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석남 이경성(石南 李慶成, 1919-2009)의 뮤지엄 인식과 실천
이인범(Lee, Ihn Bum) 한국근현대미술사학회 2011 한국근현대미술사학 Vol.22 No.-
The intention of this essay is to give light on Lee Kyung-Sung(1919-2009)’s museum related activities. He was born in Incheon in 1919 when the March First Independence Movement occurred. He had been grown up under the Japanese Imperialism in his youth, and since the age of 26 when he had become the director of Incheon Municipal Museum after gaining independence from Japan, he was solely in the field of museum establishment until his death in 2009. Lee particularly contributed much in establishing the National Museum of Contemporary Art Korea and its process of settlement. What motivated him to be involved in the activities for the museum in Korea where the field was so barren and alien? What was the value he was seeking for while concentrating on the task of museum establishment throughout his whole life? How do his activities in the field associate with the national development of museum system, formation of nation-state and the worldwide development of museum system after the Second World War? These questions are the starting points of this writing. His activities in the field began amid the flow of the Western invasion on the East and Japanese colonization of Korea. Being immersed in ‘the fine art’ was his way of transcending the unfortunate reality of the nation, and therefore working on the issue of museum system became his place of act. As soon as gaining liberation from the Japanese regime, he served as a director of Incheon Municipal Musuem, which is recorded as the nation’s first public museum that was both established and managed by him. After that, Lee worked as a staff in museums of Ehwa Woman’s University and a director of Hongik University respectively. And subsequent to the April 19 Revolution, he derived a conclusion for establishing the National Museum of Contemporary Art Korea ? in 1986, he directed and developed schemes for the settlement of the museum as a director, pioneering a public realm for the fine art in Korean society for the first time. As he set an objective for going beyond the ill-fated Korean historic reality during the modern period, his perception and practice regarding the museum in the field of fine art was first designed to focus on forming ‘subjectivity’ within the formation of nation-state, which was foundered during the colonial era. So the concept of ‘rationalization’, ‘modernization’ and ‘globalization’ were taken into account, paving the road for a public realm in the fine art by the establishment of National Museum of Contemporary Art. In that respect, Lee’s vision and practice for museum establishment was anchored in reality of the time, and his lifelong commitment in the activities were closely related to the task of forming a nation-state. It is doubtlessly the fact that the field he strived for was no one ever stepped into before him during the postwar years in Korea. His task of objective was that of Louvre Museum signifies the symbol of the French Revolution in one hand; and since then the museum contributed to the internalization of the revolutionary spirit, modern museum system in the West function as a project in order to form a nation-state or to overcome the difficulty it faces in other hand. Given that points, Lee’s activities in the field of museum establishment provide interesting comparisons to be explored with the cases. However, what kind of ‘modern fine art’ he actually sought for with the application of ‘rationalization’, ‘modernization’ and ‘globalization’ is still remained as an issue.
이승택의 ‘비(非)-조각’에 대하여: 기록 사진과 ‘포토-픽쳐’의 틈
이인범 ( Ihn-bum Lee ) 한국미학예술학회 2021 美學·藝術學硏究 Vol.64 No.-
1956년 인체 조각으로 데뷔한 이래 이승택은 조각뿐만 아니라, 드로잉, 회화, 대지예술, 설치, 퍼포먼스, 사진 등 다양한 장르에서 실험적인 활동을 펼쳤다. 그리고 그 실험성은 ‘비조각’ 개념으로 언급되어 왔다. 이승택의 청장년기 작업은 서구 근대 ‘조각’ 개념을 대상으로 한 예술적 실험이라는 점에서 ‘비조각’으로 다루어질 만하다. 그런데 1980년대 이후 그의 실험들은 조각 개념과 무관한 문화인류학적 오브제나 퍼포먼스 등 다양한 삶의 영역들에까지 확장되고 있다. 그런 점에서 후기 작업들까지 아울러 ‘비조각’ 개념 아래 거론할 수 있는지는 의문이다. 조각-비조각 같은 이분법적 접근으로는 재료, 기법 등 매체적 문제나 장르, 제작 연도 같은 기초적인 정보 확정도 어려운 경우가 적지 않다. 예컨대, 설치나 퍼포먼스로 취급된 작품들 중 적지 않은 것들은 재료로 그 기록 사진들을 활용하였을 뿐, 엄밀한 의미에서 기록 사진이 아니라 다만 그 위에 덧칠되거나 콜라주, 몽타주하여 재구성된 이미지들인 경우가 허다한 ‘포토-픽쳐’이다. 따라서 ‘비조각’이라는 단정 아래 논의 해온 이승택의 예술 세계를 그 발생사적 전후 관계, 작품 형식이나 기록에 대한 면밀한 검토를 바탕으로 새롭게 해석해야 할 여지가 적지 않다 Seung-Taek Lee has attracted attention in the Korean art world with experimental artworks, since he made his debut through a sculptural work in 1956. The experimental nature of his work has been referred to as a concept, ‘non-sculpture’ after he contributed his essay, “The origin of my non-sculpture” to a art magazine in 1980. However, the considerable errors are found in the relevant records of his works of art. Sometimes there are so many problematic errors in basic records of his works, especially documentary photography or the records of artwork such as the names, year of production, materials, techniques, size and etc. These errors not only make it difficult to identify the historical context between each works and his interaction with other artists, but also caused great confusion the understanding of his artworks. His performances and installations, which have been active since the 1980s, have been discussed through the photographic images. By the way many of them are not just records of objects or events but have been painted or collaged on photographies. Therefore taking it as an index that dictated actual works and characterizing them as an extension of the concept of ‘sculpture’ or its symmetrical concept ‘non-sculpture’. These Seung-Taek Lee’s photography works should be called his own ‘Photo-Picture’.
약학회담(藥學會談) : 일반의약품 설명서의 이해도와 적정 사용가능성 평가
이인향 ( Iyn Hyang Lee ),이형원 ( Hyung Won Lee ),제남경 ( Nam Kyung Je ),이숙향 ( Sukhyang Lee ) 영남대학교 약품개발연구소 2013 영남대학교 약품개발연구소 연구업적집 Vol.23 No.0
A product labelling is one of key tools in ensuring that a patient uses drugs safely and effectively in self-care without professional support. This study aimed to explore the readability and comprehensibility of the information contained on two package inserts of medicines. Two package inserts were tested with first year college students. Fifty-one potential consumers underlined words they could not understand and answered 10 scenario questions. Any differences among groups with different characteristics were statistically tested. Secondly, the readability of two package inserts was assessed with comparison to the level of the 6th grade Korean textbooks. As results, more than 80% of participants properly replied to straightforward questions concerning indication, dosage, duplication, use in pregnancy and contraindication, and 73% about formulation. Less than half answered correctly in multiple choice questions about pediatric use (41%) and side effects (35%). Little discrepancy was observed in the comprehensibility between participants` characteristics. Drug inserts contained about 20% more professional-level words than 6th grade textbooks. In conclusion, Korean consumers may face challenges to understand drug information due to professional terminology and outdated expressions in the current package inserts. To secure safe and effective use of over-the-counter agents, greater efforts should be made to develop more consumer friendly labels. In the other hand, educational supports are required to prepare consumers in a proper level of knowledge for the safe use of drugs.