샤르댕의 아동 교육 장르화 - 18세기 프랑스 부르주아의 계몽주의적 아동관

고유경,Ko, Yu-Kyoung 한국미술이론학회 2009 미술이론과 현장 Vol.8 No.-

This paper examines four genre paintings on the subject of child education by Jean-Baptiste-Sim${\'{e}}$on Chardin(1699-1779). The Governess, The Diligent Mother, Saying Grace, and The Morning Toilette garnered critical attention after they were exhibited in the Salon from 1739 to 1741. After the exhibition, the paintings were made into prints and frequently sold to members of the bourgeois class in Paris. The iconographical details of Chardin's genre paintings have, thus far, been compared to Dutch genre pictures of the seventeenth century. Further, most studies conducted on Chardin's paintings focus on formal analysis rather than the historical and social contexts. Through attempting social-contextual readings of Chardin's educational series, this paper argues that the significance of Chardin's painting series of child education lies in his representation of the ideal French bourgeois family and the standard of early childhood education in the eighteenth-century French Enlightenment period. In each of the four child education paintings, Chardin depicted a mother with children in a domestic space. Even though this theme derives from traditional Dutch genre paintings in the seventeenth century, the visual motifs, the pictorial atmosphere and the painting techniques of Chardin all project the social culture of eighteenth century France. Each painting in the child education series exemplifies respectively the attire of a French gentlemen, the social view on womanhood and the education of girls, newly established table manners, and the dressing up culture in a 'toilette' in eighteenth century France. Distinct from other educational scenes in previous genre paintings, Chardin accentuated the naive and innocent characteristics of a child and exemplified the mother's warmth toward that child in her tender facial expressions and gesturing. These kinds of expressions illustrate the newly structured standard of education in the French Enlightenment period. Whereas medieval people viewed children as immature and useless, people in the eighteenth century began to recognize children for their more positive features. They compared children to a blank piece of paper (tabula rasa), which signified children's innocence, and suggested that children possess neither good nor bad virtues. This positive perspective on children slowly transformed the pedagogical methods. Teaching manuals instructed governesses and mothers to respect each child's personality rather than be strict and harsh to them. Children were also allotted more playtimes, which explains the display of various toys in the backgrounds of Chardin's series of four paintings. Concurrently, the interior, where this exemplary education was executed, alludes to the virtue of the bourgeois's moderate and thrifty daily life in eighteenth century France. While other contemporary painters preferred to depict the extravagant living space of a French bourgeoisie, Chardin portrayed a rather modest and cozy home interior. In contrast to the highly decorated living space of aristocrats, he presented the realistic, humble domestic space of a bourgeois, filled with modern household objects. In addition, the mother is exceptionally clad in working clothes instead of fashionable dresses of the moment. Fit to take care of household affairs and children, the mother represents the ideal virtues of a bourgeois family. It can be concluded that the four genre paintings of child education by Chardin articulate the new standards of juvenile education in eighteenth century France as well as the highly recognized social virtues between French bourgeois families. Thus, Chardin's series of child education would have functioned as a demonstration of the ideal living standards of the bourgeois class and their emphasis on early childhood education in the French Enlightenment period.

논문(論文) : 자연에서 민족으로; 라인 신화의 탄생과 성장

고유경 ( You Kyung Ko ) 대구사학회 2012 대구사학 Vol.106 No.-

From Nature to Nation:the Myth of the Rhine Ko, You-kyung [Abstract] This paper explores the birth and the growth of the well-known national myth in 19th century Germany: the myth of the Rhine. It helps us to understand how nature has been used to build the national identity and how the invention of nation has affected the shaping of the national nature. From the early 19th century, the Rhine was found by the German Romantics as an ideal terrain in which to envision the sublime and the medieval revival. After the victory of Wars of Liberation in 1813, German nationalist intellectuals such as Ernst Moritz Arndt, author of Germany`s river, but not Germany`s Border, politicized the Romantic Rhine by re-imagining it as the fountain of German nationhood. This process was paralleled with the canalization of the Rhine, which was in itself a sign of the taming of nature of the modern nation-state. During the Rhine crisis of 1840, in which France renewed its claims to the Rhine river as their ``natural border``, German nationalists struggled against their ``hereditary enemy`` by composing patriotic Rhine-songs and by constructing national monuments such as Cologne cathedral. In this process, the Rhine was more and more identified with Germania, the goddess-like national symbol of Germany. The myth of the Rhine still remains at the heart of many people in Germany, even if it has lost its pre-war influence after 1945.

바이마르 시기의 민족주의 영화에 재현된 프리드리히 신화

高裕卿(Ko You-Kyung) 역사교육연구회 2008 역사교육 Vol.107 No.-

This paper examines the cultural representation of the national myth and its effects in modem Germany, The myth of Frederick the Second, who made Prussia as one of the leading states in Europe, is an appropriate example for the purpose. After the Napoleonic War, the Frederician myth was gradually solidified into national memory through the agency of political rituals, symbols, monuments and historical writings. Since 1895 the new media film played a key role in this process. During the Weimar Period, a series of the films about Frederick the Great, the so-called 'Fridericus rex films', helped to promote authoritarian, monarchical and militaristic values. Films like Fridericus rex(1922/23), Der alte Fritz(1927/28) and Das Flotenkonzert von Sanssouci(l930) portrayed Frederick the Great as a military genius and patriotic hero and gave lise to enthusiasm as well as protest. Under the guise of historical realism, these films provided metaphors for the contemporary crises after the First World War. With its triumphant images, the Fridericus films compensated for the humiliations of Versailles and the economic hardship. For the nationalist right, the films could suggest the possibility of the ideological campaigns and reactionary solutions. As many film critics commented, the transition from Republic to Nazism and its imperialist and racist risk would be able to realize under such circumstances.

변화하는 독일 역사 교과서

고유경(Ko Youkyung) 역사비평사 2014 역사비평 Vol.- No.108

This paper begins with the question: “Why are political-ideological controversies concerning German history textbooks difficult to ellucidate?”, and searches for answers in the following three contexts. First, the textbook publishing and authorizing policy in Germany is becoming less controlled; it is moving from an official certification system by the states to a free publishing system and thus facilitates the coexistence of varied perspectives and interpretations. The federalist tradition of Germany plays a key role in such changes. Second, with the unification of Germany, Europeanization and a multicultural society, Germany has established an open, pluralistic identity education, which is a crucial part of history education. Third, the narratives and structures of German history textbooks avoid dogmatic interpretations and help cultivate the multi-perspective views of students. Using contemporary German history textbooks as an example, one ensures that the colonial past is interpreted in a national, European and global context.

세대의 역사, 그 가능성과 과제

고유경 ( You Kyung Ko ) 한국서양사학회 2007 西洋史論 Vol.0 No.93

민주사회를 위한 역사교육의 기여

고유경(Ko, Youkyung) 역사학회 2016 역사학보 Vol.0 No.230

Since 1973, the Students’ Competition on German History for the President’s Award has been organized by the Körber Foundation. It goes back to a joint initiative by the former Federal President Gustav Heinemann and the founder Kurt A. Körber from Hamburg. They wanted to encourage German youth to trace back the democratic tradition of German history. Approximately 136,000 young people aged 8 to 21 years have participated in the 24 competitions called over the past 43 years. The Students’ Competition on German History has thus developed into the largest non-professional research undertaking in Germany. With topics like the German democracy, history of everyday life, everyday life under National Socialism, environmental crisis and the problems of the multi-cultural society etc., the Students’ Competition has repeatedly addressed socially relevant subjects opening up a public debate about history. ‘Learning by researching’ and ‘Staying close to real life’ are two slogans which characterize young people’s approach to their projects. The Körber Foundation has assisted their efforts by publishing Spurensuchen, its history magazine which is distributed nationwide to schools and other educational establishments. By doing so, the Students’ Competition has contributed not only to the renovation of the history education, but also to a democratic history culture in Germany.

고등학교 세계사 교과서에 나타난 ‘성경’과 ‘성서’의 표기 문제에 대한 고찰

고유경 ( Ko Yoo Kyoung ),허은철 ( Heo Eun Cheol ) 서울신학대학교 기독교신학연구소 2018 神學과 宣敎 Vol.54 No.-

교과서의 역할은 매우 중요하다. 학생들에게 교과서는 역사를 이해하는 중요한 매개체가 된다. 특히 고등학교 세계사는 많은 사람들이 마지막으로 학교에서 배우는 세계사이다. 만약 고등학교 세계사 교과서에서 잘못된 어휘를 사용하여 역사를 서술한다면 학생들은 오개념을 가지고 역사를 바라보게 될 것이다. 이러한 서술의 중요성은 기독교에도 마찬가지로 적용될 수 있다. 세계사 교과서의 한 축을 담당하는 기독교에 대해 잘못된 어휘를 사용하거나 통일되지 않은 어휘를 혼용한다면 학생들은 기독교에 대하여 오해를 가질 수 있고, 편향된 시각으로 기독교를 바라볼 수 있다. 따라서 세계사 교과서에서 기독교에 대한 바른 언어의 사용은 매우 중요하다. 기독교의 본질과 핵심가치는 성경(Bible)이다. 하지만 현행 세계사 교과서는 ‘성경’과 ‘성서’라는 용어를 혼용함으로써 학생들의 혼란을 초래하고 있다. 그 원인은 교수요목기와 1차 교육과정의 세계사 교과서에서 두 용어를 혼용한 것으로부터 비롯된 것으로, 지난 70년간 세계사 교과서에 계속해서 두 용어가 혼용되어 왔음을 알 수 있다. 이러한 문제에 대하여 교육부는 학생들의 이해를 돕고 어휘를 일원화시키려는 목적으로 편수용어를 계속해서 수정 · 보완하고 있다. 하지만 이러한 노력에도 불구하고 여전히 ‘성경’과 ‘성서’의 용어는 논의 대상에서 제외되어 있다. 이 글에서는 세계사 교과서에서 ‘성경’과 ‘성서’라는 용어 가운데 어떤 것을 선택해야 할지에 대해 고민하였다. 이를 위해 근대 신어 데이터 베이스를 가지고 그 용례를 분석하였다. 또한 ‘성경’과 ‘성서’라는 용어가 가진 차이점은 무엇이며, 이 두 용어가 가진 언어적 의미와 역사적 유래, 그리고 뉘앙스의 차이를 각각 확인해 보았다. 또한 교과서 편수용어의 원칙에 근거하여 어떤 단어를 선택해야 할 것인지에 대해서도 고찰해 보았다. The role of textbooks is very important. For students, textbooks are an important way for understanding history. Especially high school world history is the world history that many people learn last in school. If you write history in a high school world history textbook using the wrong vocabulary, students will look at history with misconceptions. The importance of this narrative can be equally applied to Christianity. If you use wrong vocabulary or ununified vocabulary about Christianity, which is one of the axis of world history textbooks, students can have a misunderstanding about Christianity and look at Christianity from a biased perspective. Therefore, the use of correct language in Christian history is very important in world history textbooks. The essence and core value of Christianity is the Bible. However, current world history textbooks are confusing students by using the terms 'seong-gyeong' and 'seong-seo'. The reason is that the two terms have been mixed in both the curriculum in the world history textbook of the formation stage of the contemporary education system, and the first curriculum. It can be seen that the two terms have been mixed in the world history textbook for the past 70 years. In response to these problems, the Ministry of Education have been continues to revise and supplement the principles of textbook compilation terminology for the purpose of assisting students in understanding and unifying the vocabulary. Despite these efforts, however, the terms ‘seong-gyeong’ and ‘seong-seo’ have still been excluded from the discussion. In this article, we were concerned about the choice of the terms 'seong-gyeong' and 'seong-seo' in world history textbooks. To do this, we analyze the application of modern term database. We also examined the difference between the terms ‘seong-gyeong’ and ‘seong-seo’, and the differences between the linguistic meanings, historical origins, and nuances of these two terms. We also examined what words to choose based on the principles of textbook compilation terminology.

숲의 낭만에서 숲의 민족으로 -숲과 독일 정체성-

고유경 ( Ko¸ You-kyung ) 한국서양사학회 2021 西洋史論 Vol.- No.148

이 논문은 독일과 독일인을 특징짓는 ‘숲 애호(Waldgesinnung)’의 성립과 확산 계기들을 검토한다. ‘숲에 대한 독일 특유의 내적 친화성’으로 풀이될 수 있는 숲 애호는 19세기 초 독일 낭만주의 예술에서 탄생했으며, 1813-1815년의 해방전쟁을 통해 정치적 함의를 덧입게 되었다. ‘숲 낭만주의’는 독일 민족의 역사적 기원을 탐색하려는 노력과 결합했으며, 특히 토이토부르크 숲 전투와 그 영웅 헤르만의 기억을 통해 ‘숲 민족주의’로 발전했다. 19세기 중엽 문화사가 리일에 의해 학문적으로 정립된 숲과 독일의 동일시는 독일제국 시기에 지역과 세대와 계급의 경계를 넘어 확산됨으로써 독일의 내적 통일에 기여했다. 한편 나치의 ‘피와 땅’ 이념과의 연속성 문제와 관련하여, 이 논문은 독일 숲 담론의 인종주의가 최소한 1차 세계대전 이전 시기에는 주변부에 국한된 현상이었다는 입장을 취한다. This article investigates the connections between forests and concepts of nationhood during the long nineteenth century in Germany. Discourses about the ‘German forest’ as a source of national identity have their roots from the Romantic period. During the Wars of Liberation between 1813 and 1815, these discourses were given additional political implications and were combined with ideas about the origin of German history. Intellectuals and artists frequently found motifs of the German forest in the historical works of the ancient Roman writers, particularly in Tacitus’ Germania and Annals: the Battle of the Teutoburg. Ideas surrounding the country’s forests became a historical source of the German concept and cultural tenet of Waldgesinnung, which is best translated as ‘forest-mindedness’. The concept blossomed during the Second Empire and spread beyond the traditional boundaries of social classes and generations, and served as a symbolic band which tied the nation’s splintered history and society together. As a metaphor for the nation itself, the forest became an important element of German cultural landscapes. The German concept of forest-mindedness has often been held accountable for the rise of the Nazis’ blood and soil ideology, yet the racial element played only a marginal role within the forest discourse before the First World War. (Wonkwang University / koyouk@wku.ac.kr)

업종에 따른 배너광고의 유형 선호도 연구

고유경(Yu Kyung Ko),서인숙(Ihn Sook Seo) 한국디자인문화학회 2011 한국디자인문화학회지 Vol.17 No.1

배너광고는 소비자의 클릭을 유도하여 상호작용을 이끌어 낼 수 있는 쌍방향적이고 능동적인 장점을 가진 특별한 인터넷광고이다. 이런 장점 때문에 인터넷광고에서 배너광고가 가장 많이 게재되고 있지만, 소비자들의 선호에 알맞은 광고 전략이 뒤따르지 못하고 있는 것이 현재 실태이다. 따라서 본 연구는 업종에 따른 배너광고 유형의 선호도를 조사하여 더욱더 효과적이고 적합한 업종별 배너광고의 유형을 제시하고자 한다. 본 연구에서는 국내 포털 사이트 네이버, 네이트, 다음, 야후, 조인스엠에스엔을 통하여 초기화면 메인배너와 서브배너의 유형을 기본형, 마우스 오버형, 마우스 드래그형, 연동형으로 구분하고 한국인터넷마케팅협회에 조사된 업종별 광고비에 따른 상위 업종 1위부터 5위의 가정용전기전자, 유통, 출판, 관공서 및 단체, 그룹 및 기업을 선정하여, 5가지 업종에 각각의 4가지 배너광고 유형을 영상으로 제작하여 소비자들에게 노출한 뒤 선호도를 설문 조사하였다. 선호도 분석 결과, 업종에 따른 배너광고의 유형 선호도 조사는 업종에 따라서는 관계없이 배너광고 유형의 특징에 따라 기본형과 마우스 드래그형 배너광고를 가장 많이 선호하였으며 또한 마우스 오버형 배너광고의 선호도는 가장 낮게 나타났다. 배너광고를 게재할 때 소비자에게 강제적으로 무조건 노출되는 마우스 오버형 배너광고보다는 간략하게 한눈에 들어오는 기본형과 소비자가 직접 능동적으로 필요한 업종을 선택하여 볼 수 있는 마우스 드래그형을 더 선호하며 업종의 광고주 위주의 배너광고보다는 소비자를 배려한 상호작용적인 광고유형이 더욱 효과적이다. 본 연구에서 제시된 인터넷 배너광고 유형의 선호도 조사는 국내 인터넷 배너광고를 제작하는데 작은 초석이 될 수 있기를 기대한다. The banner ad is a special internet ad having bilateral and active merit that can draw an interaction by inducing the consumer`s click. Thanks to this merit, the banner ad occupies the most in internet ad, but, actually, the ad strategy appropriate to the consumer`s preference can`t be followed. Thus, this study has a purpose of suggesting the more effective and suiTable type of banner ad per business kind by questioning about the preference of banner ad type per business kind. In this study, I divided the types of main banner and sub banner of start-up screen into basic type, mouse-over type, mouse-drag type, interlock type through domestic portal sites, naver, nate, daum, yahoo, joins MSN, and selected the home appliance, distribution, publication, public office, organization and group, enterprise in the 1st to 5th high ranks according to add cost per business kind, then, questioned about the preference to the consumers by making each 4 banner ad types into image for 5 business kinds. Result of preference analysis, in the preference study of banner ad type, the basic type and mouse-drag type banner ad were the most preferred according to the characteristics of banner ad type regardless of business kind, and the preference of mouse-over type banner ad was the lowest. When publishing the banner ad, a basic type that can be caught simply and at a glance and a mouse-drag type that consumers can actively select and see the necessary business kind are more preferred, rather than the mouse-over type banner ad that are by force and unconditionally exposed to the consumers, and the interactive ad type considering the consumers is more effective than banner ad for the sake of advertiser. expect that the survey on the preference of internet banner ad type, suggested by this study, will become a small foundation of making domestic internet banner ad.

“자연을 자연이게 하라.”: 바이에른 숲 국립공원의 역사로 본 독일 환경주의

고유경(Ko, You-kyung) 부산경남사학회 2020 역사와 경계 Vol.114 No.-

이 논문은 독일 최초의 국립공원인 바이에른 숲을 사례로 독일 환경주의의 특징을 검토한다. 1970년이라는 뒤늦은 독일의 국립공원 탄생 시점은 독일 환경주의자들의 전통적 자연관, 곧 ‘손대지 않은 자연’에 대한 낭만적 감수성과 연관되어 있다. 중부 유럽에 미국식 ‘야성’이 존재하지 않는다는 사실은 19세기 말 이래 독일 환경운동이 국립공원 설립에 반대했던 가장 큰 이유였다. 따라서 바이에른 숲 국립공원은 냉전기에 관광업을 통해 ‘철의 장막’ 인근의 낙후된 지역경제를 부흥시키려는 바이에른 주 정부와 독일 환경운동사이의 타협으로 힘겹게 탄생했다. 이후 바이에른 숲 국립공원은 “자연을 자연이게 하라”는 표어 아래 숲의 생태를 보전하려 노력하고 있으며, 이는 인간의 손길로 다듬어진 ‘문화적 경관’을 선호하는 독일인들의 성향을 점차 바꾸었다. 이러한 변화는 자연보호와 관광이라는 상충하는 목적을 결합한 ‘자연관광’의 실천과 그에 대한 주민들의 반응에서도 읽을 수 있다. 바이에른 숲국립공원의 역사에서 나타나는 자연에 대한 인식 변화, 그리고 친환경적 생활방식의 실천은 1970년대부터 시작된 “생태학의 시대”의 특징이기도 하다. In the history of Germany"s long tradition of caring for nature, the year 1970 is regarded as the turning point toward the ‘age of ecology.’ Since then, ecological lifestyle has proliferated over German society. At that time, Germany"s first national park is established in the Bavarian forest near the Iron Curtain. The implementation of the national park idea started relatively late in this country. Initially approved of in context of regional planning, the national park eventually became a space where preservation and economic development acquired near equal status. The establishment of the Bavarian Forest National Park succeeded after a century-long process of consensus building between the conservationists, proponents and opponents. The national park"s motto, ‘let nature be nature,’ shows the desire of the German environmentalists who prefer to a policy of limited interference. During its fifty year"s existence, the Bavarian Forest National Park became a place where preservation acquired almost the same status as tourism and recreation. The value of the ‘untouched nature’ is now generally conceded despite of the traditional preference of the ‘cultural landscape’ in Germany.