• Conservation Science in Museum
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• v.25
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• pp.9-26
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• 2021

This paper describes the production methods that were originally used for an arrow bundle excavated from a Bronze Age residential area in Auraji in Jeongseon, Gangwon-do Province and the conservation treatment process that it subsequently underwent. An arrow conventionally consists of an arrowhead and a shaft. It is rare to excavate a shaft along with an arrowhead in a complete form since the shaft is made of organic materials. Notably, the arrow bundle from the Auraji site is of great significance as it shows traces of tangless stone arrowheads attached to charred shafts and offers an important case of the split end of a piece of a tree being inserted into an arrowhead. For a further examination of the characteristics of the arrows from Auraji, microscopic investigation was conducted and the type of wood used for the arrow shafts was examined. The sequence and direction of processing and the particle sizes of the grinding tools were revealed through the analysis of traces of grinding on the stone arrowheads. The shaft is presumed to have been made from a green length of three-year-old willow (Salix spp.). A curing agent with a high degree of waterproofing and reversibility was used during the on-site curing process according to demands of the surrounding environment, and a technique that the authors call the "Bridge" method was used for emergency collection of the relics. Once the bundle was transferred to the conservation treatment lab, reinforcing materials were carefully chosen as it was important not to damage the relics during the process of turning them for the repair of their reverse sides. For this purpose, artificial clay was selected since it can safely bear a load and has excellent physical properties. Finally, detached parts were rejoined, the relics and their surrounding materials were cleaned, and the bottom sides were finished with epoxy resin prior to the display of the relics at the museum.

• Korean journal of communication and information
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• v.84
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• pp.99-123
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• 2017

We analyzed the movie (2016/ directed by J-yong E), which is entangled in politics of gender, age, class, or sexuality, naming as "spaces of Others", using the concepts of heterotopia of Foucault. Foucault addressed three types of spaces: the realistic space where we currently live, the unrealistic and non-existent utopia, and heterotopia, which functions antithetically to reality. Thus, Foucault's heterotopia can be considered to indicate "heterogeneous spaces" in reality. The Bacchus Lady revolves a 65-year old prostitute So-Young, sells her body to old men at the parks in downtown of Seoul. Old prostitute on streets are often referred as "Bacchus Ladies", because suggest the popular energy drink a bottle of Bacchus while selling sex. The movie represents some minorities such as transgender, Tina and madam of the club, G-spot, migrant women like Camila and Aindu, and a amputee, Dohoon. Through these people's bodies, the problems such as imperials, nations, ethnics, gender, age, class are entangled in the movie. The politics of these points work and construct heterotopias in four spaces of Others. First, the spaces which ageing and death are intersected. Second, the spaces of So-Young for prostitutes, Third, the spaces of So-Young's mothering: she adopted her baby to American when he was a infant, so she have felt guilty. Fourth, the spaces for So-young's quasi-family with Minho, a Kopian boy who was abandoned by Korean father, Dohoon, who is a poor amputee, and Tina, who is a transgender singer. Fifth, the spaces of speech of So-Young as the subaltern: the subaltern does not have the language to express its own experiences. In order to listen to the words of subaltern, we must do the task of measuring the silence. This cinematic representation of So-young as the subaltern makes her speak about her situation. Finally, the spaces constructed by the movie can be connected 'heterotopia of crisis', 'heterotopia of deviation' and 'heterotopia of fantasy'. The spaces of the movie represents lives of Others, nevertheless, So-Young's Otherness through spaces of heterotopia was transformed to an absolute Other by patriarchal traits of cinematic narrative.