Francis C. Penrose and the Development of Classical Archaeology in 19<SUP>th</SUP> Century Greece

Cho, Eunjung(조은정) 서양미술사학회 2020 서양미술사학회논문집 Vol.52 No.-

본 논문은 프랜시스 C. 펜로즈의 『아테네 건축 원리에 대한 조사』(1851)와 아테네 영국 연구소의 설립 및 초기 역사를 중심으로 19세기 후반 고전 고고학의 전환을 고찰한다. 펜로즈의 『원리』는 정확한 측정과 객관성으로 인해서 19세기 중엽까지 지속되어 온 딜레탄티즘의 전통에서 벗어나는 계기가 되었던 반면에 미학적 가치와 수학적 논리성을 중요시하는 신고전주의 건축 세계관에 여전히 머물러 있었다. 이러한 경향은 19세기 후반에 급속히 약화되는데, 당시 그리스 영토에서 발견된 새로운 고고학적 증거들 덕분에 고전 고고학과 미술사학은 과거 문헌학에 의존해 왔던 고전학 연구의 전통으로부터 독립적인 토대를 마련하게 되었으며 유물 자료에 대한 전문적이고 기술적인 접근이 요구되었기 때문이다. 1880년대에 펜로즈와 독일 고고학자 빌헬름 되르펠트 사이에서 벌어졌던 아크로폴리스 관련 논쟁들은 고대 그리스의 ‘실제’ 자료들에 대한 직접적 접근 권한이 고고학 연구에서 얼마나 필수적인 것인지를 증명한다. 1886년 아테네 영국 연구소의 개설과 더불어, 딜레탄트 협회로부터 영국 연구소로의 무게 중심 이동은 이러한 추이에 대한 증거이다. 특히 펜로즈가 초대 소장으로 재직할 당시의 영국 연구소 초기 역사는 서구 학계에서 고전 고고학이 고대 애호 취향으로부터 현장 발굴 중심의 과학적 학문 활동으로 전환되는 과정을 집약적으로 보여준다. This paper explores the transition of classical archaeology in the latter half of the 19th century, focusing on Francis C. Penrose’s An Investigation of the Principles of Athenian Architecture (1851) and early development of the British School at Athens. Although Penrose’s book distinguished itself from the long tradition of dilettantism, his interest in aesthetic value and mathematical logics made him remain in the neoclassical architectural world. These features were deeply rooted in the tradition of British philhellenism and classical studies. However, along with the newly discovered material evidence on Greek soil, classical archaeology and art history became more independent from the traditional classical studies which had heavily relied on philology. Several debates on the Acropolis excavation between Penrose and contemporary German archaeologist Wilhelm Dörpfeld in the 1880s show us how necessary it was to gain direct access to the ‘genuine’ materials of ancient Greece. The establishment of the British School at Athens in 1886 was an indicator of this development. The nascent history of the British School during Penrose’s term as the first director shows us how the concept of Greek archaeology in Western scholarship diverged from that of connoisseurs of antiquities to a scientific discipline of field excavations.

Definition of Purified Enzyme-Linked Immunosorbent Assay Antigens from the Culture Filtrate Protein of Mycobacterium bovis by Proteomic Analysis

Cho, Yun Sang,Lee, Sang-Eun,Ko, Young Joon,Cho, Donghee,Lee, Hyang Shim,Hwang, Inyeong,Nam, Hyangmi,Heo, Eunjung,Kim, Jong Man,Jung, Sukchan Taylor Francis 2009 JOURNAL OF IMMUNOASSAY AND IMMUNOCHEMISTRY Vol.30 No.3

<P> Enzyme-linked immunosorbent assay (ELISA) has been developed as the ancillary diagnosis of bovine tuberculosis at ante-mortem to overcome the disadvantages of intradermal skin test. In this study, the antigenic proteins were purified, applied to bTB ELISA, and identified through proteomic analysis. Culture filtrate protein of Mycobacterium bovis was fractionated by MonoQ® column chromatography, and examined the antigenicity by immunoblotting. The antigenic 20 kDa protein was in-gel digested and identified the antigenome by LTQ® mass spectrometer and peptide match fingerprinting, which were MPB64, MPB70, MPB83, Fas, Smc, Nrp, RpoC, Transposase, LeuA, and MtbE. The 20 kDa protein exhibited the highest antigenicity to bTB positive cattle in ELISA and would be useful for bTB serological diagnosis.</P>

보육교사가 지각한 아동학대 인식과 수행 정도 및 신고의무자 실천의지에 관한 연구

조은정 ( Eunjung Cho ),박은영 ( Eunyoung Park ) 사단법인 아시아문화학술원 2020 인문사회 21 Vol.11 No.2

본 연구는 보육교사가 지각한 아동학대 인식과 수행 정도의 차이를 살펴보고, 신고의무자 실천의지에 따라 보육교사가 지각한 아동학대 인식과 수행 정도를 알아보고자 하였다. 연구대상은 G 지역어린이집에 근무하는 담임교사로 전체 276명의 설문지를 분석하였다. 연구결과 첫째, 보육교사가 지각한 아동학대 인식은 아동학대 수행 정도보다 더 높은 것으로 나타났다. 둘째, 아동학대 신고의무자 실천의지가 있는 보육교사가 없는 교사보다 아동학대 인식을 더 잘하는 것으로 드러났다. 셋째, 아동학대 신고의무자 실천의지가 있는 보육교사가 없는 교사보다 아동학대 수행 정도를 더 높게 지각하는 것으로 밝혀졌다. 이러한 본 연구결과는 아동학대 예방을 위해 보육교사를 대상으로 아동학대 신고의 무자 교육을 강화하여 교사의 실천의지를 함양하는 것이 중요함을 시사하고 있다. The purpose of this study was to examine the differences in child abuse perceptions and performances perceived by childcare teachers, and to find out the degree of child abuse perceptions and performances perceived by childcare teachers according to mandatory reporter’s practical volition. The study was analysis on a questionnaire of 276 child care teachers in the G area. As a result of the study, first, the perception of child abuse perceived by childcare teachers was higher than performances of child abuse. Second, childcare teachers with mandatory reporter’s practical volition on child abuse are more aware of child abuse perception than childcare teachers without mandatory reporter’s practical volition. Third, childcare teachers with mandatory reporter’s practical volition on child abuse perceived a higher degree of child abuse performances than childcare teachers without mandatory reporter’s practical volition. The results of this study suggest that it is important to foster the will of teachers to practice by strengthening the education of child abuse reporters for child care teachers to prevent child abuse.

류인 입상 연구 : 표현에 대한 심리적 접근

조은정(Cho, Eunjung) 인물미술사학회 2019 인물미술사학 Vol.- No.14·15

류인 작품의 수는 한정되어 있기에 과다한 이미지의 접촉은 결코 그의 작품을 인상깊게 하는 이유는 아니다. 그의 작품을 ‘대면’하였던 사람들에게 깊은 인상을 남기는 것은 모든 좋은 예술작품의 특징이기도 하겠지만, 그의 작품이 심리적 자장에 위치하기 때문일 것이다. 그의 작품에는 인간의 억압된 감정 또 그와는 상반된 폭발적인 감정의 양가성이 혼재해 있다. 비장하면서 유머가 있고, 유쾌하면서도 슬프고, 크지만 왜소하고, 작지만 한없이 커보이는 그의 작품은 인간 마음 속 깊이에 도사린 영웅성과 비겁함, 자신감과 좌절감과 같은 어느 한쪽의 성향이라 인정하기에는 미흡한, 그래서 상처가 되어버린 인간 본연의 성정과 마주하게 하는 힘이 있다. 손이나 상체 혹은 두 다리와 같이 신체 전체가 아닌 특정 부위가 주는 비장함은 고대 조각의 파편화된 신체성이 주는 고귀함이나 영웅성과 연관되어 있다. 또한 작가의 의지에 의해 임의로 잘리고 구성된 것들이다. 이는 린다 노클린이 지적한 것처럼 근대 작가들이 회화적 기표로 사용한 것과 다를 바 없이 자신의 창작적 기표로서 자르고 조합한 것이다. 이러한 절단의 방식에 더하여 고대조각이 담지 않은 근육을 통해 긴장과 이완의 폭발적 상황인 바로크적인 감각, 파토스적인 면모를 정교하게 구현했기 때문에 류인의 작품은 선제로서 강렬한 인상을 준다. 모든 신경을 모아 집중한 정신의 힘은 신체의 피부 안에서 팽팽히 긴장감을 외부로 표출한다. 류인이 보여주는 인체는 흔히 왜곡과 과장이 이르는, 신화적 세계관이 아니라 일상의 삶, 정치적 현실의 현대사와 같은 현상을 반추하게 한다. 그러한 사회에 대한 인식의 환기작용은 그의 인체가 리얼리티를 갖고 있기에 가능한 것이다. 류인의 인체는 뿌리와 가지가 없이 결합될 수 있는 것처럼 열려 있는 구조이다. 그것은 상실이나 파편이 아닌 열려 있는 몸이다. 얼굴이 없는 인체나 가슴이 없는 인체는 없는 것이 아니라 열려 있는 몸으로서의 인체이다. 류인의 조각이 실존의 상징이 될 수 있는 것은 이러한 열려 있는 구조 덕이다. 콜로서스가 두 다리를 벌려 도시에 들어오는 이들을 맞은 것처럼, 류인 조각의 벌려선 굳건한 두 다리는 강한 힘의 상징이다. 그 힘은 당당함으로 묘사할 수도 있는데, 당당하지만 왜소한 신체의 조각은 역으로 ‘당당하고자’ 하는 욕망의 표현이다. 신체가 사고에서 배제된 인간은 없으며 몸을 접촉하지 않고 외부세계와 합치 될 수 있는 인간은 없기 때문에 그의 작품으로서의 신체에는 자기 자신의 신체를 투사하였으므로 그의 사고가 표상되어 있다고 할 것이다. ‘인간에게 유일한 실재란 신체화한 실재’인 때문이다. The number of Ryu’s works is limited, so excessive contact with images is not the reason that make his work impressive. Leaving good impression on those who ’face’ his work may also be the hallmark of all good works of art, but it may be because his work is located in psychological lullabies. His work is a mixture of human pent-up emotions and opposite explosive emotions. His work, which is heroic, humorous, pleasant, sad, but small, but seemingly boundless, has the power to confront the nature of human nature that has been hurtful, not enough to be admitted as a propensity for either side. As we have seen earlier, The spleen given by certain parts of the body, such as the hand, upper body or both legs, is associated with the nobility or heroism of the fragmented body of0 ancient sculpturer. They are also arbitrarily cut and constructed by the will of the author. This, as Linda Noklne pointed out, was cut and combined as her own creative marker, and not different from what modern writers used as a pictorial symbol. In addition to this method of cutting, Ryu’s work impresses the body as it elaborates on the explosive state of tension and relaxation, since it has baroque sense and patos. The power of the mind, which has gathered all the nerves and concentrated, exposes tension within the body’s skin. The human body that Ryu shows of ten leads to distor tion and exaggeration, refuting phenomena such as everyday life and modern history of political reality, not mythical worldviews. Such an awakening of society is possible because his body has a reality. Ryu’s body is an open structure, as if it could be joined without roots and branches. It is an open body, not a loss or fragment. A human being without a face or a chest is not a human being, but an open body. Thanks to this open structure that Ryu’s sculpture can become a symbol of existence. Just as Colossus was greeted by people entering the city with two legs apart, the two strong legs of Ryu’s sculpture are symbols of strength. The power can also be described as imposing, a confident but modest piece of body an expression of desire to be “confident” in reverse. Since no human body has been excluded from the accident and no human body can fit into the outside world without contact with the body, his own body as a work is projected on his body, so his thoughts are reflected. This is because “the only real thing in human being is the physical reality.”

일제강점기 요지조사와 고려청자 연구의 의미

조은정(Cho, Eunjung) 한국미술사교육학회 2017 美術史學 Vol.- No.33

일제강점기는 한국미술사의 출발점이라는 시각에서 기존 논문에서 다루지 않았던 당시의 요지(窯址) 조사와 고려청자 연구가 어떠한 배경속에서 시작했으며 시기별로 어떤 변화를 보이고 그 내용은 무엇이었는지에 대해 살펴보았다. 당시 요지조사와 고려청자의 연구는 일본 제국주의가 설정한 조선예술쇠망론의 식민사관과 식민지에 대한 인류학적 자료조사라는 큰 틀에서 시작되었다. 1910년대부터 1930년대까지 강진을 비롯하여 공주 학봉리, 광주 분원리, 부안 유천리·진서리, 고령사부동·기산동 등 중요한 요지 대부분이 조사되었으나, 현재 각 요지의 발굴보고서는 공주 학봉리를 제외하고는 확인할 수 없는 한계가 있다. 그러나 1914년 강진 요지 발굴자료도 다른 논문에서 단편적으로 확인되기 때문에 모든 발굴보고서는 작성되었던 것으로 보인다. 그렇기 때문에 각 요지의 발굴조사보고서 부재(不在)는 조선총독부박물관의 의도적인 자료 폐기 또는 누락를 추정하는 근거이기도 하다. 고려청자에 대한 인식과 연구는 요지조사 자료 축적과 함께 50여 년간 시기별로 변화를 보였다. 19세기부터 1900년대는 본격적인 요지조사가 실시되기 이전으로 고려청자는 고가의 골동품으로서 수집과 감상의 대상으로 여겨지던 시기이다. 전세품(傳世品)이나 개인적인 수집품만을 분석하여 한국 도자기의 역사를 관념적인 시각에서 계보(系譜)를 정리하고 종류를 구분하였다. 이후 1910-1920년대에는 일본의 대외확장에 따라 식민지에 대한 인류학적 조사가 본격적으로 진행된 시기이다. 도자기 연구는 고고학적 발굴을 통한 요지 현황파악과 조사를 바탕으로 한 것이었으나 여전히 감상도자(鑑賞陶磁)라는 관점도 유지되었다. 특히 도아회(匋雅會), 도자기연구회(陶磁器硏究會), 채호회(彩壺會) 등을 중심으로 감상, 품평활동과 도자사적인 연구를 병행했다는 것이 특징이다. 고려청자를 도자산업 진흥을 위한 중국 도자기 연구의 부수적인 연구대상으로 다루면서 비색청자를 생산할 수 있었던 기술적 요인과 문양소재의 원류를 찾는 논문이 발표되기도 하였다. 1928년과 1933년 각각 강진과 부안 청자요지가 발굴되면서 1930년대부터 1945년 까지는 그동안의 조사결과를 토대로 고려시대의 시기별 변화, 고려와 중국의 문헌사료 분석, 소비지 출토 편년(編年)유물, 간지(干支)명을 비롯한 명문(銘文)청자 연구 등으로 연구범위를 확대해갔다. 오늘날의 도자사 연구, 문헌사 연구, 고고학적 연구와 같이 분야가 세분화된 단행본들이 출간되었다. 그중에서 나카오 만죠(中尾万三)는 중국 도자기 역사에 대한 지식을 배경으로 중국과 고려의 영향관계, 원류 규명, 시기구분 등 미술사적 시각에서 연구한 반면, 노모리 켄은 고고학적 조사 결과를 세부항목으로 분류하고 정리, 비교하는 방식이었다. 서로 다른 연구 방식을 취했으나 두 사람의 연구 결과는 광복 이후 국내 도자사 연구의 토대를 형성했다. From the viewpoint that the Japanese Colonial Rule was the starting point of Korean art history, this paper examines how and in what background the past investigation of kiln sites and Goryeo celadon started, what changes occurred during each period, and what the changes were, which have not been covered in existing papers. The past investigation of kiln sites and research on Goryeo celadon started from the broad concept of the theory of perishment of Joseon art set by Japanese imperialism, which was the colonial view of history that believed that arts from Goryeo or post-Joseon Dynasty degenerated, and the investigation of anthropological materials related to the colony. Those involved in this work included professors and students from Tokyo Imperial University, ceramic technique developers and ceramic collectors, and they worked by establishing research organizations. The domestic excavation investigation of kiln sites was conducted by Yiwangjik (Office of YiRoyal-Family) Museum and Museum of Japanese government-general of Korea from the 1910s to 1930s in the kiln sites for celadon, Buncheongsagi, and white porcelain in Gangjin, Hakbong-ri of Gongju, Bunwon-ri of Gwangju, Yucheon-ri and Jinseo-ri of Buan, and Sabu-dong and Gisan-dong of Goryeong. However, the final excavation report, which is essential, has not been found. According to the research papers between 1923 and 1925, the current status of 74 locations for kiln sites of celadon in Gangjin was confirmed and the excavation materials from 1914 for kiln sites in Gangjin were recorded. Thus, the absence of excavation reports for each kiln site could be grounds to assume that the materials were deliberately discarded or eliminated by Museum of Japanese government-general of Korea. The awareness of and research on Goryeo celadon, which had been an object of collection and appreciation as an antique from the late 19th century, have shown changes over a time period of about 50 years, along with the accumulation of materials from kiln site investigations. The period from the late 19th century until the 1900s was be fore the full-scale kiln site investigation began. At that time, Goryeo celadon was just regarded as an object of collection and appreciation as high priced antique. Only old items passed down from previous generations and individual collections were analyzed to arrange genealogy and classify types from the ideal viewpoint of Korean ceramics history. Between the 1910s and 1920s, the full-scale anthropological investigation of the colony was carried out according to Japanese foreign expansion. Although the study on ceramics was carried out based on investigation and identification of the current status of kiln sites through archaeological excavation, it also maintained the perspective that ceramics should be appreciated. Particularly, the research on ceramics in China, Japan and Korea was carried out with research organizations at the center, such as Doahoe Association, Research Association for Ceramics and Chaehohoe Association. A positive feature of those organizations was that they combined appreciation, criticism activities, and research on ceramic history. A research paper was published regarding the search for technical elements with which celadon glaze could be produced and the basis of pattern materials by covering Goryeo celadon as an ancillary research object of Chinese ceramic research to promote the ceramic industry. In 1928 and 1933 respectively, kiln sites for celadon were excavated in Gangjin and Buan. Thus, during the period between the 1930s and 1945, the scope of research was expanded, based on the investigation results until then, into inscription celadon research including changes over time in the Goryeo Dynasty, literature analysis of historical records of Goryeo and China, excavation chronology relics of consumption sites, and research on celadons in which letters are inscribed such as the names of the Chinese zodiac. Like today

전후 한국현대미술의 이념적 동인

조은정(Cho Eunjung) 한국근현대미술사학회 2013 한국근현대미술사학 Vol.25 No.-

There is no doubt that the 1950s was the upheaval in the modern history of Korea. Reason for this, Korean War and the consequent political, social, economic, and cultural change occurred in the 1950s. The awareness about the world, separated from the previous period, also appeared. The 1950s is the time which should be discussed in depth on historical and art historical context. Reason for this, grabbing 1956, 57 as origin years of modern art is the prevailing view. This prevailing view is distinguished from the origin year of contemporary art which is broken into several opinions according to various comments. Meanwhile, the 1950s is a period when the trauma of modern Korea, Korean was formed. The tragedy of fratricidal war was occurred by the proxy fight of the East and West sides. In the midst of this fight, genocide was experienced by ideological confrontation to being exploited by politicians. In a short period of time, a lot of people had to watch mutual antagonism and hates of conservative and liberal, right-wing and left-wing, the tradition and modern in the process of death to the public. ‘Modernism’ is in the Fur Sich position of tradition. However, modernism in Korean art is used as examples of art with tendency of abstract as being pointed out early. This usage invites confusion of abstract art, started from Informel in the 1950s, and the modernism, started in the 1930s. In that sense, there is a need to read what the modernism meant to us according to the thoughts of people from the day. Although a same word forming a different semantic network according to the person who use is inevitable, the spatial background called ‘same age’ as a basis needs to be exactly described in critical text and art discourse. This thesis places its emphasis on the meaning and proposed direction of tradition and modernism, which were an important social discourse of the day, and how it was revealed in the work of art by revolving around the 1950s. The Korean War accompanied changes in the art world as well as the society and this provided a background for the appearances of many events and phenomena, such as the occurrence of defected artists due to the adhesion of the South Korea and North Korea, and the style of art and theory of painting tuned by ideology. Therefore, discussing about the tradition and modernism, which made a rapid progress after the war, is discovering the point where the artists of the day fixed their 자표책정 to act in the history. According to Gadamer, the human cannot escape the tradition and the framework of the tradition. Art is a social product which is based on the society as a social organism is a known fact without mentioning the quotation of Gadmer. Knowing art as a product of the times and society based on tradition and having a serious reflection about how modernism, on an extreme opposite side of tradition, can be understood in the category of the modern history of Korea is a way to see Korea modern and contemporary art in history in the right perspective.

STL 정렬 함수와 퀵 정렬 함수의 수행시간 비교

조은정(Eunjung Cho),강석철(Seokchul Kang),심정섭(Jeong Seop Sim) 한국정보과학회 2022 한국정보과학회 학술발표논문집 Vol.2022 No.12

한국근현대조각 연구사

조은정(Cho Eunjung) 한국근현대미술사학회 2012 한국근현대미술사학 Vol.24 No.-

Sculpture also became the target of criticism as a part of art in 1920s, when Kim, Bok-jin had returned to Korea from Japan after majoring in sculpture. Mentioning the artist and the existence of criticism became the hub of the study, unlike the prior positions of the masons or craftsmen in palaces, or the buddhistic artists who served the Buddhist rituals. The fact that rapidity on the progress of research could only arise when there are studies on coeval works or artists, was confirmed by the relations of the traditional engraver and Kim, Bok-jin, the sculptor. The fact that there are unknown artists in many artworks, such as mason and Buddha statues, demonstrates the differences of the modern period sculptors from calligraphic painters. Unlike painting, sculpture occupies the space and therefore it exposes the social character. The social character of sculpture has taken place as a tool of spotting the political and economical phenomena of the society, which engraver’s studies has been created as not only the artist’s, work’s argument, or mode but also further to the fundamental data and work about various social conditions. Studies regarding commemorative sculpture or statue are based on the deployment of these characters. However, eventually, the interest on the external conditions of a sculpture had limited the amplification of the researchers’ interest of the internal mode or the artist. In terms of describing Korean modern and contemporary sculpture history, the absence of arguments between researchers about the works’ style or tendency, or the expansion of discussions, explains these circumstances. The studies of Korean modern and contemporary sculpture history are not only small in quantity, but also still lack the discovery of fundamental data and the research on the artist’s lifetime and on the work itself. In this respect, sculpture has a lot of opportunity in allowing the creation of raisonne once the sculpture work is identified, unlike having the difficulties of reverting to the painting artists that were actively engaged in dealings. Also, inversely, this respect allows the possibility of studying Korean modern and contemporary sculpture history with precise data. The object of studies in Korean modern and contemporary sculpture history depends on continuous production and discovery. The various exhibitions and the writings that are published there are mostly professional theses. Nevertheless, as this study had only considered published writings, catalogs and statements, and master’s theses have been ruled out from consideration. In order to supplement the study later, the results of the major studies will be reflected in the Korean modern and contemporary sculpture history statement.

미토스와 히스토리아: 기원전 5세기 아테네 사회에서의 시각적 역사 기술과 신화적 수용의 문제

조은정(Cho, Eunjung) 한국미술사교육학회 2021 美術史學 Vol.- No.42

본 논문은 페르시아 전쟁 종전부터 펠로폰네소스 전쟁 발발에 이르는 기원전 5세기 아테네 사회에서 ‘히스토리아’와 ‘미토스’가 서로 어떻게 상호작용하면서 동시대 텍스트와 조형물들에서 기록되고 기념되었는지를 고찰한다. 특히 아테네 아고라와 아크로폴리스 공공 조형물들에서 등장하기 시작한 역사적 주제의 시각적 서술 방식과 신화적 수용 양상이 헤로도토스와 투키디데스의 저술에서 강조된 ‘히스토리아’ 개념과 어떻게 연결되는지 분석한다. 고대 그리스인들에게 히스토리아가 지닌 영향력은 자신이 직접 보거나 알고 있던 것들을 넘어서는 과거 일들에 대해서 증거와 정보를 모으는 문의 행위에서 나오는 것으로, 근거가 확인되지 않은 채로 전해져 내려오는 미토스와 구별되는 지점이다. 동시대의 사건들이 지닌 역사적 가치에 대한 자각은 페르시아 전쟁을 통해서 헬라스인들 사이의 ‘첫째가는 힘(ἀρχή)’으로 부상했던 아테네인들 사이에서 더욱 두드러진 움직임으로 나타났다. 수십 년 전의 역사적 사건들이 신화의 사건들과 어우러져서 복합적인 층위를 이루고 있는 아고라와 아크로폴리스의 공공 조형물들이 대표적인 사례이다. 기원전 5세기 히스토리아 개념의 전개 양상은 당시의 ‘아포덱시스(ἀπόδειξις)’ 방식과 밀접하게 연계되어 있다. 과거 구전되었던 미토스와 달리, 고전기 저자들의 역사 저술을 통해서 사실 여부에 대한 문의 행위와 교차 검증이 이루어지면서 훨씬 더 구체적이고 현실적인 구속력을 지니게 되었다. 그러나 고전기 그리스인들에게 신화와 역사는 현대적 관점에서 인식되는 것처럼 엄격하게 구분되는 것은 아니었다. 〈독재자 살해자들〉 동상과 스토아 포이킬레 회화, 파르테논과 아테나 니케 신전 부조들은 기원전 5세기 아테네 사회에서 동시대 역사적 업적들이 공공기념물의 영역으로 침투하여 신화화되는 양상을 보여준다. This paper explores the phases of interactions between ‘historia(ἱστορία)’ and ‘mythos(μῦθος)’ in the 5th century B.C. Athenian society, focusing on the public monuments built in Athenian Agora and Acropolis from the end of the Persian War till the outbreak of the Peloponnesian War. The ways of visualizing and mythologizing of historical subjects in these monuments are closely connected with the concept of historia emphasized in the writings of two contemporary historians, Herodotos and Thucydides. Ancient Greeks considered that the power of historia derived from the act of inquiry, which made a person collect enough evidences and data to judge its reliability, surpassing his limitation of time and space. It also made historia divided from mythos, an unconfirmed story delivered from the unknown past. Athenians became keenly aware of the historical value of contemporary events after the Persian War, with their arche(ἀρχή) among the Hellenes. The public monuments of the Agora and the Acropolis show us the various layers of narrative, where recent historical events mingled with the traditional mythological themes. The development of the concept of historia during the 5<SUP>th</SUP> century B.C. were interrelated with the changing method of apodexis(ἀπόδειξις). Contrasted to the oral tradition of mythos, writing of the Classical authors provide the narrative of historia concrete and binding power. Yet we have to keep in mind that historia and mythos are not the equivalent of history and myths in the modern definition, and they often affected each other. The Tyrannicides statue, the battle scenes of the Stoa Poikile, the Parthenon, and the Temple of Athena Nike show us how the historial achievements of the 5<SUP>th</SUP> century B.C. became mythologized and monumentalized in the public domain.

이승만 동상 연구

조은정(Cho Eunjung) 한국근현대미술사학회 2005 한국근현대미술사학 Vol.14 No.-