한국전쟁기 남한 미술인의 전쟁 체험에 대한 연구 : 종군화가단과 유격대의 미술인을 중심으로

조은정 이화여자대학교 한국문화연구원 2002 한국문화연구 Vol.3 No.-

During the Korean War, a significant ideological disruption existed among the South Korean Artists. The ideology taken by the artists, whether it is right(Denmocracy-South Korea) or left(Socialism-North Korea), it is directly related with their life perse. Since much Korean territory was conquered by the U.N. troops and also by China over and over, most of the artists could not escape from treasonous felony. Therefore, the artists crossed the 38 Parallel and headed for South or North upon their ideology and became members of war-artists or volunteered for military service. During and After the Korean War, the Do-gang Pa, a group of artists who crossed the Han river and settled down in the South, assumed hegemony. This was a prelude for power games between groups of artists, a faction. Since then, the factionalism played a important role for competition of the Korean art contests. During the period of the Korean War, there was no further development of art works but a structural change was witnessed in the factionalism. This was a pro-America art group in one side and a conservative art group leaded by Ko, Hee-dong in other side. Most ideological conflicts in the world of Korean arts, experienced after the Korean War, in fact began during the Korean War. Because anti-communist ideology also emerged in the world of Korean arts after the Korean War. This study examines artists’ activities based on the ideological perspective in the South during the Korean War. Also this study reveals that collective behavior among the artists dominates the world of Korean arts and patterns of the art works. During the period of the Korean war, main art organization was the member of war-artists and irregular partisans and anti-communist military groups belonged to this organization. The reasons why the artists participated at the organization and the tasks what they did revealed the true nature of the Korean War. The member of war-artists participated at the organization to be shown as the right wing and fear against revenge from the Korean forces leaded the artists to become irregular partisans. This study showed for the first time the reality of art world of the irregular partisans artists who were taken advantage of psychological warfare. War experience of the Korean artists during the Korean War yielded no criticism for obedience and anti-communism against the hegemony which was the main stream to lead modernism. However, we witnessed a challenge against the taboo-subjects in the year of 1980s when new artists with no war-experience emerged in the world of art.

OPVS PISANI PICTORIS: 피사넬로와 초기 르네상스 메달

조은정 서양미술사학회 2006 서양미술사학회논문집 Vol.25 No.-

OPVS PISANI PICTORIS: Pisanello and the EarlyRenaissance Portrait MedalsCho, Eunjung _Seoul National University조은정OK 2006.8.21 8:44 AM 페이지34 g5 One fine example is the reverse of the portrait medal of Leonello to celebrate his marriage toMaria dAragon. A small putto holding a musical manuscript in front of a lion, which is a visualizationof the idea that the marriage between the Este family and the Aragon family would provide Leonellolove and power. Also the blindfolded Lynx, the sail on a mast fixed in the ground(festina lenteimpresa), and the three-faced putto images frequently found in the reverse of the Leonello medalsare the allegory of Prudence that Pisanello used to commemorate the virtue of this prince. Incomparison to the Leonello marriage medal, the large medal of Alfonso dAragon in 1449 emphasizesthe public image of king Alfonso as Triumphator et Pacificus as well as a provider of

서양선교사들의 "월방언(월方言) 학습교재"를 통해 살펴본 19세기 전후와 현대(現代) 월방언의 차이점

조은정 한국중국언어학회 2012 중국언어연구 Vol.0 No.42

十九世紀前後的월方言經過一百多年的時間, 其音韻與詞彙都有了一些變化。音韻的變化可分爲合音、同化與懶音的三種。合音爲兩個音節合爲一個音節, 比如‘먀野[met55jε13]’合爲[mε55]、‘오係[ 21 hei22]’合爲‘[mei22]’。同化爲一個音受連接音的影響而變成령外一個音, 如‘新抱[Sen55 p`ou13]’變成‘心抱 [Sem55 p`ou13]’、‘蛋家[tan22 ka55]’變成[taŋ22 ka55]。‘懶音’是爲了說話快或合倂一些音, 將原有的音念成령外一個音, 比如[ŋ]念成[ø]、[n]念成[l]、[η]念成[m]。詞彙的變化可分爲三種: 字形的變化、忌諱詞、貨幣單位。字形的變化爲在原有的字加上部首或者把詞彙的詞序顚倒, 比如‘野’改成‘야’、‘文’改成‘蚊’、‘삽압’改成‘압삽’。忌諱詞是爲了避免不吉利的預兆, 因此以吉樣的詞彙來代替不吉祥的詞彙, 如‘肝’與‘乾’同音, 所以‘肝’改成‘윤’;‘書’與‘輸’同音, 因此‘通書’改成‘通勝’。在十九世紀前後, 講貨幣單位的方法有흔多種, 但是到了現代只剩下了一種, 如‘五毛’變爲‘五毫子’、‘一괴’變爲‘一蚊’、‘一괴五’變爲‘個半’。

2006학년도 신입생 성의식 실태조사

조은정 한국외국어대학교 학생생활상담연구소 2006 학생생활연구 Vol.9 No.-

이동전화 이용에서 나타나는 커뮤니케이션 회피에 대한 연구

조은정 한국언론학회 2007 한국언론학회 심포지움 및 세미나 Vol.2007 No.-

EURATOM: Bridging ‘Rapprochement’ and ‘Radiance’of France in the Post-war

조은정 서울대학교 국제학연구소 2013 Journal of International and Area Studies Vol.20 No.2

This article interrogates the question of how France was able to achieve their policy goals, ‘radiance of France’ (nuclear development), in respect to the relations with those in the post-war alliance, ‘rapprochement of France’ (European integration). It argues that France’s membership in EURATOM provided a venue for pursuance of its political autonomy via rhetorical actions which I labelled, ‘agree-and-deepen policy,’ was precisely one such mechanism through which this was done. In so doing, I open the discussion with critiques to the Rationalist Materialist account on the French motivation to become a member of EURATOM; namely that France joined EURATOM to accomplish its nuclear ambition through exploiting all the available sources of EURATOM and the false controversies contained within the EURATOM ‘defence clause’. Next, an alternative explanation is provided in regards to the influence of EURATOM over France by tracing the path in which the French foreign policy identity was reconstructed in the post-war period via EURATOM under the framework of ‘agree-and-deepen policy’. Finally, it concludes that EURATOM provided France leeway for legitimate nuclear development, which satisfied two policy goals demanded by Others and desired by the French Self, without negatively impacting on the French relations with Others.

경험으로서의 한국현대미술: 윤난지, 『한국 현대미술의 정체』, 한길사, 2018

조은정 미술사학연구회 2018 美術史學報 Vol.- No.51

올림픽조각공원 - 조형작품전시공원과 공원의 경계에서

조은정 한국근현대미술사학회(구 한국근대미술사학회) 2018 한국근현대미술사학 Vol.36 No.-

After 30 years has passed since the 1988 Seoul Olympics, nowadays Olympic Park and Olympic Sculpture Park are indistinguishable to the nearby residents. At the point where publicity and individual freedom merges, everything around becomes privatized. Where even nature such as mountains and rivers, sunrises and sunset occupies space, Korean society is driven by extreme capitalism and therefore, Olympic Sculpture Park can be just seen as a ‘garden’. This is a reflection of the Korean society that has reached extreme capitalism and an aftereffect of an event that has been pushed by public power that desired oblivion. Even though the evaluation of a memorial monument that has to be remembered publicly changes over time, it is located in the society as a scene of history. This is a different way from environmental sculptures on the premise of beautiful urban landscape. If the sculptures in the Olympic Sculpture Park only rely on the history, which means that if they don’t become art pieces in connection with life, and don’t be evaluated as an artistic sculpture park, it will always encounter with personal freedom that has been experienced by Cesar’s <Thumb>. The art pieces at Olympic Sculpture Park were created even by the Cold War Era Eastern European artists. Though these art works, the park could become a location that symbolizes peace and harmony beyond ideology, and even by satisfying the desire of internationality. However, the generation who remembers the Cold War Era is no longer the ones who raise their children and strolling in the park. In addition, the artistic evaluation of the works displayed in the ‘Sculpture Exhibition Park’ are changing and have rapidly lost their aura in national events. Beyond the title of the world’s first Olympic sculpture park or a large scale sculpture park, and being beyond the ‘Sculptures in Olympic Park’ and becoming the main subject is not the necessarily figure that the modern society aims. The starting point of building the Olympic Sculpture Park that has been filled with art works was hinged on the creation of a competitive space of expression that gets abreast of the event of competitive sports matches that is based on nationalism. The artistic works of the Olympic Park are still part of the world art. The fact that the world-renowned work in in the Olympic Park proves that we have joined the world’s level of the time. The Olympic Sculpture Park is located within the Olympic Park, which is represented by common memories in a public place. As social existences seem to be inevitably changed as time passes by, the public art that were location focused has changed to community characteristic art starting from the issues. Thus, Olympic Park and Olympic Sculpture Park have now become a point where the desire of admitting the place as a proof of globalization and where the environmental sculptures that are located in a personal experienced space conflicts. In the world where the awareness of Olympics is changing, the Olympic Sculpture Park is located at the point where the desire of private gardens and public parks meets.

기록의 재생과 기억의 구조물, 한국전쟁기념물

조은정 재단법인 내일을여는역사재단 2010 내일을 여는 역사 Vol.41 No.-

흰쥐 상경신경절절제가 방사형미로를 이용한 공간인지능력에 미치는 영향

조은정,박종민 대한마취통증의학회 2011 Anesthesia and pain medicine Vol.6 No.1

Background:Stress, elevated sympathetic nervous system, glucocorticoid concentration affect learning and memory. The aim of this study was to evaluate the effects of superior cervical ganglionectomy on the spatial memory using radial arm maze test. Methods:Male Sprague-Dawley rats were used. Rats were divided into two groups: a superior cervical ganglionectomy group and a control group. Each rat was put into the radial arm maze two times per day for 4 days. We checked the number of the total visit, the total error, the reference memory error, the working memory error. And then a superior cervical ganglionectomy group received bilateral superior cervical ganglionectomy, and a control group received a sham operation. The radial arm maze test was then repeated and we evaluated the effect of superior cervical ganglionectomy on spatial memory. Results:There were no significant differences in ratio of total error, reference memory error, and working memory error. Conclusions:Bilateral superior cervical ganglionectomy in rats does not effect the spatial memory. However, further studies are needed to determine the effect of superior cervical ganglionectomy on spatial memory.(Anesth Pain Med 2011; 6: 54∼58)