역행(逆行)의 정치―한국의 노동미술 (1987-1994)―

서유리 고려대학교 민족문화연구원 2022 民族文化硏究 Vol.95 No.-

There were extraordinary times when art and labor, which are thoroughly strangers to each other, were combined. Labor art was an art that carried out the counter politics that went against the distribution of the sensible given by governance of the state and capital. Through labor art, art acquired the instrumentality of media while labor acquired the autonomy and self-purpose that had been excluded from it. Art and labor shared the other party's characteristic equally. Until the 1970s, art was thought to be linked to the aesthetic taste of the upper class, and labor-related art was rejected as being pro-communist. But, things changes completely in 1980s. In 1985, the art activists' group Du-reong began with labor art by producing pictures for labor union struggles. After the 1987 Laborers Great Struggle, numbers of artworks were produced for strikes and demonstrations of labor unions, and thereby art began to participate in mediating the process of changing subjectivity from submissive workers to laborers demanding their own rights. Art activists' groups formed in the wake of the June Uprising(1987) practiced labor art widely and radically, and their main methods were hanging paintings, murals, and laborers' art schools which were against the normal way of art. They hanged pictures at main venues and painted murals on factories' walls, mourning the victimized laborers, visualizing the power of united working class, and presenting a utopia that could be won by struggles against the capitalism. The Laborers' Art School tried realizing an art of completely new concepts, which not only positioned laborers to be the subject of creation and politics but also art works as the media of the community of labor unions. In 1990, the Labor Art Committee was established by the National Art Association. It wanted to complete labor art as a genre equipped with aesthetics and politics, and it made efforts such as holding exhibition tours for factories across the nation. Korean labor art can be evaluated as having produced the historical achievements. Artists have expanded the capability of expression and existence of art through encounters with the others(working class), while laborers emerged as subjective actors for their own rights. 서로에 대하여 철저히 타자인 미술과 노동이 결합했던 시기가 한국의 역사에 존재했다. 노동미술은 국가와 자본의 통치가 부여한 감각적 배치를 거스르는 역행(逆行)의 정치를 수행한 미술이었다. 노동미술을 통해서 미술은 그간 배제했던 미디어적 도구성을 획득하고 노동은 자율성과 자기목적성을 실현하여, 상대방의 몫을 평등하게 나누어 가졌다. 1970년대까지 미술은 상층의 미적 취향에 연계되고 노동 지향의 미술은 용공주의의 혐의를 가졌다. 1985년 미술집단 두렁은 노동조합을 위한 그림을 제작함으로써 노동미술을 시작했다. 1987년 노동자대투쟁 이후 미술은 미술관을 나와 노동조합의 결성과 임금투쟁을 위한 여러 파업과 집회, 문화제 등의 현장에서 제작되어, 순종적 근로자에서 주장을 발화하고 권리를 요구하는 노동자로의 주체 변이와 자본의 흐름에 역행하는 과정을 매개했다. 6월 항쟁을 계기로 결성된 미술집단들은 정상적인 미술의 존재방식을 거슬러 걸개그림, 벽화, 노동자미술학교의 방법으로 노동미술을 수행했다. 걸개그림은 통치성을 해체하며 죽은 노동자를 애도하고, 조합의 결성과 투쟁으로 가능해질 유토피아를 제시하며, 연대를 통해 단일체를 이룬 노동자의 힘을 가시화했다. 공장에 그려진 벽화는 자본의 흐름에 역행한 노동의 승리를 기념했다. 노동자미술학교는 노동자가 창작과 이념의 주체가 되는 미술, 노동조합이라는 공동체의 미디어가 되는 미술을 실현하려 했다. 1990년에 민미협에 설치된 노동미술위원회는 노동미술전을 통해 작품성과 변혁이념을 갖춘 노동미술을 하나의 장르로 완성시키고 공장을 순회전시하여 노동자의 미술 향유의 폭을 확대하고자 했다. 한국의 노동미술은 미술가가 계급적 타자를 만나 미술의 표현과 존재 방식을 확장시키고 노동자가 새로운 권리의 주체로 등장하도록 만든 역사적 성과를 낳은 미술이었다.

性格類型による日本語学習ストラテジーに関する研究 - 社会人日本語学習者のインタビュー調査から -

서유리 한국일본어학회 2022 日本語學硏究 Vol.- No.72

This study examines the influence of leaners’ personality types intoon learning strategies that are actually used by Japanese leaners who are working, i.e. what different learning strategies are adopted in accordance with the leaners’ personality type. It appeared that most learners used many various 'cognitive strategies', and in particular, the SJ personality type used the strategy of taking notes while writing. In contrast, learners with other temperaments used cognitive strategies of memorizing through the context of the text or using images and radio. In particular, it was found that leaners with INTP and ISTP used the image strategy. This is because introverted thinking is the main function that prefers thinking in their own inner world. Further, looking at the ‘meta-cognitive strategy’, it was found that they were well aware of their strengths and weaknesses. This is probably because, as a mature learner, they prefer efficient methods that have already been learned through various life experiences in addition to Japanese learning experiences. It seems that they know not only the method related to overall learning, such as knowing their preferred learning environment well and being able to motivate themselves with tips to increase concentration, but also the fact that it is the type that is difficult to achieve even with diligent learning plans. Lastly, among the ‘mutual strategies’, the learning supporter was well utilized. However, the NT type seemed to require a learning supporter as a learning tool. Based on these results, it is suggested to apply the following in the actual class. (1) It is necessary to give learners sufficient time, for the SJ type to take notes or writing, and for the introverted learner to organize themselves; (2) When using media, learners’ class participation can be increased by preparing different activities depending on their temperaments, for example, group activities for leaners who prefer to work in small group, and by introducing themselves directly to everyone for leaners who have no difficulty in making a good relationship with others; and (3) Let leaners write a learning diary to promote clear learning objectives.

1980년대의 걸개그림 연구 - 수행성, 장소, 주체의 변이

서유리 한국근현대미술사학회(구 한국근대미술사학회) 2019 한국근현대미술사학 Vol.37 No.-

This paper is searching about Gulgaegrim-Hanging Pictures in 1980's. Korean people made many assemblies for democratization of nation in 1980's. Hanging Pictures were combined with performativity of assemblies for pro-democracy movement and minjung(people) culture movement. Many pictures were made and hung in various interior places for the assemblies. After the Democratic Struggle in june 1987, pictures were hung on various places of outside assemblies. Their origin was the wall painting co-produced by many painters of artists group Durung(a bank around rice field). Assembly ceremony consists of Gut(Korean traditional exorcising ritual), Madangguk(traditional play in open place), singing along and speeches. In the 1988-89's labour movement, large size paintings were hung on outside assemblies of labourer's unions. In the course of ceremony, People were able to deviate from their identity formed by dictatorship state and exploitative developmental capitalism. Hanging Pictures conjoined with performance of assembly ceremony were media for mutating people's subjectivity and transforming the usage of places.

社会人学習者における日本語授業の実践報告 - MBTI性格類型別好む教授方法と満足度を中心として -

서유리 한국일본문화학회 2022 日本文化學報 Vol.- No.93

This paper reports the practice of Japanese language teaching while considering personality types, and examines the satisfaction of learners regarding their preferred teaching methods based on survey results. The SJ type is highly satisfied with the "teacher-led" and "interaction-based" teaching methods. Learners who prefer "individual learning" are also known to prefer the use of workbooks. Based on extroversion and introversion, learners with SP and NF tendencies will favor either "interaction-based" or "individual learning" methods (SP: free subject/NF: learning diary). The difference between NT temperament and introverted learners who prefer teacher-led lectures is that they are uninterested in image content. Regardless of temperament, introverted (I) learners have low preference for interaction-based methods, including repeated questions from teachers, and should thus avoid such teaching methods. Future practical research should focus on examining various learners and the findings must be reflected through personalized learning in future classes. 本稿は、性格類型を考慮した日本語授業の実践を報告し、アンケート調査の結果から、性格類型別学習者が好む教授方法、教授方法に関する学習者の意見について考察したものである。 SJ気質は、<教師主導>や<インタラクション>教授方法に満足度が高かった。<個別学習>のうち、「ワークブック」の活用も好んでいることが分かった。SP気質とNF気質は、外向性と内向性によって、異なる<インタラクション>教授方法を好んだり、「個別学習」教授方法としても学習者が好む方法を選ぶ違いが見られた(SP:自由課題/NF:学習日記)。NT気質は、<教師主導>の講義を最も好む内向性の学習者があることや「映像コンテンツ」にあまり興味を持たないことなどが異なる部分であった。気質を問わず、内向性(I)の学習者は、教師の「質問の繰り返し」を含め、<インタラクション>方法に対する選好度は低いことから、内向性の学習者に負担をかける教授方法は控える必要があるだろう。今回の調査をもとに、今後の授業で活用した上で、多様な学習者要因を検討し、パーソナライズド学習に反映できるよう、実践的な研究を続けていく必要があると考えられる。

‘미적 수양’에서 ‘명랑한 매력’까지―『동아일보』와 『신가정』의 화장품 광고와 화장담론―

서유리 고려대학교 민족문화연구원 2019 民族文化硏究 Vol.85 No.-

This paper researches advertisements of Japanese Club Cosmetics on 1920-30s’ newspaper Dong-A Daily, women’s magazine New Home and analyses their rhetoric and iconography comparing with discourse about makeup. Both advertisement and enlightenment discourse encouraged women to become subjects who desire beauty and capitalize appearances. Japanese cosmetic industry advanced into colonial market in 1910s and an aesthetical discipline was requested to Chosun women as an ethical duty in cosmetic advertisements that mimicked newspaper editorials. This rhetoric of ads was repeated in enlightenment discourse of Chosun intellectual magazine. In 1930s Japanese cosmetics advertised that makeup would give women the charm, a power to attract others, especially men. This rhetoric of ads was shared by local cosmetic industry that sometimes stimulated nationalistic emotion to divide the market. An intellectual like new woman Kim Rhi-soo said that woman should have a charming appearance to win competitions in society. Appearance was regarded as a capital to win the competitions of life. Cosmetic industry produced enlightenment discourse to teach women to put on makeup and control appearance. Cosmetic ads and intellectual’s enlightenment discourse referred to each other and molded a modern woman subject to desire beauty and capitalize her appearance. 이 논문은 1920-30년대의 『동아일보』와 『신가정』에 실린 화장품 광고를 주로 일본 구라부(クラブ, Club) 화장품 광고를 중심으로 분석하고 잡지 『위생과 화장』 등에 나타난 조선 지식인들의 계몽담론과 비교하여, 광고와 계몽담론이 동일한 논리적 기반 위에서 미를 추구하고 신체를 자본화하는 여성주체 되기를 학습시켰으며 그것이 시대적 변화를 노정하고 있음을 밝혔다. 일본의 화장품 산업은 1910년대에 조선에 진출했고, 1920년대에는 지속적인 광고와 계몽담론의 개발, 강연 활동을 통해서 ‘미적 수양’을 수행하는 여성주체가 될 것을 학습시켰다. 여성의 화장을 미학적, 윤리학적 과제로 설정한 광고의 논리는 1920년대 후반 토착 자본의 화장산업을 기획했던 조선인 지식인들의 계몽담론에도 반복되었다. 1930년대의 일본 화장품 광고는 타인-남성을 매혹하는 힘인 매력(魅力) 을 만들어내는 것으로서 화장을 제시했다. 때로 민족적 감성으로 시장을 분할하려 했던 조선인 자본의 화장품 광고도 이를 반복했다. 지식인들의 화장담론에서도 화장으로 아름다워진 외모는 타인에게 행사되는 권력이자 경쟁에서 유용한 자본으로서 역설되었다. 화장품 산업자본은 계몽담론을 만들어냈고, 담론과 광고는 서로의 논리와 형식을 차용하여 미를 욕망하는 주체, 외모를 자본화하는 주체로 여성을 학습시켰다.

[정현웅 外 장정 관련 글 모음] 장정 관련 글들에 대한 촌평

서유리 근대서지학회 2014 근대서지 Vol.- No.9

國立中央博物館 所藏 慶南 山淸郡 長川里 陶片 紹介 : 양식적 특징과 생산시기 검토

서유리 국립중앙박물관 2018 미술자료 Vol.- No.93

국립중앙박물관에서 소장하고 있는 도편자료 중 경남 山淸郡 長川里 가마터의 도편들을 살펴보았다. 기존 자료와 더불어 최근의 가마터 현황과 추가 조사한 도편을 함께 소개하였다. 이와 비슷한 성격을 갖고 있는 일련의 도편들은 麗末鮮初라는 폭넓은 시기로 언급된 경우가 많다. 따라서 이곳에서 수집된 도편들을 소개하고 양식적인 특징들을 정리한 후, 생산시기를 구체적으로 검토해본다면 비슷한 조형적 특징을 갖는 경남지역 주변의 가마들에 대한 상대적인 제작시기 설정 등 조사에 도움이 될 것이다. 장천리 도편의 기종은 생활기종인 대접, 접시가 주를 이루며, 무늬의 양상으로는 고려의 상감기법의 흐름이 이어지고 있어 상감청자의 범주에 속한다. 동시에 기법적으로는 도안화된 인화상감기법이 공존한다. 王室府銘이 나타나는 전형적인 무늬가 빼곡히 차있는 인화기법의 분청사기의 요소는 발견되지 않았으며, 굽은 죽절굽으로 태토비짐과 모래를 받쳐 번조하였다. 이러한 자기편들을 다른 가마터와 유사한 양식을 보이는 편년자료들과 함께 검토하였다. 장천리 가마터는 14세기 후반 청자 대접, 접시 등의 주된 문양 소재였던 蒲柳水禽文, 蓮唐草文 등의 시문이 공존 및 감소되기 시작하면서 集圓文, 線文 등의 새로운 문양들이 인화상감기법으로 대체되는 과정에 운영된 것으로 여겨진다. 이후 인화기법으로 전면을 가득 채우는 도자사적 양식 흐름 속에서 장천리 요지는 이 전의 단계인 과도기적 성격의 가마로 보이며, 15세기 초반을 중심으로 짧은 시기 운영된 것으로 생각된다. 장천리 요지는 산청지역에 분포한 다른 가마터(운리, 방목리 등)에 비해 이른 시기에 활동했던 가마였다. 이 글에서 소개한 산청 장천리 요지는 국립중앙박물관이 소장하고 있는 도편자료 중 아주 작은 일부이다. 그러나 이와 비슷한 출토양상을 보이는 경남지역의 다른 지역 가마의 요업시기 설정에 상대적인 기준을 제시해 줄 수 있다는 판단하에 양식적 특징과 생산시기를 검토해 보았다. 도편자료의 구체적인 현상 소개와 내용 제시에 의미를 두고 추후 순차적으로 정리 및 조사를 하고자 한다. 소장 도편의 지속적인 조사는 연구자료 제공뿐만 아니라 향후 전시의 보조 자료로써의 역할을 할 수 있을 것으로 기대된다. This study examines ceramic shards in the collection of the National Museum of Korea, recovered from Jangcheon-ri in Sancheong-gun, South Gyeongsang-do Province. The shards newly recovered from the Jangcheon-ri kiln sites and the current state of the sites are introduced along with existing materials from the site in the collection. In many cases, ceramic shards that have similar characteristics to the shards examined in this study have been generically dated to the last years of the Goryeo Dynasty and the early years of Joseon. Therefore, in this study, the shards recovered from the Jangcheon-ri site will be introduced focusing on their stylistic features, and then their production dates will be carefully reviewed in order to provide assistance to the investigations of similar kinds of shards from the kiln sites in and around South Gyeongsang-do Province, especially for determining their dates by comparative analysis of chronological data. The shards from Jangcheon-ri are mainly comprised of tableware such as large bowls and plates. Considering the style of decoration, they belong to the category of inlaid celadon since inlaying (sanggam) techniques have been continuously applied. At the same time, a stamped (inhwa) pattern was also employed along with inlaid design. However, there were found no features of buncheong ware with stamped design of which surface is tightly decorated with impressed designs and inscribed with government office names. The foot is in the shape of bamboo, and these vessels were fired on refractory clay supports or sand. In this study, these celadon shards were examined together with the shards of similar style from other kiln sites. The Jangcheon-ri kiln is thought to have been operated in the course of a transition of decorative designs. This is when the motifs mainly used for celadon bowls and dishes of the late fourteenth century, such as waterscapes with willow and waterfowl design and lotus scrolls, began to be rendered together or less frequented, and stamping and inlaying techniques were applied to decorate ceramics with new designs such as serial circles and lines. This suggests that the Jangcheon-ri kiln had been operated for a short term around the early-fifteenth century. It was a transitional period in which the trend toward stamped designs covering the entire surface of a vessel became dominant in the flow of the history of ceramics. The Jangcheon-ri kiln is dated earlier than the other kilns located in the Sancheong region (Un-ri and Bangmok-ri, for example). The Jangcheon-ri kiln introduced in this study formed only a small part of the ceramic shards in the collection of the National Museum of Korea. However, this study is significant in that the stylistic features and production period of Jangcheon-ri shards can suggest a relative standard for dating the other kilns located in South Gyeongsang-do Province, of which excavated artifacts show certain similarities with those from Jangcheon-ri. The study focuses on presenting the current state and descriptions of those shards in detail and will be gradually followed by a further investigation. Continuous research on the archaeological materials of ceramic shards in the museum’s collection will hopefully provide not only additional research materials but also secondary material for future exhibitions.

N대-PI-R 성격유형에 따른 오방색 인지도 및 거실 공간 색채 선호

서유리 한국색채학회 2013 한국색채학회 논문집 Vol.27 No.3

The modern people have strong tendencies to express their images in appearance and one of them is to use colors. As colors have a positive and a negative effect on people, it's required to be properly aware of color characteristics. This study aimed to suggest a way to utilize colors properly in daily life by understanding differences between composed colors & preferred colors in the living space, and awareness of five cardinal colors according to NEO-PI-R character types. The result of this study is as follows. First, it's found that there's any difference in the level of being aware of five cardinal colors according to NEO-PI-R character types as white color to have an internally purifying effect was shown to be honest and clear in the extraversion of types, blue comfortable color as freedom was related to the preference & reliability, red color releasing active & passionate energy was demonstrated in the competence and openness and the blue color to be considered as depressed and anxious was most highly shown in the awareness & correlation with regard to the emotional instability. Second, as a result of analyzing to utilize the NEO-PI-R character types with the Cluster analysis, the composed colors were significantly demonstrated on the wall & ceiling, and the preferred ones were significantly shown on the ceiling & curtains. It's turned out that there's a big difference between the composed colors & the preferred ones in the active character and inferior one, and a slightly little difference between the favorable character & the empathetic one in the composed colors and the preferred ones according to the character types. Further, it's understood to prefer favorite colors out of the simply composed ones in the past as it's shown to prefer colors the most to make feel transcendental & patient in the wall colors and free & comfortable blue color was highly preferred on the ceiling. It can be found that the preference of colors for the modern people was changed as curtains were composed of various colors. As it's found that there's any difference between the awareness of five cardinal colors & colors in the living space, it's required to use proper colors according to the character types. As colors have mental effects on people directly and indirectly, proper colors in clothes, sundries, living space, working space, etc are recommended to be used according to individual characteristics. Above all, it's required to pay a careful attention on colors according to the character types or the individual characteristic in the early period of construction as it's hard to change coloring in the living space. 현대인은 자신의 이미지를 외적으로 표현하려는 성향을 강하게 나타내고 있으며, 그 방법 중의 하나가 색채를 이용하는 것이다. 색채는 사람에게 긍정적과 부정적 영향을 미치고 있으므로 색채의 특성을 바르게 인지할 필요성이 있다. 본 연구는 NEO-PI-R 성격유형에 따른 오방색 인지도와 거실 공간 색채선호도를 파악하여 일상에서 색채를 적절하게 활용할 수 있는 방안제시에 목적을 두었으며 연구결과는 다음과 같다. 첫째, NEO-PI-R 성격유형의 외향성은 정직하고 깨끗하며 내적정화작용을 하는 흰색, 호감성은 신뢰성과 자유로움의 편안한 파란색, 유능성과 개방성은 열정적이며 활동적 에너지를 발산하는 빨간색, 정서적 불안정성은 우울하며 불안이 고려되는 파란색 인지도와 상관성이 가장 높게 나타나 NEO-PI-R 성격유형에 따라 오방색을 인지하는 수준의 차이가 나타났다. 둘째, NEO-PI-R 성격유형을 클러스터(Cluster) 분석을 활용하여 변인을 명명하고 거실 공간 색채선호도를 분석하였다. 분석결과 천정과 커텐에서 유의하게 나타났다. 전체적으로 흰색을 가장 선호하였으며, 차순위로 심리적으로 안정감이 도모되는 파란색, 녹색, 벽색, 유황색, 자색을 선호하는 것으로 나타났다. 성격유형에 따른 오방색 인지도와 거실 공간 색채선호도에서 차이가 밝혀져 성격유형에 따라 적합한 색채를 사용할 필요성이 있다. 색채는 심리적 영향을 미치므로 일상의 의상, 소품, 주거 공간, 사무 공간 등은 직·간접적 영향권에 있으므로 개인의 특성에 따라 적합한 색채 사용을 권장한다. 특히 공간채색은 변경이 어려워 시공초기부터 성격유형이나 개인의 특성에 따라 채색하는 세심한 관심이 필요하다.

비만 환자 지방 조직에서의 유전자 발현 비교 분석

서유리,송미경,송민철,이주희,강예은,구본정,김현진 대한내과학회 2020 대한내과학회 추계학술대회 Vol.2020 No.1

Cellulose-based Nanocrystals: Sources and Applications via Agricultural Byproducts

서유리,김진우,선우훈,김장호,정종훈,임기택 한국농업기계학회 2018 바이오시스템공학 Vol.43 No.1

Purpose: Cellulose nanocrystals (CNCs) are natural polymers that have been promoted as a next generation of new, sustainable materials. CNCs are invaluable as reinforcing materials for composites because they can impart improved mechanical, chemical, and thermal properties and they are biodegradable. The purpose of this review is to provide researchers with information that can assist in the application of CNCs extracted from waste agricultural byproducts (e.g. rice husks, corncobs, pineapple leaves). Methods & Results: This paper presents the unique characteristics of CNCs based on agricultural byproducts, and lists processing methods for manufacturing CNCs from agricultural byproducts. Various mechanical treatments (microfluidization and homogenization) and chemical treatments (alkali treatment, bleaching and hydrolysis) can be performed in order to generate nanocellulose. CNC-based composite properties and various applications are also discussed. Conclusions: CNC-based composites from agricultural byproducts can be combined to meet end-use applications such as sensors, batteries, films, food packaging, and 3D printing by utilizing their properties. The review discusses applications in food engineering, biological engineering, and cellulose-based hydrogels.