체제 전환 이후 폴란드의 정치 변동 [2] : 1993-1995

김종석(Jong-Seok Kim) 아시아중동부유럽학회 2000 동유럽발칸학 Vol.2 No.2

The aim of this study is to analyze returning to the political powers of the new leftist Socialist Parties, the defeat of parties based on the free trade union and the various cause of Walensa's failure through the general election in 1993 and the presidential election in 1995. In the general election in 1993, the new leftist parties returned brilliantly to the stage of political powers according to the process of the democratization. The consequences and victorious aspects of the new leftist parties in the presidential and general elections are as follows; Firstly, the line that connects with the past and the basis of liberalistic reformation were not in the saddle yet in the Polish society. Secondly, the incapacity, accumulation of wealth by illicit means, struggle for power showed by the rightist parties in the period of grasping political power became the resentment and despair for the Poles. Thirdly, the actual consequence after transformative endeavor of new leftist parties. The kernel of political structure as president, cabinets, parliament is occupied by the new leftist political authority and in the vision of new government, the conversion into the market economy which was driven by the political powers based on the free trade union is to break. Abrupt political changes are to affect economic, social, cultural and other spheres of the Polish society.

외교문서를 통해 본 불가리아-남북한 관계 연구

김원회 아시아중동부유럽학회 2012 동유럽발칸학 Vol.14 No.2

This paper aims to investigate the Korea related diplomatic documents in Bulgarian National Agency "Archives" in Sofia. The author of this paper started to collect the Korea related diplomatic documents in Bulgarian National Agency "Archives" in Sofia from the middle of 2009. During the one and half year, the author collected about 1,800 copies of the document. In the first chaper of the main body, the author explained the details of Bulgarian National Agency "Archives"(including history, structure and international cooperation in this field). In the second chapter, the author described the process, method of collecting the documents. Also the author described the list and contents of the documents. In the third chapter, the author selected very important 5 documents and in full translated them. These five important documents are dedicated to the mainly Bulgaria-North Korea diplomatic incidents and cultural cooperations. They are the documents on political campaign against South korea, political refugees of North Korean students to Bulgaria, exchange of agricultural experts between Bulgaria and North Korea because of the lack of foods and the prohibition of photo gallery in front of Bulgarian Embassy in North Korea. 중동부 유럽의 남쪽에 위치하고 있으며, 아시아와 유럽을 잇는 십자로에 있는 불가리아는 역사적으로 매우 중요한 지정학적 위치를 점하고 있다. 이러한 점에서 소비에트 시절 불가리아가 소련의 제16번째 공화국이라는 별칭을 얻으며 소련의 비호를 받으며 매우 긴밀한 관계를 유지하였다는 사실은 그리 놀랄만한 것은 아니다. 사회주의 국가 건설이후 불가리아와 북한의 관계는 긴밀하면서도 다양한 변화를 겪었다. 불가리아의 지정학적 위치는 동유럽 내에서 독특한 위치를 점하게 하였고, 북한과 불가리아는 사회주의 국가가 건설된 이후로 교육, 과학, 문화 등 다양한 분야에서 폭넓은 관계를 이루고 있었다. 특히 불가리아의 외교적 중요성과 특수성으로 인하여 주 불가리아 북한 대사관은 동유럽의 여덟 개 국가의 주요공관으로 그 역할을 수행하였다. 이 때문에 불가리아 국가기록원에는 불가리아-북한의 외교 관계를 엿볼 수 있는 중요한 문서가 대량 보존되어 있다. 본고에서는 불가리아 국가기록원에 보존되어 있는 남북한 관련 문서를 기반으로 한국전쟁 이후 오늘에 이르기까지 북한과 불가리아의 문화, 사회, 대외 외교를 중심으로 살펴보고 있다. 지금까지의 사회체계 특성상, 1990년 동구권 몰락 전까지는 주로 불가리아-북한 자료가, 그 이후에는 불가리아-남한 자료가 주를 이루고 있음을 미리 밝힌다. 본고에서 연구된 자료는 한국의 국가기록원 특수기록관리과의 지원에 의해 모두 불가리아 국가기록원과 불가리아 외교부 산하 문서 보존실(일부)에서 수집된 것이다. 총 204건의 자료이고 분량은 1800여장에 달한다. 2009년에 시작된 불가리아 국가기록원의 외교문서 수집과 발굴은 현재도 진행 중에 있다.

브른쿠쉬 조각의 주요테마인 비상(飛翔)과 초월(超越)의 의미 -루마니아 민속과의 연관성 연구-

백승남 아시아중동부유럽학회 2012 동유럽발칸학 Vol.14 No.2

브른쿠쉬는 20세기 초 예술의 아방가르드였다. 기존의 예술 관념이나 형식을 버리고 혁신적인 예술을 주장한 그의 작품이 루마니아 민속예술의 영향을 받았다. 그는 파리 엥파스 론쟁에 위치한 그의 화실에 루마니아 농촌에서 흔히 볼 수 있는 난로를 설치하였으며, 미르체아 엘리아데의 표현처럼 전형적인 '루마니아 농부'의 차림으로 살았다. 그의 화실을 찾아오는 사람마다 루마니아의 진정성의 인상을 갖게 되었다. 브른쿠쉬 <머이아스트라 새> 조각의 주요 테마는 비상과 초월의 바람을 갖고 하늘로 상승하는 것이다. 그는 이 세상을 비상하여 우주로 초월하고 싶었던 감정을 새의 시리즈에 분출했다. 그의 작품은 루마니아 고대 신화에서 영감을 받았으며 그의 중심적인 이미지는 상승, 나무, 새이다. 영혼의 새는 루마니아 신화에서 신비롭고 마법적인 의미를 소유하고 있다. 영혼의 새는 영혼을 이동시키는 고대 다치아 신화에서 유래된 성스러운 새로, 다치아인들에게 죽음은 끝이 아니라, 영혼이 진정한 자유를 되찾는 것을 의미했다. 이 고대 신화의 형상인 영혼의 새는 장례식에서 장대, 즉 우주 나무에 앉아있는 형태로 결합된다. 머이아스트라 새는 “루마니아 올테니아 지방의 전설에 등장하는 새로 잠을 자지 않으며, 인간이 되고 싶어 했다”는 전설이 있다. 동화 <머이아스트라 새>는 크리스트교 도래 이후의 구전 동화로 머이아스트라 새가 교회를 성스럽고 완전하게 만드는데 절대적으로 필요하다는 주제를 담고 있다. 1918년부터 1928년 사이에 시리즈로 만들어진 <무한 기둥>은 기하학적인 방법과 수직적인 성장에 의해 구체화된다. 트르구 지우에 세운 앙상블은 1차 세계 대전에 참전하여 희생된 영웅들의 기념비이다. 루마니아에서 묘지의 기념물은 고대 역사 유물로 크리스트교 도래 훨씬 이전에 생겨난 것이다. 알바주의 로만마을과 세베쉬산 지역에는 묘지 장대가 잘 보존되어 있는데, 크리스트교가 도래하기 훨씬 이전의 민간 사상이나 장례 풍습을 보여준다. 그것은 무덤 앞이나 가장자리에 세운 1자형의 장대로 다치아에 기원을 두고 있다. 다치아인에게 생명수는 끝없는 물에서 자라난 나무로 그와 닮은 전나무를 묘지 앞에 심거나 전나무를 잘라 묘지 앞에 세우기도 하였다. 이 장대는 루마니아 사람들에게 있어서 가장 신화적이고 민속적인 기념비이다. 루마니아 북부에 위치한 마라무레슈 지방에서는 전통대대로 목재를 이용한 가내수공업이 발달하였다. 특히 가옥(대문과 담장 포함)은 지붕과 땅을 연결하고 가옥을 지탱하는 기둥은 마름모꼴의 다양한 형태로 조각되어 있다. 마름모꼴은 나무의 처음의 상태를 훼손하지 않은 형태의 단순함과 가옥을 지탱하고 하늘과 땅을 연결하는 의미를 내포하고 있다. 미오리짜의 공간 한 가운데인 트르구 지우에 브른쿠쉬는 1차 세계 대전에 참전하여 희생된 영웅들을 위한 기념비를 세웠다. 그것은 1937년에서 1938년 사이에 만들어진 3부작 앙상블-<침묵의 식탁>, <입맞춤의 문>, <무한 기둥>이다. 이 기념비들은 이 세상을 이루는 네 가지 기본 요소-물, 흙, 불, 공기-가 재결합하는 것을 보여준다. 물은 지우강으로 출발을 의미하고, 흙은 시민 공원의 골목과 침묵의 식탁이 표현해내는 땅과 영웅의 거리를 의미한다. 불은 입맞춤의 문에서 죽은 자들을 위한 승리를, 공기는 기둥을 따라 하늘을 향해 올라가 비상하여 죽음을 초월한다는 의미를 담 ... Brâncuşi was the avant garde in the arts at the beginning of the 20th century. He abandoned the old-fashioned concept about the arts and stressed on the innovative arts, though his works were influenced by the Romanian folk arts. His atelier at Impasse Ronsin in Paris was installed with the Romanian fire stove which was commonly used in the Romanian rural area and he lived as if he were a typical Romanian farmer as like Mircea Eliade depicted him. Every visitor to his atelier came to have the impression that he was an example of a true Romanian. The main theme of his sculpture <The Bird Măiastra> was soaring up to the sky with the hope of transcendence. He projected his urge to soar up and transcend himself into his series sculptures ‘bird’. He was inspired with the ancient Romanian myth and the key images of his works are soaring, trees and birds. In Romanian myth the soul bird had the implication of mysteries and magic. Adopted from ancient the Dacian myth the soul bird was believed to be holy being who could transfer human souls into the other world and the Dacian people believed that the death is not the end, but rather a true freedom to soul. The soul bird adopted from the ancient myth came into shape which it was sitting on the funeral pole which is cosmic tree. Legend of Oltenia area had it that 'The Bird Măiastra' never sleep a wink and had a yearning to be a human. One of the orally transmitted fairy tales recorded by P. Ispirescu had the theme that 'The Bird Măiastra' was essential to make the church sacred and complete after the introduction of Christianity. <Infinite Pillar> was series works which was shaped up by means of geometrical method and vertical highness. The work <Ensemble> which was constructed in Târgu-Jiu was the monument to memorial to the soldiers killed in World WarⅠ. The monument of the burial ground was there long before the introduction of Christianity. We can get a glimpse at the folk beliefs and funeral ceremony before the introduction of Christianity by means of funeral poles which are specially well preserved at Loman village of Alba state and in the vicinity of Mountain Sebeş. The shapes of poles were like 1 and they were erected at the front of or around the tomb, which were originated from Dacia. The Dacian believed that the tree of life was growing by eternal water and fir tree which was shaped like the tree of life was planted or cut-down and erected at the front of the tomb. These poles had the deepest meaning to the Romanian in both ways of myth and folklore. Maramureş area which is located at the northern part of Romania has been famous for traditional hand-made wooden works. The pillars of the traditional houses(including the gate and fences) have been carved with diamond-shaped patterns. The diamond-shaped patterns imply the unimpaired primitive conditions of the trees, the backing of the houses and the connecting of the Heaven and the earth. In Târgu-Jiu at the center of Mioriţa Brâncuşi sculptured the monuments to the memorial to the sacrificed heroes in World War Ⅰ. They are the Trilogy Ensemble <Silent Table>,<the Gate of Kiss>.<Infinite Pillar> from 1937 to 1938. These works expressed the reunification of the basic elements of the world ; the water, the earth, the fire, the air. Water which is River Jiu means start. Earth by means of the alleys of people’s park and silent table express the soil and the streets of heroes. The fire expressed the triumph over the gate of kiss for the dead. The air connoted the freedom from the death by soaring up to sky in line with pillars. While moldovian shepherd in the orally-passed-on poem Mioriţa sublimated the death by unify it with the nature, Brâncuşi who was sing al through his life absorbed himself into his works with the hope to be free from death and to transcend himself.

On the determinants of banking business profitability in Korea and Eastern Europe

고완석 아시아중동부유럽학회 2012 동유럽발칸학 Vol.14 No.2

Commercial banks in Korea have exerted efforts to increase their assets size (asset gigantism) and to diversify their income sources, especially for the last decade since the 1997 financial crisis. The rationale for such pursuits is that both the increase in asset size and the revenue source diversification will be crucial drivers for the stability and sustainability of fundamental operations which, in turn, will lead to their sustainable growth. We will see if such efforts of Korean banks will have improved their structural income and if such efforts can also be found in other countries, for example European countries. This paper examines the effects of the bank's cost drivers such as the asset growth, and the diversification, on the structural profit in the Korean and Eastern European banking industry. Our empirical tests do not provide the evidence that the asset-growth significantly improved the banks' structural profit. This result was due to the phenomenon that the asset growth reduced not only the bank's structural cost but structural revenue as well. However, we found the diversification in revenue sources did improve Korean banks' structural revenue and thus structural profit significantly whereas such is not true for Eastern European commercial banks. These results suggest that the Korean banking industry needs to concentrate on the enhancement of competitiveness by creating new financial services and commodities, rather than on excessive competition derived by asset gigantism. Commercial banks in Korea have exerted efforts to increase their assets size (asset gigantism) and to diversify their income sources, especially for the last decade since the 1997 financial crisis. The rationale for such pursuits is that both the increase in asset size and the revenue source diversification will be crucial drivers for the stability and sustainability of fundamental operations which, in turn, will lead to their sustainable growth. We will see if such efforts of Korean banks will have improved their structural income and if such efforts can also be found in other countries, for example European countries. This paper examines the effects of the bank's cost drivers such as the asset growth, and the diversification, on the structural profit in the Korean and Eastern European banking industry. Our empirical tests do not provide the evidence that the asset-growth significantly improved the banks' structural profit. This result was due to the phenomenon that the asset growth reduced not only the bank's structural cost but structural revenue as well. However, we found the diversification in revenue sources did improve Korean banks' structural revenue and thus structural profit significantly whereas such is not true for Eastern European commercial banks. These results suggest that the Korean banking industry needs to concentrate on the enhancement of competitiveness by creating new financial services and commodities, rather than on excessive competition derived by asset gigantism.

Oskar Kolberg’s Records from Pokuttya in Academic Editions of Ukrainian Folklore

Iryna Zbyr 아시아중동부유럽학회 2012 동유럽발칸학 Vol.14 No.2

Oskar Kolberg (1814–1890) is an outstanding Polish ethnographer, folklorist and composer. He was born in Przysucha of Kielce province in Poland. He was a member of Krakow Academy of Sciences. On the early stages of his research activity O. Kolberg turned to folklore, took interest in folklore and ethnography of the Polish people and their close neighbours, namely the Ukrainians. During his lifetime he published thirty‐eight volumes of his monumental work “Lud. Jego zwyczaje, sposób życia, mowa, podania, przysłowia, obrzędy, zabawy, pieśni, muzyka і tańce” (“People. Their Customs, Way of Life, Language, Traditional Stories, Proverbs, Rituals, Games, Songs, Music and Dances”) (1857–1890), which included researches into Ukrainian folklore and material culture, namely: “Pokucie” (“Pokuttya”) (1882, 1883, 1888, 1889), “Chełmskie” (“From Chełm”) (1890–1891), “Przemyskie” (“From Przemysl”) (1891), “Wołyń. Obrzędy, melodie, pieśni” (“Volyn’. Rituals, Melodies and Songs”) (1907), “Białoruś‐Polesie” (“Byelorussia‐Polissya”) (1968), “Ruś Karpacka” (“The Carpathian Rus’”) (1970–1971), “Sanockie‐Krośnieńskie” (“From San and Krośne”) (1972–1974), “Ruś Czerwona” (“The Red Rus’”) (1976, 1979), “Podole” (“Podillya”) (1994). A full collection of O. Kolberg’s works includes more than eighty volumes. “Pokuttya” is a four‐volume collection of O. Kolberg’s works, the publication of which was preceded by assiduous collecting process. Numerous expeditions of Krakow Academy of Sciences, an established network of correspondents and communicants, organization of Pokuttya ethnographic exhibition in Kolomyya in 1880 – all this together has contributed to the monograph being monumental and rich in contents; up till now it is viewed as the only rather full research into the given ethnographic region. Z. Boltarovych claims that “Pokuttya” by O. Kolberg appears to be a detailed picture of everyday life and culture of the people from this area” Болтарович, Зоряна (1976) 83. . The work is subordinated to a strict plan, and the researcher has kept to it in all his writings. Throughout the 20th century folklore materials and musical notations from the collection of works “Pokuttya” by O. Kolberg with corresponding references were republished in different papers by Polish and Ukrainian researchers. This once again underlines the fact that O. Kolberg’s records have a scholarly character, demonstrates application of the comparative method in order to systemize oral folklore. A great number of folklore materials by O. Kolberg were used when compiling academic editions of folklore of the series “Oral Folklore”.

체코와 한국의 프롤레타리아 시의 주제와 모티프 비교연구

권재일 아시아중동부유럽학회 2012 동유럽발칸학 Vol.14 No.2

At the beginning of the Czech and Korean proletarian poetry we can find the themes and motifs like sympathy, compassion and solidarity. However in Korean proletarian poetry we hardly can find the Christian motifs like humbleness, modesty and love which are very popular in Czech proletarian poetry. At the full-scale proletarian poetry of the two countries we can find common themes and motifs like poverty, hunger, starvation, hardship, despair, exploitation, discrimination, social justice, hatred, anger, class consciousness, resistance, struggle, revolution, destruction, construction, collectivism, proletarian internationalism and so on. However the themes and motifs like darkness, dawn, light, liberty, enlightenment, nationalism appear only in the Korean proletarian poetry. These themes and motifs are connected with the contemporary Japanese colonization. During the full-scale proletarian poetry of the Czech proletarian poetry in addition to the above mentioned themes and motifs we can find themes and motifs like self sacrifice, creation, harmony, peaceful collectivism and mystical interdependence of human beings which are connected with the mental revolution of man while in Korean proletarian poetry we can find sabotage, general strike, fight with arms which are connected with the radical opposition movement against the japanese militarism. In the last stage of proletarian poetry of both countries, in connection of the movement of popularization of art we can find the poetry which combines love with revolution as well as the poetry in which the heroins play the secondary or main role. In the end there are common themes and motifs as well as their own themes and motifs, which is connected with the different political and social conditions, in both of Czech and Korean proletarian poetry in the 1920-1935 years. 두 나라 프롤레타리아 시의 초기단계에서는 프롤레타리아 계급에 대한 공감, 연민, 연대와 같은 테마와 모티프들이 집중적으로 등장하지만 체코 프롤레타리아 시에 등장하는 겸양, 겸손, 사랑과 같은 기독교적 모티프들은 한국의 프롤레타리아 시에서는 거의 등장하지 않는다. 그리고 체코 프롤레타리아 시의 본격적인 활동기간에 들어오면 가난, 굶주림, 절망, 고통, 노동의 착취, 사회적 불평등, 정의, 증오, 분노, 계급의식, 저항, 투쟁, 혁명, 파괴, 건설, 집단주의, 프롤레타리아 국제주의와 같은 테마와 모티프들이 등장하는데, 이들은 한국의 신경향파 시의 전형적인 테마와 모티프들이기도 하다. 단지 신경향파 시에서는 이들 외에도 암흑, 새벽, 광명, 자유, 계몽, 민족과 같은 테마와 모티프들이 등장하는데, 이는 일본 식민주의와 제국주의의 암흑 속에서 민족의 해방과 자유를 찾고자 하는 한국 민족의 간절한 염원과 관련되어 있다. 체코 프롤레타리아 시의 본격적인 활동기간에서는 인류의 정신적, 도덕적인 혁명과 연관된 자기희생, 창조, 조화, 평화적인 집단주의, 신비스러운 상호연대와 같은 테마와 모티프들이 추가로 등장하는 반면에, 1926년 이후 한국 프롤레타리아 시의 본격적인 활동기간 동안에는 급진적이고도 과격한 정치투쟁과 관련된 파업투쟁, 무장투쟁과 같은 테마와 주제들이 추가로 등장하는데, 이는 물론 당시의 일본 군국주의 억압 하의 한국 정치상황과 연관을 갖는다. 그리고 두 나라 프롤레타리아 시의 후기단계에서는 예술의 대중화 운동과 관련하여 사랑과 혁명, 연애와 투쟁을 결합한 시들이 다 같이 존재하였고 또한 여주인공들과 여성 화자들의 등장도 더욱 더 빈번하였다. 이처럼 두 나라의 프롤레타리아 시는 선호하는 공통적인 테마와 모티프들이 있는 반면에 각각의 프롤레타리아 시가 선호하는 고유한 테마와 모티프들이 존재하는데, 이는 당시 두 나라의 정치적, 사회적 여건과 환경의 차이에 기인한다.

체코 시 연구 II

김규진(Kyu-chin Kim) 아시아중동부유럽학회 2000 동유럽발칸학 Vol.2 No.2

The unique tendency of Czech proletarian poetry reached to highest point during the early 1920s. Czech proletarian poets tried to use literature as an instrument for fighting against the separation of art from life which was a mode of modernism in Germany and France. The oldest generation of proletarian poets, Josef Hora had a genuine talent for combining romantic and tragic motifs in his poem 'Who is it Singing that Song'. But in a later book Working Day he emphasized the social motif. Hora was a poet of unending tensions, the background of the book is the urban working class. Seifert, however, differed from the would-be Proletarian poets. He was the son of a working-class father and grew up in the industrial urban area of Prague. In his first book, A City in Tears he portrays the urban proletariat with surety and without sentimentality. Through the poem 'The Crowd Speaks' he feels himself as one of the masses and he uses the cry 'We are the Crowd' in solemn repetition. The theme is the titanic strength of the marching masses at whose bidding even the sun itself would be extinguished if they spat into its face. In 1920 the Devětsil Arts Group was among the most energetic, radical and talented of the activist youth groups in Prague. The group officially launched its public life with a Manifest in a Prague newspaper on December 6th of 1920. They emphasized the idea of working in groups which could achieve much more than working alone. The initial 14 members are Zdeněk Kalista, Jiři Wolker, Josef Hora, Jaroslav Seifert, Antonín Matěj Píša, Svata Kadlec, S. K. Neumann, Jindřich Hořejší, Karel Teige and others, Nezval joined later on. They were avantgarde communists and devoted themselves to revolution in art, life, and politics. Later in 1922 some of them including Wolker, Kalista and Moravian critic F. Gotz founded a new journal Host, which was taken from that of Wolker's first book of poems. Wolker was one of most radical, energetic and talented Czech proletarian poets. He soon resigned from the Host and devoted himself to Devětsil. At any rate he rapidly became the spokesman for the Devětsil on artistic problems. He declared that Proletarian art must be aggressive, non-humanistic, and dogmatic, that social faith and inner truth was of utmost importance. His book The Difficult Hour was to become the classical example and the swansong of Proletarian literature. In the poem 'Ballad of the Stoker's Eyes' which proclaims the immorality of creative work, Wolker combines the theme of transubstantiation with that of sacrifice. A worker's sacrifice gives others happiness. Its motif is taken from biblical theme. The Difficult Hour marked the peak of Czech Proletarian literature, however the movement itself was near its end. With this end a complete new trend began appearing, which was the most powerful creative and original writing in Czech modern poetry that swallowed the former trend. It was Czech Poetism.

Journalistic Heritage of Karel Capek

Jiri Pesicka 아시아중동부유럽학회 2007 동유럽발칸학 Vol.9 No.1

This essay is dedicated to an important and constantly topical part of the Karel apek´s work, to his journalistic heritage. The text follows the periods of apek´s career as a journalist in a chronological order, but it also mentions his very beginnings as a newspaper contributor at the age of a junior high school student. His university years are taken into account as well, because that time had the decisive influence on the forming of the author´s view of the world. Karel apek wrote then some studies demonstrating his close relation to the philosophy of pragmatism, in which he saw an approach giving the people the possibility to shape and change the world on both knowledge and practical action level without the necessity of using violent revolutionary methods. The main part of the text makes the readers acquainted with the apek´s engagement in editorial staffs of two renowned Czech newspapers Nrodn listy and Lidov noviny. His contributions dedicated to a immense number of aspects of the surrounding reality are a true and detailed time mirror of the quieter and more dramatic periods of the Czechoslovak First republic. Karel apek, the close friend and the respectful expounder of the personality and the work of T.G. Masaryk, the first president of the Czechoslovakia, became himself the almost symbolistic representative of the democratic regime. He had to face the oppositional views from the side of both the extreme right and left wing orientated journalism. His brilliantly formulated contemplations on the role of nation, policy, culture and the tasks of the intellectuals in the time of endanger and peril from the side of Nazi Germany remain the most impressive part of apek´s journalistic heritage. 카렐 차페크(Karel Capek)의 저널리즘 유산

부호를 통한 경제적인 텍스트 사용 - 아담 미츠키에비츠의 서사시 <판 타데우쉬> 를 대상으로 -

Piotr Wierzchon 아시아중동부유럽학회 2004 동유럽발칸학 Vol.6 No.1

러시아 NGO 재정문제와 러시아정부의 NGO 재정지원

김선래 아시아중동부유럽학회 2012 동유럽발칸학 Vol.14 No.2

Study on the NGO in Russia, has been researched by way of the definition of the concept of civil society organizations, and has been developed to research its formation and potential, growth of NGO, and the possibility of the development of democracy since independence of Russia. Many scholars have been trying to research focusing on activities of NGO, and trying to evaluate that activities of NGO are the degree of development of democracy, because NGO's activities have been thought that are the most important fact and tools of democracy. However, this paper is based on the previous studies, and in this paper will be contained the financial support of NGO which is important for measure of independence of NGO. Basically, NGO and Government have complementary relationship in terms of production of public goods. The goal of this paper to examine the financial support of Government, how can be fixed the complementary relationship between the NGO and Government. Especially would like to learn what kind of financial and other support NGO receive from Government and from non-public markets. Furthermore, try to explain how close the relationship between NGO and Government from the point of view of the institutionalization of democratic Russia. 러시아에 있어 NGO에 대한 연구는 러시아 독립이후 시민사회단체의 개념정의에서 시작하여 러시아 NGO의 형성과 그 발전가능성, 그리고 민주주의 발전가능성에 초점을 두고 이루어져 왔다. 많은 학자들이 NGO 활동에 초점을 맞추어 러시아 민주주의 제도화 정도를 측정하려한다. 그만큼 NGO들의 활발한 활동과 발전이 민주주의에 있어 대표적 척도라고 보기 때문이다. 본 연구는 이러한 기존의 연구를 바탕으로 하여 NGO 독립성에 있어 가장 중요한 부분인 재정지원부문에 대하여 고찰해 보고자한다. 기본적으로 정부나 NGO는 공공재를 생산한다는 측면에서 상호보완적이라 하겠다. 이 연구의 목표는 NGO와 국가간의 관계설정에 있어 상호보완적 측면에서 살펴보는 국가 지원에 관한 연구이다. 특히 러시아의 경우 국가로부터 어떠한 재정지원을 받고 있으며 국가지원 이외의 수입과 시장으로부터의 지원을 포함한 재정지원을 살펴본다. NGO와 정부 시장과의 관계가 어떠한지 그 밀착정도와 관계를 살펴봄으로서 러시아 민주주의 제도화라는 관점에서 설명한다.