A Trans-aesthetics : W.B. Yeats, Shigeru Aoki, and Pablo Picasso

Young Suck Rhee,Lianggong Luo 한국예이츠학회 2017 한국예이츠 저널 Vol.52 No.-

이 논문은 예이츠, 아오키, 그리고 피카소를 트랜스 미학의 표현으로 관찰하고자 한다. 이 두 사람을 연구하기 위해서 입체파와 라파엘 전파라는 두 맥락을 살피려고 하는데, 후자는 영국의 운동이다. 라파엘 전파에 영향을 받은 예이츠는 비교적 잘 조사되고 알려진 것에 비해서 일본의 큰 화가(시인)인 쉬게루 아오키는 일본 밖에서는 거의 알려진 게 없다. 라파엘 전파운동이 영국에서 일어난 운동인 것을 감안하면 20세초 일본의 한 화가기 이 운동에 깊은 관심을 가졌다는 사실은 상당히 놀랍다. 더구나, 두 사람은 이 미학으로 자신의 나라의 대표적 작가가 되었다는 것이다. This paper discusses Yeats, Aoki, and Picasso as an exemplification of a trans-aesthetics. I will put Yeats and Aoki in two contexts, Cubism and pre-Raphaelitism, in order to study Yeats and Aoki. To do so, I will discuss the two art movements, Cubism and pre-Raphaelitism, the second being a movement in England. While the pre-Raphaelite Yeats is now relatively well researched and well known, Shigeru Aoki, a great Japanese painter/poet, who was also a pre-Raphaelite, is hardly known outside his country, Japan. Considering that pre-Raphaelitism was an English movement, it is rather surprising that a painter in Japan in the early 20th century had become deeply interested in it. Furthermore, both Yeats and Aoki, with this aesthetics, became the leading figures in the literary and art worlds of their countries.

Aoki의 교육과정이론에 기초한 아동미술교사의 역할

임부연(Lim, Boo-Yeun),원미은(Won, Mi-Eun) 한국미술교육학회 2011 美術敎育論叢 Vol.25 No.2

There are many perspectives to describe roles of a teacher and these perspectives also have many things to do with curriculum discourses. As it is, teachers for Children's Art Education are required more complex roles not only in teaching related with curriculum but also in living and loving artistic life. This study brought Aoki's curriculum theory which recognized as overcoming instrumental approach to curriculum, up to highlight on art teachers' role in teaching curriculum. Aoki's voice for both curriculum and roles of teachers are fresh, vital and aesthetic which ever described complicated teaching phenomena in heartbreaking poetic nuance. This study analyzed and extract role of art teachers from Aoki's theory, which are 1) dwelling in the zone of between, 2) inspiriting the curriculum, 3) interpreting and reflecting curriculum, 4) improvising curriculum, 5) and living and loving artistic life. Then this study reinterpreted those five ideas into roles of art teachers, particularly for young children. This study finally suggest that role of teachers particularly related to teaching art for children should always be awake, live and love 'arts' as existence life. 미술이 주체로서 존재론적 향유에 초점을 둔다면 미술교사는 '가르침'의 의미와 '예술적 향유' 모두를 고민해야 하며, 동시에 '교육과정'적 담론과 무관할 수 없는 복잡한 역할을 요구받고 있다. 본 연구는 전통적 교육과정이 가졌던 다소 경직된 구조주의적 담론을 벗어나서, 교사와 교육의 비인간화 현상에 주목하고 생명적 존재로서 교사와 교사의 삶, 그리고 살아있는 교육을 지향한 Aoki의 교육과정이론에 기반하여 아동미술교사의 역할을 재조명해보고자 하였다. 특히 생명성의 관점에서 아동미술을 담당하는 교육적 존재(pedagogic being)로서의 교사의 역할을 사이공간에 존재하는 미술교사, 미술을 '듣고·보는' 교사, 미술에 생명을 불어넣는 교사, 미술의 세계를 즉흥연주하는 교사, 예술적 삶을 사는 교사 등 5가지로 추출하여 이를 아동미술과 관련된 맥락 안에서의 논의를 통해 아동미술교육에서 '예술'적 가치를 놓치지 않으면서 동시에 교육과정의 심미적, 철학적 본성에 충실한 미술교사의 역할을 제안하고자 하였다.

Aokiの教育課程理論に基づく日本語教師の役割

元智恩(Jieun WON) 동아시아일본학회 2017 일본문화연구 Vol.0 No.62

최근 한국의 외국어교육은 도구적이며 실용적인 언어관에 근거해서 이루어지고 있다. 이러한 문제를 극복하기 위한 담론으로서 아오키(Aoki)의 교육과정이론이 대두되고 있다. 그의 이론은 교사와 학생의 인격적 관계, 지도의 존재론적 의미를 강조한 것이므로 도구주의를 극복하기 위한 담론으로서 유효하다고 여겨진다. 본 연구에서는 임부연 원미은(2011)을 참고해서 아오키의 교육과정이론에 근거한 다음 4가지 일본어교사의 역할을 제시하고, 실제 일본어수업에서 일본어교사가 어떤 역할을 해야하는지에 관해서 서술했다. 1. 사이공간에 존재하면서 해석 반성하는 일본어교사 2. 즉흥연주하는 일본어교사 3. 교육과정에 생기를 불어넣는 일본어교사 4. 교육적인 인생을 사는 일본어교사 또한 상기 4가지 역할이 일본어교사에 국한되지 않지만 ‘모나리자 스마일’, ‘Freedom writers diary’, ‘호로비츠를 위하여’라는 교육영화에서 각각 어떻게 재현되어 있는지를 분석했다. 사이공간에 존재하면서 일본어를 해석 반성하는 일본어교사는 ‘모나리자 스마일’에서, 즉흥연주하는 일본어교사는 ‘Freedom writers diary’에서, 교육과정에 생기를 불어넣는 일본어교사는 ‘Freedom writers diary’에서, 교육적인 인생을 사는 일본어교사는 ‘호로비츠를 위하여’와 ‘모나리자 스마일’에서 나타났다는 것을 알 수 있었다. Currently, foreign language education in Korea is based on an instrumental and practical view of language. Aoki’s curriculum theory is foregrounded to overcome this problem. The theory emphasizes the personal relationship between teachers and students and the ontological meaning of instruction, regarded effective at overcoming instrumentalism. This study suggested four roles for a Japanese teacher based on Aoki’s Curriculum Theory (Lim and Won 2011) and described the role a Japanese teacher would play in an actual Japanese class, as follows. 1. A Japanese teacher who interprets and reflects 2. A Japanese teacher who improvises 3. A Japanese teacher who inspirits curriculum 4. A Japanese teacher who lives a pedagogic life The four roles are not only limited to Japanese teachers. The study analyzed educational movies (movies about education) including “Mona Lisa Smile,” “Freedom Writers Diary,” and “For Horowitz.” “Mona Lisa Smile” describes a Japanese teacher who interprets and reflects curriculum as dwelling in-between zones, while “Freedom Writers Diary” describes a Japanese teacher who improvises upon and revitalizes the curriculum. A Japanese teacher who lives an academic or pedagogic life is described in “For Horowitz” and “Mona Lisa Smile.”

한국 남해에서 채집된 동해물뱀(Scolecenchelys aoki) 성어의 첫기재및 Scolecenchelys borealis의 동종이명에 관한 검토

지환성,김맹진,김진구 한국수산과학회 2013 한국수산과학회지 Vol.46 No.5

Scolecenchelys borealis was first added to the Korean fish fauna based on one leptocephalus specimen (total length (TL) 59.2 mm) collected from Dokdo, in the East Sea. Recently, however, Scolecenchelys borealis has been treated as a junior synonym of Scolecenchelys aoki, necessitating review of the scientific name S. borealis. This study describes the morphological characteristics of S. aoki based on an adult specimen (TL 230.0 mm) collected from the sea south of Korea and compares its mitochondrial DNA 12S rRNA sequence with that of the S. borealis leptocephalus. The adult S. aoki is characterized by several morphological features: vertebral formula 59-55-135; preanal lateral pores 55; infraorbital pores two; teeth on upper jaw visible externally when the mouth is closed; the dorsal fin originates just behind the anus; both jaws and vomerine teeth are conical, arranged in two rows. An analysis of an 886-base paire sequence of the 12S rRNA showed that adult S. aoki was concordant with the S. borealis leptocephalus (sensu Ji et al., 2012), indicating that both are the same species.

아오키 준과 ‘공터’의 건축론 - 무목적과 무근거 건축의 가능성 -

김병주 한국문화공간건축학회 2020 한국문화공간건축학회논문집 Vol.- No.70

Aoki Jun proposed two architecture models called "Open Field and Amusement Park." At "Amusement Park," there is one-on-one correspondence between a space and its function. At an amusement park, the planner gives "instructions for certain actions for a space." Here, users get to have "passive" experiences. At "Open Field," there are no particular functions designated to a space. Users get to discover functions for a space in an independent way. Here, users have "active" experiences. There is some doubt about the concept of "planning" at the bottom of this discussion. For the construction of "Open Field," Aoki implements the methodology of "renovation in a broad sense." In typical cases of renovation, an old building is provided right at the starting stage of design. Likewise, "forms" are set with an old virtual building in new construction. This approach can erase the architect's personal taste, design intention, expressive will, and arbitrariness. The architecture of "Open Field" is not exclusive, shedding off its goals and being made based on no grounds. It is open to others. It allows for participation in various forms not assumed by the architect in advance.

Formalism and Anti-Formalism in Yeats and Aoki

Young Suck Rhee 한국예이츠학회 2015 한국예이츠 저널 Vol.48 No.-

이 논문의 예이츠와 아오키 읽기는 문학과 예술의 두 주요 운동, 형식과 반형식/개념주의에 근거한다. 언뜻 보면, 간단히 말해서, 예술작품은 자족적이어서, 이를테면, 「소금장이」는 어떻게 쓰여졌는지에 대한 배경지식 없이, 작품 그 자체만으로 충분하다는 것이다. 개념주의는 좀 더 복잡한데, 마셀 듀상이 원류이며 정의하기가 어렵다. 이 논문에서 예이츠, 아오키, 이우환을 원형적 개념주의 예술가로 취급한다. 개념미술은 듀상으로부터 출발한다. 개념주의예술은 새로운 예술을 창조하려는 시도이다. 그러나, 본질적으로 이것은 “반형식주의”의 또 다른 형식으로, 옛 형식을 허물고 새 형식을 만드는 노력이다. 이 노력은 예이츠가 환상록 에서 해명한 달의 28상이나 문명의 순환을 상기시킨다. My reading of W. B. Yeats and Shigeru Aoki is based on two major movements of art and literature: Formal and Anti-Form, or Conceptualism. At a glance these two movements, Formalism and Conceptualism, do not seem to be related. Formalism claims, to put it simply, that a work of art is self-sufficient, and it is enough to read, for example, “Lappis Lazuli” alone, without regard to how and why the poem was written. Conceptualism is a much more complex movement, Marcel Duchamp being the beginning, and it is not easy to define it. In this paper, I look at proto-Conceptual Artists, such as Yeats, Aoki, Lee Ufan. The Conceptual Art movement seems to me to originate in Marcel Duchamp. The Conceptualism is an attempt to create a new art, but in essence it is just another version of “Anti-Formalism,” a struggle to destroy old form to rebuild new form. The efforts remind me of the cycle of civilization or of the 28 phases of the changing moon as elaborated in Yeats’s A Vision.

일본 근세시대 난학자(蘭學者)가 바라본 조선 - 아오키 곤요(青木昆陽)의 『곤요만로쿠(昆陽漫録)』를 중심으로 -

김미진 한국일어일문학회 2020 日語日文學硏究 Vol.112 No.-

Japanese early modern writers wrote an essay that included the results of analyzing the things around them, the society at that time, the culture and customs about a hundred years ago through literature materials. These essays detail the products of Joseon and the two countries, as seen by writers of the time. The articles related to Joseon depicted here are important materials for understanding the statue of Joseon as seen by others. The early modern period was a period of active research in Rangaku, mainly in Nagasaki. An interest in Rangaku was linked to an interest in Western culture and cultural heritage, and a deep interest in foreign countries. It is probable that Rangakusya at the time were also interested in Joseon. Aoki Konyo, an 18th-century Rangakusya, wrote an essay entitled "Konyomanroku," which contains many articles about Joseon as well as Netherlands. The items can be categorized into (1)Joseon characters and Joseon books, (2)exchanges with Joseon people, (3)Joseon artifacts. It is probable that Konyo, who was interested in practical things, was interested in Joseon's land system and food through Joseon books. As described above, this paper analyzed the items related to Joseon in the essay "Konyomanroku" of Aoki Konyo who is a Rangakusya of the early modern period, and clarified the representation of Joseon as seen by Rangakusya.

青木洪『耕す人々の群』研究Ⅰ - 韓国語の日本語表記を中心に -

海老原豊 한양대학교 일본학국제비교연구소 2014 비교일본학 Vol.30 No.-

아오키 히로시(靑木洪)에 관한 연구, 특히 작가론적인 연구는 일본에서도 한국에서 도 몇 논문을 제외하고는 연구가 진행 안 되는 작가 중의 한명이다. 그러므로 본고에서 는 아오키 히로시라는 작가론적인 측면보다 그의 처음이자 마지막인 장편소설 <공작하 는 사람들(耕す人々の群)>(일본어)에 초점을 맞춘다. 아오키 히로시의 <공작하는 사라들>은 “읽기 힘든 소설”이라고 평할 수 있다. 그것 은 한국어를 일본어로 옮기는 속에 표기방법이 혼란되어 있고 또한 한국어와 일본어 변환이라는 측면에서도 상당히 오류를 처지르고 있기 때문이다. 그러므로 본고에서는 우선 그의 한국어의 일본어표기를 네 가지 유형으로 나눠서 그 예외나 낱말의 오류를 한국어와 일본어의 자세한 조사로 인하여 분석해 본다. 더 나아가 일본어 표현의 오류 도 살펴봄으로써 이 소설의 “난해함”을 증명하려고 한다. There are not so many studies on Aoki Hiroshi, and there are few documents about him too. This study aims of analyzing thoroughly his fulllength novel in a beginning of the last <A crowd of people plowing it>than a study on Aoki Hiroshi. In this study, particularly, I decide to push forward analysis mainly of notation how to replace Korean to Japanese. First of all, I will show four kinds of rough methods when replace Korean with Japanese. then I restore words for Korean again one by one, and I decide to point it out difficulty of the meaning transmission and the errors of the author. The follow part, I'm going to prove his notation to be confused, and In addition, by pointing out an error of the Japanese use, I intend to highlight the skilllessness as the writer of the author. In those days called 1941, the Korean Peninsula attracted attention again from inland, Japan. Therefore, <A crowd of people plowing it> becomes the good document in those days in investigating the tradition of the Korean Peninsula, a folk, manners and customs. However, The evaluation as the novel can prove that it was in immaturity.

青木洪『耕す人々の群』研究 Ⅲ - 小説的技巧を中心に -

海老原豊 한양대학교 일본학국제비교연구소 2015 비교일본학 Vol.34 No.-

아오키 히로시(靑木洪)에 관한 연구, 특히 작가론적인 연구는 일본에서도 한국에서도 몇 논문을 제외하고는 연구가 진행 안 되는 작가 중의 한 명이다. 그러므로 본고는 아오키 히로시라는 작가론적인 측면보다 그의 처음이자 마지막 장편소설<경작하는 사람들의 무리(耕す人々の群)>라는 작품론적인 연구이며 이번에는 특히 소설적 기교에 초점을 맞춘다. 먼저 개괄적인 이 소설의 기교적인 특징을 언급한 다음에 이 특징으로 인해 발생한 오류를 지적한다. 이러한 오류에도 불구하고 당시 일본인 평론가들은 이 작품을 크게 평가하였다. 그 이유는 “조선의 일반농촌 사람들의 진실한 생활”을 그려졌기 때문이다. 왜 당시 일본인 평론가들이 이 작품을 크게 평가하였을까? 이 부분에 대해서는 더 자세히 검토해볼 것이다. There are not so many studies on Aoki Hiroshi, and there are few documents about him too. This study aims of analyzing thoroughly his first and only full-length novel <A crowd of people plowing it>than a study on Aoki Hiroshi. In this study, particularly, I decide to push forward analysis mainly of Literary technique. First of all, I will show a few general characteristic of this novel, then I decide to look sequentially, the error to be caused by this characteristic, the confusion by the author, the error in the constitution, the novel which lets you amplify a mystery, the utterance that is not logical. In conclusion, Even if I took it into account how author oneself had trouble with this work writing, I cannot but say that it was an unpolished novel. However, in those days, this work was evaluated that “The real life of Korean general people” was drawn and there is “the things which let you get close to Korean land and the Korean people” . Why did such an unpolished novel get such an evaluation? It will be necessary to examine it again in this connection.

北海道北部の俳額に関する一考察

本鄕民男,權海珠 대한일어일문학회 2015 일어일문학 Vol.65 No.-

32 Pieces of Haigakus exist in the northern Hokkaido. From the view of era, there are one piece from Edo dynasty, 22 pieces from Meiji, 3 pieces from Taisyo, and 6 pieces from Syowa. Since the Hokkaido"s northern region advanced to the southern and western coast for the fishing of herrings as well as the trade with Ainu tribe, Haigakus also reflect such a history of development. Although Haigakus were dedicated on the influence of conservatives in Meiji dynasty, Haigakus were offered on the influence of three factions of conservatives, localism, and Syuseikai in Taisyo danasty. The faction of localism consists of Usijima Toroku and Aoki Kakko. Haigakus written by Syowa of Sibetsu city are among the faction of Aoki Kakko. It is characterized that Haigaku Haizins in Yoichi town. Risiri island were the fishers of herrings and Haizins in Oyahuruin of Isikari city and Sibetsu city were pioneering farmers. Only Haigaku in Edo danasty was writtrn by the fisher of herrings and the Haigaku of the celebration for provincial launching in 1918 and the Haigaku of the celebration for the town launching in 1948 are peculiar Haigakus in Hokkaido. The Haigaku wirtten by Inouedenzo, chief accountant of Chichibukonminto exists in Isikari Hachimanzinzya and it is materials of modern history.