하트 하트 지구촌

정금희 고요아침 2023 열린시학 Vol.28 No.4

윌리엄 터너의 풍경화에 나타난 상징성 연구

정금희 유럽문화예술학회 2012 유럽문화예술학논집 Vol.3 No.2

William Tumer, who is a representative of nineteenth-century Romanticism in England, mainly painted landscapes by taking advantage of dramatic effects with the use of light. This had an impact not only on modem painting but also on twentieth -century paíntíng. Unlike other painters at the time who drew ’light and atmosphere' and merely put the visual landscape into a canvas, he provided each symbolism according to the themes and images suitable for his works such as forces of nature, scientific civilization, past and future, and criticism of social system. Urbanization and destruction of nature resulting from the lndustrial Revolution progressed at the time when William Tumer was active. Thus, people in England longed for the lost rural landscape. ln his early works, he mainly painted topographic landscape in social situations. On the other side, in his later works, he tried to describe the experience gained from his trip and something invisible that usually fascinated him such as vapor, atmosphere, moisture, fog, storm and others. ln addition, he used light and color as a method to describe these lmages. This study examined the characteristics of Tumer’s landscape paintings described from various perspectives by focusing on his works with topographic landscape and historical significance. Tumer reflected independent methods and thoughts in his works based on the recognition that art should be in harmony with nature by visual experience.

인상주의 여성작가 작품에 나타난 여성성 - 메리 카셋과 베르트 모리조를 중심으로

정금희 한국프랑스학회 2008 한국프랑스학논집 Vol.61 No.-

달리 예술의 불안 심리에 관한 연구

정금희 유럽문화예술학회 2011 유럽문화예술학논집 Vol.2 No.2

From his fantasm and monomaniacal criticizing method on objects, he created a unique artistic value. This research focuses on finding the relationship between Freudianism's anxiety and conversational approach, of which D떠i was pursuit. Then it answers how Dali expressed such delicate elements in image. Because Dali was fascinated by Freudianism, his works are greatly affected by it. Among Freudianism, this research focuses on the concept of anxiety. Anxiety in Dali ’ s works can be c1assified into cause of anxiety, sexual pleasure, and paranoia, which all represent a person ’ s dream, the wor1d of unconsciousness, and irrational wor1d. They are based on his phi1osophical ideas, saying that materiality is futility and hallucination and mind alone is woπhful in this wor1d. Inner side of Dali' s works show the modem people ’ s agony, anxiety, contradiction, fear, and despair. Dali chose the method of automatism, which he questioned if a person can really be complete unconscious state to realize it. By using 'consciousness’, he systematized realm of ’unconsciousness.’ The most fundamental implication Dali left to us is that whether complete freedom of human is the most beautiful art and life, or not. In the rapidly developing civilization that we live in, he questioned human dignity' s sanctity and value. Dali’s works uncommonly express the sense of fear, despair, death, and anxiety in a twisted way; especially the image of anxiety which he recreated in his own world, unlike the common perspective.

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.

잭슨 폴록의 무의식적 예술 세계

정금희 全南大學校 藝術硏究所 1999 藝術論集 Vol.3 No.-

손상기 예술의 내적 서정성에 대하여

정금희 전남대학교 호남학연구원 2011 호남학 Vol.0 No.50

This thesis studied works with inner lyric aspect painted by Son Sang-Ki who was sensitive than anyone else, showed excellent color sense, though he was the disabled. Son Sang-Ki was an artist who overcame his physical disorder and sublimated social situation into the arts in the midst of transition period when our country was changing most rapidly in 1980s. He pursued works with inner lyric aspect based on folk material in the stage of life of the poor who lived on the margins of society. His artistic characteristic is that he naturally created works based on inner intuition in line with social change he experienced or a place he lived in. For form and theme of inner image expression he showed, he had painted works related to nature of his hometown like <Heuksan>, <cargo ship>, <chrysanthemum> etc. until university days in Yeosu. After he moved his studio to Seogyo-dong, he painted <drunken lady> series, <flower without withered>. From the time when he moved to Seoul, he painted <city of construction> series where he dealt with social problem centered on Ahyun-dong. His final works were drawn on sickbed with the material about his family, hometown etc. Whenever he moved to other places and times, he naturally reproduced appearance of life with new themes. This study investigated lyric aspect shown in Son Sang-Ki's inner artistic world, material of works, and their meanings. To do this, his works were classified according to material with lyric aspect and each meaning was analyzed. Among them, this study explored works using material about love for hometown, self-love, love for family which are touching, special ground of life and, at the same time, its background, though such a material is method and process of basic life that common people pursue. Son Sang-Ki's paintings depicted physical disorder, poverty, hopeless love, longing for mother, nostalgia for hometown in a special method called truth. That is, life was reflected in his theory of the arts as reality and then was pursued. Through lyric aspect shown in Son Sang-Ki's paintings, inner exclamation and voice for communication with the world could be identified. 본 논문은 장애를 지니고 있었으나 누구보다 감성적이며, 뛰어난 색채감각을 지녔던 손상기의 내적 서정성이 깃든 작품에 대한 연구이다. 손상기는 1980년대 우리나라가 가장 빠르게 변해가던 과도기의 상황 속에서 자신의 장애를 극복하고 사회적 상황을 예술로서 승화시켰던 작가이다. 그는 소외받은 가난한 자들의 삶 속에서 향토적 소재를 토대로 내적 서정성을 뿜어내는 작품을 추구하였다. 그의 예술적 특징은 자신이 살아가던 사회의 변화에 맞춰, 혹은 그가 정착한 장소에 따라 자연스럽게 표출된 내적 직관을 작품의 주요 화제로 삼았던 점이다. 손상기가 보여준 내적 심상표현의 형태와 주제는 시간과 장소에 따라 변화의 단계를 거친다. 고향이던 여수에서 대학을 다닐 때까지는 주로 고향의 자연에 관한 <흑산>, <화물선>, <국화꽃> 등을 그렸다. 1979년 상경 한 후 아현동에 둥지를 틀면서 <시들지 않은 꽃>, <취녀> 연작을 비롯해 빈민의 삶을 다룬 <공작도시> 연작을 내놓았다. 건강 상 서교동으로 옮겨 죽을 때 까지인 말기에는 병상에서 다시 자신의 가족과 고향을 주소재로 한 작품을 그렸다. 이처럼 손상기는 머무는 시간과 장소를 이동할 때마다 자연스럽게 드러나는 삶의 형상을 새로운 주제로 재현해 낸다. 본 연구에서는 이러한 손상기의 예술세계에서 보여 지는 내적 서정성은 어떤 것들이 있으며 작품에서 나타나는 소재들은 무엇이고 어떤 의미를 담고 있는지 알아보았다. 이를 연구하기 위해서 손상기의 작품에 나타난 서정성의 소재에 따라 세부적으로 분류하여 각각에 담긴 의미를 분석했다. 이 중 그에게 특별하고 애절했던 삶의 터전이자 배경이 된 고향에의 애정을 비롯해 자기애와 가족애에 대한 소재를 이용한 작품들을 집중적으로 살펴보았다. 여기에는 신체적 장애와 가난, 이룰 수 없는 사랑, 어머니에 대한 그리움, 고향의 향수가 진솔하고도 특별한 방식으로 묘사돼 있다. 이는 곧 삶이 그의 예술 안에 리얼리티로 반영되고 추구됐다는 점을 의미한다. 이러한 서정성은 결국 세상과의 소통을 향한 손상기 내면의 절규와 진정한 외침으로 이해되고 있다.

근대미술에 나타난 프랑스 혁명 이미지 분석

정금희 한국프랑스학회 2004 한국프랑스학논집 Vol.47 No.-

자궁적출술 환자의 신체상과 우울과의 관계연구

정금희 이화여자대학교 간호과학대학 1988 이화간호학회지 Vol.- No.21

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.