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정호경(Chung Ho-kyung) 현대미술사학회 2009 현대미술사연구 Vol.26 No.-
The term of ‘Fine Art’ was firstly introduced to Korea in the process of inspecting foreign institutions for building a modern nation after Open-port and has been generalized as a social and a historical notion of art. The systematization of the fine art is mostly overlapped with a process of social changes toward the modern nation through trying to apply the new institutions to whole korean society. Thus, the cognition process of ‘Fine Art’ shows not only a process of acquiring the modernity but also a convergence of erecting the visual regime in Korean society. This study sets forth beforehand that ‘Seeing’ is not a mere physiological perception but the socially, culturally and historically conditioned activities. Therefore, it is essential to analyze the historical environments and social conditions of Korea during the conflict period between the old and the new idea after Open-port. It is also fundamental to examine the discourses among the intellects and primary references in those days for the contextual understanding around the notion of ‘Fine Art’. The first use of the word ‘Fine Art’ was in a formal report of Chosun official group for inspection of Japanese modernized social system in 1881. Newly translation words such as ‘Fine Art’, ‘Museum’ and ‘Exposition’ which was appeared in the report related to the agriculture-commercial business meaned that the fine art was introduced as a part of industrial promotion policies and as a kind of institution for enlightening the people. The fine art was contextualized notion through the national code for civilization or industrial reinforcements or powerful nation in those days. From the beginning of the introduction, the notion of ‘Fine Art’ is equivalent to the modernized visual experiences because of its new word, new notion and new function of ‘Seeing’. The visual-oriented spaces such as exposition and museum were also introduced in Korea as a enlightenment mechanism and it formulated the modern visual culture through collecting, classifying and visualizing the things. Korean government participated in the world exhibition in order to observe the modernized western world and to announce Korea’s autonomy in international society. It has been known that the world exhibition was the cultural-political event of constituting the world image in a symbolic way such as civilization versus savagery, the western versus the non-western and the development versus the delay. The first official participation in the World’s Columbian Exposition held in Chicago in 1893, and in the Exposition Universelle de 1900 of Paris were the cultural experiences to realize the civilized and modernized nation as the goal to achieve. The vision or way of seeing was also newly emphasized factor in the systematization of the fine art. Especially displaying the things or arranging ‘founding world’ in the form of displayed items was a systematic factor to reinforce the specific national images to the publics. This means that there are not only the specific gaze which has been constructed in the public visual regime but also the specific representation system which has constructed modern national images by the visual devices. Modern period of Korea mainly from the Open-port to the Japanese annexation was the extremely confusional period. The systematization of the fine art proceeded in this collision period between the old and the new idea. Therefore, studying on this theme is inevitably to examine how the notion of the fine art was transformed in the social, historical and discourse contexts. Its aim is not for reconstruction of the origins but for restoration of the process in the systematization of the fine art. It offers another chance to reflect today’s notion of fine art and also to examine a phase of visual culture in Korean society.
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「선봉」에 나타난 연해주 한인사회의 계몽과 사회이념의 디스플레이: 1920~30년대 한인 신문 「선봉」의 주요 삽화를 중심으로
정호경 ( Ho Kyung Chung ) 한국외국어대학교 러시아연구소 2016 슬라브연구 Vol.32 No.1
본 논문은 20세기 초반 러시아 연해주 한인사회에서 한글로 발간된 신문 「선봉」에 수록된 주요 삽화 연구를 통해 시각 이미지에 투영된 한인사회의 계몽담론과 사회이념의 구현 방식을 검토하고 당대 한인사회가 처한 정치적, 사회적, 문화적 특수성을 조망한다. 20세기 초, 국가 간 정치 이념이 경합하고 영토 팽창을 위한 무력 충돌이 빈번한 가운데 식민지 모국을 등지고 새로운 삶의 터전을 찾았던 러시아 한인사회는 계몽을 통한 사회 개조, 자유와 해방을 향한 이상향을 열망했다. 「선봉」은 이러한 사회적 맥락 속에서 이주지역에서 한글로 발간됨으로써 한인사회의 모국어 사용을 통한 결속 의식과 사회주의 체제의 일원이 되기 위한 주요 담론의 발신처였다. 근대 매체인 신문은 다수의 독자를 상대로 당대의 중요한 이슈와 담론을 선도했고 삽화 역시 문맹의 독자까지도 포괄함으로써 대중적 파급력과 계몽의 주요 수단으로 활용되었다. 특히 1920~30년대 제작된 「선봉」의 주요 삽화는 내용적으로 사회이념의 선전과 홍보, 사회 개조를 위한 계몽담론의 유포, 식민지 조선의 자유와 해방을 위한 이상적 대안 모색 등이 큰 흐름으로 자리하였다. 또한, 형식적으로는 러시아 사회주의 혁명 이후, 대중선전의 주요 수단으로 권장된 사진과 영화의 몽타주 기법을 받아들였고 포스터에서 활용된 이미지를 그대로 차용하는 기법적 연관성을 보여준다. This paper reviews enlightenment discourses and social ideals` representation of the Korean community projected in main illustrations at Korean newspaper Seonbong and views of the political, social and cultural specificity of Korean community at the Maritime Province of Russia, in the early 20th century. Against the colonial motherland, the Korean community which sought a new life in the Maritime Province was eager for social reconstruction through enlightenment, utopia toward freedom and liberation, while there were political, ideological competitions among the nations and frequent armed conflicts for territorial expansion at those times. Seonbong was being published in Korean supplied the source of main discourses for becoming members of socialist system after migration to Maritime, simultaneously played the leading role of a medium to unify Korean community using the native language. The newspaper is a modern media that was used as the main means of public reach by covering dominant discourses, important issues and illustrations in newspaper were effective to enlightened readers embraced the illiterates by representing leading discourses, as well. The categories of main illustrations in Seonbong produced in 1920s-1930s were classed by some main subjects: promoting social ideology and political propaganda, dissemination of enlightened discourses for social reconstruction, exploring ideal alternatives as the freedom and liberation of colonial motherland, Korea. In addition, after Russia socialist revolution, the newspaper illustrations formally accepted photography and film montage techniques which recommended as the primary means of mass propaganda and used adapted images from Russian avant-garde posters. The visual contents of illustrated in Seonbong implied the aspects of the Koreans` diasporic lives in an age of upheaval. There were not only various layers of realities that they had to endure and but also stories about the ideal society of guaranteed liberty and rights for which they desired. Thus Seonbong`s illustrations were just not a secondary means for delivering the newspaper matters and image-text combined prints, but the important means for identifying the various levels of historical and cultural narratives of the Koreans at the Maritime Province of Russia in 1920s-1930s.
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박정현,정호경,곽상인,유영석,Jung Hyun Park,Ho Kyung Chung,Sang In Kwarg,Young Suk Yu 대한안과학회 2006 대한안과학회지 Vol.47 No.12
Purpose: To report four cases of spontaneous regression of retinoblastoma. Methods: The clinical courses of two patients were retrospectively investigated: a patient who has been diagnosed with bilateral retinoblastoma and has survived more than six years after his parents refused treatment and a patient with bilateral retinal lesions who has survived nine years whose sister was treated for unilateral retinoblastoma. Results: A nine-year-old girl, diagnosed with bilateral retinoblastoma when she was three months old, remained well for nine years after her parents refused to seek treatment. The right eye had three retinal masses that had regressed, and the left eye showed signs of phthisis and was enucleated for a cosmetic purpose. Microscopic examination of the left eye showed a mass, which consisted mostly of fibroblasts and ground substance and a few retinoblasts without mitotic figures. A six-year-old boy with a family history of retinoblastoma presented with regressed retinal masses in both of his eyes at the first funduscopic examination. The retinal lesions showed no change until his ninth year. Conclusions: Two cases of spontaneous regression of bilateral retinoblastoma were observed. No distant metastasis was detected during long-term follow-up. The retinal lesions were similar to regressed masses after treatment.
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선천눈꺼풀처짐 환자에서 보존대퇴근막의 눈꺼풀판 고정이 이마근걸기술의 결과에 미치는 영향
오주연,김철,정호경,곽상인,Joo Youn Oh,M,D,Cheol Kim,M,D,Ho Kyung Chung,M,D,Sang In Khwarg,M,D,Ph,D 대한안과학회 2006 대한안과학회지 Vol.47 No.1
Purpose: To evaluate the efficacy of tarsal fixation of fascia in frontalis sling surgery using preserved fascia lata in congenital ptosis patients. Methods: The authors retrospectively investigated the surgical results of congenital ptosis patients who underwent frontalis sling procedure using preserved fascia lata with or without tarsal fixation. Thirty-nine patients were included in the group with tarsal fixation of fascia and 43 in the group without tarsal fixation. The average age at operation was 59.3 months in the tarsal fixation group, and 64.7 months in the group without tarsal fixation. We compared the recurrence rates between the two groups using the survival analysis. Results: Recurrence occurred in 13 patients of the tarsal fixation group (33.3%) and in 20 of the group without tarsal fixation (46.5%). The two groups’ median survival times from operation to recurrence were 28.4 months and 26.1 months, respectively (p=0.64). Conclusions: Tarsal fixation of fascia did not have a significant influence on recurrence rates in congenital ptosis patients who underwent a frontalis sling operation using preserved fascia lata.
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