역행(逆行)의 정치―한국의 노동미술 (1987-1994)―

서유리 고려대학교 민족문화연구원 2022 民族文化硏究 Vol.95 No.-

There were extraordinary times when art and labor, which are thoroughly strangers to each other, were combined. Labor art was an art that carried out the counter politics that went against the distribution of the sensible given by governance of the state and capital. Through labor art, art acquired the instrumentality of media while labor acquired the autonomy and self-purpose that had been excluded from it. Art and labor shared the other party's characteristic equally. Until the 1970s, art was thought to be linked to the aesthetic taste of the upper class, and labor-related art was rejected as being pro-communist. But, things changes completely in 1980s. In 1985, the art activists' group Du-reong began with labor art by producing pictures for labor union struggles. After the 1987 Laborers Great Struggle, numbers of artworks were produced for strikes and demonstrations of labor unions, and thereby art began to participate in mediating the process of changing subjectivity from submissive workers to laborers demanding their own rights. Art activists' groups formed in the wake of the June Uprising(1987) practiced labor art widely and radically, and their main methods were hanging paintings, murals, and laborers' art schools which were against the normal way of art. They hanged pictures at main venues and painted murals on factories' walls, mourning the victimized laborers, visualizing the power of united working class, and presenting a utopia that could be won by struggles against the capitalism. The Laborers' Art School tried realizing an art of completely new concepts, which not only positioned laborers to be the subject of creation and politics but also art works as the media of the community of labor unions. In 1990, the Labor Art Committee was established by the National Art Association. It wanted to complete labor art as a genre equipped with aesthetics and politics, and it made efforts such as holding exhibition tours for factories across the nation. Korean labor art can be evaluated as having produced the historical achievements. Artists have expanded the capability of expression and existence of art through encounters with the others(working class), while laborers emerged as subjective actors for their own rights. 서로에 대하여 철저히 타자인 미술과 노동이 결합했던 시기가 한국의 역사에 존재했다. 노동미술은 국가와 자본의 통치가 부여한 감각적 배치를 거스르는 역행(逆行)의 정치를 수행한 미술이었다. 노동미술을 통해서 미술은 그간 배제했던 미디어적 도구성을 획득하고 노동은 자율성과 자기목적성을 실현하여, 상대방의 몫을 평등하게 나누어 가졌다. 1970년대까지 미술은 상층의 미적 취향에 연계되고 노동 지향의 미술은 용공주의의 혐의를 가졌다. 1985년 미술집단 두렁은 노동조합을 위한 그림을 제작함으로써 노동미술을 시작했다. 1987년 노동자대투쟁 이후 미술은 미술관을 나와 노동조합의 결성과 임금투쟁을 위한 여러 파업과 집회, 문화제 등의 현장에서 제작되어, 순종적 근로자에서 주장을 발화하고 권리를 요구하는 노동자로의 주체 변이와 자본의 흐름에 역행하는 과정을 매개했다. 6월 항쟁을 계기로 결성된 미술집단들은 정상적인 미술의 존재방식을 거슬러 걸개그림, 벽화, 노동자미술학교의 방법으로 노동미술을 수행했다. 걸개그림은 통치성을 해체하며 죽은 노동자를 애도하고, 조합의 결성과 투쟁으로 가능해질 유토피아를 제시하며, 연대를 통해 단일체를 이룬 노동자의 힘을 가시화했다. 공장에 그려진 벽화는 자본의 흐름에 역행한 노동의 승리를 기념했다. 노동자미술학교는 노동자가 창작과 이념의 주체가 되는 미술, 노동조합이라는 공동체의 미디어가 되는 미술을 실현하려 했다. 1990년에 민미협에 설치된 노동미술위원회는 노동미술전을 통해 작품성과 변혁이념을 갖춘 노동미술을 하나의 장르로 완성시키고 공장을 순회전시하여 노동자의 미술 향유의 폭을 확대하고자 했다. 한국의 노동미술은 미술가가 계급적 타자를 만나 미술의 표현과 존재 방식을 확장시키고 노동자가 새로운 권리의 주체로 등장하도록 만든 역사적 성과를 낳은 미술이었다.

MBTI성격유형에 따른 일본어 학습전략에 관한 연구

서유리 대한일어일문학회 2022 대한일어일문학회 학술대회 발표논문 요지집 Vol.2022 No.4

MBTI性格類型別日本語学習運用に関する研究 ― JFL環境における社会人学習者を中心に ―

서유리 한국일본학회 2021 日本學報 Vol.- No.128

본 논문은 평생학습이 주목됨에 따라 JFL 환경에서 일과 일본어 학습을 병행하는 성인 학습자(이하, KAJ)를 대상으로 MBTI 성격유형별 어떠한 학습운용을 하는지 고찰한 것이다. KAJ는 하나의 MBTI 성격유형에 편중돼 있지 않다는 점에서 특정 유형의 학습 능력이 뛰어나다는 것이 아니라 학습자의 개별성을 이해하고 이를 고려한 학습운용이 필요하다는 점을 시사하고 있다. 이에 MBTI 성격유형을 4가지 기질로 나눠 각각의 학습운용 특징을 분석하고 이를 고려한 효율적인 교수법에 대해 살펴보았다. SJ형(보호자적 기질)은 벼락치기 스타일인 만큼 단기간에 성취도를 맛볼 수 있는 테스트를 할 것을 권장한다. 동사나 형용사 활용과 같은 문법을 싫어하는 특징이 있기 때문에 모국어적 접근법을 살린 학습운용을 추천한다. NF형(이상가적 기질)은 자기주도적 학습운용을 할 수 있는 크리에이티브적 성향이 높았다. 새로운 플랫폼을 수업 시간에 도입하거나 직접 소개하도록 하면 좋을 것이다. NT형(합리적 기질)은 논리적인 전개나 독자적인 연구와 같은 학습운용에 특화되어 있다. 일본문화와 관련된 독해 및 영상자료를 활용해 이와 관련된 의견교환을 추천한다. 마지막으로 SP형(예술가 기질)은 관심분야가 명확하고 호기심이 무엇인지 확인하는 것이 핵심일 것이다. 무언가에 얽매이는 것을 싫어하지만 이들의 학습운용의 유연성을 존중하여 학습자가 스스로 시행착오를 겪어 성장할 수 있는 기질임을 알 필요가 있을 것이다. The current paper examines the application of MBTI personality types on working adults (KAJ) who work at JFL and study Japanese at the same time. To note, KAJ is not biased toward any MBTI personality type, so it is necessary to understand the individuality of the learners and consider them likewise. Therefore, the MBTI personality type was divided into four types, and the characteristics of each learning application were analyzed before specifying any effective teaching method to them. Since the SJ type (Guardians Temperament) is a mud rope type of study style, it was recommended to take a test that can experience the degree of achievement in a short period of time. There were characteristics which do not like fixed grammatical items, such as verbs and adjectives, so it is good to use learning materials that make use of native language contact. The NF type (Idealists Temperament) has a high tendency to be creative with self-directed learning management. It would be better to introduce a new platform in class or introduce it directly. The NT type (Rationals Temperament) is specialized in logical development and independent research. It was recommended to use reading comprehension and video materials related to Japanese culture to exchange opinions. The SP type (Artisans Temperament) were clear about the areas of interest and confirmed what curiosity is. I hate being tied up, but I need to respect the flexibility of learning management and know that learners can grow up after experiencing trial and error.

社会人学習者における日本語授業の実践報告 - MBTI性格類型別好む教授方法と満足度を中心として -

서유리 한국일본문화학회 2022 日本文化學報 Vol.- No.93

This paper reports the practice of Japanese language teaching while considering personality types, and examines the satisfaction of learners regarding their preferred teaching methods based on survey results. The SJ type is highly satisfied with the "teacher-led" and "interaction-based" teaching methods. Learners who prefer "individual learning" are also known to prefer the use of workbooks. Based on extroversion and introversion, learners with SP and NF tendencies will favor either "interaction-based" or "individual learning" methods (SP: free subject/NF: learning diary). The difference between NT temperament and introverted learners who prefer teacher-led lectures is that they are uninterested in image content. Regardless of temperament, introverted (I) learners have low preference for interaction-based methods, including repeated questions from teachers, and should thus avoid such teaching methods. Future practical research should focus on examining various learners and the findings must be reflected through personalized learning in future classes. 本稿は、性格類型を考慮した日本語授業の実践を報告し、アンケート調査の結果から、性格類型別学習者が好む教授方法、教授方法に関する学習者の意見について考察したものである。 SJ気質は、<教師主導>や<インタラクション>教授方法に満足度が高かった。<個別学習>のうち、「ワークブック」の活用も好んでいることが分かった。SP気質とNF気質は、外向性と内向性によって、異なる<インタラクション>教授方法を好んだり、「個別学習」教授方法としても学習者が好む方法を選ぶ違いが見られた(SP:自由課題/NF:学習日記)。NT気質は、<教師主導>の講義を最も好む内向性の学習者があることや「映像コンテンツ」にあまり興味を持たないことなどが異なる部分であった。気質を問わず、内向性(I)の学習者は、教師の「質問の繰り返し」を含め、<インタラクション>方法に対する選好度は低いことから、内向性の学習者に負担をかける教授方法は控える必要があるだろう。今回の調査をもとに、今後の授業で活用した上で、多様な学習者要因を検討し、パーソナライズド学習に反映できるよう、実践的な研究を続けていく必要があると考えられる。

「이중섭 아카이브 분석-문학가들과의 교류를 중심으로」에 대한 질의

서유리 한국근현대미술사학회 2016 한국근현대미술사학 Vol.32 No.-

88올림픽 마스코트 ‘호돌이’의 도상학

서유리 한국근현대미술사학회(구 한국근대미술사학회) 2018 한국근현대미술사학 Vol.36 No.-

‘Hodori' the name of baby tiger was designed as 88 Seoul Olympic mascot with three Taegeuk emblem and formal poster in the end of 1983. The object selection, design process and naming were open to public participation and designated competitions to promote Seoul Olympic Games widely. Hodori was the first Korean olympic symbol and the first commercial character product. Tiger as a national icon originated from a theory that the Korean peninsulalooks like a tiger, the king of animal. The theory was argued by Choi Namsun' enlightenment magazine young man(少年) against Japanese geologist's rabbit shape theory in 1908. Hodori was designed and promoted as a kind of nation identity of corporate Korea that debuted on the stage of international sports politics and entered the world marketplace. Many designers regarded Olympic as momentum of developing condition and competence of Korean design's realm. Design Experts Committee founded in Seoul Olympic Organizing Committee supervised and directed every design for olympic such as symbols, environmental decorations, pictogram, typeface, posters, uniforms, etc. Hodori was a cute, intimate and open-minded character and a symbol of open-door economical policy of military government. Hodori was made as various olympic souvenirs and 140 corporates bought the right to use emblem and mascot as official supporters or sponsors. Hodori ran through so many campaigns promoted by military government to mobilize people and to suppress against civil demonstration for democracy. On the other hands, Hodori was satirized and sneered as unjust force or dictator's pet. Arts criticized the olympic while enjoyed and made a profit from it. This contradictory dynamism was a potential possibility of 1980's Korean society.

1980년대의 걸개그림 연구 - 수행성, 장소, 주체의 변이

서유리 한국근현대미술사학회(구 한국근대미술사학회) 2019 한국근현대미술사학 Vol.37 No.-

This paper is searching about Gulgaegrim-Hanging Pictures in 1980's. Korean people made many assemblies for democratization of nation in 1980's. Hanging Pictures were combined with performativity of assemblies for pro-democracy movement and minjung(people) culture movement. Many pictures were made and hung in various interior places for the assemblies. After the Democratic Struggle in june 1987, pictures were hung on various places of outside assemblies. Their origin was the wall painting co-produced by many painters of artists group Durung(a bank around rice field). Assembly ceremony consists of Gut(Korean traditional exorcising ritual), Madangguk(traditional play in open place), singing along and speeches. In the 1988-89's labour movement, large size paintings were hung on outside assemblies of labourer's unions. In the course of ceremony, People were able to deviate from their identity formed by dictatorship state and exploitative developmental capitalism. Hanging Pictures conjoined with performance of assembly ceremony were media for mutating people's subjectivity and transforming the usage of places.

[정현웅 外 장정 관련 글 모음] 장정 관련 글들에 대한 촌평

서유리 근대서지학회 2014 근대서지 Vol.- No.9

딱지본 소설책의 표지 디자인

서유리 근대서지학회 2018 근대서지 Vol.- No.18

‘미적 수양’에서 ‘명랑한 매력’까지―『동아일보』와 『신가정』의 화장품 광고와 화장담론―

서유리 고려대학교 민족문화연구원 2019 民族文化硏究 Vol.85 No.-

This paper researches advertisements of Japanese Club Cosmetics on 1920-30s’ newspaper Dong-A Daily, women’s magazine New Home and analyses their rhetoric and iconography comparing with discourse about makeup. Both advertisement and enlightenment discourse encouraged women to become subjects who desire beauty and capitalize appearances. Japanese cosmetic industry advanced into colonial market in 1910s and an aesthetical discipline was requested to Chosun women as an ethical duty in cosmetic advertisements that mimicked newspaper editorials. This rhetoric of ads was repeated in enlightenment discourse of Chosun intellectual magazine. In 1930s Japanese cosmetics advertised that makeup would give women the charm, a power to attract others, especially men. This rhetoric of ads was shared by local cosmetic industry that sometimes stimulated nationalistic emotion to divide the market. An intellectual like new woman Kim Rhi-soo said that woman should have a charming appearance to win competitions in society. Appearance was regarded as a capital to win the competitions of life. Cosmetic industry produced enlightenment discourse to teach women to put on makeup and control appearance. Cosmetic ads and intellectual’s enlightenment discourse referred to each other and molded a modern woman subject to desire beauty and capitalize her appearance. 이 논문은 1920-30년대의 『동아일보』와 『신가정』에 실린 화장품 광고를 주로 일본 구라부(クラブ, Club) 화장품 광고를 중심으로 분석하고 잡지 『위생과 화장』 등에 나타난 조선 지식인들의 계몽담론과 비교하여, 광고와 계몽담론이 동일한 논리적 기반 위에서 미를 추구하고 신체를 자본화하는 여성주체 되기를 학습시켰으며 그것이 시대적 변화를 노정하고 있음을 밝혔다. 일본의 화장품 산업은 1910년대에 조선에 진출했고, 1920년대에는 지속적인 광고와 계몽담론의 개발, 강연 활동을 통해서 ‘미적 수양’을 수행하는 여성주체가 될 것을 학습시켰다. 여성의 화장을 미학적, 윤리학적 과제로 설정한 광고의 논리는 1920년대 후반 토착 자본의 화장산업을 기획했던 조선인 지식인들의 계몽담론에도 반복되었다. 1930년대의 일본 화장품 광고는 타인-남성을 매혹하는 힘인 매력(魅力) 을 만들어내는 것으로서 화장을 제시했다. 때로 민족적 감성으로 시장을 분할하려 했던 조선인 자본의 화장품 광고도 이를 반복했다. 지식인들의 화장담론에서도 화장으로 아름다워진 외모는 타인에게 행사되는 권력이자 경쟁에서 유용한 자본으로서 역설되었다. 화장품 산업자본은 계몽담론을 만들어냈고, 담론과 광고는 서로의 논리와 형식을 차용하여 미를 욕망하는 주체, 외모를 자본화하는 주체로 여성을 학습시켰다.