• The Journal of the Korea Contents Association
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• v.9 no.2
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• pp.163-172
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• 2009

As cultural contents are rising to the surface, the contents and interests regarding the industries that utilize the culture become higher than any other times. Culture is performed with memory, and the culture that excludes memory cannot exist. The memory exceeds a dimension of the individual and operates with an assembled and social memory. Furthermore the culture requires media to put memories inevitable. Therefore, recent image texts are coming to the attention as new storage media. So this essay analyzed the meaning of 'memory' as social-cultural memory by putting the sixth generation Chinese movies to the center and restoration of image text that puts memory in it. And also, I examined the cultural meanings of 'individual memories' as the 'counter memory' and tried to find the possibility of junction between memory industry and the contents. I focused on the sixth generation Chinese movies because these movies made remarkable progresses in the international film festivals though they were made in 'underground' by objecting to 'official memory' proposed by the Chinese government.

• KLA journal
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• v.45 no.6 s.349
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• pp.42-44
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• 2004

이번 도서관문화 6월호에서는 최근 ‘기억투쟁과 문화운동의 전개’라는 책을 공동 집필하여 주목받았던 서울대학교 사회학과 정근식 교수를 만나, 사회적 기억의 중요성과 기억 보존을 위한 투쟁과정에서 전개되는 문화운동과 관련한 도서관의 역할 등을 내용으로 대화를 나누었다.

• Journal of Korean Society of Archives and Records Management
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• v.16 no.1
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• pp.41-59
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• 2016

In archival discourse, social memory has been discussed for some time. Despite this, however, theoretical studies have not been prolific at all in the Korean archival community. Many Western scholars have argued that archivists should consider memory rather than records for archival preservation because the inclusiveness of the former will fill the gaps in the latter. Social memory that is shared and transmitted across generations in society would include the stories of marginalized groups of people who are often neglected in official documents. Archivists can reconstruct the diverse narratives of a variety of social groups based on social memory, and this would be their social responsibility. In this sense, it is archivists who exercise power regarding how history will be written in the future because they determine what would be preserved in archives: mainstream culture with official records or a broader spectrum of diverse stories of people in society. From this perspective, this paper intends to understand how memory is discussed in archival discourse and to review how archives and history are associated with memory in theories and practices.

• Korean journal of communication and information
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• v.60
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• pp.104-124
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• 2012

The purpose of this study is to explore how North Korean woman defectors' memories of their past lives are represented in Korean television talk show, (Channel A, 2011~) and its social implications. In order to carry out this task, this study first discusses the emergence of the concept of 'memory' in its relations with 'collective memory', 'cultural memory' and 'history', and its social appropriation in media such as television. And, the ideological aspects of the recent trend of television talk show that deals with people's private memories were also discussed. The study used the method of structural narrative analysis. The findings are the following. First of all, North Korean woman defectors' memories in collide with the dominant public memories in South Korea. In any case, it has been found that the show tended to make North Korea and their defectors as exotic 'others' and thereby reinforce the existing public memory. After all, this study argues that the representation of the defectors' memories in the talk show only results in stressing the melodramatic narrative emotionally packaged with 'laughing' and 'crying' without any sincere consideration of them.

• The Journal of the Convergence on Culture Technology
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• v.10 no.5
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• pp.71-76
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• 2024

In modern capitalist society, where the influence of electronic and mechanical technology on the human memory construction process is gradually expanding, academic interest in the cultural construction and reification of memory is also spreading. This study attempted to explore the way cultural memory and the reification of memory are constructed and their implications by analyzing Andrei Tarkovsky's <Solaris>, which delved into the way human memory is constructed based on scientific thinking. On 'Solaris', which is both a planet and an ocean, memories were materialized by taxidermy or fossilization of love and even the truth of life and death. This can be said to be the result of director Andrei Tarkovsky's reflection on the fact that human memory can be anchored to something due to a specific event, and that reificated memory is not the actual memory, but remains only as a trace or trace of the memory.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.133-140
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• 2023

The origin of texts we refer to as literary or artistic may be imagination, but many are based on experiences. In fact, experiences can be the source of artistic imagination since imagination often builds upon experiences. Therefore, the act of verbalizing human experiences using them as raw material can become a great form of art. Transforming past experiences into stories and infusing them with vitality inevitably requires a creative process of reconstruction, which is essentially a literary process. As such, 'Personal Narrative' holds significance as a literary process that weaves facts into stories and shapes them into forms. Individual experiences are stored as personal memories, and these 'personal memories' continuously generate stories. Collections of individual stories are stored as multiple memories, which gradually form 'collective memories' with distinct social and cultural inclinations through the passage of time and invisible yet potent societal and cultural censorship. The problem lies in the fact that individuals may tend to align their own memories with the inclinations of collective memory rather than simply recalling what they personally experienced. In the context of actual history, personal memories and collective memories communicate with each other, producing non-fictional content close to reality and sometimes manifesting as fiction content enriched with imagination. 'Personal Narrative' holds a significant genre as one genre of non-fiction content within our culture.

• Journal of Korean Society of Archives and Records Management
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• v.16 no.2
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• pp.57-79
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• 2016

This study aims to identify and analyze how the No Gun Ri massacre records are incorporated in social memory. As a theoretical study, it discusses the characteristics of social records. First, they are social products that have an influence on personal memory. Second, they reflect variability of memory. Third, they can be used in proving an event. To analyze the memory and records of the No Gun Ri massacre, this study overviews the outline of the killings and divides it into three eras: countermemory era, memory struggle era, and formal memory era. Furthermore, this study reviews the transformation process and characteristics of each era. The representative records produced in each era are as follows: oral, and personal records in the first period; records related to committee activities, legislative activities, and research activities in the second period; and official records on the special law, and the construction and operation of a peace park in the third period. The third period shows the scalability of the records through a variety of cultural records production to remember the No Gun Ri incident.

• The Korean Journal of Archival Studies
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• no.54
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• pp.249-287
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• 2017

This study discusses the theoretical analysis of the concept of social memory and participatory digital archives, and argues the various problems of participatory digital archives based on the analysis of individual experiences and perceptions through interviews with stakeholders including users and operators. As a theoretical study, it analyzes related precedent studies and explores the complementary concepts of social memory and participatory digital archives. Based on the discussion, the study understands social memory as a defined and generated memory through the interaction of the social environment encompassing politics, socio-culture and the internal relations of the community. Furthermore, it understands the participatory digital archive as a digital space in which the community, the voluntary participation of users, and the support of professional groups intertwine. The memories and records of this interaction are then stored, preserved, shared, spread, and reproduced. Through stakeholder interviews, the study analyzes the perceptions of users and operators regarding participation, policy, and service, and identified the various problems with participatory digital archives.

• Journal of Digital Convergence
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• v.17 no.3
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• pp.313-321
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• 2019

This study investigated the themes of self-esteem memories in female adults. Self-esteem memories mean memories that are focused on evaluations of the self and the themes of them are classified as achievement or social relationship. Eighteen young adults(M=21.56), fifteen middle aged adults(M=54.13), and twenty older adults(M=74.35), totally fifty three female adults participated. They recalled 4 positive and 4 negative self-esteem memories respectively. The results showed that memories of positive and negative self-worth frequently focused on relationship themes, and this tendency was significant in positive memory of young adults and negative memory of middle aged adults. This suggests that social relationship is a dominant cultural value in Korea. Links between interpersonal relationship and positive/negative self-esteem memories are explained by culture, gender and developmental tasks. Further researches about the differences by sex and life scripts in the content of self-esteem memories are needed.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.23 no.2
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• pp.45-68
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• 2012

Archives have directly and indirectly served for memory. What is collected in archives, how it is presented to users, and how users understand and use the documents affects how a given society remembers its past. Some archival scholars see that how users interpret documents from their perspectives and by social interests may play a central role in constructing social memory because memories are often triggered by individual and social concerns of the present time. Therefore, knowing what causes users to seek for a certain materials, how they use those materials and why can offer a clue to learn how archives serve for social memory. In the Web space, the interaction between users and archives/archival materials can be easily observed. Beyond making access simple for users and promoting archival documents using Web technology, archives can serve the broader purpose of memory by skillfully exploiting the characteristics of Web 2.0 and digital cultures in a way to observe how users engage in and contribute to archival contents available on the Web. This study examines the discourses on memory in the archival context, and in particular, how archives can serve as platforms for memory within the new environment of Web 2.0 technologies. It surveys discussions on memory in relation to archives, history, and evidence, focusing on the user and use context as it is represented in the archival literature. This paper discusses how that technology provides features that allow us to see collective memory being constructed in the archives, and presents examples of how the Web 2.0 technology can structure the way users share their memories in building a larger narrative around the archive.