우리나라 근로빈곤가구 특성의 변화에 대한 실증 연구 : <도시가계조사>를 중심으로(1982-2004) Focus on <The Family Income and Expenditure Survey>(1982-2004)

심상용 ( Sang Yong Sim ) 한국사회보장학회 2006 社會 保障 硏究 Vol.22 No.4

여성의 일-가정 양립을 위한 사회적서비스정책의 발달과 전망: 근대화관점, 계급동원관점, 신제도주의관점의 적용

심상용 ( Sang Yong Sim ) 한국사회복지정책학회 2009 사회복지정책 Vol.36 No.4

국립현대미술관 특수법인화를 정당화하는 담론들 다시읽기 : 세계적 미술관, 막대한 예산조달, 정부기능 축소, 민영화 예찬

심상용(Sim, Sang-Yong) 현대미술학회 2012 현대미술학 논문집 Vol.16 No.1

2010년 6월, 문화체육관광부가 국립현대미술관 특수법인화를 결정했음에도 불구하고, 특수법인화를 둘러싼 논쟁은 여전히 가라앉지 않고 있다. 특수법인화의 주된 근거는 그것이 유연한 조직운영, 인력충원의 자율성, 민간후원유치활성화, 미술관의 글로벌 경쟁력확보 등을 허용해 미술관 선진화에 기여할 거라는데 있다. 이 논의는 특수법인화 관련, 인과론적으로 상호연계된 네 개(단계)의 담론과 그 각각의 중심적인 가정을 살펴보는데 의미를 두고 있다. 그것들은 특수법인화의 필연성을 구성하는 담론화 과정의 단계들이다. 첫째: 국립현대미술관은 '세계적 미술관'이 되어야 한다. 둘째: 그 목적을 위해 '막대한 예산'이 필요하고, 이것이 '민간 기부'를 필수적으로 만드는 요인이다. 셋째: 정부주도의 현 법리로는 민간기부 활성화를 해결할 수 없으며, 따라서 정부가 간섭하지 않는 것이 더 좋다. 넷째: 그러므로 미술관의 '민영화'가 답이며, 그 이행단계로서 '특수법인화'가 실행되어야 한다. 이 논의는 공공미술관의 특수법인화라는 당면한 문제제기를 넘어, 분열적이고 표류하는 현대미술관의 존재론에까지 문제의식을 확장할 것이다. 우리의 궁극적인 지점은 이와 같은 질문들을 이상(理想)으로 내몰면서, 산업화와 경제이념에 경사되어가는 작금의 미술관학을 문제 삼는 것이다.

혁신 주도형 동반성장 모델의 방향과 과제에 대한 시론적 연구

심상용(Sang Yong Sim) 한국사회정책학회 2004 한국사회정책 Vol.11 No.1

본 연구는 혁신 주도형 동반성장 모델의 방향과 과제에 대한 시론적 연구이다. 생산요소투입형 불균형 성장 모델에 대한 진단과 경제 양극화론 및 경제의 성숙단계론에 대한 고찰을 통해 혁신 주도형 동반성장모델의 필요성을 제시하고자 한다. 우리 경제는 수출과 내수, 첨단 IT 부문과 비IT 부문, 대기업과 중소기업, 성장과 고용, 고용 및 임금구조의 양극화가 심화돼 있다. 또, 산업구조의 고도화, 총 요소투입의 성장기여도 약화 및 총 요소생산성의 기여도 증가 등 경제의 성숙단계에 진입해 있다. 따라서 우리 경제는 혁신 주도형 동반성장 모델로 전환할 필요가 있다. 이를 위해서는 우선, 혁신 주도형 성장 모델이 정착돼야 한다. 국가적인 연구개발체계를 구축하고, 산 학연 연계 강화를 통해 기술경쟁력을 확충하고, 신성장동력을 창출하면서 산업간 가치사슬을 회복하고, 지역혁신체계를 구축하고, 인적자원에 대한 투자를 확대해야 한다. 다음으로, 경제의 선순환관계 회복을 위해서는, 제조업 투자와 경쟁력 회복을 통해 산업간 연계를 강화하고, 대·중소기업간 동반관계를 확립, 노동시장 양극화를 해소하는 한편 경제활동 참여를 활성화해야 한다. 나아가 생산성 연합에 기초한 사회적 합의를 달성하기 위한 노력도 필요하다. This article is an essay on the direction and tasks of Innovation-driven Accompanied Growth Model. Through diagnosis on production element-imputing unbalance growth model and inquiry on economic maturity stage theory, I expect to present the necessity of Innovation-Driven Accompanied Growth Model. Korea Economy is in the environment of polarization between export and import, IT and non-IT sector, big and small·midium enterprise, growth and employment, employment and wage structure. And have entered in economic maturity stage that have featured industrial high level structure, weakened growth contribution of total factor imput, growing contribution of TFP. And now Korea economy is needed to transfer to Innovation-driven Accompanied Growth Model. For the transformation, it is necessary to settling of Innovation-driven Growth Model. That is, nation-wide R&D system structuring, technological competition expansion through industry-school-institute linkage strengthening, intra-industrial value-chain recover concurrent to new growth dynamics making, RIS structuring, extension of invest on human capital. Next, for good economic circulation recovering, it is needed for intra-industry linkage strengthening through manufacturing investment and competitiveness, setting of accompanied relationship between big and small-midium enterprise, competitiveness enlarging for parts and material industry, employment-friendly growth strategy building, labor market polarization settlement and economic activities participating activating. And it is necessary that we would make an effort to achieve social consensus based on productivity coalition.

한국에서의 자유주의적 베버리지모델의 형성과 작동에 대한 시론적 연구: 생산레짐, 복지체제의 연계를 중심으로

심상용 ( Sang Yong Sim ) 한국사회보장학회 2010 사회보장연구 Vol.26 No.4

본 연구의 목적은 최근 한국자본주의 사회경제모델의 형성과 작동의 역사특수성을 규명하려는 것이다. VoC론의 정치경제모델을 기초로 논리적인 분석의 틀을 확립하고 생산레짐과 복지체제의 연계에 초점을 맞추어 구조적 질적 분석을 실시했다. 생산레짐은 자유주의시장경제모델, 복지체제는 전형적인 자유주의베버리지모델로 변화하고 있었다. ``시장규제적이고 비조정된 자유주의적 베버리지모델``은 비조정된 경쟁적 시장조정의 행위자관계에 의해 상호적으로 강화되는 것이다. LMEs의 대안은 억압적 조정의 유산과 친화력이 있어 주요 행위자에 의해 전략적으로 선택된 것이었다. The aim of this work is to verify the historical specificity of formulation and functioning of recent Korean social economy model. After establishing theoretical analytic frame based on VoC`s political economy model, this article have studied structural qualitative analysis focusing on linkage of production regime and welfare system. Production regime have changed to LMEs and welfare system to liberal Beverage model. ``Market regulatory and uncoordinated liberal Beverage model`` have reinforced reciprocally by actor relationship of uncoordinated competitive market coordination. LMEs` alternatives have been chosen strategically by key actors because it have affinity between legacy of despotic coordination.

두 거대 담론의 향방(向方), 예술의 폐기와 전시의 융기

심상용(Sim Sang-Yong) 현대미술학회 2007 현대미술학 논문집 Vol.11 No.-

The object of this paper are for illuminating and understanding of the situation of the today in which the value of existence of the artwork is replaced with the exhibition value and exhibition becomes more the center of a history than the art creative work. Because the aura of the art is nullified and the exhibition would rather be the initiative location in the whole process of art, it is due to be the very important factor. In these contexts, this paper deals with various problems such as a fact that spectaclism line which is favorable to get the cheers of the public affects the process of creation of the art closely. Curating, the frame of this era about the exhibition plan and the excessive priority are the matter to it told to the part causing the vocabulary, that is the caricature which is like 'the artist hunting', moreover importantly has to handle. Therefore, in this time flow, it is difficult that it denies that the skepticism of not only the art originator but also the art creative work itself and devaluation are already contained. In this process, the exhibition and exhibition planning have became more clear knowledge whereas the art be dramatically vague. Today the knowledge enjoying popularity is to relate to the technology it produces an exhibition. Recently, we stand on the contacting position that makes the push-pull action between the creative work and planning, and acute discord. It is the reality that the different story is intersected in which this needs our reflection. Between this alternated two kinds of order, two dimensions, there is the action of some closely mutual power. The subjects of the exhibition plan have a tendency of perceiving themselves as new subjects of a discussion. They want to understand an exhibition as the chapter accomplishing its own concept. Consequently this new subject tries to rank a predominately when a discord was caused in the creative work of its own 'planning' and writer. However, it also cannot also be ever free from a danger including the subjective point of view or the prospect of the selves, the objectification of the recognition, a colonization, and etc. for new heroes of this exhibition era too. Therefore, it is also doubtful with the point of view and position of the exhibition plan of today. Hence the excessive priority which is given to this must be advisedly examined. The most important thing is that watches whether the excessive frame which is imposed on an exhibition doesn't act in the base rather suppressing the creative work of a writer as the creative work and a situation has been being adjusted so that curatorship and exhibition culture may not lose this kind of the balance sense. Though an exhibition is the creative performance, it is the creative behavior performed on the much more social, political, economic communication bases. Due to this nature of exhibition curating, it will be difficult that an exhibition replaces the profundity, diversity and the potentiality of the truth which only can be obtained by sound immersion and result of an ardor of one subject without damage. In conclusion, this paper as to be proposed, is like the exhibition culture and flow of this era: The exhibition can be accomplished the goals such as true companion of creative work which is beyond the methodological and instrumental knowledge, companionable creation for those who expands and engraves creatable profound rich groping and the meaning of the results on the basis of personal memory of life, experience, and imagination.

현대미술에 있어 트랜드화 현상과 다양성의 위기에 관하여

심상용(Sim Sang-yong) 현대미술사학회 2007 현대미술사연구 Vol.21 No.-

Today, as . to the flow of the art, the unique nature of one individual and the value of diversity - or pluralism - made with that are faced with the crisis. Because the creative individuality of the private legacy of the subject and its the expression level have became to be seriously intensified for shrinkage deepening by the collective code phenomena called as 'Trend'. Therefore the purpose of this paper is to examine closely how the 'Trend' could be the main phenomena in the flow of the contemporary art, how it could infringe the base of the individuality of the subject and demolish d1e foundation of the art. A trend is revealed as visible phenomena through the accumulation of motivations, which are more inclining toward the desire for joining in the reaction and action of the peer population instead of walking the route of a self in each art subjects. The result of that causing makes to miss own route by feeling the crisis of an identity when being out of the collective category in which a self belongs. Furthermore, it brings forth more big result of repressing one era of potential aesthetic achievement and a balance as it makes creative working subjects to imitate each other in the various levels and has given as an index. In the lower side of this trend phenomena, the complex factors have been including the dramatic uncertainty of the era, which has been undergo the sudden simultaneous dis man dement of the aesthetic norm and belief and the psychological disturbance for an isolation and estrangement, and etc. Though a fashion is the phenomenon that has existing any era or society, its action is naked, authoritarian, radical and accelerated era in the present age comparing to the past times. Among them, in the area of the contemporary art, recently phenomena occurring for about 10 years are the fact to have been having the really dramatic mode. Furthermore, the trend of the modern art field has been changing the aspect of authoritarianism and suppression in the process of aesthetically being justified and formulated. It is the reason why the phenomena of trend cannot be dealt with the light status for the inevitable social phenomena of the mass-culture era. With the awareness of the issues, this paper has been intended to focus on the style which more outstandingly shows up in the trend of the rapid globalization, a trend of formality, and the phenomena caused in the special condition of Korea. It tried to make clear in the forming process of a trend, the being powerful and ripple effect, and the harmfulness which has affected directly or indirectly the ontological base of art as the unique nature of each subject and its pluralism.

비교사례(영국, 아일랜드) 접근을 통한 새로운 사회협약(social pact) 성립의 제도 및 행위자 요인에 대한 연구

심상용(Sang-Yong Sim) 한국노동연구원 2007 노동정책연구 Vol.7 No.3

본 연구의 목적은 제도 및 행위자 요인을 중심으로 한 내적 동학이 코포라티즘의 기반이 취약한 나라에서 새로운 사회협약이 출현하는 데 미친 영항을 규명하는 것이다. 제도 및 행위자 요인의 작용에 대한 신제도주의의 논의를 바탕으로, 같은 앵글로섹슨 국가이지만 1980년대 이후 사회협약의 성공과 시도 부재의 극단적인 차이를 보이고 있는 아일랜드와 영국을 대상으로 맥락대조 방식의 비교사례 연구를 실시했다. 연구 결과, 아일랜드에서는 1980년대 이후 합의제 정치 제도가 성숙되어 제도권 밖의 노동세력을 포용하는 코포라티즘의 형성에 영향을 미쳤고, 합의제 정치 제도는 동참형 정치문화를 조성해 국가-자본-노동의 정치행위자들은 영국식 자율주의의 유산을 극복하고 3자협약에 참여해 장기 이익을 추구하려는 전략을 채택했다. 제도-행위자 요인의 상호작용 결과, 아일랜드는 기존의 다원주의적 이익추구 모델의 경로에서 이탈해 코포라티즘 제도를 새롭게 확립해 생산성-분배연합을 추진하고 있다. 이는 기존의 제도적 유산, 잘 확립된 복지 제도 등의 제도적 기반이 취약한 나라에서도 코포라티즘이 출현할 수 있음을 입증해 준다는 점에서, 우리나라에도 노동세력에 대해 포용적인 정치 제도 형성, 노조의 대표성과 독점성 강화, 장기적 조정전략의 지향, 복지 제도 확대와 배제집단의 참여 등 생산성-분배연합의 균형 추구를 위한 합리적ㆍ실용적ㆍ능동적 국가능력 등이 필요하다는 점을 제시해 준다. The aims of this study is to look into the influence of internal dynamics centering around institutions and actor factor on the resurgence of new social pact in the country to have weak ground of corporatism. In the bases of new institutionalism, I have applied contextualized comparison comparative case study method on Ireland and England that have appeared extreme difference to success and absence of trial on social pact. This study indicates that in Ireland consensual political institutions that have matured after 1980s have influenced corporatism formation to include labor group that have been outside of institutions, have fostered 'me-to' political culture that have enabled government-capital-labor political actor to adopt the long-rolling interest pursuit strategy. In the result of institutions-actor factor interaction, now Ireland have pursued production-distribution coalition through newly established corporatism institutions that have exit existing pluralist interest pursuit model. It is proved that corporatism can resurge in the country that have weak corporatism base - existing corporatism inheritance and well established welfare institutions. This suggests that in Korea it is required inclusive political institutions to labor group, representativeness and monopoly of trade union, the pursuit for long-rolling coordination strategy, rational pragmatic active nation capacity to pursue balance of productiondistribution coalition that includes enlargement of welfare institutions and participation of excluded groups.

글로벌 아트페어(Global Art Fair) 비평적 읽기

심상용 (Sim, Sang-Yong) 한국미술이론학회 2008 미술이론과 현장 Vol.6 No.-

공공미술(Public Art)의 비평적 단초 찾기 : 공공미술(Public Art)에서 공공적인 미술(Public-Spirited Art)로

심상용(Sim Sang-Yong) 현대미술학회 2008 현대미술학 논문집 Vol.12 No.-