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        • KCI등재

          어린이공원 수급적정성 평가에 관한 연구

          박소현(Sohyun Park), 김규식(Kyusik Kim), 고병옥(Byeungok Ko) 서울연구원 2014 서울도시연구 Vol.15 No.3

          본 연구는 어린이공원에 대한 미시적 수준에서의 공급 및 수요 수준 분석을 통해 정교화된 수급적 정성 지표를 구축하는 것을 목적으로 한다. 먼저 서울시 전체 스케일에서 거시 지표를 이용해 연구 대상지로서 중랑구를 선정하였다. 해당 지역에 대한 수정된 Huff 모형을 이용해 공급지수를, 지역 내의 사회?경제적 변수들을 고려한 수요지수를 도출하였다. 두 지수를 바탕으로 수급적정성 지표를 정의하였으며, 지도화를 통해 수급적정성의 공간적인 분포와 변이를 분석 및 평가하였다. 분석 결과 어린이공원의 수요에 대해 단순 인구수보다 어린이 및 노인과 같은 실제 수요층의 행태가 더 중요한 변수로 작용하며, 어린이공원과 근린공원이 기능적으로 분리되어 있음을 밝혔다. 또한 수급적정성 지표의 시각화를 통해 사례지 내 수급이 가장 불량한 지역을 선별하였다. 본 연구는 향후 어린이공원 및 생활권공원에 대한 공급 정책과 가이드라인을 마련하는데 기여할 것으로 기대된다. This study aims to estimate the supply-demand propriety for the Children's Park through the micro-scale analysis. Jungnang-Gu as a case study object was selected on the basis of the macro indices for total population and urban park areas. The supply index for the case study area was developed by modified Huff-model and the demand index was made by a multiple regression model using socio-economic variables. The supply-demand propriety was defined, and its spatial distributions and local varieties were measured using cartography. This study found that the demand for the Children's Park was highly affected by the actual behavior of users including children and the aged. Also, the Children's Park was functionally separated from neighborhood parks. Through the visualization of the propriety index, poor areas related to the supply of Children's Park were selected. This study contributes to making policies and guidelines of future directions for the Children's Park.

        • KCI등재후보

          ‘고려자기'는 어떻게 ‘미술'이 되었나 - 식민지시대 ‘고려자기열광'과 이왕가박물관의 정치학

          박소현(Park Sohyun) 한국사회조사연구소 2006 사회연구 Vol.- No.11

          '스콜라' 이용 시 소속기관이 구독 중이 아닌 경우, 오후 4시부터 익일 오전 7시까지 원문보기가 가능합니다.

            이 논문은 고려자기의 미적 가치가 형성되는 과정을 살펴봄으로써, 순수미술의 신화와 박물관의 정치학이 식민지 지배라는 정치적 상황속에서 작동하는 방식을 고찰한 것이다. 이 과정은 성역이었던 고분들의 ‘도굴'로 ‘고려자기 열광'이 발생하고 이왕가박물관이라는 제도가 설립되었던 점을 출발점으로 한다. ‘고려자기 열광'은 일본 컬렉터들의 다도 취미와 고미술품 수집이라는 문화적 맥락에서 발생해, 이왕가박물관을 통해 식민지 지배를 정당화하는 문화적 논리 산출에 기여했다. 그 대표격인 ‘조선예술쇠망론'은 조선(예술)의 쇠망과 일본이 조선(예술)의 보호자가 될 수밖에 없는 필연성을 주장했다. 이 ‘조선예술쇠망론' 속에서 ‘고려자기'가 ‘조선예술의 정화'로 자리잡은 것은, ‘고려자기'가 일본적 ‘전통'인 ‘다도 취미'의 맥락 내에 수렴되었기 때문이다. 이는 이왕가박물관이 일본인 지배계급의 미적 취향에 공인된 문화적 가치를 부여하고 보증해 주는 기능 또한 담당했음을 의미한다. 이에 대해 아사카와나 야나기 등이 조선자기의 미적 가치를 주장하면서 지식인 부르주아 계급의 고유한 미적 가치를 수립한 점이나, 고려자기를 조선 민족의 ‘소유'로 회수한다는 대의 아래 행해진 간송 전형필의 수집은, 이왕가박물관이 창출해 낸 ‘조선예술쇠망론'이나 ‘보호자'로서의 정당성을 상대화했다. 이는 당시 고려자기라는 ‘전통'이 완결된 형태로 존재했던 것이 아니라, 고려자기의 미적 가치 및 수집을 둘러싼 당대의 경합을 통해서 끊임없이 충돌과 조정에 직면해야 했던 일종의 복합물이었음을 시사해 준다. 그러나 식민지 관료들에 의해 운영된 이왕가박물관은 이러한 경합의 과정을 상쇄시키는 힘이자, 고려자기에 내포된 복합적인 의미들에 접근하는 것을 차단하는 장치로 기능했다. 즉, 고려자기에 관한 미적 가치가 식민지 지배 논리와 강하게 유착됨으로써, 이왕가박물관은 복수의 이질적인 미학들이 박물관 내에서 경합을 벌이는 장으로 기능할 수 없었던 것이다. 여기에 이왕가박물관의 정치학의 핵심이 있으며, 당시 연이은 사설미술관들의 설립은 이를 반증해 주는 현상이었다.   Goryojagi(the porcelain of Goryo Period) became Art and a new "tradition" through tomb-raiding and Yiwanga Museum(Royal Museum of Yi Dynasty) in the colonial period of Korea. Chasyumi(Japanese taste for tea) gave birth to Goryojagi-mania within Japanese high circles in colonial Korea. Goryojagi-mania contributed to produce the cultural rhetoric rationalizing colonialism, by constructing the "theory of perishment of Korean art" and making the image of Japan as a protector of Korean tradition and art. Within this theory, Goryojagi was ranked as "the flower of Korean art" because it was incorporated into the context of Chasyumi Japanese "tradition". But Asakawa Noritaka and Yanagi Muneyoshi insisted the artistic value of Joseonjagi(the porcelain of Joseon Period) over that of Goryojagi. Also, Gansong Jeon-hyungpil, the biggest Korean art collector, collected a large number of Goryojagis to retrieve Korean people"s own proprietary right to it. Both played a role relativatizing Japanese self-justification as protector and the "theory of perishment of Korean art". This means that the "tradition" of Goryojagi was not a completed one but a kind of hybrid or process. But the ritual of museum, making objects under colonial domination into Art, was the power checking the access to the hybridous meaning of Goryojagi. The core of politics of Yiwanga Museum was the very close relationship between colonial domination and the ritual of Art.

        • KCI등재

          인문학으로서의 문화정책 연구

          박소현(Park, Sohyun) 한국문화관광연구원 2009 문화정책논총 Vol.21 No.-

          이 글은 일본에서 행해지고 있는 문화정책 연구의 일단을 소개하면서, 문화정책 연구에 대한 인문학적 접근의 필요성을 고찰해보려는 데 목적이 있다. 일반적으로‘문화정책'에 대한 접근 방식은‘문화'보다는‘정책'쪽에 초점을 맞춤으로써, ‘문화정책'이라는 문제 틀이 전제로 삼거나 제시하고 있는‘문화'개념에 대한 반성적 인식이 상대적으로 소외되고, 기존의 상식화된‘문화'개념들을‘정책'의 대상으로 의심 없이 사용해온 경향이 강하다. 일본의 경우, 이러한 경향은 1960년대 후반부터 본격화되어 현재까지 지속되고 있다고 말할 수 있는데, 이 과정에서‘문화정책'은 다이내믹하고 비균질적인 복수의‘문화'들을 선별적으로 재가공, 평균화해왔다고 할 수 있다. 이러한 상황과 관련해 문화정책 연구가 당면 정책과제들에 대해 직접적이고‘실용적인'기여를 하는 데 그치지 않고, ‘문화정책'의 존재 방식과‘문화정책'이 가공해내는‘문화'에 대해 비판적 긴장을 유지하기 위해서는 어떻게 해야 할까? 이러한 질문이‘인문학'고유의 문제 설정 방식이라 했을 때, 이러한 질문을 문화정책 연구와 연관지어 문화정책 연구의 가능성과 한계에 대해 생각해보려는 것이 이 글의 목적이다. 최근 일본에서 행해지고 있는 문화정책 연구 스펙트럼에는 이러한 인문학적 접근이 하나의 축을 형성하고 있다. 이 글은 일본에서의 문화정책 연구의 지평을 개괄한 뒤, 그 안에서 인문학적 접근이 실제로 행해지는 방식을 검토하고, 거기에서 노출되는 한계점과 과제를‘현대'문화예술 생산자의 위치와‘납세자 주권'문제에 초점을 맞춰 논의한 것이다. This paper is to introduce part of cultural policy studies in Japan, and to think about the approach to cultural policy studies from a humanities perspective. Generally speaking, the approach to cultural policy studies focused less on culture than on policy. By doing that, the reflexive recognition of the concept of culture, which cultural policy regarded as its precondition or tried to reconceptualize repeatedly, has been relatively isolated, and at the same time the established concept of culture circulated as common sense, has been exclusively used by cultural policy. In the case of Japan, we can say that such a tendency started in the latter half of the 1960s and continued until the present, and in the process, Japanese cultural policy selectively remanufactured dynamic and heterogeneous cultures and normalized them. Under these conditions, what do we have to do to maintain critical tension with cultural policy and the concept of culture manufactured by cultural policy, beyond contributing to the present cultural policy directly and practically? If it is possible to regard such a question as the only perspective of the humanities, the purpose of this paper is to think about the possibility and limitations of cultural policy studies connecting such questions with cultural policy studies. This kind of perspective has emerged in recent cultural policy studies in Japan. So I, after summing up the scope of cultural policy studies in Japan, investigated approaches to cultural policy studies practiced by a humanities perspective in Japan, and argued its limitations, especially focusing on the place of contemporary producers of art and culture, and on the problem of taxpayer sovereignty.

        • KCI등재

          특성화고등학교 졸업생의 고등교육이수가 임금에 미치는 영향

          박소현(SoHyun, Park) 한국경영교육학회 2020 경영교육연구 Vol.35 No.6

          [연구목적] 본 연구는 특성화고등학교 졸업생들의 고등교육 이수에 따라 임금에 미치는 영향에 대하여 경력개발이론과 인적자본이론을 바탕으로 분석하고자 한다. 특성화고등학교 졸업생의 교육년수가 늘어날 경우 임금에 유의한 양(+)의 영향을 미치는지를 실증 분석하여 시사점을 제공한다. [연구방법] 본 연구는 특성화고등학교를 졸업한 임금대상자를 대상으로 2007년부터 2016년까지 청년패널조사 자료를 분석에 활용하였다. 졸업한 학생이 바로 취업을 하는 경우 졸업한 학생들에게는 경력개발이론이 적용된다. 하지만 고등교육을 통한 생산성 향상으로 소득의 증가를 설명하는 경우 인적자본이론으로도 설명이 가능하다. 이를 측정하기 위해 Mincer(1974)의 임금함수를 사용하여 2SLS회귀모형을 사용하였다. [연구결과] 분석 결과 특성화고등학교 졸업생들에게 고등교육이 임금에 미치는 영향이 경력변수를 통제하고도 유의하게 나왔다. 본 연구는 2SLS모형과 고정효과모형에서 모두 유의한 영향이 양(+)의 방향으로 나와 인적자본이론을 지지하는 것으로 나타났다. 추가분석으로는 특성화고등학교를 졸업 후 4년제 대학보다 2년제 대학 졸업생이, 상업계고등학교보다 공업계고등학교 졸업생의 경우 그 유의성이 더 높았다. [연구의 시사점] 특성화고등학교 졸업생의 고등교육이 임금에 긍정적인 영향을 준다는 것은 정부차원에서 재직자들에게 학습 부담을 완화해 주고, 열린 고용이 확산되도록 사회적 분위기를 조성해야 함을 시사한다. [Purpose] This study analyzed the effects of specialized high school graduates on wages according to higher schooling. Based on the theory of career development and the theory of human capital, we empirically analyzed whether the effect of the increase in the number of years of schooling of specialized high school graduates on their wages is significant. [Methodology] For this purpose, I used Youth Panel(YP) survey data from 2007 to 2016 for wage earners who graduated from specialized high school. Career development theory applies to specialized high school students who are employed by about half of graduating students. However, it is possible to explain the theory of human capital that explains increase in income due to productivity improvement through higher schooling. To measure this, ㅠboth Mincerin(1974) wage function and 2SLS regression model were used. [Findings] The results showed that the effects of higher schooling on wages for high school graduates was significant even when controlling for career variables. 2SLS model and the fixed effect model both showed positive direction and supported human capital theory. A further analysis showed that 2-year college graduates had a significant positive regression coefficient at the 5% significance level. [Implications] Higher schooling of specialized high school graduates has a positive effect on wages, and it is necessary for the government to reduce the learning burden on the employees and set a social mood to spread the open employment.

        • KCI등재

          帝國의 취미

          박소현(Park Sohyun) 한국미술연구소 2004 美術史論壇 Vol.- No.18

          Yi Dynasty Museum is known to have been established for the purpose of making Sunjong, the king of Joseon, feel 'taste' at his everyday life. But the meaning of 'taste' written in Japanese is dubious either because it is not the familiar usage in Korean or because the political situation was very complicated for the threatening of imperialist Japan in that period Without the political context of that period, therefore, it cannot be understood correctly. This research is intended to investigate how the status of that museum changed accordingly, what relationship between the change and 'taste' was established, and what spectrum of meaning the conception of 'taste' had within the cultural discourses and practices in that period It will reveal how the Westem aesthetic conceptions such like 'taste' were used as dominating instruments by imperialist Japan. To begin with, since established as a part of royal garden in 1909, Yi Dynasty Museum changed its name to Changyeongwon Museum after the name of the location, and then to Yi Dynasty (Private) Museum at the moment of the annexation of Joseon by imperialist Japan. This change is deeply associated with the deprivation of political and financial power from d1e royal family of Joseon And it was paralleled by the aestheticization of royal palace, which caused to take royal palace not as the centre of political practices in Joseon but as an an work displayed in museum. Ultimately, this display of the everyday life of royal family as well as the palace itself contributed to exhibit colonial domination as a business of civilization. So it can be thought that the purpose of that museum, which would make Sunjong feel 'taste', was a nominal, and never long-lasting alibi for disguising the imperialist mastery of Japan. Moreover, the range of people enjoying the 'taste' was not limited to the royal family, and rather, from the beginning was planned to encompass the public whether they are Korean or Japanese. Japanese colonialists thought that there was no 'taste' with regard to earnest and noble-minded entertainments in Joseon, and so desired to establish cultural facilities such as public gardens, libraries, music halls, museLU11S, etc. This is because they thought of 'taste' as the expression of civilized status, and as the criterion which differentiates between Japan and Joseon at the same time manifests the gap between before and after the domination of Japan. In a word, this plan to make Kyeongseong the capital of colonial Joseon tasteful was not only for the practical problem to tempt Japanese immigrants to the new territory Joseon, but for training the museum visitors of Joseon as an obedient nation through museum and Japanese 'taste' such like the enjoyment of cheny blossom. This Japanese taste was showed as no other than the modem and fashionable taste of civilized man. In addition, one of the principal function of Yi Dynasty Museum was connected with the tourism into Colonial Joseon, which was expected to contribute to improve Japan's international balance of payments. The fundamental quality of tourism to Joseon was as same as that of museum established in Joseon on the ground that Both of them were subordinate to the goal demonstrating the progress of Joseon after the domination of Japan. Therefore it is possible to say that the tourism to colonial Joseon was another expression of imperial 'taste.' It depended on the idea that Imperialist Japan was the protector and conservator of the traditional culture of Joseon as well as Joseon itself. Yi Dynasty Museum was the symbolic monument of that imperialist idea. and was considered as though it had been an essence of Jose on tourism with drawing up guidelines on that colonial tourism for Japanese and Western tourists, The objects displayed in that museum were, consequently, incorporated into the national culture of Japan through the politics of 'taste' conspired with Yi Dynasty Museum.

        • SCOPUS

          한 도시지역과 농촌지역 청소년의 1996년과 2005년 체격지수 변화 양상 비교

          박소현(SoHyun Park), 고민정(Minjung Ko), 김신아(Shin Ah Kim), 김미경(Mi Kyung Kim), 조수헌(Soo-Hun Cho), 최보율(Bo Youl Choi) 한국역학회 2006 Epidemiology and Health Vol.28 No.2

          '스콜라' 이용 시 소속기관이 구독 중이 아닌 경우, 오후 4시부터 익일 오전 7시까지 원문보기가 가능합니다.

            This study investigated the secular trend of anthropometric parameters of 2,153 high school students in one urban and one rural area in Korea. The cross-sectional data was collected in 1996 and 2005 in Seoul and Gyung-gi province. As a result, the height of boys has increased by 2㎝, whereas the weight has increased by 6.3㎏ from 1996 to 2005. By contrast, those parameters, including height or weight, did not change in girls. The prevalence of obesity has been more than doubled from 9.3% in 1996 to 20.5% in 2005 in boys; while that of girls was almost same for the same period (1998, 11.1%; 2005, 11.4%). In particular, the greater increase of obesity among boys was found in urban, which implicates the importance of environmental factor in determining weight gains among adolescents. This result emphasizes that the tailored intervention is strongly warranted, in particular among boys residing in urban area.

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          국립부산국악원의 성과와 역할 - 브랜드 공연 및 한류 상설공연을 중심으로 -

          박소현 ( Park Sohyun ) 한국음악사학회 2020 韓國音樂史學報 Vol.65 No.-

          본 연구는 영남지역에서 유일한 국가문화예술기관[전통공연예술분야]인 국립부산국악원의 개원 이래 10년간 전통공연예술 사업의 성과를 검토하여, 영남권 전통공연예술의 중추적 역할을 선도하였는지 진단하여 그 성과와 역할을 재고한 것이다. 첫째, 국립부산국악원 개원 전후 각종 세미나 및 논저를 중심으로 10년간의 성과를 분석하고, 둘째, 창조적 전통공연예술 작품으로 평가되어온 브랜드 공연과 한류 상설공연을 선별하여 비평하였으며, 셋째, 영남지역의 국가 무형문화재 및 지역 문화재 활용에 대한 전통문화예술 대비 성과를 분석함으로써 그 역할을 진단해보았다. 그 결과 첫째, 국립부산국악원의 성과는 개원 전후 표명되어왔던 관건 중 여타 분원과의 차별성과 함께 지역 출신 신진예술가의 등용 및 성장을 통한 수준 높은 지역사회의 전통문화예술 유도, 설립계획에 못 미치는 공연단원 충원 등등을 단계적으로 해소하고 있는 것으로 파악된다. 둘째, 국립부산국악원이 제작하여온 브랜드 공연과 한류 상설공연은 영남지역을 대표할 수 있는 예술성을 겸비한 공연예술작품으로 새롭게 탄생시켜, 지역사회의 전통예술을 기반으로 한 문화콘텐츠 나아가 문화 아이콘으로 자리매김하였다. 셋째, 국립부산국악원의 영남지역 전통문화재의 활용 측면에서 부산지역에 국한된 중요무형문화재 및 지방문화재의 활용도는 높지만, 영남지역 전반의 문화재 활용도는 역부족으로 향후 개선책이 필요하다. 개선책으로는 국립부산국악원이 영남지역의 ‘유일한' 국가문화예술기관이라는 제한적 역량이 간과된 것으로, 부산지역을 제외한 영남지역의 지역 전통문화예술의 육성을 위하여 제2의 국립국악원 분원이 영남지역에 설립 되어야 할 것이다. This study diagnosed whether it led a pivotal role in the traditional performing arts of the Yeongnam region through inquiring into the achievement of the 10-year traditional performing art project since the opening of Busan National Gugak Center that is the only national cultural and artistic institution[Traditional Performing Arts Field] in Yeongnam region. Its role was examined by the following. First, it analyzed the 10-year achievement focusing on all sorts of seminars and books before and after the opening of Busan National Gugak Center. Second, it selected and reviewed the brand performance and the Hanryu permanent performance, which have been evaluated as the creative traditional performing art works. Third, it diagnosed its role through analyzing achievement in comparison with the traditional culture and art regarding the application of National Intangible Cultural Heritage and local cultural asset in Yeongnam region. As a result, the achievement of Busan National Gugak Center is grasped to gradually resolve the differentiation from other branches among matters of having been indicated before and after the opening, additionally the inducement of the sophisticated traditional culture and art in community through the appointment and the growth of a rising artist of local origin, and the recruitment of the performance members below the establishment plan. Second, the brand performance and the Hanryu permanent performance, which have been made by Busan National Gugak Center, were born newly as the performing art work, which combines artistry available for representing Yeongnam region, thereby having been positioned as a cultural content, further as a cultural icon based on traditional arts in community. Third, in the aspect of using Local Traditional Cultural Heritage by Busan National Gugak Center, the utilization of the important intangible cultural property and the local cultural asset, which are restricted to Busan region, is high. But the application of cultural heritage in the whole Yeongnam region is inadequate, thereby requiring an improvement measure henceforth In terms of a remedial action, the limited capacity was overlooked as saying that Busan National Gugak Center is the 'sole' national cultural and artistic institution in Yeongnam region. To promote local culture in Yeongnam region excluding Busan region now, the second branch of National Gugak Center will need to be naturally established in Yeongnam region.

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          몽골의 찰현악기 야트갈릭(ятгалиг)에 대한 재고(再考)

          박소현 ( Park Sohyun ) 한국몽골학회 2017 몽골학 Vol.0 No.51

          Yatgalig(ятгалиг, 押琴, 亞琴, 軋箏), which is a string instrument in Mongolia, is described as a bowed stringed zither with 7 strings or 10 strings by Mongolian scholars, but does not exist. As this study is a reconsideration on precedents and instrument types in Yatgalig as Mongolian instrument, it surveyed and researched into musical instrument kinds of yatag(ятга, 雅托?, 蒙古箏) in Mongolia and Mongols in China. As a result, its record was found between Mongolia and Mongols in China even up to the early 20th century. There was a discussion that Yatgalig as a bowed stringed zither in Mongol is the musical instrument in the same kinds of China's yazheng(牙箏 or 軋?) and Korea's Ajaeng(牙箏). This musical instrument was now disconnected a transmission in China and Mongol except Korea, which is succeeding to court music in Joseon Dynasty(朝鮮王朝). As its factor is caused by a social historical convulsion, it results from a historical context in Mongolia and China, which had suppressed Buddhism with being disappeared the imperial family or the nobility. A bowed stringed zither in zither type like Ajaeng(Korean bowed stringed zither) is existing and being transmitted uniquely in Korea out of Asia. But Mongol's Yatgalig and China's yazheng(牙箏) vanished due to the common notion dubbed sacred Buddhist instrument in people amidst a social historical upheaval and to a cause called court instrument.

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          일본에서의 추상미술과 전통 담론 : ‘한국적' 추상미술 논의를 위한 시론

          박소현(Park Sohyun) 미술사학연구회 2010 美術史學報 Vol.- No.35

          If abstract art had pursued to be an international and universal language, Could the 'Korean' abstract art be brought into existence? With this question I made an attempt to understand the deep structure of 'Korean' abstract art. 'Korean' abstract art indicating a collective originality has been defined by the return to or reinvention of her own tradition. When this relation to tradition was established within international network, the discourse of 'Korean' abstract art should be scrutinized with relation of the tradition discourse in modern Japan. In 1930s many Japanese artists and critics related abstract art to newly constructed Japanese tradition, i. e. Japanism especially through the unique interpretation of Cezanne. They reconstructed European modern art history since Cezanne including abstract art and by doing it naturalized their own tradition. Another group of them attempted to interpret Cezanne as the father of purity of modern art, denied Japanese tradition with such logic, and maintained the recovery of purity of modern art. But this kind of logic didn't give up the international hegemony of Japanese abstract art inconsistent with abstract art as international and universal language. When Japanism absolutized Japanese own tradition, ultimate modernists insisted overcoming tradition for complete modern abstract art. opposed to both of them Okamoto Taro attempted the third way that denied abstracted=nationalized tradition, and tried to depict new tradition marginalized in Japanese history. His abstract art was always in strained relations with another avant-garde of surrealism. However, the exhibition of Korean Contemporary Art held in 1968 lied in the context that Japanists and Ultimate modernists met within the national institutions excluding Okamoto Taro. So we can think this kind of situation contributed to define 'Koreanness' of that exhibition in Japan.

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