본고는 청대 왕부지(王夫之)의 문집을 바탕으로 하여 그의 예술론을 구성하기 위하여 시도되는 두 번째 논의로, 왕부지의 문집을 통해 정감의 두 가지 측면에 주목할 것이다. 이는 실제적으로 왕부지 이전의 문학예술창작상의 문제가 야기하고 있는 진정성의 맥락을 결여한 형식적이기만한 정감에 대한 논의와 양명 좌파인 이지의 정감의 지나친 관념화의 양상이 야기하고 있는 문제들에 관한 논의이다, 송대와 명대에 드러난 정감의 두 양상을 반성하며 왕부지가 제시하고 있는 정감에 대한 이해를 통해, 이것이 도덕과 정감의 조율을 통한 인간적 가치의 회복이라는 측면에 대한 왕부지의 고민이었음을 확인할 수 있을 것이다. 그리고 이러한 조율이 모두 경물(景)과의 연관 속에서 이루어지고 있으며, 즉 경물에 대한 직접 경험을 통한 작가 자신의 고유성의 발로와 다양한 일(事)에 대한 구체적이고 정확한 지식을 기반으로 한 예술적 세련화와 형상화에 관한 논의로 드러나고 있다.

PASKYULA was formed in September, 1923 through the union of artists involved in two art groups: Kim Ki-Jin, Kim Bok-Jin, Yeon Hak-Nyeon who had previously participated in the ToWolHoi, and Park Young-Hi, Lee Sang-Hwa, An Seok-Ju, former members of the BaeckJo. After its founding, the PASKYULA artists had been searching for the social function of art to reform the harsh reality of Minjung and the nation with criticism toward society as well as art world. Their art theory for MinJung could grow relatively ease in relation to changing social and political conditions in the early 1920s. In August, 1925, PASKYULA organized the Korea Artista Proletaria Federatio with the YeomGunSa, and laid the groundwork for Proletariat art movement which was regularized in the late 1920s. From PASKYULA up to the early state of KAPF, the theory of art advocated by Kim Bok-Jin and An Seok-Ju could be summarized as "art for MinJung". At that time, widely ranging discourses on MinJung, however, was spawned in art theory, because many intellectuals`─`including artists and writers`─`begun to pay more attention to MinJung, who emerged as one of the social forces after the Samil Independent Movement. Sometimes, MinJung was construed as the target of enlightenment from a negative viewpoint. On the other hand, several intellectuals under the influence of individualism asserted that the discussion itself on MinJung exerted an evil influence on art. In contrast of these cases, the PASKYULA artists including Kim Bok-Jin, An Seok-Ju perceived that MinJung had the potential to change society, and regarded them as "a creator of genuine civilization and art". In the PASKYULA artist's writings, the concept of MinJung was often overlapped with the meaning of the Choson nation suffering under colony. Although their concept of MinJung was transformed gradually into the proletariat as they were under the strong influence of socialism, it did not change that they grasped the realities of the whole Choson Peninsula through the proletarian consciousness. In the early state of PASKYULA, the methodology for social function of art was presented in a twofold manner. First of all, Kim Bok-Jin emphasized on the necessity of education to improve MinJung's way of life through art, and it was embodied by the organization of ToWol Art Workshop and public lecture. Also, he championed "the popularization of art", which was one of methods to distribute art to MinJung. According to the PASKYULA artists, art should be not art for art's sake but art for MinJung. That was why they advocated the convergence of art and MinJung's life. Especially Kim Bok-Jin affirmed a link between art and industry because he considered industry the field inextricably linked with MinJung's life. In this context, his idea could be read as the generalization and equalization within the framework of possession. Kim Bok-Jin thought that the social ramifications of capitalism deprived MinJung of their right to enjoy art, and emphasized the artist's social role to return the right to them. That is, the even distribution of art was mainly discussed than the contents of art in the half of 1920s. By 1925, the contents of art itself became an issue in the PASKYULA art theory, and it was based in realism. Kim Bok-Jin and An Seok-Ju insisted that art should be reflection of real life. At that time, realism acquired the representation of MinJung and the nation's realities not realistic style. In fact, the various Western art styles including Futurism, Constructivism, Cubism etc. were exploited in the PASKYULA's visual images. Western art, target of criticism on theory, was selectively adopted in the works which were produced by Kim Bok-Jin and An Seok-Ju. Kim Bok-Jin's MoonYeUnDong cover design was conceived of as the example in which Western art was adopted with it's ideology under the influence of MAVO, while Western art shown in An Seok-Ju's illustrations served as a decorative function in many cases. Especially, An Seok-Ju attempted the various styles of Western art simultaneously, which may be seen as representing that PASKYULA did not have a firm ideology for their style. Also, it can be read as showing his hasty zeal to overcome Western art rapidly. The wish to establish "art for MinJung" as soon as possible was accompanied with the will to jump over the all steps of Western art though it was superficial. This aspiration of PASKYULA was expressed through the mass media, which had the potential for communicating to MinJung. At this point, there was a significant disparity between PASKYULA and another art groups in the first half of 1920s. However, the PASKYULA's method on the basis of the mass media could not but have a certain limitation because of the medium's properties. Nevertheless, PASKYULA?attempts may be considered to be valuable in sense that they expended the boundaries of Korean modern art into the commercial art questioning the matter of the distribution for art.

Dok-Rak-Dang and Hyang-Dan, upper class houses of Chosun Dynasty on the early and mid 16th century, are generally known as specific style houses among traditional residences in Korea. Architectural singularities of these two residences are summarized as double facades, uncertain circulation, self-secluding construction, dilemmatic structure, and rotative circulation that are far from architectonic principle of that time. Characters of Deconstructionist Art, deconstruction of binary oppositions, double session, displacement without reversal, and paradox, are very similar to those of two residences both as a material phenomenon and as a metaphysical idea. Thus, this paper attempt to analyze architectural singularities of Dok-Rak-Dang and Hyang-Dan with the perspective of Deconstructionist Art Theory.

Studies on western art in Korea has been caught in a dilemma that they could deal with only those things which had been arranged according to their ‘historical generalization’ in their contexts because of the bounds of time and space. It is not trivial that such conditions affect art studies in Korea. Access to the original texts and to their contexts of production is so restricted that the studies on them are prone to be superficial. And it is not independent on the politics of Korean art scene. Such factors are on the background of Korean art’s excessive ‘assimilation or accordance’ with western art. The domestic studies on western art history and art theory have failed to notice the differences in context and Korean art has simply mediated or reproduced the restricted information by those studies. Also the studies on western art in Korea have been made use of as a justifying method of one’s own academic domains. In such situations we should lead the studies on western art history and western art theory to a more reflective direction and confirm that the studies should not have any privileges of the realities. And we should try to reform a scholarship which participates in our life and existence. The field of domestic studies on western art history and western art theory should free itself from the invention of objectivity or the neutrality of mechanical reading and turn its eyes to the realities of life where events happens. Constantly suggesting which way Korean art and world art should go has to be the field’s new coordinates.

M.H.아브람스는 미국의 유명한 현대 문학 이론가이자 비평가이다. 아브람스는 그의 대표 저서 <거울과 램프>에서 문학 평가에 대하여 작품, 우주, 작가가, 독자로 이루어진 4요소 평가 모듈을 삼각관계를 통하여 서술하였다. 지금까지도 문학 비평 학계의 필독서이자 “권위적 비평의 표준”으로 알려진 4요소 평가 모듈은 예술작품의 평가에도 자주 적용된다. 또한, 많은 영역에도 적극적인 활용이 가능한 이 모듈은 디지털 아트의 교차 중첩된 공간과 흡사하여 본질적인 분할을 통한 새로운 모듈을 탄생시킨다. 다양한 그래픽 툴과 프로그래밍 언어가 발달하면서 미술가가 작품 제작부터 전시까지 활용할 수 있는 기술을 쉽게 확보할 수 있게 되었다. 디지털과 아트의 융합, 과학기술과 예술의 합작이라고 정의할 수 있는 디지털 아트는 특수한 성질을 가지고 있다. 특수한 성질을 가지고 있는 만큼 이에 따른 평가시스템도 그 특성에 맞게 설정되어야 한다. 본 논문은 디지털 아트의 특성에 맞추어 아브람스 4요소 평가 모듈을 분할하고 확장을 하였다. 세계(우주)의 분할, 작품의 분할, 작가의 분할 및 감상자의 분할로 얻은 진실 세계와 가상세계, 진짜의 나와 가상의 대역, 작품 초기와 작품 후기, 예술 가와 참여자의 복합적인 관계를 뫼비우스띠 모양의 새로운 평가 모듈로 기존 모듈의 한계를 넘어서 더욱 정확하고 디지털 아트의 특성에 부합되는 평가 모듈을 도출하였다. 또한 전형적인 사례를 통하여 도출한 평가 모듈의 가능성을 알아보았다. 이는 끊임없이 변화를 거듭하는 디지털 아트의 미래를 위한 현실적인 평가 패러다임이 될 것이다.

21세기 현대사회를 대중 소비사회, 또는 포스트모더니즘 사회라고도 부르는데, 이러한 포스트모더니즘이라는 새로운 시대사조, 혹은 문화조류가 광고계에도 큰 변화를 가져왔다. 소비 산업이 발달하고 매체가 다양화됨에 따라 광고에 대한 관심이 높아지는 가운데, 광고는 사회의 영향력 있는 하나의 문화로 자리 매김하게 되었다. 따라서 본 논문은 현대의 인쇄광고에서 나타나는 포스트모더니즘적인 특징과 표현양식의 의미체계를 밝히고, 포스트모더니즘 광고가 사회 · 문화적으로 어떠한 영항을 미치는가 살펴보았다. 연구의 순서는 다음과 같다. 1장 서론에서는 연구의 목적과 방법을 서술하였다. 2장에서는 포스트모더니즘의 개념 및 특성을 알아보았다. 3장에서는 광고에 나타난 포스트모더니즘 현상을 살피고 기술하였다. 4장에서는 인쇄광고에 나타난 포스트모더니즘의 사례를 모아 분석하였다. 5장에서는 앞서 기술한 내용을 토대로 결론을 도출하였다.