이미지 기반의 독립출판 아티스트 북 제작과 유통 연구 - 《선녀와 새우튀김》을 중심으로 -

노정연 한국디자인트렌드학회 2023 한국디자인포럼 Vol.28 No.4

연구배경 최근 독립출판은 하나의 문화로 자리 잡았다. 일러스트레이터에게 독립출판은 작가의 개성과 세계관을 드러낼 수 있는 수단으로 포트폴리오의 역할을 한다. 국내에서 독립서점과 출판에 관한 연구와 사례 조사는 2010년 중반 이후 증가하였으나, 이미지 기반의 출판물 중 창작자 관점에서의 만화와 일러스트레이션 관련 독립출판물에 관한 연구는 미흡한 실정이다. 연구방법 이론적 연구에서는 아티스트 북의 개념 정립을 위해 논문과 단행본을 중심으로 문헌 조사를 하였다. 사례 연구에서는 일러스트레이션과 만화를 포함하는 이미지를 가진 독립출판물과 작가를 조사하였다. 그 후 작품제작을 위해 원작인 <선녀와 나무꾼>의 변이 유형을 살펴보았다. 이를 바탕으로 제작된 아티스트 북에서 재창조된 캐릭터, 서사구조, 완성작을 통한 독립서점 위탁 등의 유통에 따른 결과를 알아보았다. 연구결과 <선녀와 나무꾼>이 현대적으로 변용된 《선녀와 새우튀김》은 미국 독립서점과 작가의 온라인 상점에서 국외 소비자를 중심으로 즉각적 반응을 보였다. 반면 한국 독립서점에서는 반응 속도가 상대적으로 더딘 현상을 발견하였다. 이러한 결과에 따른 원인은 독립서점과 작가, 작품과 소비자의 경향과 문화적 배경 등에 영향을 받는 것으로 사료되었다. 결론 상업 출판사의 제약 없이 작가 개인이 기획부터 제작, 판매까지의 과정을 모두 거치는 과정은 일러스트레이터로써 작가정신과 주체성을 가질 수 있다. 또한, 작가의 관점과 개성을 모두 담은 출판물로 대중과 직, 간접적으로 소통할 수 있다는 것에 긍정적 효과가 있다. 한계점으로는 유통을 위한 독립서점의 입고절차 과정에서 완전히 자유로울 수 없다는 것이다. 또한, 판매 외의 수익 창출을 위해 전시, 페어, 공모전 등에 의한 2차 홍보가 필수적으로 요구된다. Background In recent years, independent publishing has established itself as a cultural phenomenon. For illustrators, independent publishing serves as a means to showcase an artist's individuality and worldview, effectively playing a role in their portfolio. While research and case studies on independent bookstores and publishing have seen an increase in South Korea since the mid-2010s, there remains a lack of comprehensive studies on independent publications related to comics and illustrations from the creator's perspective within the realm of image-based publishing. Methods In theoretical research, a literature review was conducted, primarily focusing on papers and monographs to establish the concept of artists’ books. For case studies, investigations were carried out on independent publications featuring images, including illustrations and comics, as well as artists primarily engaged in independent publishing. In the process of creating the artwork, variations of the original work "The Fairy and the Woodcutter“ were examined. Based on this, an examination was conducted to explore the outcomes resulting from the distribution of reimagined characters, narrative structures, and finalized works through independent bookstore consignments within the artist books produced on this foundation. Result The contemporary adaptation of “The Fairy and the Woodcutter,” which reinterprets traditional folklore, in “The Fairy and the Fried Shrimp,” received an immediate response, primarily from international consumers, through U.S. independent bookstores and the artist's online store. In contrast, a relatively slower response rate was observed in South Korean independent bookstores. The underlying reasons for these results are believed to be influenced by factors such as the tendencies of independent bookstores, the artist, the artwork, and the cultural background of consumers. Conclusion The process in which individual artists, free from the constraints of commercial publishing companies, handle everything from planning to production and sales allows illustrators to maintain artistic spirit and autonomy. Additionally, it has a positive effect on creating publications that encompass both the artist's perspective and personality, enabling direct and indirect communication with the public. However, limitations include not having complete freedom in the stocking process at independent bookstores for distribution. Furthermore, secondary promotion through exhibitions, fairs, and competitions is essential for generating revenue beyond sales.

재구성적 체험과 김환태의 실천비평

전정구 ( Chong Ku Chon ) 현대문학이론학회 2013 現代文學理論硏究 Vol.0 No.55

김환태의 실천비평에 속하는 글들 중에서 작가-시인의 한 사람에 집중하여 쓰인 「시인 김상용론」이나 「정지용론」, 또는 「상허의 작품과 그 예술관」에는 정확하고 이해하기 쉬운 언어로 자기주장의 근거와 논점이 분명히 밝혀져 있다. 이러한 글에서 ‘어맥과 어휘의 혼란’이나 ‘조잡한 문자의 나열’, 그리고 ‘몽롱함이나 난해한 이론’을 찾아내기 어렵다. 조화롭게 균형 잡힌 문장력이 그의 주장과 논리의 명쾌함을 보장한다. 그의 문예이론의 실천적 사례로서의 글들은 대부분 ‘상대방 문장-글과의 친화력’을 바탕으로 표현해낸 한 작가의 예술-문학에 대한 주관적 인상기(印象記)로서 ‘한폭의 정갈한 예술가-작가의 초상화’에 비유될 수 있다. 작품에 부여된 정서가 암시하는 방향에 따라 유효적절하게 종합하고 통일하는 재구성적 체험을 통해 그는 분석대상이 된 작품과 ‘독립된 예술적 초상화’를 완성하는 것을 실천비평의 목표로 삼았다. 그렇지만 그가 주장한 선진적 문학이론-형식주의 비평방법의 측면에서 볼 때 그것들은 성공적이지 못하다. 대상작품을 대하는 순간 감지되는 인상에 몰입하여 완성한 그의 예술적 초상화들, 즉 「정지용론」 「시인 김상용론」 「상허의 작품과 그 예술관」 등은 작품론이 아니라 작가론에 포인트가 놓여 있다. 이것들은 작가의 인간적-생활적 측면이 강조되는 작가론의 범주에 속하는 글들로서 작품 자체에 대한 분석에 중점을 두는 형식주의-내재적 비평방법의 실천적 사례로 취급하기는 어렵다. 작가의 생활습성에서 ‘작품에 대한 총체적인 인상-감상’을 추출해 내는 ‘예술적 초상화’ 그리기로서의 그의 실천비평들은, 작가의 생활습성이나 혹은 내면적 정신세계와 작품 사이에 유기적인 관련성을 부여하여 그것에 초점을 맞춘 비평가의 인상을 중심으로 재구성되어 있다. 이것은 김환태의 실천비평이 대부분 그것 자체가 하나의 예술적 창작품으로 읽혀질 수 있도록 기획되어 있기 때문이다. 예술작품의 미적 효과를 확인하고 천재적인 작가의 개성을 발견하여 그것에 대한 인상을 충실히 재구성한 그의 실천비평들은 자발적이고 능동적인 자기 발견의 독서 이론을 연상시킨다는 점에서 비평사적 의의를 지닌다. 그렇지만 한 작가의 예술적 초상화를 그려내기 위해 그 작품에 몰입하여 얻은 인상을 재구성한 그의 실천비평이 보편타당한 객관성을 확보한 것은 아니다. 자기 반응을 덧붙여 작품과 별개의 독자적인 예술적 초상화를 그린 「정지용론」이 그 대표적인 예이다. 주관에 철저하게 의지하여 감상의 객관성이 담보될 수 있음을 증명하고자 한 「정지용론」이 끝내 개인의 인상을 넘어 ‘보편적 가치를 구유’한 것은 아니다. 고도의 심적 훈련과 심미적 교양이 요구되는 비평 활동의 정당성은 ‘작품의 생명과 약동성’을 발견하거나 설명하기 위한 어떤 비평적-기법적 장치의 적용이 수반되어야 한다. 독자 반응비평의 ‘능동적 읽기’의 논리적 정합성이 상당 부분 ‘형식주의-구조시학의 정교한 기법’의 활용에 의거하고 있다는 사실을 간과해서는 안 된다. 사회주의 리얼리즘이나 이데올로기 위주의 창작방법과 규준을 작가들에게 강요하여 ‘작가의 창작력을 고갈시킨 카프파의 고뇌’도 ‘비평의 객관성 확보’와 무관하지 않았을 것이다. 예술작품의 위대한 독창성을 주관적 인상에만 의존하여 객관화-논리화시키는 작업은 불가능한 일이다. 김환태의 「정지용론」이 천재 예술가의 초상화로서 성공했음에도 불구하고 그의 예술의 보편적 가치를 구현하는 데 한계를 갖는 이유가 여기에 있다. 따라서 그가 주장한 문예이론과 그것의 적용 사례인 실천비평의 사례들은 서로 어긋나는 측면을 보여주고 있다. 「정지용론」을 비롯하여 「시인 김상용론」이나 「상허의 작품과 그 예술관」은 제목이 지시하는 것처럼 작품론에 초점이 맞추어진 것이 아니고 작가론의 범주에 속하는 것들이다. 다시 말하면 그것들은 형식주의적-내재적 문학론이 적용된 것이 아니라 인상주의적-낭만주의적 예술관이 반영된 일종의 주관적 인상을 중시한 역사주의 비평에 근접한 것들이다. Among the writings of Kim Hwan-tae that are classified as practical criticism, ?An Essay on Poet Kim Sang-yong?, ?An Essay on Jeong Ji-yong?, and ?The Works of Sang Heo and His View of Arts? contain basis and views for his argument on writer-poet oriented perspective in precise and comprehensible words. Thesis essays reveal some difficulty to find ‘ambiguity in context and vocabulary’, ‘frequent usage of coarse words’, and ‘obscure and incomprehensible theory’. In the essays, well-balanced and harmonized composition ability guarantees clarity of his argument and its logical justification. The most of his writings as practical examples of his literature criticism can be considered as ‘neat portraits of artist-writer’ in terms of subjectively-impressed writing on art-literature about writers, which are expressed based on ‘his affinity to their composition-writings’. The aim of his writings to completion of both his criticism on the works and his independent artistic portraits on the poets by means of restructural experiences which are synthesized and unified along the way implied by the sentiment imposed by the works of the poets. However his writings are not very successful when they are reviewed at the perspectives of the critique of the literature criticism-formalism that he argued in his writings. Due to the his devotion to instantaneous impression on the works of the poets, his artistic portraits, that is, ?An Essay on Poet Kim Sang-yong?, ? An Essay on Jeong Ji-yong?, and ?The Works of Sang Heo and His View of Arts?, are placed at the center of writer criticism, not of work criticism. The writings cannot be considered as practical examples of a formalism-Intrinsic approach critique method, which focuses on analysis of works themselves, since they are in the boundary of writer criticism, which emphasizes humanistic-life perspective of writers. His practical criticism as drawing of ‘artistic portraits’ that extract ‘general impression-sentiments on works’ in life style or behavior is re-organized at the center of impression of the critic himself focusing on the relation between life style-internal spiritual world of poets and their works by means of imposing organic and systematic correlation between them. It is because the most of this practice criticism themselves are intended interpreted as artistic works. It is one of the implications and meanings of the criticism history that his practice criticism, which recognizes the aesthetic effects of the works, discovers genius characteristics of the poets, and re-organizes substantially the impression on the works and poets, is to be associated with the reading theory of voluntary and active self-realization. However, it does not mean that his practice criticism, which re-organizes the impressions obtained from the works by devotion in order to draw an artistic portrait for a poet, gets general and proper objectivity. ?An Essay on Jeong Ji-yong? is the typical example of such a criticism that draws an artistic portrait of a poet with his self-response, which is irrelevant with or independent from the works of the poet. The essay, where the objectivity of the impression is to be guaranteed based on personal and individual view point, does not seem to be worth of generality over his individual impression on the works of the poet, at last. The criticism requiring high level of spiritual training and aesthetic education cannot be justified without application of any critical-technical method or mechanism to discover or explain ‘life and vital movement of the works’. It cannot be disregarded that the logical appropriateness of ‘active reading’ of reader-response criticism is considerably based on exploitation of ‘refined technique of formalism-structure poetics’ The ‘KAPF`s gnawing having exhausted writer`s creativity’ by enforcing writing methods and rules based on social realism and ideology seems to have not been irrelevant to ‘obtaining criticism objectivity’. It is impossible to subjectify or justify logically the great originality of artistic works only with subjective impression. Here is the reason why there is a limitation in realization of his general value for art, despite of his essay on Jeong Ji-yong being successful as a portrait of a genius artist. Therefore there mus be a contradiction between his literature theory and his practice criticism as application of the theory. Beside ?An Essay on Jeong Ji-yong?, both ?An Essay on Poet Kim Sang-yong? and ?The Works of Sang Heo and His View of Arts? are in the category of writer criticism, instead of work criticism, as the titles indicate. More specifically, his criticism are close to historicism criticism emphasizing a sort of subjective impression reflecting impressionism-romanticism, instead of formalistic literary-Intrinsic approach criticism.

미적 근대성의 해방적 가치와 새로운 타자성의 의미 - 서정주 『질마재 신화』를 중심으로

김용희 상허학회 2006 상허학보 Vol.17 No.-

이 논문은 한국 전통 서정성이 담고 있는 '미적 자율성'이라는 딜레마 속에서 심미적 서정이 오히려 해방적 전복적 가치를 구현할 수 있다는 점을 서정주 시를 통해 살펴보고자 한다. 서정주의『질마재 신화』는 한국 전통 서정이 갖는 미학적 자율성의 해방적 의미와 동양주의의 '타자성'이 갖는 새로운 의미를 드러내는 분명하고 뚜렷한 지점이 될 수 있다.『귀촉도』,『서정주시선』, 신라초』에서 보여주던 '신라주의'의 주관통합의 세계가『질마재 신화』에 와서 민간전승적 집단기억 속에서 모순과 대립의 역설적 통합을 시도한다. 이는 근대적 미의식의 방법론적 전개라 할 수 있다.『질마재 신화』에서 나타나는 미적 근대성의 해방적 가치는 세 가지 국면에서 살필 수 있다. 이야기 체의 흥과 음성주의, 그로테스크한 미학적 변칙들, 그리고 탈근대적 의미에서의 마술적 사실주의를 미학적 실체로 드러내고 있다. 이와 같은 특질들은 한국 문학사에서 시적 전통과 매우 구분되는 독특한 지점이다. 1930년대 고전에 대한 숭배와 상고취미를 환기해보자. 1930년대 정지용, 1950년대 조지훈, 등한국 전통서정은 철저하게 유가적 전통에 기반하고 있다는 것을 전제할 수 있다. 이에 반해 서정주의 전통시는 민간의 중요한 의식적 토대로서 역사적으로 기층불교와 도교적 문화에 깊숙하게 관여하고 있다. 이와 같은 이유로 인해 서정주의시는 상층 지배 이데올로기였던 유교와 달리 반권위적이고 다원적인 문화가치를 추구할 수 있었던 것이다. 이야기 체의 '흥'과 음성주의가 갖는 민주주의적 집단성, 그리고 현실에서 소외되고 결점된 것들에서 신성성을 찾아가는 작업은 근대에서의 '타자성'의 복원을 시도하는 방법론적 전개라 할 수 있다. 서정주의〈질마재 신화〉는 그런 점에서 근대적 제도성을 벗어나는 탈근대적 해방감과 동시에 미적 근대성의 전복적 의미 전개를 보여준다. 이로 인해 서정주 시는 한국전통 서정이 갖는 주객관 통합의 시학, 혹은 '동잎성 시학'이 갖는 배타적 현실인식의 한계를 벗어날 수 있었다. This paper endeavors to examine the fact that aesthetic lyricism can actually embody liberating and subversive values within the dilemma of 'aesthetic independence' within Korea's traditional lyricism through the poetry of Suh Jungjoo. Suh Jungjoo's "Jilmaje Mythology" may be a clear and definite point that reveals the liberating meaning of aesthetic independence in Korea's traditional lyrics and a new meaning of 'otherness' in Orientalism. The world of subjective integration of 'Shilla-ism' revealed in "Gwichokdo", "Suh Jungjoo's Poems", and "Shillacho" is attempting a paradoxical integration of contradiction and conflict within collective folkloric memory in "Jilmaje Mythology". This may be considered a methodological development of modern aesthetic consciousness. The liberating value of aesthetic modernity found in "Jilmaje Mythology" may be examined in three aspects. It reveals the excitement and phonetics of storytelling, grotesque aesthetic anomalies, and the true aesthetic identity of magical realism in the ex-modernistic sense. Such are the features that distinguish it from the poetic tradition of Korean literature. Let's think back to the adoration of the classics in the 1930s and hobbies of antiquity. As in the case of Jung Jiyong of the 1930s and Cho Jihoon of the 1950s, Korea's traditional lyrics are thoroughly based on Confucianist traditions. On the other hand, historically, Suh Jungjoo's traditional poetry has been deeply involved in foundational Buddhism and Taoist culture as key ceremonial bases of civilians. For such reasons, Suh Jungjoo's poetry was able to pursue diverse and anti-authoritarian cultural values unlike Confucianism, which was an dominating ideology of the upper class. The democratic collectiveness inherent in storytelling 'excitement' and phonetics, and the search for sacredness in those that are excluded and lacking in reality may be considered a methodological development attempting to restore 'otherness' in modernity. From that point of view, Sub Jungjoo's〈The Myth of Jilmaje〉shows the ex-modernistic liberation from modern institutions while a subversive development of the meaning of aesthetic modernity is shown. For this reason, Suh Jungjoo's poetry is able to move beyond the limits of exclusive reality awareness inherent in the poetry of subjective/objective integration or 'poetry of sameness' inherent in Korean traditional lyrics.

장애인 예술운동과 ‘몸’의 리터러시

허혜정 한국문예창작학회 2022 한국문예창작 Vol.21 No.3

Based on the awareness of the need to improve the "narrative of disability," which has served as a socio-cultural bias against the disabled, this paper was written to lay the foundation for practical theories about the disabled's art movement, which is vulnerable to theoretical soil in Korea. The items of this paper are largely divided into three parts. Chapter 1 explores the formation and characteristics of "disabled narratives" led by non-disabled people, and the direction of the disabled art movement to form a barrier-free culture beyond negative narratives for the disabled. In the second chapter, the current status of the disabled literacy movement was examined through the case of the "Value Bom Film Festival," which started as a film festival for the disabled in Korea and has shown excellent films for the disabled as a project-type film festival. In addition, the movie "Shining" (Radiance/102 minutes/Director Naomi Kawase), which contains important insights on the unique "sympathetic" perceptual process, expression, and self-awareness of the disabled, was analyzed. In the third chapter, an independent documentary titled "What I Didn't Know" under the theme of Kang Sung-guk, a disabled performance artist, was analyzed from the perspective of communication between the disabled and the non-disabled and perception of the disabled. 「What I Didn't Know 못했던 (107 minutes/Director Han Hye-sung) is a road documentary produced by director Han Hye-sung himself while accompanying Kang Sung-guk's Berlin performance. The commentator cross-analysis of the director's narration and Kang Sung-guk's monologue, which discover the stereotype of "disability" by paying attention to the desire and frustration for the disabled artist's expression in the text and the sense of "inconvenience" that the director feels as a non-disabled person. In particular, unlike the 'visual'-centered non-disabled perception method, the synesthetic perception method and body recognition method of the disabled were analyzed through text analysis in other chapters, along with the case of Kang Sung-guk, a disabled performance artist who put 'body' as a medium of perception and expression. In addition, it was concluded that a true understanding of disabled art and progress toward a barrier-free culture and an inclusive society are possible only when the understanding and 'inclusiveness' of the conditions of perception and expression that may be different from non-disabled people are premised. 장애인의 “문화적 시민권 담론”은 현재 비장애인과 동등한 문화소비를 할 수 있는 보편적 인권의 영역으로 인식되면서 국가의 경계를 너머 확장되어가고 있다. 때문에 이제 해외투자를 받는 한국의 콘텐츠 제작사들은 물론 창작활동에 종사하는 예술가들, 미디어기업들도 장애인들의 문화적 시민권을 고려한 거대한 방향전환이 필요한 시점이다. 본 논문은 장애인들에 대한 사회문화적 편견으로 작용해 온 “장애의 내러티브”를 개선해가야 한다는 문제의식을 바탕으로, 한국에서는 이론적 토양이 취약한 장애인예술운동에 관해 실천적 이론의 기반을 마련하자는 목적에서 쓰여졌다. 본 논문의 항목은 크게 세 부분으로 나누어진다. 첫째 장에서는 비장애인에 의해 주도되어 온 “장애인 내러티브”의 형성과정과 특징, 그리고 장애인에 대한 부정적 내러티브를 넘어 배리어 프리((barrier-free) 문화를 형성해 가기 위한 장애인 예술운동의 지향점을 탐구하였다. 둘째 장에서는 한국에서 장애인 영화제로 출발한 “가치봄 영화제”의 사례를 통해 장애인 리터러시 운동의 현황을 점검했다. 그리고 장애인의 독특한 ‘공감각적’ 지각과정과 표현, 그리고 자기인식에 대해 중요한 통찰을 담고 있는 영화「빛나는」 (Radiance/102분/가와세 나오미Naomi Kawase 감독)을 분석하였다. 셋째 장에서는 장애인 행위예술가 강성국의 ‘몸시’ 공연을 테마로 한 독립다큐멘터리 「내가 알지 못했던 것」을 장애인과 비장애인의 소통과 장애인에 대한 인식이라는 관점에서 분석했다. 「내가 알지 못했던 것」(107분/한혜성 감독)은 한혜성 감독이 강성국의 베를린 공연에 동행하며 제작한 다큐멘터리이다. 논자는 텍스트에서 장애인예술가의 표현을 위한 욕망과 좌절감, 그리고 감독이 비장애인으로서 느끼는 ‘불편함’의 감각에 주목함으로써 ‘장애’에 대한 고정관념을 스스로 발견하게 되는 감독의 나래이션과 강성국의 독백 등을 교차 분석하였다. 특히 일반적으로 ‘시각’ 중심적인 비장애인의 인식법과는 달리, 인식과 표현의 매개로 ‘몸시’를 내세운 장애인 행위예술가 강성국의 사례를 통해 감각의 손상을 입은 장애인들의 공감각적 지각법과 몸의 인식법을 분석했다. 그리고 비장애인과는 다를 수 있는 인식과 표현의 조건들에 대한 이해와 ‘포용’이 전제되어야만 배리어 프리((barrier-free) 문화와 포용사회로의 진전도 가능하다는 결론을 도출하였다.

영화제작 인력의 예술가로서의 정체성이 전문성과 업무자율성에 미치는 영향: 2014-5년도 주요 활동 영역(독립영화 Vs. 상업영화)의 조절효과 분석을 중심으로

이희진 한국영화학회 2018 영화연구 Vol.0 No.76

This study is based on the SEM model of Korean film crews’ artistic identity, job autonomy and professionalism. Key details identified in the data analysis are summarized as follows. First, the level of artistic identity and professionalism are slightly above the middle level of a scale, and the job autonomy is slightly below the positive assessment standard. In job autonomy, there are no significant differences between the two groups (feature film crews, independent film crews). However, although the artistic identity is significantly higher among independent film crews than that of feature film crews, the professionalism is higher among feature film crews. Second, the artistic identity has a positive effect on the job autonomy, and job autonomy also has a positive effect on the professionalism. However, The artistic identity and professionalism show a negative correlation. Third, among independent film workers, the artistic identity has no significant effect on their professionalism. Both direct effect are significant(artistic identity➝ job autonomy; job autonomy➝professionalism). The mediating effect of job autonomy is significant(artistic identity➝job autonomy➝professionalism). Fourth, among feature film workers, the artistic identity has no significant effect on their professionalism. Both direct effect are significant(artistic identity➝job autonomy; job autonomy➝professionalism), however, the mediating effect of job autonomy is not significant(artistic identity➝job autonomy➝professionalism) unlike that among independent film people. Fifth, although the artistic identity does not directly affect the professionalism in both groups, it shows that the perfect mediation effect of the job autonomy positively influences their professionalism. Lastly, it is proved that the direct effect of the artistic identity on job autonomy is far more influential in independent film crews than in feature film crews. The different aspect is found between the two groups and the moderating effect is proved empirically. In identifying the direct and indirect effects of the artistic identity on professionalism and work autonomy, it is confirmed that the validity of the analysis that reflects the moderating effects of major activity areas. Based on the main findings, practical implications are discussed. 본 연구는 영화산업에서 활동하는 영화제작 인력(402명)을 대상으로, 이들의 예술가로서의 정체성’, ‘업무자율성’ 그리고 ‘전문성’의 인과관계를 구조모형분석(SEM)에 기초하여 실증적으로 규명한 연구이다. 자료분석을 통해 밝혀진 주요 내용을 요약정리하면 다음과 같다. 첫째, 예술가로서의 정체성과 전문성은 척도의 중간수준(3점)을 약간 상회하였고, 업무자율성은 긍정적인 평가기준(4점)에는 다소 못미치는 수준이었다. 업무자율성에서는 두 집단(상업영화집단, 독립영화집단) 간에유의한 차이가 없었다. 그러나 예술가의 정체성은 상업영화 영역보다 독립영화 영역에서 주로 활동하는 응답자들이 유의하게 높았지만, 전문성은 이와 대조적으로독립영화 영역 보다는 상업영화 영역의 응답자들이 더 유의하게 높았다. 둘째, 전체응답자들을 대상으로 연구모형을 분석에서, 예술가의 정체성은 업무자율성에 긍적적인 영향을 주었고, 업무자율성은 전문성에 긍정적이 영향을 주었다. 하지만 예술가의 정체성과 전문성은 부적상관관계를 이루었다. 셋째, 독립영화 집단의 경우, 예술가의 정체성은 전문성에 유의한 영향을 주지 않았다. ‘예술가 정체성➝업무 자율성’ 경로와 ‘업무자율성➝전문성’ 경로’ 이 두 직접 경로는 유의하였다. 업무자율성의 매개효과는 유의하였다. 넷째, 상업영화 집단에서도 ‘예술가 정체성➝전문성’ 경로는 유의하지 않았고, ‘예술가 정체성➝업무 자율성’ 경로와 ‘업무자율성➝ 전문성’ 경로 이 두 직접 경로는 유의하였지만, ‘예술가 정체성➝업무 자율성➝ 전문성’ 경로의 업무자율성의 매개효과는 유의하지 않았다. 다섯째, 예술가의 정체성이 두 집단 모두에서 직접적으로 전문성에 유의한 영향을 미치지는 않았지만, 독립집단의 경우는 업무자율성의 매개효과가 입증되어, 업무자율성을 완전매개로하여예술가의 정체성이 이들의 전문성에 긍정적인 영향을 줄 수 있음이 밝혀졌다. 마지막으로, 예술가의 정체성이 업무 자율성에 미치는 직접효과는 상업영화집단에서보다 독립영화집단에서 훨씬 더 영향력이 유의하게 크다는 것이 입증되었다. 두 집단간의 상이한 양상이 발견되어 조절효과가 실증적으로 입증되었다. 영화제작 인력의예술가로서의 예술가의 정체성이 전문성 및 업무자율성에 미치는 직간접효과를 규명함에 있어서, 주요 활동영역의 조절효과를 함께 반영한 분석의 타당성을 확인하였다. 주요 발견점을 토대로 실천적 함의를 논의하였다.

김정일의 북한 문화예술의 지도 원리와 양상 고찰

홍용희(Yong-Hee, Hong) 어문연구학회 2008 어문연구 Vol.58 No.-

Official government culture and pursue of artistic aesthetic sense are totally different concepts because artistic imagination has a base on denial and deviation of official government culture. The art is in the system bur dream the outside of system. However, the dream at this moment means a mirror to reflect oppression and deviation of society not apart from the society. The art shows which is the shortage and oppressive factors of the society through display negative things. So we know oppression and negative things in normal life which we can not aware of them through appreciation of artistic works. Namely the art comes into bud in the injustice toward official government system. But Jungil Kim made a contradictory concept of official leadership order and artistic self regulation as one thing. the art as a propaganda agitation business, 'Youngdo art' is the one. He utilized factors of esthetic sympathy through experimental homogeneity of art works as the methodology of propaganda agitation to make Ilsung Kim as a hero and to last self-reliance era. Jungil Kim made a base to go forward in the competition with his uncle Youngju Kim where Ilsung Kim decided who to trust. Of course the cultural art he pursues links with power conflict to be appointed as a successor and focuses on functional aspect of leader shape, ruling policy of the party and propaganda cultural business of ideology. Therefore, cultural art in North Korea become diagramming of dogmatism, conventionality, rigibity expeditiously. Also the series about cultural art in 1990s was written with the purpose of internal integrity required in the situation of political systemic crisis after Eastern community countries including Soviet Union collapsed. So the art can not get out of closed ruling ideology diagramming. After mid 1990, 'A March of Hardship'(1994) and 'Good King'(1995) based on revolutionary military spirit shows literature in North Korean does not have a room to have a esthetic sense. The influence of Jungil Kin will continue to detailed factors of overall creation of cultural art. Therefore, Dance art theory, Music art theory, Art theory, Self literature theory as well as Movie art theory by Jungil Kim will exist as the theory of cultural art as long as his ruling continues based on self reliance ideology. However, we can think imaginative future. Cultural art Jungil Kim sp far proceed in the position of leader of communism revolution and construction of North Korea, but I think artistic side existing inside would be shown to the front in the future. We should think this deeply with political situation in Korean peninsula and changing situation of society system in North Korea. Their writing is the details of agent literature theory based on agent ideology of North Korea and is helpful to understand leadership principle and propensity of North Korean cultural and art of Jungil Kim in the concrete. The research especially examines the possibility to overcome diagram and stereotype as government discussion of North Korean cultural art in mind. Jungil Kim's literature insight is continually linked with government intention and on the other hand, that is to search possibility to show his liberal and artistic inclination. Second, when the cultural art of North Korea gets out of standardized stereotype as government discussion, its artistic achievement and value as unification literature could have value as asset. In the future literature as official system discussion stereotyped in North Korea will be evaporated easily supposing reunification based on a sole official system with the Ilsung Kim and Jungil Kim on the top would not be happened. Therefore the understanding of North Korean cultural art should be paid attention and evaluated its possibility of change as well as truth confirmation.

19세기 미국 여성문학에 나타난 여성예술가의 초상

박경운 한국영어영문학회 2003 영어 영문학 Vol.49 No.3

Unlike most nineteenth-century women's texts which faithfully follow and even deepen the dominant male-centered culture and ideology, there are a few texts which women writers have voices and opinions of their own. In the texts I've chosen here, there have appeared a few women artists who are independent, liberated, and resistant enough to question long-standing institutions and conventions that have controlled women's lives for a long time. I will mainly focus on women artist figures that the three most disobedient and opinionated nineteenth century women writers such as Fanny Fem (Sara Willis Parton), Charlotte Perkins Gilman, and Kate Chopin had created. In comparison with the women artist images such as spinsters, mad women, widows, social outcasts that male writers created in their literary texts, women writers created women artists in terms of showing an independent role model, becoming a subject of her life, and crossing the irrationally restricted lines. The woman writer, Ruth Hall from Fanny Fern's Ruth Hall (1855) is the first woman artist figure who reaches economic independence through her creative writing and proves herself to be a woman artist model. The nameless woman artist narrator of Gilman's "The Yellow Wallpaper" (1898) tries to resist against the male-dominated textual space to make herself as well as other artists more unique and of her own element. Edna Pontellier and many other women artists that Kate Chopin created in her texts, including The Awakening(1899), challenge all kinds of then-current barriers such as gender, hetero-sexuality, christianity, marriage institution, and motherhood. In all, images of women artists presented in the above nineteenth-century women writers' texts seem to be much more independent, strong-willed, and challenged than most images presented in the male writers' texts of that age. Although they couldn't reach the aesthetic level and quality of male writers, they needed to build their own subjective space and status in an unfavored society toward women. They needed to establish their own original and independent texts and defy the conventional barrier rather than simply mimic the aesthetics or artistic styles that the male writers had established.

응용미술의 저작물성 판단기준

차상육(Sang-Yook Cha) 세창출판사 2006 창작과 권리 Vol.- No.45

The recent amendment to the Copyright Act, which became effective 1 July 2000, provides the copyrightability of works of applied art, including design and the definition of works of applied art(§2ⅺ-ⅱ) was made, and the artistic works clause of copyright act(§4①ⅳ) was revised. Therefore, in reality, for the most part of categories of works of applied art can be protected by the current copyright law, by satisfying the 'capability of mass-production' test and the 'separability' test, without the 'independent, artistic feature or value' test. Accordingly it should not be refused to protect works of applied art since they are designed for articles, including the design of a useful article. Recently(in 2004), Supreme Court of Korea declared that the design of so-called "Hiddink Necktie" is copyrightable(currently, reiterately appealing to the Supreme Court). The Copyright Act, which was first enacted in 1957, have not protected works of applied art, with the exception of work of artistic craftmanship. In the 1986 Amendment of the Copyright Act, works of applied art was included as a kind of artistic works. In 1996, Supreme Court of Korea declared that the design of so-called "Daihan Textile('Le Desire' and 'Le Basket')" was not copyrightable by measuring the qualification for the protection of works of applied art based upon the 'independent, artistic feature or value' test. And thereafter in many cases the courts have denied the copyrightability of the industrial design on that ground. In conclusion, in spite of the adoption of the 'separability' test in our copyright system, the theory of separability of US Copyright Act is not yet sufficent and persuasive to formulate the workable standard to fit all situation. And it needs some specifical cautions against using the theory of 'conceptual separability'. In this regards, from now on it is necessary to review whether there is any other well-functioning solution to protect works of applied art, including design, for properly coping with the problems resulting from double protection with the design right.

기생의 정체성 확보와 주체적 태도

이화형(Lee, Hwa-Hyung) 우리문학회 2018 우리文學硏究 Vol.0 No.60

기생에 대한 연구가 적지 않았음에도 불구하고 기생의 정체성을 밝혀줄 총체적인 고찰이 아직 이루어지지 않았다고 본다. 즉 기생의 여성사적 위상과 존재의의를 부각시키기 위해 기생을 역사적 흐름 속의 전통여성과의 관련성, 그리고 근대 이후의 신여성, 나아가 요즘의 연예인과의 관련성을 찾는 데는 미흡했다고 할 수 있다. 따라서 이 논문에서는 여성이자 천민에 해당되지만 남성이자 양반계급과 교류했던 이중구조를 지닌, 기생들의 정체성 확보와 주체적인 태도를 분석해 보고자 했다. 이를 위해 기생 대다수가 스스로 보여준 섹슈얼리티로서의 성(사랑)과 정절, 그리고 젠더로서의 여악과 사회에 관한 것들이 고스란히 들어 있는, 기생에 관한 시가, 야담, 비평, 기사 등의 자료들을 소중히 다루고자 노력했다. 우리의 전통여성과 신여성과 마찬가지로 기생 또한 주체적인 삶에서 만만치 않았음을 확인할 수 있었다. 기생들은 전통여성과 달리 성행위의 주체가 되었고, 신여성들이 신정조론을 주장하기 전에 많은 기생들이 육체보다 정신적 순결이 중요함을 강조했다. 여악을 중심으로 교양까지 철저히 익혀 엔터테이너로서 활약했던 기생들이야말로 오늘날의 연예인보다 고품격의 예술인이었다. 신여성들이 일제강점기 독립운동에의 결기를 보이기 이전에 기생들은 임병 양란에서부터 해방시기까지 국난극복과 사회봉사를 위해 헌신하였다. A holistic approach to the identity of the kisaeng does not exist despite numerous studies on the kisaeng community. To study kisaeng purely in a historical context in order to highlight the historical status of women and the significance of kisaeng’s existence is insufficient. In this thesis, I have examined the identity formation and independent attitudes of kisaeng. The kisaengs interacted with noblemen, although they were women who belonged to the I analyzed a historical romance, articles, and the data on kisaeng as well as women musicians. I discovered that kisaengs were independent women just as. Unlike traditional women, kisaeng. Moreover, they emphasized the importance of spiritual rather than physical purity before women began to assert the new rights of virtue. The kisaengs, as women musicians and cultural persons, were high-class artists They were dedicated to the community service and involved in overcoming the national crisis until the independence of the country, before new women began the independence movement.

전람회 시대

문정희(文貞姬) 한국미술연구소 2014 美術史論壇 Vol.- No.38

The Gyeongseong Ilbo (The Keijo Nippo), a daily newspaper published by the Japanese Governors-General of Korea when Korea was under Japanese colonial rule (1910-1945), provides researchers withnews and informative articles that are now widely regarded as valuable source materials onKorean and East Asian art in the modern period. The newspaper’s reports on art exhibitions held in the early 20th century form the primary sources of information about individual artists, artist groups, and their works. The reports show thatthe diverse art eventsthat followed the Korean Art Exhibition (Joseon Misul Jeollamhoe) launched by the colonial authority in 1922 resulted in the growth of the Korean art market, which saw greater demand for art works among the public and the rising influence of artist communities. Many of these events attracted the participation of Japanese artists who enjoyed a greater chance of winning prizes than their Korean colleagues and accordingly played a more conspicuous role in spreading the influence of Japanese art upon the Korean art communities during this period. The emergence of artist communities and art exhibitions throughout Korea in the 1920s indicates to Korea’s status as the second largest market for Japanese art. The 1920s and 1930s were characterized by government-sponsored art exhibitionsin which Japanese artists living in Korea actively participated, and by the growth of the Korean art market,ushering in a more generalized era of art events. The period is also marked by the distinctive role played by The Gyeongseong Ilbo (a modern-style daily newspaper) in introducing the new art movements that had emerged in Japan to the Korean art-loving public and in creating an autonomous space that contributed to the promotion of Japanese artists who had settled outside their “inner land”. There have been numerous studies on the local color of Korean art based on colonialist viewpoints, but, according to the conclusion of this study, the local color stressed by the Japanese colonialists was more apparent among Japanese artists in Korea, and was used to strengthen their position in the country. Therefore, a closer examination of the age of exhibitions on the basis of a new paradigm in which culture was distributed in the interest and power of Japanese settlers in Korea will help form a truer picture of the Korean art world in the 1920s and 1930s.