분야별 포스터 발표 : 의생활 분야 ; 이의현의 〈경자연행잡식〉에 수록된 복식연구

전혜숙 한국가정과학회 2004 생활문화와 LOHAS (2004년도 학술대회) Vol.- No.-

경제활동 성인학습자의 평생학습참여 요인 분석

전혜숙 한국성인교육학회 2009 Andragogy Today : International Journal of Adult & Vol.12 No.1

The purpose of the study is to investigate the actual conditions and affecting factors of the working adult learners' participation in adult education. Data from the ALL(Adult Literacy and Life-Skills) survey(2004) of Korea Research Institute for Vocational Education & Training were re-analysed. Data of 338 persons whom were economically active and have had experienced adult education were derived from 5,506 origin data and used for the study. According to the gender analysis, the situation of working adult learners were different by sex. Women were in poor condition than men regarding to wage, status and educational length. Both of women and men showed motives for career development rather than individual development. 38.5% of the working adult learners participated in formal learning and 13.4% of them participated in non-formal learning and 80% of them participated in informal learning in 12 months. 88.3% of formal learning participants said that the reason for participating was career development. Also, 80.4% of non-formal learning participants showed a similar response. The even factors that were related to participation were age and final educational degree. Usage of fundamental competency as paper work and number work had positive relation to educational participation. And usage of ITC skill and problem solving ability had negative relation to it. It shows that someone who are good at ITC skill participate in adult education less and someone who are poor in problem solving participate in adult education more. 본 연구의 목적은 경제활동 성인남녀의 평생학습 참여 실태 및 학습 참여에 영향을 미치는 요인들을 분석하는 것이다. 경제활동 참가 성인학습자의 사회경제적 배경, 평생학습 유형별 참가 요인 및 관련 요인들 간의 영향력, 그리고 기초능력의 사회적 활용이 평생학습 참여에 미치는 영향을 분석하기 위하여 2004년도 한국직업능력개발원에서 실시한 직업기초능력조사(ALL)의 자료를 활용하였다. 전체 5,506명의 자료 중 평생교육경험이 있으며 경제활동상태인 성인학습자 338명을 추출하여 분석대상으로 삼았다. 경제활동참가 성인학습자의 사회적 배경을 성별로 비교 분석한 결과 여성은 남성에 비해 고용지위 교육연수, 연소득이 낮았으나 학습참여 비율은 여성이 남성보다 높았다. 평생교육 참여 동기는 남성이 여성에 비해 직무관련 참여 동기가 높게 나타났다. 경제활동참가 성인의 최근 12개월 내의 평생학습 참여율을 분석한 결과 정규교육을 포함한 형식학습 참여는 38.5%로 매우 높았으며 준형식학습 참여율은 13.4%로 낮게 나타났다. 경제활동참가 성인학습자의 평생학습참여는 80% 이상이 직무/경력개발관련 교육을 목적으로 하고 있다. 경제활동참가 성인학습자의 참여에 일관되게 영향을 미치는 요인은 연령과 최종학력이었으며 그 외에는 희망하는 교육 종류 수, 사회단체 가입 수, 자원봉사참여수가 유의미한 관계가 있었다. 기초능력의 활용여부는 문서 활용도, 수 활용도에 따라 평생학습참여에 정적인 관계가 있었으며 업무에서의 정보통신기기 활용도는 평생학습참여와 부적인 관계가 있었다.

조선후기 활옷에 관한 연구

전혜숙,김숙경 동아대학교 생활과학연구소 2000 생활과학연구 논문집 Vol.8 No.-

This paper is a study on the Hwal-Ot(활옷) in the latter period of Chosun Dynasty. Wedding is the most important one in people's life. So wearer in traditional wedding ceremony has a very important symbolic meaning. Hwal-Ot(활옷) was a transformation of chinese's one, what we is called Back-Hwa-Po(百花袍), Hual-Yi(豁衣), Hal-Yi(割衣), Hong-Jang-Sam(紅長衫) resulted from the abundant flower printing. Looking Into the Hwal-Ot(활옷), We can reached to the following conclusion. The printing of Hwal-Ot(활옷) point out the family's law which sustain the society, and also reflected the viewpoint and Ideology of the late Chosun's religion. In the early establishment of Chosun Dynasty, Confucianism was considered as a national religions, through in the middle of Chosun Dynasty, society was gradually in confusion. Confucianism stressed decorums and behaviorism can not give answer society requirements. So in the people's real life, the popular religion formed of the combination of Shamanism, Taoism and Buddhism was deeply rooted. Pattern appeared in Hwal-Ot(활옷) have plant, animal, ten longevity creature and the figures of good auspices, etc. It derived from shamanistic, buddhistic and taoistic viewpoint, and also it reflect the desire of splendor, fecundity and longevity. It have the character of invoking a blessing in the world and incantation. From the Hwal-Ot(활옷) pattern we can catch the late Chosen Dynasty people's religion viewpoint.

비디오 아트에 나타난 변형된 시간성의 의미: 더글라스 고든과 빌 비올라의 작품을 중심으로

전혜숙 서양미술사학회 2008 서양미술사학회논문집 Vol.29 No.-

This essay treats with video art works that transform and manipulate the time or temporality with various ways especially digital technologies. The works which are treated in this essay are Douglas Gordon's <24 Hour-Psycho>(1993), Bill Viola's Passion series, Christian Kessler's <Transverser>(2000), Martin Reinhart and Virgil Wiedrich's <TX-Transform>(2000). Recently many attention has been given to role of video image as privileged mediator of the transition from the cinema to digital. That is the singularity of video images as a kind of mediator between extensive and intensive (or human and machine) time. Originally video is inherent time, many video artists use this factor for re-operating human perception and for generating psychological effects. For example, Scottish artist Douglas Gordon's appropriation pieces involving digital manipulation of found film footage engage the temporal dimension of cinema through a practice that is specific to video not only as a technical image medium but as the privileged mode through which images, as the material basis of contemporary perception, are actually lived or experienced. By reproducing Alfred Hitchcock's film <Psycho>(1960) in extreme slow motion, Gordon's <24 Hour-Psycho> makes the viewer disrupt the original narrative of the film to such a degree that memory and perception clash over the reconstruction of the film. The viewer fails to recreate the original story and has a kind of temporal stake - the loss of time, the need for time which is critical to depressed subjectivity. Bill Viola uses a technical capacity intrinsic to cinema, the capacity to shoot at high-speed, extended and transformed by video, in order to contaminate the perceptual present with a non-lived that is not, as in photography or the cinema of time-image, the recurrence of a tertiary past, but rather the material infrastructure of 'the enlarged now itself'. It is Viola's insight into the autonomy of emotion from time and thus from any temporal fixation of it in any particular medium that makes his work the exemplar of the medial revolution. Viola's aesthetic deprivileges the technical frame in favor of the framing activity of a body affectively open to the nonlivable, nonactual, and imperceptible. This digital aesthetics makes us see that digital image in fact is affection-image. 본 연구는 비디오 아트를 통해 구현되는 시간 및 그 의미들이 여러가지 방식에 의해 조작되고 변형되는 것을 살펴본다. 특히 슬로모션으로 시간을 연장시킨 작품들을 통해 비디오 아트의 근본 속성으로서의 내재적 시간성이 어떻게 변화를 겪게 되는가를 추적하고, 그것이 인간 주체의 신체 및 지각, 심리적인 변화에 대해 갖게 되는 관계를 다룬다.

인간의 미래와 미술: 포스트휴먼 시대 미술의 현황

전혜숙 한국국제미술교육학회 2019 미술과 교육 Vol.20 No.1

The purpose of this essay is to reveal what the post-human and post-humanism are, and how the key-words of this age, technology, life, and ecology are expressed in contemporary art, and what significance it has. There are four perspectives of the 21st century's remarkable changes: the change of human (body) by technology, the debate about genetic engineering technology and its influence, new concepts of life and de-humanism, and ecological crisis. Focusing on the recent art works reflecting these interests, I want to examine how contemporary artists are responding to the changes that are happening now, and what significance their works have in the so-called post-humanist sense. I can summarize the post-humanistic meanings found in these works. One is that these works are generally away from anthropocentrism and embrace hybridity, heterogeneity, and pluralism by rejecting all dichotomies based on Descartes' Cogito. The other is that the escape from the dichotomy inherent in these works leads not only to the active acceptance and consideration of the other, but also to the value of all life, not just man. 본 글은 포스트휴먼과 포스트휴머니즘이란 무엇이며, 이 시대의 키워드인 기술, 생명, 생태 등이 현시대의 미술들에 어떻게 표현되고 있는지 그리고 어떠한 의의를 지니는가를 밝히는 데 목적이 있다. 이에 21세기의 두드러진 변화를 나타내는 네 가지 관점, 즉 기술에 의한 인간(신체)의 변화, 유전공학기술과 그 영향력에 대한 논쟁, 새로운 생명개념들과 탈(脫) 인간중심주의, 생태위기에 대한 관심 등이 반영된 최근의 미술 작업을 중심으로, 현재 일어나고 있는 변화에 대한 미술가들의 반응과 작품들의 의미를 고찰한다. 이러한 의미는 두 가지로 요약된다. 하나는 이러한 작품들이 인간중심주의를 벗어나 인간/자연, 인간/기술 등 데카르트의 코기토(Cogito)에 기반을 둔 모든 이분법을 거부함으로써 경계를 탈피하고 혼성성, 이질성, 복수성을 수용한다는 점이고, 다른 하나는 이러한 작품들에 내재한 이분법의 탈피가 타자에 대한 적극적인 수용과 배려로 이어질 뿐 아니라 인간만이 아닌 모든 생명에 대한 가치부여로 표현된다는 점이다.

뉴미디어 아트에서의 신체성: 촉각성을 중심으로

전혜숙 미술사학연구회 2009 美術史學報 Vol.- No.33

The new perspectives towards bodies since 1960s based on the trio of Phenomenology, Psychoanalysis, Cognitive Science, generally show the deconstruction of Cartesian mind/body dichotomy and new concept of inter-subjectivity. The body-artists in 1960s-70s used their bodies as raw materials, the sites of the inscription of cultural meaning. But the new media artists in 1990s approached to a concept of 'extended body' or 'bodies in code' which are submitted to and constituted by an unavoidable and empowering technical deterritorialization - bodies whose embodiments are realized , and can only be realized, in conjunction with technics. In this essay, I studied first, (Re)Mediated bodies through Sterlac's 'Cyborg Performance' and Paul Sermon's 'Virtual Body'. Sterlac has developed his own way that can make his body combine with technology(machine) and function in electronic world efficiently. Paul Sermon's work tells us that digital communication by virtual bodies is not disembodied, rather opens to experiences of embodied senses and tactilities. The encounter of body and technology has expressed and explored from the beginning of new media art. New media arts which have used digital technology with the context of human senses, have focused a relationship of sight and tactility. In this figuration, we can get to Merleau-Ponty's phenomenological existence, that is, primary tactility or infra-tactility comprise a kind of primitive or not yet differentiated, virtual, or potential reversibility out of which arises not simply the division of the senses, but more fundamentally, the divisions that comprise sensation per se. I examined the concept of 'Inter(sur))face' for validating of touch as a way of communication, of the phenomenological approach to the sight and tactility, and of the possible encounter with Others by skin. New media works like <Liquid View>(1993, Monika Fleisxhmann and Wolfgang Strauss) and Thecla Schiphorst's <Bodymaps: Artifacts of touch>(1996) in this essay, will be good examples for explaining concepts of sight/tactility, image/body, real/virtual, and digital technology, touch, skin-ego etc.

생명의 감시와 통제를 비판하는 바이오아트

전혜숙 한국미술이론학회 2016 미술이론과 현장 Vol.0 No.21

본 연구는 생명기술이 인간의 통제 및 감시에 어떤 방식으로 이용될 수 있는가를 포착하여 대중적으로 알리거나 유전공학기술이 바이오산업의 경제적 이득을 위해 어떤 역할을 하고 있는가를고발하는 바이오아티스트들의 프로젝트들을 다루고 있다. 예를 들어 신체정보를 수집하고 규제하는 제도적, 정치적 차원의 생명감시에 대한 우려와 실상을 알리는 히더 듀이-해그보그의 작업과, 경제적 이득을 앞세우는 바이오산업 배후에 있을지도 모르는 유전공학의 잠재적 위험성과 탐욕을 고발하기 위해 역-유전공학을 이용하는 CAE와 BLC의 활동을 소개하고 있는데, 이는 인간이자연과 생명자체에 개입하여 새로운 시대를 열고 있는 이 시대에, 미술이 생명기술에 대한 올바른사용과 판단, 정치 및 경제와 맞물린 기술의 유용성에 대한 포괄적인 재고를 요구하고 있다는 점에서 의의를 지닌다고 할 수 있다. This study is about bioartists’ projects, which announce publically the ways that biotechnologies are being used for the control and surveillance of people, and criticize strategically the role of genetic engineering for the profits of bioeconomics. For example, there are experimental works of Heather Dewey-Hagborg who speaks out the reality and concern about political systems of biosurveillance through collecting and controlling of bioinformation of people, and the activist art works of group CAE and BLC that uncover the dangerousness of genetic engineering and the avarice of companies behind bioindustry, by reverse genetic engineering. This essay has some significances that art calls for the proper use of biohechnologies and requires rethinking of usefulness of technology combined with econopolitics.

내한외국인저서, 외국저서에 기록된 19세기 말~20세기 초 조선의 직물산업 실태

전혜숙,강빛나 한복문화학회 2019 韓服文化 Vol.22 No.2

After being forced to sign the Joseon-Japan Treaty of 1876, Joseon opened its doors to western countries through commerce treaties, and several foreigners who visited Korea for various purposes published research findings. Of these publications, A.H. Savage Landor’s Corea or Cho-sen, the Land of the Morning Calm, and Hangukji, a Russian research publication by five co-authors, contain records on Joseon’s textile industry. Joseon in the late 19th century-early 20th century was a competitive arena for imperialism, as capitalism developed in western countries, Japan, and Qing. The textile industry featured the distribution of both domestic cottage industry production and imported textiles. In Joseon, cotton, silk, ramie, hemp fabrics were produced, with cotton, ramie, and hemp being exported Cotton, wool, blends, and silk fabrics were imported, particularly white cotton fabrics. The increase in textile imports to Joseon was closely related to the country’s clothing reform, and the cotton fabric imports from England and the United States through Qing and Japanese merchants were replaced with imports from Japan, following Japan’s industrial revolution and the Sino-Japanese war. 조선은 1876년 일본의 강요로 조일수호조규를 맺은 후 1880년대 서구열강과 통상조약을 맺으며 문호를 개방하게 되었고, 이로 인해 다양한 목적을 가지고 방문했던 외국인들 중 A.H.새비지-랜도어의 『고요한 아침의 나라 조선』 외 5명 저자의 조선의 직물산업, 유통문제에 관한 기록과 제정러시아의 구한말 조선에 대한 연구·조사 자료인 『한국지(韓國誌)』에는 직물산업 관련기록이 있다. 19세기 말 20세기 초 조선은 서구열강과 일본, 청(淸) 등의 자본주의 발달로 제국주의의 각축전에 놓여있었으며, 직물산업의 실태를 보면, 가내수공업을 통한 직물생산과 수입 직물의 유통이 양립하고 있었다. 조선에서 생산하였던 직물종류는 면직물, 견직물, 모시, 베 등이 있고, 수출 직물은 면직물, 베, 모시, 수입 직물은 면직물, 모직물, 혼방직물, 견직물 등이 있으며, 백색면직물이 주로 수입되었다. 조선의 직물 수입량의 변화는 국가 의제개혁과 밀접한 연관을 가지며, 일본의 산업혁명·청일전쟁을 기점으로, 청상(淸商)과 일본상인을 통해 중계무역 형태로 영국산, 미국산 면직물이 수입되었던 것이 이후 일본산 면직물로 대체되면서 조선내 면직물산업시장을 장악하게 되었다.

우리나라 靴鞋에 관한 硏究

全惠淑 東亞大學校附設基礎科學硏究所 1986 基礎科學硏究論文集 Vol.3 No.1

This study investigated about the shoes of Yi-dynasty period the collection of the shoes and the comparative study of each period on it. The so-called "LEE and HWA" had been generally used by Korean people as a shoes for a long times. This has the dual structure of "LEE" worn by the Sothern and "HWA" by the Nothern one. The ancient Koreans had been restricted in the materials, color and design of the costumes according to the social position and ranks. So had been the use of shoes. In YI-dynasty there seemed to be more various kinds of shoes in shape, materials and color than any other period. "TAESAHYE" had been worn by the men of the YANGBAN class when it was clear and "CHINSIN" made of oiled leather with nails on the bottom on the rainy days. Wooden shoes called "NAMACSIN" had been worn by both men and women on the rainy days. A kind of Black Boots made of buck skin and woven stuff "MOCKHWA" had been worn by courtiers in official case. "DANGHYE" "SOOHYE" or "WOONHYE" had worn by women of the YANGBAN class at the normal times, it had been a symbol of gorgeous and rich their being. "CHIPSIN" made of straw had been used from the MAHAN period till recent years and the farmers and common people in general had worn it all the year round.

簇頭里 源流에 관한 再照明

전혜숙 東亞大學校 附設 生活科學硏究所 2002 생활과학연구 논문집 Vol.10 No.-

Jok-Du-Ri(簇頭里) is a sort of headgear for ceremonies, practical uses but for special ceremonies or indicating social position. This study is about Jok-Du-Ri. The results are below: In chapter 1, the studies are about Jok-Du-Ri in the records of Chosun, especially the authentic records of the Chosun dynasty(朝鮮王朝實錄) and the anthologies of the latter period of Chosun(朝鮮後期 文集). In chapter 2, the studies are about the origin of Jok-Du-Ri in the records of China, through the headgear in th Yuan(元), Ming(明) and Qing(淸) dynasty. The data indicates that Koko(古古), which was asserted to be origin of Jok-Du-Ri, demonstrates a different shape from the style in the latter period of Chosun and Myungkackwan(明角冠), which was worn in the Court of Ming(明). On the contrary, Jeonja(鈿子) is rather similar to Koko in its shape and uses. Therefore, Jok-Du-Ri in the latter period of Chosun comes from Jeonja(鈿子) in Qing(淸).