1960-70년대 누정 공간의 사회적 생산과 문화정치적 함의 - 파주 화석정(花石亭)을 중심으로 -

서지정보

ㆍ발행기관 : 한국건축역사학회 ㆍ수록지정보 : 건축역사연구 / 32권 / 5호
ㆍ저자명 : 전국조

목차

1. 서 론
2. 공간의 사회적 생산
2-1. 구체적 추상
2-2. 국가적 생산양식
2-3. 공간의 국가적 생산
3. 화석정
3-1. 개관
3-2. 화석정과 전쟁
3-3. 화석정의 국가적 생산 (1): 중층적 모순
3-4. 화석정의 국가적 생산 (2): 국민국가와 전통
3-5. 반공 이데올로기: 외연과 내포
3-6. 편액과 제사: 이름 짓기 권력과 그것의 역설
4. 결 론: ‘공간의 사회적 생산’에 대한 재고

영어 초록

Focusing on Hwaseokjeong in Paju, the work seeks to clarify the social production of Nujeong (樓亭: Korean traditional pavilions) space, which took place over the 1960s and 70s, and its cultural-political implications. To make the effort as such meaningful, a theoretical framework based not merely on the thesis of ‘social production of space’ advocated by Henri Lefebvre but especially on some discussions related to ‘state production of space’ is prepared, according to which Hwaseokjeong is analyzed and explained. As a consequence, two principal arguments are put forward: one is that Hwaseokjeong was a social space which had been built and constructed in accordance with the unique mode of production dominating Korean society at that time called ‘the state mode of production (le mode de production étatique )’; the other is that what lies beneath the denotation of a ‘social space of tradition restoration’ that Hwaseokjeong appears to carry is in fact the connotation of ‘infiltration of anti-communist ideology’. All of these claims are once again supported both by examining Roland Barthes's semiology and mythologies and by considering Hwaseokjeong's Pyeonaek (扁額: a plaque or framed text) as ‘the practice of naming power through J esa (題詞: inscribing dedications)’. While providing a succinct summary, the paper finally evaluates what ‘social production of space’ implies to social practices of architecture and related criticisms by taking into account the relationship between visibility and readability of space including buildings.

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