임상간호사의 감정노동과 심리적 안녕감의 관계에서 감성지능의 매개효과

강수미(Kang, Su-Mi),배선형(Bae, Sun Hyoung) 대한근관절건강학회 2015 근관절건강학회지 Vol.22 No.3

Purpose: The purpose of this study is to determine the mediator or moderator effect of clinical nurses emotional intelligence on the relationship between the emotional labor and psychological well-being. Methods: Data was collected from 240 nurses in tertiary hospitals located in B city using structured questionnaires. Data was analyzed with descriptive statistics, Pearson’s correlation coefficient and hierarchical multiple regression using the SPSS program. Results: Clinical nurses emotional intelligence had a significant correlation with emotional labor (r=-.13, p=.039) and psychological well-being (r=.52, p<.001). Also, clinical nurses emotional intelligence showed mediating effects between the emotional labor and psychological well-being. However, emotional intelligence did not show moderating effects. Conclusion: The results of this study show that the clinical nurses emotional intelligence has an important influence on nurses emotional labor and psychological well-being. This finding points to the importance of emotional intelligence to increase psychological well-being and suggests that the hospital should develop education and training programs to enhance nurses emotional intelligence and promote clinical nurses’ psychological well-being.

포스트온라인 매체 조건과 수행성의 역설: 데리다의 루소를 통하여

강수미 ( Su-mi Kang ) 한국미학예술학회 2021 美學·藝術學硏究 Vol.62 No.-

이 연구는 정보통신기술과 소셜 미디어 & 모바일 네트워크 환경의 고도화로 온라인 매체 조건이 온라인 이후의 국면으로 이행하고, 수행성이 학계 및 문화예술계 뿐만 아니라 경제와 노동현장에서 복잡하게 작용하는 동시대 상황에 대한 문제인식에 기초한다. 특히 신자유주의 경제와 노동조건, 동시대 매체와 의사소통/관계의 양상, 현대예술에서 퍼포먼스의 우세화 경향을 교직해서 통찰하고자 했다. 그것은 포스트온라인ㆍ능력주의ㆍ포스트진실의 문제, 그리고 수행성의 역설에 관한 분석으로 이루어졌다. 여기에 본고는 데리다의 루소 비판을 참고하는 시차적 관점을 더했다. 우리 시대 매체에 대한 인식과 수행성에 대한 접근법을 다른 층위에서부터 비판할 근거가 필요했기 때문이다. 요컨대 데리다가 루소에서 매개와 대리 보충의 논리를 중심으로 밝혀낸 모순에 비춰 우리 시대의 포스트온라인ㆍ능력주의ㆍ포스트진실, 그리고 수행성을 둘러싼 모순과 난제를 성찰할 다른 판단의 가능성을 모색했다. 2020년 미엘 래더맨 유켈리스의 공공미술, TSI 그룹의 거리 퍼포먼스가 우리 논제의 중요 예술 사례다. 특히 본고는 팬데믹 상황에서 노고한 필수 노동자를 기린 유켈리스의 미술을 통해 ICT와 포스트온라인 매체 조건 안에서 달라진 투명성과 직접성, 매개와 대리보충을 괄호 치는 차별적 사회관계, 수행성의 역설적 실현을 비판하고 다른 판단의 필요성 및 방법론을 제기했다. This research started with a problematic recognition of the following two contemporary situations. First, I paid attention to the phenomenon that the online media have shifted to a post-online condition due to the advance of ICT and social media and mobile network environments. Next, criticism can be raised about the contemporary tendency in which performance is complicated not only in academia and culture and art scenes, but also in the field of economy and labor. In particular, this thesis attempted to provide insight into the neoliberal economy and working conditions, the communication/relationships with contemporary media, and the tendency of performance to dominate in contemporary art. To this, I added a parallax view that refers to Derrida's critique of Rousseau. This is because there was a need for a basis to criticize the understanding and approach to our time from another perspective. In short, my argument was to reconsider the issues surrounding post-online, meritocracy, and post-truth, and the paradox of performativity, interpreting the criticism that Derrida reconstructed in Rousseau's texts, focusing on the concepts of ‘mediation’ and ‘supplement’. A public art project by M. L. Ukeles and street performances by TSI are examples for my research. Especially it is significant that her work honored the service workers under the pandemic situation. this research was able to criticize the paradoxical realization of contemporary performativity, the different characteristics of transparency and directness, and discrimination of social relationships that ignored mediation and supplement.

인간학적 유물론과 예술의 생산과 수용 - 발터 벤야민의 「초현실주의」를 중심으로

강수미 ( Su Mi Kang ) 한국미학회 2007 美學 Vol.52 No.-

인공보철의 미 - 현대미술에서 '테크노스트레스'와 '테크노쾌락'의 경향성

강수미 ( Su-Mi Kang ) 한국미학예술학회 2013 美學·藝術學硏究 Vol.39 No.-

This essay was aroused from a big question: what kinds of perceptible and/or imperceptible relationships between human and technology are being constituted not only in science, technology, medicine and industry but also in contemporary art? In dealing with this question, my theoretical task was to approach eclectically the concept of prosthesis, born as it is from the particularity of specific histories, practices, and imaginations. I draw on historical and theoretical methodologies from prosthesis studies and art theories, aesthetics and art history, psychoanalysis and media theory, art criticism and cultural studies. Through this approach, I revisited the question of relationship between human and technology, which means not only the support, alternative, merge of technology to human but also the amplify, extension, augmentation, enhancement, and incorporation and/or excorporation of human through the power of technology. Especially, in this essay that question was represented as a kind of problem of tendency, technostress and technopleasure. But originally this research have an own aim in the field of art theory. Therefore, I needed to find the prosthetic tendencies of visual art dealt with new media and/or new technology in the center of contemporary art. This putted me on my way toward showing how Vostell`s and Nam June Paik`s art works in the 60s art world reveal the ironic and complex responses to new mass media, for example TV. And then I discussed the collective memory, remediated memory, or prosthetic memory(A. Landsberg) can be criticized by Sherman`s and Kentridge`s works of art. Finally, in reflecting the latest contemporary art practices, I argued that one of the aesthetic character of contemporary art is the prosthetic beauty. In this context, the prosthetic beauty means a kind of uncanny perception, the co-existence of the familiar and the unfamiliar, the technological fragmented and stitched re/presentation of the historical objects, images, texts, and bodies.

꿈과 각성의 시각적 무의식 공간 -프로이트 정신분석학과 함께 벤야민 후기 예술론 일기-

강수미 ( Su Mi Kang ) 한국미학회 2008 美學 Vol.55 No.-

모두를 위한 엘리트주의 : 공동체적 가치의 담론 장場으로서 미술비평

강수미(Kang Su-Mi) 현대미술학회 2009 현대미술학 논문집 Vol.13 No.-

Why do we value art? In what criteria do we evaluate its worth? Is it the aesthetic value or exchange value of art work? The contemporary global art scene seems to have the closest relationship between art and the public, more than any other period. Art attracts an enormous number of people, by putting on international art fairs, auctions, blockbuster exhibitions, etc. or by producing a range of sensational news, artists as celebrities, and mega global art events. In this sense art is flourishing, but invisibly, out of sight of contemporary collective intellectual life. Many people argue that art criticism is in a worldwide crisis. But at the very same time, art criticism is booming: it is everywhere, for example glossy art magazines, prominent newspapers, well-produced brochures or catalogs, and blogspots, and often benefits from high-quality publishing and wide distribution. However, art criticism is in crisis only because it has largely given up judging artworks in favor of describing them. Contemporary critics tend not to think outside the box of the exhibition or particular work at hand. Commercial art galleries and newspapers that call for the reform of art criticism usually attack jargon, and promote simple ideas. So in brief, this is the problematic situation of art criticism: it is produced more widely than ever before, and massively ignored in contemporary intellectual debates. I thought such circumstance is seriously problematic or risky, so I speculated about the evaluation and judgment of contemporary art and art criticism in this study. In the first section of this paper, I considered the problem of standards in art evaluation. In the second, I attempted to argue that art criticism should function as a field of discussion for collective values, for example the critical reflection of the human being and death, rather than a simple description of art or a kind of guide to the art. In conclusion, I suggested that art criticism can take a tum for the better by using its lack of codification and its heterogeneity.

심포지엄: 대중예술과 테크놀로지 ; 지속가능한 공동체를 위한 시각예술이미지의 조직(1): 아방가르드와 대중문화예술의 교차점

강수미 ( Su Mi Kang ) 한국미학예술학회 2010 美學·藝術學硏究 Vol.31 No.-

기획심포지엄 예술과 삶의 공동체: 필멸의 역(逆) ; 현대미술에서 이미지와 죽음의 상관성 재고

강수미 ( Su Mi Kang ) 한국미학예술학회 2014 美學·藝術學硏究 Vol.42 No.-

본 논문은 현대미술에서 이미지와 죽음의 상관성을 논한다. 이를 통해 동시대 죽음의 이미지가 공동체와 관계하고 있는 일련의 상황을 성찰하고, 나아가 그 상황들이 현대미술의 어떤 내적 메커니즘을 반영하고 있는지를 비판적으로 검토할 것이다. 우리는 특히 1990년대 말 이후 현대미술 현장에 급속히 퍼진 죽음의 주제화 현상, 그리고 현실과 그 이미지들의 상관적 맥락을 분석하려 한다. 본문은 먼저 사회사적, 미술사적 관점에서 인간의 삶과 죽음, 현존과 부재, 필멸성과 불멸성에 대한 인간의 이해와 이미지의 제시가 미술의 기원에서부터 현대미술에 이르기까지 이행해온 과정을 분석한다. 본문의 두 번째 장은 동시대 사회 변화와 연동하는 현대미술의 죽음 이미지에 초점을 맞춰 죽음의 당대적 의미를 논한다. 방법적으로는 논제와 관련 있는 현대미술 사례, 예컨대 허스트의 2005년 개인전 ≪새로운 종교≫, 파스트의 영상작품 <신에게 예뻐 보이는 (G. W를 따라서)>, 볼탕스키의 설치미술 ≪무인지대(No Man``s Land)≫(2010)을 들어 거기에 담긴 죽음의 형상과 그 의미를 짚고, 그것이 동시대 문명의 조건과 엮이는 맥락 및 미술 내부의 경향성을 재고한다. 이러한 논의에서 우리의 결론은 현대미술에서 죽음이 논쟁적 주제로 시각화되는 것은 유동적 현대사회 속에서 우리의 삶이 불안정하고, 불확실하며, 예측 불가능하게 돌아가는 양상에 대한 예술적 반응이라는 것이다. 동시에 그러한 미술이 TV 서바이벌 프로그램이나 미술시장의 고급 상품처럼 기능할 때, 그것은 현대미술을 환유법적으로 연기(延期)하는 엔드게임이 아닌지 비판적으로 재고할 필요가 있다는 점이다. This article is the aesthetic analysis of interrelationship between image and death in contemporary art. I consider some situations that contemporary art images on death correspond to our community from the start. Furthermore, my analysis critically reconsider that those situations represent the inner mechanism of contemporary art world. Especially, I investigate a particular context which present or evoke tendency of the art works and/or exhibitions associated with death, and create a situation where we imagine the circumstances of our own deaths since the late 1990s. In the first chapter of the main body of this text, what I concern is the paradigm shift that human consciousness and image presentation have been dealt with life and death, presence and absence, and mortality and immortality from the very beginning of image to contemporary art now. In the second chapter, I shall concentrate on the meaning of death in contemporary society by interpreting some cases of contemporary art works. Using examples, such as Damien Hirst`s solo show ≪New Religion≫(2005), Omer Fast`s video work <Looking Pretty for God(After G. W)>(2008), and Christian Boltanski`s installation project ≪No Man`s Land≫(2010), I argue that images of death in contemporary art scene have the potentiality of reflection on our life which become more and more liquid, unstable, uncertain, and unpredictable. But as long as they do not cause critical thought to the living, as in a TV survival program or a art market, I doubt contemporary art on death is a kind of endgame for art itself.

예술가 신체의 물질/비물질성

강수미(Kang Su-Mi) 서양미술사학회 2011 서양미술사학회논문집 Vol.34 No.-

This research suggests art, not as a priori, universal, or a prototype, but as an artist engaging in and accomplishing concrete practice, exploring what art actually is. So to speak, the history of art is a kind of complex field, that was made possible from the constant accumulation of interaction between the material and physical deeds and the non material and spiritual achievements of each artist. In order to render these complex field comprehensible, my essay will to stress the material and non material dimensions of the artist’s body. The points I want to discuss here therefore are: contemporary artworks in which artists themselves appear; artist’s bodies as artworks; and the specific perception and logic operating in such artworks. By discussing the non/material dimensions of the artist’s bodies as artworks in the context of contemporary art scenes, I address artists as ‘the subjects of representation and objects of appreciation.’ For this discussion it is necessary to review Self-portrait by Marie-Louise Vigee-Lebrun in 1790 and Untitled Film Stills by Cindy Sherman in 1978-80. What we can find in these examples, all artworks in which artists appear are distinguishable from other work as the artists become the narrator of their image. On the other hand, we often see naked artists in contemporary art, especially in Body art, Happening, and Performance. In the cases of Ono Yoko, Vito Acconci, and Julie Jaffrennou, the body is not given as a mere biology with anatomy but an anatomy formed through a social life maintained from one’s birth to death, composed and represented through social, historical, institutional apparatus and signs. But when the artist’s naked body assumes the role of critical medium questioning the social body, the above case might appear slightly strange. That is why realities are removed and confined to the internal side of art in their performances, despite their connection with the social, as if being staged at a theater. Unlike the abovementioned artists, there are artists who interweave society’s diversity, political and economical situations, and cultural contexts, with their naked bodies as like in the artworks of Marina Abramovi? or Nikki S. Lee. Walter Benjamin distinguished the body(Leib) from corporeal substance (Korper). The former is a communal, social, historical body, different to a biological one. The body here is not a biologically given body but a secular, acquired one formed within a community. If we see the body from the viewpoint of aisthesis, or in the context of our perception in a worldly life as Benjamin’s aesthetics alluded, the body can be discussed in relation to socially open and expanded consciousness and artist’s activity.

공동체를 위한 예술과 공공미술

강수미(Kang Su-Mi) 현대미술학회 2008 현대미술학 논문집 Vol.12 No.-

What does it mean to speak of public art? To what extent does it make sense to speak of a 'publicity' in art world? The challenges and contradictions of public art in contemporary culture situation have never been greater. For the fields of art and culture global capitalism more and more demands becoming industrialize and commercialize, public art also confronts same situation. In this moments, I will argue about public art's identity and social function. In western culture, since the end of the 19th century, traditional monuments began to lose their visual-symbolic effectiveness. Then artists have invented new ways of creating effective participations or interventions in public space while also attempting to address a wide array of public audience. For example, S. Lacy who suggested the concept of 'New Genre Public art' in Mapping the Terrain: New Genre Public Art(1995) encouraged more contemporary artists to work their creation or activity for social community. The first section of this essay will be considered to the problem of defining a public art in relation to community that are, by their nature, "exposed"―inhabiting spaces that are deemed public or common. Especially I will discuss the possibility of art for community's sake beyond 'art for art's sake', by making reference to the Walter Benjamin's late art theory that he examined the new identity and function of modern art under the social condition of modern era. The second section might be the crucial part of this essay. Because my debate as a kind of case study on the success or failure of some artists's art works or activities in the public sphere. First, I will investigate the matter of process that art works gain in the popularity and publicity, by discussing between the A. Warhol's 〈Disaster painting〉 and F. Gonzalez-Torres's 〈Untitled〉 installation series. Second, my argument is deal with the problem of artistic methodology that public art works can be functioning as the productive medium for the collective memory and experience. In this part, I will focus on two well-documented examples of public art: M. Lin's 〈Vietnam Veterans Memorial〉 and A. Gormley's 〈Angel of the North〉. Both examples proved exceptionally controversial, and the nature of these controversies will serve to illuminate a number of the main issues raised in this essay.