다차원적 경계를 통한 에스닉 공간의 구성: 김해의 사례를 중심으로

정현일 ( Jeong Hyeon-il ) 동양사회사상학회 2024 사회사상과 문화 Vol.27 No.2

이 연구는 김해 에스닉 공간을 구성하는 다차원적 경계를 탐색했다. 초국적 이주가 일상화됨에 따라 전 세계 곳곳에 이국적인 에스닉 공간이 형성되고 있다. 이러한 에스닉 공간은 다른 공간과 분명히 구별되는 모습을 띤다는 점에서, 공간을 가르고 규정하는 모종의 경계가 존재한다는 것을 알 수 있다. 이러한 에스닉 공간의 경계란 단순한 물리적 구분선만이 아니라 어떤 것을 받아들이거나 선별하는 장치라 할 수 있다. 따라서 물리적 경계만이 아니라 누군가를 사회적으로 포용하고 배제하는 사회적 경계, 과거와 현재의 시간적 경계 등 다양한 차원의 경계가 에스닉 공간을 관통할 수 있다. 그리고 이러한 다차원적 경계는 사람, 화폐, 물건의 이동을 둘러싼 대립과 긴장을 보여줄 수 있다. 이를 위해 김해 에스닉 공간을 분석대상으로 설정했다. 김해 에스닉 공간은 평화적 공존이 돋보이는 곳이나, 그 이면에서 작동하는 모종의 경계들을 드러낼 수 있다면 에스닉 공간 연구에서 다차원적 경계가 갖는 중요성을 드러낼 수 있기 때문이다. 또한 에스닉 공간의 안ㆍ밖을 나누는 경계의 제 요소를 인식하기 위한 이론적 자원으로 경계공백지대(border vacuums), 방법으로서의 경계(border as method)를 활용했다. 경계공백지대는 도시의 활력이 사람들의 유동성과 뒤섞임으로부터 생겨난다는 제인 제이콥스의 관점을 받아들인다. 대규모 단일 용지는 사람들의 통행을 가로막아 인적이 드문 공백지를 형성한다. 그리고 이러한 공백지를 통해 공간과 다른 공간을 구별하는 물리적 경계를 포착할 수 있다. 방법으로서의 경계는 경계를 좀 더 폭넓은 의미의 연구 대상이자 인식 틀로 바라보기에 다차원적 경계를 인식할 수 있게 한다. 분석 결과, 물리적 경계를 비롯하여 시간적 경계, 포용과 배제의 경계, 주체가 경계를 넘나들게 하거나 이를 저해하는 대립적 실천은 각각의 형태로 에스닉 공간을 구성하고 있었다. 경계들의 중층적인 작동은 지역사회에서 에스닉 공간의 한계와 성격을 규정했으며 그 안ㆍ밖을 다채롭게 보여줬다. 이를 통해 에스닉 공간의 경계가 어떤 속성을 지니는지, 그 경계의 확장과 한계는 어디까지인지, 나아가 경계의 다양한 차원과 이를 통한 에스닉 공간의 긴장을 조명했다. 결론적으로 이 연구는 에스닉 공간의 영역과 특성을 확인하기 위해서는 물리적 경계만이 아니라 다양한 경계에 주목해야 한다는 점을 확인하고 도시 내 에스닉 공간을 분석할 새로운 시각을 제공했다. This study explored the multidimensional boundaries that make up Gimhae’s ethnic space. The boundaries of ethnic spaces are not just physical dividing lines, but also devices for accepting or screening something. Therefore, not only physical boundaries, but also social boundaries that socially include and exclude people, temporal boundaries between the past and present, and various other dimensions can penetrate ethnic spaces. And these multidimensional boundaries can show the conflicts and tensions surrounding the movement of people, money, and goods. To this end, this study analyzes the Gimhae ethnic space. As theoretical resources, I utilized border vacuums and border as method. Border vacuums embrace Jane Jacobs’ view that the vitality of a city comes from the fluidity and intermingling of people. and Border as method allows for the recognition of multidimensional borders by looking at borders as a broader object of study and framework for perception. The analysis shows that physical and temporal boundaries, boundaries of inclusion and exclusion, and confrontational practices that enable or discourage actors from crossing boundaries each constitute forms of boundaries in ethnic spaces. The layered operation of these boundaries defined the limits and nature of ethnic space in the community, and provided a colorful picture of what was inside and outside of it. This study sheds light on the nature of ethnic space boundaries, the extent to which they extend and the limits of ethnic space, and the different dimensions of boundaries and the tensions they create. In conclusion, this study confirms that in order to identify the territory and characteristics of ethnic spaces, it is necessary to pay attention to various boundaries, not just physical boundaries, and provides a new perspective for analyzing ethnic spaces in cities.

조양규의 조형 이미지 연구

정현아(Jeong Hyeon-a) 한국근현대미술사학회 2009 한국근현대미술사학 Vol.20 No.-

A Korean who resided in Japan, Jo Yang-gyu was first introduced to the Korean art world in the 1990s as a member of Jochongnyeon (a pro-North Korean group in Japan) because of his association with Namrodang (a pro-North Korean group in Korea) prior to his emigration to Japan, and because he was a producer of realist painting. Study and critique of Jo Yang-gyu’s work in postwar Japanese art history appears to fall into two main groups: critique of his work as realist painting and as modernist painting. One of the reasons for this apparent division comes from the structure of the Japanese art world itself. However, a more significant reason is that, generally speaking, mistakenly, Korea views the works of Koran artists residing in Japan as being necessarily socialist realist. While Jo Yang-gyu had a clear and active political position in Korea, this was not true of his days in Japan. On top of this, his works were not characteristic of socialist realist painting. It is necessary to more towards a study of Jo Yang-gyu’s work outside of the prejudices of the Korean art institution and the Japanese polarized critique of realist painting. From here, I would like to look at his work from the point of view of not only his ideology but also the form of his paintings.

원도심 도시재생의 공간유형: 부산 원도심 도시재생의 경관분석을 중심으로

정현일 ( Jeong Hyeon-il ) 동서대학교 일본연구센터 2020 次世代 人文社會硏究 Vol.16 No.-

이 연구의 목적은 원도심 도시재생의 다양한 공간유형과 이들 공간의 특성과 의미를 확인하는 것이다. 이를 위해 부산 원도심 도시재생 공간을 연구대상으로 설정하고 경관분석을 수행했다. 먼저 부산 원도심의 자연경관과 문화경관을 분석하고 원도심 도시재생 공간에 대한 다양한 시선과 개입이 존재한다는 것을 확인했다. 다음으로 원도심 도시재생의 불균등한 효과로 인한 원도심 도시재생의 다양한 공간유형을 확인했다. 첫째는 주민 소외가 나타나는 스펙타클 공간으로 상업경관을 보여주는 소비공간과 벽화경관을 보여주는 전시공간이 나타났다. 둘째는 주민의 일상과 삶이 나타나는 일상생활공간으로 생활경관과 안전경관이 나타났다. 셋째는 폐가가 나타나는 유기공간으로 폐가경관이 나타났다. 이들 공간유형은 각각 고유한 입지, 경관, 공간성을 나타내고 있었다. 최종적으로 이들 공간유형으로부터 ‘가난의 낭만화’를 실현하는 외부자 시선, ‘선택과 집중’을 실현하는 외부자 접근성이라는 원도심 도시재생의 특성과 의미를 확인했다. 결론에서는 원도심 도시재생과 포용적 도시에 대한 시사점을 제시하였다. The objective of this study is to identify the various spatial patterns of old downtown urban renewal, as well as the characteristics and significance of these spaces. To this end, this study focused on Busan’s old downtown urban renewal spaces and has also implemented landscape analysis. Firstly, this study analyzed the natural and cultural landscapes of Busan's old downtown and examined the existence of various gazes and interventions on Busan's old downtown urban renewal spaces. Next, this study has identified various spatial patterns as a result of the uneven effects of old downtown urban renewal. First was the space of spectacle, which features the alienation of residents, and shows the consumption space that portrays a commercial landscape, as well as the exhibition space that portrays the mural landscape. Second was the space of everyday life, which features the residents’ everyday lives, and shows the lifestyle landscape and the safety landscape. Third was the deserted space which features deserted houses, and shows deserted house landscapes. Each of these spatial patterns showed unique location conditions, landscapes and spatiality. Subsequently, this study identified the characteristics and significance of old downtown urban renewal from these spatial patterns─ the outsiders’ gaze of realizing the “romanticization of poverty” and the outsiders’ accessibility to realize “selection and concentration.” The conclusion suggests some implications of old downtown urban renewal and inclusive cities.

블록직선이송 방전연삭에 의한 미세전극 가공 및 그래핀 강화 알루미나 복합소재의 마이크로 홀 가공특성

정현아(Hyeon-A Jeong),이창훈(Chang Hoon Lee),강명창(Myung Chang Kang) 한국기계가공학회 2017 한국기계가공학회지 Vol.16 No.1

Graphene nanoplatelet (GNP)-reinforced alumina (Al₂O₃) is a promising material for micro-partapplications, particularly micro-nozzle shapes, because of its excellent wearresistance. In this study, a Al₂O₃/GNPcomposite with 15 vol% graphene nanoplatelets (GNP) was highly densified and fabricated via spark plasma sintering for micro-electrical discharge drilling (Micro-ED drilling) and the wear resistance property of the composite is evaluated via the ball-on-disk method. In addition, the diameter and shape of the micro-electrodes machined by wire electrical discharge grinding (WEDG), block electrical discharge grinding (BEDG), and new linear block moving electrical discharge grinding(LBMEDG) methods are systematically compared and analyzed to observe the micro-hole machining in the micro-ED drilling of the Al₂O₃/15vol% GNP composite.

조양규의 작품을 관통하는 또 하나의 축 -모자(母子) 이미지에 관한 시론(試論)-

정현아 ( Jeong Hyeon-a ) 동아문화재단 2020 文物硏究 Vol.- No.37

조양규가 13년 간 일본에서 제작했던 일련의 작품은, 1945년 8월 이후 한국이 해방기와 한국전쟁을 거치는 동안, 일본이 제국주의적 식민지 확장대신에 어떻게 근대자본주의를 이용해 그들의 이익 편승을 도모해 나갔는가에 대한 근대 일본사회의 단면을, 최하층민의 관점에서 보다 세련된 은유와 직관적 모티브들을 통해 자신의 사상을 일관되게 구현한 것이다. 「창고 씨리즈」, 「맨홀 씨리즈」는 물론, 일정한 모티브를 가지고 다양한 조형 형태를 보여주는, 「소 모티브」, 「모자모티브」, 「노동자 모티브」 등은 조양규의 사상적 이미지가 지속적으로 표현되고 있음을 보여주는 좋은 예이다. 이러한 조양규 작품에 대한 사상적 시각은, 도일(渡日)이전 좌익 활동이력과 그로 인해 정치적 사건에 연루되어 일본 밀항선을 타면서 시작된 화가로서 그의 삶을, 13년간 일본에서 제작한 작품의 사상적 주제와 모티브로 연결시켜 본 연구결과와 밀접한 관계가 있다. 본 시론은 해방기 한국에서 좌익사상과 그와 연관된 이력만으로 조명되었던 조양규의 정치적 행보라는 시각과는 달리, 지금까지 알려지지 않았던 한국에서의 행적과 습작과정에서 발견되는 모자 이미지에 주목한다. 해방기 한국의 부산시절에 포착되는 모자 이미지의 시작과 모자 이미지의 근원이었을 것으로 생각되는 조양규의 남다른 가정사와 함께 사범학교 학생시절에 심취했던 케테콜비츠와 그녀의 주요 모티브인 모자 모티브는 깊은 연관성을 가진다. 이후 모자 이미지가 나타나는 일본에서의 작품 활동과 그와 관련된 시기에 보이는 다른 작가들과의 교류 속에서 지속적으로 모색되는 모자 이미지의 흔적을 추적한다. 조양규의 일본에서의 작품 활동 가운데 발견되는 모자 이미지는 많지 않지만, 조국(모)과 나(자)의 관계의미를 표현한 작품과 실제 모자 이미지를 조형 속에 재현한 작품으로 나누어 살펴보면, 이 두 형태의 모자 이미지가 조양규의 13년간 일본 활동 가운데 지속적으로 확인된다는 점이다. 게다가 다른 작가와의 교류에서 발견되는 모자 이미지와의 관련성은 작가의 의도 속에 여전히 모자이미지의 추구가 엿보임을 알 수 있다. 결론적으로 조양규의 모자 이미지는 해방기 한국에서부터 개인적 가정사와 정치운동과 함께 시작된 운명적 이미지였고, 일본의 작품 활동에서 다른 사상적 모티브와 함께 추구되었던 일상적 이미지였으며, 많은 작품 속에서 구현되지는 않았지만, 꾸준한 작품과 교류 활동 속에서 계속해서 모색되었던 지속적 이미지였던 것이다. Cho Yang-gyu’s series of work created in Japan for 13 years is a consistent embodiment of his thoughts, via more refined metaphor and intuitive motives from the perspective of a bottom feeder, on how Japan had sought profit-making using modern capitalism instead of expanding imperial colonies this time after August 1945, while Korea was going through the liberation period and Korean war. Not only < Warehouse series > and < Manhole series > but also < Little motive > < Mother-child motive > and < Laborer motive >, showing diverse forms of molding under a certain motive, are a good example to believe that Cho Yang-gyu’s thinking motives were expressed persistently in his work. Such a philosophical perspective found in Cho Yang-gyu’s work is closely related to his new life as an artist, who had had a career of leftism until this involved him in political events and forced him to board a smuggler to Japan. The existing studies connected his past in Korea to the philosophical themes and motifs of the work he created in Japan for 13 years. So Cho Yang-gyu has been chiefly illuminated by his political movement of leftist thinking in Korean liberation period and his related activity. However, this essay takes notice of his record of performances in Korea which has been unknown so far and the mother and child image found in his course of study. His mother-child image was initiated in his life in Busan in the liberation period and is considered due to Cho Yang-gyu’s unusual family history. This image is also deeply related to Kather Kollwitz by which he was fascinated when attending a teachers’ college and her major motif mother and child. This article, then, traces the mother-child image he continually sought in his activity as an artist in Japan and interaction with other authors in the relevant period of time. There are not many mother and child images found in Cho Yang-gyu’s work in Japan but, looking by division into work of expressing relational meaning between his mother country (Mother) and him (Child) and reproduction of actual mother and child image in molding, these two types of mother-child image are continually confirmed in his 13 years of activity in Japan. Moreover, relation to mother-child image discovered in interaction with other authors still proves his intentional pursuit of a mother-child image. To conclude, Cho Yang-gyu’s mother and child image was a fateful image which began in Korea’s liberation period with his personal family history and political movement, routine image sought in performing in Japan along with other philosophical motifs, and continual image sought constantly in performing work and social interaction, although not embodied in many works of his.

생태도시적 공공미술

정현일(Jeong, Hyeon-Il) 부산대학교 한국민족문화연구소 2018 로컬리티 인문학 Vol.0 No.19

근대도시는 감당할 수 없는 환경부하로 발생하는 생태문제와 불가분의 관계다. 이 같은 반(反) 생태적 근대도시의 한계를 극복하는 시도로 생태도시가 각광받고 있다. 하지만 현실의 생태도시는 녹색의 건조환경과 관계된 것으로만 인식될 뿐 그에 맞는 사회적 구축을 고려하지 않아 현실적 대안이 되지 못했다. 도시가 주민들의 사회적 실천으로 만들어지는 집합적 ‘작품(oeuvre)’이라는 점에서 생태도시의 사회적 구축은 필수적이다. 이 글은 생태도시의 사회적 구축을 위해 공공미술에 주목하고 둘의 결합을 제안한다. 특히 새로운 장르 공공미술은 사회적 참여를 이끌어내 공공성을 마련하고 공동체와 사회를 만드는 힘을 지니고 있다. 우린 먼저 생태와 예술의 관계를 확인하고 생태도시와 공공미술의 결합 가능성과 조건을 확인했다. 다음으로 근대의 한계를 극복하려는 생태도시와 공공미술의 핵심적 특성을 비교 검토하고, 궁극적으로 생태도시와 공공미술을 결합한 ‘생태도시적 공공미술’을 제안했다. 생태도시적 공공미술은 생태도시의 사회적 구축을 통해 대안적 도시로서 생태도시를 현실로 만들 것이다. Modern city is inseparably associated with ecological problems caused by ruinous environmental load. Eco-city gains attention as an attempt to overcome the limits of anti-ecological modern city. However, this city is perceived as being related with green built environment in reality, yet it has not been a real alternative as it did not consider appropriate social construction. The social construction of eco-city is essential in that city is a collective ‘oeuvre’ formed by social practice performed by residents. This paper focuses on public art for the social construction of eco-city and proposes the combination of both models. In particular, new genre public art possesses the power to induce social participation, form publicity, and create the community and society. It identified the association between ecology, the possibility, and condition of integrating eco-city with public art. Then it compared and reviewed the core features of eco-city aiming for overcoming the limits of modernity, and thereby ultimately proposed “eco-urban public art” formed by integrating eco-city with public art. This eco-urban public art will construct the eco-city society and make it real as an alternative city.

1950년대 후반 규슈파 작품에 보이는 사회적 주제

정현아(Jeong Hyeon-a) 한국근현대미술사학회 2015 한국근현대미술사학 Vol.29 No.-

The Kyushuha is known as an avant-garde group active in Japan around 1960. Until now, research in early works of Kyushuha has suggested that certain characteristic societal themes are recognized, but how the artists developed these themes remains unclear. Analysis of works from the Kyushuha’s active early period confirms that certain artists were handling societal themes at that time. Those themes were contemporary societal or local issues, especially those concerning coal miners in Kyushu. These thematic characteristics can also be glimpsed particularly in their involvement with poetry journals in Fukuoka, and themagazine Circle MURA. Thus, it is clear that the societal themes seen in the early work of the Kyushuha have some relationship to certain poetry journals in Fukuokaand Circle MURA, which showed similar interest in local issues. Considering the above, I would like to propose the following hypothesis. Instead of considering the Kyushuha’s consciousness of societal problems as an isolated phenomenon that developed within the group, it is possible to think of it as a collective consciousness born from a movement that combined the Kyushuha, poetry journals, and Circle MURA. The purpose of this paper is to propose research into the Kyushuha from this perspective.

집적 영상에서 정확한 렌즈 배열 격자 검출을 위한 캘리브레이션 패턴

정현아(Hyeon-Ah Jeong),조현지(Hyunji Cho),유훈(Hoon Yoo) 한국방송·미디어공학회 2017 한국방송공학회 학술발표대회 논문집 Vol.2017 No.6

단호박 가루를 첨가한 호상요구르트의 품질 특성

정현아 ( Hyeon A Jung ),김안나 ( An Na Kim ),안은미 ( Eun Mi Ahn ),김유정 ( You Jeong Kim ),박숙현 ( Suk Hyeon Park ),이재은 ( Jae Eun Lee ),이수미 ( Su Mi Lee ) 한국식품저장유통학회(구 한국농산물저장유통학회) 2011 한국식품저장유통학회지 Vol.18 No.5

Sweet Pumpkin (Cucurbita maxima) is rich in minerals, vitamins, and dietary fibers and has less fat. It is thus effective for dieting and for preventing constipation. Sweet Pumpkin contains vitamin A, particularly beta-carotene, which is turned into retinol in the body and helps protect the vision. It is currently on the spotlight as a vision care, anticancer, and diet food, among others, but because it is hard to find yogurt made of Sweet Pumpkin, in this study, Sweet Pumpkin powder was added to yogurt for promotion as a new health food. Yogurt was made with 0, 0.5, 1, 2, and 3% Sweet Pumpkin powder, and the color properties (brightness, redness, and yellowness), viscosity, pH, and acidity were measured through a sensory test (color, flavor, taste, overall acceptability). The storage stability at five-day intervals for one day, five days, ten days, 15 days, etc. was also experimented on. For the color properties, the greater the amount of Sweet Pumpkin powder added, the greater the decrease in the lightness (L) value, but the redness (a) and yellowness (b) values increased (p<0.001). For the viscosity, it was decreased for five days and then increased by 47-68% for ten days. This showed a significant difference in storage stability period: one day (p<0.001), five days (p<0.01), and ten days (p<0.01) (except 15 days). Further, there was a significant difference in pH and acidity [pH: for one day (p<0.001), five days (p<0.01), and ten days (p<0.01); acidity: one day (p<0.001), ten days (p<0.05), 15 days (p<0.001)]. No significant difference in pH was shown, however, for 15 days, and in acidity for five days. The results of the sensory test are highly estimated in the order of 1%>2%.3%>0%>0.5%. The study results indicate that the addition of 1% Sweet Pumpkin powder is most suitable for manufacturing Sweet Pumpkin yogurt.

김해 다문화 공간에 대한 재인식: ‘무위의 공동체’와 경관분석을 중심으로

정현일 ( Jeong Hyeon-il ) 동양사회사상학회 2024 사회사상과 문화 Vol.27 No.1

This article studies the characteristics and meaning of the Gimhae multicultural space through Jean-Luc Nancy’s Inoperative Community(La communauté désoeuvrée) and landscape analysis. We first examine the formation process of the Gimhae multicultural space. Gimhae was a traditional city with many historical relics from the ancient era, traditional markets, and farmland. However, since the 1980s, migrant workers, international students, and marriage migrants have been flowing into Gimhae, giving the historical and traditional city a multicultural character. The landscape of Gimhae’s multicultural space was territorialized within natural and social boundaries. In residential areas, migrants coexisted with the native population without revealing their ethnicity. In the downtown area, we found a unique and hybrid multicultural landscape with a mix of traditional markets, ethnic markets, and historical sites. Here, migrants went about their daily routine of buying goods, enjoying leisure, meeting acquaintances, and exchanging information. This gave Gimhae a new sense of placeness. Especially in the ethnic markets place, exchanges and daily life between natives and migrants were taking place, demonstrating the possibility of peaceful coexistence and a space of hospitality. Next, we analyzed ‘inoperative’ and ‘artificiality’ in the Gimhae multicultural space. Even without policy support or prior regulations, the daily lives of migrants in Gimhae gave the Gimhae Multicultural Space its vitality and expansion. The naturally formed Gimhae multicultural space constituted a unique and hybrid multicultural landscape where natives and migrants coexist, and created a placeness that deviated from the representation of ‘a city of history and tradition’. On the other hand, the authorities and media that characterized Gimhae Old City as a space of crime suppressed the self-generating power of multicultural spaces and created conditions of tension and hatred. The local government’s multicultural sculptures were also not organically integrated into the hybrid multicultural landscape. In conclusion, this article has shown the possibilities of multicultural spaces, the conditions for overcoming hatred and conflict in multicultural societies, and the theoretical basis for exploring the peaceful co-evolution of multiple civilizations through the Gimhae Multicultural Space.