공예에 있어서 자연성과 그 해석의 문제

이인범 한국예술종합학교 2001 논문집 Vol.4 No.-

한국 공예사 연구의 미학적 문제

이인범 한국미술사교육학회 2007 美術史學 Vol.21 No.-

The aim of this article is searching for the possibilities and its limits in study of Korean craft history based on objective point of view and raising an aesthetic question. The fruits of research on Korean craft history were accumulated since Ko Yu- Seop began eighty years ago. However, the contents were centered on the objective approaches in historical evidences such as the materials and techniques. In other words obtained results in the history of materials or techniques. The world of artifacts those reputed to be ‘craft’–took its place between artwork and the industrial product during the modern period–entered upon a new phase. Because of the sudden changes were repeated in the patterns of production, mechanical modes after the Industrial Revolution and the concept of art derived in the eighteen century in Western spreaded through world wide the earnest discussion on craft and its history also had to be changed. In this sense the theory of folk craft is considerable; Yanagi Muneyosi(1889- 1961) developed the theory of folk craft as the result of theoretical consideration and practice while accepting the disputations about art and craft and the field studies made in Western. Craft, or Korean craft history is not a fixed idea but a historicity. Hence in order to place Korean craft history in the history of art - not the history of materials, or techniques–the disputation must be accompanied by the analysis and interpretation of perfunctory merits and furthermore must be accompanied by the philosophical questions about entities of craft and Korean craft history.

열충격 및 진동가진에 의한 터빈하우징의 파손현상 예측

이인범,김구성,최복록 한국기계기술학회 2014 한국기계기술학회지 Vol.16 No.4

감성과 오성 사이 – 한국미술사의 라이벌

이인범 명지대학교(서울캠퍼스) 인문과학연구소 2014 인문과학연구논총 Vol.35 No.2

바람의 흔적 외 2편

이인범 심미안 2012 문학들 Vol.- No.27

1960년대의 한국 추상미술과 국민국가 형성

이인범 미술사학연구회 2010 美術史學報 Vol.- No.35

The purpose of this essay is to give light upon the significance of Korean abstract art during the 1960's in relation to the formation of nation-state and the emergence of abstract art in Korean art scene of the time. Abstract art, which was introduced by Korean art students in Japan in the late 30's, had been widely accepted, and became the proper institutionalized form of expression during the 60's. At the same time, the period marked the public, especially in the case of collective university students as a catalyst for overthrowing the corrupt dictatorship, and its continuum led to the April 19 Movement and the 5.16 coup, bringing about a certain change in the society. Therefore, the period saw the establishment of national sovereignty and stabilization of the modern state system in various domains of policy that were being postponed due to the Korean War shortly after the independence from the Japanese colonization. It is not hard to figure out the correlation between the years of newly organizing modern state systems and the rise of abstract art within the socio-political context above. However, abstract art of the 60's in particular has been underestimated its significance among other discourses that were arisen in the same time. This may contribute to the problem of appropriating abstract art of the 60's as retardataire imitations of western formalism which lacks reflecting the local reality, or there is a tendency of interpreting such as to the extent of genealogical development for Monochrome painting movement in Korean art scene, that later flourished and having become the mainstream art movements along with the Popular Art Movement (Min- jung art) in the 80's. Although such ostensible relationship may disturb the clear understanding to elucidate converging point of the political circumstance and the emergence of abstract art, both shares two factors in common. They are: progressiveness and reformativeness. For instance, before the two major political countermovement break out in 1960 and 1961, the early modernists kept demanding the reformation of the Korean National Exhibition that symbolizes the past regime, claiming that abstract art is the genuine art form that would engage the people to confront the newly emerged society through the radical process of denial and break with the past. From this perspective, artists of the 60's were assimilating themselves with the political countermovement, and finally held a dominant position over conventionalized representational art that had been inherited since the Japanese colonization. The fact shows that large number of abstract artists were participated in the 10th Korean National Exhibition to the ~ (몇 회) Korean National Exhibition; moreover, the involvement of Korean artists in foreign art exhibitions, like São Paulo Biennial, Paris International Young Art Exposition and et catera, approves that such representative played a leading role in Korean art scene on the basis of national level. Forming a national discourse in the domain of art is linked to various public monument projects, which frequently adopts representational form of artistic device in order to shape a community of sensible data. Examples of such respect can be arranged from the statue of Admiral Yi Sun-sin, which was made in the era of the Charter of National Education (1968), to the recent case of King Sejong statue in central Seoul. On the contrary, one of the abstract works of the time reveals a much more innate relationship with the art movement and the political phenomenon. From Youngkuk Yoo's (1916-2002) geometrical abstract painting called Circle, which was executed in the same concurrent year of 1968, a sense of yet another potent of impending future to come and utopian phase can be found in accordance with the spirit of the times. As the development of nation-state has been gradually settled down from its chaotic political circumstances after the occurrence of two major political counter...

미술사와 민족국가주의

이인범 미술사학연구회 2008 美術史學報 Vol.- No.31

This essay purports to be in the relationship of art history and nationalism, especially a methodology for carrying out researches on writing Korean art history in order to submit an agenda for the theme <Art History and ‘Here Now’> of the Korean Society of Art History that commemorates the 20th anniversary. An aesthetician Arthur Danto indicates the declining of the nationalist tendency as remarked that nationalism vanished completely though it had the practical aims and the art world that has a multiplicity of centers seems to be one nation that has its own a sovereignty. As the recent art theory becomes more complex as well as the many different fields to globalize is necessary. But a major topic in Korea art history is still linked directly or indirectly with the ideological nationalism. We can easily find a superiority complex in the words such as ‘national’, ‘people’, ‘native’, ‘autogenous’, ‘self-conceit’, and ‘self-respect’ used in many writings for giving an account of Korean art history. Nationalism had an affirmative role in the antagonized discourse for making a strong stand against the colonialism. On the one hand ‘nationalism’ or ‘state’ was the basic concept of the effective modality in order to spread out a realization of modern art and art history. Obviously the realization of modern art, art history, and modern state have the same root genetically. However, ideological nationalism in a point of today's view is irrelevant for learning that must be the pursuit of universal validity. In this sense a criticism for nationalism is required in writing Korean art history. Yet we still can inquire a possibility and limit of exploring the relationship between art history and independent state in writing Korean art history. If we can extricate Korean art history from the domain of the religion of a people do then and not till then we will succeed in placing Korean art history on the universal state of art.

해상교통관제 개선을 위한 운용콘솔 기능 분석

이인범,정중식 해양환경안전학회 2014 해양환경안전학회 학술발표대회 논문집 Vol.2014 No.11

금융공학 : 유한차분법을 이용한 다중 기초자산 주가연게증권 가격결정

이인범,장우진 대한산업공학회 2010 대한산업공학회 추계학술대회논문집 Vol.2010 No.-

주가연계증권은 국내에서 발행되는 대표적인 주식 연계 구조화 증권으로 2003 년부터 발행되기 시작했으며 발행금액이 급격히 증가하고 있다. 일반적으로 가장 많이 발행되는 주가연계증권의 형태는 두 개의 기초자산을 갖는 조기상환형 이다. 여기에 조기상환 배리어가 점점 하락하는 스텝다운형, 만기일 전 상방 배리어에 도달하면 낙-아웃되는 하이파이브형, 그리고 원금보장 형태에 따라 종류가 나뉘는 등 투자자의 기호 충족을 위해 매우 다양한 형태의 주가연계증권이 발행되고 있다. 주가연계증권의 이론가격 계산을 위해서는 시뮬레이션과 편미분방정식의 유한차분법을 고려 해볼 수 있다. 시뮬레이션 방법은 계산이 간단하며 다중 기초자산을 갖는 상품의 가격 계산시 효율이 뛰어난 장점이 있다. 유한차분법은 민감도 계산에 있어서는 더 정확한 값을 구할 수 있으나 2차원 이상의 편미분방정식을 갖는 문제에서는 계산 효율이 급격이 떨어지는 문제가 발생한다. 이에 본 연구에서는 두 개의 기초자산을 갖는 주가연계증권의 가격을 유한차분법으로 계산하였다. 특히 교차미분항을 갖는 편미분방정식에 적합한 OSM 방법론을 적용하여 가격 및 민감도를 계산하였다. 또한 주가연계증권의 다양한 형태에 따른 가격 및 민감도 변화를 살펴보았다.

Nietzsche에 있어서의 自由와 反抗의 問題

이인범 朝大獨語獨問學會 1974 아들레어 Vol.1 No.