is the basis that rules human minds. Both the military government of the fifth Republic of Korea and the Minjung (People’s) Cultural Movement had the same goal—the establishment of national identity and pride based on the traditional national culture. However, the military government sought to establish nationalism based on the traditional nobility culture, characterized by the thought of loyalty and filial piety, while the Minjung Cultural Movement sought to bring about people-orientedness, defining the people as the main agents of history. The two parties had different perspectives on history. The 1980s was an era of the Minjung Cultural Movement. Although the Minjung culture generally belongs to the realm of culture, there appeared a unique structure in which the Minjung Cultural Movement was above cultural movement due to the political environment of the military government in the 1980s. The Minjung Cultural Movement was a cultural struggle and a cultural politics which put up the people as the main agents of history with the ultimate aim to overthrow the military government. The Minjung Cultural Movement developed ideologies with the focus on humanities, such as sociology, aesthetics, and philosophy, while art fields were actively engaged in practices at protests and rallies. The Minjung Cultural Movement was represented by Marxism and the people’s nationalism in terms of ideology, and by traditional performing arts in terms of practice. Minjung Art was active in the visual art field, including posters and engravings. The art fields played a greater role in the late 1980s when the aspiration for democracy was supported by the people across the country and large-scale protests took place. As such, the Minjung Cultural Movement was also called as the Minjung Art and Cultural Movement or the Minjung Literary Movement. University students played an important role in expanding the Minjung Cultural Movement. Some people had an aversion to dissident intellectuals participating in the movement due to their pro-North Korean tendency. In contrast, the public accepted and regarded university students’ activities as a pure aspiration for democracy. Meanwhile, a dissident movement took root as a university culture and this led to the formation of small groups studying socialist ideologies. Traditional performing art clubs, such as play, masked dance, and nongak led such university culture at the front. In particular, Daedongje, an annual university festival, led political rallies and protests against the military government. Daedongje of Korean universities aroused interests in the victims who died violent deaths for the people’s revolution throughout history, consolidating the will to bring about democracy and the hope for healing in reality. The purpose of calling attention to the sacrifice of the people was to consolidate the imperativeness and inevitability of creating the people-oriented world. The Minjung Cultural Movement was a cultural protest to change the ideological direction of society through art and culture where such art and culture was not a means of protest, auxiliary to the economy and politics. Finally, the military government was put to an end.

예술과 예수

김현화 제3시대그리스도교연구소 2009 제3시대 Vol.1 No.-

어린이들의 예술적 ‘자기만의 방’

김현화 제3시대그리스도교연구소 2010 제3시대 Vol.11 No.-

자연계열 대학 글쓰기 수업의 창의성 활용 사례 - 충남대학교 교과 <자연과학글쓰기> 수업을 중심으로

김현화 어문연구학회 2019 어문연구 Vol.100 No.-

This paper contains teaching methods that utilize creativity in writing classes at natural science universities. I divided the teaching methods into three stages to utilize the necessity and creativity of creative writing. It is a method of writing individually, which is a symbol of students, a writing activity through one-on-one dialogue, and a cooperative writing activity based on team discussion and presentation. This three steps are a configuration that can be implemented sequentially in the 15th class. The goal is ‘to otherize in the self’, ‘to date the self and the self’, and ‘to communicate with the self’. Students experience the otherized of their self by writing as a symbol of me. The example is "I am confident today!" And "I dream of an original wrong answer". It presents a new self as a symbol of his psychology or situation. This course is linked to self-introduction. Students perform one-on-one conversational writing. It is a writing class where self and self are connected. The professor presents the data on the conversation. You can use the actual scientists' conversational data. Or you can write another. This writing is linked to science essay classes. Students discuss and present their teams and collaborate. It is a process of communication between self and social discourse. Through discussions, knowledge that has stayed in the major area is linked to social problems. The work to be done by collaborative writing is the introduction of the paper. This writing is linked to graduation papers or academic papers. It is the goal of cooperative writing to enhance students' communication skills. 이 논문은 자연계열 대학 글쓰기 수업에 창의성을 활용한 교수 방안에 주목하였다. 창의적 글쓰기의 필요성과 창의성을 실제 활용해 볼 수 있는 교수 방안을 3단계로 나누어 제시했다. 학생들의 상징어로 글쓰기를 수행하는 개별 글쓰기 활동 방안과 일대일 대담 역할을 통한 글쓰기 활동 방안, 팀별 토의 및 발표를 기반으로 한 협동 글쓰기 활동 방안이 그것이다. 이 3단계는 15주차 수업 가운데 순차적으로 실행해 볼 수 있는 구성이며, ‘자아의 타자화’, ‘자아와 자아의 연대’, ‘자아와 담론의 소통’을 목표로 하는 교수 방안이다. 학생들은 ‘나를 상징하는 상징어’를 활용한 글쓰기로 자아의 타자화를 경험한다. “네”라는 명명법은 사회 통념으로 굳혀진 자아이다. “오늘도 자신 있게!”, “독창적인 오답자를 꿈꿉니다”처럼 현재 자신의 심리나 상황을 담은 상징어로 새로운 자아를 제시한다. 이 과정은 자기소개서와 연계해 수업하면 효과적이다. 일대일 대담 형식의 글쓰기는 자아와 자아가 연대해 수행하는 작업이다. 교수자가 대담 자료를 제시한다. 실제 과학자들의 대담 자료를 활용해도 좋고, 대담하기 편하도록 단락 나누기가 가능한 내용의 자료를 활용해도 무방하다. 이 방안은 세 단락 이상의 글쓰기로 전이가 가능하므로 과학에세이 수업과 연계해 진행한다. 팀별 토의 및 발표 활동을 활용한 협동 글쓰기는 자아와 사회적 담론의 소통 과정을 기반으로 한다. 토의를 통해 전공 영역에 머물던 지식이 사회 제반 문제와 연결되어 있다는 사실을 인지한다. 협동 글쓰기로 수행할 글은 논문의 서론 부분이다. 이 과정은 졸업논문이나 학술논문 작성으로 연결된다. 학교 밖 일상과 밀접한 관계를 맺고 있는 살아 있는 의사소통능력, 바로 그 지점에 협동 글쓰기의 지향점이 있다.

<방한림전>에 나타난 서사 전개의 특질과 의미

김현화 한국언어문학회 2022 한국언어문학 Vol.120 No.-

This thesis examines the characteristics of the narrative development in <Banghanrimjeon> and finds its literary meaning. While accepting the material of women disguised as men in the existing hero novels, we examine the narrative background in which the subject matter of same-sex marriage could be inserted. The first narrative quality is that appearance and action appear to be proportional. The reason that Bang Kwan-ju was able to finish the final narrative with a heroic figure was because the masculine figure and actions were proportional. Young hye-bing, who agreed to same-sex marriage, also shows the proportionate nature of appearance and behavior. This work revolves around the narrative that the special way of life of same-sex marriage exists in the world and that all humans are noble. The characteristic of the second narrative is that it develops with a complex mix of opposing emotions. The main character of <Banghanrimjeon> is a woman, but she lived with the opposite attitudes and emotions of being a man. Just as Bang kwan-ju lived a double life of a woman and a man and lived in mixed emotions, Young hyeBing lived as a woman in the Joseon Dynasty, dreaming of freedom beyond that era. It is because of these conflicting emotions that <Banghanrimjeon> was able to focus on same-sex marriage and also appeared as a novel in the 19th century. The third characteristic of the narrative is that the main character uses a material that does not live long by changing it into a material that will live long. <Banghanrimjeon> is a work that properly arranges the material in which the main character of the biographical novel does not live long and the material in the heroic novel where the main character lives for a long time. <Banghanrimjeon> enjoys happiness such as expression of free will, career advancement, and beautiful marriage, but the process of Bang kwan-ju's re-entering the male world changes it to a life that does not last long. Through this short-lived life, it focuses on “the great discovery of a man, not a woman.” <Banghanrimjeon> uses these three narrative qualities to correct the confused emotions of Bang kwan-ju and Young hye-bing. In the meantime, while accepting the conservativeness of the existing heroic novels, it embodies the literary meaning of this work by adding romance. In order to persuade 'same-sex marriage', it is a work that embraces the conservativeness of existing heroic novels, but balances romanticism with aspirations for a new life. ,

<안빙몽유록> 구성 방식의 특질과 소설적 기능

김현화 어문연구학회 2014 어문연구 Vol.79 No.-

<안빙몽유록>은 색감과 다중 인물, 중층의 문 등이 특이한 구성 방식으로 등장하는 작품이다. 색감은 화계의 인물과 배경을 묘사하는 가운데 중점적으로 나타난다. 특히 화계 공간의 주변부에서 중심부로 들어갈수록 그 색감이 다채로워지고 화려해진다. 이러한 구성은 환상적 분위기를 형성하고 전환하는 기능을 한다. 다중(多衆) 인물의 순차적 등장을 통해서는 단일한 공간 안에서의 시간 변화를 처리하는 구성 방식을 취한다. 초월계의 중심부로 들어갈수록 다중 인물이 등장하며 시간도 연쇄적으로 발생한다. 시간이란 구성 요소의 중요성을 강조한 결과이다. 또한 중층의 문을 활용해 공간을 확장해 나가는 구성 방식을 선보인다. 중층의 문은 현실계의 방문자가 충분히 운신할 수 있는 초월계 공간을 확보하고, 작품의 환상성을 높인다. 공간의 중요성을 인식한 창작 의식의 결과이다. 이러한 구성 방식의 특질은 다음과 같은 두 가지 소설적 기능을 한다. 우선 주제의식의 충돌과 해체라는 측면이다. <안빙몽유록>은 '입장의 불일치'를 통해 다의적 주제의식을 표출한다. 현실계에서 초월계로 들어갈수록 입장의 불일치가 더욱 빈번하게 일어난다. 또한 이 구성 방식은 특정한 장면을 지연시키는 가운데 한정된 공간을 극복하고 서사의 편폭을 확장하는 데 기여한다. 특정 장면을 지연시켜 장형의 서사체로 발전하는 장편소설의 기본적 특성을 살필 수 있다. 「Anbingmongyurok」 is a composition method on becoming more and more interesting. Becoming more and more interesting means to be in the most interesting part as the story goes by or in the best interesting, or the form'. 「Anbingmongyurok」showed each material of the work with a gradual composition method. The color sense appeared first as a material for increasing the work's interest. The color sense appeared in priority when the characters of the floral world were depicted. Especially, the more it went to the body from the periphery of the floral world, the more the color sense became diverse and colorful. When all characters met together, it showed the color sense in full color. Moreover, 「Anbingmongyurok」was expressed also the background(=space) with the color sense. While it showed the colorful floral world in a colorless mood of a mountain cabin, it was changed to the colorless sense landscape in drizzling rain at the rear of the work. It is the composition method resulted from the creative sense that considered a new creative method for the fantastic mood. 「Anbingmongyurok」showed the composition method to treat time change in single space depending on appearance of a great number of characters in order. It is a gradual construction that the more it is in the center of the fantasy world, the more a great number of characters appears. The more Anbing, the visitor was in the center of the fantasy world, the more a chain of time interval shortened with the appearance of the characters. It means that the author understood the importance of the component referred as time in the work. 「Anbingmongyurok」 showed also the composition method that continued to expand the space with the door of many folds. It is a way to overcome the fragmentary character of a story. In other words, the door of many folds could have the functions to get the space of the fantasy world where a visitor to the real world could move enough and to increase the fantastical character of the work. It is the result of the author's creative consciousness that recognized obviously the importance of a space. Such gradual composition method has two romantic functions as follows: First, it has a function in terms of conflict and disorganization of thematic consciousness. 「Anbingmongyurok」showed thematic consciousness of a great number of characters through a narrative structure referred as 'a discordance of one's eye'. 'The discordance of one's eye' means the conflict in the different point of view for one phenomenon. 'The discordance of one's eye' happens between the characters in the real world and the fantasy word, or between the characters in the fantasy world. The more one goes to the fantasy world from the real world, the more the discordance of one's eye happens often. Another novelistic function is in that it can overcome the confined spaces and expand the range of narration while delaying certain scene. It is an experimental way to put a long piece epic style on a narration of a short story. Considering the basic character of a novel that develops to a full-length story while delaying a scene, the extension way of narration in 「Anbingmongyurok」 is very unique.

<만복사저포기>와 <하생기우전>에 나타난 관습적 서사의 구축 양상과 의미

김현화 반교어문학회 2020 泮橋語文硏究 Vol.0 No.54

The dreaminess of the show appearing in Manboksajeopogi and Hasaenggiwoojeon contributes to the fantasy of these works. The desire of a contemporary person to look at the lives of beings beyond the real world appears in a way that solidarity the lives of the living and the dead. Both works also solidarity with life in terms of restoration and gaze of maternal love. The cause of absolute loneliness of male protagonists comes from the sense of loss due to the absence of mother who is the object of love. The desire to find the direction of life by restoring and gazing at the absolute solitude that will offset absolute solitude is a divisive connection between the life of the living and the dead. Furthermore, through the overthrow of wounds and healing spaces, we also carry out the solidarity of life. The overthrow of wounds and healing spaces is prominent in 'Manboksa', 'Naktakyo', and 'Tomb of female ghosts'. The wounds of desire that have collapsed in real space are healed in fantasy space, and Again, the reason that I realized there is to replace the sublime value of the real world space. So the intention to reveal the essence of coexistence appears as the solidarity of life. The solidarity of life in <Manboksajeopogi> and <Hasaenggiwoojeon> follows the ideology of the real world and It is the result of the 'exploration of the protagonist of the novel' which expresses the instinctive desire honestly. It also embodies the inclusion of a worldview to acknowledge 'win-win and extinction'. The principle of coexistence works on the principle of covering the living and the dead. It is because the successors of the male protagonist who negotiated with the world of death in <Choi Chihwon> repeatedly appear in <Manboksajeopogi> and <Hasaenggiwoojeon>. The order of extinction also works on the principle of the real world and the fantasy space. The fact that the male protagonists actively sympathize with the reincarnation and resurrection of female ghosts is a result of meeting the order of this extinction. 〈만복사저포기〉와 〈하생기우전〉의 관습적 서사의 구축 양상은 시간의 변속 기능을 통해 드러난다. 동선을 확보한 서사 주체에 따라 초월계에서 현실계로, 현실계에서 초월계로, 시간이 확장되거나 응축된다. 시간 변속은 작품의 환상성에 기여하며 현실계와 초월계의 삶을 연대한다. 또한 여성성의 환기와 치유라는 양상으로 나타난다. 여성성은 세계를 지탱하는 근원적 포용력이자 평화로움이다. 〈만복사저포기〉와 〈하생기우전〉은 ‘여성’, ‘어머니’, ‘모성’ 등으로 비유되어 온 ‘밤’과 ‘달’을 중점으로 여성성을 환기시킨다. 작품 전편에서 환기되는 안온한 여성성은 남성 세계의 질서로 인해 파국 난 삶을 치유하는 역할을 한다.

민중미술; 「원시(原始)를 꿈꾸다」, 바타이유(G. Bataille)와 루카치(G. Lukacs) 사상으로 접목 고찰

김현화 미술사와 시각문화학회 2011 미술사와 시각문화 Vol.10 No.-

이 글은 루카치 사상과 바타이유 담론을 민중미술의 작품과 개념의 분석기저로 삼는다. 바타이유는 자본주의와 마르크스주의를 동시에 공격하며 휴머니즘 관점에서 부의 평등한 분배를 주장하였으며, 또한 후기마르크스주의자인 루카치는 예술이 휴머니티의 도구가 된다고 강조하였다. 이 두 학자의 사상은 현대사회의 구조적 모순으로 제기된 빈부의 격차를 해소하기 위한 이론적 배경으로 제공된 것이다. 민중미술 역시 자본주의의 모순과 군사독재정권의 출현이라는 사회의 구조적 모순에 맞서 출현된 미술장르이다. 바타이유, 루카치, 민중미술 모두 ‘민중을 위함’이라는 공통된 지향점을 갖고 있으므로 루카치와 바타이유 사상을 민중미술에 접목하여 고찰한다면 민중미술의 의미적 깊이를 더욱 심화시킬 수 있을 것이라 판단되어 연구를 진행하였다. In 1980's, Korean painters such as Kim Jung-heun, Kim Kyong-in, Son Jang-sup, Joo Jae-hwan, Oh Yoon, Lim Ok-Sang, Lee Jong-Gu, who witnessed Gwangju Massacre in May 1980, began to represent these terrible scenes in their arts. The movement is called "Minjung Art". This research explores the characteristics and meanings of the Minjoong Art, primarily considering the relationship between art and Korean political situation in the 80's. Korea has depended on and been protected by the world superpower America after its liberation from Japan by the aid of American military force. This situation has deeply affected Korean people that they have identified Americanization with capitalism, industrialization, and modernization. Minjung Artists thought that Korea has become a new colony of American economy, culture, art and politics. That is why Minjung Art was strongly motivated by the anti-colonial, and anti-American ideas. Minjung Art is a Socialist Art based on the Marx-Lenin theories. As such, it has its root in the philosophy of Gyogy Lukacs. In this paper, I attempt to illuminate the theoretical relationship between the Gyogy Lukacs, Georges Bataille and Minjung Art. Gyogy Lukacs, an influential literary and art critic of the twentieth century, was a Post-Marxist who pointed out the capability of Realist Art to confront an objective reality that exists in the world. Georges Bataille, a French writer, economist, and sociologist, was a member of the extremely influential "College of Sociology" in France. For them, work was the foundation for knowledge and ration. In the primitive times, Art was a work. Bataille believed that the making of tools and weapons was the departure point for that early faculty of ration, which humanized the animals we once had been. It is obviously work that made him a human being, the reasonable animal we are. Bataille thought that if it is true that work is our origin, if it is true that work is the key to humanity, human beings would eventually distance themselves completely from animality through work. Minjung Art did not aim at the revolution of social reality but to be an ideological art seeking for the reforms of the society that grants freedom for the people.

생일 축하와 Dramatic Play

김현화 한국어린이미디어학회 2004 한국어린이미디어학회 학술대회 자료집 Vol.2004 No.-

하이퍼리얼리즘, 20세기의 눈속임(Trompe-l'oeil) : “나는 너의 거울이 될 거야”

김현화 미술사와 시각문화학회 2012 미술사와 시각문화 Vol.11 No.-

근대에 들어와 인간의 이성적 사유에 대한 존중은 미술에 있어 재현에 대한 반성과 의문을 제기시켰다. 20세기 추상미술에 대한 과도한 평가는 구상미술의 멸시로 이어졌다. 그러나 1960년대 후반 경에 등장한 하이퍼리얼리즘은 당대의 인간 삶의 장면이 단순한 재현이 아니라 현대산업사회의 부르주아 문명과 대중소비문화를 대변하는 시뮬라크르임을 보여주었다. 따라서 하이퍼리얼리즘이 단순한 구상적 재현의 부활을 넘어 욕망, 권력, 지식 등의 문제를 다시 거론시키는 주체가 될 수 있다고 판단하고, 장 보드리야르의 시뮬라크르 개념을 분석기저로 삼으며 그 개념과 본질을 파악해 보고자 하였다. This article discusses the art movement of Hyperrealism, which the author specifically denominates as the "Trompe-l'oeil of the twentieth century". The term "Hyperrealism" originated from the French word "Hyperrealisme" that was the title of a major catalog and exhibition at the gallery of Isy Brachot, held in Brussels, Belgium, 1973. Hyperrealism has arisen in relationship with the Pop Art and has been founded upon the aesthetic principles of Photorealism. Hyperrealists did not directly approach reality to create paintings, but attempted to reproduce what a camera would see. They used photographic images as a reference source to render a more definitive and detailed images. Hyperrealists created the illusion of a new reality not visible in the original photo. Their main objective was to translate photographic information into paint information. Hyperrealism has its root in the philosophy of Jean Baudrillard. He argued that the world we live in has been replaced by the Simulacra (Hyperreality). Baudrillard strenuously insisted that today, there is no such thing as reality; therefore everything is Hyperreality. For example, a map fades into a territory, and it is neither representation nor a real remaining. The map is just Hyperreality. Hyperrealism aims to remove a blurred line between what is "real" and what is "virtual". Hyperrealism leads us to forget the fact that a particular thing is a painting or a sculpture. Instead, it leads us to believe it is reality. If our eyes are seduced by Hyperrealist paintings, it is not by the "illusion", but by what appears to be reality. Hyperrealism becomes Hyperreality. Hyperrealist painters, in particular, suggested that painting is a kind of Simulacra that explains current state of human life. Hyperrealism celebrates prosperity and an indulgent, albeit transient, materialism, and pays respect to the essential yet humble quotidian existence. In this paper, the author attempts to illuminate the Hyperrealism as Hyperreality by focusing on the theories of Baudrillard, and trace its ramifications of Hyperreality in Hyperrealist paintings.