중국의 당대문학사(當代文學史)에서 1980년대를 설명하는 키워드로 ‘상흔문학’, ‘반 사문학’, ‘심근문학’ 등이 있다. 또한 문학창작 주체의 관점에서 ‘돌아온 작가’, ‘지청 작가’ 등을 언급하기도 한다. 그리고 이들은 모두 바로 문화대혁명과 연관되어 있다 는 공통점이 있다. 만약 이렇게 몇 가지 키워드만으로 간단하게 정리된 중국의 당대 문학사에서 ‘쓰여진 것’만 그대로 수용한다면, ‘쓰여지지 않은 것’을 접할 기회가 없 어질 것이다. 본 논문에서는 중국의 ‘다시 쓰여진 문학사’의 대표적인 결과물로 꼽히 는 훙쯔청(洪子誠)과 천쓰허(陳思和)의 당대문학사 저작 중, 1980년대 초반 문학사를 다시 읽으면서, 무엇을 쓰고 무엇을 쓰지 않았는지 살펴보고자 한다.

본 연구는 백남준의 위성아트 프로젝트 시리즈의 첫 방송인 1984년 <굿모닝 미스터 오웰> 에서 예술가, 미술관, 방송국 등 다양한 행위자들 사이에서 실질적인 협력관계로 끌어내는 과정 에서 그의 ‘쌍방향 소통’의 개념에 대하여 실증적인 성찰을 시도한다. 백남준은 ‘TV’를 예술 매체 로 활용한 시점인 1960년대부터 ‘쌍방향 소통’의 가능성을 고민해 왔고, 디렉터이자 플레이어로 서 이러한 개념을 제시하는 퍼포먼스를 이어왔다. 이후 위성방송 시스템이 상용화로 그 개념을 실천할 수 있는 기술적 환경이 조성되면서, 그는 스스로 플레이어 자리에서 내려와 1984년부터 2년을 주기로 위성아트 프로젝트 3부작을 제작하였다. 이러한 그의 탐구와 실험들이 위성아트 프로젝트에서 다층적 협력관계를 구축하는 논리적 기반이 되었음을 <굿모닝 미스터 오웰>을 중 심으로 살펴보고자 한다.

In this study, we collected articles published in the Publication of the Korean Astronomical Society (PKAS) from 1984 to 2021, and performed quantitative analyses of their various aspects. PKAS is the journal where authors can publish research papers in Korean as well as English. It seems to have an advantage of the better accessibility to all people than other astronomy journals in English only. From 1984 to 2000, the number of articles published in PKAS has been steadily increased. From 2000, the number of published articles showed a tendency to decrease slightly every year. After 2010, the number of articles in PKAS has shown a sharp decline until now. Interestingly, in this period it is found that the topics published articles became various, in particular, many articles concerning historical astronomy began to be published. PKAS was selected as an accredited journal in 2018. This is a very positive situation, and we think the future direction of PKAS is encouraging. Considering these circumstances, the PKAS is suggested to re ect ideas of "interdisciplinary fusion" and "diversity" in publishing articles in the journal for its promising future.

We are currently considering to write a paper on the potential of using U.S. courts to push for U.S. participation in Jeju 4.3 reconciliation,similar to how reopening the Korematsu case tied into a broader reparations movement for the wrongful mass incarceration of Japanese Americans during World War II. For this paper, it plans to include some of the survivor testimony featured in the book Jeju 4.3 Grand Tragedy during ‘peacetime’ Korea: The Asia Pacific Context (1947-2016). The book contains a transcript of survivor testimonies given in Seoul on May 30, 2015. Some of the survivors whose testimony is included in the Jeju 4.3 Grand Tragedy book are petitioning to have their cases reopened. I would like to connect the petition to the importance of U.S. participation in Jeju 4.3 reconciliation. To do this, we would like to specifically incorporate parts of the petitioners’ testimony recorded in the Jeju 4.3 Grand Tragedy book into Hawaii team’s paper. We think including the testimony would powerfully emphasize the continuing need for social healing and would strengthen the argument for U.S. participation. If we can do it collaboratively, we can do a lawsuit or other such action in the US may help draw attention to the case in 2019.

An artist, Oh Yun(1946~86)’s theory of people’s art during his final period issummed up in his essay ‘Expansion of Artistic Imagination and World’(1985).Emphasizingthe mystic and traditional characteristics of Oh Yun’s artistic oeuvre during his final period,some critics focus on Oh Yun’s experience of medical treatment and shamanistic custom atJin Do island, and his belief in Jeung San Do, the dao of Jeung-san, the Ruler of theUniverse. However, they forget the practical intention and implication of his theory of artduring his final period, which aimed to overcome the contradiction of revelation itself. Oh Yun’s essay criticized the loss of artistic imagination and the ignorance oftraditional culture that resulted from the elevation of science to a religion, and insisted thatthe stereotyped idealism, scientism and elitism in art should be overcome in order torecover the full reality in realism and to continue traditional cultures. The essay iscomprised of 18 paragraphs. Oh Yun criticized monochromatic art, conceptual art, hyper-realistic art, objet d’art,and neo-dadaist art, saying that they were simply mechanical forms of modern art derivedfrom scientism and a fetishistic lens culture. In addition, he criticized naturalism in art,which had continued as a tendency in the development of western art, for the samereason. He pointed out that even the world of realism had been diminished by elitestereotypes and diagrams. He declared the need to overcome the imitation of shells orstereotyped propaganda, and recover full realism, which seems to have started with areflective examination of current problems in ‘Reality and Utterance’, in which heparticipated. Especially, he thought that universality and the extension of full realism could be achieved by building on the views of traditional cultures, which is meaningful. This logic issame as the theory of epic theatre that Bertolt Brecht(1898~1956)has developed under theancient Greek masque and Pieter Bruegel the Elder(1525~69)’s story-like picture style. Theuniversality of realism and the extension of acquisition to include incantation art,rather thanmove toward incantation art, is what Oh Yun intended to propose in ‘Artistic Imagination’.This attitude is same as Bertolt Brecht’s aesthetic viewpoint in the 1930s. But regrettably,Oh Yun’s style wording, which seems covert and far-sighted, is often misunderstood as‘mysticism’. In the flow of people’s art in the 1980s, Oh Yun was a traditionalist in a narrowsense, and an realist in a broad sense. However, his critical mind, which comprehendstradition and reality, was attempting to expand universality and extend full realism, and thisattempt found many sympathizers and had an influence on the next generation of people’sartists, such as 「Levee」which is field-centered, to which we should pay attention. Thismeans that while their works thought about ‘tradition’, we should be careful not to connectthem with‘aesthetic conservatism’or ‘classical art’. This is the why the meaning of Oh Yun’stheory of art during his final period should be closely examined again.

Photoelectric observation in 1984 shows light variation outside eclipses. The effect of the changing ambient temperature on the light curves were studied. Difficulty of studying and unitary, or mean, light curve of AR Lac is stressed.

한국산(韓國産) Defectamerus속(屬)의 1 신종(新種), 1 신아종(新亞種) 및 종검색표(種檢索表)를 작성(作成)하였다. 신종(新種)은 순기민동정응애(D. soonkii sp. nov.)와 신아종(新亞種)으로 한국민동정응애(D. crassisetiger coreanus subsp. nov.)를 기재(記載)하였다.