원시주의를 넘어서 : 애론 더글러스(Aaron Douglas)의 초기 삽화 작업에 나타난 인종적 정체성 문제와 할렘 르네상스

김진아 ( Kim¸ Jina ) 동국대학교 영어권문화연구소 2018 영어권문화연구 Vol.11 No.1

Aaron Douglas is widely known as a leading Harlem Renaissance artist particularly as a muralist. However, in the latter half of the 1920s and at the height of the Harlem Renaissance, he was deeply involved in print culture and provided graphic designs for covers, illustrations, and posters for the major magazines of the New Negro movement, such as Crisis and Opportunity, as well as several Harlem writer’s publications including The New Negro (1925), Nigger Heaven (1926), Home to Harlem (1928). This paper at first examines Douglas's early life just before and after he arrived in Harlem, focusing on how the questions of racial identity exemplified by the “New Negro” began to be explored in the context of the active support by and cooperation with Harlem Renaissance leaders. It then responds to those questions by analyzing Douglas's works with reference to the specific forms and subject matter. Harlem Renaissance art has been criticized as being other than a form of independent art movement owing to many artists' reliance upon white patronage and often responding to the mainstream expectation for ‘primitive’ cultures from African American artists. Also, the formal and thematic elements embodied in Douglas's works, such as Cubist and Art Deco style and Egyptian and African metaphors, showed the influence of Western modernist primitivism. However, Douglas also created critical differences beyond mere subordination and imitation to such mainstream primitivism. He suggested highly complicated and often paradoxical styles or poses, dialecticizing the relationships of the primitive and the modern, realism and abstraction, fine art and graphic design, Africa and America, nature and city, and the past and the present.

‘용광로’에서 ‘다문화주의’로

김진아(Jina Kim) 현대미술사학회 2005 현대미술사연구 Vol.18 No.-

Many critiques have been written concerning the promotion of ideas of 'Abstract Expressionism' as the first 'American' art to succeed in raising American art to an international level. What was interesting to me, however, was the identity politics implicit in this promotion of 'Americanism', in relation to which Third World cultures came to be marginalized. The discourse of Abstract Expressionism that emphasized the 'radical' and 'universal' characteristics of American art was premised under the condition that it must derive from European art. This idea seems to have formed as a part of cultural 'Americanism' that reflected the influx of new immigrants and the program of assimilation under the notion of the 'Melting Pot'. 'Assimilation' has meant 'assimilation' into the dominant and superior American culture through three elements-the English language, national identification and pride, and the Protestant ethic. While the definition of the 'melting pot' required the absorption of new immigrants into Western culture, critics and institutions of Abstract Expressionism struggled to perpetuate the myth of the 'melting pot' by denying the nature of diverse cultures in the United States. Although the 1980s witnessed a new critical promotion of women artists and a theoretical focus on questions of 'difference' and 'otherness', it was not until the late 1980s that the question of the marginalized racial and ethnic Other entered the mainstream art world, spurring critical challenges to the notion of the 'melting pot', and demanding a more inclusive engagement with the Other's voice. From MoMA's "Primitivism" show in 1984, to the spectacular mounting of several Latin American and Latino art exhibitions in the late 1980, and to the 1989 exhibition "Robert Mapplethorpe: The Perfect Moment" that triggered the so-called Culture Wars in the art realm, exhibitions began to engage with questions of difference on a new level. While these exhibitions signified an increasing interest in the Other in American art museums, the art of the Other continued to be considered not as equal partner to Euro-American cultures, but as exotic, primitive, or even degenerate. It was "The Decade Show" of 1990, however, that ushered in a new era of large exhibitions that officially espoused the notion of 'multiculturalism' which substituted the notion of the 'melting pot'. This show, mounted at the New Museum in New York, purposely embraced a cross-section of cultures, rather than a focus on one cultural group. It set the pattern for a new agenda for exhibitions in major establishments and art institutions. By far the largest and most debated of these was the 1993 Biennial at the Whitney Museum in New York. Like "The Decade Show", it focused attention on what it meant to be 'American'. Questions of who is American and of what is American in American art became more compelling than ever before, partly because the exhibition pressed its core themes of race, ethnicity, gender, and sex at the height of the public political debate over 'multiculturalism' and 'political correctness'. At the same time, the 1993 Biennial represented the first large-scale representation of Other artists in a renowned art museum that was dedicated to 'American art'. Focusing on these two exhibitions, "The Decade Show" and the 1993 Whitney Biennial, this paper examines how American museums in the early 1990s constituted, institutionalized, and disseminated a new narrative of cultural identity under the rubric of 'multiculturalism'.

저소득층 학년 아동들의 5 자율성 기반 영어학습 활동 연구

김진아 ( Jina Kim ),오마리아 ( Maria Oh ) 글로벌영어교육학회(구 호남영어교육학회) 2015 Studies in English education Vol.20 No.1

The purpose of this study is to present some autonomy-developing activities which were designed and implemented by a teacher-researcher and her students for the 2013 Fall semester. The study participants were 24 fifth graders at an underprivileged area of a southern mid-sized city. The students’ positive reactions towards the activities are also presented. Major data gathering sources were interviews, the students’ learning journals, the teacher’s observation report, study progress reports at Jeonbuk E school (http://eschool.jbedu.kr/) and two-time questionnaires. When the data were analyzed according to qualitative study tradition, it was found that three types of autonomy-developing activities helped most participants become more autonomous. These autonomy-developing activities would be very helpful for teachers and researchers who want to improve primary-school low-income students’ autonomy in English learning.

메를로-뽕띠(Merleau-Ponty)의 현상학적 신체론과 페미니즘

김진아(Jina Kim) 한국비평이론학회 2004 비평과이론 Vol.9 No.1

This essay purports to examine Merleau-Ponty's existential philosophy of the body in The Phenomenology of Perception and assess the responses to his theory raised by some feminists. Merleau-Ponty posits a new philosophy of the body that locates the subjectivity and consciousness in the lived body, rendering human subjectivity the embodied subject and consciousness embodied consciousness. It is only through the body that human beings exist, act, love, think, plan, formulate projects and interact with other people and things in the world. This move to situate subjectivity in the lived body radically challenges the dualistic perspective inherent in the traditional Western philosophy and empirical science prevailing in his times, and makes it impossible to preserve the mutual exclusivity of the categories subject and object, inner and outer, I and the world and mind and body. Many feminists have welcomed the disruption of the mind/body dualism and the emphasis on the significance of the body in human existence in Merleau-Ponty's theory, since in the traditional metaphysics the body as a devalued term had been associated with women, while men had occupied the position of the transcendental, rational, and transparent consciousness. On the other hand, they also argue that his theory of the body exclusively deals with a universalized, gender-neutral and thereby male body, and consequently ignores the specifically gendered experience of the female body. In this essay, I want to argue that Mereleau-ponty's theory of the body always posits ""a situated body"" which encom passes concrete historical, cultural and social situations and therefore opens to the analysis of the particular bodies including the female body.

충남대 잔디밭 토양 중 ⁴⁰K과 ¹³⁷Cs의 방사능 농도 및 경년 변화

김진아 ( Jina Kim ),노형아 ( Hyungah Noh ),홍기민 ( Kimin Hong ) 충남대학교 기초과학연구원 2022 충남과학연구지 Vol.39 No.1

The radioactivity levels of ⁴⁰K(Potasium) and ¹³⁷Cs(Caesium) in the soil in Chungnam National University were measured using a high-growth ray spectrometry system consisting of a detector (HPGe, High Purity Germanium) and a multi-wave analyzer. The radioactivity level of ⁴⁰K in the topsoil in the second half of 2022 in Chungnam National University(CNU), was 863 Bq/kg-dry and the radioactivity level of ¹³⁷CS was lower than the minimum detectable activity(MDA). The radioactivity level of ⁴⁰K in the subsoil was 882 Bq/kg-dry, and the radioactivity level of ¹³⁷Cs was not detected. This is a value that does not deviate from the direction of secular change in radiation levels.

친환경 산화제 HNF 합성 및 결정화 연구

김진아(Jina Kim),김민준(Min Jun Kim),민병선(Byoung Sun Min) 한국추진공학회 2014 한국추진공학회 학술대회논문집 Vol.2014 No.12

최근 기존 화약의 환경적인 문제가 대두되면서 전 세계적으로 친환경 화약연구에 대한 프로젝트가 활발히 진행되고 있다. 추진제에 들어가는 산화제로 ammonium perchlorate (AP)를 주로 사용하고 있으나 연소 후 많은 양의 염산가스 발생으로 추진기관 또는 대기환경 문제가 발생하고 있다. 본 발표에서는 AP를 대체할 수 있는 hydrazinium nitroformate (HNF) 합성 및 용해도 연구에 대해 보고하고자 한다. HNF는 isopropyl alcohol 또는 acetic anhydride를 nitration 한 후 metathesis 반응으로 얻을 수 있다. 합성된 HNF에 대한 결정화 연구를 위해 용해도 측정 실험을 수행하였다. Recently, the explosion of transitional explosives and propellants is a big environmental issue. As an oxidizer in various energetic materials, commonly used ammonium perchlorate (AP) generates the problem occurred from a large quantity of HCl gas and atmospheric pollutions. Among the several oxidizers, hydrazinium nitroformate (HNF) is a good candidate which has high density, pressure index, and less smog generating property during combustion for the Divert and Attitude Control System (DACS). There are many reported synthetic methods for HNF as isopropyl alcohol (IPA) and acetic anhydride (AA) by starting materials. In this study, HNF of more than 98% purity is synthesized. Also, we measured the solubility, which is fundamental data for crystallization process. Solubility was measured from 283.15 to 323.15K in alcohol solvents by the isothermal method.

하이브리드 로켓 연소에서 연료액적의 발생과 저주파수 연소불안정

김진아(Jina Kim),이창진(Changjin Lee) 한국항공우주학회 2021 韓國航空宇宙學會誌 Vol.49 No.7

파라핀 왁스는 높은 후퇴율 때문에 하이브리드 로켓의 연료로 많은 각광을 받고 있다. 하지만 파라핀 연료의 연소에서도 비정상적인 저주파수 연소압력 진동이 관찰되고 있는데, 이는 연료 표면에 형성된 액체층과 액적의 유입과 관련이 있는 것으로 추론된다. 본 연구는 액적에 의한 추가적 연소와 저주파수 연소불안정 발생과의 관계를 분석하였다. 한편, 액적의 발생은 관성력과 액체의 표면장력의 비로 정의되는 We수(Weber Number)와 액체층의 Re수(Reynolds Number)에 따라 변화하는 것으로 알려져 있다. 따라서 일차적으로 실험실 규모의 로켓을 사용하여 We수에 따른 연소불안정의 발생여부를 관찰하였다. We수의 조절은 산화제 유량 변화를 통한 관성력의 변화와 LDPE(Low Density Polyethylene) 첨가에 의한 표면장력의 변화를 통해 시도하였다. 저주파수의 연소불안정의 발생은 특정한 We수 이상에서만 관찰되었고 임계 We수가 존재하는 것을 확인하였다. Paraffin wax is attracting many attentions for promising solid fuel of hybrid rocket because of its higher regression than other fuels. However, even with paraffin fuel combustion, unsteady low-frequency oscillation of combustion pressure is still observed. And, this is related to the formation of liquid layer and the entrainment of fuel droplets entering the axial combustion gas flow. This study investigates the effect of additional combustion of fuel droplets on the occurrence of low-frequency combustion instability. On the other hand, the formation of fuel droplets depends on Weber Number (the ratio of the inertial force to the surface tension of the liquid) and Reynolds Number of the oxidizer flow. Therefore, a laboratory-scale hybrid rocket was used to monitor the occurrence of combustion instability while changing We number. A series of combustion tests were conducted to control We number by changing the oxidizer flow rate or adding LDPE (low density polyethylene) to base fuel. In the results, it was confirmed that there is a critical We number above which the low-frequency combustion instability occurs.

최소자승몬테카를로 시뮬레이션을 이용한 풍력발전설비 투자계획

김진아(Jina Kim),이종욱(Jong-Uk Lee),이재희(Jaehee Lee),주성관(Sung-Kwan Joo) 대한전기학회 2011 전기학회논문지 Vol.60 No.1

The economic value of a wind farm project is influenced by various risk factors such as wind power output and electricity market price. In particular, there is uncertainty in the economic evaluation of a wind farm project due to uncertain wind power outputs, which are fluctuated by weather factors such as wind speed, and volatile electricity market prices. This paper presents a systematic method to assess the economic value and payback period of a wind farm project using Least Square Monte-Carlo (LSMC) simulation. Numerical example is presented to validate the effectiveness of the proposed economic assessment method for a wind farm project.

기형도 시의 바람 이미지 연구

김진아(Kim JinA) 한국언어문학회 2007 한국언어문학 Vol.60 No.-

What comes across my mind relating to Ki Hyung-do and his poetry is grotesque death. Our pathetic mind to the early death of a talented poet works as an intervening factor of reading his poetry. So, as poetical theories targeting Lee Yook-sa or Yoon Dong-joo can not be out of a pit of biography of a great man. most of the writing on Ki Hyung-do has features of a requiem. For Ki Hyung-do’s poetry, his environment and early death is one of semantic methodologies involved in his writing. However, a focus should be given on how delicately he represented his life and internal conflicts in poems. Therefore, this study is to examine Ki Hyung-do and his poetry based on the theory of Bachlard. Bachlard’s attraction lies on “possible universality of poetic experience” as said by Song Wook. His materialistic imagination to identify reality instead of forms of objects helps identify basic forms of imagination presented in literary works. It also has an advantage that can show life of a poet and his individuality well. It has a advantage to clarify that the life of a poet may influence on works, but is absolutely not a literary work itself. In Bachlard’s Four Elements Theory, imagination of wind shows characteristics of Ki Hyung-do’s poetry well. Of the four elements such as water, fire, wind and earth, wind can not be seen. Wind does not have imaginative power when it is visual, but when it is not visual and imagined in dynamic power, it obtains power. What determines Ki Hyung-do’s poetry is storms of violent or crying wind. Storm has an important meaning in Ki’s poetry. Things blowing by wind in his poetry are images of wind seen visually, not objects that have important meaning themselves. Here the wind is physical and at the same time abstract wind blowing in his mind. As “grotesque realism” called by Kim Hyun, most of the images presented in Ki"s poetry are unrealistic and strange. Water and air in his poetry do not flow and are stagnant. The action that the poet stops flowing intentionally is an expression of powerful intention. Therefore, what represents his imagination is ‘Xerxes Complex’. The Xerxes Complex is anger against the subjects and is presented as hurting the subjects as well as breaking stagnancy. Here, the cut projects subjective feeling of the poet. The common thing of hurting power in his poetry is an exclusive motif of “cutting”. What is not visually seen by fog is cut by fog. This cutting motif comes from separation from his mother when he was young and being grown-up is the same as being hurt. He wanted to be awakened through such suffering, rather than neglecting it. It is thought that Ki Hyung-do’s poetry is of negation without right hope and optimism. However, Ki does not deny his life, nor does he accept death. He wanted to progress ahead through wind without being stagnant. The problem is that his wind is only out-breathing without inhalation. Wind is, that is, breathing of the world and man’s attitude to accept the world. His wind is violent wind controlling all the things including himself. However, he had to accommodate things he excluded to have internal harmony, but he had no accommodative capacity. It is sorry that Ki Hyung-do gave up writing before he was mature enough to accommodate the world.

“악당이거나 바보거나”: 제인 오스틴의 『이성과 감성』에 나타난 남성 소비자들

김진아 ( Jina Kim ) 한국근대영미소설학회 2019 근대 영미소설 Vol.26 No.1

This essay attempts to explore the ways in which Jane Austen delineates the relationship between things and their possessors at the onset of the consumer revolution at the end of the eighteenth century. She portrays the characters’ behaviors, attitudes and values in conjunction with the things they own, purchase and desire. Specifically she describes three male characters, John Willoughby, Robert Ferras, and John Dashwood, in their relationship with things such as horses, a toothpick case, a seal, and an estate. In eighteenth-century fiction, major consumers were assumed to be women whose inordinate appetite for material objects oftentimes led to the ruin of the family. However, historical records such as diaries or journals of this period clearly testify that men were as active consumers as women. Austen depicts the three male consumers as the major consumers, and thereby subtly subverts the gender ideology of the times that equates women with consuming subjects. For Austen, those who are too attached to things are morally deficient, since they value material objects over people around them. She characterizes these three male consumers as cold-hearted and selfish, and either villains or fools, or both. In Sense and Sensibility, Austen posits the critique of the consumer society of the late eighteenth century through the negative portraits of the three male consumers.