http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
이정인(Lee, Jeong-in) 한국조형디자인학회 2011 조형디자인연구 Vol.14 No.1
우리는 타인의 저작물을 허락 없이 이용하는 것을 흔히 표절이라고 부른다. 그리고 법적으로 이러한 행위를 한 자는 저작권 침해라는 책임을 지지 않으면 안된다. 그런데 패러디나 패스티쉬의 경우에는 타인의 저작물을 허락 없이 이용하는 것이 대부분이라고 할 수 있다. 그렇다면 패러디나 패스티쉬는 저작권 침해의 행위로 귀결되는 것일까? 현행 저작권법 28조는 일정한 요건을 구비한 ‘인용’을 저작권 제한사유의 하나로 명시하여 이러한 요건을 갖춘 경우에는 저작권자의 이용허락이나 대가의 지불 없이도 자유롭게 타인의 저작물을 사용할 수 있도록 규정하고 있다. 본 연구는 미국의 현대 미술 작가 제프 쿤스(Jeff Koons)의 작품을 중심으로 포스트포더니즘 미술에서 나타나는 차용의 특성을 조명해 보는 과정을 통해 현대 회화에서 어떻게 차용양식이 발전되고 변화되고 보편적 정당성을 얻게 되었는지를 살펴보며 이러한 차용의 기법이 작가의 저작권과 충돌하는 부분에 관심을 가지고 미술 비평적 관점과 현행 저작권법 체제의 충돌하는 영역에 제기되는 다양한 문제점을 고찰하고자 한다. Since the middle of 20th Century, the art of post-modernism shows a trend, which directly borrows the form and pattern of pre-existing works and presents a reinterpretation on them. This sort of movement appears to reflect the artists’ attempt to get acquainted with the public, while giving up the modernism’s goal which tries to maintain the modern art as a belonging to the high society. In particular, the parody and pastiche denies the fixed value and thought and addresses a new value based on reinterpretation of the pre-existing forms. This changing aspect of contemporary art has given rise to threats of litigation for copyright infringement. This dissertation focusing on the works of Jeff Koons argues in favor with a fair use exception that would permit the use of photographs in work of art. When this postmodern strategy of appropriation is employed, the artistic statements usually takes a critical stance, setting up a dynamic relationship between two aesthetic statement that critiques the tenets of the modern aesthetic. The overall purpose of the proposed fair use exception for the use of photographs in works of art is to strike a balance between the rights of the photographer and the interests of the public in the vibrant and discursive forum.
이육사 수필의 자기의식 연구 : 리쾨르의 이야기정체성을 중심으로
이정인(Lee Jeong-in) 한국언어문학회 2021 한국언어문학 Vol.116 No.-
Yi Yuk-sa was a poet of resistance who aimed to overcome the colonial reality of the Joseon Dynasty with his indomitable willpower. This paper examines the flow of self-awareness revealed in Yi Yuk-sa’s essay based on the viewpoint provided by Paul Ricoeur’s narrative identity(triple mimesis theory). The main point stressed by Ricoeur s poetics is that narrative identity is constructed through the relationships with others and also the interchange with texts like traditions, history, and education. Based on the fact that essay is a form of writing about the writer s life story, there is a point of contact with the understanding about text-mediated narrative identity. Firstly, the main world of preunderstanding(mimesisⅠ/prefiguration) for Yi Yuk-sa is a ‘Confucian discourse in an intimidating scale’, including traditions, a code of conduct, and an awareness system. Under the Confucian nature which points out the importance of rules of ethics, he embodied basic Confucian refinement, including the principles of life and personal duties required to live as a member of community. Moreover, he acquired a strategic directivity towards the anti-Japanese movement by new learning that he gained through Japan and China as well as new ideologies. The autonomous historical consciousness that shaped under this influence served as the basis for Yi Yuk-sa’s own existence. The act of embodying(mimesisⅡ) narratives before it shaped into narratives through languages, symbols and signs established a foundation for internalizing the patriotic resistance awareness even further. With this, we have reached a point where we recognize that Yi Yuk-sa’s writings symbolize a time of selfreflection as an anti-Japanese patriot and also a literary response that he chose as a detour of resistance. Likewise, the text internalized(re-figuration/mimesisⅢ) by Yi Yuk-sa ‘applied’ as practical acts. Despite the Japanese oppression, he sustained his identity as an anti-Japanese patriot by fulfilling his self-promise to stay determined about his anti-Japanese spirit. In conclusion, the self-awareness revealed in Yi Yuk-sa’s essay was classified into three mimesis phases of narrative identity and the findings revealed that the text world formed and transformed into a new world of acts and each phase of mimesis mutually functions as a foundation for the other stages. Namely, Yi Yuk-sa’s patriotic spirit of resistance internalized based on the historical consciousness constructed under the Confucian discourse was embodied as the literature of ‘acts’, an existence method of sustained self-examination, and it was identified that this developed into ethical practical awareness of the self acting based on his own spontaneity.