완결성과 탈출성: 감각의 사실과 사실의 감각 ― 1960년대 후반~1970년대 초반 남북한 문예의 비교예술학적 고찰

洪志碩 ( Hong Ji-suk ) 성균관대학교 대동문화연구원 2019 大東文化硏究 Vol.108 No.-

1960년대 후반에서 1970년대 초반 다수의 남한과 북한 예술가들은 모두 개념과 도식에서 벗어나기 위한 대안으로 감각적 체험에 주목했다. 하지만 남한과 북한 예술가들이 감각에 주목해야 했던 이유는 크게 달랐다. 먼저 4.19의 좌절로 인해 남한 예술가들의 마음에 자리하게 된 ‘뿌리가 뽑혀진 사람’들이라는 인식이 “어떤 조각이라든가 감각이라도 뭔가 확실한 것이 되도록”하는 경향을 낳았다는 주장에 주목할 수 있다. 1970년대 남한 예술가들에게 두드러지게 나타나는 이념에 대한 적대감에 주목할 수도 있다. 그러나 소위 피부문학은 완결성을 갖춘 리얼리즘을 요구하는 논자들의 비판에 직면했다. 마찬가지로 현실적 조형언어를 갖춘 미술을 원했던 논자들은 지각의 직접성을 강조하는 예술가들을 공격했다. 한편 1960년대~1970년대 북한예술가들은 이념의 부재를 메우기 위해서, 또는 이념을 거부하기 위해서가 아니라 지배이념을 확증, 선전하기 위해서 감각적 체험에 주목했다. 즉 그들은 예술의 비현실적인 내용(사회주의적 내용)을 보완하기 위해 더욱 심각하고 더욱 생동하게 독자들을 자극할 방안을 모색해야 했다. 일반화의 약점을 일반화의 역할을 약화시킴으로써 해결할 것이 아니라 오히려 일반화에 절절한 구체적인 생활감정을 부단히 배합하는 과정을 통해서 일반화의 위력을 더욱 과시한다는 것이다. 물론 이런 접근법을 취함으로써 북한 예술가들은 감각에 호소하는 자극의 강도가 시간이 지날수록 익숙하고 진부해져 버린다는 냉엄한 현실에 직면해야 했다. 예술가들이 자기 작품을 통해 독자와 관객들을 더욱 강하게 충격하는 데에는 한계가 있었다는 것이다. 요컨대 우리는 임헌영이 1971년에 제시한 분류법에 따라 1960년대 후반에서 1970년대 초반의 남한문예를 탈출성에 경도된 예술로, 같은 시기 북한문예를 완결성에 경도된 예술로 분류할 수 있다. 이로부터 지금 우리가 문제 삼는 남북한 문예의 극명한 차이가 도출됐다고 말할 수도 있을 것이다. 물론 예술가는 언제나 자기에게 결핍된 것을 욕망한다. 즉 탈출성에 경도된 예술은 완결성을, 완결성에 경도된 예술은 탈출성을 욕망할 것이다. 어쩌면 이러한 관찰로부터 우리는 1970년대 이후 남북한 문예의 변동을 비교 관찰하기 위한 유의미한 틀을 이끌어낼 수 있을지 모른다. In the late 1960s and early 1970s, a number of South and North Korean artists both noted their sensory experiences as alternatives to deviate from concepts and schematics. However, the reason why South and North Korean artists had to pay attention to their senses was very different. It can be noted that the failure of the April 19 revolution has led to the perception that "root-picked people" in the minds of South Korean artists, which has led to a tendency to "make any fragment or sense certain." It may also be noted for their hostility toward ideology that stood out for South Korean artists in the 1970s. The so-called skin literature, however, faced resistance from critics who called for completeness of realism. Similarly, critics who wanted art with realistic formative language attacked artists who emphasized the directness of perception. Meanwhile, North Korean artists paid attention to their sensory experiences not to make up for the absence of ideology or to reject ideology, but to corroborate and promote the ruling ideology. In other words, they had to seek ways to provoke readers more seriously and more lively to supplement the unrealistic content of art(socialist content). Instead of solving the generalization's weakness by weakening the generalization's role, They wanted demonstrate the generalization's power through the continuous mixing of the specific living feelings that are desperately needed for the generalization. Of course, if this approach is taken, artists should face the cool reality that the intensity of the stimuli appealing to the senses becomes familiar and common over time. They say that there is a limit to how strongly artists shock readers and audiences through their works. In short, South Korean literature from the late 1960s to the early 1970s can be categorized as an art that was regarded as an 'escape type' and North Korean literature at the same time as an art that was regarded as a 'complete type'. From this point on, we might say that the stark difference in the art of the two Koreas, which we now take issue with, has been drawn. Of course, an artist always desires what he lacks. In other words, art that is reverent to 'escapeability will desire completion, and art that is adored to completion will desire escapeability. Perhaps from these observations, we can draw a significant framework for comparing and observing the changes in the literature of the two Koreas since the 1970s.

북한의 민족형식과 조선미(朝鮮美) 담론 -건축예술론』(1992), 『미술론』(1992)을 중심으로-

홍지석 ( Ji Suk Hong ) 한민족문화학회 2011 한민족문화연구 Vol.36 No.-

The Purpose of this paper is examining the discourse on the national style in North Korean art world. In this case, Two books that Kim Jong-Il wrote in 1992-Visual Art Theory, Architecture Theory are very useful. Because the writer, namely Kim Jong-Il is not only the Suryong(Chief) of North Korean social system but also the decision maker of North Korean art world. So the other criticisms of visual art and architecture must follow the discussion of that two books by Kim Jong-Il. Special quality that we can find in the discourse on the national style of North Korean art world is as following: 1) Value required in modern art & architecture had been realized in traditional heritage of Korea, therefore North Korean Modern Artists and architects must inherit such traditional/modern value. So the traditional style and modern style are equivalent. Speak differently, individual is universal and vice versa. 2) The rule of Implication & Concentration that they can find in the Joseon-painting(朝鮮畵) are the rule of Juche-Realism(for example, formalization of the leader) at the same time. The other significant quality that we can find in the discourse on the national style of North Korean art world is that they are pursuing the pseudo-historical values, so to speak traditional-like, national mood. They realize these values in artistic practice. Because they wish to raise the belonging-sense of social constituents. In Brief, The discourse on the national style in North Korean art world are so deterministic and goal-oriented that we hardly find any point of contact North Korean national form and South Korean national form.

서정성과 민족형식: 1950년대 후반 북한미술담론의 양상 -『조선미술』의 풍경화 담론을 중심으로-

홍지석 ( Ji Suk Hong ) 한민족문화학회 2013 한민족문화연구 Vol.43 No.-

In the late 1950`s, North Korean Artist and Art critics became to criticize the schematism of pre-existing social-realism defending the poetic lyricism and find national style at the same time. They want to overcome the scheme(stereo-typed style)and request for the mechanical reproduction of pre-existing social-realism by accepting/recovering lyricism and poetic quality of art. After the death of Joseph Stalin(1953), Soviet Art critics have became to blame the line of art policy of Stalin, and this tendency influenced the North Korean art world at that time. In this sense, North Korean Artist and Art critics paid attention to the ``landscape painting`` as a lyrical and poetical genre of art. As Paul Valery has pointed out, the landscape painting is the genre painting featuring the subjectivity. So the North Korean art critics in the late 1950`s regarded this painting as the means for adjusting the balance between objectivity and subjectivity. However this attempt has resulted in the seeming balance of both side at the expense of personality and freedom of individual artists in the 1960`s. The discourse on the landscape painting is important to understand how they dealt with the issue on the Socialistic content and national style. of social realism. North Korean Artist and Art critics of late 1950`s have thought the subjectivity of landscape painting in relation to the spirituality of Korean traditional art. Some of them use the issue of landscape painting for the reinstating the content, style and media of traditional korean art.

강호(姜湖 1908~1984)의 문예비평

홍지석 ( Ji-suk Hong ) 한민족문화학회 2016 한민족문화연구 Vol.54 No.-

Kang Ho had been the member of KAPF, the proletarian art movement that started from the late 1920``s and closed in the early 1930``s. During the Japanese colonial era, He has actively participated in proletarian art movement as a film director, stage artist as well as art critics. He defected to North Korea in 1946. In North Korea, He has led the practice and discourse of North Korean Art(especially in stage art of film and theater). Among others, The critical text which he has presented in 1960``s has a special significance in that it provides clues for the apprehending the relation between the proletarian art of Japanese colonial era and North Korean art. Moreover, In this texts we can identify the process for the North Korean artist to accept socialist realism. For Kang Ho, the proletarian art movement of KAPF in 1920``s~1930``s was the lead of socialist realism of Korea. According to him, the KAPF artist has created the ``typical character and situation`` as well as ``revolutionary optimism`` for that socialist realism demand for the first time in Korea. Another issue was the relation between parts and the whole in art. Kang suggested that artists should make the whole by connecting the parts having autonomy and integrity in itself. He called this situation noble collectivity However, Most of Kang``s Suggestions was rejected by the North Korean artist of 1970``s. They adopted the anti-japanese art of 1930``s as their foundation instead of KAPF. Besides they adopted not the noble collectivity but the continuous flow`` as the purpose for the artist to pursue.

화학수소화합물을 이용한 소형 무인항공기용 연료전지 시스템 연구

홍지석(Ji-Seok Hong),정원철(Won-chul Jung),김현진(Hyeon-jin Kim),이민재(Min-Jae Lee),정대성(Dae-Seong Jeong),전창수(Chang-Soo Jeon),성홍계(Hong-Gye Sung),신석재(Seock-Jae Shin),남석우(Suk-Woo Nam) 한국항공우주학회 2013 한국항공우주학회지 Vol.41 No.3

소형 무인항공기의 동력장치로 연료전지 시스템을 적용하기 위해 화학수소화합물 수소 저장방법을 이용한 소형 수소 발생 제어장치를 설계하였다. 효율이 높은 소형/경량 수소 발생 제어장치를 설계하기 위하여 NaBH4 수용액 공급 유량에 따른 Co-B 촉매의 수소 전환율을 확인하였고, 100W 스택의 최대 수소 발생량에 적합한 Co-B 촉매양을 제안하였다. 효율적인 연료 소모를 위해 Dead-end 방식의 스택을 선택하였고, 수소 발생 제어장치 내부 압력을 이용한 펌프 on/off 제어로 수소 생성량을 제어하였다. 소형 수소 발생 제어장치를 이용한 연료전지 시스템의 각 작동구간에서 안정된 운전을 확인하였다. 장시간 운전 실험을 통하여 최대 7시간 운전이 가능하며, 임의의 비행 프로화일에 요구되는 추력 프로화일은 최소 4시간 이상 조정 가능함을 확인하였다. A compact hydrogen generation device of fuel cell system using chemical hydride storage technique was designed to fit the propulsion device requirement of a small unmanned aerial vehicle(SUAV). For high efficient, compact, and lightweight hydrogen generation control device, the Co-B catalyst hydrogen conversion rate by NaBH4 aqueous solution flux is measured so that the proper amount of Co-B catalyst for maximum hydrogen generation of 100W stack was proposed. A compact hydrogen generation device is controlled by pumps on/off using its own internal pressure and consumes fuel in high efficiency through a dead-end type fuel cell. The fuel cell system has stable operation for a planed flight profile. The system operates up to maximum 7 hours and at least 4 hours for tough flight profiles.

119 구급지휘팀의 직무수행능력과 중요도, 교육요구도 분석

홍지석(Ji-Suk Hong),이효철(Hyo-Cheol Lee) 한국엔터테인먼트산업학회 2024 한국엔터테인먼트산업학회 학술대회 논문집 Vol.2024 No.11

This study is a descriptive research study to provide effective basic data for the expansion of the pilot project by identifying the job performance ability, importance, and educational needs of field paramedics for 119 emergency command team as part of the G metropolitan city pilot project. Data collection was conducted for 30 days from September 15 to October 15, 2022. The subjects of the study were paramedics among firefighters working at 5 fire stations in G Metropolitan City.<BR/> The importance of emergency command was the highest at 4.50±0.70 points, and the educational needs were 4.17±0.87 points and job performance ability. was 3.68±0.87 points. 119 There were statistically significant differences in class (p<.001), first aid experience (p<.001), hospital work experience (p<.05), the number of training experiences in first aid command (p<.001), and problems in performing first aid command (p<.05). There were significant differences in the importance of emergency command work according to the type of transfer medical institution (p<.05), the main role in performing the task (p<.01), the problem in performing the task (p<.01), and the satisfaction of emergency command work (p<.001).<BR/> The educational requirements for 119 emergency team were in the order of multiple casualties and complex site control, communication with the field command leader at the time of fire, and delivery and obstetric emergency response.

북한미술의 기원 -카프미술, 항일혁명미술, 그리고 조선화-

홍지석 ( Ji Suk Hong ) 한민족문화학회 2010 한민족문화연구 Vol.34 No.-

The purpose of this paper is to find out what is the origin of North―Korean Arts. In North Korea, The `Proletariat art` or `KAPF art` had been regarded as unique tradition of their official art until the 1950`s. But on and after the 1960`s the `Anti―Japanese Revolutionary Art` which created during partisan struggles by Kim Il―Sung in Manchuria was brought out as a significant tradition. And at the same time `Juche―Thought` was become absolute as the only thought, `Anti―Japanese Revolutionary Art` was defined as one and only tradition. However In late 1960`s, Another art was emerged as the foundation of North―Korean Art. Joseon―painting(朝鮮畵) is it. Here, Joseon―painting means the tradition Korean painting. In 1967, Kim Il―Sung was declared that Develop our Arts on the basis of Joseon―Painting. And after that, North Korean Artist have developed North Korean peculiar painting style on the basis of so called Joseon―painting. If take into account this truth, we can consider the Joseon―painting as the practical origin of North―Korean Art. Like this, North―Korean art community and the social system give the `Anti―Japanese Revolutionary Art` and the Joseon―painting the status of `heritage` and of `tradition` of the past national art respectively.

예술사회학에서 개인과 집단의 관계 설정 문제 -칼 만하임의 존재구속성, 자유부동하는 지식인 개념을 중심으로

홍지석 ( Ji Suk Hong ) 단국대학교 한국문화기술연구소 2010 한국문화기술 Vol.10 No.-

One of the significant issues of Sociology of Art is: “How can do we relate individual art work and practice with whole context of society?”Sociology of art that consider ‘the-artist-in-his-society’ need to draw a collective concept like Zeitgeist, view of the world(weltanschaung), class consciousness, ideology etc. in order to understand thought and emotion of individual artist In sociological viewpoint. But in this case we must exclude one-by-one causal connection or the mechanical rule of cause and effect. For we want not to drop the dynamic quality of individual art work and practice. Also, we need suitable arrangement of investigator who run such attribution. He who investigate the connection of art and society should secure the possibility to keep distance with social context or the class interest. We can get following conclusion in process that examine criticism of Frankfurt school in reply with the concept like ‘existential determination’, ‘socially unattached intelligentsia’ of Karl Mannheim. First of all, Knowledge sociology and Sociology of Art need to approve the lack of harmony or discontinuity in making connection of part and whole(individual/society). We cannot deny the structure-formation function of ideology. But We need to expose the lack of ideology or the (mass)manipulation by finding the crack of ideology. And second, We need to understand the intelligentsia or artist as the witness of the dominant ideology of society as well as the doer who challenge the myths, values, tradition of dominant ideology. In short, They must be regarded not as the historical substance but as the ethically required existence.

1930년대 후반~1940년대 초반 한국 문예의 “골동품” 모티프 -『문장(文章)』을 중심으로

홍지석 ( Ji Suk Hong ) 단국대학교 한국문화기술연구소 2011 한국문화기술 Vol.12 No.-

This paper examine the ‘Antique’ motif of Korean Literature and Art between late 1930’s~early 1940’s focusing on the texts of‘洗眈’ MunJang’(1939~1941), the Journal of Literature and Art. In that period, members of MunJang are fond of Antique motives like pottery, stationery, old bookˇˇas a subject matter or theme of their work. This phenomenon is very interesting because the leaders(artists) of that pheno menon-Lee Tae Jun, Kim Yong Jun, Kim Whan Kiˇˇ-are the pathfinders of Korean Modern Art and Literature in 1930’s. So their Antiquarianism sometimes has been understood as a reactionary phenomenon of Art and Literature. Some researchers regard their Antiquarianism as a decisive influence of Japanese colonialism and Imperialism. However this paper deals with their Antiquarianism as a modernistic resonance. If we look closer their way of treating antique motives, we could find various indications of Modern Art and Society. This result are as follows, 1)compulsive obsession for hygiene(cleanliness), 2) double attitude to the part/integral 3) attempting to achieving the simultaneity of past/present.

북한근대미술사 서술의 양상과 특성 -근대미술의 기점과 조선화의 근대성 문제를 중심으로

홍지석 ( Ji Suk Hong ) 단국대학교 한국문화기술연구소 2014 한국문화기술 Vol.17 No.-

This paper examines the standpoint of North Korean Art History on the modernity of Korean art focused on the Korean painting, so called JoSeonHwa(朝鮮畵). For this, we have to analyse the character and change of description on the Korean Art History of North Korea, like The History of Korean Art(1987) and The Biographies of Korean Artist(1999). In the 1980’s, North Korean art historians has taken the viewpoint which regarding the reality as the significant criterion ofmodernity of art. In this sense, The 18th century art is immature period in spite of their contribution of development of realism and The 19th century art is reactionary period though their contribution in the progress of way of representation. But after the 1990’s, North Korean art historians has become to change the standpoint about modernity. They accept the innovation of form(or ways ofrepresentation) as well as reality as the significant criterion of modernity of art. Therefore, 19th century has been regarded as the starting point of modern art. In relation to this change of viewpoint, the interpretation of early 20th century art has changed, In the 1980’s, this period has been regarded as the real starting point of Korean modern art but after the 1990’s this period became successor of the progress of 19th century art. In recent History of Korean Art, The Art Historians of North Korea tend to accept the influence of Japanese and Western Art as the important data for the description of Korean modern art.