• 디지털융복합연구
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• 제9권1호
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• pp.177-187
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• 2011

개방, 참여, 공유로 대표되는 웹2.0 인터넷 흐름 속에 새롭게 세간의 화두가 되면서 급성장하고 있는 소셜 미디어, 모바일 미디어 환경 속에서 경제, 사회, 문화는 물론, 정치 분야에도 전반적이고 다양한 변화를 꾀하여야 한다. 한국은 과거의 IT기술력을 바탕으로 새로 다가오고 있는 소셜미디어 환경 속에서도 세계 시장에서 선도적인 역할을 해나가는 위치를 찾아 가고 있다. 우리 국민은 과거 IT 분야에서 새로운 제품에 대한 Early Adopter역할을 해내어 국제 사회에 관심을 끌은바 있다. 급속히 변하해가는 소셜미디어 환경 속에서 정치 분야에서도 이에 맞는 방식으로 친 국민 의사소통 방식이 이루어 질수 있도록 노력해야 한다. 스마트 시민 정당 조직으로서의 비전을 정비하고 소셜미디어 전략을 마련하고 실행하는 등 변화의 노력을 시도하여야 한다. 본 연구에서는 이러한 소셜미디어 환경 속에서 어떠한 방법론으로 변해야 보다 더 친밀하게 국민에게 다가가고 국민과 하나가 되는 성공을 거둘 수 있는가에 대해 연구하고 방향을 제시 해 보고자 한다. 이 연구가 기존 정부 운영이나 정당 운영 방식에 대해 되돌아보게 하고 소셜미디어 환경에 맞는 효율적인 운영 전략을 되새겨 보게 하는 데 일조하게 될 것이다.

• 영어영문학
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• 제56권5호
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• pp.773-796
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• 2010

This essay examines, first, the possibility and limitation of Asian America as a category of identity and its political and cultural implications through various theoretical perspectives. Here, by closely reading David Mura's poem "The Colors of Desire," I will argue that "Asian America" as a category of identity is now on the verge of falling apart and its politics of identity is no longer an effective way of fighting back against racism in the US. It is because Asian America is indeed what might be called a historical block, a product of ad-hoc coalition between different ethnic groups historically situated and constructed. In this sense, it is a kind of phantasmal object that is marked by practical absence. This fabricatedness inherent in Asian America as an identity category signifies that it has no essence that is meant to define the group in a transcendental way. The internal totality and coherence of that identity can thus be achieved only by suppressing differences between various ethnic groups and positing a single 'authentic' Asian American identity and culture. More dangerously, according to Viet Nguyen, such idealization of a single subject position can reinforces ideological rigidity that might threaten the ability of Asian America to represent itself in a unified fashion. Then, he predicts, Asian America will lose its cohesive force and fall apart. Eventually, every group within Asian America will be ethnicized. The only way of escaping from this bleak situation, as Vincent Cheng argues, is to foregroud the fabricatedness and ad-hocness of Asian America and to perform "inauthenticity," because Asian America is nothing but a functional category that is marked by absence of essence or authenticity. If Asian Americans admit that they have no essence and that they are essentially inauthentic, the practice of performing inauthenticity can become what we might call an alternative Asian American culture and identity.

• 복식문화연구
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• 제21권2호
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• pp.234-245
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• 2013

The modern fashion was developed the basis on the western dress structure and its historical flow was continued until today. Particularly, the Britain has coexised the unique cultural identity in the aristocratic high culture and rebellious tendency of the subculture so it is necessary to the consideration about whole culture in order to grasp the British fashion identity. The purpose of this study was shown the methodological framework of the culture identity research of one country through the background of this formation of culture and process high culture and subculture study by analysis the culture identity in the today's Britain. Also, the purpose of this study that it draws whether the feature of the British fashion shows up as any aspect in this culture identity. The range of this study subdivides and considers with the imperialism, industrial revolution, aristocratism, union nations, and geographical aspect as the island country into the economy, politics, society, and natural characteristic about the Englishness and the notion of British culture then it draws the dichotomy of the British fashion through the culture identity formed in this society cultural background with both sides in the high culture and subculture aspect.

• 수완나부미
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• 제12권1호
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• pp.157-175
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• 2020

This paper presents the work of Southeast Asian scholar Ramon Guillermo. Using sophisticated computer-aided methods, Guillermo approaches a range of topics in the wide fields of social sciences and the humanities. A creative writer as well as an activist, Guillermo grounds his studies in nationalism and Marxism. Particularly interested in Indonesian and Philippine society and culture, Guillermo engages with the writings of labor leaders Tan Malaka and Lope K. Santos, translations of Marx's Capital into Bahasa and Filipino, and studies as well the discursive and historical connections between the Communist Parties of both countries. The paper aims to introduce the innovations of Guillermo's studies, particularly in the fields of cultural studies and translation studies. The type of cultural studies Guillermo practices is empirical, taking inspiration from innovations done in the digital humanities. Guillermo is most opposed to trendy, fashion-seeking approaches that are not grounded on history. He reserves particular ire for "hip" postcolonialism, and instead praises studies that are founded on politics and materialism. In translation studies, Guillermo goes beyond the mere cataloguing of mistakes. For him, it is the mistakes and "perversities" of a translation that is interesting and illuminating. Guillermo himself is a translator, and the paper ends with a brief discussion of his production in this field.

• 한국연극학
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• 제40호
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• pp.307-344
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• 2010

Cultural Studies built on the critical mind of New Left exposes the relationship between culture and power, and investigates how this relationship develops the cultural convention. It has achieved the new perspective that could make us to think culture and art in terms of political correctness. However, the critical voices against the theoretical premises of Cultural Studies have been increased as its heyday in 1980s was nearly over. For instance, Terry Eagleton, a former Marxist literary critic, declared in 2003 that the golden age of cultural theory is long past. This essay, therefore, intends to show the weak foundations on which the approaches of cultural studies to theatre rest and to clarify the general problem of their introduction to theatre studies. The approach of cultural studies to theatre takes the form of 'top-down inquiry' as it applies a theory to a particular play or historical period. In other word, from the theory the writer moves to the particular case. The result is not an inquiry but rather a demonstration. This circularity can destroy the point of serious intellectual investigation as the theory dictates answers. The goal-oriented narrow viewpoint as a logical consequence of 'top-down inquiry' makes the researcher to favor the plays or the parts of a play that are proper to test a theory. As a result it loses the fair judgment on the artistic value of a play, and brings about the misinterpretation. The interpreter-oriented reading is the other defect of cultural studies as it disregards the inherent meaning of the text, distorting a play. The approach of cultural studies also consists of a conventionality as it arrives at a stereotyped interpretation by using certain conventions of reasoning and rhetoric. The cultural theories are fundamentally the 'outside theories' that seek to explain not theatre but the very broad features of society and politics. Consequently their application to theatre risks the destructive criticism, disregarding the inherent experience of theatre. Most of, if not all, cultural theories, furthermore, are proven to be lack of empirical basis. The alternative method to them is a 'cognitive science' that proves scientifically our mind being influenced by bodily experience. The application of cultural materialism to Shakespeare's is one of the cases that reveal the limits of cultural studies. Jonathan Dollimore and Water Cohen provide a kind of 'canonical study' in this application that is imitated by the succeeding researchers. As a result the interpretation of has been flooded with repetitive critical remarks, revealing the problem of 'top-down inquiry' and conventional reasoning. Cultural Studies is antipodal to theatre in some respect. It is interested chiefly in the social and political reality while theatre aims to create the fiction world. The theatre studies, therefore, may have to risk the danger of destroying its own base when it adopts cultural studies uncritically. The different stance between theatre and cultural theories also occurs from the opposition of humanism vs. antihumanism. We have to introduce cultural theories selectively and properly not to destroy the inherent experience and domain of theatre.

• 한국산학기술학회논문지
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• 제16권9호
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• pp.6333-6344
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• 2015

본 연구는 문화재 관련 분야 분류체계 특성 분석을 통한 근대 건축 및 시설물 분류방안 제시를 목적으로 한다. 이를 위해 관련 문헌과 산업 및 행정 분류체계 및 국내 외 문화재 분류를 분석하고, 최근 대두되는 문화재의 개념 확장을 고려한 건축 및 시설물 분류방안을 제시하였다. 이상의 연구 결과는 다음과 같다. 첫째, 기존의 고대 유물을 대상으로 하는 문화재 분류 방법으로는 문화재 개념 확대와 새로운 기능을 포괄하는 건축 및 시설물 분류에 한계가 있어, 문화유산 개념 변화에 대응하는 분류방안이 필요하다. 둘째, 문헌, 산업 및 행정 분야 분류를 기초로, 문화재 분류체계는 용도 기능 분류 항목으로, 정치 외교, 산업 경제, 사회 생활, 문화 예술, 과학 기술, 군사 치안으로 대분류하였다. 셋째, 각 기능별 분류 하부에, 건축 및 시설물의 용도를 고려하여 건축법 및 도시계획법을 바탕으로 중 소분류를 작성하여 문화재 등록 과정에서 제시된 가치와 의미를 반영할 수 있도록 하였다.

• 한국언론정보학보
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• 제68권
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• pp.130-165
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• 2014

오늘날 한일 대중문화 개방을 통해 실체로서 확인할 수 있는 개별 대중문화물과 문화 교류, 그리고 점증하는 한일 간의 정치적 긴장을 함께 살핌으로써 문화와 정치 사이의 접합 지점을 발견하는 것이 본 연구의 목적이다. 문화와 정치는 개별적으로 분리되기보다는 문화적 정치로 연동되며, 이들이 어떻게 접합되는가에 따라 차이 및 모순의 비교 가능한 다양한 영역들이 구분된다. 이와 같은 전제 하에서 일본 대중문화 속 정치성을 분석하여 한일 간 정치 경색의 문화적 배후를 밝히고자 한다. 본 연구가 집중한 것은 일본 대중문화 속 근대성의 문화적 구현으로, 이를 구체적으로 살피기 위해 일본을 대표하는 망가 작가인 우라사와 나오키의 장편 망가 8편을 분석하였다. 분석은 나오키 작품에 담긴 (1) 무국적성, (2) 서구와 일본, 그리고 아시아의 재현, (3) 과거 일본에 대한 향수와 탈일본적 욕망에 집중되었다. 분석 결과 그의 망가는 일견 인류애와 진보적 가치를 옹호하며 보수 우익의 논리와 거리를 두는 것처럼 보인다. 하지만 역설적으로 아시아를 삭제함으로써 탈아입구, 그리고 근대의 초극과 맥이 닿는다. 이는 서양과 마주한 이래 외양은 변했을지라도 지속되는 일본의 근대성 속에 그의 망가가 위치하고 있음을 보여준다.

• 인문언어
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• 제7집
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• pp.247-269
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• 2005

The decade of the 1960s in Korea is normally regarded as a transitional period, but this transition has been consistently viewed in either economic or political terms. In this paper I examine the 1960s and the 1970s as a period of cultural transition―from a neo-Confucian emphasis on "high" art to a broader, more inclusive acceptance of "popular" forms of cultural expression. Although these two realms of cultural production are often viewed as fundamentally antithetical, I argue that there is actually significant continuity in terms of both artistic expression and cultural engagement. In particular, I look at the trajectories of Korean national literature and cinema and their areas of confluence. I examine the career of Kim $S{\breve{u}ng-ok$, who in the 1960s was the preeminent literary voice of a new generation and who in the 1970s was the screenwriter for some of the most popular films of that era, and I show how Kim's career changes track parallel changes in both literature and cinema. Artistically, Kim continued his literary expressions of a new sensibility in his screenplays, bringing to cinema a new infusion of seriousness and respectability. Culturally, Kim continued his explorations of the ways in which rapid changes in Korean politics and the booming economy led to miscommunication and chaos in society. By consistently exploring processes of national identity formation and re-formation, Kim's 1960s literature can be seen as crucial instances of Korean national literature (minjok munhak). In the same manner, Kim's 1970s screenplays can be seen as foundational moments in a Korean national cinema.

• 한국의상디자인학회지
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• 제17권2호
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• pp.173-184
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• 2015

This study examined the impacts of the cultural proximity of Chinese consumers on the image of both country and product, and investigated how they are related to purchase intention of Korea fashion. Subjects were Chinese female consumers in their 20s and 30s, living in Yangtze River delta and Seoul. The results of the study were as follows: 1) The cultural proximity had a significant influence on the country image and fashion product image. Chinese consumers with more emotional proximity had more positive attitude towards country image, such as politics, economics, technology, cultures and people image. And consumers who had higher interest in Korea and Korean culture evaluated the quality, design, value and reputation of Korean fashion more positively. 2) Chinese consumers with positive attitude towards people, technology and culture image seemed to prefer fashion product. Specifically, the dimensions of country image had a different influence on the fashion product image such as product quality, design, value, reputation. 3) The Korea country image and fashion product image had also affected on purchase intention of Korean fashion products. Consumers with positive attitude towards people and technology image had higher purchase intention of Korea fashion products. And consumers with positive attitude towards reputation, value and design of fashion products had higher purchase intention of fashion products.

• 동남아시아연구
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• 제23권3호
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• pp.1-48
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• 2013

Taking the cases of Korean garment factories in Binh Duong area, this study aims to explain the phases and causes of the wildcat strikes that have rapidly expanded recently in Vietnam. For the purpose, this study raises several questions as follows. Why the strikes sometimes increase and decrease other times? Why the factory workers prefer a wildcat strike even though it is politically risky, unproductive, and complicated? By the same token, why the foreign management cannot or will not preemptively preclude the wildcat strikes that are usually predictable and the workers are mostly able to accomplish their demands? While answering these questions, this study explores the economic, political, and socio-cultural conditions of the wildcat strikes respectively. Based on the fieldwork in around 30 Korean owned garment factories and the interview with around 100 Vietnamese factory workers in Binh Duong, this study confirms several findings on the phases and causes of the strikes in the area in specific and in Vietnam in general. First, the annual trends of the wildcat strikes reflect the macroeconomic conditions in which the consumer prices and the labor market in Vietnamese economy and business conditions in the world economy are pivotal. Second, however, the influence of macroeconomic conditions on both the management and the workers in the garment factories are differential, depending on the financial situations of the multinational corporations and the workers' capability of reproducing their household economies. Thirdly, the possibility of the wildcat strike in each factory is relatively independent on the financial conditions of a factory and rather associated with the stable political structure and active political processes within the factory that enable the management and the workers to efficiently communicate each other. Lastly, the necessity of establishing political stability in a factory arises from the distinctive social and cultural characteristics of the multinational corporation in which foreign managers and native workers inevitably live in separate and different socio-cultural worlds.