• The Journal of the Korea Contents Association
• /
• v.19 no.3
• /
• pp.197-212
• /
• 2019

This study points out how the two conflicting elements of empathy and estrangement that constitute the dual structure of are incorporated by dialectic; finally, this paper explores the spontaneous estrangement effects' meaning and value on the point of view of reception aesthetics. As results of these studies, First, the Brechtian set of estrangement effects techniques showed that in it could function as an empathy technique for audiences. Second, the role of Sanbazi to increase the audience's participation was to produce both the immersion effect and the estrangement effect simultaneously. These double features of Sanbazi are dialectically incorporated and simultaneously bring about both the social reality reflection and enjoyment of the audience. Third, the puppetry is valid as not a way to describe reality but one of the ways to look at social reality. Conclusionally, in terms of producing counter-discourse, the puppet show has more extensible than any other form of performance with regard to expression.

• Korean Security Journal
• /
• no.13
• /
• pp.279-303
• /
• 2007

The Study on the Film, as the one of the main fields in the cultural studies, has the significant meaning in analyzing our society in that culture represents the realities of the present society. Film is the metaphorically expressed text and the specific space where a variety of discourses cross. The director's social consciousness projected in the film must have the ultimate significance through the dialectic relation between the intention of the director and the interpretation of the audience, not through the his one-sided message to the audience. This paper focuses on the analysis of the movie 'The Host', which is evaluated to show the meaningful social phenomena related to 'disaster' among the recent movies in Korea. The Host which is characteristic of 'the open structure' can be referred to as the film reflecting the imperial order prevalent in the colonial society.

• Korean Journal of Social Welfare
• /
• v.62 no.2
• /
• pp.349-373
• /
• 2010

The purpose of this paper is to critically analyze the way of knowledge production in social welfare and to graft feminist epistemology to the discipline of social welfare. To put it more concretely, as analyzing the epistemological and methodological issues appeared in the articles in "orean Journal of Social Welfare", this study examines the meanings of feminist epistemology and its implications to research and practice in social welfare. From its onset, feminist research criticized the 'mainstream' ways of conceptualizing knowledge construction via research conducted upon a positivist epistemological position. Particularly, western feminists have problematized the androcentric bias embedded within the so-called 'social sciences' that we have taken for granted as 'scientific,' 'objective,' and 'neutral,' and attempted to redirect and reformulate the way of knowledge production with new concepts of 'strong objectivity,' 'partial/situated knowledge,' and 'strong reflection.' We believe that the implications of feminist epistemology to enable us to reflect the power relationship between subject and object, I and Other, and the researcher and the researched will contribute to recover the original vision of social welfare as critical theory and liberating practice in social work.

• The Journal of Art Theory & Practice
• /
• no.2
• /
• pp.75-120
• /
• 2004

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 he 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.