한국 NGO의 성과모형 개발에 관한 연구

박선경(朴善瓊) 한국지방정부학회 2005 지방정부연구 Vol.8 No.4

NGO활동이 여성의 정치자본에 미치는 영향 - NGO구성원과 비구성원의 인식차이를 중심으로

박선경(朴善瓊) 한국지방정부학회 2008 지방정부연구 Vol.12 No.1

  본 연구는 정치사회화이론에 근거하여 한국 여성들이 NGO의 활동을 통해서 획득한 정치자본을 조사하였다. 특히 NGO내부와 NGO외부라는 환경의 맥락을 강조하여 NGO구성원(회원, 상근활동가, 임원, 비회원자원봉사자 등 NGO에 소속되어 활동한 경험이 있는 여성정치가)과 NGO비구성원(NGO와 상호작용하지만 NGO에 소속되어 활동한 경험이 없는 여성정치가)의 정치사회화의 결과차이에 초점을 두었다. 분석결과에 의하면, NGO구성원들은 NGO의 활동요인들(감시요인, 시민권익보호요인, 시민교육요인, 갈등조정요인)중 ‘시민교육요인(평균 3.41점, 영향력 .425)’과 ‘갈등조정요인(평균 2.87점, 영향력 .340)’을 통하여 정치자본(지식요인 평균 3.13점, 태도요인 평균 3.03점, 네트워크요인 평균 3.03점, 기술요인 평균 2.76점 순으로 구성)을 획득하였다. 반면 NGO비구성원들은 ‘갈등조정요인(평균 2.46점, 영향력 .502)’과 ‘감시요인(평균 3.36점, 영향력 .328)’을 통하여 정치자본(지식요인 평균 2.39점, 태도요인 평균 2.19점, 네트워크요인 평균 2.17점, 기술요인 평균 2.11점 순으로 구성)을 획득하는 것으로 조사되었다. 여성들이 NGO내부와 NGO외부라는 서로 다른 정치의 장(field)에서 NGO를 통해서 획득한 정치자본에 차이가 있었다. 두 집단은 그들이 처한 환경의 맥락에서 정치사회화되는 것으로 볼 수 있다. 본 연구의 결과는 한국의 NGO가 여성들의 정치자본을 증가시키는 전략을 수립하는데 도움을 줄 수 있을 것이다.   The purposes of this study are, on the basis of the political socialization theory, to examine the cognitive differences of the female politicians as to how NGOs play an important role over the formation of their political capital, and to figure out the best method as to how NGOs can contribute to the capital formation of their members and non-NGO members respectively.<BR>  To inquire into the subject, various kinds of resources like books and articles regarding the subject are reviewed, to begin with, and a questionnaire survey is carried to 564 female politicians including NGO members and non-NGO members. And then, to analyze the questions, such methodologies as factor analysis and regression analysis are used.<BR>  Several of the research findings of this study are as follows<BR>  Such factors as ‘Citizen Education" and ‘Conflict Coordination" are very strong especially for the formation of NGO members. On the other hand, "Conflict Coordination" and ‘Inspection" appeared to have a strong effect on the political capital of non-NGO members. This means that political capital is formed in a certain political socialization in an environmental situation where she is. In addition, this study can also give a strategic idea as to which factors NGOs should have increasing interests in, for building up the political capital of NGO members and non-NGO members.

G.Kaiser의 「아침부터 자정까지(Von morgensbis mitternachts)」에 나타난 劇形式 硏究 : 개방형식(Offene Form)의 관점에서

박선경 이화여자대학교 교육대학원 1992 이화교육논총 Vol.3 No.-

국보 제 263호 白瓷靑畵山水花鳥紋大壺에 대한 연구(Ⅰ)

朴仙卿 龍仁大學校 傳統文化硏究所 1997 丹豪文化硏究 Vol.- No.2

The So˘ngrihak(性理學) was not only a scholarly base of the higher class people but also a practical standard of their lives, by which lots of ritual ceremonies were performed. The ritual ceremonies were held in the Sadang(祠堂:ancestral shrines), the Hyanggyo(鄕校:Confucian local schools) and feast and meeting places of the higher-class families as well as the royal family. White porcelain ritual vessels were mainly used in the ritual ceremonies. The long and big white porcelain jar with the design of landscape, flower and bird in underglaze blue were frequently mentioned in the records of manners of ceremonies of shown in the drawings and paintings in Choso˘n(朝鮮). It was usually used as a vase. Specifically, the design of phoenix and peony, a couple of cranes and plum flowers with grass on this jar are the same as those in the ornaments and accessories used in the palace, which tells that this jar must have been used in the royal ceremonies. Its body shape is a standard example of white porcelain jars in underglaze blue produced in the 18th century, with the straight mouth, the full-rounded main body, the long stature with decreasing width toward the bottom. Such long and big jars had been made through the whole period of Choso˘n and there was only a slight timely difference in the body shape. In the 18th century, various subjects were frequently drawn in underglaze blue on the white porcelains such as the specific design of Tongjo˘ngch′uwo˘l(洞庭秋月:the lake with a fall moon), O˘ch′onso˘cho(漁村夕照:the sea village with a setting sun), phoenix, peony flower, crane plum flower, pink, weird rock found in this work. White porcelains were characterized as its genuine white color with wide empty parts even after the design were given. It was from special artistic thoughts of Choso˘n people and the design also had a special type of Choso˘n. In the early 18th century, the design was given in simple style, but they became more complex in the mid 18th century as those shown in this work. The landscape began to be decorated as a main pattern with no sub-design in the first half of the 18th century and changed into the style of various subjects with several sub-design. In the second half of the 18th century, stereotyped design in rough style were given in full scale on the body. The present work has two main types of design, a landscape and flowers with birds. The landscape can be estimated as an independent work considering its style and structure. Such landscapes as Tongjo˘ngch′uwo˘l and O˘ch′onso˘kcho belonged to the Sosangp′algyong(瀟湘八景: Eight Landscape of Sosang). Porcelains with those design with stereotyped subjects were made to the taste of the royal or higher-class people in the 18th century. This reflects their scholastic taste for the unworldliness and aestheticism which newly prevailed through the influence of foreign culture after the period of the "True-View" landscape painting(眞景山水). Moreover, the design of this work can be considered to have close relations with the introduction of Hwabo(畵譜:picture manual). The producing style of the landscape is very similar to that in the Hwabo usually made in woodblock print, from which we guess it was a result form making them in reference to the books. We can find very similar design in the 18th century fine art works or white porcelains in underglaze blue, which tells us that the Hwabo with stereotyped subjects offered not only fine art subjects to the official artists or high-class scholars but also references of the design on the ceramics. The Ponghwangmorando(鳳凰牧丹圖:the design of phoenix and peony) and the Ssanghakmaehwach′odo(雙鶴梅花草圖:the design of crane couple and plum flowers with grass) were designs which reflect the values of the then society. The design of crane and dwarf tree, which shows the influence of Ching(淸), reflects the tendency of enjoying safety of life and property and the higher class scholars' literary taste of unworldliness and estheticism. Specifically, the phoenix design with weird rocks is the same as that frequently found in royal ornaments, embroidered back and breast insignias, adornments and folding screens, which suggests that this work was used by the royal family. Such designs seem to have a model pattern. They are in an excellent realistic style with an earnest description in detail which cannot be seen in any other porcelain work. we can estimate form this that this work was produced for a special purpose as a best masterpiece. This work was produced by best artists of that time. This work reflects a new taste of higher class scholars in the later Choso˘n period and is estimated to have been produced not only as a ritual vessel but also as an ornaments. This work with unique design and majestic body shape is undoubtedly an important material for the study on the general tendency of the society, culture and art of the 18th century Choso˘n.

巖崎宏美のへア-スタイルから

朴善卿 덕성여자대학교 일어일문학회 1988 語り合い Vol.5 No.-

몸담론의 인식과 방법론

박선경(Park, Sun kyoung) 한국언어문학회 2015 한국언어문학 Vol.95 No.-

This essay try to investigate on a form and construt method of body discourses through research for four writers, they are Eun heekyoung, Cheon yunyoung, Jung eehyun, Back gaheum since 1990's. They have a each methods to going to writing on body discourses. Body discourses have a big features are a new idea, new representation by sensuous language of a bodily sense organ, instead of taking to pieces for an idealogical language, a symbolic code of a established discourse that is control and suppress people. This reseach present a 8 method of constructing body discourses by studies about 4 writer's method Theirs writings make up nature fitures and original figures of human in realities of life. So it enhance the value of human's primarial existence and it makes free that human's natural instinct, it dissolute a establised concepts that human being captured with a ideal, notion, moral. The new prescription of human's being shows a process of metaphysical concepts transfer phisics concepts, a ideal stationariness crash realities of existence. But that is human's being recover a essential realities. From the beginning of Body discourses, Eun heekyoung, Cheon eunyoung start and establish body discourse, they have founded it in Korea literary world. They suggest that the subject is body existence, existential subject. A existent body subject absorbe a object and world with one's six senses, is recorded a sprit, after that time a person have a conception, a dreaming, a injury. A conception for 'a body subject' of a writers compose narrative's base epistemology, also narration method and narrative method. Two authers write detailed abservation body sense and communication with a world and object, illustrate and take to pieces in body. There are only exist 'a body-subject' is communicate by body to body without a value, system, order of the existing discourse. Becoming serious process of bodily discourse, writer have conception in Buddhism's point of view on body, so they are accepted a object, a world with only body sense. From this point, authors started narrative with all sense of body, next after connected a behavier, a consciousness, a notion. The suppress and manage of power orgarnization, control to invidual subject on completely and deeply rooted. Four writeter's interest is expanding politic structure and a ideology that suppress and control in subject's body, because of being overthrown for "a fallus's established system". Body discourses and feminism discourse are based on postmodernism, disconstruct existed discours. Our body discourse started and became serious on Feminine writings. Jung eehyun continue on writing and storytelling about womans's life, experience of daily at actual environment, so she would occupied a position on ecriture feminine. Jung arrange various 'feminity' through various woman's ego and show women is achived a self identifying. In this process, her writing meet body discourses, because woman's life is full with body actives. Baek Gaheum author has constructed on body discourse rarely among man author. His heroes are proletarian on the society economy system and they don't criticize about their environment is excepted them. Heroes are showed body relations, life of body, act of body on real life, therefore expose life's real meannings in author's purpose. There are reapeted materials of violence, murther, death, so we knows that one ego is started and died only with body. This is meaning that body is grounded and established for the self, it is author's cognition about "The body subject". Furthermore a closing observate about isolation and solitude of body relationships, body subject is reprsented in a current situation being taken to pieces. The other side, through hero's relation with woman, proletaria hero exibite phallus force in the presence of a woman, repeatedly practice violence, sexual violence, murther to her. Therefore it is showed that a order Phllocentrism

페미니즘 이론과 문학에서의 ‘여성성’ 변이와 증식 과정

박선경(Park, Sun-kyoung) 한국어문학회 2013 語文學 Vol.0 No.121

This Research look into a course of change and increase on ‘Feminity’ discussion by feministic point of view in accordance with ‘feminism theory’ spread in our society. On center with Ee-Hyun, Jung’s literature works with feminism theory, it look around a various aspects of ‘Feminity’ substance. Ee-Hyun, Jung’s works arrange different identity of feminine through present a diverse characters in multifarious actual situation. So it can look around alteration and propagation on concept of ‘Feminity’ in our society. Ee-Hyun, Jung continue on writing and storytelling about womans’s life, experiences of daily at actual environment, so she would occupied a position on ecriture feminine. Jung arrange various ‘Feminity’ through various woman’s ego and show women want to achived a self identifying. She has asked continuously on ‘Feminity’, her figuration works on ‘Feminity’ that is in progress until now. She had started by looking critical gaze on Phallocentrism with criticism of phallocentric feminism -〈Romantic Love and Society〉, 〈Girl’s generation〉, tried to cross and resistance against Phallocentrism rules with a view of Genocentrism Feminism -〈Trunk〉, 〈a Purity〉. And she asked again about ‘Feminity’, focus on ‘Difference’ between men and women- 〈A Lie of Today〉, 〈A molar〉, 〈A Dangerous Spinsterhood〉, 〈Before becoming Darkness〉, 〈To you of Anonymity〉. In 〈Romantic Love and Society〉, auther show a woman is accupied traditional pallocentrism through showing woman’s a limit situations and environment. In 〈Trunk〉, 〈A Purity〉, a woman pursue and achive violence and supremacy like man’s. But because woman mimesis man’s principal on violence, exclusion, disconstruction, woman remains a criminal and a outsider on social rules, organization. So woman can’t achieve ordinary identity. After this, author present ‘difference’ between man and woman, she searches feminity through ‘moternity’ and ‘take care’ figuration in 《You don’t know》, 《A lie of Today》. The most resent, auter suggest ‘recognition’ on the others and sexual difference for ‘feminity’ achivement in 《A basement of Love》. Ee-Hyun, Jung’s research on ‘Feminity’ is continuing until now.

朝鮮時代 17세기 전반기의 鐵畵白磁

박선경 龍仁大學校 1998 용인대학교 논문집 Vol.15 No.-

The white porcelain of Chosen Dynasty has been recognized as an important cultural inheritance representing Korean industrial art, and the white pocelain painted in underglaze iron, with the white and blue porcelain, is an important genre of Chosen white porcelains which expresses great picturesque patterns. Despite the high evaluation for a long time, the existence of the white porcelain painted in underglaze iron has not been considered as much as that of the white and blue white porcelain. However, with the help of the academic research and development and from the viewpoint which puts more value on things with Korean flavor, the importance of white porcelain painted in underglaze iron in porcelain history is ganining attention again. Also, the meaning of white porcelain fainted in underglaze iron with a free-style pattern and a simple shape is increasing since it expresses time invariant art with creativity and awareness of beauty of Chosun Dynasty. On the other hand, vast amounts of research topics have been presented by the long production period of white porcelain painted in underglaze iron ranging from the beginning of Chosun Dynasty to 18 centry, which is discovered through the study of Kwanju govermental kiln, and by white porcelain painted in underglaze iron pieces collected in white porcelain kiln all over the country. This theses, as a basic research step, studies the development and the position of white porcelain painted in underglaze iron in Chosen porcelain history by establishing a period of white porcelain painted in underglaze iron in the stream of white porcelain development and by the characteristics of shapes and patterns of white porcelain painted in underglaze iron.

Madeleine vionnet의 작품에 관한 연구II : 연구대상 작품의 제작되어진 패턴을 중심으로

박선경 服飾文化學會 1996 服飾文化硏究 Vol.4 No.1

Madeleine Vionnet, a representative designer of the 1920's, who made prefectly organized clothes with unique formativeness was the first to express fabric in a modern method and was called "The architect of fashion". This because she developed a three dimensional design by expressing cloth-she rejected corset, shoulder pad, etc-into elegant curved lines that do not stick to the body. By granting meaning to the beauty of the body and its movement in her own unique ways, she emphasized the formativeness in her work and gave shape to creative artistry. Expecially with the "Bias-Cut" she could express the lines of the body more flexibly and could make geometrical styles like the diamond shape dress or the triangle dress more effectively. Using the "Tierd Bias cut" and "Handkerchief point" she let the skirt hemline dangle irreguarly in geometrical forms, thus showing modern formative sense which forms a three dimensional solidness along the movement of the body. Thus far, analyzed how the contemporary trend of art was reflected in her designs by studying her work; also investigated through her artistic characteristics and pattern method. Also be tried to find out what can be learned through her artistic view and superb formativeness as a designer.

Pucci 작품에 나타난 조형적 특징에 관한 연구

박선경 한국디자인학회 1995 디자인학연구 Vol.- No.9