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이탈리아 파시즘 시각예술에 나타난 프로파간다 표현 양상 연구
한광우 한국기초조형학회 2022 기초조형학연구 Vol.23 No.3
This thesis aims to analyze aspects of expressions found in propagandistic visual art in the age of Italian fascism. First of all, applied the concept of propaganda to the visual art for the research. Propaganda is a communication that is primarily used to influence the formation of public opinion and social control for which a wide variety of communication tools appropriate to each period are used. Visual art can be seen as a mean for propaganda with a long-standing tradition. If regarding propagandistic visual art as art to serve power and maintain the system, artworks produced during ancient Rome, the Renaissance, and the Napoleonic era are thought of as part of propagandistic art. One example of 20th century propagandistic art is works produced in the age of Italian fascism. The National Fascist Party created a diversity of propagandistic visual art. They appropriated a wide array of traditional art styles and used architecture, relief, mosaic, and sculpture as the mediums to disclose Italian people’s ethnic superiority and strengthen nationalism. They put effort into large buildings such as government office buildings, courts, railway stations, and exposition halls as well as works of visual art to decorate their interiors and exteriors. These artworks carried out a propagandistic role as they retain some utopia fascists pursued. As a result of study, aspects of expressions found in such artworks are ‘appropriation of history and myths’ borrowing myths in bygone years or historical heroes; ‘placeness’ employing the context of a place an artwork inhabits; ‘intuitive explanation’ to have the public feel the purpose of power intuitively; and ‘pursuit of styles in vogue’ to generate or follow the new trend of art at the time. These four aspects of expressions are seen narrowly as expression aspects of Italian fascist visual art and broadly as common aspects of all propagandistic art. 본 논문은 이탈리아 파시즘 시대의 프로파간다 시각예술에서 발견되는 표현 양상을 분석하는 것을 목적으로 한다. 연구를 위해 먼저 프로파간다의 개념을 찾아 이를 시각예술에 적용했다. 프로파간다란사회 통제나 여론 형성에 영향을 미칠 목적으로 이루어지는 커뮤니케이션으로 각 시대에 적합한 다양한 커뮤니케이션 수단이 동원된다. 시각예술은 오랜 전통을 가진 프로파간다 수단이라고 볼 수 있다. 프로파간다 시각예술을 권력에 봉사하고 그 권력이 만든 체제 유지를 위한 예술이라고 생각해보면 고대 로마나 르네상스 시대, 나폴레옹 시대 등의 예술작품들도 프로파간다 예술의 한 형태로 볼 수 있다. 20세기의 대표적인 프로파간다 시각예술로 1920년대 초부터 1940년대까지 이탈리아 파시즘 시대의 작품들을 예로 들 수 있다. 이탈리아 파시스트당은 다양한 프로파간다 시각예술을 창조해냈다. 이들은 이탈리아인의 민족적 우월성을 드러내고 민족주의를 강화시키기 위해 이탈리아 반도에서 창출된다양한 전통 예술 양식을 차용했고 건축, 부조와 모자이크, 입체조각 등을 매체로 이용했다. 특히나 관공서, 법원, 기차역, 박람회장 등 대형 건축물과 그 내·외부를 채우는 시각예술 작품에 많은 공을 들였으며 작품 속에는 파시스트들이 추구하는 이상향이 담겨 있어 프로파간다를 전파하는 역할을 수행하였다. 이러한 작품들을 분석한 결과 과거 신화나 역사적 영웅 등을 차용한 ‘역사 및 신화차용’, 작품이설치된 장소적 맥락을 이용한 ‘장소성’, 권력의 목적을 직관적으로 체감하도록 하는 ‘직관적 설명성’, 당대의 새로운 예술 유행을 창출하거나 따르는 ‘유행양식 추구’라는 표현 양상이 발견된다. 이 4가지표현 양상은 좁게는 이탈리아 파시즘 시각예술의 표현 양상이라고 할 수 있지만 넓게는 프로파간다예술의 공통적인 표현 양상으로도 볼 수 있다.
한광우 한국박물관학회 2023 博物館學報 Vol.- No.46
현대에는 의미 없는 것으로 낙인찍혀있던 고정관념 속 다양한 것들이 재평가되어 새로운 의미와 가치를 부여받는다. 이러한 재평가의 시대에 새롭게 가치를 부여받은 것들 중 하나가 놀이이다. 놀이는 유희성을 바탕으로 특수성⋅즉흥성⋅상황성⋅일회성 등과 같은 특징을 갖고 있다. 이로 말미암아 놀이는 철학사에서 이분법적으로 나눌 수 없는 가볍고 유치하고 가변적인 것인 것으로 판단되었고 유동적이고 현상적인 것과 관계하는 소모적이고 모호하며 불안한 것으로 평가받았다. 하지만 현대에 들어 니체, 하위징아, 카이와 등 다양한 학자들에 의해 놀이는 오랜 시간 갖고 있던 고정관념으로부터 해방된다. 이성과 계몽을 추구한 근대적 한계와 극복의 대안으로 창조와 생성의 원동력으로서의 놀이를 재발견하게 된 것이다. 놀이의 유희성은 현대미술의 중요한 장면에서 발견되는데 작가의 작품 표현 방식뿐만 아니라 관객의 작품 감상의 측면에서도 참여와 상호소통성을 통해 드러난다. 이는 20세기 초 다다이즘을 필두로 이에 영향받은 플럭서스 그리고 관객참여미술 등에서 드러나며 유희성을 바탕으로 하는 놀이가 현대 미술에서 갖는 의미와 가치를 재고하도록 한다. In modern times, various stereotypes that were stigmatized as meaningless are reevaluated and given new meaning and value. One of the things that has been given new value in this era of re-evaluation is ‘play’. Based on playfulness, play has characteristics such as specificity, improvisation, situationality, and one-off. As a result, in the history of philosophy, play was judged to be light, childish, and variable that could not be divided dichotomously, and was evaluated as consumptive, ambiguous, and unstable related to the fluid and phenomenal. But in modern times, play has been liberated from long-held stereotypes that have been held for a long time by various scholars such as Nietzsche, Huizinga, and Caillois. As an alternative to overcoming modern limitations in the pursuit of reason and enlightenment, play was rediscovered as a driving force for creation. The playfulness of play is found in important scenes of modern art and is revealed through not only in the artist’s way of expressing the work but also in the visitor’s participation and interactivity. This is revealed in Dadaism in the early 20th century, as well as in Fluxus and participatory art influenced by it, and make us reconsider the meaning and value of play based on playfulness in modern art works.
한광우(Gwangwoo Han),홍종은(Jong-Eun Hong),이왕제(Wang-Je Lee),이경호(Kyoung-Ho Lee),주홍진(Hong-Jin Joo),안영섭(Young-Sub An),조동우(Dong Woo Joh),김혜성(Hye-Sung Kim),이승복(Seung-Bok Lee),임탁형(Tak-Hyoung Lim),박석주(Seok Joo Par 한국세라믹학회 2023 세라미스트 Vol.26 No.1
In the field of food and agriculture, fuel cell-based energy supply technology is gaining much attention for sustainable food systems with carbon neutrality by 2050. Previous studies have focused on the electricity balance using polymer electrolyte fuel cells (PEMFCs) without considering the temperature quality to maintain the environmental conditions required in smart farms. However, this study proposes a system that can provide all four energy sources (electricity, cooling, heating, and CO₂) required by smart farms by using solid oxide fuel cells (SOFC), which can utilize high-quality heat. To confirm the feasibility of the proposed idea, we demonstrate the world's first 10 kW-class SOFC-based integrated system for a smart farm in Jinju, South Korea. The system's core components consist of a SOFC system, a hot thermal storage system, a cold thermal storage system, and a CO₂ supply system. In this study, the applicability of the proposed system is verified by the experimental results of the effective production of cold and hot heat required by smart farms. In addition, the technical problems encountered during the demonstration are presented. In doing so, we suggest the direction of more economical and sustainable SOFC technology development for smart farm applications.
산소희박환경에서 과산화수소를 이용한 디젤개질 가능성 탐구
한광우 ( Gwangwoo Han ),배민석 ( Minseok Bae ),배중면 ( Joongmyeon Bae ) 한국화학공학회 2015 Korean Chemical Engineering Research(HWAHAK KONGHA Vol.53 No.5
For effective power generation with fuel cells in low-oxygen environments such as submarines and unmanned underwater vehicles, a hydrogen source which has a high hydrogen storage density is required. Diesel fuel is easy to storage and supply due to its liquid phase and it has a high density per unit volume and unit mass of hydrogen that required for driving the fuel cells. In this paper, diesel fuel was selected as a hydrogen source for driving the fuel cell in oxygen lean environments. In addition, the aqueous hydrogen peroxide solution was suggested as an alternative oxidant for hydrogen production through the diesel reforming reaction because of its high oxygen density and liquid phase which makes it easy to storage. In order to determine the characteristics of hydrogen peroxide as an oxidant of diesel reforming, comparative experiments were conducted and it was found that hydrogen peroxide solution has the same characteristics when reformed with oxidants of both steam and oxygen. Moreover, the commercial diesel reforming performances were analyzed according to the reaction temperature and concentration of aqueous hydrogen peroxide solution. Then, through the 49 hours accelerated degradation tests, the possibility of hydrogen production via diesel and aqueous hydrogen peroxide solution was confirmed.