동화적 모티브를 차용한 불안 심리의 공감 표현 연구

학위논문 (석사)-- 서울대학교 대학원 미술대학 동양화과, 2017. 8. 김성희.본 논문은 2008년부터 2016년까지 동화적 모티브를 차용하여 제작된 본인의 작품을 대상으로, 창작동기와 제작과정에서의 사회적·이론적 배경을 밝히고 작품의 조형적 특징을 다각적으로 분석하고 정리한 글로써, 본인의 작업을 체계적으로 분석하기 위한 작품연구 논문이다. 본인의 작품은 동화적 모티브를 통해 오늘날 각자의 자리에서 살아가는 개인들이 가진 불안 심리를 인지하고 공감한다는 메시지를 표현한 것이다. 공감은 타인의 감정이나 기분을 자신의 경험처럼 느끼는 행위로, 타인을 이해하기 위한 기본 능력이다. 타인이 불안해하고 소외되어 있을 때, 두려움을 느끼고 혼란에 빠져 있을 때 공감으로 타인에게 접근하는 방식은 그들에게 희망과 치유를 제공한다. 본인은 공감 표현의 수단으로 동화적 모티브를 차용하였고, 동화적 특성은 상대와 교감하는 매우 유용한 통로가 되었다. 작품에서 차용된 동화적 특성이라 함은 환상성, 서사성, 상징과 은유를 통한 주제개념의 시각적 구현을 말한다. 이와 같은 특성은 본인의 작업 초창기부터 반복적이고 지속적으로 적용되었다. 이는 동화가 직관적인 대상에 반응하는 유년의 독자들을 이해시키는 것과 같이 그림을 보는 이들의 직관적인 반응을 이끌어 작품 속으로 편안히 접근할 수 있도록 하는 것이다. 본인은 좋은 동화가 그러하듯이 무한한 꿈의 실현과 상상력을 자유롭게 넓혀 현실에서 긍정적인 변화를 불러 오고, 신비롭고 경이로운 이야기를 통해 감동을 느끼고 삶의 활력을 불어 넣고자 하였다. 공감의 표현은 그 대상에게 있어서 치유의 가능성을 보여주는 것이며, 한 개인이 다른 개인에 대하여 공감을 느낀다는 것은 진심어린 관심이 선행된 것이다. 그러므로 본인은 우리 시대에 각 개인들이 느끼는 불안에 대하여 동시대의 구성원으로서, 젊은 예술가로서 함께 아파하며, 격려를 위해 고민하고 있다는 메시지를 전한다. 따라서 본 연구는 우리 시대를 살아가는 개인들을 관찰한 본인의 제작 의도를 고찰한다. 그리고 작품의 제작을 통한 공감 표현이 형식으로써 차용한 동화적 모티브들에 의해 어떻게 구현되었는지를 살피는 데 그 목적이 있다. 본 논문은 크게 I장 머리말, II장 공감을 위한 동화적 모티브의 차용, III장 원인에 따른 불안 심리의 공감 표현, IV장 비단채색기법의 활용과 전시구성, V장 맺음말의 다섯 장으로 구성되어 있다. 제 I장에서는 우리 시대의 복잡한 관계들과 치열한 경쟁 안에 만연해 있는 개인의 불안 심리에 대한 관심을 서술하였다. 그리고 불안 심리에 대한 공감의 표현으로 제작 된 본인의 작품 속에서 동화적 모티브 활용의 필요성을 언급하였다. 또한 이 논문이 작품 제작의 목적을 분명히 하고 기법적인 활용에 대한 연구임을 밝혔다. 제 II장에서는 본격적으로 공감 표현으로의 동화적 모티브들이 본인의 작품에서 어떻게 구현되었는지를 연구하였다. 이를 위해 우선 작품 제작에 차용된 동화적 모티브가 무엇인지를 정의하였다. 그와 함께 초창기 작업이었던 음유동자, 우리 시대의 동화 연작 등과 동화적 모티브 안에서 제작된 기존의 작품들을 비교·분석해 보았다. 제 III장에서는 2013년 이후의 작품들을 중심으로 오늘날 개인들의 불안 심리를 조명한 작업을 소개하였다. 그리고 개인의 불안, 두려움, 사회적 권위 등이 동화적 서술 기법인 상징과 은유를 통해 어떻게 표현되어 있는지를 살펴보았다. 본인은 개인들의 두려움과 불안이 각자에게 주어진 역할을 수행하고 사회적 요구에 순응하는 과정에서 비롯되는 것이라고 생각하였다. 세 절로 나뉜 이번 장에서는 1절에서 불안의 개념과 원인을 밝히고, 2절에서 외부의 자극으로 발생한 불안 심리와 그에 대한 공감으로써 본인의 작업을 서술한다. 마지막 3절에서는 내부에서 발생한 불안 심리와 함께 그에 대한 공감으로 제작된 본인의 작업과 관련하여 연구하였다. 제 IV장에서는 앞서 살펴본 작품들의 동화적인 환상성을 강화하고 개념화된 대상을 효과적으로 드러내기 위해 사용된 표현기법과 전시 구성을 각 절로 나누어 서술한다. 특히 전통채색기법의 활용과 함께 불안 심리를 표현하기 위해 시도했던 기법적인 변화에 주목하였다. 제 V장에서는 본고에서 논의된 내용을 요약하고 연구의 결과들을 서술하였다. 또한 본 연구를 통해서 나타난 결과와 의미에 대하여 고찰하였고, 나아가 앞으로의 연구 진행 방향에 대하여 제시하였다. 이상의 작품 연구를 통하여 본인은 그동안 제작된 작품들에 대한 이론적 토대를 체계화하고 작업과정 전반을 정리함으로써, 본인의 작업역량을 발전시킬 수 있는 기반으로 삼고자 한다.This study clarifies the inspiration for my creations from 2008 through 2016 that borrowed the fairytale motifs and their social and theoretical backgrounds in the production process and analyzes their formative characteristics from various perspectives. The fairytale characteristics of my work refer to the visualization of main concepts through fantasy, epic, symbols and metaphor which have been applied repetitively and constantly since the early years of my creations. As fairytales draw young readers intuitive attention with stories and characters easy to grasp, artworks that conjure up images of the fairytale evoke intuitive responses of viewers. Also, as a good fairy tale does, my works is to expand the infinity of dreams and imagination to make positive changes in real life as well as to touch the hearts of many to bring energy to their lives with miraculous and wondrous stories. Fairytale motifs in my works is to expression of understanding and empathy for individuals with depression and anxiety today. Understanding and empathy toward the others are the highest and most noble forms of respect that can comfort and heal others. In this context, my work can defined as the output of my attention on individuals with depression and anxiety today. The main point of this paper is to illustrate how the expression of empathy through artistic creations is realized by the fairy tale motifs applied. This study consists of five chapters: Chapter I: Introduction, Chapter II: Borrowing fairy tale motifs for empathy, Chapter III: Expression of empathy for anxiety with a cause, Chapter IV: Use and exhibition of silk coloring method, and Chapter V: Conclusion. In the introduction chapter, It is discussed that the complicated and fierce competition today brought anxiety in both public and private level. It also mentioned the need to use fairytale motifs in my work created to express empathy for anxiety. It also clarified the purpose of artistic production and mentioned that it was a study of methodological use. Chapter II studied how the fairy tale motifs were realized in my work as an expression of empathy. For this purpose, the fairy tale motifs borrowed for the artistic creations were defined. I also comparatively analyzed the earlier series of 'Concerto' and 'The Fairytale of Our Time' with the previous work created within the fairytale motif. Chapter III introduced the creations that highlighted the individual anxiety today based on the work since 2013. It also examined how individual anxiety, fear, and social authority are expressed through the fairy tale methodology of symbolism and metaphors. I thought that individual fear and anxiety comes from the process of fulfilling one's role and keeping up with the social demands. This chapter is divided into three sections and Section 1 discusses the concept and cause of anxiety. Section 2 discusses my work in terms of anxiety evoked by external stimulation and empathy with it. Finally, Section 3 studied my personal work in regards to internal anxiety and empathy with it. Chapter IV discusses for each section the expression methods and exhibitions used for the fairy tale fantasy of the artworks discussed above and effective expression of conceptualized objects. I particularly focused on the change of methods attempted to express anxiety along with the traditional painting methods. Chapter V summarized the discussions and discussed the findings. It also discussed the results and implications and suggested a direction for future studies. I systemized the theoretical foundation of my work and organized the overall process of creation as a foundation to develop my artistic capacity.목 차 국문초록 ···································································································· i 목 차 ·································································································· iv I. 머리말 ································································································· 1 II. 공감을 위한 동화적 모티브의 차용 ········································ 4 1. 동화적 모티브의 정의 ··································································· 4 2. 동화적 모티브의 차용 ··································································· 9 III. 원인에 따른 불안 심리의 공감 표현 ··································· 18 1. 불안의 개념과 원인 ····································································· 18 1) 불안의 개념 ············································································· 18 2) 불안의 원인 ············································································· 21 2. 외적 요인에 의한 불안 심리의 공감 표현 ······························· 25 1) 외적 권위에 의한 불안 심리 ················································ 25 2) 사회적 역할 속의 불안 심리 ················································ 31 3. 내적 요인에 의한 불안 심리의 공감 표현 ······························· 38 1) 욕구에 의한 불안 심리 ························································· 38 2) 결핍에 의한 불안 심리 ························································· 42 IV. 비단채색기법의 활용과 전시구성 ········································· 48 1. 비단채색기법의 활용 ··································································· 48 1) 색의 번짐 ················································································· 53 2) 배채 기법 ················································································· 57 2. 전시구성 ························································································ 61 V. 맺음말 ····························································································· 67 참고문헌 ································································································· 70 참고도판목록 ·························································································· 74 연구작품목록 ·························································································· 75 연구작품도판 ·························································································· 77 ABSTRACT ···························································································· 91Maste

교정용 브라켓 탈부착이 5급 레진 충전물의 변연 미세누출과 미세균열에 미치는 영향

Dept. of Dentistry/석사This study evaluated effects of orthodontic bracket debonding on microleakage and microcrack of Class V composite resin restorations.Fifty-two teeth were divided into four groups. Class V cavity was restored without bonding brackets in group 1. In group 2, 3, and 4, Class V cavity was restored after bonding brackets (group 2: 1.5mm away, group 3: 2.5 mm away, group 4: below CEJ). Thermocycling was carried out and brackets were debonded. Samples were stored in 2% methylene blue solution for 4 hours. Microcrack pattern was observed between brackets and Class V restorations on each tooth. Samples were sectioned and the extent of dye penetration was observed. After evaluating microleakage scores, following conclusions were obtained.1.Microleakage was higher in group of bracket debonding than in group 1 with statistical significance. And, no statistical significance in distance between bracket and Class V restoration (p<0.05).2.Microcrack increased in group 2 with statistical significance when compared with group 1. Group 3 and 4 showed similar pattern of microleakage and did not show statistically significant difference when compared with group 1 (p<.001).In conclusion, debonding of orthodontic brackets increased microleakage of Class V restorations located below the brackets, and microleakage have no relation with distance. Microcrack was also increased when the distance between bracket and Class V restorations was 1.5mm.ope

자기주식 매입의 성과와 그 전략적 거래에 관하여 : Fama-French three-factor model을 중심으로

학위논문(석사)--서울대학교 대학원 :경영학과 경영학전공,2002.Maste