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- 저자 : 정헌이 (검색결과 330 건)
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정헌이 동아시아문화학회 2009 동아시아 문화와 예술 Vol.6 No.-
한글 서예의 기원으로서의 최고판본은 1446년 훈민정음 반포와 함께 만들어진 <훈민정음해례>이다. 한글 서예는 훈민정음 반포 당시의 이 판각체에서 비롯하여 550여년이 흐르는 동안 점차 쓰기에 편한 필사체로, 더 나아가 보고 감상하기에도 아름다운 다양한 한글 서예체로 변화 발전하였다. 이 글에서는 한글 서예의 변천 과정에서 한글의 대표적인 서에체로 자리잡은 궁체의 한국 서예사적의미와 그 예술적 가치를 살펴보고자 한다.
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여성 작가들의 몸 그리기 : 여성 재현의 한계를 넘어서
정헌이 성신여자대학교 한국여성연구소 2001 여성연구논총 Vol.2 No.-
The identity of body seems to be more problematic nonetheless of the increasing attention on that subject in any cultural field. We can not comfortably assert what a natural body is. Gendered representation of body emerged as a central topic of discussion in both the areas of mass culture and high art. This study deals with the phenomenon of body politics in contemporary Korean culture. 'Songwha' is the heroin of the well received Korean movie〈Seopyunjae〉. Here she is represented as a Korean traditional singer who finally understands the spirit of the traditional song, 'pansori'. However she is deprived of her sight in order to get this final conquest which is an artistic maturity. 'Songwha's female body is damaged and de-gendered for the genuine quality of Korean artistic spirit. On the one hand, it seems overwhelmingly obvious that the age of images has developed new forms of illustration, yet on the other hand, the representational power of images repeats the same old story that man sees the fetish woman while woman sees themselves being seen. In visual art, many woman artist tried to present female body differently. Yoon Seok-Nam has been engaged in creating the image of mother who is seen by her daughters. Because she exists in absent atmosphere. we can not easily meet her concrete image. She lost her body but she is omnipresent in her exhibition space. As an absent presence, her body is called into question. Lee-bul's approach is very different from Yoon. Lee-bul rejects any kind of biological identity of woman. Maternity is also reputed for the ever-growing self reproduction of machine. Recently she works on the image of cyborg which threats/seduces man. The ambivalence of feeling on cyborg woman creates monster-like effect among male viewers. For lam, gender difference is no longer a problem. Because she thinks as if the gendered body is just like a clothing. What is problematic is not sexualized identity but a kind of individual realm of fantasy. Then, what is the connotation of the representation in which women say women's body? The representation of women by women does not aim at the 'right' body or 'whole' body. The ultimate goal of women's representation as such is the subjectivity of desire. Human sexuality signifies not only the biological capacity of reproduction but also complicated interaction of desire and taboo. Our body is very close to us, but the ultimate signification is never known to us. But it is important for us to rewrite and redraw the bodily map, because it is the only way how we go beyond the limit of the body.
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정헌이 서양미술사학회 2009 서양미술사학회논문집 Vol.31 No.-
This article started from the question as “what relation does art criticism has to a discourse of identity?”. That ‘nationalism’ is brought as one of discourse of identity is because ‘nationalism’ relates to a border distinguishing ‘the inside’ and ‘the outside’ despite a number of abates surrounding the term. This writing is divided into three parts as a whole. First part will examine the notion of nationality in relation to art criticism. What do the nationalities mean when we say for example, “American Type Painting”, “German Neo Expressionism”, “Young British Artists”? Is it just the nationality to which the artist belong? Or is it a specific trend that identifies the national origin? Second part will generally explore the problem of nationalism in the recent history of Korean art and art criticism. I will expecially study the case of “Minjok Girokhwa(Documentary Paintings for the Korean People)” of 1970s, and the case of “Minjoong Misul(People’s Art Movement)” of 1980s. The final part will discuss the relationship between nationalism and art critical practice. If art criticism lost its critical vantage point from which to make an aesthetic judgment, how will a critic from the third world critically be able to reveal “difference” of the culture he or she belongs to? Recent post-colonial arguments were pointing out that overheated nationalism in independent nations after colony these days challenges imperialistic culture too easily, and unmaturely refuses it. Accepting nationalism is to receive the racial, religious and political separation imposed by imperialism. Then, “will to such difference” falls into self-defeating excuse to be resulted in understanding his or her society as defensive and negative compared to the counterpart, far more developed western world. Since it simply repeats dichotomized contradictory structure and hierarchy of a discourse on colony. However, in the political, economic and cultural context of globalized international capitalism nowadays, the issue as to how non-western, non-European countries will initiatively participate is not properly theorized as yet. Nationalism is laid in conflicting desire. It maintains support for development for the future, strong attachment and nostalgia to convention and tradition. Thus nationalism is paradox encouraging something to go forward a target with face toward the past, and it can’t help being disrupted by this paradox. This paper attempted to specifically investigate how this paradox functions in Korean circumstances. This is paradox, so does not come up with a solution, but it is expected that nationalism is a discourse on both identity and subjectivity, so that art criticism will more effectively perform its parametric play by shifting dischotomized border called ‘the inside’ and ‘the outside’ to more relational and indra-network mechanism. The failure of nationalism may have been stemmed not from the fact that they do not exist, but an excessive attachment to that they can be found. Like a zen monk’s “hwadu” for example, the query of “what is this?”, the question concerning one’s own identity or subjectivity cannot be avoided if only it is just to arrive to the point of enlightenment of “nothing there” Art critics always reposit the questions for the artworks as a kind of their own way of cultural participation.
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