• 동남아시아연구
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• 제20권2호
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• pp.73-99
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• 2010

To properly answer the question 'Why have Vietnamese Women kept appearing in Korean Films and TV dramas?', We need to induce Postcolonial discourse along with historical and cultural similarities between Korea and Vietnam. It is because the relationship of two countries can be defined as a neocolonialism specially in view of economic relationship. Koreans need to locate themselves on the superior position by othering Vietnamese women, who are close enough to be compared and also distant enough to be othered. This paper is intended to bring their being in Korean films and TV dramas under the light of postcolonial discourse. According to the postcolonial concepts such as ambivalence, stereotyping and subaltern, Korean films and TV dramas are classified into three groups, which are Vietnam war melodramas, Horror movies based in Vietnam, and TV dramas with Vietnamese brides. War melodramas have been othering Vietnamese woman through ambivalence of the fear of Vietcom warrior and the fascination of exotic beauty. Horror movies, produced about 10 years later, brought the Vietnamese women back to Korean audience, stereotyping them into ghosts, which are incarnated through the suppression and eruption of sexual desire. The third group consists mainly of TV dramas. Their story usually evolves around Vietnamese brides migrating into Korea. The women are forced into the position of Subaltern, not representing themselves in their own voices. Facing multi-cultural society, our visual media are requested to modify their neocolonial approach of presenting Vietnamese women. To accomplish the goal, they have to find ways of storytelling to show the women in their everyday lives and help them to speak for themselves.

• 동남아시아연구
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• 제22권2호
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• pp.133-170
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• 2012

This thesis aims to analyze the political, social, and cultural activities of the Acehnese ethnic group living in Jakarta, Indonesia. Based on analysis, this thesis examines how their ethnicity and national identity have been formed and expressed. For this purpose, this study deals with Taman Iskandar Muda (hereinafter referred to as TIM), a group of Acehnese transmigrants living in Jakarta. The immigration of the Acehnese to Jakarta started in the 1950s and the number of Acehnese people living in Jakarta persently amounts to 100,000. TIM, which was organized by the first generational of immigrants, functions to group Acehnese immigrants of various generations and class. Forum Keprihatinan Untuk Aceh(hereinafter referred to as Forka), an organization designed to solve the political problems of TIM, undertook various activities to maintain the peace of Aceh as the representative of TIM. Through those activities, TIM and Forka were able to confirm the feeling of homogeneity among the Acehnese who were living in their hometown and also strengthen their identity within the organizations. However, the fact that TIM and Forka put their focus on humanitarian activities paradoxically shows the political limitations that they sustain. TIM and Forka take care not to make their humanitarian activities seem as if they intend to openly strengthen their Acehnese identity and deny their Indonesian one. These political characteristics of Forka's identity are commonly found in groups that practice long-distance nationalism, as transmigrants in diaspora circumstances do. In the organization of TIM, there exists the menasah, which is a space where discussions of the ethnicity and the nation are practiced. As it is the space for local exchange, menasah reveals the identity of TIM through educational/social activities and public services. Menasah functions as the public arena where people practice ethnic identity on the basis of national integration. As a minority ethnic group living in Jakarta and its neighborhood, they are accustomed to double and selective political activities, social activities, and cultural practices. In order to adapt themselves to the double circumstance that they are faced with, they should live extemporaneously, and this life may be the fate that minority ethnic and transmigrants should endure.

• 동남아시아연구
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• 제21권2호
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• pp.155-182
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• 2011

The purpose of this paper is to examine the process of Islamization in Java, focusing on religious discourse among Muslim intellectuals. How Islamic tradition and knowledge have been perceived and utilized and how they have interacted with those of non-Islamic origin will be discussed. For this, three Islam-related books written in different phases of Islamization are to be analyzed: Babad Tanah Jawi compiled by Mataram court in the 17th century, Serat Cabolek written by a court poet in the late 18th or early 19th century, and Fikih Anti-korupsi published by reformist and scriptural organization of Muhammadiyah in 2006. Babad portrays conversion to Islam as a process which does not demand a dramatic outward change in religious practice. Scriptural tradition of Islam and the dichotomy between what is Islamic and what is not were not mentioned in order to explain conversion. Spiritual and mystical enlightenment was emphasized heavily, and for this, the importance of non-Islamic traditions was fully acknowledged. Serat tells us that this period was characterized by the surge of scriptural and shariah-minded Islam, maintenance of non-Islamic traditions, clashes between scriptural Islam and old religious traditions, and Javanese efforts to harmonize these. In Fikih, non-Islamic tradition is replaced by scriptural Islam and disappears totally. Interpretations based on the Scriptures, however, do not monopolize it and are used together with mode of analysis from the West. It is too much to call this 'intellectual syncretism', in that Islamic Scriptures and Western knowledge do not mix but stand side by side. Three books under examination reveal that the process of Islamization in Java has not been uniform. It has been conditioned and shaped by local socio-cultural and historical circumstances, where active engagement and intellectual exercise of Javanese Muslims have played key roles. Even Islamization in the last few decades is not an exception. The surge of scripturalism and fundamentalism does not simply bring about a move to Arabization. Interacting with local intellectual and socio-cultural milieu, this has produced a sort of intellectual hybridity, which is unique to Muslim society of Java.

• 동남아시아연구
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• 제21권1호
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• pp.1-48
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• 2011

This study examines the perception and its meaning of child education and mother]s role for children of Korean mothers for their children to study abroad in Malaysia. For this purpose, data was collected through in-depth interviews with seven mothers and one grandmother. All participants were lived in Malaysia for at least 6 months above. As a result, the most of recommenders of studying in Malaysia were fathers. And the purposes of studying in Malaysia were the improvement of their children's English learning skills and abilities, and not-good academic achievement in Korea. They made a decision for their children to study in Malaysia in that it was good to study in Malaysia for early 'spec' management for their children. But in the case of Korean mothers, they had a diverse desires internally. For example, they had a desire to escape from the relationships with mother-in law or complicated social relations of their family, kin, and neighbors in Korea. In Malaysia, Koran mothers carried out their roles of children's time management, information network management and 'distinction' strategies to their friends and neighbors for their children to study well and up their achievements' levels. Lately, they had planning to develop for their children's long term life design and their choices of universities in Korea, with special reference to the various connections of school-ties and religion-ties in Malaysia.

• 동남아시아연구
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• 제27권2호
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• pp.1-36
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• 2017

본 연구는 개혁시기 들어 인도네시아의 오랜 자경주의 경관 속에 처음으로 등장한 이슬람적 치안의제와 그 실천 주체로서의 이슬람 자경단에 관한 연구이다. 이를 위해 본고는 이전 시기까지 인도네시아 사회가 일상공간에 관한 치안의제를 정의해 온 방식들과의 연관성 속에서, 이슬람적 치안 발생을 가능케 한 시대 배경, 이슬람적 치안의제 구성, 그리고 그 구체적 실천 양상 들을 고찰하였다. 그럼으로써 이슬람적 치안에 작용하는 권력관계와 이해관계를 파악하고, 이슬람적 치안에 의해 새롭게 조율되는 개인과 사회 간의 관계 설정 방향을 가늠해 보았다. 이러한 작업들을 통해 본고는 개혁시기 인도네시아 사람들이 경험하고 있는 사회적 스트레스들이, 지구화 시대의 이념들과 이슬람을 매개로 치안화하는 과정을 연구한 것이며 이슬람적 치안을 통해 디자인되고 있는 인도네시아 사회의 미래 전망을 고찰한 것이다.

• 동남아시아연구
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• 제28권3호
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• pp.75-110
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• 2018

본 연구에서는 과거 위안부 사건에 대한 기억의 표상으로서 만들어진 '필리핀 위안부 동상'의 이미지를 분석하여 필리핀인의 지역성, 즉 문화적 정체성에 대한 이해를 모색했다. 본 연구는 지역연구 방법론에 대한 새로운 시도로서 문학 분야의 텍스트 이해 방법인 '상호텍스트성' 개념을 도입하여 활용했다. 위안부 동상이 전쟁 시기 여성의 피해와 관련된 위안부의 기억에 대한 표상이라는 점에서 '여성성'과 '민족주의'의 특성에 초점을 맞추었다. 상호텍스트성 접근법의 일환으로 한국의 평화의 소녀상을 대비하여 분석했다. 필리핀 위안부 동상의 이미지에 대한 분석을 통해 필리핀인들의 여성성에 대한 인식이 한국의 평화의 소녀상에 표현된 순결주의와는 달리 아름다움을 더욱 강조하고 있음을 볼 수 있다. 또한 위안부 동상을 통해 표현된 필리핀 민족주의의 특성이 한국의 민중적이며 저항적인 특성과는 달리 엘리트적이며 포용적인 특성을 발견할 수 있다.

• 디지털융복합연구
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• 제19권3호
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• pp.345-352
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• 2021

이와이 ?지가 '일본의 왕가위'라고 불리는 원인 탐구를 출발점으로 두 감독 영화의 영상 스타일을 비교 연구하고, 두 사람의 스타일의 유사점과 다른 점의 이론적 특징을 탐구함으로써 나아가 중국 영화산업의 발전에 시사점을 제시하는 것이 본 논문의 목적이다. 문헌 탐색을 통해 두 감독의 문화적 배경 분석 영화 스타일 비교 및 영화 미학적 비교 분석 등의 연구 방법을 통해 두 감독의 영화에 대한 더 깊은 이론적 연구를 진행하였다. 두 감독의 영화는 모두 영상을 통한 서사의 흥미로운 추상적 표현이 특징이지만 주제 설명 방식에는 차이가 있다는 것을 발견했다. 이 논문의 연구는 두 감독의 영화를 탐구하는 데 새로운 사고를 제공할 것이며, 작가주의 영화를 탐구하는 데 새로운 방향을 제시할 것이다.

• 한국콘텐츠학회논문지
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• 제22권2호
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• pp.514-528
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• 2022

본 연구는 중국기업의 해외직접투자 특징을 Dunning의 OLI 패러다임 관점에서 파악하고자 하였다. 중국기업의 해외직접투자는 중국 정부의 정책과 중국경제의 내부적 요인 그리고 투자대상국의 경제 및 제도적 환경의 영향을 받으며 이루어졌다. 그리고 그 과정에서 나타난 중국기업의 해외직접투자 특징은 지역적으로 아시아지역에 편중된 가운데 선진국의 투자가 증가하고 있고, 업종별 투자에서는 3차 산업 업종의 투자 비중이 높은 가운데 2차 산업의 구조가 변화되는 양상을 띠고 있다. 이밖에 해외투자지역 선택에서는 우선 투자대상국의 경제적 요소와 정치적 요소를 고려한 후, 중국의 체제와 문화적 차이가 크지 않은 지역을 선택하여 점진적으로 확대해 나가는 특징을 나타내고 있다. 중국기업의 이러한 해외직접투자 특징은 기본적으로 Dunning의 OLI 패러다임에 부합하고 있는 것으로 평가된다. 다만 차이가 있다면, 중국기업의 해외직접투자는 기업의 장점을 이용한 해외 진출만이 아니라 단점을 보완하기 위한 진출도 많다는 점이다.

• 한국콘텐츠학회논문지
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• 제22권2호
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• pp.35-43
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• 2022

2020년 광주 미디어아트 페스티벌 (2020 GMAF)이 국립 아시아 문화전당 일대에서 개최되었다. '광주 전체가 <빛과 공존의 미학> 이라는 주제로 빛난다.' 라는 슬로건을 내걸고 개최된 이번 미디어 페스티벌에 중앙대학교 첨단영상대학원 DATA+ 연구소에서 전남(구)도청에 프로젝션 맵핑을 시연했다. 본 논문은 한국 민주화의 상징이며 전라도 광주의 중심에 위치하고 있는 전남(구)도청에 시연한 프로젝션 맵핑의 콘텐츠 개발 및 전체적인 제작 과정에 대한 설명에 중점을 두었다. 2020 GMAF와 전남(구)도청의 역사, 광주의 역사와 민주화의 기록에 관한 부분을 충실히 나타내고자 하였다. 프로젝션 맵핑 고유의 특성을 이용한 영상과 배경음, 효과음 그리고 여러 특수 효과 및 고출력 레이저 장치를 이용한 시각효과를 보여주고자 하였다. 이를 위하여 약 5분 30초 분량의 컨텐츠를 계획하고, 이를 각 파트별, 주제별로 나누어 각각의 장마다 하나의 개별적인 이야기를 전개하였다.

• 동북아문화연구
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• 제28권
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• pp.339-363
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• 2011

This thesis examines analyzing how historic knowledge was shaped in museum. Examining by Tokyo Imperial Museum, Government General Museum of Taiwan, Yi Wang Ga Museum, Government General Museum of Chosun, and NanTong Museum of late 19th and early 20th century, tried to find out similarities and differences. These museums are similar in that they adopt museums as modern system considering models of other countries(Europe or Japan) and exhibitions played important roles in gathering relics. Experts who leaded adoption of western civilization played an important role. These experts were conservatives who valued tradition and relics while they aimed for western civilization. It originated in the character of museum system. Historical Knowledge by museums was constituted with five combinations of conceptions which are nationality, locality, coloniality, and artistry. Every museum cannot help having modernity for museum itself is modern system. Modernity was symbolized by museum building of western style in Yi Wang Ga Museum, Government General Museum of Chosun. Tokyo Imperial Museum revealed nationality in that it tried building of imperial history which includes colonies. In early time, Tokyo Imperial Museum pursued modernity and artistry, however it concentrated on artistry than modernity later. We can find locality in that Tokyo Imperial Museum tried to find meaning about Japanese art by relating with natural characteristics. It is Taiwan Governor Museum that extremely expressed coloniality and artistry was not considered. Government General Museum of Chosun could not be exceptions of features of coloniality, but it need to recognize that artistry was focused all over the exhibitions. It was NanTong Museum that most directly expressed locality. Like these, Museums of East Asia established in around 1900 made different historical knowledge by varying weigh of five factors, nationality, locality, modernity, coloniality and artistry.