• 비교문화연구
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• 제49권
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• pp.249-274
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• 2017

1980년대 이후로 가장 주목할 만한 사회 운동으로 평가되던 에콰도르 원주민 운동은 2000년대 들어 침체기에 들어선다. 특히 코레아 정권의 등장과 함께 원주민 운동이 급격하게 약화된 사실은 에콰도르 원주민 운동의 성격과 밀접한 관련을 갖는다. 이 글에서는 에콰도르 원주민 운동이 2000년대 들어 정치적 역량이 약화되고, 코레아(Correa) 정권이 들어서면서 위기를 겪게 된 과정을 파차쿠틱의 사례를 통해서 살펴보고자 한다. 2000년대 초반까지 에콰도르 원주민 운동은 CONAIE를 통해 상당한 정치적 영향력을 행사해왔다. CONAIE는 선거를 통해 자신들의 요구를 제도권 정치 속에서 해결하기 위해 파차쿠틱이라는 독립적인 정치 조직을 결성했다. 그러나 1990년대의 의미 있는 성과에도 불구하고, 2000년대 들어 선거참여 전략은 원주민 운동의 지속적인 성장에 기여를 하지 못했다. 따라서 원주민 운동의 성장과 침체과정을 파차쿠틱 및 '정치의 종족화'와 '상호문화적 딜레마'를 통해 살펴보는 작업은 향후 원주민 운동의 방향성과 관련해 일정한 시사점을 줄 것이다. 원주민 운동은 변화된 상황에 대응하기 위해 지금까지의 선거 전략과 원주민 담론에서 벗어나, 상호 문화적인 담론과 전략을 통해 운동을 확장하는 것이 필요하다.

• 비교문화연구
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• 제45권
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• pp.325-348
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• 2016

본 논문은 브렉시트 캠페인 기간 동안 영어권 국가, 영국, 미국, 캐나다, 그리고 호주의 미디어에서 이민자들이 어떻게 표현되는지 살펴본다. 코퍼스 지원 담화연구의 틀을 사용한 본 연구는 브렉시트 국민투표 캠페인이 시작된 날부터 국민투표가 실시되기 전 날까지(2016년 4월 15일-6월 22일) 검색기간으로 설정하고, 검색어 'Brexit'가 포함된 모든 기사를 수집하여 브렉시트 캠페인 코퍼스를 구축하였다. 수집된 코퍼스 자료를 통해서 이민자를 나타내는 어휘들, IMMIGRANT, MIGRANT, 그리고 REFUGEE의 빈도를 관찰하고, 이 어휘들과 함께 나타나는 연어를 분석하였다. 또한 세 어휘의 연어들을 사회적 행위자 범주에 따라 분류 및 분석하였다. 분석 결과, IMMIGRANT의 연어는 법적 상태 및 출신지역 어휘들과 연관성이 있고, MIGRANT는 경제적인 용어들과 주로 연어 관계에 있으며, REFUGEE는 큰 수를 나타내는 어휘와 관련성이 있는 것으로 나타났다. 그리고 이민자들은 기능범주, 유형범주, 그리고 평가범주를 통해서 묘사되며, 특히 영국과 미국의 미디어에서 이민자들이 부정적으로 그려지고 있는 것으로 관찰되었다. 본 연구를 통하여 특정 현상 및 특정 집단의 사람들을 가리킬 때 특정 어휘가 사용되며, 코퍼스 지원 언어분석이 해당 사회의 사회 문화 정치적 상황을 파악하는데 도움이 된다는 것을 확인할 수 있었다.

• 한일민족문제연구
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• 제32호
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• pp.215-275
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• 2017

In the absence of the alternative public space of women in Japan, the experience of the "Bongseonhwa" was interpreted as the public domain of Japanese society as a public domain, a confession that focused on gender discrimination in the patriarchal system of Japan, Most of the enemy discourse is. These alienated discourses are the product of the efforts of women in Japan who do not want to forget about the traces and memories that can not be incorporated into the big narrative. It can not be denied that the women in the society of Japan have been excessively excluded and alienated by national ideology and patriarchal ideology. The meaning of presenting them through "Bongsinghwa" is the resistance of the minority, and it is the expression way of reconstructing and strengthening the identity of the women, and it is said to be a space of symbolic meaning. It is further clarified that it is based on a narrative that creates a new life area for coexistence with Japanese society, on the other hand, by constantly searching for the linkage with the motherland, held by women in Japan. As a result, between public social phenomena and private living space, confirmed that it conflicts with repetitive internal contradiction of controlling power and confirmed that complicated and detailed material of women living in Japan who undergo double discrimination What has been expressed over a period is considered to be a resistance expression and a will of expression of reconciliation to coexist with Japanese society. I have attempted to analyze the confessed alienated discourse of "Bongsinghwa" by classifying it as . As a result, it is confirmed that the public social phenomenon and the private life space are confronted with the repetitive internal contradictions of the power of domination, and the expression of the complex and detailed material of the discriminated women in Japan over a long period of time is a resistance to symbiosis with Japanese society And the will of the conversation.

• 한국지역지리학회지
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• 제12권1호
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• pp.72-93
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• 2006

'국경없는 마을'이란 안산외국인노동자센터가 1999년부터 안산시 원곡동 일대에서 다양한 나라 출신의 이주노동자들을 상대로 추진하고 있는 지역에서의 다문화공동체 형성 운동이다. 우리들은 다음과 같은 몇 가지 점에서 국경없는 마을 프로젝트에 관한 사회과학적 조망이 필요하다고 판단한다. 첫째, 지구화와 지역화의 상호영향 관계를 국경없는 마을이라는 구체적인 사례를 통해 조사해볼 필요가 있다. 둘째, 이 프로젝트는 소위 성찰적 근대화론이라는 이론 기획과 지구성, 지역주의, 다문화공동체, 지구시민사회시민권 등 여러 가지 개념들을 공유하고 있다. 따라서 이 프로젝트의 현실적인 효과를 검토해봄으로써 성찰적 근대화론의 한국적 적용 가능성을 우회적으로나마 타진해볼 수 있다. 셋째, 현장과 이론 사이의 개방적인 상호작용을 보여주고 있다는 점에서 이 프로젝트가 진행되는 과정 자체가 우리 사회의 새로운 공론장을 창출하는 과제와 관련, 주목해볼 가치가 있다. 마지막으로 이 프로젝트는 기존의 사회운동론의 범주들로는 설명될 수 없는 새로운 사회문제들의 출현이라는 문제를 제기하고 있다. 우리들의 잠정적인 결론은 이 프로젝트가 선구적이며 실험적인 것임에는 틀림없으나 새로운 사회운동, 이론으로서 실질적인 영향력을 행사하기에는 여전히 너무 추상적이라는 한계를 보이고 있다는 것으로 모아진다.

• 미술이론과 현장
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• 제3호
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• pp.85-106
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• 2005

As biennale exhibitions has been expanded into all of the world since 1990s, these trends of blockbuster exhibitions have caused several problems. For instance, some major curators monopolized most global size exhibitions despite of a variety of cultural and historical backgrounds. Besides, due to a strong connection between these curators and their own artists, the young emerging artists' opportunities tend to be reduced as a result of the power game. In addition, major curators' power have influence on the exhibition style as well as on the theme itself. Some artists who did not involved that kind of huge scale exhibitions dispute that the direction of the exhibition is concentrating on the curator's interest instead of artists or viewers. Although these dissatisfactions could not portray correctly the process of organizing and managing system of a biennale exhibition, those biennale exhibitions held in recent have shown tautologic discourses without any passion and positive attitude direct to the exploitation of our society as a vanguard. In the process of comparing several kinds of biennale exhibitions, I could find that some artists who participated several biennale exhibitions at the same time did not present their creative vision, although the triumph of an exhibition was typically measured by the amount of visitors. Thus, the aim of this article is to prove that the biennale can show us new cultural discourse as well as progressive method of understanding our times. Is biennale producing the real 'global standard'? If biennale has done it, could this global standard present upto-date paradigm for the unique exhibition system? Is biennale providing an useful opportunity for the understanding and communicating of contemporary art through the recontextualization which is pronounced by the publicity of curator and organizing committee? How can we find the distinctive strategy from each biennale exhibition including Venice Biennale? Biennale, as a blockbuster exhibition, always requires a degree of hype, otherwise it would not be a special event and would not attract a big enough audience. It is the actual reason why major biennale exhibitions seem to be similar artistic events. Unfortunately, it seems that the excess of biennale exhibitions might bring about the lack of contents. In this case, the biennale syndrome would being a kind of the center of poverty, in spite of the visual splendor. After all, following the global standard may not be a matter of great importance now. What really matters is how each biennale exhibition which started under the different conditions can search their own identity.

• 비교문화연구
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• 제43권
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• pp.377-404
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• 2016

본 논문에서 필자는 1993년 출판된 애나 디비어 스미스의 "거울 속에 반영된 분노"에서 기술된 인종간의 긴장과 갈등을 분석하려고 한다. 이 책은 1991년 뉴욕에서 발생했던 유대인과 흑인간의 충돌을 주요한 소재로 다루고 있는데, 이 사건은 이미 일인극의 형식과 텔레비전 연극시리즈로 방영된 적이 있다. 필자는 스미스의 인터뷰에 응한 많은 인물들이 여전히 홀로코스트와 노예제도의 담론이 지니고 있는 논리를 반복하고 있다는 점에 주목한다. 뉴욕의 크라운 하이츠에서 흑인 공동체와 유대인 공동체는 끔찍한 상실감을 공유하고 있지만 서로의 고통을 이해하려고 하기보다는 자신이 속한 문화, 인종의 집단정체성을 고집한다. 그들의 서사는 자신이 속한 집단이 과거에 경험한 역사적 사건에 수사학적으로 매여 있는 것이다. 필자는 스미스가 "거울 속에 반영된 분노"에서 자기 모순적인 독백들을 병치시킴으로써 노예제도와 홀로코스트 같은 담론들이 여전히 인종적, 민족적 공동체를 지배하고 있다는 사실을 제시한다고 생각한다. 필자의 의도는 유대인 공동체와 흑인 공동체간의 갈등만을 전적으로 조사하는데 있지 않다. 대신, 필자는 유대인 홀로코스트와 흑인 노예경험을 포함한 '홀로코스트 수사학'이 내포하고 있는 비평적, 이론적 담론들의 문제점을 분석하고 그 한계를 극복하려고 한다. 이러한 이해는 '홀로코스트 수사학'이 실패하는 지점을 드러내며 그것이 감추고 있는 폭력성을 제시할 뿐만 아니라 홀로코스트와 노예제도의 경험을 올바로 파악하기 위해서 그들과의 관계를 새롭게 형성하는 것이다. "거울 속에 반영된 분노"는 독자에게 자신의 맹목을 너무 쉽게 노출하는 '홀로코스트' 담론의 자기 모순적인 방식을 거울처럼 비춘다. 독자는 이와 같은 서사의 틈 속에서 과거의 상처가 치유되고 새로운 서사가 창출될 수 있는 가능성을 목격하게 된다.

• 동남아시아연구
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• 제21권2호
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• pp.77-123
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• 2011

Recently, Southeast Asian people, its food, natural sceneries and so on have been increasingly exposed to Korean people through mass media and multi-cultural events. At the same time, Koreans can frequently encounter Southeast Asians in their everyday lives. Thus, specific images and discourses of Southeast Asia has been established in our society, which creates a new social trend called 'Southeast Asia phenomena'. In short, 'Southeast Asia phenomena' means a totality of Korean people's experience of Southeast Asian and their perception on the region. On the one hand, 'Southeast Asia phenomena' is a result of inflow of Southeast Asians and their culture into Korea. On the other hand, it is also a consequence of Korean people's understanding of Southeast Asia from their trip to Southeast Asia or from their interactions with Southeast Asian people. This article aims to analyze the origin and diffusion of 'Southeast Asian Phenomena' in Korea in the context of Southeast Asia focusing on 4 topics, that is, migrant workers, overseas investments, retirement migration, study-abroad categorized as human movement. This article is also about a country-by-country comparative analysis both at the macro level and the micro level. At the macro level, overseas investments and trade, human exchanges, positive perception to Koreans which considered to be the structural causes become a strong mechanism playing a important bridge role between Korea and Southeast Asia. So these create the high probability of the emergence of 'Southeast Asian Phenomena' At the micro level which is more direct causes of 'Southeast Asian Phenomena', the economic cause is the most important common cause for 4 Southeast Asian Phenomena. Additionally, Korean wave is also remarkable common cause creating 'Southeast Asian Phenomena' even it is not the origin in the context of Southeast Asia. The diffusion of 'Southeast Asian Phenomena' is different by the topics and the elements contributing to create the favorable situation for the diffusion are not only overseas investments and trade, human exchanges at the macro level but also policy elements at the micro level. The relative differences of the causes of 'Southeast Asian Phenomena' in the country-by-country analysis are found. Regarding overseas investments in Vietnam and Cambodia, the economic degree of freedom in Cambodia is higher than in Vietnam. Even Korean Wave has had the longer history in Vietnam, but the favorable perspectives on Korean Wave are stronger in Cambodia. For migrant workers from Vietnam and Indonesia, the economic causes in Vietnam are more significant than in Indonesia. The impact of Korean Wave is stronger in Vietnam than in Indonesia. In case of study-abroad, the social-cultural elements and policy elements are more diverse in Malaysia than in Korea. For the Korean retirees who immigrate to the Philippines and Malaysia, the economic causes in the Philippines is more significant in Malaysia.

• 지역과문화
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• 제6권4호
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• pp.47-72
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• 2019

본고는 지역균형발전 및 지역특화발전을 위해 반드시 필요한 요소로 운위되어온 지역혁신체계의 구축을 위해서 지역문화는 어떠한 역할을 감당할 수 있으며, 감당해야만 하는지를 탐색하려는 목적을 갖는다. 이를 위해 우선 국가균형발전을 위한 필수 과정으로서 지역 혁신체계를 다루는 논의가 어떠한 개념들을 중심으로 발전되어왔는지를 살펴보았다. 또한 지역혁신체계의 성공요인은 무엇이며, 지역혁신체계 구축을 위해 국내 지역혁신정책과 지역문화정책은 어떠한 흐름 속에서 전개되어 왔고 이 두 정책이 어떻게 융합되어야 하는지 검토하였다. 이론적 배경을 살핀 후에는, 지역혁신체계의 형성 과정에서 문화가 역할하는 방식을 파악하기 위해 유후인과 유바리라는 일본의 대표적인 지역혁신 사례를 검토하였다. 이는 문화가 공동체의 삶의 방식(style)으로서의 역할과 함께 예술, 콘텐츠와 같은 독특한 영역(sector)으로서의 역할도 갖기 때문에, 이러한 서로 다른 층위를 고려하면서 '문화'가 지역혁신체계의 구축에 기여할 수 있는 양태와 방식을 탐색하고자 한 것이다. 사례연구의 시사점을 도출하는 과정에서, 우리는 지역혁신체계의 형성과정에 특별히 주목할 필요가 있음을 발견하게 되었다. 각 단계의 핵심 활동의 성공이 상당 부분 해당 지역의 문화에 의존한다는 것, 그러나 이를 제대로 이해하기 위해서는 기존의 '문화' 개념과 '문화정책'을 좀 더 총체적인(holistic) 관점에서 재정립할 필요가 있음을 확인하였다.

• 미술이론과 현장
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• 제1호
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• 조형예술학연구
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• 제12권
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• pp.65-96
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• 2007

Today, the modern art is extremely diverse. It is denying its own boundary through chaos, extreme, abjection. In fact the diversity of the modern art can be best described as questioning and challenging to the essence of the reality, rather than the artistic pursuit of the beauties. The pursuit of the reality has been a long lasting discourse since the ancient. Through the history, the reality (referent) and representation (image) has been complementing and disposing each other in a relationship of a meaningful construction until the modern times. The limit of modernistic self-reference and the emergence of the figure leads to the emergence of Post-modernism in a trend of experimenting new visual arts. The return to the figure is clearly distinguished from existing representation's system and it brought new meanings to approaches and interpretations of the reality. In the case of Pop arts of 1960's and the following the modern sculptures, which is covered by this thesis, I put an emphasis on the diversification of those via changed strategies on the reality. In a situation where the reality is dictated by signified, the modern arts can no longer stay on a classic concept of representation, rather it pursuits new system and diverse strategies. I provide three types of strategic characters of the reality and the diversification of reality: the transition of the reality. These three types can be used as a frame work, which is supporting new aspects of the modern arts in reflecting on existing system. Therefore, the reason of categorizing is to distinguish modernistic arts and post modernistic arts, and to propose new post-modernistic discourses. Adapting J.F, Lyotard's view, absence is used to trace down the diversification of the reality thorough the sublime on the deconstruction of the mega discourses and the relationship of representation. Based on H. Faster's theory of the appropriation, the appropriation is used to exemplify the strategies of visual arts are in variations and being delayed. Lastly, in the transition, J. Baudrilliard's simulacre is used in terms of the concept of post modernistic representation. Based on the core of his theories, the deconstruction of existing concepts and simulation as the post modernistic representation, and the world of hyperreality based on simulacre are explained. These allows us to deny that representation is the expression of reality through mimesis. My aim is to work on the definition of the arts and representation in the modern era, and go further from there in order to clarify meaning and extension of the modern sculptures. Now two artists are reviewed based on their own art works: George Seagal; Jeff Koons. They are selected among numerous artists from the Post Modern era. Epic contents and emphasis on daily life of Seagal's works show good examples to artists from Pop Arts and following time period and may have served as a start point for Postmodernism. Indeed, he tried to show a newly defined relationship between art works and daily life experience. On the other hand, J.Koons used the strategies of fabrication and appropriation, which shows characteristics of the postmodernism. Through his four individual exhibitions, he shows the diversification of the reality based on art works as fetishistic merchandises, and newly defined concept of Ready-made since M Duchamp. Lastly, the diversification of the reality is analyzed again in context of my art works. I focused on the return to the figure among a variety of trends of late 20 th century modern sculpture. It showed the post modernistic point of view on the reality. Post modernistic diversified strategies are adopted as a method of distinguishing each art works via the diversification of the reality. This is the result of contemporary social and cultural situations.