What a concept of theatricality in modern art became more controversial is through a review 'art and object-hood' on Michael Fried's minimal art, as having been already known broadly. As he had been concerned, the art following the minimalism is accepting as the very important elements such as the introduction of temporality, the stage in the exhibition space, and the audience's positive participation, enough to be no exaggeration to say that it was involved in almost all the theatricality. Particularly even in the installation art and the environment art, which have substantially positioned since the 1970s, the space is staged, and the audience's participation is greatly highlighted due to the temporal character and the site-specific in works. In such way, the theatricality in art work is today regarded as one of the most important elements. In this context, it is thought to have significance to examine theatricality, which is shown in the works of Arte Povera artists, who had been active energetically between 1967~1971. That is because the name of this group itself is what was borrowed from “Poor Theatre” in Jerzy Grotowski, who is a play director and theorist coming from Poland, and because of having many common points in the aspect of content and form. It reveals that the art called Arte Povera is sharing many critical minds in the face of commanding the field called a play and other media. Grotowski's theatre theory is very close to the theory and substance in Arte Povera in a sense that liberates a play, which was locked in literature, above all, renews the relationship between stage and seat and between actor and audience, and pursues a human being's change in consciousness through this. That is because Arte Povera also emphasizes the communication with the audience through appealing to a human being's perception and through the direct and living method, not the objective art concept of centering on the work. In addition, the poor play or poor art all has tendency that denies a system, which relies upon economic and cultural system, and seeks for what is anti-cultural, elemental, and fundamental. It is very similar even in a sense that focuses on the exploration process itself rather than the result, excludes the transcendental concept, and attaches importance to empiricism. However, Arte Povera accepts contradictoriness and complexity, and suggests eclecticism and tolerance, thereby being basically the nomadic art and the art difficult to be captured constitutively. On the other hand, there is difference in a sense that the poor play is characterized by purity, asceticism, seriousness, and solemnity. If so, which significance does this theatricality, which was introduced to art, ultimately have? As all the arts desire to be revealed with invisible things beyond the visual thing, theatricality comes to play a very important role at this time. If all the artists and audiences today came to acquire actual or virtual freedom much more, that can be said to be a point attributable to that art relied upon diverse conditions in a play.

본고는 10세기 중·후반에 한문학 진흥을 위한 다양한 노력이 경주 되었음에도 불구하고 가시적인 성과가 나타나지 않은 원인을 밝힌 것이다. 10세기 중·후반은 한문학을 진흥시키기 위한 다양한 정책을 시행함으로써 이전 시기와 성격을 달리하기 시작한다. 그러나 통치자의 기대와는 달리 가시적인 성과가 나타나지 않았다. 한문학의 부진에 대한 원인은 크게 세 가지를 들 수 있을 것이다. 먼저 일방적이고 몰주체적인 중국 문화 수용에 대한 반발 분위기가 집단적으로 존재하였다는 것에서 찾을 수 있다. 중국 문화를 전범으로 해서 한문학을 향상시키려는 정책에 대한 비판의 목소리를 최승로, 이지백을 통하여 확인할 수 있다. 두 번째는 지속적으로 향가가 향유되고 있는 현실에서 원인을 찾았다. 이 시기에 향가는 한시와 동등하게 가치를 부여받으며 특히 감흥의 영역을 담당하였다. 향가가 큰 비중을 차지하고 있었다는 것은 한시의 영역이 확장되지 못하였다는 것을 말해준다. 마지막으로 정착되지 않은 과거제도이다. 과거제도를 통해 성취하는 사회적 영달은 곧 가문의 영달이라는 의식이 아직 보편화되지 않은 사실은 과거제도가 아직 정착되지 않았음을 알려준다. 이러한 원인으로 인하여 10세기 중·후반의 한문학은 적극적인 진흥책에도 불구하고 가시적인 성과가 나타나지 않았다.

Self-efficacy has been extensively evaluated, but no studies have investigated the effect of self-efficacy on the self-reliance of women in poor-households economic productivity. This study analyzes self-efficacy as a personal factor, learning processes, and social support as an environmental factor towards the achievement of self-reliance in women from poor-households in productive economy businesses. Despite the dominant logic of this scheme, there is a need for field-based data regarding whether the variable really supports the sustainable empowerment of poor-households women. This study used the quantitative method through the survey technique. The samples of this study included 250 people collected from five regencies in Indonesia by using a multiple-stage random sampling. The data were analyzed with structural equation modeling. The results show that social support has a significant positive impact on the learning process; social support has a direct negative impact on self-efficacy. The learning process has a direct positive influence on self-efficacy, while social support has a non-significant impact on self-reliance. The learning process has a direct influence on self-reliance. Social support and the learning process both have significant positive impact on self-efficacy. Social support, learning process, and self-efficacy simultaneously have a positive impact on self-reliance in productive economic activities.