한국전쟁기 남한 미술인의 전쟁 체험에 대한 연구 : 종군화가단과 유격대의 미술인을 중심으로

조은정 이화여자대학교 한국문화연구원 2002 한국문화연구 Vol.3 No.-

During the Korean War, a significant ideological disruption existed among the South Korean Artists. The ideology taken by the artists, whether it is right(Denmocracy-South Korea) or left(Socialism-North Korea), it is directly related with their life perse. Since much Korean territory was conquered by the U.N. troops and also by China over and over, most of the artists could not escape from treasonous felony. Therefore, the artists crossed the 38 Parallel and headed for South or North upon their ideology and became members of war-artists or volunteered for military service. During and After the Korean War, the Do-gang Pa, a group of artists who crossed the Han river and settled down in the South, assumed hegemony. This was a prelude for power games between groups of artists, a faction. Since then, the factionalism played a important role for competition of the Korean art contests. During the period of the Korean War, there was no further development of art works but a structural change was witnessed in the factionalism. This was a pro-America art group in one side and a conservative art group leaded by Ko, Hee-dong in other side. Most ideological conflicts in the world of Korean arts, experienced after the Korean War, in fact began during the Korean War. Because anti-communist ideology also emerged in the world of Korean arts after the Korean War. This study examines artists’ activities based on the ideological perspective in the South during the Korean War. Also this study reveals that collective behavior among the artists dominates the world of Korean arts and patterns of the art works. During the period of the Korean war, main art organization was the member of war-artists and irregular partisans and anti-communist military groups belonged to this organization. The reasons why the artists participated at the organization and the tasks what they did revealed the true nature of the Korean War. The member of war-artists participated at the organization to be shown as the right wing and fear against revenge from the Korean forces leaded the artists to become irregular partisans. This study showed for the first time the reality of art world of the irregular partisans artists who were taken advantage of psychological warfare. War experience of the Korean artists during the Korean War yielded no criticism for obedience and anti-communism against the hegemony which was the main stream to lead modernism. However, we witnessed a challenge against the taboo-subjects in the year of 1980s when new artists with no war-experience emerged in the world of art.

OPVS PISANI PICTORIS: 피사넬로와 초기 르네상스 메달

조은정 서양미술사학회 2006 서양미술사학회논문집 Vol.25 No.-

OPVS PISANI PICTORIS: Pisanello and the EarlyRenaissance Portrait MedalsCho, Eunjung _Seoul National University조은정OK 2006.8.21 8:44 AM 페이지34 g5 One fine example is the reverse of the portrait medal of Leonello to celebrate his marriage toMaria dAragon. A small putto holding a musical manuscript in front of a lion, which is a visualizationof the idea that the marriage between the Este family and the Aragon family would provide Leonellolove and power. Also the blindfolded Lynx, the sail on a mast fixed in the ground(festina lenteimpresa), and the three-faced putto images frequently found in the reverse of the Leonello medalsare the allegory of Prudence that Pisanello used to commemorate the virtue of this prince. Incomparison to the Leonello marriage medal, the large medal of Alfonso dAragon in 1449 emphasizesthe public image of king Alfonso as Triumphator et Pacificus as well as a provider of

해방기 문화공작대의 의제와 성격

조은정 상허학회 2014 상허학보 Vol.41 No.-

This thesis empirically restored general view of Munhwagongjakdae (the cultural underground activities group) in the liberation period and presented discussions about the various problems related to this matter such as the direction of activities of the left-wing artists circles interlinked with political changes, the inner side and move of participatory artists, and the effects and influence of popularization. Federation of Korean Cultural Organization dispatched Munhwagongjakdae to the regions all over South Korea in the mid-1947 when most of progressive activities were outlawed in South Korea and considerable number of artists crossed over into North Korea. The left-wing cultural camp with Korean Writers Alliance as its center, which continuously emphasized the importance of cultural popularization movement and discussed the ways of practice, held ‘Joint Celebration General Art Festival’ to break the deadlock through the resumption of the 2nd Joint Soviet-American Commission. The artists, which were divided into a total of 4 groups under the slogan of ‘Culture for the People’ and ‘Culture to the People,’ planned composite art festivals for regional people. These events were comprehensive art festivals that included play, movies, music, comic talk, poetry reading, mobile exhibitions, photo exhibitions, etc., and the number of artists who were mobilized was estimated to be more than 150. Beginning with the 1st group that started for Gyeongsangnam-do on June 30, 1947, the groups were dispatched to Chungcheong-do, Gangwon-do, Gyeongsangbuk-do, and particularly in such places as Busan, Daegu, and Daejeon, a considerable number of audiences were attracted with successful performances. However, due to continued censorships and terrors, the festivals were faced with difficulties so that they could be summarized as a history of ordeals, and Joint Soviet-American Commission also virtually broke down, so they were able to be active only until early August. Such activities of Munhwagongjakdae are characterized by the facts that they were the last and the most active cultural practice that the left-wing cultural camp could choose amid the political and social situation, and that they appealed to national sentiments while reminding people of common memories of national exploitation by the Japanese colonial rule. And oppression on artistic activities became clear and the experiences of direct meeting with regional people were directly or indirectly related to the participatory cultural people’s conversion and crossing over into North Korea, but this matter will be supplemented by a separate follow-up thesis. 이 글은 해방기 문화공작대 활동의 전체상을 실증적으로 복원하고 이것과 관계된 여러 가지 문제들-정치적 변동과 맞물린 좌익예술계의 활동방향, 참여 예술인들의 내면과 이후 행보, 대중화의 효과와 영향 등-에 대해 시론적으로 논의를 제출하였다. 조선문화단체총연맹은 남한에서 거의 대부분의 진보적 활동이 불법화되고, 상당수의 예술인들이 월북한 시점인 1947년 중반에 남한의 지방 곳곳에 문화공작대를 파견했다. 해방 이후 지속적으로 문화대중화운동의 중요성을 강조하고 실천적 방침을 논의해왔던 문학가동맹을 중심으로 한 좌익문화진영은, 2차 미소공동위원회 재개를 통해 국면을 타개하기 위해 ‘공위축하종합예술제’를 개최했던 것이다. ‘인민을 위한 문화’ ‘문화를 인민에게’라는 슬로건을 내걸고 총 4개대로 나뉜 예술인들은 지방민들을 위한 종합예술제를 기획했다. 이 행사는 연극, 영화, 음악, 만담, 시낭송, 이동전람회, 사진전 등 각 분야를 망라한 종합적 예술제였고, 동원된 예술인들만 해도 150여명 이상으로 추산된다. 1947년 6월 30일 제1대가 경상남도로 출발한 것을 시작으로 충청도, 강원도, 경상북도에 파견되어 특히 부산, 대구, 대전 등에서 상당한 관객을 유치하며 성공적인 공연을 펼쳤다. 그러나 계속되는 검열과 테러로 인해 예술제는 수난사로 요약될 만큼 난관에 봉착했고, 미소공위도 사실상 결렬됨으로써 문화공작대는 8월초까지 활동할 수 있었다. 이러한 문화공작대 활동은 정치사회적 정세 속에서 좌익문화진영이 선택할 수 있었던 최후의 가장 적극적인 문화적 실천이었다는 점, 연극공연의 내용이 일제식민지배의 민족 수탈의 공동기억을 환기시키면서 민족감정에 호소한 점이 특징적이다. 또한 예술활동에 대한 탄압이 가시화되고 지방 민중들과 직접 대면한 경험은 참여 문화인들의 전향과 월북 문제에 직간접적인 관련을 가지는데, 이는 차후 별도의 논문으로 보완하도록 하겠다.

유아를 위한 정보책의 인식과 활용 실태

조은정 성균관대학교 生活科學硏究所 2003 生活科學 Vol.6 No.-

국제 기후클럽 (Climate Club) 동향 및 시사점

조은정,이종열,강병준,오지현 국가녹색기술연구소 2022 NIGT Brief Vol.2023 No.-

포스타 : 내분비,불임학 ; 폐경기 여성에 있어서 호르몬 대치요법이 혈중 Lipoprotein (a)에 미치는 영향

조은정,이병석,박원일,박기현,조동제,이국,송찬호 대한산부인과학회 1993 대한산부인과학회 학술대회 Vol.72 No.-

중장년 근로자의 직무열의에 대한 과소직무요구, 직무자율성, 나이차별인식의 상호작용 효과

조은정,한태영,송채수 한국인적자원관리학회 2018 인적자원관리연구 Vol.25 No.5

The purpose of this study was to examine the factors affecting the work engagement of middle-aged workers by considering the phenomenon that the working environment of middle-aged workers is changing as Korean society becomes the aged society. In this study, the role of the deficiency of job demand, the job autonomy with which middle-aged workers have relatively more enjoyed than the younger generation, and perception of the age discrimination. Based on the interaction patterns suggested in the demand-control-support model, this study predicted the interaction patterns of middle-aged workers in underprivileged environments would be different, and tested the three-way interaction effect among the variables mentioned above. Data were collected from 394 middle-aged workers working in various jobs such as production and office work. The results showed that the main effect of job demand on work engagement was not significant, while significant three-way interaction among three predictors existed. The lower the perception of age discrimination, the stronger interaction between job demands and job autonomy on work engagement was found; the less job demand, the less engaged, at the higher the job autonomy. On the other hand, at the lower job autonomy, the demand deficiency increased work engagement. However, when the age discrimination perception was high, only job autonomy showed a significant effect on work engagement. Based on the results, theoretical and practical implications were discussed. 본 연구는 한국사회가 고령사회가 되면서 중장년 근로자가 직면한 근로환경이 변화하고 있다는 점에 주목하여 중장년 근로자의 직무열의에 영향을 주는 요인을 밝히고자 하였다. 본 연구에서는 중장년 근로자의 직무열의에 대한 선행변인으로서 직무의 질적 측면에서 역할이 축소된 측면으로 과소직무요구(deficiency of job demand)와, 직무자율성, 그리고 나이 때문에 승진, 교육, 평가 등에서 차별을 받는다고 지각하는 나이차별인식의 영향을 연구하였다. 직무요구-자원(job demand-resource) 모형에서 제시하는 상호작용 패턴에 입각하여, 본 연구에서는 중장년 근로자들이 직무요구가 과소한 상황과 지원적이지 못한 차별적 환경에서 상호작용 패턴은 다를 것으로 예측하고, 세 예측 변인들 간의 삼원상호작용 효과를 검증하였다. 생산직과 사무직 등 다양한 직무에 종사하는 중장년 근로자 394명으로부터 데이터를 수집하였다. 연구결과, 직무열의에 대한 예측변인들의 주효과는 유의하였으며, 세 예측변인 간 유의한 삼원상호작용이 나타났다. 나이차별인식이 낮을수록 과소직무요구와 직무자율성의 상호작용이 강하게 나타났으며, 직무자율성이 높은 경우 직무요구가 적을수록(즉, 과소직무요구) 열의는 떨어진 반면, 직무자율성이 낮은 경우 직무요구가 과소하면 오히려 열의가 높아지는 패턴이 나타났다. 그러나 나이차별인식이 높은 경우에는 직무자율성만 직무열의에 영향을 미치는 것으로 나타났다. 이러한 결과를 바탕으로 이론적, 실무적 시사점을 논의하였다.

미술비평 경험에 기초한 이야기 꾸미기 활동이 유아의 창의․인성 함양에 미치는 영향

조은정,김정주,박형신 한국영유아교원교육학회 2013 유아교육학논집 Vol.17 No.2

본 연구에서는 미술비평 경험에 기초한 이야기 꾸미기 활동이 유아의 창의적 태도와 인성 함양에 미치는 영향이 어떠한가를 살펴봄으로써 유아의 창의․인성 함양을 위한 효과적인 예술교육의 접근방안을 모색하고자 하였다. 이를 위하여 서울시에 위치한 유치원 만 5세 두 학급을 실험집단과 비교집단으로 분류하고, 이중 실험집단을 대상으로 미술비평 경험에 기초한 이야기 꾸미기 활동을 적용하였다. 수집된 자료를 근거로 유아의 창의적 태도와 인성의 평균과 표준편차를 산출하였으며, 두 집단의 사전검사 점수를 공변인으로 한 공변량분석(ANCOVA)을 실시하였다. 분석결과, 미술비평에 기초한 이야기 꾸미기 활동이 유아의 창의적 태도와 인성 함양에 긍정적인 영향을 미치는 것으로 나타났다. 따라서 이상의 결과를 토대로 미술비평을 통하여 작품의 의미와 내용을 파악하고 이에 대한 생각과 느낌을 공유하여 창의적인 이야기로 꾸며보는 본 활동이 창의성과 인성을 강조하는 현대 사회의 특성을 반영한 효과적인 통합적 예술교육의 일환으로 유아교육 현장에 적용될 수 있음을 논의하였다 This research explored the effects of storytelling activity with art criticism on young children's creativity and character building, which could indicate an effective approach in art education. For this purpose, five-year-old children at kindergarten in Seoul were grouped into an experiment group and comparison group. The experiment group was provided the activity of storytelling based on art criticism. The average and standard deviation of children's creative attitude and character building were calculated and ANCOVA with pre-test scores of the two groups as the covariate was carried out from the data collected. The storytelling activity with art criticism had positive effects on cultivating young children's creative attitude and good character. This result indicates that having children share their thoughts from art criticism and make creative stories are in line with today's art education which emphasizes creativity and character and has potential for field practice.

아동학대가정의 현황과 과제

조은정 한국지역사회연구소 2011 지역사회 Vol.65 No.-

일반인의 마스크 팩 구매행동

조은정,이종순,이정호 대한미용학회 2020 대한미용학회지 Vol.16 No.2

As the use of mask packs increased for skin care, the effectiveness, purchase type, and satisfaction with the mask pack was investigated using a questionnaire. A total of 125 respondents answered the survey, 82.4%(N=103) were women and 17.6%( N=22) were men, of which 51-60 years old aged between 31.2%(N=39), 24.8%( N=31) were aged between 61-70 years old and 27.2%(N=34) homemakers, 24.0%(N=30) were office workers. As a result of t-testing questions about knowing and purchasing efficacy when purchasing a mask pack, it was investigated as 4.13(SD=0.63) men and 3.66(SD=0.73) women, and statistically significant differences between the groups were found (t=2.81, p<0.01). A T-test of the subjective efficacy felt by men was 3.63(SD=0.65) and women was 3.53(SD=0.66). The results of the t-verification in the responses of the advertisement displayed that men were 3.13(SD=0.56) and women were 3.16(SD=0.70), indicating that women trusted the product more than the men. At improvement points, 37(29.6%) for high-priced values, 27(21.6%) for lack of reliability of products, 26(20.8%) for dissatisfaction with efficacy effects, and 25(20.0%) for lack of functional, which indicated that improvement is high-priced. The purpose of use was 34.4%(N=43) for skin protection, 29.6%(N=37) for wrinkle improvement, 23.2%(N=29) for skin improvement, and 8.8%(N=11) for skin whitening. The selection criteria for the purchase indicated that 81.6%(N=102) selected it for efficacy and 11.2%(N=14) chose it for price. In the question about price, 59.2%(N=74) said “If the function is good, it is not related to price”, the highest. When purchasing mask pack, it was found that if the function is better than the price, it is purchased. To conclude, this survey on mask packs marketed to the general public can be used as vital data for the mask pack industry.