Modernism is an internationally accepted design style. In addition, traditional Korean costume is not the clothing of the past, but its form is also used in modern fashion. Therefore, the purpose of this study is to examine the social and cultural contents of the morphological structure of traditional Korean costume, in order to derive the design characteristics of modernism and examine the global applicability of traditional Korean costume structure. For this study, photographic materials from museums, schematic drawings of relics, and Hanbok production books published by government agencies were analyzed. Further, this study examined traditional Korean costume, especially the modernism characteristics derived from Paul Greenhalgh and previous studies. The results are as follows. First, The traditional Korean costume is a cut based on basic shapes, along with a silhouette appears according to the background of the times. Second, the characteristics of modernism can be divided into universality, functionality, and simplicity. Third, as a result of analyzing the form structure of traditional Korean costume based on the characteristics of modernism, universality is expressed as standardized form, functionality as practical aesthetics, and simplicity as sustainable diversity. Furthermore, Korean costume has a difference in that was greatly influenced by various Eastern ideas and aesthetics of the late Joseon Dynasty. These findings provide a perspective of modern reinterpretation of the uniqueness and universality of traditional Korean costume in line with globalization by utilizing the design characteristics of modernism, an international style.

이 논문은 포스트모더니즘에 대한 책들을 간결하게 검토하는데, 이 작 업은 예이츠와 그의 포스트모던한 작품의 면모를 읽는데 도움이 될 수 있을 것이다 . 그런데, 모더니즘 혹은 포스모더니즘은 무엇인가? 한마디로 정의할 수 있는가? 아마도 어렵지 않을까? 나에게 이 질문을 던지면 나 역시 쉽게 답하지 못할 같다. 그래서 이 문제를 안고 책 몇권을 뒤적인다. 그래서 결국 이와 관련하여 제안을 하고 싶은데, 낭 만주의, 모던니즘, 포스모더니즘 등 -주의, 혹은 -이즘 대신에 문학사적으로 운동을 시 기(시대)구분 하는 것은 어떨까?

본 연구는 찰스 쉴러(Charles Sheeler 1883-1965)의 주택실내회화(1926-34)에 나타난 미국적 모더니즘에 대한 연구이다. 쉴러는 1910년대부터 지속적인 관심을 두고 있었던 미국의 오래된 건물을 소재로 한 주택실내회화 5점을 제작했다. 본 연구는 당시 쉴러가 현대화·산업화를 주제로 한 작품을 통해 새로운 미국 미술의 선구자로서 인정받았음에도 불구하고, 오래된 주택의 실내를 화폭에 담고자 한 까닭은 무엇인지에 대한 의문으로부터 시작되었다. 이에 따라 쉴러의 주택실내회화가 지니고 있는 표현적 특성과 독자적인 의미를 밝히고, 보다 다양한 측면에서 그의 예술관을 고찰해보고자 한다. 쉴러는 주택실내회화를 통해 일루전과 추상의 결합을 시도하였다. 그는 입체주의의 특성을 자신만의 고유한 회화적 정체성으로 승화하기 위해 끊임없이 탐구했다. 또한 쉴러는 사진 활동을 하며 습득한 다양한 기법과 구성 방식, 사실 묘사의 기능을 강 화하면서도 카메라 시각으로 보는 추상적 구도와 형태를 회화로 재구성하였다. 그는 주택실내회화를 그릴 때 회화의 비매개적이고 환영주의적인 측면과 추상성을 결합하기 위해서 사진 작업을 활용한 것이다. 사진은 재현을 강화하기 위한 수단으로 사용했지만, 사진기의 각도와 렌즈의 조작에 의해 대상을 추상화할 수 있는 사진의 방법을 회화에 응용함으로써 새로운 효과를 창출해냈다. 쉴러의 주택실내회화에 나타난 일루전과 추상의 결합은 갑작스러운 것이 아니라, 그가 지속해서 연구한 결과물이자 점차적으로 미국 모더니즘으로 고취시킨 것이다. 쉴러는 기계문명을 찬미하는 이미지와 다른 자신의 주택실내 이미지를 통해 또 다른 미국의 대표적인 이미지로 승화시켰고 이것은 모더니즘 양식에 기초하여 추상적 가치를 시각적으로 구현했다는 점에서 독자적 가치를 지니고 있음을 확인할 수 있었다.

이 논문은 미술평론가 방근택(1929-1992)의 미술비평론을 고찰한다. 그는 1950년대 후반 이후 한국현대 추상미술의 이론화에 기여했고 이후 30년 넘게 활동하면서 3백편이 넘는 평문을 남긴 바 있다. 미술평론가에 대한 개념이 정립되지 않았던 척박한 시기에 평론가로서의 권위와 활동의 자유를 보장받지 못했음에도 고군분투하며 활동한 평론가이다. 이 논문은 그가 박서보의 도움으로 평론가로 데뷔한 후 서구 철학과 미술사 지식을 바탕으로 미술비평 또는 미술평론, 그리고 미술평론가의 필요성과 정당성을 설파하고 문예이론을 통해 후기구조주의와 포스트모더 니즘을 수용하기까지 시대별 변화를 분석하여 그에 대한 재평가를 시도한다. 그의 평문을 통해 시대별로 그가 주목했던 주제들, 즉 평론가의 역할을 부정하는 작가들과 제도, 미술시장의 자본, 그리고 후기자본주의 사회의 변화에 저항하는 평론과 평론가의 역할을 살펴본다.

이 글의 목적은, 1960년대 내부 간행물로 출판되어 1980년대 가장 많은 영향력을 발휘한 서구 모더니즘 문학의 수용과정과 그 영향력을 고찰하는 데 있다. 케루악과 샐린저가 1980년 대 중국작가들에게 끼친 막대한 영향을 왕쑤오와 쑤퉁을 통해 확인할 수 있다. 서구 모더니 즘 작가들이 중국 문학가들에게 끼친 영향은 그 이전 1960∼70년대 “내부 발행” 도서에서부터 시작되어 확장된 것이었다. 이 “내부 발행” 도서는 중국의 세계인식에 변화가 일어나고 있음을 보여주는 징표이다. 중국에서 비트 세대라는 기호는 21세기 초의 중국문학과 문화의 새로운 길을 이해하는 하나의 방법을 제시해준다. 더욱 중요한 것은, 중국 사회주의시기 이후의 문학은 사회주의시기 문학과 단절된 것이 아니라 침잠하는 잠재성을 통해 연속되고 있음을 증명해주는 분명한 징표라는 점이다.

서평

5.4 혁명 중에 중국에 최초로 번역, 소개된 예이츠는 중국문학에 영향을 끼쳐왔다. 이 논문은 그중 3개의 모더니스트 문학회에 주목한다. 문학연구회는 민족주의자 예이츠와 초기시학에 초점을 맞추었다. 초승달시인회는 예이츠의 후기시와 하이모더니스트 예이츠를 선호한다. 9잎 시인파는 사실주의 정신, 낭만주의와 상징주의 시학을 포괄하는 예이츠를 수용하려 했다. 예이츠의 시의 다양성과 풍요함뿐 아니라 중국신문학기의 다른 단계의 여러 요구와 문학개념 때문에, 예이츠는 중국 모더니즘의 구축과 변화에 심대한 영향을 미치고 있다.

모더니즘은 거대한 끈적거리는 생물체와 같거나, 아니면 생태계의 하나의 움직임 같아서, 혹은 생존을 위해 투쟁하는 다양한 주의들 속의 변덕스러운 피막 같아서, 각 이즘은 과거의 이즘(피터 비어랙의 우스운 조어인데)이 되는 것을 피하려고 한다. 미래파, 입체파, 추상, 신조형주의, 모두 허둥대면 서로를 잡아먹으려고 하는데, 이들 중 하나는 서로 경합하는 이즘의 한 부분이나 일부를 삼키는데 성공하여 소화시켜 자신의 몸의 일부를 형성한다. 내 생각에는 예이츠의 『환상록』(본인은 의도하지 않았지만) 조직적인 약도 혹은 전체도가 되어서, 모더니즘의 여러 요소들을 통합아여 하나의 디자인을 만든다.

This paper examines the Japanese contemporary art’s affinity with subculture by looking into the work of Aida Makoto (1965-), who employs visual and narrative elements drawn from Japanese contemporary subculture in expressing his explicit ‘anti-modern’ or ‘anti-western’ view. The flourishing subculture in contemporary Japanese society could have been resulted from the lack of modernist culture or system. This can be related to the troubling issue of modernity in Japan, which was once the earliest ‘modernized’ nation in Asia, yet totally defeated in WWII. Although the seminar of ‘kindai-no-chokoku (overcoming modernity)’ held in 1942 did not produce any productive discussion on overcoming the west, it served as a theoretical background to justify the Japanese invasionist policy and the eventual fantasy to overcome the West. Upon the forced ending of WWII by the attack of two atomic bombs, however, the issue of modernity in Japan in relation to the west became more complicated. Aida approaches complicated the issue of modernity in Japan by touching on the following four aspects;a hatred of the generalized notion of western modernity, a resistance to Modernism as an artistic style, a cynicism about Japanized Modernist art, and an unresolved relationship between Japan and ‘modernity,’ addressed by ‘kindai-no-chokoku.’ It should be noted that Aida’s adoption of subculture reveals his evasive view avoiding modernist methods. By drawing on Japanese subcultural media such as manga, animation or games, which is largely (science-)fictional, tragi-comic, slapstick or nonsensical, Aida attacks modernism by curtailing its seriousness. Instead of providing a serious criticism of modernism, Aida’s work widens the gap between the historical reality and what is represented. By means of exaggerated and comical attacks, Aida ironically achieves a gradual deconstruction of the authoritarian modern.

벨기에 극작가 모리스 매터링크는 새로운 드라마를 창조하기 위해서 셰 익스피어와 입센을 연구하여, 가냘프고 다소 있을법하지 않은 주인공들을 괴롭히는 일 종의 좀 몰인정한 운명론과 인생의 무의미성을 결합한다. 이런 종류의 극은 예이츠, 싱, 그리고 무엇보다 새뮤엘 베켓트를 예상하게 한다. 사실, 메터링크의 미궁 같은 성 (城)의 무대장치는 많은 모더니스트 극의 이해 불가하거나 이해하기 어려운 무대장치 를 예상케 한다.

In recent studies of art historical methodology, such as Critical Terms for Art History and The Art of Art History, subjectivity, identity, abjection, and other terms have been placed safely in the genealogy of contemporary art history. This paper questions the contemporaneity in the story of contemporary art in our time in relation to two other critical terms that have been regularly cited by contemporary critics, not only in Euro-American fields but also in Korea. The terms are post-medium and postproduction, respectively, as used by Rosalind Krauss and Nicolas Bourriaud. This paper stems from the critical condition in which art criticism and theory have their power in the rise of neo-liberalism. But this paper does not deal with the contemporary as a chronological term for art history but rather examines the three critical terms—contemporaneity, post-medium, and postproduction—that have garnered scholarly attention. I would like to put aside postmodernism for the moment; I don’t disregard the postmodern condition although the death of postmodern critical terms has resulted in the loss of its polemical power in art worlds such as in exhibitions, etc. To look at “the postproduction in the age of post-medium age after postmodernism,” I first explore Krauss’s notion of post-medium because, unlike media artists like Lev Manovich and Peter Weibel, Krauss’s post-medium condition is different and insists on medium specificity. In this sense, Krauss has turned out to be another Greenberg in disguise. For her, photography and video are expanded mediums after Greenberg, because Krauss has spent her life explicating those mediums. Under the Cup, her recent publication, came out in 2011, and discusses her desire to defend medium-specificity against the intermedia of installation art found ubiquitously in international exhibitions and biennales. Her usage of post-medium has been taken up by Weibel as postmedia in a broader sense. But whether the post-medium condition or the postmedia age, we nonetheless enter the new age of the contemporary. Consequently, this paper questions what constitutes contemporaneity in our times. It is said that there is nothing new on earth, yet I find original artistic strategies among the younger generation in the postmedia age. The contemporary justifies its place in art fields and criticism by keeping its distance from postmodernism although we still find the remnants of postmodern artistic practices and theoretical foundations. By looking at materials written by Terry Smith, I would like to examine contemporaneity as a rhetoric where artists, critics, and curators endeavor to set up a new spirit of criticism, distant from the past of modernism and postmodernism. In discussions, modernism and postmodernism act as catalysts interacting with each other while justifying their own place. In conclusion, my paper reaches to delineate where the contemporary finds its place among artists’responses and working methods. It explores the postproduction of the Internet and the World Wide Web generations, where images become data rather than representation (of modernism) and appropriation (of postmodernism). This paper analyzes Bourriaud’s text, as well as relevant artists like Pierre Huyghe, Liam Gillick, and others. By examining the aforementioned critical terms, I would like to reconsider our own contemporary art in Korea, especially among young artists influenced by digital media and the World Wide Web in the 1990s.

사람들은 모더니즘을 "새로운 것"과 동일시한다. 1910년에, 혹 그보다 10년 전 혹은 후, 시 혹은 다른 문화와 지적 영역에 있어, 전통과 다른 중요한 새로운 것들의 출발이 되는 시점이었다. 미국에서, 에즈라 파운드, 왈러스 스티븐스, 그리고 윌리엄 칼로스 윌리엄스 같은 시인들이 족적을 남기고, 『시』, 『대중』, 그리고 『새로운나라』로 대변하는 작은 문예지의 문화가 등장하고, 그리고 그리니치 빌리지는 문화의 중심지가 된다. 그러나, 미국의 세계1차대전 참전은 이 운동에 제동을 걸고, 전후 시기는 여려 면에서 달라졌다. 반면, 아프리카계 작가와 예술가는 할렘 르네상스의 결과로 그 전보다 1920년대에 더 큰 인정을 받는다.

“｢어쉰의 방랑｣은 빅토리아왕조시대의 삭막함에서 벗어나서 과거와 미래사이의 순간을 풍요롭게 만든다. 이 시의 가장 좋은 부분에서는 심미주의자들의 장식성이나 요정들의 세계를 벗어난다. 어쉰의 여행은, 요정의 나라건 이니스프리건, 쿨장원이건 더블린의 우체국이건, 그의 노래의 주제가 된다. 다른 어느 시인보다, 예이츠는 빅토리아시대의 시에서 현대시로 오는 이 길을 개척한다. 이 업적만으로도, 그는 진정 고양이들의 왕이 되는 것이다.”

The history of art during the first half of the last decade was founded the discussion with highly impressive and confident. The art might establish its unique area based on self recognition at that era. The self-confidence of modern art may be possible on enlightenment, which is the firm relationship for knowledge and reality. However the faith of modernism which shows rational tendency, objective, and the existence of universal knowledge has been drastically doubted and criticized thereafter. A internal ideological system which had leaded the modern art was exhausted. Postmodernism revolved to the dramatic openness leaning against the deoedipalizational confession. According to the dissipation of the vitality of modern art postmodern art has been evolved and then various phenomena which follow the trends has been emerged. The avant-garde and resisteive attribute of modern art was diluted fast due to the influx of popular culture. As time goes it can be attracted by spectacle taste than metaphysical peculiarity. It has to inevitably justified the drift of light and quick themes, contents, and images. Such as these phenomena realistically shows fact that postmodern art had been failed to open a new chapter of consilience which intermediates beauty and usual communication to overcome the solipsism of modernism. A trial to pursuit the opened esthetics conceived more ‘heroic’ ‘Star-Subject’ than before by dismantling the modern ‘Hero-Subject’. Postmodernism has been recorded as a regression of art, which is the technology of profound spirit that mitigates antagonism and confrontation and mediates mutual encountering of human being. Prevailing of postmodern freedom had been accompanied by popularity, osetentation consumption, marketing, gambling level exitement, mixtures of desires with price fluctuations. We witness ‘self-confinement’ and ‘lasting absence of exit’ phenomena in postmodernism ideology and practice. We have to deal postmodernism as an ‘ideology which closes the discussion for the future’ in the context of ‘absence of way’ at this point. We are going to investigate how postmodern ideology and practice takes part in the prospection beyond thereafter through discussion. We also pay attention to the ‘absence of prospection’ as a internal problem in itself nevertheless mention the three merge points such as tradition or memory, earthy thought, the self who confrontation others as the clue of prospecting thought which is allowing coming over postmodern absence.

Modernism and post-modernism are two aspects of aesthetic modernity reflecting some of the spiritual crises of the western civilization as resistance against the scientific modernity. These two are similar or the same to each other in seeing the modern world as fragments and discontinuities with pessimistic tone, the reality as relativity, and the language as lack. By contrast, many differences between the two can be seen as well. For example, modernism reflects Elite's taste of high culture while postmodernism is impatient with Elite's taste of ideas. And also, modernism hands down humanism and enlightenment while postmodernism rejects the so-called humanism and enlightenment. More likely than not, however, the foremost difference will be that modernism has the spirit of betterment by a kind of stoic attitude through self-criticism hoping for the birth of the hero who searches for the spiritual father, while postmodernism reflects a kind of Epicurism emphasizing 'seize the day' by accepting the commercial, technological and scientific values. It follows that modernism tries to expand freedom of more people through digging inner reality while postmodernism tries to expand equality of more people through de-constructing the concept of hierarchy of the western civilization. I think that Seamus Heaney's Seeing Things is characterized by the combination of modernism and post-modernism: his poetry contains the characteristics of modernism in respect that it continuously reflects the pursuit of tradition. At the same time, it includes post-modern aesthetics in respect that Squarings of Seeing Things transforms the concrete into the abstract by de-constructing some of the fixed meanings, from which readers can enjoy the entire freedom. My last conclusion is that Seamus Heaney's Seeing Things reflects not only his pursuit for the past tradition but also his desire to de-construct it. In brief, his poetry reflects some ambivalence: the search for the father and killing him, waiting for Godot and searching for light, freedom, equality and song.

Die Postmodeme wird als wichtiger Begriff venvendet, um die heutige Zeit zu beschreiben, besonders in der Philosophie und in der Kunst. Sie hat in vielen Bereichen unseres Lebens, wie z.B. der Architektur, Kultur, Film, Ballett, Religion, Politik und Mode ihre Wirkungskreise gezogen. Auch in der Musik des 20. Jh. wurde Postmodeme als ein wichtiges Pha¨nomen akzeptiert. Besonders zeichnet sich die musikalische Postmodeme aus durch ihre U¨benvindung der Kluft zwischen artifizieller Musik und Trivialmusik. In diesem Zusammenhant wird "Crossover" ein wichtiges Merkmal der Musik in unserer Zeit. In dieser Studie wurde versucht, aus dem Aspekt der musikalischen Postmodeme Crossover zu untersuchen. In der Moderne wurde die Tradition kritisch bea¨ugelt, was mit einem verlangen nach Neuem ausgedru¨ckt wurde. Hier war Kunst weniger ein Genussobjekt denn ein Erkenntnisobjekt, das ho¨here Werte wie <Wahrheit> und <Gesellschaftskritik> zu erkennen und zu erfu¨llen hatte. Diese Sichtweise teilten Komponisten wie auch das Publikum. Der Komponist schuf also ein Werk, dem er einen ho¨heren Sinn verlieh, wa¨hrend dem Publikwn abverlangt wurde, dass es diese Bedeuhmg erkennt und nachvollzieht. Dies fu¨hrte aber zu einer Zweiteilung der Kunst in eine hohe Kunst und eine niedere Kunst oder' auch Trivialkunst. Adomos Teilung der Musikkultur des 20. Jahrhunderts in Avantgarde und Kitsch bringt diese Situation auf den Punkt. Demnach na¨herte sich die Position der Kunst fu¨r die Kunst einem immer elita¨reren und akademischeren Denken, wa¨drend die Massenkultur dank der Vermarktung immer weiter verbreitet wurde, was einen tiefen Abgrund zwischen den beiden verursachte. Doch in der Postmodeme wurde dieses dichotomische Denken verurteilt. L. Fiedler Wckt dies so aus : "Die Vorstellung von einer Kunst fu¨r die 'Gebildeten' und einer Subkunst fu¨r die 'Ungebildeten' bezeugt den letzten U¨berrest einer a¨rgerlichen Unterscheidung innerhalb der industrialisierten Massengesellschaft, wie sie nur einer Klassengesellschafi zustiinde." Kunst in der Postmodeme ist kein Gegenstand des Erkennens, sondem ein a¨sthetisches Erlebnis an dem man teilhaben kann. Dies fihrte zur U¨berwindung des Abgrundes zwischen hoher und niederer Kunst. Ausdruck und Subjektivitat wurden die neuen Schlagworter fu¨r die Komponisten und gerade in letzter Zeit treten immer haufiger Crossover-Formen in Erscheinung, wie z.B. bei dem Pianisten Friedrich Gulda, der klassische Werke auf jazzige Weise improvisiert oder aber auch bei zahlreichen Konzerten, wo klassische Musk und Unterhaltungsmusik unter einem Dach und Fach gebracht werden. Diese Beispiele zeugen Air den Wandel im musikalischen Denken beztkglich einer A¨sthetisierung des Alltagsleben, was als Versuch gesehen wird, Kunst und Produkte der Kunstvermarktung zu erga¨nzen. In diesem Wandlung der musikalischen Anschauung wurde "Crossover" ein wichtiges Chamkterikum unser Zeit. Aber nach der Untersuchung von "Crossover" in artizifieller Musik wurde festgestellt, daß "Corssover" nur ein kleiner Teil der heutigen Musikkulur ist. Die sog. postmodeme Komponisten wie K. Penderecki, W. Rihm, G. Rochberg haben auf einer anderen Weise musikalische Postmodeme in seiner Komposition ausgedrcu¨ckt, und fast keine "Crossover"-Musik komponiert. Nir in dem Bereich der Unterhaltungsmusik la¨ßt sich mehrere Versuche zur U¨berwindung des Grabens zwischen artifizieller Musik und Unterhaltungsmusik finden. So ist es no¨tig, daß wir die Bedeutung von "Crossover" genau erkennen und nicht Ubertreiben.

Cross-Over as an aesthetic phenomenon is closely associated with postmodernism. So we have to return once again to the relation between modernism and postmodernism. Postmodemism especially relating to cross-over is defined as anti-modernism. Postmodernism as antimodemism considers modernism as too intelligent, difficult, elitisic art. Moreover modernism is no longer an actual artistic theory but just a past theory. Elitism of modernism is replaced by populism of postmodemism. Especially after 1980's, Crossover, characteristic of postmodernism as being oriented towards popular culture has been seen in every apect of life. For example, crossover between high culture and popular culture, between history and fiction, even between image and reality. Postmodemism is a principal logic in society where every hierarchy is demolished and an aesthetic version of democracy, pluralism and relativism. In this essay, Postmodernsim relating to crossover is regarde and interpreted as an American cultural theory. So it is a very serious problem that Postmodemism as a national and local theory is accepted as if it is a global cultural theory. The call for modernism in the middle of 19th century was in connection with the question of the status of art in the capitalism. In the capitalist society where every human action and meaning was reduced to money, modernism chose to isolate itself from contemporary society and dedicated itself to art. It limited its main question to the artistic experiment. The Art Cult of Modernism was a resistent activity of modem artists against their society. In that process, art inevitably became esoteric, ambiguous and difficult. Because of its difficulty, thus, Modernism is accessible only to a few spectators. In that situation, numerous constructions of museums and concert halls for industrial and financial aim made Modernism much expensive commodity. The others of Modernism, for example, female artists, homosexual artists and artists of colored races criticized occidental, white, male centrality of Modernism. They argued Modernism is not a universal but only a local aesthetic theory. Postmodemism as one of the others of Modernism appears in criticizing those negative aspects of Modernism. It is argued that Postmodemism is not only a new cultural and aesthetic logic but also a new historical theory. But the reason why this essay interprets postmodernism as an American theory or a kind of americanism lies in the fact that the program of postmodernism itself is solely American. In America as multicultural nation, there can be various heterogeneous cultures, and even they can coexist peacefully. America has no dominant high culture handed down fiom old times. American culture is represented as popular culture. So Postmodernism as affirming lightness, joke, style and appearance instead of heaviness, reality and meaning can be propagated in America. It is natural that Postmodemism is an American theory. But it is not a local theory. Postmodemism as Americanism or cultural imperialism wants to homogenize cultures of entire world and at last dominate that world mentally. Postmodernism is cultural logic of political dominance of all the world by America. In conclusion, we must call crossover in question instead of treating it solely as an aesthetic phenomenon.