수잔 발라동 인물화의 여성성 분석

정금희 한국프랑스학회 2011 한국프랑스학논집 Vol.76 No.-

Suzanne Valadon est une peintre française contemporaine connue pour ses nus. C’était un esprit libre qui refusa d’être la femme traditionnelle qu’exigeait le système patriarcal. Elle s’inspira de la nature pour exprimer la féminité et montra une nouvelle image des femmes en se réappropriant le désir sexuel féminin. Comment pouvait-elle mener une vie paisible en peignant audacieusement des nus dans une société conservatrice où il était impossible de les peindre? Quel est la part de féminisme dans ses portraits ? Quelles valeurs et quelles intentions voulait-elle exprimer?Suzanne Valadon était fille de lingère, née de père inconnu. Elle multiplia les petits métiers (ouvrière, acrobate, modèle) dès l’adolescence. Sa confiance en elle et son désir de liberté grandirent. Cette femme d’une rare beauté et d’une forte personnalité travailla au début comme modèle, observa les techniques des artistes, pour ensuite devenir peintre à son tour. Elle dépassa les limites que la société patriarcale imposait aux femmes. Elle aimait la nature humaine, ses ambivalences, ses angoisses, l’amour, la réalité des conflits. Elle ne fit partie d’aucune école. Elle sublima les personnages contemporains, prit en charge son destin. Dans son œuvre, on peut voir une recherche de soi proche des existentialistes. Cette émancipation se reflète dans tout son travail et elle supprima l’horreur et l’injustice infligées aux corps des femmes. Elle essaya également une nouvelle expression en réfléchissant sur une production d’une image des femmes. Beaucoup d’hommes peignirent souvent des femmes nues comme objet de leur désir en les embellissant et en les rendant très minces avec une peau douce et blanche. Mais les autoportraits nus qu’elle peignit étaient loin de l’image fantasmée de la femme. Elle ne chercha jamais à se dessiner joliment et voulut montrer sa douleur intérieure. Pionnière, elle peignit une autre femme qui n’était pas qu’un simple objet de désir masculin. Sa vie était pleine de passion et elle avait un talent naturel pour la peinture. Elle accéda à la reconnaissance, en dépit d’une société conservatrice où même les femmes bourgeoises n’étaient pas acceptées comme peintre.

중학교 청소년의 성 의미

정금희,김신정,양순옥 대한간호학회 아동간호학회 1999 Child Health Nursing Research Vol.5 No.3

간호사국가시험 문항분석에 문항반응이론의 적용 가능성

정금희,임미경 한국보건의료인국가시험원 2005 보건의료교육평가 Vol.2 No.1

To test the applicability of item response theory (IRT) to the Korean Nurses' Licensing Examination (KNLE), item analysis was performed after testing the unidimensionality and goodness-of-fit. The results were compared with those based on classical test theory. The results of the 330-item KNLE administered to 12,024 examinees in January 2004 were analyzed. Unidimensionality was tested using DETECT and the goodness-of-fit was tested using WINSTEPS for the Rasch model and Bilog-MG for the two-parameter logistic model. Item analysis and ability estimation were done using WINSTEPS. Using DETECT, Dmax ranged from 0.1 to 0.23 for each subject. The mean square value of the infit and outfit values of all items using WINSTEPS ranged from 0.1 to 1.5, except for one item in pediatric nursing, which scored 1.53. Of the 330 items, 218 (42.7%) were misfit using the two-parameter logistic model of Bilog-MG. The correlation coefficients between the difficulty parameter using the Rasch model and the difficulty index from classical test theory ranged from 0.9039 to 0.9699. The correlation between the ability parameter using the Rasch model and the total score from classical test theory ranged from 0.9776 to 0.9984. Therefore, the results of the KNLE fit unidimensionality and goodness-of-fit for the Rasch model. The KNLE should be a good sample for analysis according to the IRT Rasch model, so further research using IRT is possible.

경막외 마취시 시험용량에 포함된 Epinephrine의 Ropivacaine 작용에 미치는 영향

정금희,박성준,손수창 대한마취과학회 2004 Korean Journal of Anesthesiology Vol.47 No.4

에드가 드가 작품에서의 ‘춤’에 관한 연구

정금희,임성은 한국프랑스학회 2013 한국프랑스학논집 Vol.82 No.-

Il s’est produit un grand changement dans la société française après la Révolution de 1789. Un nouveau mouvement pictural a été initié dans les Beaux-Arts. A la fin du 19ème siècle, les impressionistes ont préféré exprimer une impression temporelle à une reproduction réelle. Ils voulaient défier la peinture académique et ont affirmé que la couleur des objets variait selon le changement de lumière. Les impressionnistes comme Manet, Monet, Degas et Renoir ont choisi comme sujets la course aux chevaux, la danse, la blanchisserie dans des scènes quotidiennes. La danse en particulier était considérée comme un bon exemple montrant le mieux le développement de la société moderne. Bien qu'appartenant au mouvement impressionniste, Degas a choisi les portraits aux paysages. Fasciné par la danse, on la retrouve dans nombre de ses oeuvres, si bien qu’il a été appelé “peintre de danse”. Cette étude traite de la raison pour laquelle il a choisi la danse comme sujet de ses oeuvres, de sa signification et également des caractéristiques de sa palette esthétique. Comme des clichés instantanés, il dessinait souvent des scènes quotidiennes dont le sujet était la danse et sa peinture s’est surtout caractérisée par l'attention portée aux coulisses : la répétion des chorégraphies dans une salle de danse, l’attente des danseurs, le moment où les ballerines entrent en scène... Il est allé à contre-courant des peintres contemporains qui utilisaient plutôt un élément dramatique dans l’image de la danse : ils préféraient, eux, peindre une image splendide de la danse sur une scène lumineuse ou encore des bals où valsent des couples. En revanche, Degas a, lui, représenté la danse en opposant le rythme des danseuses, aussi bien sur scène que dans leur espace de travail quotidien hors scène, et le silence du moment en mouvement. Par l’intermédiaire de la danse, Degas a alors montré sa particularité en représentant diverses facettes d'un métier artistique et des scènes aux points de vue originaux et ce notamment en utilisant l’impression des danseuses.

마네의 인물화에 나타난 근대성 연구

정금희 유럽문화예술학회 2014 유럽문화예술학논집 Vol.5 No.1

The prime Impressionist painter Manet, 、iVho pursued new aesthetics instead of traditional academic painting style in late 19thcentury, refused to be an Impressionist himself. Manet wanted to be a mater like the ones in the past but the reality was the opposite of what he wanted. The artistic world of Manet demonstrated in his paintings was worshipped by young Impressionist painters as Art Nouveau (New Art) because he added his own unique experiments to the traditional styles of subject matters and expressions. Although Manet' s paintings were based on traditional paintings, he opened a door to a new art with bright colors, short strokes and painting of naked bodies of women as they really were without any artificial addition, which were also the reason for being criticized bγ the contemporary critics and laymen. Although he did not intend, Manet, a pioneer in the late 19th century Impressionism, represents an important value in artistic history. Contrary to experimental factors of his works of art, Manet was mainly inspired by classic works of aπ and the strong contrast of brightness and darkness in colors only reflect the fact that he learned traditional painting. Just like anγ other Impressionist who worked on nature, rejected traditional academic painting and pursued new art, Manet was inspired bv classic works of art but what he wanted to render in his works was a new artlstIc expreSSlOn.

러시아 사실주의 작가 일리아 레핀 예술의 혁명 이미지 분석

정금희 한국조형교육학회 2005 造形敎育 Vol.0 No.25

Artist reflects the life, ideology and faith to his works as a witness of the day. A Russian realism artist Repin showed greatness of Russian paintings with his superior ability. Repin used to choose his motif in revolution and literature. This study is about Repin's works that were expressed revolutionary upheaval. In 1840 to 1930, There were a lot of revolutionists fought to solve the social problems against absolute monarch the Char. Nevertheless, Repin was born in poor family, he became a great realism artist with his talent. He was influenced by corresponding with famous writer Tolstoi who is nobly born. Repin accepted artistic presentation and ideology of Kramskoy, Stasov, chernyshevski as his source of art. He produced a work of art to internalize spiritual world metaphorically with revolutionary theme. He also sublimated to art that represented genius of intellectuals search for liberalism and portrayed exactly their characters. After all, Repin tried to speak for inner world and social circumstance of the day through his works and express truth, respecting man's life and dignity that is for emancipation of ego.

현대미술에 있어서 패러디 유형에 따른 작품분석

정금희 全南大學校 藝術硏究所 2001 藝術論集 Vol.4 No.-

As contemporary art has been changed to formalism out of traditional expression, it has brought to change of arty concept. In consequence, a fundamental question has been brought on; indeed, what is art? Parody, despite it has appeared as a technique of contemporary art, it is not new phenomenon. In all field of arts including literature, interesting on parody has come to the fore, and started from question of its self-reference characteristic and legitimacy. Parody has explained of outcomes on critic standpoint for modernist's reason, and it, as one of important forms for self-reflection in modern times, has brought to new type on curriculum of art. The reason that parody theory has become important in our time is that it has a certain distance from criticism of work that is the subject of imitation. The distance clears up the creativity of parody artist and the intention of work for those days. In contemporary art, concept of real creation has been changing because imitation, or contrast concept of creation, spread far and wide. We can say that an aspect of various imitation is a parodic technique. In this study, I have classified into three aspects for parody, and through the comparisons and analyses for works and artists, I have explored the role or the worth of parody in contemporary art. At first, my questions maintain that : 1) What is parody?, 2) What works are used for parody?, 3)What influence do the works which are inverted to parodic inclination have on us? I have introduced parody used in all genre of arts. I have grasped the definition and the concept of parody used far and wide from art-historical standpoint. And I have analyzed Picasso' s parodied works with the same title as original works had and the parodied paintings with the same title. I have appreciated Picasso's works created to reproduce works of Delacroix and Manet and so on. Picasso produced a series of works through a sketch or a painting; ex, De'jeuner sur I'herbe. I'Olympia of Manet was subjected to severe criticism in those days. But Rivers was in great reaction against that criticism, and produced I like black I'Olympia. Also, through the comparisons and the analyses for works of Warhol, Duchamp, and Magritte with the most used works for parody, Monna Lisa, Last judgement, as a focus, we are able to knou that they produced works to parody or deny meaning of original works. And lastly, they re-made or described original works as materials. We can see that new works have new meaning different from original works. In conclusion, an appreciator has become a spontaneous co-creator of parody. Therefore, parody can become the sign of knowledge to both person who makes symbol and person who interprets it. There is no need to receive negatively the fact that parody has elitism. We can know there are many parodied works in contemporary art. Similarly, in early 20th century contemporary art, there was much imitational parody to gain impression from classics. It has had the ordinary symbol or the model of text in form, and succeeded to the authority of classics in contents. Consequently, we can say that parodied works, whichever form is imitated, acquire art originality by new creative concept.

히에로니무스의 기도

정금희 고요아침 2021 열린시학 Vol.26 No.3

부부갈등 회피 유형이 결혼안정성과 결혼만족도에 미치는 영향: 회피 불일치성의 조절효과 검증

정금희,이혜은 한국소통학회 2022 한국소통학보 Vol.21 No.1

본 연구는 갈등회피의 양가적 특성을 고려하여 그 개념을 ‘경험적 회피’와 ‘부정적 감정회피’의 두 가지 차원으로 구분하고, 이 두 변수가 결혼안정성과 결혼만족도에 미 치는 영향을 검증하였다. 또한 부부사이 ‘회피 불일치성’을 조절변인으로 제시하여 그 효과를 조사하였다. 결혼 5년 이하의 결혼초기부부를 대상으로 설문조사를 실시하였으 며, 남녀 동일 비율의 200명의 응답을 얻었다. 연구 결과, 경험적 회피는 결혼만족도와 결혼안정성에 부정적인 영향을 미치는 것으로 나타났다. 반면, 부정적 감정회피는 결혼 만족도와 결혼안정성에 긍정적인 영향을 미쳤다. 경험적 회피 불일치성은 경험적 회피 와 결혼안정성의 관계를 긍정적으로, 부정적 감정회피 불일치성은 부정적 감정회피와 결혼만족도의 관계를 부정적으로 조절하는 것으로 나타났다. 본 연구는 갈등회피에 초 점을 맞추고 부정적 감정회피가 부부관계에 미치는 긍정적 영향을 밝힌 실증적 조사로 서 의의를 찾는다.