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민간경비원 권리보호 규정의 경비업법 수용제고 방안 - 청원경찰법과의 비교를 중심으로 -
김계원,서진석 한국융합보안학회 2015 융합보안 논문지 Vol.15 No.6_1
본 논문은 경비원 권리보호의 경비업법 수용제고 방안을 도출하는데 목적을 두고 있다. 이를 위해 민간경비원과 동일한 업무특성을 지니고 있는 청원경찰의 권리보호 양태와의 비교고찰을 통해 접근해 보았다. 분석결과, 경비원의 권리보호를 위한 경비업법의 수용내용을 제시하면 다음과 같다. 첫째, 경비원의 경제적 지위를 보장하는 기본적인 조항을 경비업법에 신설하여야 한다. 둘째, 경비원의 권한범위를 명확히 규정할 필요가 있다. 셋째, 경비원의 의무규정에서 위력이나물리력의 범위를 명확히 할 필요가 있다. 본 규정 중 물리력 행사는 존치시키고 ‘위력과시’ 부분은 삭제하여야 한다. 넷째, 경비원의 폭행에 대한 가중처벌 조항을 신설해야 한다. 끝으로 경비업법과 청원경찰법은 제정목적이나 성격 면에서는 상당히 차이를 갖기 때문에 단순한 법조항 도입 보다는 보호이익에 초점을 맞추어 도입하는 것이 바람직하다. This paper aims to draw practical measures for the Protection of the Rights of the private security guards. The results of the analysis, and presents the legal definition if need be introduced for the protection of private security guards right, are as follows. First, it must be established in Private Security Act the basic provisions that assure the economic status of the private security guards. Secondly, there is a need to clearly define the scope of authority of private security guards. Third, there is a need to clarify the scope of physical force or power in the regulations relating to the duty of the private security guards. This provision during the "displayed its power", there is a possibility that is too arbitrary interpretation, it must be deleted. Fourth, it must be established by weighting penalties for assault of a private security guards. Finally, Private Security Act and the Petition Police Act has a difference in personality and the purpose of the enactment. So it is not desirable to be directly applied to private security guards the provisions that apply to the petition police.
만드는 사진, 찍는 사진 - 1990년대 한국사진에서의 매체 특수성 논의
김계원 한국근현대미술사학회(구 한국근대미술사학회) 2018 한국근현대미술사학 Vol.36 No.-
This paper examines how the medium-specificity of photography was addressed in the Korean art scene during the 1990s. It focuses on ‘Making Photos' and 'Taking Photos,' two oppositional terms that crystallized the main question of what the unique nature of photography should be, as raised within the critical discourse associated with key exhibitions of the period. It was 'The New Wave of the Photography,' an exhibition held at the Walker Hill Art Center in 1988, that provided the trigger point of the debates on the medium-specificity of photography. This show was experimental in both curatorial practice and artistic content. It introduced a number of new forms of photographic art practice, including film montages, mixed-media installations, non-silver print techniques and drawing combinations. The way the art works was displayed was entirely noble too. Rather than hanging two dimensional images side by side on the wall, the exhibition, for instance, a circular shaped photo-sculpture suspended from the ceiling, which enabled the audience to see it from all points of view. ‘Making Photos’ was the new vocabulary coined to refer to this new and non-conventional style of photographic art, as opposed to ‘Taking Photos,’ a term put forward to indicated the more traditional mode of photography with regard to material, method and process. The binary oppositions between ‘Making Photos’ and ‘Taking Photos’ was intensified through the subsequent exhibitions. Primary of which were: ‘The Horizon of Korean Photography,’ ‘Intervention, Observation: The Contemporary Photographs of Korea’ and ‘Photography as it is.’ These exhibitions were landmarks in this history of Korean photography as they directly confronted the question of medium-specificity, and provoked an extensive wider critical discussion about the unique and proper nature of the photographic medium. It was at this moment in time that the main texts on and of the Western theory and history of photography were translated into Korean as a powerful tool to demonstrate the ‘true’ value of ‘Taking Photos.’ In this process of cultural translation, the equivalent of ‘Taking Photos’ was conceived as ‘Straight Photography,’ which was taken in the Korean context to imply the universal nature of the medium rather than a specific artistic tendency within early twentieth century American photography. Bound up with and reconfigured through a specific meaning of ‘Straight Photography,’ ‘Taking Photos’ came to stand for a core essence of the medium itself, specific only to photography, not to painting, sculpture, or any other hybrid forms called ‘Making Photos.’ By looking at the bifurcated discourses of ‘Making Photos’ and ‘Taking Photos’ as embedded within the construction of these four exhibitions, this paper seeks to address how the Western modernist idea of photography was deployed against ‘Making Photos’ in Korea, considered a symbol of immature, foreign, and post-modern fad. It also addresses the controversial legacy that resulted from the local and cultural translation of the theory of modernist Western photography within the contemporary Korean art world.
해양시설의 HNS 배출허용기준에 적용 가능한 사회적 영향인자 평가방법 연구: 인천광역시 파일럿테스트를 중심으로
김계원,이문진,강원수,최훈,김태성 해양환경안전학회 2022 해양환경안전학회 학술발표대회 논문집 Vol.2022 No.11
본 연구는 해양시설의 HNS 배출허용기준 체계에 적용 가능한 사회적 영향인자 평가방법 및 절차를 도출하는데 목적이 있다. 인천광역시 소재 해양시설 71개소로 대상으로 기업규모에 따라 대기업, 중견기업, 중소기업, 소기업으로 구분하였고, 신규 기술도입비용 은 5년간 분산하여 적용하는 경우로 추산하였다. 분석결과는 다음과 같다. 첫째, 산업분야 항목에서는 경영상부담정도를 나타내는 지표 중 매출액감소 1점, 영업이익률감소 평균 3.5점, 도산가능성 2.7점으로 평가되어, 평균 2.7점으로 ‘영향있다’로 평가되었다. 둘째, 지역경제 항목의 평가지표 중 주민보건비지출부담 4점, 관광수입손실액 4점, 어업생산량감소 2점 등 전체 평균 3.3점으로 ‘영향크다’로 평가되었 다. 평가결과 산업적인 면에서는 소기업, 중기업, 대기업 간에 미치는 영향편차가 큰데, 대기업은 영향이 거의 없었고, 소기업은 영향을 크게 받는 것으로 나타났다. 지역경제면에서는 주민보건비지출부담, 관광수입감소, 어업생산량감소 등이 지역경제에 미치는 영향은 두가 지로 구분하여 볼 수 있는데, 지역전체 GRDP에 미치는 영향은 매우적지만, 해당 종사자나 주민 개인에 미치는 영향은 영향이 큰 것으로 나타났다. The purpose of this study is to derive methods and procedures for evaluating social influencing factors applicable to the HNS emission allowance standard system of marine facilities. 71 marine facilities located in Incheon Metropolitan City were classified into large companies, mid-sized companies, small and medium-sized enterprises, and small companies according to the size of the company, and the cost of introducing new technologies was estimated to be distributed for five years. The analysis results are as follows. First, among the indicators indicating the degree of management burden, it was evaluated as 1 point for sales reduction, 3.5 points for operating profit reduction, and 2.7 points for the possibility of bankruptcy, and was evaluated as influential with an average of 2.7 points. Second, among the evaluation indicators of local economic items, the overall average of 3.3 points, including 4 points for residents' health expenditure, 4 points for tourism income loss, and 2 points for reduction in fishing production, was evaluated as great influence. As a result of the evaluation, in terms of industry, there is a large variation in the impact between small and medium-sized enterprises and large enterprises, but large enterprises had little impact, and small enterprises were greatly affected. In terms of the local economy, the impact of residents' health expenditure burden, tourism revenue reduction, and fishing production reduction on the local economy can be classified into two, and the impact on the overall GRDP is very small, but the impact on the worker or resident individual is large.
김계원 한양대학교 동아시아문화연구소 2017 동아시아 문화연구 Vol.70 No.-
This paper examines the way in which a new style of photography that emerged in postwar Korea reflected a process of the conceptual translation of photographic modernism. Methodologically it centers on ‘Young-sang Sajin,’ a term coined by Yook Myeong-Shim (b. 1933) in his historicization of Korean photography during the late 1970s. As opposed to the candid realistic style of photography in the previous period, ‘Young-sang Sajin,’ according to Yook, pursued a subjective and heuristic mode of representation. It also explored the media specificity of photography by experimenting a renovative way of cropping, cutting and framing, the dramatic contrasts of black and white tones, and the unusual way of composition. The style of ‘Young-sang Sajin’ penetrates the experimental works of the photographers including Yook Myong-Shim himself, Yi Gap-cheol, and Choi Gwang-ho, all of whom have documented the traditions and indigenous lives of Korean people in the margins of the country, otherwise quickly vanishing in the light of modernization. This paper especially addresses how Yook's notion of 'Young-sang Sajin' resonated with the contemporary Japanese theory and discourse on 'eizō(映像)' and how it echoes a crucial aspect of the cultural translation in postwar Korea. Based on Yook's writings and visual works, including the well-known photographic series of the ‘Ordinary People,’ ‘Jang-seung (ancient monument),’ and ‘Black Sand Bathing,’ this essay also shows how Yook could synthesize the traditional and the modern on the conceptual locus of 'Yong-sang Sajin,' a notion that was gradually transformed into what is called ‘Korean photographic aesthetics.’ Interestingly, however, Yook's visual work was not squared with such a cliché of Korean-style modernism, nor accorded to the politically charged meaning of 'tradition,' a notion that was intensively discussed and strongly supported by a progressive art movement in 1980s Korea. Instead, Yook’s work captured and visualized the materiality of indigenous folklore in a new way, through which the minute details, surfaces, and textures of vernacular folk life came to obtain a new level of visibility and visuality. Underlying these are the specific styles of ‘Young-sang Sajin’ that brought the invisible, illegible, and uncanny matrix of the indigenous folklore to a new interpretative frame for Korean tradition. 이 글은 1960년대~80년대의 한국사진의 흐름에서 ‘영상사진’이 무엇을 의미했으며 이는 사진에서의 모더니즘에 대한 자각을 어떻게 반영하고 있는지 짚어본다. 기존의 사진비평에서 이 시기의 경향은 크게 생활주의 리얼리즘, 아마츄어의 살롱사진, 프로페셔널의 광고사진으로 나눠서 분석되었다. 그러나 이러한 형식주의적, 기능주의적 관점은 사진이 어떻게 폭넓은 사회적 이슈와 공명하면서 시각적 가능성을 확보해 가는지 설명하기 힘들다. 반면 순수미학적인 관점에서 볼 때 이 시기의 사진은 ‘현대사진’으로 나아가지 못한 기나긴 미발달의 시기로 해석된다. 이러한 제한적 비평의 관점들을 보완하기 위해 이 글은 사진가 육명심(b. 1933)의 글과 사진에 초점을 맞추어 60년대부터 지속된 다양한 사진적 실험들을 모더니즘 사진의 수용과 번역과정으로 해석할 것이다. 특히 그의 사진적 실험을 압축하는 개념인 ‘영상사진’이 전통적 주제물과 접목되어 ‘한국적 사진미학’의 가능성의 토대를 구축하는 과정을 중점적으로 분석한다. 그가 ‘우리 것 삼부작’이라 부르는 <백민>, <장승>, <검은 모살뜸>은 그러한 문화적 독자성에 대한 탐색이며 모더니즘 사진의 한국적 번역으로 볼 수 있다. 그러나 이와 동시에 육명심의 작업은 토속의 삶에 퇴적된 시간의 무게와 질감을 빠짐없이 길어올리며 ‘모던하면서도 전통적인 세계의 합일’이라는 익숙한 논리로는 설명될 수 없는 또다른 전통의 존재감을 포착한다. 그것은 현대화의 충격에 흡수되지 못했거나 화해하지 못한 채 남아있는 토속의 질감과 무늬, 그리고 물질성이다. 육명심의 전통의‘영상’은 기존의 사진사에서 논의된 바 없는 1960~80년대 사진의 의미와 가치를 새로운 해석의 공간으로 끌어들인다.
‘여자’를 찍는 법 - 20세기 중반 일본의 ‘여성미’ 사진과 누드사진
김계원 한국근현대미술사학회(구 한국근대미술사학회) 2019 한국근현대미술사학 Vol.38 No.-
This paper addresses critical questions of modernist photography and its representation of sexualized femininity in mid-twentieth century Japan. Particular attention is paid to the works of Fukuda Katsuji (1899-1991), a photographer renowned for his techniques of, and approaches to, imaging the ‘Beauty of Women’ around the time of the Asia Pacific War. From 1937 through 1947, Fukuda published the first two volumes of his signature photographic works, entitled ‘How to Photograph Women.’ Composed of a number of female portraits, Fukuda’s photo books could escape the state censorship due to their rendering women into a proper prototype of female beauty in the wartime period - pure innocent girls whose beauty could transcend the boundaries between different classes, races, and ethnicities. In other words, the ‘beauty’ of his female subjects lied in their transcendental power, through which all political and ideological conflicts could be resolved at the apex of the racial/imperial war. By contrast, the postwar version of Fukuda’s ‘How to Photograph Women’ replaced the prewar images of pure innocent girls with erotic nude photographs. This shift paralleled with the unprecedented boom of female nudes in both professional and amateur photography in the occupation period (1945-1952). A great number of female nudes were produced, displayed, and circulated in urban public spheres, shaping a postwar kasutory culture that embraced escapism, hedoism, and decadence after the defeat in the war. Fukuda, once again, provided a prototype of postwar female beauty, yet this time rendering the female body into abstract forms and lines. He followed up with the gendered idea of Western modernisg photography, in which the female body was objectified as, and translated into, pure geometrical language specific to the photographic medium. This paper addresses how Fukuda’s female portraits and nude photographs embodied the problem of modernist photography and its gendered representation of the female body; and how his works straddled the unsecured borderlines between art, obscenity and profanity in both wartime and postwar Japan.
Sasa[44]의 현행(現行)과 기록의 미술(2003~2022)
김계원 한국근현대미술사학회(구 한국근대미술사학회) 2022 한국근현대미술사학 Vol.44 No.-
Sasa[44] is an artist who has been doing ‘Hyeon-haeng(現行)’ in the field of mass culture of contemporary Korea. ‘Hyeong-haeng’ in Korean means the ‘current’ or the ‘latest;’ and in a specific context of commodity culture like sneaker or car mania, it also refers to the latest models, currently available designs, or limited editions of this season or year. Sasa[44]’s Hyeon-haeng not only entails a massive collection of mass cultural stuffs, but also enables him to appropriate the world of commodity as a form of his own visual work. Interestingly enough, Sasa[44] invented a system of documenting his own Hyeon-haeng by means of a purely refined language of numbers, statistics, and geometric forms, in which his Hyun-haeng is translated into the neutral information of consumption. Sasa[44] also activates our ‘common’ archives of ‘common’ things by performing others’ Hyeon-haeng or making others perform his Hyeon-haeng on behalf of him. In conclusion, this paper sheds light on the new possibilities that Sasa[44]’s work can open up regarding the discourse of public archive that has been a critical issue in contemporary Korean art over the past twenty years. Sasa[44]는 1990년대 이후 한국미술에서 보기 드물게 동시대 대중·상품문화의 현장에서 직접 물건을 사고팔고 감식하며 사물이 유통되는 구조를 면밀히 분석하는 이른바 ‘현행(現行)’하는 작가다. 또한 그의 작품은 소비의 장에서 현행하는 자신을 중성적, 비개성적 어조로 기록하여, 소비-개인-일상의 관계를 방대한 데이터베이스의 형식으로 제안한다. 이 글은 Sasa[44]의 작업을 관통하는 핵심이 1) 현행을 미술의 장으로 가져와 대중문화의 소비와 수집, 전유를 방법론으로 삼고 2) 자신의 현행을 기록하는 체계의 형식을 고안하여 자기객관화의 시점을 확보하는 한편 3) 타인의 현행을 대리하거나 자신의 현행을 타인에게 대리시켜 수집한 범속한 사물들로 공통의 아카이브를 활성화하는 점에 있다고 파악했다. 논문은 현행과 기록이라는 두 가지 개념적 틀로 Sasa[44]의 작품 세계를 분석하면서 그의 작업이 지난 20년간 한국 미술이 이슈로 제기해 온 아카이브 개념에 어떤 새로운 가능성을 열어줄 수 있는지 탐색한다.