여성과 청년 집단의 기술적 대표성은 무엇을 바꾸는가: 제7·8회 지방선거를 중심으로

양회정,정회옥 한국정당학회 2026 한국정당학회보 Vol.25 No.2

본 연구는 지방의회 내 여성과 청년 집단의 기술적 대표성과 실질적, 상징적 대표성의 관계를 살펴보았다. 이를 위해 두 가지 연구모형을 설계하였다. 먼저, 제7회와 제8회 전국동시지방선거 기준으로 광역의회 의원 대상으로 여성, 청년 관련 조례안을 전수 조사하여 기술적 대표성이 실질적 대표성으로 이어지는지를 분석하였다. 다음으로, 직접 구축한 데이터와 설문조사 데이터를 결합하여 기술적 대표성과 상징적 대표성의 관계성을 검토하였다. 분석 결과, 여성, 청년의원은 남성, 비청년의원보다 해당 집단 관련 조례안 발의 활동에 더 적극적으로 참여하는 경향을 확인하였다. 이는 개별 소수자 의원의 존재가 기술적 대표성을 통해 실질적 대표성으로 이어질 수 있다는 점을 보여준다. 상징적 대표성 분석에 있어, 여성의 경우 기술적 대표성이 시민의 대표성 인식에 긍정적 영향을 미쳤으나, 청년 집단에서는 기술적 대표성이 상징적 대표성으로 직접적으로 연결되는 양상은 관찰되지 않았다. 이는 소수자 집단의 가시성과 규모 등이 상징적 대표성 형성에 중요한 조건으로 작용함을 시사한다. 결과적으로, 지방의회 내 여성, 청년 집단의 정치 대표성의 다차원적 구조를 경험적으로 확인함으로써, 기술적 대표성의 존재와 확대가 실질적, 상징적 대표성과 조건부로 연관될 수 있음을 보여준다. This study examines the relationship between the descriptive representation of women and youth in local councils and their substantive and symbolic representation. To this end, two research models were designed. First, based on the 7th and 8th National Local Elections, an exhaustive review of all ordinances related to women and youth was conducted among metropolitan and provincial (Gwangyeok) council members to analyze whether descriptive representation leads to substantive representation. Second, the relationship between descriptive and symbolic representation was examined by integrating an original dataset with survey data. The analysis confirms that female and young council members tend to participate more actively in proposing ordinances related to their respective groups compared to their male and older counterparts. This demonstrates that the presence of individual minority representatives can translate descriptive representation into substantive representation. Regarding symbolic representation, while descriptive representation had a positive impact on citizens' perceptions of representation for women, such a direct link was not observed for the youth group. This suggests that factors such as the visibility and size of the minority group serve as critical conditions for the formation of symbolic representation. Consequently, by empirically confirming the multi-dimensional structure of political representation for women and youth in local councils, this study shows that the existence and expansion of descriptive representation are conditionally associated with substantive and symbolic representation.

이미지의 Symbolic Representation 기반 적대적 예제 탐지 방법

박소희,김승주,윤하연,최대선 한국정보보호학회 2022 정보보호학회논문지 Vol.32 No.5

Deep learning is attracting great attention, showing excellent performance in image processing, but is vulnerable to adversarial attacks that cause the model to misclassify through perturbation on input data. Adversarial examples generated by adversarial attacks are minimally perturbated where it is difficult to identify, so visual features of the images are not generally changed. Unlikely deep learning models, people are not fooled by adversarial examples, because they classify the images based on such visual features of images. This paper proposes adversarial attack detection method using Symbolic Representation, which is a visual and symbolic features such as color, shape of the image. We detect a adversarial examples by comparing the converted Symbolic Representation from the classification results for the input image and Symbolic Representation extracted from the input images. As a result of measuring performance on adversarial examples by various attack method, detection rates differed depending on attack targets and methods, but was up to 99.02% for specific target attack. 딥러닝은 이미지 처리에 있어 우수한 성능을 보여주며 큰 주목을 받고 있지만, 입력 데이터에 대한 변조를 통해 모델이 오분류하게 만드는 적대적 공격에 매우 취약하다. 적대적 공격을 통해 생성된 적대적 예제는 사람이 식별하기 어려울 정도로 최소한으로 변조가 되며 이미지의 전체적인 시각적 특징은 변하지 않는다. 딥러닝 모델과 달리 사람은 이미지의 여러 특징을 기반으로 판단하기 때문에 적대적 예제에 속지 않는다. 본 논문은 이러한 점에 착안하여 이미지의 색상, 모양과 같은 시각적이고 상징적인 특징인 Symbolic Representation을 활용한 적대적 예제 탐지 방법을 제안한다. 입력 이미지에 대한 분류결과에 대응하는 Symbolic Representation과 입력 이미지로부터 추출한 Symbolic Representation을 비교하여 적대적 예제를 탐지한다. 다양한 방법으로 생성한 적대적 예제를 대상으로 탐지성능을 측정한 결과, 공격 목표 및 방법에 따라 상이하지만 specific target attack에 대하여 최대 99.02%의 탐지율을 보였다.

韓·中 古代詩歌에 드러난 “後庭花” 意象 硏究

전명순 중국인문학회 2019 中國人文科學 Vol.0 No.72

The terminology Hujeonghwa is often found in the works. The terminology is also the same as the name of a plant, which has a straight and thick stem. The objective of this article was to identify meaning and symbolic representation of Hujeonghwa in works and how it has been used. Chengfuwang said, “In the ancient Chinese aesthetics, meaning and symbolic representation means the subject of aesthetics. The status of it roughly corresponds to the “shape” in the modern aesthetics. This article will consider that, following the opinion of Chengfuwang, meaning and symbolic representation consists of “meaning” and “symbolic representation”. In other words, it is understood as “the symbol in the mind that an artist intends to express.” Hujeonghwa is a piece of music “Oksuhujeonghwa” composed by Chen shubao, and his retainers. This music appeared in “樂府詩集 Vol. 47” compiled by Northem Song Dynasty Guo Maoqian for the first time. Chen shubao held a banquet every day and recited poems. He chose the most beautiful poem among them and made a piece of music for it. The country was collapsed by Sui Dynasty because the country got hooked on booze, women, pleasure, and lust. Thereby, it is said that “later generations called it “the typical ‘music ruining a nation’” Poets expressed their intention and the symbols in their mind using this piece of music as “meaning and symbolic representation”. This article examined what poets (e.g., Liu Yuxi, Du Mu, Li Shangyin, and Xu Hun of Tang Dynasty, Chiwon Choi of Silla Dynasty, and Inro Lee and Gyubok Lee Goryeo Dynasty, and Gi Yoon and Yoowon Lee Joseon Dynasty) wanted to express using “Hujeonghwa” or “Oksuhujeonghwa” as “meaning and symbolic representation”.

현대미술에 있어서 빛·물 상징과 그 치유작용

윤정희(Yoon, jeong - hee) 한국조형디자인학회 2009 조형디자인연구 Vol.12 No.4

A purpose of this thesis lies in searching for artistic healing through symbolic representation such as water and light. Their symbolic meanings are the truth, resurrection, revival, creativity, healing, purification, the spiritual, goddess, and so o. These two symbols have not only a symbolic meaning but also a important significance in religion and healing. Especially, These have a reality in that they are really presented during the highest level of spiritual and religious experience such as Zen meditation. According to C.G. Jung, the analytic psychologist, the symbolic representation has a function of unifying and getting rid of a unbalance and split of the spirit, especially, visual symbol in the picture can reveal the inner world which could not be realized by means of the language articulated by word. A human being become have an experience that something takes place through symbolic expression while practicing the works. This 'something take place' is closely connected with the creativity. while the plastic art as a kind of symbol-making act has a function of healing, these two old symbol work as doubling a characteristic of healing in the plastic art. In addition to that, these two symbol and their power affecting on the spirit have become a factor for the artists which struggle for getting over their trauma symbolically or really. For exemplifying this, I introduce four contemporary artist, Ando Dadao who is the architect that opens up the meditative space of Being by using water and light as essential element in his architecture, Bill Viola who considers water as symbol spiritual healing and revival, Chang-Yul Kim who use the repetitive figures of water drops as a symbol that represents self-obliterlation and returning to the universal self, Mark Rothko, who is the painter trying to transcend the tragedy of humanistic dualism

대의제를 둘러싼 번역과 정치 : representation의 번역어로서 대의/대표/상징

김태진 한국정치사상학회 2021 정치사상연구 Vol.27 No.2

Representation, which is often translated as a ‘daeyi(代議)’, implies the multiplicity of the concept itself. In the way we commonly understand, representative democracy cannot be understood as choosing someone to discuss on behalf of someone because direct democracy is not possible. This is not only contrary to the history, but also the mistake of hasty generalization. As seen from the etymology of the representation, it means literally to make it appear again. Then, how was representation understood in Japan, where the representative system was first introduced in modern East Asia? This paper aims to examine how various political positions in the Meiji period understood the concept of representation in the process of translating books related to representative government. During the Meiji period, this concept was understood in three main streams; That is, daeyi(daigi, 代議), daepyo(daihyou, 代表), sangjing(shouchou, 象徵). Simply put, first of all, the People’s Right group(minnkennha, 民權派) thought of the representative system as the opposite of the bureaucracy. And this was not simply a quantitative expansion of political participation, but rather a process to find the public reason like 19th political thought in the West. On the contrary, National Right group(kokkenha, 國權派) emphasized the sovereignty of the country while imagining the emperor as symbol of the nation. They negated the logic that Emperor was Japan itself by using the translation terms differently. In that sense, they are asking us again the essential question of what the representation is. It may show the common sense of problem held by the political forces that are divided into the People’s Rights group and National Right group unlike the previous studies emphasized the difference between them. Overlapping translations about the concept on the representation shows what the political represenation mean during the Meiji period in Japan. 흔히 대의(代議)라는 말로 번역되는 representation은 개념 자체의 다의성을 내포하고 있다. 우리가 흔히 이해하는 방식대로 대의제 민주주의(representative democracy)를 직접 민주주의가 불가능하기 때문에 누군가를 대신해 논의할 사람을 뽑는 것으로 이해하는 방식은 비역사적일뿐 아니라, 선거=representation으로 이해하는 과도한 일반화의 오류를 낳는다. 왜냐하면 re-present라는 어원에서 보듯이 이는 다시 나타나게 한다는 것, 일종의 재현(再-現)에 가깝고 이를 누가, 어떻게 재현하는가는 다양하게 나타날 수 있기 때문이다. 그렇다면 근대 동아시아에서 처음 대의제도를 도입한 일본에서 representation 개념은 어떻게 이해되었을까? 본 논문은 대의정부(representative government)와 관련된 책들이 번역되는 과정 속에서 메이지 시기 다양한 정치적 입장들이 representation 개념을 어떻게 이해했는지를 살펴보고자 한다. 거칠게 정리해 보면 우선 민권파들은 ‘대의(代議)’적인 의미에서 유사전제와 반대되는 것으로 대의제를 생각했다. 그리고 이는 단순히 정치참여의 양적 확대라기보다는 기존의 정치체제에서 제대로 재현되지 못한 리(理)나 공(公)을 찾아나가는 작업이었다. 반면 국권파들은 ‘상징’ 내지 ‘표창(表彰)’으로서 천황을 상정하면서 국권을 강조한다. 이는 천황 자체를 일본으로 파악하는 이들에 대해, 천황=일본이 아니라 천황를 통해 어떻게 정치적 의사를 ‘대표’해 낼 것인가에 있었다. 그렇게 보자면 representation 개념의 번역어로서 ‘대의/대표/상징’은 정치적 과정에서 ‘재현’은 무엇을 의미하는가라는 본질적 질문을 우리에게 다시 던지고 있다. 그것은 기존의 관점에서 민권파, 국권파, 천황파로 구별되는 정치적 세력들이 갖고 있었던 문제의식을 어떤 지점에서는 공통되게 보여주는 한편 일종의 ‘정치적 투쟁’의 양상을 보여준다.

로토스코핑 애니메이션 <When the day breaks>에 나타난 이미지 재현에 관한 연구

정혜경 한국만화애니메이션학회 2019 만화애니메이션연구 Vol.- No.56

n painting, the meaning of representation is not simply the imitation of the object, but it reveals the object in a new way. The rotoscoping technique at the boundary between fact and fiction is analogous to painting representation in the sense that it is animated on top of the photographic image taken. Early rotoscoping techniques though considered as a technical means of reproducing realistic movements, a new aesthetic possibility of the lot scoping technique was presented by reinterpreting and reproducing objects in a new way by many director to pursue art. In the rotoscoping animation, which shows the characteristics of the painting representation, the object, the actual image, is represented the visual characteristics of images are divided into realistic image for objectivity, and analytic Image from subjective perspective. on this basis, analyzed a short animation <When the day breaks, 1999>, that showed a new attempt to representation. This study is about the representation image, except for the analysis of the movement, the scope of the study is limited to the expression of the representation image. As a result of the analysis, the representational images in the works were expressed as realistic, transformative and symbolic images. First, the factual image is not just about imitating an object, but also serves to convey a specific and objective situation or event. Second, Transformative images emphasize the author's subjective feelings rather than objective observations and emphasize contents and themes. They are represented in the form of omission, exaggeration, and distorted form. Third, the director is representing the subject as an expression that emphasizes the abstract meaning of the subject through its symbolic image. Through this study, we could discover the aesthetic possibility of new image representation of the rotoscoping technique that encompasses both real-life film and animation. In order for the rotoscoping technique to be effectively used in various imaging fields in the future, continuous exploration of the applicability is required. 회화에서 재현의 의미는 단순히 대상의 닮음을 추구하는 모방의 의미가 아니라 새로운 방식으로 대상을 드러내는 것이다. 사실과 허구의 경계에 있는 로토스코핑 기법은 촬영한 사진 이미지 위에 애니메이션화 한다는 측면에서 회화적 재현과 맞물려 있다. 초기에 로토스코핑 기법은 단순히 사실적인 움직임을 재현하기 위한 기술적 수단으로 여겨졌지만 많은 작가주의 감독들이 의해 새로운 방식으로 대상을 재해석하여 재현하면서 로트스코핑 기법의 새로운 미학적 가능성이 제시되었다. 회화적 재현의 특성을 보이는 로토스코핑 애니메이션에서 대상 즉 실사 촬영된 이미지를 재현함에 있어 객관성을 위한 사실적 이미지와 주관적 관점에서의 해석적 이미지로 구분된다. 이를 토대로 재현을 위한 새로운 시도를 보여준 단편 애니메이션<아침이 밝아올 때>(When the day breaks, 1999)의 이미지 재현의 특성을 분석하였다. 본 연구는 재현 이미지에 대한 것으로 애니메이션의 움직임보다는 이미지의 표현을 중심으로 연구범위를 한정하였다. 분석 결과 작품에 나타난 재현 이미지는 사실적, 변형적, 상징적 이미지로 표현되었다. 첫 번째, 사실적 이미지는 단순히 대상을 모방하는 것에 그치는 것이 아니라 상황이나 사건을 구체적이고 객관적으로 전달하고 있는 역할을 하고 있으며, 두 번째, 변형적 이미지는 객관적 관찰보다는 작가의 주관적인 감정을 중시하며 내용과 주제를 강조하기 위한 것으로 생략과 과장 그리고 왜곡된 형태로 대상을 재현하고 있다. 세 번째, 작가는 상징적 이미지를 통해 대상이 가지는 추상적인 의미를 강조하는 표상으로서 재현하고 있다. 본 연구를 통해 실사영화와 애니메이션 두 영역을 아우르는 로토스코핑 기법이 갖는 새로운 이미지 재현의 미학적 가능성을 발견할 수 있었으며, 향후 로토스코핑 기법이 다양한 영상 분야에서 효과적으로 활용될 수 있도록 그 응용 가능성에 대한 지속적인 탐구가 요구된다.

한국시의 근대적 재현 연구

고현철(Ko Hyun-Chul) 부산대학교 한국민족문화연구소 2008 한국민족문화 Vol.32 No.-

This thesis aims to develop the concept of the modem representation on the modem Korean poetry. The results of the investigation are summarized as the following: Fiist, this thesis investigates that the modem representation is based on not only the distance between subject and object but also the distance between object and representative thing. Second, it investigates that the modem representation is based on the ressemblance between object and representative thing. Third, the paper also argues that the modem representation reveal the organic form in the poems. Fourth, it investigates that the system of modem representation are divided several types of representation, that is, romantic-representation, mimetic-representation, iconic-representation and image-representation. Finally, it is claimed that the modern Korean poems are made on the base of the various types of the modem representation.

재현과 그 불만 : 라캉의 실재론

박찬부(Chan-Bu Park) 신영어영문학회 2006 신영어영문학 Vol.35 No.-

This essay is an attempt to account for the paradoxical way in which the real as the surplus-effect of symbolization is internal to the symbolic order, but is nevertheless irreducible to the system of representation. Topologically speaking, the real is simultaneously ‘inside’ the symbolic structure and ‘outside’ it as well. It is a kind of ‘excluded interior,’ or an ‘intimate exterior,’ if extrapolated from the Lacanian term ‘extimit?.’ Lacan’s thesis developed in his later years from the concept of the big Other barred, ‘Ø’ is that something anomalous never ceases to appear within the system of representation, something unaccountable, unexplainable: a aporia or an impasse. These impasses point to the presence within or impact on the symbolic of the real.

실재의 상징적 재현과 해석의 문제

박찬부(Chan-Bu Park) 한국영미어문학회 2007 영미어문학 Vol.- No.84

  One of the critical issues in Lacanian epistemology is how to define the relationship between the symbolic and the real. If the real “resists symbolization absolutely”(S I: 66) and “doesn"t stop not being written”(S XX:94), how is it that the real is not represented in symbolic form, but is nevertheless presented somehow, and thus that the object a represents the presence of an unsymbolized Real element within the structure of the symbolic order itself?<BR>  This essay draws attention to what Lacan means by identifying Freud"s concept of Vorstellungsrepr?sentanz with the signifier and to the way in which the signifier serves to mark something that escapes representation: “It is less a representative representative than a non-representative representative” (FFCP: 218). According to Lacan, the real is approachable only in and through language, for Das Ding, which is ‘hors-signifi?,’ only presents itself to the extent that it becomes word.<BR>  Closely related to this linguistic accession to the real is the problem of interpretation in analysis, for the analytic interpretation can hit and have an impact upon the real. It hits that around which the analysand keeps circling, beating around the bush, without being able to ‘put it into words.’<BR>  Lacan says that interpretation is ‘apophantic,’ which means ‘categorical,’ ‘declarative,’ or ‘assertive.’ This thesis of Lacan"s is fairly lengthily discussed here in terms of ‘construction in analysis’ as elaborated in Freud"s essay of the same title.<BR>  When Freud employed the word ‘construction’ instead of ‘reconstruction,’ which has something to do with his long-cherished ‘archeological truth,’ he must have had in mind what contemporary narrative-oriented theorists call ‘narrative truth,’ which can produce in the analysand ‘an assured conviction [sichere ?berzeugung]’ of the truth of the construction which achieves the same therapeutic result as a recaptured memory.

천경자 회화에 나타난 상징의 내적표상 연구 ― ‘광주시기(1944-1954)’를 중심으로 ―

김허경 ( Kim Heo-kyung ) 전남대학교 호남학연구원 2017 호남학 Vol.0 No.62

광주·전남화단은 해방의 시기를 전후하여 일본 유학을 떠난 세대들이 광주와 목포에 정착하면서 회화의 표현방법에 있어 시대적 전환기를 맞게 된다. 이러한 변화의 흐름은 서양화뿐만 아니라 전통적으로 문기(文氣)와 시적 감흥을 중시하던 동양화에서도 포착된다. 천경자는 호남 남화의 회화적 형식과 보수성이 강한 전통 수묵화법이 대세를 이루고 있던 때에 현대 채색화의 새로운 가능성을 모색하였다. 본 논문은 천경자의 예술에서 근대적 과도기의 전통 속에 독자적 화법을 탐구하였던 ‘광주시기(1944~1954)’의 작품을 주목하였다. 연구의 범위인 ‘광주시기’는 해방전후와 한국전쟁의 격동기를 거치면서 작가의 직접적인 경험이 반영된 자전적인 이야기를 함축하고 있으며 이는 훗날 천경자 예술세계의 원천이자 근원적 배경이 되었기 때문이다. 이 시기에 나타난 상징적 이미지들은 작가 개인의 삶과 내적 경험을 투영한 매개체로서 독자적인 조형성을 보인다. 천경자의 작품에 반영된 내적 경험의 형상들을 분석하기 위해 작품 제작의 토대가 된 광주에서의 활동을 근거로 해방전후, 1950년대 화단의 상황과 작가의 예술형성과정을 고찰하였다. 또한 무의식의 자기원형과 상징의 의미를 알아보고 죽음에 관한 내적인 경험과 자기성찰의 과정에서 표출된 초기의 작품들을 살펴보았다. 천경자는 전통적인 동양화의 패러다임으로부터 탈피하고자 실험적인 표현을 시도했으며 이는 자전적인 요소를 반영한 소재들로 상징화되었다. 천경자는 내면의 감정을 극복하고자 무의식에 내재된 자기원형을 기반으로 내적 표상을 표출함으로써 독창적인 화풍을 구현하였다. 광주에서의 활동을 근거로 천경자 예술의 근원을 고찰한 것은 작가의 정신과 작품에 내재된 특성을 규명하기 위한 방법론으로 예술작품이 상징화된 내적표상의 이미지로서 자기치유의 원동력이 되었음을 확인케 한다. As those returning from Japan after studying started to settle down in Gwangju and Mokpo around Korea’s independence in 1945, the art scene of Jeollanamdo and Gwangju entered a turning point, especially in terms of the modes of expression. Such changes could be found not only in Western paintings but also in Oriental paintings that traditionally emphasized the spirit of writings and poetic inspiration. While dominant were ink wash painting techniques that pursued the form and conservatism of Honam namhwa painting, Chun Kyung-ja explored the potential of modern color paintings. This thesis focuses on the works from Chun’s ‘Gwangju period(1944~1954)’ during which she demonstrated her distinct painting techniques as a female artist in the midst of the modern transition. This ‘Gwangju period’ that the thesis examines connotes the autobiographical narrative consisting the artist’s torment of destiny as well as her direct experience throughout Korea’s independence and the Korean War. Most of all, it underpins Chun’s oeuvres both as the root and backdrop. Thus the symbolic images that appear in this period are media with unique formativeness reflecting the personal life and internal experiences of the artist. How can we interpret the implications of the symbols and images of internal representation? The thesis investigates the art scene and formation of Chun’s works focusing on the 1950s during her practice in Gwangju and studies the symbolic features to analyze the representation of Chun’s internal experiences presented in her works. Also, it looks into the works that show symbols of internal experiences and self-reflection about the unconscious self archetype, namely death. Chun experimented expressions to break out from the traditional paradigm of Oriental painting, which were symbolized in themes that reflect autobiographical components. Chun can be categorized as a symbolism artist as she produced her own artistic language based on her autobiographical stories to overcome her inner emotions. Exploring the fundamental basis of Chun’s art based on her practice in Gwangju helped define the intrinsic features of the artist’s mind and works and upholds the role of art work as a symbol system and motive of self-treatment.