Han, Song-Hwa. 2015. “The Language usage and Sociocultural image of Korea in 1960’s Korean language textbooks for foreign learners”. The Sociolinguistic Journal of Korea 23(1). 201~238. The purpose of this study is to describe the sociocultural reflection and language usage in 1960’s Korean textbooks for Korean learners as a foreign language. 1960’s is period of starting for modern Korean language education formally. The Korean textbooks in 1960’s based on audio-lingual method and focused on drills and repetitive practices. Their conversation consisted on vocabularies and grammar which are required in everyday situation. Therefore sociocultural image of those days are shown on vocabularies and conversations explicitly or implicitly. For exploring 1960’s Korean image in textbooks, I composed the corpus and investigated the frequency of use. Many vocabularies correlated with situations of those days that differed from recent Korean language textbooks. And many vocabularies underwent a change semantically. Lastly, Korean’s perception of West and Korea, the growth of Korean cities, economic difficulties and confucian thinking were shown on conversations in 1960’s Korean textbooks.

미술사에서 소위 이성적인 예술이라 일컬어지는 솔 르윗의 작품은 수학에 연관되어 논의되어 왔다. 그러나 역사적 정황은 모호하다. 즉 르윗은 1960년대 초 이래 수학에 의거하여 기하학적 외견을 보이는 작품을 제작하면서도, 동시에 수학의 중요성에 반론을 제기한다. 이 논문은 솔 르윗의 작품 <벽면구성(Wall Structure)> (1963), <연속작업 #1 (Serial Project #1) (ABCD)> (1966), <미완 입방체의 모든 변형체 (All Variations of Incomplete Cubes)> (1974) 를 비교분석하고 이에 대한 미술사적인 담론을 재구성함으로써 그가 “예술적-수학적” 작업을 변경한 방식을 고찰한다. 그리고 그 작품에서 보여지는 수학적인 내용, 특히 그가 사용한 법칙이 어떻게 차별화되며 작가의 의도에 어떻게 연관되는지를 살펴본다. 따라서 이 논문은 자신의 작품이 수학적이고 이성적인 작품이라고 이해되는 것에서 탈피하고자 하는 취지에서 르윗이 예술과 수학 간의 상호관계를 규정하는 것을 고찰하고자 한다.

This paper examines a number of Korean artists-Whanki Kim, Po Kim, Byungki Kim, Lim Choong-Sup, Min Byung-Ok and etc-working in New York in the 1960s and 1970s, focusing on their motivations to head for the U.S. and their life and activity in the newly-emerged city of international art. The thesis was conceived based upon the fact that New York has been one of the major venues for Korean artists in which to live, study, travel and stay after the Korean War. Moreover, the United States, since 1945, has had a tremendous influence upon Korea politically, socially, economically, and, above all, culturally. This study is divided into three major sections. The first one attends to the reasons that these artists moved out of Korea while including in this discussion, the long-standing yearning of the Korean intelligentsia to experience more modernized cultures, and American postwar cultural policies that stimulated them to envision life beyond their national parameters, in a country heavily entrenched in Cold War ideology. The second part examines these artists' pursuit of abstraction in New York where it was already losing its avant-garde status as opposed to the style's cutting edge cache in Korea. While their turn to abstraction was outdated from New York's critical perspective, it was seen to be de rigueur for Koreans that had developed through phases from Art Informel in the 1960s to Dansaekhwa (monochromatic paintings) in the 1970s. The third part focuses on the artists' struggle while caught between a dualistic framework such as Korea/U.S, East/West, center/margin, traditional/modern, and abstraction/figuration. Despite such dichotomic frames, they identified abstract art as the epitome of pure, absolute art, which revealed their beliefs inherited from western modernism during the colonial period before 1910-1945. In fact, their reality as immigrants in America put them in a diasporic space where they oscillated between the fixed, essentialist Korean identity and the floating, transforming identity as international artists in New York or Korean-American artists. Thus their abstract and semi-abstract art reflect the in-between identity from the diasporic space while demonstrating their yearning for a land of political freedom, intellectual fulfillment and the continuity of modern art's legacy imposed upon them over the course of Korea's tumultuous history in the twentieth century and making the artists as precursor of transnational, transcultural art of the global age in the twenty-first century.

Historian Eric J. Hobsbawm once said “the task that historians have is to analyze the meanings of the past within the context of society and to track the changes and implementation.” It would not be too far of a stretch to apply Hobsbawm's quote to art historian since art history, although quite specific, is still history. In addition, Hobsbaum also asserted that, “a mold called the past continuously forms the present or at least thought to be.” It is my recognition that the major westernization of the last century took place under the Japanese colonization which served as the channel to usher in western art; however, the current 20th- century Korean art history fails to recognize that the mold of the past, namely western art in this case, has formed the modern art of the present. Based on this recognition, attention was given to what lacked in the analysis of the current 20th-century Korean art history in terms of “Informel” which was identifed as the turning point towards “modern art” in the Korean art history as well as the following “experimental art.” My belief is that the art history of Korea has to be reassessed from , a socio-cultural perspective as well as adopting multi-level and diachronic understanding. However, the existing Korean art, especially the one between the end of 1950s to the 1970s was based on the perspective of “severance”; thus, raising the needs for the starting point of a new perspective. It is my conviction that meta perspective on writing is most essential in order to lay a solid basis for the Korean art scene to have a productive discussion. I feel the utmost necessity to reinterpret the typifed history analysis and criticism which stemmed from the trauma under the Japanese colonization. The most urgent task is to avoid academic closeness and to share the research. Painting is an individual expression of the artist, but the act of expression is not free from the cultural and societal infuence to which the artist belongs.

The purpose of this paper was to research the history of Korean restaurants in Manhattan, NY in the 1960's-1970's. These Korean restaurants were the pioneers in the globalization of Korean food. It is assumed that 'Mi Cin' was the first Korean restaurant in Manhattan and opened on March 1st, 1960. In the 1960's, it is estimated that there were four Korean restaurants in Manhattan. In the 1970's, the number of Korean restaurants increased to more than 18, and their main menu items were divided into three types: Korean fusion menu such as 'Lunch Special' for American customers, beef barbecue menu for American and Korean customers, and Korean traditional menu for increasing Korean immigrants.

If the fine arts based on the European Existentialism after the Second World War had started saying‘ no’ about all that is humane, asked the meaning of ‘existence’ from the‘ no’, and expressed‘ essence and reality’ of human, the Korean fine arts accepted psychological responses about the absurd situations being the reality of the times of the 4․19 revolution and the 5․16 military coup in the 1960s after the Korean War as the universal dimension of the human spirit. The Korean artists started to accept Existentialism from the 1950s, which appeared actively in the early 1960s, and especially intellectual-oriented Existentialism was a representative of the times. In those days, younger generations gained their experience of the Korean War at first hand, and revealed political and social negation and challenge of all existing values with the oppressed mood. Their essential expressions began with the existential question and rebellious violence which were shared with the writers of younger generation who tried to correspond existential situation and consciousness of heated lives on their own art. If Europeans after the Second World War had found the answer about serious question like "Who Am I ?" in the form of Existentialism, the Koreans tried to find the answer about their own lives in absurd situation of the times after the Korean War. The Sculptures of Oh Jongwook also changed in the 1960s through his selfconsciousness of the social situation and war experience. The tragedy of the human death appearing remarkably among his sculptures was expressed as a part of the heated lives of the absurd social conditions in those days. His main style was iron-welding. Because of his sensitive response on the condition of the times, the works of molding expressing the death appeared in those of Choi Manlin, Ko Youngsoo, and Shin Sukpil. In Europe, the absurdity of the humanbeings in the sculptures of Germaine Richier and Ce'sar Baldacchini was symbols of pain, isolation and fear.

Muck (Korean traditional starch jelly) is very unique and the one of the oldest starch processing traditional food. The typical ingredients for making muck such as acorns, mungbean and buckwheat have been eaten since the new stone age or even before that era. This study was for investigation on the history of muck and its processing methods in the ancient and the modern culinary literatures from the 1400’s to 1900’s. The summary of the reviews was as follows. In the ages from the 1400’s to 1700’s, using starch powder, Se-myon and Chang-myon were made and their shape were like noodles instead of cubical shape. It was after the 1700’s that muck making methods were revealed in the literature, like 「Gyeong-do-jabji」 (1730) and「Go-sa-sib-e-jib」 (1737). The naming of muck might be from the time after 1800’s, in「Myoung-mul-kiryak 」 (around 1870) the basis of the names of Choeng-po (white mungbean jelly) and Whang-po (yellow mungbean jelly) could be found. One of the most well-known muck dish, Tang-pyeong-chae, was recorded many old literatures, so it was found that Tang-pyeong-chae was very popular and governmental policy of Tang-pyeong-chak influenced the food of the common people. In 「Shi-eui-jeon-seo」 (late 1800’s) there were records of several types of muck and starch powder making methods in detail which were handed down to the modern ages.

Contemporary Korean art in the 1960s and the 1970s reflects the social and political contexts in Korea from the 5ㆍ16 revolution through the Yoo Shin period. This paper investigates whether art has been free from power or not. It examines the power embedded in contemporary Korean art in the 1960s and the 1970s. This paper examines the historical moments of the Korean Art Exhibition, focusing on the complications between the abstract and figurative artworks of the 1960s. One of the significant art exhibitions since the 8ㆍ15 liberation of Korea, the Korean Art Exhibition witnessed conflict among Korean artists who wanted to have power in the art world of Korea. Institutional contradiction based on factionalism and conservatism prevailed in the Korean Art Exhibition was attacked by the avant-garde young artists in the 1960s. With the contact of Abstract Expressionism, young artists’ generation participated in the The Wall Exhibition. This exhibition challenged and established moral principles and visualized individual expression and creation similar to the Informal movement in the West. In the world of the traditional painting of Korea, the Mook Lim Exhibition of 1960, organized by young artists of traditional painting, advocated the modernization of Soo Mook paintings. Additionally, abstract sculptures in metal engraving were the new trends in the Korean Art Exhibition. In the 1970s, the economic development and establishment of a dictatorial government made the society stiffen. Abstract expression died out and monochrome painting was the most influential in the 1970s. After the exhibition of Five Korean Artists, Five White Colors in the Tokyo Central Art Museum in 1976, monochrome paintings were formally discussed in Korea. ‘Flatness’ ‘physicality of material’ ‘action’ ‘post-image’ ‘post-subjectivity’ and ‘oriental spirituality’ were the critical terms in mentioning the monochrome paintings of the 1970s. ‘Korean beauty’ was discussed, focusing on the beauty of white which was addressed by not only Yanagi Muneyoshi but also the policy of national rehabilitation under the Yoo Shin government. At this time, the monochrome paintings of the 1970s in Korea, addressing art for art’s sake, cutting of communication with the masses, and elitism, came to be authorized.

Since 1960, the change of architectural trend was dominated by two factors ; the one, the introduction of theory of language (including semantic, syntactic, pragmatic, linguistic, semiotic, structuralism, post-structurism) in design concept, the other, the adaption of high technology in building construction. In particular, the theory of language played an important role in the emergence of new tendency, which could be the alternative of modern architecture. Post-modernism and Typology in the 1960-70s, Deconstructivism in the 1980s and 'Folding' architecture in the 1990s, have continually borrowed a theoretical base from the thee of language. Placing the focus on the relation of contemporary architecture and theory of language with the interdisciplinary view, this study comes to the conclusion that the diverse architectural tendencies since 1960 depend on the 'champ d'enonce', which Michel Foucault, French philosopher, defined in his <Archeology du savoir>. The writings of many architects, like Robert Venturi, Micheal Graves, Aldo Rossi, Peter Eisenman, Rem Koolhaas, Bernard Tschumi, Gerg Lynn demonstrate our conclusion. This is an important finding which make possible consistent understanding about contemporary architecture.

6·25전쟁 이후 급증한 성매매여성을 돕기 위해 세워진 애란원의 설립자 반애란 선교사는 기독교적 여성 인식을 바탕으로 ‘한번 성매매에 빠진 여성은 회복이 불가하다’는 한국 사회의 편견을 극복하기 위해 노력하며 이들에 대한 복지의 필요성을 촉구하였다. 또한 국내 최초의 미혼모 보호시설의 설립을 통하여 태아의 생명 보호 및 모성보호에 가장 먼저 앞장섰다. 이러한 활동은 요보호여성 복지사업에 있어서 다양한 기관들의 관심과 연합을 이끌어내었다. 반애란 선교사의 설립 정신이자 애란원이 추구하는 태아의 생명존중, 모성 보호, 가정보존 등의 가치는 한국 기독교가 지향하는 사회 윤리와도 그 맥을 같이 한다. 결국 애란원의 설립과 성장은 기독교의 가치가 한국 사회 전반에 공유 될 뿐 아니라 정부 정책의 변화를 이끌어내고 유교 전통의 영향력을 대체하는 여성 인식의 새로운 기준으로 자리 잡은 사례라 볼 수 있으며, 이러한 점으로 인해 한국 교회사에서도 역사적인 의의를 가진다고 할 수 있다.

노래로 만들어진 가사가 매우 뛰어난 시적, 문학적 성취를 보여주는 사례는 매우 많다고 할 수 있다. 밥 딜런(Bob Dylan)의 노벨문학상 수상은 그런 대표적인 경우라고 할 수 있고, 딜런 만큼 노래의 문학성을 인 정받고 있는 톰 웨이츠(Tom Waits)의 가사 역시 문학적인 성취가 매우 높다는 평가를 받고 있으며, 이 외에도 죠니 미첼(Joni Mitchell), 레오나 드 코헨(Leonard Cohen), 루 리드(Lou Reed)와 같은 가수들은 종종 시인 으로 여겨지며 그들의 노래 역시 훌륭한 시로 평가받기도 한다. T. S. 엘리엇의 많은 작품들은 음악과 매우 밀접한 관계를 갖고 있다. 헬렌 가드너에 의해 엘리엇의 『네 사중주』가 음악적 구성을 갖고 있다 는 사실이 지적된 후로, 많은 연구들은 엘리엇의 작품이 갖고 있는 음악적 요소에 많은 관심을 가져왔다. 하지만 반대로 엘리엇의 작품이 음악에 영향을 준 것도 충분히 고려해 볼 만한 이유가 될 수 있을 것이 다. 엘리엇과 대중문화의 관계를 생각해 볼 때, 엘리엇의 몇몇 시들은 1960년대 이후 대중음악에 산발적인 영향을 주었던 것이 명확해 보인다. 그런 면에서, 엘리엇의 문학이 현대 대중음악에 어떤 영향을 주었고, 또 그 문학적 영향이 어떻게 남아 있는지를 1960년대 이후 대중적 으로 널리 알려진 노래의 가사를 중심으로 살펴볼 것이다.

본 연구는 외국 교회의 지원에 의해 개척된 최초의 재일 한인교회 미카 와시마(三河島)교회의 역사를 재구성하되 특히 동 교회의 설립과 발전, 교회적 특성, 타교단 한인교회들과의 협력과 교류에 주목하였다. 미카와시마 교회는 미국 그리스도의교회와 연계된 재일 요츠야선교회 소속 제5교회의 한국인 교인에 의해 1926년 개척되어 한국인 전문사역자들에 의해 운영되고 성장하였다. 동 교회는 1940년대 초반 ‘일본기독교단’ 산하에 편입되었으나 제2차 세계대전이 끝난 후 탈퇴하고 종전의 미카와시마교회로 재건 되었다. 동 교회는 1960년대 초 요츠야선교회로부터 독립하여 자치, 자립 하는 지역교회가 되었다. 미카와시마교회는 개척 후 3년만인 1929년부터 교인 100명 이상이 출석하는 한인교회로 성장하였고, 한국교회와 미국 그리스도의교회(유악기)의 특징을 부분적으로 공유하였다. 동 교회는 한국인 사역자(목사 혹은 전도사 혹은 장로) 혹은 친 한국적 일본인 사역자(오다)의 치리로 한국교회의 특징인 ‘전도(부흥)집회’ ‘새벽기도회’를 정착시켰다. 반면 요츠야선교회와 재정과 인적 유대를 유지하며 그리스도의교회의 특징인 개교회의 자치권 을 계승받아 교단체제에 반대하고, 재일 한인교단교회들의 연합체인 ‘재일 본조선기독교’나 ‘재일본조선기독교연합회’에 가입하지 않았다. 또 성경을 신앙과 실천의 기준으로 중시하는 교회가 되었다. 동 교회는 재일한인교회 연합기구에 참여하지는 않았지만 복음사역을 위해 타교단 한인교회(특히 연합공의회계 한인교회)와 복음사역에 협력하고 교류하였다.

이 연구는 1959-1969년 사이에 네 개의 장로교단(고신, 기장, 통합, 합 동) 사이에서 일어난 5차례의 연합운동에 대해 발생과정, 논쟁점들, 실패의 이유에 대해 고찰했다. ⑴ 제1차 연동-승동(훗날 통합-합동) 재연합운동 (1959-60)은 중립파와 선교사들의 중재로 시작되었다. 분열의 상처가 채 아물기 전이었고, ICCC자금 지원에 의존하여 승동측이 연동측에 신학교재 산을 되찾으려는 소송을 준비하는 중이었기에 화해가 이루어질 수 없었다. 1960년 2월 조직된 통합측은 WCC탈퇴를 결정했다. ⑵ 기장-통합 귀일운 동(1961)은 한국신학대학 출신의 목회자들의 인적 관계로 인해 시작되었 다. 강단교류를 통해 우정회복과 신앙교류를 한다는 소박한 운동이었으나 통합측 교권의 반대로 중단되었다. ⑶ 제2차 통합-합동 재연합운동 (1961-63)은 고신-승동의 합동총회(1961)이후 희년총회(1962)에 일치를 기 대하는 평신도들의 열기에 힘입어 시작되었다. 실패의 원인은 NCC 탈퇴에 대한 이견 때문이고, 합동으로부터 성경장로교회(1961)와 호헌교단(1962) 이 분립했고, 고신이 환원(1963)함으로써 연합운동의 동력이 떨어졌다. ⑷ “합동촉진론”(1964)은 NCC를 탈퇴하고 합동과 일치하자는 주장으로 경북 지역의 통합측 노회 안에서 시작되었다. 하지만 통합측 리더들은 무례한 유인물을 배포한 합동지도부들의 진실성을 의심해서 이 운동을 규제했다. “장로교연맹체론”(1964-65)은 기장-통합 소장파들로부터 시작되었고 교단 연합이 어려우니 연맹을 구성하자고 했다. 합동과 고신은 이에 응하지 않 았다. ⑸ 3차 통합-합동 재연합운동(1968)은 1967년에 합동교단에서 내부 교권갈등으로 지방주의(Synod제도 추진)가 강화되자 정치적 해결책으로 시작되었다. 합동측은 보수-진보 진영 논리를 강화해서 통합측의 신학적 내부갈등을 유도했다. 하지만 통합측 내부분열이 심해지자 통합총회는 1968년 9월 재연합운동을 중단시켰고, 이듬해 압도적인 다수표로 WCC복 귀를 결정했다.

본 연구의 목적은 전(前)게임기의 사회문화적 맥락은 어떠했으며, 그것이 게임의 정체성 형성 에 어떻게 작용했는지를 고찰하는 것이다. 게임은 그 존재양식이 처음부터 고정되어 일관된 정 체성을 지니고 발전한 것이 아니다. 다양한 담론과 기술, 사회적인 요소와의 접합 과정에서 역 사적으로 배태된 결과물이라 할 수 있다. 1960년대 회전당구를 비롯한 기계오락 장치는 도시 대중의 유흥을 위해 활발히 소비되었으며, 본격적으로 게임이 등장하기 전에 사행성 문제 및 병리적 현상으로서 사회적 긴장 관계를 형성하였다. 이들 기계오락은 1970년대 이후 전자오락 으로 이어지는 흔적이 나타나는 등 현재 디지털 게임 문화의 흐름과 맞닿아 있다.