This is about Robert Mangold’s exhibition which was staged at Pace Wildenstein Gallery in New York in 2014. Mangold puts on an exhibition a lot but it’s been 3 years since his last exhibition of painting. Robert Mangold is an American Minimalism artist. While other Minimalism artist changes their work style as time goes by he’s been doing Minimalism work now. It took my attention to study his work. At first glance, it could seem to be an expansion of what he’s been doing in the past. However, he found a new figure from his work inside. In particular he newly chose a triangle found in his own 1970’s. If it’s said that a triangle worked in 1970’s has primary symbol and meaning, new triangle made in 2014 is a new figure combined each other and the meaning is expanded as well. A triangle has a direction in its figure. Because of its image of direction it gives an impression of open to upward. In contrast, the triangle in 2014 is a combination of all and it becomes perfectly closed space. This means an endless and it’s an utopia which everyone dreams of getting together. Delicate visual vibration in the picture he intended to show is mutual response with viewer. Viewer observe that triangle becomes quadrangle and polygon. Through this it makes viewer imagine various form cut and combined. Therefore, even though it’s a plane work it he leads viewer’s aggressive participation as the third dimension sculpture. These are gestalt effect. In this regard, what he really wants seems to be mutual response between viewer and artist. It’s an outstanding point when Mangold produces new work he utilize former work again. He did not only serial repeat but also repeat among works and I think it can be applied with contemporary conception. I hope his work can be observed with new views rather than standstill evaluation with existing critic views.

This study will examine the works of Kim Ku-lim, <From Phenomenon to Traces> (1970), with the social and political background of their time. Around the year 1970, Korean society was in turmoil. Its economy had been developing quickly during short period, and the industrialization in urban areas increased the population of cities, which brought out the collapse of traditional values and the rise of new ideas. Korean conventional artistic style had reached its limit to convey the ideas of avant-garde artists. In addition, it was at that time, when the public was under high surveillance and strict censorship which were conducted by the military regime of President Park Jeong-hui. Due to all these reasons, the artist Kim Ku-lim brought body movements, the surrounding environment, time flow, and locations into his artwork. Since the late 1960's, Kim Ku-lim had started doing unconventional paintings, for example, burning plastic on canvas, and making holes on iron plates. In 1969, he gave up any forms and structures and moved to performances, happenings, and film making. In the year of 1970, Kim produced artworks, as known as <From Phenomenon to Traces>. There were all three of them produced in 1970: setting fire to grass, placing ice cubes on floors, and wrapping the Museum of Modern Art. The first work of <From Phenomenon to Traces>, setting fire on grass is the first Earth Work executed in Korea. It introduced the urban environment into his own work, visualizing the invisible flow of time. In addition, a photograph which was taken at that day captured students in military training, marching and passing by the place, and accidently disclosed the political censorship of the period. The second work was showed at the AG Exhibition of experimental artists, and helped people to see the process of time, ice to water, water into air. People couldn't understand this work and laughed at it. The last one, wrapping museum was un-installed within 26 hours by the host sponsor, and revealed how conservative the Korean art institution was. It was the use of body movements and natural phenomenon, which was most interesting during the research on this subject. In the similar time-line, Kim was one of artists who introduced these things into his work. Lee Seung-Taek's 'Wind' series, for example, shared the same idea/ method, in which artists' job is only to set the condition of works and it is nature (wind for Lee, time for Kim) which completes the works. Kim introduced nature and body movements, and it was because of Korean social and political condition of 1970. The Korean government promoted the economic development as its national goal, so the economic wealth became regarded as more important than the traditional customs and nature. Building and houses were built quickly to hold the fast-growing population in cities without long-term planning. During this process, nature was destroyed for buildings and houses. Moreover, the regime of military government seized its power for over ten years since the May 16th Coup and controlled the public with the threat of North Korea. Under the circumstance, Kim introduced natural phenomenon into his works and tried to evoke ideas, which had been often neglected during that period. And this is the reason why the works <From Phenomenon to Traces> has its value in the Korean art history.

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.

본 논문은 한국의 산업화가 진행된 1960∼1970년대 노동자의 육체적 힘이 가지는 의미와 가치에 대해 고찰하고자 한다. 농업 중심의 산업체제제에서 육체적 힘은 남보다 우월한 노동력을 발휘하였으며, 이는 남보다 더 많은 노동 생산성을 의미하였다. 하지만 기계 중심의 공장제 산업에서 육체적 힘은 그가치를 제대로 인정받지 못하였다. 김승옥의 ｢力士(역사)｣와 황석영의 ｢장사의 꿈｣은 보통사람보다 탁월한 힘의 소 유자가 자본주의 체제하의 도시적 삶에 대한 대응의 방식과 좌절의 양상을 보여주고 있다. 자신의 힘을 헛된 노동에 사용하지 않으면서 자신의 가치를 지키는 ｢力士(역 사)｣의 서씨와 타락한 도시의 욕망에 순응하다 좌절하는 ｢장사의 꿈｣의 일봉 모두 산업화 시대의 도시적 삶에 적응하지 못한 패배자의 모습을 보여준다. 결국 기계 중심의 산업화 시대에 육체적 힘의 가치는 약화되었으며, 이들의 힘은 교환가치로 전락한 노동력에 불과한 것이다.

This research aims to demonstrate the sociocultural significance of architectural journals produced in the 1970s during which a fundamental reconsideration of architectural discipline has been made. To this end, we established a method of analysis adapted to the characteristics of architectural journals of that period. In this formulation, the relative autonomy of architectural journal with regard to various actors and institutions involved in its production emerged as a major criterion for the analysis of a journal. From this methodological reflection, we analyzed two French architectural journals, AMC published between 1973 and 1981 and l’Architecture d'Aujourd'hui between 1974 and 1977, which were produced both in close relation with parisian architectural schools (UPA) in the context of reestablishment of architectural education and beginning of architectural research in France after the events of May 1968. If these journals reflected and strengthened the architectural reality and especially the social network of their protagonists, it is equally important to note that they have transformed it into cultural network, and this by the mechanism proper to their preparation and their textual organization.

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.

1970년대의 아타리(Atari)는 퐁(Pong)을 성공적으로 출시함으로써 게임을 놀이에서 산업으로 발전시킴과 동시에 전자게임기 시대의 개막을 알렸으며, 홈퐁(Home Pong)의 성공을 통하여 게임산업 범위를 가정으로 확대하고 VCS 2600이 시장에 정착되는 과정에서 면도기와 면도날로 대변되는 게임 비즈니스 전략의 원형을 제시하였다. 아타리 쇼크(Atari shock)로 대변되는 미국 게임산업 침체기에 일본의 닌텐도(Nintendo)는 패미콤 HW의 판매확대와 내부역량의 극대화를 통한 우수한 게임SW 출시, 외부개발사에 대한 위탁제조시스템을 통한 로얄티 징수 등을 접목한 게임 비즈니스 전략을 구현하였다. 이어 등장한 소니(SCE)는 소니뮤직의 CD(Compact Disk) 비즈니스 노하우를 게임산업에 도입하고, 3D 기술로 무장한 Playstation의 게임SW 개발을 용이하게 하는 소프트 플랫폼(Library)의 공급, 중소개발사의 물량을 재구매하여 직접 유통에 공급하는 유통시스템의 혁명을 통하여 게임시장의 강자로 부상하였다. 이에 본 논문은 1970년대부터 1990년대까지 게임산업을 이끌어 갔던 아타리, 닌텐도, 소니가 전개하였던 게임 비즈니스 전략의 진화과정을 분석하였다.

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.

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.

This article analyzes the diplomatic aspects of Egyptian-North Korean relations, with a brief overview of the era of Gamal Abdel Nasser and with a focus on Anwar el-Sadat’s presidency. On the basis of Hungarian, U.S., and Romanian archival documents, it investigates why the post-1973 reorientation of Egyptian foreign policy toward a pro-American position did not lead to a breakdown of the Egyptian-North Korean partnership. The article describes such episodes as North Korea’s military contribution to the 1973 Arab-Israeli War, Egyptian-North Korean cooperation in the Non-Aligned Movement, Kim Il Sung’s equivocal reactions to the Egyptian-Israeli peace process, and the militant Arab states’ dissatisfaction with Pyongyang’s unwillingness to condemn the “treacherous” Camp David Accords. It concludes that the main pillars of the Sadat-Kim Il Sung partnership were their simultaneous cooperation with China, their shared enmity for the USSR, and their fear of diplomatic isolation. Still, the North Korean leaders, anxious as they were to prevent an Egyptian-South Korean rapprochement, were more often compelled to adapt to Egypt’s diplomatic preferences than vice versa. The ambivalence, vacillation, prevarication, and opportunism that characterized Pyongyang’s interactions with Cairo belied the common image of North Korea as an iron-willed, militant state cooperating with other revolutionary regimes on the basis of equality, mutual trust, and anti-imperialist solidarity.

In recent years, the relations between the United States (US) and the countries of the Korean Peninsula began to play a more important role for China. With the improvement of the level of Chinese scholarship, as well as the rapid declassification of the archival material on pre-1980 Cold War history, there emerged a lot of academic publications in China on the 1970s history of US relations with the two Koreas. Although Chinese scholars took different perspectives on this subject, the mainstream view maintains that with the ease of the Cold War tensions in the Northeast Asia, the relations between the United States and the countries on the Peninsula changed in the varying degrees in the 1970s: on the one hand, although the United States and South Korea still maintained their alliance, their relationship was characterized by friction and contradictions, as the issue of the withdrawal of the US troops and the human rights debates had vividly demonstrated; on the other hand, US-North Korean relations were marked by the rapid process of bilateral relaxation. In general, Chinese academic literature on US-South Korean relations is much more profound compared to the scholarly work on American relations with North Korea. And while in recent years remarkable progress has been made by Chinese scholars, there is still plenty of room for improvement, especially in terms of broadening interdisciplinary studies and theory, utilizing multi-archival material, conducting in-depth research of the political systems, the decision-making processes in the relevant countries, as well as the politics within the lower levels of government, etc.

The Korea urbanization has been accelerated without regard to regional traits and the environment. Most of rural areas have been overurbanized with proper and long term plan. Especially the case of Yongin-community which is located 50km south of Seoul reveals a typical wrong urbanization policy. Evidence of such wrong policy is proved by this study for last three decades(1970-2000) in political economic approach with special reference to the Manuel Castells' theory. The study concludes that urbanization with no proper development plan is mostly vulnerable and wasteful. And the environment is once spoiled, it is almost impossible to recover, so it is necessary for us long term and proper plan before development.

During the last decade the world had experienced oil crisis twice: the first one was the fourfold jump in oil prices in 1973 and 1974, the second one came in 1979 with 2.6 times price hike. The current crude oil prices stand around the level of 30 a barrel. The first reaction came quick, with reduced oil consumption and a general decline in economic activity. Furthermore, the second oil crisis has brought about tremendous and varied impacts upon the shipping industry, which is now undergoing an adaptation process to the changing environments. This article is divided into five chapters: chapter I is the introduction on the subject under examination; chapter II is devoted to the trends of the seaborne trade cargoes after the oil crisis; chapter III reveals the impact of the oil price hike on ships and their desion; chapter IV deals with the challenges shipping enterprises face in terms fo economic modus operandi and new international political environments; chapter V sets forth conclusion.