昌陵의 왕과 왕후 능의 위치 再考

김이순(Kim Yisoon) 한국미술사학회 2010 美術史學硏究 Vol.267 No.267

한국 구상조각의 외연과 내포

김이순(Kim, Yisoon) 한국근현대미술사학회 2005 한국근현대미술사학 Vol.15 No.S

6·25전쟁의 트라우마와 미술가들의 대응방식

김이순(Kim Yisoon) 한국근현대미술사학회 2020 한국근현대미술사학 Vol.40 No.-

본고는 6·25전쟁 발발 70년 주년을 맞아 한국 현대미술가들이 전쟁 체험을 어떻게 표현하고 전쟁 트라우마를 어떻게 미술작품으로 형상화했는지를 살펴보고 있다. 세계사적으로 보기 드문 동족상잔인 6·25전쟁은 직접 체험한 세대에게는 지독한 트라우마를 남겼으며, 여전히 분단의 상태에서 벗어나지 못한 현실은 전쟁을 직접 체험하지 않은 세대에게도 억압의 기제로 작동하고 있다. 한국 현대미술가들은 6·25전쟁 발발 직후부터 지금까지 6·25전쟁을 작품의 제재로 삼았는데, 작가가 전쟁을 직접 체험했는지, 그리고 인생의 어떤 시기에 전쟁을 겪었는지에 따라 6·25전쟁을 다루는 방식이 다르다. 전쟁을 직접 체험한 세대는 주로 1950-60년대에 각자 자신이 겪은 상황을 토대로 전쟁의 처참함과 비극성을 표현했는데, 적과 직접 마주하거나 전투에 참여했는지, 부산과 같은 피난지에서 전쟁을 겪었는지, 그리고 성년기에 전쟁을 겪었 는지, 청소년기에 겪었는지 등에 따라 형상화하는 방법에 차이가 있다. 이러한 양상을 비극적 상황을 직접 체험한 작가인 이철이, 김창열, 오종욱, 윤명로의 1950-60년대 작품을 중심으로 살펴보았다. 아울러 이들은 이후의 작품에서 전쟁 트라우마를 적극적으로 드러내지는 않았지만 평생 벗어날 수 없었음을 밝혔다. 전쟁 동안에 김환기, 장욱진, 이중섭 등이 전쟁과 무관한 ‘낙원’을 표현한 것도 일종의 트라우마 대응방식으로 해석했다. 1970년대에 들어서면 6·25전쟁과 직접 관련된 미술작품은 주춤했다가 1980년대에 다시 부상했다. 이때는 6·25전쟁을 직접 체험하지 않은 세대가 6·25전쟁을 다루었다는 점에서 흥미로운데, 6·25전쟁 자체로 인한 상처나 비극적인 상황을 표현하기보다는 분단의 현실에 무게를 두고 분단의 원인을 규명하고자 했다. 그 대표적인 사례로 ‘현실과 발언’ 동인들이 1984년 개최한 《6.25》展에 출품했던 작품들을 분석하였으며, 전쟁 미체험 세대의 6·25전쟁에 대한 인식에 대한 분석과 함께, 통일이 지연되면서 형성된 또 다른 트라우마, 즉 ‘분단 트라우마’의 양상을 살펴보았다. With the 70<SUP>th</SUP> anniversary of the outbreak of Korean War, this paper studies how Korean contemporary artists represented their war experience and configurated the trauma into artwork. A fratricidal Korean War which can rarely be seen in world history, left a dreadful trauma to generation of the time. Yet, it also formed a suppress mechanism to the later generation as reality still is not free from the state of division. Korean contemporary artists have worked with the subject of Korean War since its outbreak until now. The artists have different methods of handling the subject based on whether or not they experienced the war, and when in their lives they were involved in the war. A generation of the time mostly depicted horribleness and tragedy of the war based on what they experienced in the 1950’s to 60’s. There are differences in methods of figuration depending on their participation in the war, confrontation with the opponent, experience in a refuge shelter like Busan, or experience of the war in their adulthood or adolescence. This study focuses on the aspect of the works from 1950’s to 60’s by artists like Lee Cheul-yi, Kim Tschang-yeul, Oh Jong Wook, and Youn Myeung-Ro who directly experienced the tragedy. Although, later works of these artists do not vigorously represent trauma of the war, they mentioned it is something they cannot escape from, for their entire lives. This study analyzes artists like Kim Whanki, Chang Ucchin, and Lee Jung Seob’s representation of the Paradise which is irrelevant to the war, is kind of a respondence strategy of their own. Works related to Korean War began to slow down in the 1970’s, then emerged again in the 1980’s. At this time, it is interesting to observe that later generation, which was not involved in the war, dealt with the same subject. Rather than representing the wound or tragic moment, these works sought to figure out the cause of division with the weight of reality. As an example, this paper examines works from the exhibition 6.25 in 1984 by members of Reality and Utterance along with the analysis of the later generation’s perception of Korean War. Finally, it also evaluates the aspect of the ‘division trauma’ which has developed as another trauma after delay of the unification.

한국 근현대미술에서 ‘조각’ 개념과 그 전개

김이순(Kim Yisoon) 한국근현대미술사학회 2011 한국근현대미술사학 Vol.22 No.-

Although the term “Jogak(彫刻)” was used in traditional society, its meaning was limited to technique and used to describe works created by “carving.” It was only in modern society that the term came to refer to an artistic genre, “sculpture.” In modern society, sculpture developed a very different appearance, in terms not only of function, but also of materials, techniques, styles and subjects. In Korea, the development of these changes was closely linked to the information from abroad as well as industrial development. This article constitutes an examination of the various phases of sculpture in the 20th century following its emergence as a genre in Korea, focusing on the formal aspects of artworks. Until the 19th century, sculptures were objects used in everyday life, such as statues of the Buddha or stone figures placed before tombs. Those responsible for their production were classified as craftsmen. In modern society, however, the use of Buddha statues and tomb sculptures decreased dramatically, along with the activity of the craftsmen that created them. Meanwhile, sculptors that had learned sculpture as an art form, at art schools, began appearing. These artists generally developed their artistic self-consciousness by producing figures in the form of realistic reproductions of models that they observed directly. These figures were not objects used in real life, but artworks viewed in art galleries. Sculpture thus became established as a fine art that attached more importance to spiritual that technological aspects. As a fine art, sculpture developed in various ways, freely reflecting the consciousness and imagination of artists. Sculptors need materials in order to make concrete representations of their consciousness and thoughts; modern and contemporary sculptors used not only traditional sculpture materials such as stone, wood and bronze, but also any new materials that they could get their hands on at the time. The diverse use by contemporary sculptors of water, fire, light, sound, movement, smell, images and technology has expanded the realm of sculpture, making it harder to classify as a genre. This article offers an examination of the development of Korean modern and contemporary sculpture with the passage time, from the birth of the term itself onward.

한국 근대의 ‘자연주의적’ 풍경화에 나타난 이중성

金伊順(Kim Yisoon) 미술사연구회 2013 미술사연구 Vol.- No.27

Landscape painting in the Western sense emerged in Korea together with the introduction of new media such as oil and watercolour. Paintings that involved taking one’s equipment out into nature and painting scenes through direct observation were able to vividly incorporate natural light and the emotions felt by the artist her/himself in nature, things that were absent from traditional East Asian Sansuhwa (landscape painting). Such modern landscape paintings are generally categorized as Impressionism. Oh Chiho and Kim Chu-keung are cited as leading artists of the genre, with their landscape paintings interpreted as embodiments of nationalist consciousness. This study, however, questions that perspective. Although the landscapes of Oh and Kim do bear a degree of similarity to Western Impressionist works in their expression of light and their divided brush strokes, they show differences in terms of subject and content. Taking them to be expressions of nationalist consciousness or resistance on the part of their artists, in particular, appears to strain the bounds of credulity. Oh did attempt to express Korea’s pure, bright air and nature, and Kim did once say, “The people of Korea knew Korea well and expressed the Korean ‘mind,’” but this cannot be taken in isolation from the fact that Japanese judges at the Joseon Art Exhibition held annually during the period of Japan’s colonial occupation of Korea demanded that participating artists paint “the unique nature of Korea” or emphasized the need to “paint clearly the bright mountains and streams of Korea.” Attempts to express the sentiment and mood of the Korean people through the country’s nature actually share common points with Okakura Kakuzo’s view of nature, which located the basis of East Asian thought in nature rather than humans. Such attempts also fall under the field of influence of the type of “naturalist” landscape painting aimed for by Kuroda Seiki and Fujishima Takeji, and overlap with the expressions of Korean local colour demanded by Japanese imperial authorities.

1910년대 心田 安中植의 실경산수화에 나타난 근대성

金伊順(Kim Yisoon) 미술사연구회 2016 미술사연구 Vol.- No.30

An Jung-sik was the last official court painter of the Joseon period and has generally been regarded an artist who saw out the last years of Joseon painting while producing works commissioned by clients. This study considers regarding An as a modern artist, based on Yeonggwang punggyeong and Baegak chunhyo, two true-view landscape works he produced in 1915. Earlier, in 1881, An was sent by the Korean government to Tianjin as yeongseonsa, a type of envoy dispatched to learn about new forms of culture. He subsequently made trips to Shanghai in 1891 and 1899 and was active in Japan for approximately two years around 1900: as a result, he would have come into contact with new culture and art that was hard to find in Korea at the time. Since, however, most of An’s extant works are gimyeong jeoljido(a type of still life with dishes and cut flowers), doseok inmulhwa(paintings depicting immortals, Buddhas or eminent monks), noando(paintings of reeds and geese) or idealized landscapes, all of which are strongly auspicious in nature, it has been hard to find any trace of modern influence resulting from his encounters with new culture. This study investigates the extent to which Yeonggwang punggyeong and Baegak chunhyo, hitherto regarded without much interest as mere true-view landscapes, really belong in this category. Until now, there has been no photograph of the area depicted in Yeonggwang punggyeong to compare with the painting, but an investigation of the actual location, Chehwajeong Pavilion, established that An painted the village as it appeared before him. He did not, however, paint this actual view using the kind of mechanical perspective offered by a camera; rather, the artist placed the house of the client who had commissioned the work in the center of his composition and surrounded it with other geographic features, out of consideration for the client. Meanwhile, Baegak chunhyo uses a one-point perspective technique to depict Gwanghwamun Gate, Gyeongbokgung Palace and Mt. Bugaksan as seen from Gwanghwamun Square. Though the way An shrinks the actual view to fit the major axis on his canvas is somewhat awkward, the realistic depiction of the scene is more specific than anything found in other contemporary works. This depiction probably used a photograph widely available at the time. While the visual accuracy of Baegak chunhyo is modern in character, the work can be interpreted as containing An’s regret at witnessing the ruin of Gyeongbokgung during the Japanese colonial period, and his desire to see it restored. It follows that Yeonggwang punggyeong and Baegak chunhyo show modernistic elements in that they realistically reproduce scenes observed directly by the artist, rather than containing idealized styles or auspicious meaning. Meanwhile, though it has so far been thought that Baegak chunhyo was commissioned by the Joseon royal family or the Japanese Government-General, this paper suggests the possibility that it was commissioned by a third person or produced by the personal choice of the artist as an expression of his sorrow at seeing Gyeongbokgung Palace fall into ruin.

1930~1950년대 한국의 모자상 : 젖먹이는 이미지를 중심으로

金伊順(Kim Yisoon) 미술사연구회 2006 미술사연구 Vol.- No.20

This study aims at exploring social expectations toward women focusing on the image of breastfeeding from the 1930s to the 1950s. There are many statues of mother and child around us. While the history of the image in the West originated from the ancient Egypt, the history in Korea is not long. As it emerged in official art exhibitions such as the Joseon Art Exhibition in the 1930s, when the Western arts took root in the Korean arts circle, the image came to represent one of the images of women. As the image of the mother and child was a popular theme in the Japanese arts circle, we cannot overlook its impact on the Korean arts. However, the image reveals the motherhood ideology demanded for women during the Japanese colony. In particular, the image of the mother breastfeeding her child, popular in all times and places, is the image of fixing a woman as a mother, which can be seen from a negative perspective as it limits women’s role as giving a birth to and raising children. However, this study does not intend to interpret the image of mother and child by applying the general theory on the motherhood but to identify the background for its creation and distribution in Korea by considering circumstances from the 1930s to the 1950s. The images of the mother breastfeeding her child, produced during the Japanese colony, gained attention from scholars, as they represented the role of women in the colonial period. In particular, the images produced in the late 1930s were interpreted as arts reflecting the political background at the time, or an image of the ‘patriotic mother’ who gave a birth to and raise healthy children who were required to fight in a war during the colonial period. Different from such a perspective, the image is interpreted, in this study, as an image of emphasizing the motherhood with sacrifice, devotion, and affection, which the nation demanded for women against the ‘abnormal’ national situation caused by the Japanese colony. This study starts with a brief description of the meaning of the image of breastfeeding in the Western arts based on the times, and the origin of the image of mother and child in Korea is discussed with its production and background. Then, the image in the 1930s and 1940s is explored, which is classified into two groups: one representing low-income families and the other representing middle-income families. In particular, the image of the mother breastfeeding her child in the second category is interpreted as reflecting the characteristics of the period, which became conservative with the worsening condition of the Japanese colony. In the exploration of the image of the mother breastfeeding her child in the 1950s, the focus is on which areas it is similar to or different from that in the 1930s and 1940s. Also, this study proves that motherhood ideology, formed in the ‘abnormal period’ from the 1930s to the 1950s, is still effective by exploring the image of the mother and child, which was the most popular theme for the section of sculptures in the Grand Art Exhibition of Korea in the 1960s and 1970s, and which we often see in front of public space.

1970년대 한국판화 연구: 전위적 양상을 중심으로

金伊順(Kim Yisoon),金允愛(Kim Younae) 미술사연구회 2021 미술사연구 Vol.- No.41

1970년대에 한국판화는 르네상스를 맞이했다. 판화가와 판화 전시회의 물리적 수가 급증한 것은 물론, 판화가 미술의 중요한 표현매체로 부상하면서 다양한 판화작품이 등장했다. 특히 사진제판 판화, 믹스드-미디어(mixed-media) 판화, 판화의 고유한 속성에 저항하는 反版畵가 등장한 점을 주목할 수 있다. 이러한 전위적 양상은 판화의 경계를 확장시켰고, 판화라는 장르에 패러다임의 변화를 가져왔다. 본고에서 1970년대 한국 판화계의 움직임과 이 3가지 전위적 판화작품을 분석하여 1970년대 판화의 양상을 규명했으며, 한국 현대미술사에서 판화는 회화나 조각과 마찬가지로, 시대를 읽어낼 수 있는 중요한 미술 장르임을 밝혔다. 1970년 《서울국제판화비엔날레》를 시작으로 1970년대의 판화계는 1950~60년대와는 비교할 수 없을 정도로 활발히 움직이고 있었다. 이러한 현상은 1968년 한국현대판화가협회의 창립 이후 본격적인 움직임과 함께, 국내는 물론 해외에서 판화를 공부한 새로운 세대의 판화가들이 대거 등장한 것과 밀접한 관계가 있다. 새로운 세대의 판화가들은 기성의 판법의 판화작품뿐 아니라, 전위적인 판화를 제작하였다. 특히 판화의 고유한 속성으로 여겼던 ‘복수성’에 거부하고 판이라는 매개체를 통해서 표현할 수 있는 방법론으로 판화예술만이 표현할 수 있는 독특한 표현을 구현하는 데 심혈을 기울였다. 또 다양한 판화기법을 연구하고 판화를 다른 매체와 혼합하기도 했으며, 사진제판 판화와 믹스드-미디어 판화를 적극적으로 시도하여 판화의 표현 영역을 확장해 나갔다. 그리고 전위적인 미술단체인 ‘AG’가 1972년에 《72’-AG 版畵展》을 열었던 것에 알 수 있듯이, 판화의 고유성을 넘어선 ‘反版畵’를 내세우면서 판화의 전위성을 모색했다. 한국 현대미술사에서 1970년대는 단색화 중심의 모더니즘 시대로 인식되고 있다. 그러나 판화계는 탈장르, 탈매체, 탈모더니즘적인 경향이 활발히 전개되고 있었다. 본 연구에서 이러한 판화계의 움직임을 고찰함으로써 한국 현대미술사에서 판화의 높아진 위상뿐 아니라 1970년대 한국미술의 다양성을 밝힐 수 있었다. The 1970s marked a renaissance for printmaking in Korea. Not only was there a quantifiable surge in the number of printmakers and print-related exhibitions, there was also a diversification of print artwork itself due to the emergence of printmaking as a core mode of artistic expression. More specifically, photo engraved prints and mixed-media prints in addition to anti-prints (banpanhwa) which went against the inherent grain of printmaking formed an avant-garde movement that would broaden the horizons of printmaking and bring about a paradigm shift within the medium. The following paper sheds light on the developments in Korean printmaking during the 1970s through the lens of these three progressive forms of the genre, thereby establishing the importance of printmaking as equal to that of painting or sculpture when attempting to interpret the past within the context of modern Korean art. The International Biennial Exhibition of Prints in Seoul of 1970 launched a productive decade for Korean printmaking that far outstripped the comparative lack of activity during the 1950s and 60s. This progressive development was closely related to the inauguration and consequent endeavors of the Korean Contemporary Printmakers’ Association in 1968 as well as the mass return of a new generation of printmakers educated overseas. This new generation were well-versed in traditional methods of printmaking yet chose to creatively extend themselves by creating avant-garde work that defied the concept of ‘plurality’ so often regarded as inseparable from print art. This younger generation of printmakers were dedicated to exploring avenues of expression exclusive to the medium of print. They delved into new approaches to printmaking, expanding the genre’s range of expression through the incorporation of other forms of art production such as photoengraving and mixed media. The avant-garde ‘AG’ group even went so far as to discard all preconceived notions of the genre by introducing the notion of ‘anti-print’ in its AG Print Exhibition of 1972. The 1970s tend to be viewed as the era of monochromatic Korean modern art. However, as printmaking’s post-genre, post-media, and post-modernist inclinations demonstrate, the medium of print is independently significant within Korean art history, particularly as a gateway through which to diversify our understanding of the artwork produced during the 1970s.

역설과 저항의 미학 - 이승택의 ‘비조각’ -

김이순 ( Kim Yisoon ) 한국영상미디어협회 예술과미디어학회 2020 예술과 미디어 Vol.19 No.2

이 글은 조각가 이승택의 ‘비조각’을 재료, 기법, 개념의 측면에서 고찰한 것이다. 일찍이 기성의 것에 대한 저항의식을 갖고 있던 이승택은 조각개념에 거스르는 작업을 했고 이를 ‘비조각’으로 통칭했다. 최근 미술계에서는 이승택에 주목하여 그의 평면작업이나 퍼포먼스조차도 ‘비조각’으로 설명하고 있다. 그러나 작가 스스로 ‘비조각’을 ‘조각이 아닌 조각’이라고 설명했기 때문에 그의 ‘비조각’을 ‘조각’ 장르의 차원에서 논의할 필요가 있다. 본고에서는 이승택의 ‘비조각’ 작품을 통해 그가 어떻게 ‘조각’ 개념을 해체하면서 전위성을 모색했는지를 살펴본다. 이승택은 오지, 유리, 비닐, 바람, 불과 같은 뜻밖의 재료로 ‘비조각’을 구현했다. 그중에서도 가장 획기적인 표현재료는 바람과 불 같이 비가시적이거나 유동적인 물질인데, 자신의 작품에 기름을 붓고 불을 질러 태워 없애는 <분신행위>에서는 피어오르는 불꽃과 연기, 그리고 열기, 소리, 냄새까지 작품에 포함시켰다. 기법적으로는 조각작품을 살붙이기나 깎기가 아닌 ‘묶기’의 방법으로 제작했으며, 나아가 미술작품은 미술관에서 영원히 보존되어야 한다는 개념을 거부했다. 1958년 대학졸업전에 출품한 <역사와 시간>에서는 표면에 가시철망을 감은 작품을 출품하였고, 그 이후 여성 인체, 도자기, 화강암 덩어리, 나뭇가지, 각목, 파이프, 책, 캔버스, 지폐, 헌옷 등을 실제로 혹은 착시적으로 감거나 묶는 방식으로 사물의 물성에 대한 반전을 보여줌으로써 인간의 시각, 즉 눈으로 보는 것에 대한 믿음에 대한 존재론적(存在論的)인 물음을 던졌다. ‘비조각’의 양상은 이승택이 일찍부터 주력했던 영역인 사진 작업에서도 찾을 수 있다. 그는 자신의 실험적인 작품을 기록하기 위해 사진을 촬영했으며, 때로는 특정 장소나 소재를 선택하여 촬영하기도 했다. 후자의 경우, 뒤샹이 소변기를 선택하여 서명하고 전시회에 출품함으로써 기성의 소변기를 자신의 작품으로 만들었듯이, 제작 과정이 거의 없거나 약간의 개입만으로 대상을 작품으로 만들었다는 점에서 이를 ‘장소적 레디메이드’라고 할 수 있으며 개념적으로 ‘비조각’을 실현한 것이라고 볼 수 있다. 이승택은 ‘비조각’이라는, 고정된 형태가 없는 조각을 제작했고, 나아가 소리, 냄새 같은 비가시적인 요소까지 조각에 담았으며, 이런 작업을 통해 우리의 감각과 상식에 충격을 가하면서 우리의 인식을 확장했다. This paper examines Lee Seung-taek’s ‘non-sculpture’ in terms of materials, techniques, and concepts. Lee sought for new materials in all respects, and he represented ‘non-sculpture’ with unexpected materials. One of the most innovative materials was fire from Self-Burning Performance in 1989. It was a kind of performance art which burns and destroys Lee’s self-portraits along with his other own work, known as ‘the other self.’ A flame, smoke, heat, sound, and smell were the elements that formed while he poured gas over and set a fire on his own work. In the end, it is Lee’s resistance of the conventional system or notion that artwork should be preserved permanently in art museums. Lee has been producing sculptures mainly by tying rather than carving or modeling. In 1958 Lee presented his work, History and Time with barbed wires, wrapped around the surface. Then he used female body, earthenware, book, canvas, bill, old clothing and more to bind, and they all were about ontologistic question. Lee’s interest in photography led him to select place then create photographic artwork. These works can be identified as ‘site ready-made,’ because it has little or no process of production, just as Duchamp made a ready-made urinal into his own work by selecting and signing the urinal and submitting it to the exhibition. Through ‘non-sculpture’, he formed artwork without a fixed form, expressed invisible elements such as sound and smell, and expanded our perception by impacting our senses and common sense.

성인자녀가 지각한 부모 문제음주가 인터넷 과다사용 문제에 미치는 영향: 타인중심도식과 우울의 매개효과

김이순(Kim, YiSoon),이문희(Lee, MunHee) 한국재활심리학회 2021 재활심리연구 Vol.28 No.2

본 연구는 부모 문제음주와 성인자녀의 인터넷 과다사용 문제와의 관계에서 타인중심도식과 우울의 매개효과를 검증하였다. 이를 위해, 성인 남녀 250명을 대상으로 알코올 자녀 선별 척도, 한국형 성인 인터넷 중독 자기보고형 척도, 타인중심도식 척도, 우울 척도를 실시하였다. 자료 분석은 신뢰도 분석, 기술 통계분석, 상관 분석, 측정모형 분석, 구조모형 분석을 실시하였다. 본 연구 결과는 다음과 같다. 첫째, 부모 문제음주는 타인중심도식, 우울, 성인자녀의 인터넷 과다사용 간에 모두 유의미한 정적 상관을 보였다. 둘째, 부모 문제음주와 성인자녀의 인터넷 과다사용 간의 관계에서 타인중심도식은 부분매개효과를 보였다. 셋째, 부모 문제음주와 성인자녀의 인터넷 과다사용 간의 관계에서 우울의 매개효과는 유의하지 않았다. 넷째, 부모 문제음주와 성인자녀의 인터넷 과다사용 간의 관계에서 타인중심도식과 우울이 순차적으로 매개하였다. 마지막으로 본 연구의 의의와 한계를 논의하였으며 추후 연구에서 필요한 시사점을 제안하였다. This study examined the mediating effects of other directedness schema and depression in the relationship between parent problem drinking and Internet overuse. A total of 250 adults (XYZ male and XYZ female) in South Korea completed the questionnaire assessing children of alcoholic screening, internet addiction proneness, other directedness schema, and depression. Data analysis was conducted to perform reliability analysis, descriptive statistical analysis, correlation analysis, and structural model analysis. The results included: (a) parental problem drinking was significantly and positively correlated with other-directedness schema, depression, and internet overuse: (b) other-directedness schema partially mediated the relationship between parental problem drinking and internet overuse: (c) depression did not mediate the relationship between parental drinking problem and internet overuse: and (d) the pathway between parental problem drinking and internet overuse was sequentially mediated by other-directedness schema and depression. Limitations of the study and implications for future research are discussed.