디아스포라의 시각으로 바라본재불(在佛) 여성화가 남홍의 작품 비평

김명지 명지대학교(서울캠퍼스) 인문과학연구소 2018 인문과학연구논총 Vol.39 No.1

Nam Hong is a Korean female painter living in France. Nam was born in Daegu, South Korea, in 1956 and moved to France in 1982 to study art. She has been active as a painter in the European continent for over 30 years. But studies on Nam have been less than sufficient. The purpose of this present study is to analyze the diasporan propensity in the works of Nam Hong. To this end, the researcher reviewed domestic and foreign book review, interest data, press release and exhibition work books to discuss the diasporan characteristics and Nam’s artistic activities. Based on it, her works were analyzed. Nam Hong is a Korean diasporan living in France. With the nostalgia in her mind, she painted her works based on Korean tradition and sentiment. The diasporan propensity of her works was analyzed in two different dimensions the expression of ethnic symbol and the image of hometown that served as her emotional shelter. Nam used Korean traditional goods and ceremonial practices as motifs including janggu, double-headed drum of Korea, hanji and gut, the Korean traditional exorcism ritual, and Korean traditional cultural ritual called soji which is to burn hanji, on Daeboreum, the day of first full moon of a year. To reproduce the image of her hometown, she tried to paint nature. The mountains and nature in her works are not simply material forms of mountains and nature but they are the image of hometown from her vague memory of childhood. While looking at the nature of Paris, Nam recalled the warm and beautiful nature of her hometown beyond the time and space and painted it in her works. Nam Hong expressed the historic value of her home country and its symbolistic value in her experimental works of art based on the national identity. Such works has been made throughout her life as a diasporan. They are to keep her own identity and culture with the sense of responsibility to promote Korea to the world. This study is expected to stimulate further research on Korean artists overseas. 재불 여성화가 남홍은 1956년에 대구에서 출생하였으며 1982년 프랑스로 이주하여 파리에서 미술교육을 받고 이후 30여년이 넘는 동안 유럽을 무대로 활발하게 작품 활동을 하고 있다. 남홍 작가는 프랑스에서 살아가는 디아스포라로서 고향에 대한 그리움과 향수를 간직하고 한국의 정서와 전통을 토대로 작품을 하였다. 그녀의 작품에 드러난 디아스포라적 성향을 민족적 표상 구현과 안식이 된 고향 이미지로 나눠분석하였다. 작가는 한국의 전통적인 소재인 장구, 한지, 한복과 무속신앙으로대표되는 한국의 굿 그리고 대보름에 한지를 태워 개인과 공동체의 안위를 기원하는 소지(燒紙) 등의 한국전통 문화를 모티브로 하여 작업을 하였다. 그리고고향의 이미지를 구현하기 위해 자연을 작품화하였다. 그녀가 표현한 산과 자연은 단지 물질적 형태의 공간이 아니라 유년기의 기억 속에서 존재하는 감성적인 고향의 공간이다. 남홍은 파리의 자연을 바라보면서도 모국의 따뜻하고 아름다웠던 자연을 기억하고 시간과 공간을 넘어서 자신의 고향을 작품 속에서 구현하였다. 남홍 작가는 민족적 정체성을 바탕으로 고국에 대한 민족의 역사성과상징을 실험적 예술을 통해 구현하였으며 이러한 작업 활동은 디아스포라의 삶은 살아온 과정에서 형성된 것이며 한국을 알리고자 하는 사명감과 동시에 자신의 문화와 자신의 정체성을 지키고자 하는 것이다.

시간관과 외상 후 성장 간의 관계: 대처 방식의 매개효과

김명지 한국임상심리학회 2019 한국심리학회지: 임상심리 연구와 실제 Vol.5 No.4

This study aimed to investigate the mediating role of coping strategy on the relationship between time perspective and post-traumatic growth. Data of 347 college students were analyzed by measuring their time perspective, post-traumatic growth and coping strategy. The results indicated that social support seeking coping totally mediated the relationship between past positive time perspective and post-traumatic growth. Whereas, problem focused coping partially mediated the relationship between future time perspective and post-traumatic growth. However, coping strategy did not mediate the relationship between hedonistic time perspective and post-traumatic growth. These results suggest a time perspective and coping strategy that should be given focus in interventions designed to promote post-traumatic growth. These findings likewise emphasized the need for an appropriate coping strategy according to the time perspective of the target individual. 본 연구는 대학생을 대상으로 시간관과 외상 후 성장 간의 관계에서 대처 방식의 매개효과를 검증하고자 하였다. 이를 위해 시간관과 외상 후 성장, 대처 방식을 평가한 347명의 대학생들의 응답을 분석하였다. 연구 결과, 사회적 지지추구 대처는 과거 긍정적 시간관과 외상 후 성장 간의 관계를 완전 매개하였고, 문제 중심적 대처는 미래 지향적 시간관과 외상 후 성장 간의 관계를 부분 매개하였다. 그러나 현재 쾌락적 시간관과 외상 후 성장 간의 관계에서는 대처 방식의 매개 효과가 나타나지 않았다. 이러한 결과는 외상 후 성장을 촉진시키는 개입에 있어 초점을 두어야 하는 시간관과 대처 방식을 제안하며, 개인이 지향하는 시간관에 따라 적합한 대처 방식이 필요하다는 점을 시사한다.

외젠 앗제 작품에 나타나는 부재 이미지 - 초현실주의 관점을 중심으로 -

김명지 유럽문화예술학회 2010 유럽문화예술학논집 Vol.1 No.2

The Surrealism was an art campaign which denied throughly existing value system and focused on whole disorganization. The campaign was appeared in whole culture fields against social anxieties and sense of futility during W orld War 1. Surrealists set the automatism as their methodological principle to suggest man' s subconsciousness world and to prove the unconsciousness world. As an activity campaign combining the literature and art, to explore the unconscious mind, the surrealism was created. In this historical background, Eugène Atget was a photographer taking his pictures during a century-turing period from the late 19C and activated to early 20C. Nothing can deny Atget’s work world’s influence on 20C photo circJe: Specifically speaking, his works greatly affected on the photo methods developed by photographers at that time. Additionally, from a historical viewpoint, Atget' s article photos as a perfect record formed a new photographic genealogy in modem photo circle. His photos triggered the surrealism, so fully made the communication field between the art and the photography. In the other hand, his article photos also contained some lyrical subjects, so are currently interpreted as a pioneer creating modem documentary photo field. Atget was the photographer who gave the opportunity to new territories of surrealism photos and documentary ones. His works commonly expressed the images of 'Stillness' having almost few movements, and ' Absence’ appearing somewhat to be empty. Absence scenes record by him may be real appearances to be taken by everyone. But he tried to contain some past, historical images in Paris rather than the city’s current appearances advanced from the industralization. His photographic interests are suggested some traces of previous time and space impossible to retum as like the photo' s nature and personal traces as some absence images to us. In his photos expressed Paris' past images, the collision between real world and surreal one happens. Such collisions between existence and absence, between real world and surreal world have a similar side to surrealists' work orientation. AIso we can see a common thing in surrealism’ s work way and Atget’s seemg ’discovered object' in the juxtaposition of irrelevant things or the separation a material from its practical purpose. In his photo work, Atget expressed unrealistic reality, that is the reality beyond the dailiness that the sur-reality pursued by the surrealism becomes a reality. This reason is why his photo work has been interpreted in the surrealism trend which dominated the art world for a long time since 1920s.

송편

김명지 고요아침 2016 한국동시조 Vol.- No.2

상실과 우울의 시각적 표상 -에바 헤세의 작품을 중심으로-

김명지 한국기초조형학회 2017 기초조형학연구 Vol.18 No.6

Eva Hesse was born in Germany of 1936 and died in the age of 34. She is the artist of post-minimalism mainly in the US of the 1960s. Hesse went through unhappy childhood such as parents' divorce, mother's suicide, and relation with stepmother. Due to these psychological damages, she received psychotherapy after her mother died, and also underwent the depressive pathology throughout the whole life. Melancholia occurs when a beloved object is lost and the proper condolence to the object is not performed. The libido concentrated on the beloved object should be moved to another object after it is lost. In case when it is not fully moved, Melancholia occurs. This study aims to analyze the pathological expression methods and meanings shown in works by Eva Hesse. For this, the Melancholia shown in Hesse's life and works was analyzed focusing on Freud's psychoanalysis. To Hesse, the biggest unconscious repression is the absence of mother because of her suicide. It was her psychotic cause, and her Melancholia was shown as ambivalent about psychological anxiety and narcissism. The psychological anxiety expressed the disharmonious life by combining contrasting elements of material and form. Also, regarding the coexistence of love and hatred of narcissism, the identification of herself with mother was attempted by showing woman's body symbolizing maternal instinct. Showing her negative perception of mother, the sadistic attack on herself and mother was expressed in her works. 에바 헤세(Eva Hesse)는 1936년에 독일에서 태어나 34세에 사망한 1960년대 미국을 중심으로 포스트 미니멀리즘 작업을 한 작가이다. 헤세는 부모의 이혼, 어머니의 자살, 새어머니와의 관계 등 불행한 어린 시절을 겪게 된다. 이러한 정신적 상처로 어머니가 죽은 이후 정신과 치료를 받았으며 평생 우울증적 병리를 겪었다. 우울증은 사랑하는 대상을 상실했을 때 그 대상에 대한 적절한 애도가 진행되지 못할 경우 발생한다. 사랑하는 대상에게 집중된 리비도가 사랑하는 대상을 잃은 후 다른 대상으로 전이가 이루어져야 하는데 이 전이가 제대로 이루어지지 못할 경우 우울증이 발생하게 된다. 본 연구에서는 에바 헤세 작품에 드러난 병리적 우울증의 표현 방식과 그 의미에 대해 분석하고자 한다. 이러한 연구를 위해 프로이트의 정신분석학을 중심으로 헤세의 삶과 작품에 드러난 우울증을 분석하였다. 헤세에게 가장 큰 무의식적 억압은 어머니의 자살로 인한 어머니의 부재이다. 이러한 것은 그녀에게 정신병적 원인이 되었으며 그녀의 우울증은 정신적 불안과 나르시시즘의 애증병존의 양상으로 드러났다. 정신적 불안은 재료와 형태의 대조적인 요소들이 결합하여 작품에 나타냄으로서 부조화적인 삶을 표현하였다. 또한 나르시시즘의 애증병존은 모성을 상징하는 여성의 신체를 드러내는 방법을 통해 자신과 어머니를 동일시를 시도하였으며 어머니에 대한 부정적인 인식을 작품에 드러냄으로서 자신과 어머니에 대한 사디즘적인 공격을 작품에서 표현하였다.

Microbiological contamination of fresh-cut produce in Korea

김명지,최찬익 한국식품과학회 2022 Food Science and Biotechnology Vol.31 No.1

This study evaluated the microbiological contamination of fresh-cut produce in Korea. A total of 108 fresh-cut vegetables and fruits were surveyed for the aerobic mesophilic (AM) count, aerobic psychrophilic (AP) count, total coliform, generic Escherichia coli, yeast and mold, and foodborne pathogens. AM counts ranged from 1.00 to 7.36 log CFU/g, and AP counts showed very similar results as AM counts. For total coliform and generic E. coli, 53.7% and 9.3% of the samples were detected, respectively. For foodborne pathogens, none of the samples were identified as E. coli O157:H7 or Salmonella spp. However, S. aureus and B. cereus was detected in 5.6% and 6.5% of the samples, respectively. Although the contamination level has varied widely, samples with high bacterial counts, such as julienned green onion, bell pepper, carrot, and mixed sprout, should be implemented with strict control measures.

영국의 문화예술정책 - 2008 유럽문화수도 ‘리버풀’의 사례를 중심으로

김명지 유럽문화예술학회 2011 유럽문화예술학논집 Vol.2 No.2

The 21st century an era of culture, after the industrial era. However, culture cannot be established by a significant amount of investment in a short period of time, It is made through the power of tradition, smearing with the past, the consciousness and behavior of those who continued living during the era, creative culture policies optimizing that, and the efforts of local people supporting that. In this study, the case of Liverpool, having successfully leaped as a cultural city based on Britain’s new culture and arts policies, has been studied. Britain sticks to the principle, ’the best government rules the least', ie. ‘arm' s length principle’, with respect to the culture and arts policies. Since 1930, culture and 따ts policies switched off to the problems of Center vs. Province, the policies expanding social nesting, and the direction in which cultural, democratic and social aspects were concentrated on. Like this, Britain’s culture and arts policies have been progressing and developing, being focused on diversified plans expanding the access to the alienated areas and tiers and the creative industry policies. Liverpool, attempting Britain’s new culture and arts policies, has made a great effort to create new image of city through culture for a long period of time. It newly developed the cultural heritage of the past, and strengthened the foundation for forming the image of cultural city through Liverpool Biennial; around the holding of the European Capital of Culture 2008, it performed cultural events with different theme every year, from 2005 through 2010. Liverpool city leaped in earnest as a cultural city, starting from being appointed as the European City of Culture. To strengthen the position as the best cultural city in Europe, it estab!ished the coIlaboration with local government, central government and international organizations; to establish the image of dynamic local community, it embraced the diversity of culture and induced the participation of the local residents for creating future visions of local community. To prevent it from ending up as mere exhibitory administration of the applicable organization, it focused on aggressively inducing the voluntary participation of local residents. Through the study focusing on Britain’s culture and arts policies and the culture projects of Liverpool, the concIusion can be drawn as foIlows. Liverpool has been redeveloped as the benefits for the future generation, in the economic, social and physical aspects, also many people could have the opportunities for education for developing the creativity and the technology appropriate for information economy and culture business. EspeciaIly, it mainly consisted of educational programs for the youth who would lead the future, so that they could develope their creativity; artists could participate in many programs and then they could settle sociaIly and economicaIly. The diversified cultural activities of Liverpool were carried out based on the social integration,’the core of Britain’s culture and arts policies' and creative industry, as the fundamental axis; the most important feature was that it was focused on the teIling and recaIling of their own history, and storyteIling containing the unique features of LiverpooI. Through this study, the case of Britain, developing not just culture policies which would change by the political power and scatter around in the trend of culture industry, but seamless and sustained culture policies, was examined; 1 expect more diverse and thoughtful discussions and debates to continue around culture and arts.

The Bactericidal Effect of Intense Pulsed Light (IPL) on Fresh-cut Bell Pepper and Ginger

김명지,최찬익 한국산업식품공학회 2020 산업 식품공학 Vol.24 No.3

This study evaluated the microbiological quality of fresh-cut bell pepper and ginger, as well as the inactivation effects of intense pulsed light (IPL) on E. coli ATCC 25922 inoculated in the fresh-cut samples by varying the treatment voltages (1,200-2,400 V) and time (1–7 min). The contamination levels of mesophilic bacteria, psychrophilic bacteria, yeast and mold for bell pepper and ginger were 6.64±0.81 and 6.35±1.96 log CFU/g, 6.75±1.13 and 5.63±1.89 log CFU/g, and 4.68±0.43 and 4.57±1.25 log CFU/g respectively. Through the IPL treatment at 2,400 V for 7 min, 2.04 and 2.11 log of E. coli ATCC 25922 inoculated in bell pepper and ginger were reduced, respectively, with a negligible temperature rise (< 2.2oC). Although the reduction rate varied, the bactericidal effect of E. coli ATCC 25922 showed an increase as treatment time and voltage increased. Under the same treatment conditions, temperature increased by 1.71oC and 2.13oC for bell pepper and ginger, respectively. These results demonstrate that IPL is a suitable device for inactivating E. coli ATCC 25922 on fresh-cut bell pepper and ginger.

국내외 주요 특허정보 분석 솔루션 현황

김명지,Kim, Myeong-Ji 한국특허정보원 2006 Patent 21 Vol.69 No.-

전후(戰後) 재일코리안 미술에 나타난 리얼리즘 분석

김명지 영남대학교 민족문화연구소 2017 민족문화논총 Vol.67 No.-

The paintings of Korean artists in Japan are published in 1962 under the supervision of the 'Federation of Korean Chambers of Arts and Letters' (Munjeobong), an affiliated organization of the 'Federation of Korean Residents in Japan' (Chongryon). In addition to the lack of art historical materials such as a collection of paintings and essays on Korean art in Japan, many works have been lost. As a result of the fact that the paintings of early Korean dynasties in Japan are unique, Is an excellent painting. In addition to the meaning of art history in the paintings of Korean artists in Japan, I analyzed the realistic tendencies revealed in the works in the paintings. The tendency of realism in Japan after the war pursued anti-Americanism, realism in the form of Lee Porta accusing the appearance of Japanese society. However, the realism expressed in the art of Korean postwar Japan can be divided into realistic realism and socialist realism. Realistic realism expresses the reality of life experienced as a stranger in the Zongzhou country without realizing the beautification work and realizes the socialist realism demanded by North Korea under the influence of the political ideology of North Korea. I hope that it will be a base for the study of the realism art of the postwar Korea in postwar Korea by interpreting the realism which appeared in the art of early Korean in Japan from the political and social context. 『재일조선미술가화집』은 ‘재일본조선인총연합회(조총련)’의 산하기관인 ‘재일조선문학예술가동맹(문예동) 미술부’의 주관으로 1962년에 발행된 화집이다. 현재 전후(戰後) 재일코리안 미술에 대한 미술사적 사료가 미흡한 실정이다. 뿐만 아니라 많은 작품이 분실된 실정 속에서 초기 재일코리안 미술가의 작품에 대해 알 수 있는 화집으로는 『재일조선미술가화집』이 유일하다고할 수 있기에 그 미술사적 가치가 뛰어나다. 『재일조선미술가화집』의 미술사적 의미와 더불어 화집에 수록된 작품에 드러난 리얼리즘적 성향을 분석하였다. 전후 일본에서 나타난 리얼리즘 미술의 성향은 일본 사회의 모습을 고발하는 리포르타주 형식의 리얼리즘이었다. 그러나 전후 재일코리안 미술에서 표현된 리얼리즘은 현실적 리얼리즘과 사회주의적 리얼리즘으로 구분할 수 있다. 현실적 리얼리즘은 정주국에서 이방인으로서 겪게 되는 삶의 모습을 미화적 작업을 거치지 않고 현실적으로 표현하였으며 북한의 정치적 이념의 영향으로 북한에서 요구하는 사회주의적 리얼리즘을 작품에서 구현하였음을 확인 할 수 있었다. 초창기 재일코리안 미술에 나타나는 리얼리즘을 정치적, 사회적 맥락에서 해석함으로서 그동안 소외되었던 전후 재일코리안의 리얼리즘 미술에 대한 연구에 하나의 밑바탕이 되길 기대한다.