• 한국디자인학회:학술대회논문집
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• 한국디자인학회 2005년도 춘계 학술발표대회 논문집
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• pp.308-309
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• 2005

• 한국조경학회:학술대회논문집
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• 한국조경학회 2017년도 춘계학술대회 논문집
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• pp.24-25
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• 2017

• 대순사상논총
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• 제10권
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• pp.127-203
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• 2000

• 물과 미래
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• 제54권1호
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• pp.52-60
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• 2021

• 도서관문화
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• 제3권5호
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• pp.2-8
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• 1962

본보고서는 UNESCE 읍리본부로부터 한국에 ‘사회과학문헌쎈터’ 설치를 위하여 파한되였던 Badr Kasme 박사가 UNESCO에 보고한 것을 전역한 것입니다. Badr Kasme씨는 도서관학을 전공하였으며 정치학박사이며 1949년부터 주재제네바 국제연합 도서관(United Nations Library in Geneve) 법정과장으로 계시는 분입니다.

• 비교문화연구
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• 제35권
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• pp.35-58
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• 2014

This article aims to explain the 'people-image' of Bakhtin's works in the light of "Transgredience" and "Transition." According to Bakhtin, the real core of every culture is the people. But he did try to answer the question "what is the people?" I think, the secret of Bakhtinian thought is located in the people-image, because it is the one of the territories that have not been explained. For this purpose, we have to examine four images represented by Bakhtin, - rogue, clown, fool, thief. These images are the concrete and individualized images of people, who can characterize the power of transgredience and transition. They commonly act for changing ordinary borders of identities formulated with nationality, property, status, classes, sex and so forth. In this sense, Bakhtin thinks that the masks are the real nature which can show the mutational power of Being. That is the kernel of Bakhtin's people-image that makes and changes every cultural world. When we accept and practise this perspective positively, we will realize that Bakhtin's position is close to the cultural politics, because a practical power of thought cannot help but being political. That's why we have to investigate Bakhtin's people-image from a vantage point of "Transgredience" and "Transition."

• 영어영문학
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• 제56권4호
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• pp.597-618
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• 2010

This paper discusses American disability theater's representations of disability identity and disability identity politics. Dramatists John Belluso and Lynn Manning, among others, present characters with disabilities who experience oppressions at multiple, interlocking levels of domination on the basis of disability, race, and ethnicity. In Manning's Shoot, the black, blind hero iterates episodes in which he experienced discrimination and insults in encounters with whites who used derogatory racist words or belittled him and with some school children who taunted him for just being blind. This play, as in Manning's solo performance, Weights, presents narratives of a blind person traversing multiple locations of oppression in "a long litany of losses" in a white-dominated and ableist society. Belluso's Gretty Good Time similarly weaves together stories of disabled women, Gretty and Hideko, who bond together to resist the dominant ideology that reduces them into titillating commodities of mass consumption. Hideko's story serves the two-fold function of both affirming the specificity of her individual experience as an ethnic other and espousing the communal experience of stigmatization she shares with other disabled women like Gretty. In these plays, the intersection of the identity categories of disability, race, and ethnicity highlights the diversity of the body and the fluidity of boundaries, foregounding the specificity of disabled bodies, while at the same time overthrowing the hierarchical binarism between disabled and "normal" bodies.

• 동남아시아연구
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• 제21권1호
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• pp.137-184
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• 2011

This article is aimed at understanding the political narratives represented in the National Museum of Indonesia. Starting initially as a colonial museum, the National Museum of Indonesia functioned as a useful tool for the Dutch colonial force to fuel its imaginations of the colonial territory and the people within it. The Dutch used the cultural display to advertize its benevolent colonial rule. All the while, the museum also inevitably reflected orientalism on the people and the culture of the colony. The republic of Indonesia inherited the colonial museum's practices and its display patterns. The business surrounding the museum also played a key role in the newly-born nation-state laying out a future for its redefined territory and people. Thus, what the colonial force imagined for the colonial territory through the study of museum displays was rather directly transferred to the republic without serious consideration of the decolonization process. Four main characteristics have been seen in the museum displays. The first is an emphasis on the glorious Hindu-Buddha history, from which numerous temples, statues, and jewelry have been found. Secondly, the Islamic period, which spanned between the Hindu-Buddha times to the colonial era, has almost completely been eliminated from the display. Third, the colonial era has been depicted as the time of Europe's exportation of scientific tools and adaption of sophisticated living patterns. Fourth, the images of ethnic groups were represented as being stagnant without reflecting any challenges and responses that these groups had faced throughout history. Looking at these display patterns, it can be concluded that all the dynamic internal developments and anti-colonial resistance that took place during the Islamic and Colonial Era have simply not been represented in the museum display. These display patterns do not reflect the real history or culture of the archipelago. Two considerations are thought to have influenced the neglecting of social realities in the display. The first of which is the Dutch's and Republic's apprehension over the possible political upheaval by the Islamic forces. Yet, more fundamentally, cultural displays themselves are distinct from historical education in that the former pays more attention to business ideas with an aim to attract tourists rather than to project objective historical knowledge. Thus, in cultural displays, objects which work to stimulate fantasies and spur curiosity on archipelagic culture tend to be selected and emphasized. In this process, historical objectivity is sometimes considered less vital. Cultural displays are set up to create more appealing narratives for viewers. Therefore, if a narrative loses its luster, it will be replaced by another flashy and newly-resurrected memory. This fact reveals that museums, as transmitters of historical knowledge, have a certain degree of limitation in playing their role.

• 과학과기술
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• 제31권4호통권347호
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• pp.14-15
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• 1998

이번 서울대 치대교수의 구속사건으로 교수임용에 돈을 주어야 한다는게 공지의 사실로 드러났다. 필자가 들은 얘기론 외국에서 정치학 박사학위를 받고 귀국한 한 교수지망생이 어느 대학의 제의를 받고 임용신청을 냈으나 2천만원을 내라는 총무처장의 요구를 못지켜 교수임용의 문턱에서 좌절되었다는 사례도 있다. 또 법조계에서 일어난 비리도 맥을 같이한다. 어딜가나 성한 곳이 없고 공정한 경쟁의 룰이 지켜지는 곳이 없다. 도대체 대한민국은 민주공화국인가 ,부패공화국인가

• 과학과기술
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• 제33권11호통권378호
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• pp.88-90
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• 2000

이 책은 생물학ㆍ정치학ㆍ철학ㆍ물리학ㆍ진화심리학ㆍ언어학ㆍ정신분석학ㆍ경제학ㆍ인류학ㆍ기호학ㆍ문학평론ㆍ인공두뇌 등 각 분야의 세계적인 석학 30인들의 21세기 전망서다. 그들은 2100년까지 어떤 학문적인 돌파구가 마련되며 그것이 우리 사회에 어떤 영향을 미칠 것인가에 화두의 초점을 맞춰 대부분 구체적인 예를 들어 정확한 언어로 먼 미래를 예측하였다. 내용이 방대하기 때문에 이미 현대생활에 큰 영향을 미치고 있는 정보기술, 생명과학분야를 요약한다.