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박일수(Park, Il-Soo),장유운(Jang, Yu-Woon),하상섭(Ha, Sang-Sub),장수환(Jang, Su-Hwan),정경원(Chung, Kyung-Won),김혜원(Kim, Hye-Won),김희선(Kim, Hee-Sun) 한국외국어대학교 중남미연구소 2016 중남미연구 Vol.35 No.2
콜롬비아 소가모스 지역에서 미세먼지 감축 시나리오를 TAPM 모델을 활용하여 도출하고 평가하였다. 시나리오 1의 제철소 및 금속 등 중공업 오염원을 대상으로 미세먼지 방지 기술을 이용하여 배출량을 80% 감축하는 방안에서는 도시 중심 평균 농도는 6.5 μg m-3로 1.5 % 감소하였고, 모델영역에서 최고 평균농도는 387 μg m-3 로 변동 없었다. 시나리오 2의 벽돌 및 석회공장 등을 대상으로 연료를 석탄에서 코크스로 교체하여 90 % 감축하는 방안에서는 도시 중심 평균 농도는 4.5 μg m-3로 31.8%, 모델영역에서 최고 평균농도는 111 μg m-3 로 71.6 % 감소하였다. 시나리오 1과 시나리오 2를 결합한 시나리오 3에서는 도시 중심에서 평균 농도는 4.3 μg m-3로 34.8 %, 모델영역에서 최고 평균농도는 110 μg m-3 로 71.7 % 감소하였다. 소가모스 지역에서 대기환경을 개선하는 로드맵 수립에는 수공업에서 주로 사용되는 석탄 연료를 청정연료인 코크스로 교체하는 방안이 최우선으로 고려되어야 하겠다. 이후 미세먼지 방지 시설을 굴뚝에 설치하는 방안도 차선책으로 고려하여 환경과 경제가 선 순환하는 녹색성장관점에서 장기적인 미세먼지 개선 마스터 플랜이 수립되어야 하겠다. Reduction scenarios for PM10 concentration in Sogamoso, Colombia were analyzed using the TAPM( The Air Pollution Model). The average concentration of PM10 in the downtown area was 6.5 μg m-3, a reduction of 1.5 %. The maximum average concentration in the model domain was 387 μg m-3 without any reduction in scenarios 1 which the PM10 emissions from heavy industries such as iron and metal was reduced by 80 % using the prevention technology. In scenario 2 which the PM10 emissions from the brick and lime industries was reduced by 90 % substituting coke (a cleaner fuel) for coal, the average concentration of PM10 in the downtown area was 4.5 μg m-3, a reduction of 31.8 % , the maximum average concentration in the model domain was 111 μg m-3 , a reduction of 71.6 %. In scenario 3 which the scenarios 1 and 2 were combined, the average concentration of PM10 in the downtown area was 4.3 μg m-3, a reduction of 34.8 % and the maximum average concentration was 110 μg m-3, a reduction of 71.7 %. To put forward a road map for the reduction of PM10 in the Sogamos region, substituting coke for coal in manual industries should have priority over reduction policies. Also, it is highly recommended that a longterm master plan for reducing PM10 concentrations should be established with a focus on environmentally-friendly development and future green growth policy with a win-win relationship between economy and environment.
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정경원(Chung, Kyung Won) 한국외국어대학교 중남미연구소 2018 중남미연구 Vol.37 No.3
푸익Manuel Puig은 1976년 스페인에서 『거미여인의 키스 (El beso de la mujer araña)』를 출판했다. 1978년 영어 번역본이 출판되자 유럽을 비롯한 외국에서 큰 호응을 얻었다. 그리고 1985년에 엑토르 바벤코 (Héctor Babenco) 감독에 의해서 〈거미여인의 키스〉가 영화로 제작됐다. 영화가 상영되자 적지 않은 비평가들은 바벤코감독이 전위적 환상성과 다큐멘터리적 현실성, 연극적 세팅과 영화적 표현을 교차시키며 브라질 사회의 갈등을 영상으로 완성해낸 걸작이라고 평가했다. 반면에 부정적인 의견을 가진 비평가들은 소설이 내재하고 있는 비판의 목소리가 영화화 되면서 적지 않게 상실되었다고 주장했다. 푸익의 소설은 영화가 구사하는 영상의 이미지를 문자로써 담아낸 동시에 문자가 빚어내는 되새김질하는 맛을 살려냈다. 바벤코 감독은 영화 〈거미여인의 키스〉에서 관객의 감성에 호소하는 시각적 예술성 이면에 소설의 문자가 빚어내는 메시지를 담으려고 정성을 기울였다. 새로운 도전으로 선보인 푸익의 ‘보는 소설’을 바벤코 감독이 ‘읽는 영화’를 만들어 냈다. 총체적인 시각언어인 영화의 주요언어는 이미지인 반면에 문학의 주요 언어는 단어이다. 이를 바탕으로 본고에서는 푸익의 소설 『거미여인의 키스』와 바벤코의 영화 〈거미여인의 키스〉를 비교함으로써 두 장르 간의 상이점과 보완점을 파악한 후 관객과 독자에게 전달해주는 두 작품의 예술적 완성도를 천착해 보기로 한다. Manuel Puig published his novel, "El Beso de la mujer araña" in Spain in 1976. When the English translation was published in 1978, it got great response from Europe and other countries. And in 1985, Kiss of the Spider Woman was filmed by director Héctor Babenco. When the film was screened, some critics evaluated the film as a masterpiece, in which Babenco crossed the avant-garde fantasy, documentary reality, theatrical settings and cinematic expressions and completed it reflecting the conflicts in Brazilian society. On the other hand, other critics with negative opinions insisted that the voices of criticism inherent in the novel were lost in the filming process. The Puig’s novel brought out the image of the film by use of the words as texts and at the same time, the taste of the rumpling that the characters made. In his movie Kiss of the Spider Woman, Babenco sincerely devoted himself to the message of the characters of the novel in the visual artistry appealing to the emotion of the audience. Director Babaenco has created a "movie to read", which is a new vision of the Puig"s ‘novel to see’. The main language of the film, which is the overall visual language, is the image, while the main language of literature is the word. In this paper, we compare the puig’s novel, Kiss of the Spider Woman with the Babenco’ s film, Kiss of the Spider Woman and identify the differences and deficiencies between the two genres.
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정경원(Chung Kyung-won) 한국근현대미술사학회 2016 한국근현대미술사학 Vol.31 No.-
The purpose of this study is to study the prints of Seundja Rhee(李聖子, 1918-2009), an abstract artist. She moved to France in 1951 and began her extensive art works in the French and Korean art circles in 1953. Researches on Seundja Rhee have been conducted mainly about her paintings. They generally emphasize that subjects of her art works were originated from her own life and created her unique style of abstract art. It is also commonly noted that the form of Western abstract art, the spirit of the East, and the sentiment of Korea are all converged in her abstract art works. These researches give too much emphasis on paintings and lack the consideration of her prints. Notwithstanding their little importance in most researches, prints actually hold the distinctive and independent standing of their own and are very significant in Rhee’s art. This study intends to understand Seundja Rhee’s art in depth by focusing on the general analysis of her prints by period. Seundja Rhee learned metal printing at the studio of Stanley William Hayter(1901-1988), a printmaker and painter. Hayter’s prints had formative and technical influence on Rhee’s woodprints. It is assumed that Hayter’s multi-color printing techniques and his expression of lines inspired Rhee’s prints in the early days. This is why it is also assumed that Hayter’s prints played a decisive role in Rhee’s establishment of her own printing style. After she began making prints, the depiction of her paintings was transformed to the style of her prints. It is deemed that the drastic change of her painting depiction was intensely affected by prints and the root of such change was Hayter’s prints. It is notable that Rhee stuck to woodprints unlike Hayter. It can be said that Rhee’s own ‘abstract woodprints’ were generated as the result of the combination of Hayter’s printmaking techniques, Rhee’s Korean sentiments and her affection for wood under the direct influence of the Western abstract art style. Rhee’s woodprints made from 1957 to 1980 are similar with paintings in terms of their themes and forms. Woodprints and paintings began to have distinctively different depictions from 1981. This study has closely analyzed Rhee’s prints by dividing them into two periods: the former period of 1957-1980 when they were interconnected with paintings and the latter period of 1981-2006 when they held their independency. The former prints expressed the original shapes and textures of wood, used geometric shapes and diagram forms of wood texture, and employed new printing techniques. Meanwhile, the latter prints used various colors that bring five traditional colors of Korea to mind and applied Korean or Oriental materials. In the latter period, Rhee’s prints established their independent style. It is notable that she collaborated with Michel Butor(1926- ), a French modern writer, during this period. The two artists worked together for about 30 years. Butor denied the conventional form of novels and accepted ‘Nouveau Roman’, which means a new novel, to demonstrate a unique writing technique. His strong belief is well represented by the hybrid of literature and visual art, as he desired to create works where fine arts and languages have equal status. To this end, he applied ‘Ekphrastic Poetry’, poems that describe visual art, and ‘Visual Poetry’, which is about visual art. He eventually created ‘Texte Poétique’, a poetic text which merge visual art and literature in harmony. This study has analyzed the first mutual work of the two artists and studied its meaning. It is deemed that Butor presented his idea of poem and literature via the collaboration. The cooperative work between a Western artist and an Eastern artist and the combination of prints and literature, which are different genres, seem to have completed the harmony of yin and yang which was the ultimate goal of Rhee. Rhee experimented with the possibilities of abstract woodprints for her lifetime and realized he
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