조형예술작품에 나타나는 예술가의 시각화된‘글쓰기’에 관한 분석

서정배 한국기초조형학회 2022 기초조형학연구 Vol.23 No.1

본 연구의 목적은 오늘날 조형예술작품에 나타나는 예술가들이 창작의도 안에서 표현을 위한 방법으로서 혹은 표현의 한 요소로서 사용하는 언어와 시각화된 ‘글쓰기(writing)’에 대한 분석이다. ‘글쓰기’의용어는 철학, 미학과 문학 등에서 특정한 의미를 드러낼 수 있는 용어지만, 본 연구에서는 조형예술가들이 작품을 통해 표현한 ‘쓰는 행위’와 ‘생각과 감정’을 표현하는 행위에 초점을 맞추어 사용되었다. 오늘날 언어를 활용한 예술은 단순하게 텍스트의 요소를 이미지와 함께 구성했던 방식에서, 시각적으로구분되는 유형(類型)인 단어, 문장 그리고 서사, 즉 내러티브를 만든 것으로 발전하였다. 예술가들이 작품을 제작하는 방식에 있어서 자신들의 ‘글쓰기’를 중요한 표현 수단으로 말한다는 점에서 조형적인 관점에서 분석된 연구의 필요성이 있다. 미국의 사이 톰블리의 회화작품 속 단어, 영국의 트레시 에민의직물작품 안의 문장을 비롯한 네온작품의 제목과 미국의 존 발데사리와 영국 출신의 대지미술가인 피터 허친슨의 서사를 구성하는 방식을 분석대상으로, 연구의 방법은 그들의 인터뷰를 토대로 창작의도와함께 조형적 효과를 분석하였다. 이 분석을 통해 예술가가 소통을 위해 언어를 활용하고 글을 쓰는 ‘행위’는 물질적인 요소와 함께 다양하게 표현될 수 있는 조형적 효과가 내재된 하나의 표현 ‘매체(media)’ 로서 설명될 수 있다. 또한, 예술가는 ‘예술가-저술가(artist-writer)’의 결합된 형태에서 문학적인 가치의 가능성에 대해 생각해 볼 수 있었으며, 이 개념에서 문학분야에서 ‘신-문학néo-littérature’인 일반적인 문학의 지표와 분류된 관점으로 보는 제안에 대해서도 언급하였다. 예술가의 시각화된 ‘글쓰기’ 는 예술적 실험이 가능한 표현 방식의 하나로 개성 있는 언어를 구사하고 있다는 점을 발견하였으며, 문학적 다양성과 함께 조형적인 해석을 담아낸 연구가 이루어져야 한다는 것을 제시하였다. The purpose of this research consists in the analysis of language and visualized ‘writing’, which is used as a method of expression or an element of expression in visual art works reflecting creative intentions of visual artists. While the term of ‘writing’ can be defined differently according to the particularity of each field such as philosophy, esthetics, or literature, the term is used in this study with specific focus on the ‘act of writing’ and the act of expressing ‘thought and emotion’ that visual artists present through their works. Today, an art referring to the language has developed from the simple way of associating the text to image, to an advanced level that the artist creates visually discernable types of word, sentence, and narrative. A study executed from the perception of visual art is necessary because the artists state that their ‘writing’ is important means of expression in their method of creation. This study took as the object of analysis the examples such as the words in painting of American Cy Twombly, the title of the neon works including the sentence of textile work of British Tracey Emin, the way of constructing narrative of American John Baldessari and British earth artist Peter Huchinson, and the method of research is to analyze their creative intention as well as visual effects, referring to the interviews of the artists. Based on this analysis, artists’ ‘act’ of using language and writing for communication can be regarded as a ‘media’ of expression containing inherent visual effects that can be expressed in various ways along with material elements. In addition, we could think of possibility of literary value created by visual artists in a combined form of ‘artist-writer’, and this paper also mentioned the suggestion to consider this as an index categorized in the field of general literature, as ‘néo-littérature’. This research clarified that the visualized ‘writing’ of visual artists has command of a unique language as one of the methods of expression, that allow artistic experiments, and presented the necessity of research encompassing the new aspect of literature as well as the visual interpretation.

질적 연구에서의 대안적 글쓰기 이론화 탐색

김영천,이동성 한국열린교육학회 2013 열린교육연구 Vol.21 No.1

이 연구의 목적은 국내 교육연구자들에게 아직까지 생소한 문학적 글쓰기와 예술적 글쓰기의 다양한 유형과 특징을 소개하고, 포스트모더니즘에 기초한 질적 글쓰기의 구체적인 특징들을 살펴봄으로써 질적연구에서의 대안적인 글쓰기에 대한 이론적 지식을 제공하는데 있다. 첫째, 시적 글쓰기, 연극적 글쓰기, 소설적 글쓰기, 자서전적 글쓰기로 대표되는 문학적 글쓰기는 연구 참여자들의 생활세계를 재현하는데 유용하였다. 둘째, 회화, 콜라주, 사진, 음악, 무용 장르를 활용한 예술적 글쓰기는 복수적인 관점의 재현과 접근을 가능케 하였다. 셋째, 포스트모던 글쓰기는 자기반영성(self-reflexivity)과 다성성(multivocality)의 특징을 나타내었다. 이 연구의 결과는 질적 글쓰기 방법의 외연을 확장함으로써 대안적인 재현방식을 개발하고 촉진하는데 기여할 것이다. 또한, 이 연구는 문학 및 예술 장르에 기초한 다양한 글쓰기 유형과 특징, 그리고 포스트모던 글쓰기의 이론적 특징을 제시함으로써 국내 질적 연구자들의 재현능력을 신장하는데 기여할 것이다. The aim of this paper is to suggest theoretical knowledge of alternative writing in qualitative research through introducing various writing styles and characteristics of literate writing, artistic writing and postmodern writing, which are unfamiliar to educational researchers in Korea. The writing styles can be explained in three categories: First, the literate writing styles such as poetic writing, dramaturgical writing, novelistic writing, and autobiographic writing were useful for representing life-world of research participants. Second, the artistic writing styles, which use picture, collage, photograph, music, and dancing genre, were suitable for representing and approach of multiple perspectives. Third, postmodern writing was characterized as self-reflexivity and multivocality. The results of this study will develop and facilitate an alternative representing style through expanding a boundary of qualitative writing methods. In addition, the results of this paper will promote representation competence of qualitative researchers through suggesting various characteristics and styles of writing based on the genre of literature and art, and theoretical characteristics of postmodern writing.

제4의 조국을 향한 예술가의 도정- 제임스 조이스의 탈식민화 양상

함정임 한국비교문학회 2008 比較文學 Vol.0 No.45

The objective of the present study is to review colonial literati’s pattern of decolonization based on Irish writer James Joyce and his novels. For this purpose, the present researcher first made geographical, national, historical and emotional approaches to how Ireland located in the edge of Europe was portrayed and how the liminality was transcended, and then illuminated writer James Joyce’s identity as an artist in the peculiar situation of colonialism and his characteristic way paved by novels. Ireland has tragic history under the rule of neighboring Britain for nearly 800 years in the past, and it has lost its national language Gaelic for around 200 years since the 18th century. In the painful historic realities, however, Ireland is ironically known as a treasure house of world literature in the 20th century. This fact is supported by Nobel Prize of Literature winners George Bernard Shaw, Oscar Wilde, William Butler Yeats, Seamus Heaney and Samuel Beckett as well as James Joyce who pioneered an unprecedented area in the 20th century’s history of novels through Ulysses. Their works were distributed as world literature because they were written in English or a third language rather than in the Goidelic language, and for this reason, they have long met readers throughout the world not as Irish literature but as English literature. They represent the irony of the complicated and subtle fate of the writers whose were born native Irish or British Irish and thus whose identities were classified into pure Irish, Irish British, and British Irish. James Joyce, who criticized Dubliners’ life and consciousness so sharply through his novels that the books were forbidden to be published in Dublin, invokes only Ireland and Irish people (may be reduced to Dublin and Dubliners) in his novels, which were his 4th Fatherland (A Portrait of the Artist as a Young Man, Dubliners and Ulysses). In case of James Joyce who left his homeland and novelized only Ireland and Irish, his novels can be regarded as the sublimation of ‘Irishism’ transcending the colonial homeland. As the language for his writing, James Joyce chose English, the language of the British Empire, rather than his native language Goidelic. Although he wrote as a colonial writer and in colonial language English, he used English as a weapon to attack English literature, and restored his homeland Ireland in literature through overcoming the boundary of English literature. At the same time, he rewrote the world history of literature. The present study examined the national and literary rites of passage that Ireland, which was the poorest country in Europe and was despised as ‘White Black,’ had to go through until it cast off the yoke of long colonial rule by the English Dynasties and then the British Empire and stood alone as an independent strong country, and illuminated James Joyce’s novels, which transcended native Irish literature and rose high in the world history of literature in the bilingual environment, a bridle on colonial literati, from the viewpoint of the pattern of decolonization. The objective of the present study is to review colonial literati’s pattern of decolonization based on Irish writer James Joyce and his novels. For this purpose, the present researcher first made geographical, national, historical and emotional approaches to how Ireland located in the edge of Europe was portrayed and how the liminality was transcended, and then illuminated writer James Joyce’s identity as an artist in the peculiar situation of colonialism and his characteristic way paved by novels. Ireland has tragic history under the rule of neighboring Britain for nearly 800 years in the past, and it has lost its national language Gaelic for around 200 years since the 18th century. In the painful historic realities, however, Ireland is ironically known as a treasure house of world literature in the 20th century. This fact is supported by Nobel Prize of Literature winners George Bernard Shaw, Oscar Wilde, William Butler Yeats, Seamus Heaney and Samuel Beckett as well as James Joyce who pioneered an unprecedented area in the 20th century’s history of novels through Ulysses. Their works were distributed as world literature because they were written in English or a third language rather than in the Goidelic language, and for this reason, they have long met readers throughout the world not as Irish literature but as English literature. They represent the irony of the complicated and subtle fate of the writers whose were born native Irish or British Irish and thus whose identities were classified into pure Irish, Irish British, and British Irish. James Joyce, who criticized Dubliners’ life and consciousness so sharply through his novels that the books were forbidden to be published in Dublin, invokes only Ireland and Irish people (may be reduced to Dublin and Dubliners) in his novels, which were his 4th Fatherland (A Portrait of the Artist as a Young Man, Dubliners and Ulysses). In case of James Joyce who left his homeland and novelized only Ireland and Irish, his novels can be regarded as the sublimation of ‘Irishism’ transcending the colonial homeland. As the language for his writing, James Joyce chose English, the language of the British Empire, rather than his native language Goidelic. Although he wrote as a colonial writer and in colonial language English, he used English as a weapon to attack English literature, and restored his homeland Ireland in literature through overcoming the boundary of English literature. At the same time, he rewrote the world history of literature. The present study examined the national and literary rites of passage that Ireland, which was the poorest country in Europe and was despised as ‘White Black,’ had to go through until it cast off the yoke of long colonial rule by the English Dynasties and then the British Empire and stood alone as an independent strong country, and illuminated James Joyce’s novels, which transcended native Irish literature and rose high in the world history of literature in the bilingual environment, a bridle on colonial literati, from the viewpoint of the pattern of decolonization.

조귀명 산문의 작가의식과 구현 양상

송혁기 근역한문학회 2019 한문학논집(漢文學論集) Vol.52 No.-

본고는 조귀명 문학론과 산문 작품의 성과로 주목되어 온 立意의 참신함과 표현의 독특함이 개별 작품에 어떻게 구현되었는지의 일단을 분석하고자 하였다. 이를 ‘작가의식’이라고 지칭한 것은, 작가로서의 강한 자의식을 지니고 모든 작품에 남다른 입의와 표현을 담고자 한 데에 조귀명 문학의 특징이 있다고 보았기 때문이다. 조귀명이 문학에 대한 강한 자부와 그에 상응하는 인정욕구를 지녔던 것은, 병든 육신으로 인해 사대부로서의 일반적인 포부를 펼칠 길이 막혀 있었다는 점에 기인한 바 크다. 자신 말고는 자신을 제대로 알아줄 이가 없는 현실을 타개할 길 역시 그는 문학에서 찾았다. 자신에 대한 연민과 자부, 아쉬움과 기대를 거북의 운명이라는 은유에 담아낸 「記夢」은 독특한 방식의 자기 응시와 서사를 보여주는 작품이다. 「倭驢說」은 발상의 전환을 한 걸음 더 밀고 나가는 방식을 통해서 고정관념을 깨뜨리고 새로운 인식의 지평을 열었으며, 「李儒子墓誌」는 깊은 슬픔을 당한 이에게 논리의 유희에 가까울 정도의 이지적인 의론을 던짐으로써 오히려 역설적으로 정서적 위로의 공간을 만들어 내었다. 「李參謀傳」의 단락 전개와 내적 조응을 분석함으로써 치밀한 구성과 의도된 변조를 통해 인물의 비범함을 인상적으로 형상화해 내었음을 살폈다. This thesis analyzes prose works of Jo Gui Myoung to find out his original and unique writing style. We can call it Jo’s “artistic acumen” because he was self-conscious as a prosateur and developed his own literary style in writing each essay. Jo was strongly proud of himself in his literacy followed by desire for social approval. It was also because of his sick body that blocked himself from social success as a shihdafu. The only breakthrough in his situation was writing. 記夢 shows an unique style of introspection where he expressed empathy, pride, expectation and regret for himself using a metaphor of a destiny of turtle. 倭驢說 adapts a strategy that reverses stereotypes and pushes his logic further to a new epistemological horizon. 李儒子墓誌 paradoxically creates a room for emotional comport by asking highly metaphysical questions to the bereaved in deep sorrow. 李參謀傳 impressively gives shape of a figure by intense organization of paragraphs and content, and intended twist of the genre. We can see Jo’s literary accomplishment in those writings combining fresh theme with extraordinary phrasing.

문인 서간과 출판 상업주의

김성수(Kim, Seong Su) 한국근대문학회 2013 한국근대문학연구 Vol.14 No.1

이 글에서는 1930년대 문인들의 사적 서간이 출판화되는 한 과정을 고찰하였다. 이광수, 장혁주, 임화, 박태원 등의 문인 서간이 어떻게 잡지와 서간집 등 인쇄매체에 정착되었는지 그 과정을 추적하여 ‘공간된 문인 서간’의 존재양상을 분석하였다. 이들 편지는 『신동아』 잡지의 기획기사로 게재되어 독자들의 주목을 끌고, 삼문사의 『조선문인서간집』으로 출판되어 인기를 얻었다. 문인 서간은 개인 간의 문안이나 사교의 통로보다는 인쇄물을 통한 문학적 매체로 활용되기도 했지만, 문학을 표방한 상업적 전략의 산물이기도 하였다. 『신동아』 서간 기획물이 단행본으로 편찬, 유통되어 인기 상품이 된 것처럼, 『조선문단』, 『조광』, 『문장』 등 1930년대 잡지에 문인 서간을 게재하는 기획과 그 기획물을 서간집으로 유통하는 것은 당시 출판 자본의 일상적 유행이었다. 유명 문인들의 필사본 편지가 ‘서간-서간문-잡지-출판사’라는 일종의 출판 상업주의 시스템으로 유통되면서 ‘인쇄된 근대 서간’이 문학 지향과 상업성을 띠게 되는 물질적 토대로 작용했던 셈이다. This paper looked into the process in which the private letters of literary artists of 1930s were published. It tracks down the processes by which the literary artist letters Lee Gwang-soo, Jang Hyeok-ju, Im hwa, Park Tae-won, etc., were integrated into printed media, and analyzed the pattern of existence of the published literary artist letters. These letters were published as a feature article in a magazine called Sindonga, attracting the attention of readers and captivated them when they were published as the Joseon Literary Artists Letter Collection. Literary artists letters were used as literary media through printed materials, rather than being used as the channel for socializing or the correspondence which were exchanged among individuals. However, those literary artists letters were also the by products of commercial strategy standing for the literature. Just as the letters featured in Sindonga were complied and distributed in a book form and mesmerized the readers, it was a widespread practice among the publication businesses to distribute the feature articles of literary artists letters in the form of letter collection in magazines such as Joseon Mundan, Jogwang, Munjang, etc., at that time. As the manuscript letter of renowned literary artists were distributed through a type of publication commercial system called ‘letter-letter writings-magazine-publisher’, the printed modern letters provided the material basis for pursing the literature and commercialism.

황순원의 자전적 소설에서 공간 의미와 작가적 글쓰기

방금단 ( Bang Geum-dan ) 한국현대문예비평학회 2022 한국문예비평연구 Vol.- No.73

이 글은 황순원의 한국전쟁 이후에 창작된 자전적 소설을 중심으로, 소설의 배경이 되는 공간이 작가의 글쓰기와 어떻게 연결되고 있는지 살펴보고자 한다. 황순원 소설은 서정성에 기반한 순수문학으로 평가되어왔지만, 그 토대가 되는 소설의 배경으로서 공간은 역사적 상황에 따라 끊임없이 변모되어 왔다. 또한 그 변모의 과정을 가장 잘 드러내주는 것이 소설의 공간에 의해 재현되는 현실의식 문제에 달려있다고 할 수 있다. 특히 작가로서 공간에 대한 자의식이 한국전쟁 이후의 자전적 소설에서 두드러지게 드러나는데, 이는 황순원의 삶과 연계된다. 황순원의 자전적 소설에서 공간의 변화양상을 세 가지 관점에서 살펴보려고 한다. 위에도 언급했듯이 황순원의 작가적 자의식이 드러나는 공간으로 첫째, 근원으로서의 공간에 대한 기억, 둘째, 정주할 수 없는 현실에 대한 불만, 셋째, 작가로서 글쓰기 사유가 가능한 공간이다. 황순원의 자전적 소설에서 공간은 텍스트의 공간이기도 하며, 작가의 체험이 다양하게 구체화된 공간이기도 하다. 따라서 황순원의 경험이 노출된 공간을 천착한다는 것은, 그 시대를 읽어낼 수 있는 ‘문화적 공간’으로서 의미를 갖는다. 공간의 묘사는 황순원이 소설가로서 그가 사는 세계를 어떠한 방식으로 사유하는지 알게 하는 단초가 된다. 공간은 작가의 정서적 상태를 의미하는 것으로 단순히 배경으로서 장소로 귀결되지 않고, 세계를 인식하는 작가의식이 작품에 형상화되기 때문이다. This study focuses on Hwang Soon-won’s autobiographical novel created after the Korean War, and attempts to examine how the space that is the background of the novel is connected with the author’s writing. Hwang Soon-won’s novel has been evaluated as pure literature based on lyricism. However, the space, as the background of the novel, which is the basis for it, has been constantly changed depending on historical situations. In addition, the best way to reveal the process of being changed depends on the problem of awareness of a reality that is reproduced by the space of the novel. In particular, self-consciousness about space, as a writer, is prominent in autobiographical novels after the Korean War, and it is linked to Hwang Soon-won’s life. In Hwang Soon-won’s autobiographical novel, this study will examine the pattern of space change from three perspectives. As mentioned above, the first is the space where the writer’s self-consciousness is revealed. The second is the space of dissatisfaction about the real world where it is impossible to be settled. The third is the space where one can think about writing as a writer. In Hwang Soon-won’s autobiographical novel, space is also a space for text and a space where the author’s experiences are embodied in various ways. Deeply studying the space exposed to Hwang Sunwon‘s experiences has meaning as a "cultural space" that can be read from that era. Therefore, the description of space becomes the starting point for Hwang Soon-won to know how he thinks about the world he lives in as a writer. Space refers to the artist’s emotional state because the artist’s consciousness of recognizing the world is embodied in the work, not simply a background.

미용사(메이크업) 국가기술자격 필기시험의 메이크업 전문용어 분석

조미자 한국피부과학연구원 2017 아시안뷰티화장품학술지 Vol.15 No.4

Purpose: The purpose of this study was to examine the makeup terminology used in national technical qualifications for makeup artist for improving the orthography of the terminology used makeup-related training institutes and industrial filed. The study analyzed loanwords used as makeup terminology and identified problems in Introduction to makeup and the makeup skills, which are major written examinations undertaken by students pursuing national technical qualifications for makeup artist. Methods: Makeup Artist loanwords that appeared in the Introduction to makeup and makeup skills written examinations were analyzed, which involved examination of different Korean orthographies of terminology with the same meaning and different spacing in Korean terminology with the same meaning. In addition terminology used in the written examinations for makeup artist and material for editing of textbooks (III) was compared and analyzed. Results: The results were as follows: 212 loanwords were extracted. Of those, 29 extracted from the written examination were relevant to the material for editing of textbooks (III). Thirty-seven loanwords had the same meaning but different Korean orthographies, and six had the same meaning but different spacing in Korean. Twenty-one loanwords had spacing errors in Korean. Conclusion: Further studies should be conducted on the makeup terminology used in written examinations of national technical qualifications for makeup artist to analyze different orthographies of terminologies with the same meaning, spacing, and loanword orthography in various ways for the systematic standardization of terminology. 목적: 본 연구는 미용사(메이크업) 국가기술자격 필기시험에서 메이크업과 관련된 전문용어를 분석하고 문제점을 파악하여 미용 관련 전문교육기관과 미용산업현장에서의 원활한 용어 표기로, 미용사(메이크업) 국가기술자격 전문용어의 개선방향을 모색하고자 한다. 방법: 미용사(메이크업) 국가기술자격 필기시험 중, 주요항목에서 메이크업 개론 중 세부항목의 메이크업의 이해, 메이크업의 기초이론, 메이크업 기기·도구 및 제품, 메이크업 시술 등에서 메이크업과 관련된 전문용어를 분석하고, 미용사(메이크업) 필기 시험 용어와 교과서 편수 자료(Ⅲ) 응용 과학 편, Ⅶ. 가사·실업에서 한글 표기가 다른 경우, 같은 의미의 용어가 한글 표기가 다르게 된 경우, 같은 의미의 용어가 한글 표기 띄어쓰기가 다르게 된 경우, 전문용어의 띄어쓰기 오류에 대해 분석하였다. 결과: 메이 크업 전문용어를 분석한 결과 212개의 용어가 추출되었으며, 미용사(메이크업) 필기시험 용어와 교과서 편수 자료(Ⅲ) 응용 과학 편에서 한글 표기가 다르게 표기된 용어는 212개 중 29개로 나타났고, 같은 의미의 용어가 한글 표기가 다르게 표기된 용어는 212개중 37개로 나타났다. 그리고 같은 의미의 용어가 한글 표기 띄어쓰기가 다르게 표기된 용어는 212개 중 6개로 나타났고, 전문용어의 띄어쓰기 오류는 21개로 나타났다. 결론: 미용사(메이크업) 국가기술자격 필기시험에 사용되는 메이크업 전문용어 등 관련해서 다양한 분석 연구로, 추후 체계화된 용어 정리의 표준화가 이루어져야 할 것이다.

알베르티와 필라레테

조은정(Cho Eun-Jung),양정무 서양미술사학회 2010 서양미술사학회논문집 Vol.33 No.-

L.B. Alberti's De re aedificatoria and Filarete's Trattato di architectura are earliest examples of the collaboration between artist and scholar in the Italian Renaissance. It is the theory of architecture as humanistic discipline beyond the extent of practieal building techniques the Renaissance developed, and these two texts show us the inaugural shape of the language of architectural theory based on the author's practieal experiences and the newly recovered ancient learning of the 15th century. Both Alberti and Filarete intended to write architectural treatises for humanist readers. Such an undertaking required new linguistie thesaurus and writing format, as the authors wrote to claim a higher position in the social stratum for reformed discipline of the architect and artist. And it is also the reason why the targeted readers of these two treatises were also the patrons, not just architects and craftsmen, as the authors wanted to persuade the educated patrons of significance and nobleness of architecture. Vitruvius's De architectura acted as a catalyst for Alberti, whose reception of this ancient text was somewhat ambivalent. He criticized Vitruivus' unintelligible Latinity and Hellenocentrie perspective, and tried to provide 'authentic' linguistic structure and architectural contents. Alberti emphasized the contribution of ancient Etruria and Rome to the development of architectural history, especially the moral quality of Roman architecture. In De re aedificatoris Alberti introduced the classieal concept of virtus as the principle of Roman architecture, conveying excellence and activism of a person in civic life and society, and applied this concept to the future model. For him, virtus of the architect means the intentions and capabilities to achieve harmony of utility and beauty of the whole city and individual buildings in order to help the members of a society effectively function for the public good. His elevated writing style and exhibition of extensive knowledge of classical antiquity was for the learned readers of high social rank, that is, the patrons and the humanist architects who conduct city-planning and building design. Although the purpose of both authors was to improve the image of architecture and architect in general, Filarete's approach differed from Alberti. Unlike Alberti who wrote in Latin only, Filarete wrote his treatise in vulgar Italian with related illustrations. His intention was to be understood by more readers, but it is also related to his craftsman origins and active career as a sculptor and architect at the Sforza court, Not familiar with ancient text in spite of his fascination with Creek architecture, Filarete represented his concept of ideal architecture more freely than Alberti. He too frequently referred to antiquity in order to meet the taste of 15th century readers as well as to decorate the practice of building construction with erudition of the liberal arts, but his application of classical text and architectural norm was somewhat arbitrary and eclectic. In addition, Filarete's heavy reliance on illustrations reveals not only the importance of 'disegno' for the building process but also the central role of his personal imagery in the subject of architectural principle. This is the reason why his treatise has been nearly neglected to the present. And yet, both treatises are the landmark in the development of architectural theory in the early Italian Renaissance that arose from the medieval tradition of building technique, the enthusiastic atmosphere for then newly rediscovered classical text, and the liberal spirit of artistic practice.

운보 김기창의 화문집 연구

윤종선 ( Yun Jong-sun ) 한국어문학국제학술포럼 2018 Journal of Korean Culture Vol.41 No.-

This study is aimed to comprehensively study for the Eastern-style painter, Unbo Kim Ki-Chang's hwamunjib, 『Hwabangyeojeok(화방여적)』(1962). Hwamunjib is a painter's collection of drawings and writings. Unbo Kim Ki-Chang first put forth the term hwamunjib, when he published his book. It is the first book of hwamunjib. Unbo lived as painter and a hearing-impaired person, as well. But he overcame his inability to hear with multifarious reading. After that, he contributed articles to newspapers and magazines. And he compiled and published hwamunjib. Unbo published not only hwamunjib but also books of essay. the both works consisted of the same type. And his book of paintings contained articles are more writings. He wrote various styles like a poetry, essay, travel writing, letter, dairy, thesis, critcal essay and so on, and include more various topics like Unbo's daily lives and life as a artist, the act of painting process, the creative process and creation background, meditation and insight, the idea of the art and so on. However books of essay contained hwamunjib articles. The characteristics of Unbo' hwamunjib is that it is painting from various resource and writing what he could not express in paintings. So hwamunjib plays important roles in understanding his world of art, and continues to tradition of a painting in the literary artist's style. Now, we need to understand both paintings and writings in Unbo's world of art works. This study provides a greater understanding of world of art works in terms of his paintings and writings. But it has never been the subject of a Unbo's hwamunjib. Consequently this study is first time to study Unbo's capabilities as painter and writer. Besides, it can be a new effort in terms of a study on an unexplored field of the convergence of literature and art.

제4의 조국을 향한 예술가의 도정 -제임스 조이스의 탈식만화 양상-

함정임 ( Jeung Im Ham ) 한국비교문학회 2008 比較文學 Vol.45 No.-