• 인문언어
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• 제6권
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• pp.359-380
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• 2004

Considering Korean feminist theatre is not successful at all these days, it is needed to find the reasons of its crisis. As two Korean feminist theatre Scholars argued, the crisis owed to the structural problem from the start. That is the Korean feminist theatre started and developed depending on the imported popular feminist plays without social and cultural self-consciousness. Once the imported feminist theatres were flourished, some theatre companies pursued the commercial success blurring the feminist issues. It was resulted into the intentional ignorance in and out of the theatre society. While, some feminist plays were too inclined to the agit-prop without artistic sophistication. This essay tries to examine how the feminist theatres have been developing and what kinds of feminist performances have been made until now. And it intends to emphasize that the play text should be based on the Korean women's past, present, and future reality. Besides, they have to delve into the problem by which the Korean women were trapped in historical, social, and cultural environment. To make the women's matter the social issue at present and fur the future, the Korean feminist theatre should re-find its place as the socio-cultural forum. First, Korean theatre should cooperate with the other women's group crossing the different disciplines of the society, the culture, the politics etc . Secondly, we need to observe and watch where and how the distortion happens in women's matter, and react to correct it. Thirdly, we need to discover, to support, and to protect the women centered perspective of some playwrights as well as the performers. Co-writing or co-performing is also very positive to diversify the women's subjects. Lastly, to protect the feminist theatre against the consumerism, they need to have the financial support from the government or some civil society.

• 한국의류학회지
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• 제39권2호
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• pp.204-216
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• 2015

Fashion is changing and evolving everyday with an influence from and over contemporary socio-cultural factors. Cartoons expressing the phenomena of times through exchanges of mutual effects with socio-cultural factors that result from functionality and media characteristics. This study examines how fashion provides a great correlation with society-culture expressed in cartoons. The research segment of this study was conducted with literature and case studies; in addition, the UK cartoon magazine "Punch" was selected for the case study. The research findings of the fashion satire expression in cartoon were divided into 2 cases. The first case is that fashion was used as an instrument to satirize socio-cultural phenomena in cartoons. Various fashion elements (hats, dresses, words on T-shirts) were used for satiric expressions and to express periodic images related to politics, economics, society and culture. It communicated factually or criticized noteworthy phenomenon or age changes through the symbolism of fashion. The second case is that fashion itself is the object of satire in a cartoon. It satirically described the blind following and destruction of stereotype as direct objects. Fashion satire appeared in cartoons regardless of a correlation with age. Each cartoon fashion satire had meaning in both humor and criticism for satirizing the age. This study shows that fashion symbolism for satire of the reality has been used as the instrument of expression and simultaneously expressed as the object of the critique as an image and phenomenon that reflects reality. This study has significance in that it examined expressive modes of fashion satire in cartoons that escape from separating fashion from cartoon as a different area.

• 영미문화
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• 제18권1호
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• pp.53-92
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• 2018

This essay aims to examine chick lit written within the Asian American context. For the most part, the chick lit genre has been typically regarded as a site to study contemporary white women's experiences and to debate the genres' credentials as feminist literature. Though some may disagree, there is general consensus that chick lit has fallen out of vogue after reaching its peak in the first decade of the new millenium.; nevertheless, it is being revisited by readers and critics alike as it has recently re-emerged as a location upon which to examine how race and gender inform notions of national belonging and female subject formation in the twenty-first century. To this end, this essay reads Kim Wong Keltner's The Dim Sum of All Things (2004). Keltner's protagonist Lindsey Owyang is yet another twentysomething "chick" looking for love, self, independence, and success in the huge megalopolis of San Francisco. What sets Lindsey apart from the chick prototype is that she is a third-generation ABC (American-born Chinese) and issues relevant to Asian America frequently make their way into Lindsey's narrative. Though it is generally considered as standing a "few notches above the standard chick-lit fare" (Stover n. pag), I would argue that meaningful reflections on many of the major pillars of Asian American literature, history, and cultural politics are glossed over in favor of cursory musings about the daily vicissitudes of Lindsey's life. This essay thus takes to task Ferriss's claim that a "serious" consideration of chick lit "brings into focus many of the issues facing contemporary women and contemporary culture - issues of identity, of race and class, of femininity and feminism, of consumerism and self-image" (2). I contend that a close examination of Keltner's The Dim Sum of All Things discloses that the chick lit format undermines a "serious consideration" of Asian American issues by presenting in particular a highly problematic representation of race and of Asian American femininity.

• 한국노년학
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• 제31권3호
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• pp.751-765
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• 2011

본 연구는 노년의 호명과 관련해 한국사회의 다양한 언어적 실천이 노정하고 있는 갈등과 그 정치적 함의를 밝히고, 이러한 현상이 벌어지고 있는 원인을 문화적 차원에서 조명하려 한다. 근래에 들어 한국사회에서 노년을 어떻게 호명할 것인지가 일상에서 문제시되고 있다. 이에 따라 새로운 호명방식이 등장하고 있으며, 이러한 현상은 노년의 주변화를 의미한다. 하지만 새로운 호명방식들도 노년 호명의 문제를 풀어내지 못하고 있다. 그 이유는 한국사회의 연령주의적, 성차별적, 신분주의적 시선이 노년에 대한 다양한 호칭과 지칭의 의미를 주변화시키고 있기 때문이다. 또한 노년의 주변화는 문화적 차원에서 노년의 타자화가 심화되면서, 노년이 타자성의 집적지가 되어가는 '주변성의 노년화'가 진행되고 있기 때문이다. 학계와 전문가 집단에서도 노년의 호명과 관련된 다양한 언어적 실천이 지니는 정치적 함의에 대한 이해와 더불어 차별적 언어사용을 넘어서려는 실천이 요구된다.

• 건축역사연구
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• 제32권5호
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• pp.95-105
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• 2023

Focusing on Hwaseokjeong in Paju, the work seeks to clarify the social production of Nujeong (樓亭: Korean traditional pavilions) space, which took place over the 1960s and 70s, and its cultural-political implications. To make the effort as such meaningful, a theoretical framework based not merely on the thesis of 'social production of space' advocated by Henri Lefebvre but especially on some discussions related to 'state production of space' is prepared, according to which Hwaseokjeong is analyzed and explained. As a consequence, two principal arguments are put forward: one is that Hwaseokjeong was a social space which had been built and constructed in accordance with the unique mode of production dominating Korean society at that time called 'the state mode of production (le mode de production étatique)'; the other is that what lies beneath the denotation of a 'social space of tradition restoration' that Hwaseokjeong appears to carry is in fact the connotation of 'infiltration of anti-communist ideology'. All of these claims are once again supported both by examining Roland Barthes's semiology and mythologies and by considering Hwaseokjeong's P yeonaek (扁額: a plaque or framed text) as 'the practice of naming power through Jesa (題詞: inscribing dedications)'. While providing a succinct summary, the paper finally evaluates what 'social production of space' implies to social practices of architecture and related criticisms by taking into account the relationship between visibility and readability of space including buildings.

• 미술이론과 현장
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• 제5호
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• pp.197-215
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• 2007

Yangbanxi("model plays") symbolize the Cultural Revolution(1966~1976) in China. The Eight Model Revolutionary Works include five Chinese Modern Peking Operas, namely, Taking Tiger Mountain by Strategy(智取威虎山), Harbor(海港), Shaijabang(沙家浜), The Red Lantern(紅燈記), and Raid on the White Tiger Regiment ; (奇襲白虎團), ballets such as The Red Detachment of Women(紅色娘子軍) and The White-Haired Girl(白毛女) ; and a symphony: Shajiabang(沙家浜). On April 24, 1967, Chinese leaders, including Mao Zedong, saw a performance of The White-Haired Girl. Yanbanxi was performed in Beijing between May 24 and June 15 the same year. The Red Lantern was designated as a work for the proletarian classes by Jiang Qing(Mao Zedong's third wife and the most influential woman in China) and spread nationwide. It was also made into a film to be enjoyed by many people. The modern Chinese operas went a long way in their creation of visual images of revolutionary heroes. The Red Lantern, in particular, came to be regarded as the most representative revolutionary opera. In the course of such a process, Jiang Qing used Yangbanxi as a political tool for compelling the people to worship and pledge their allegiance to Mao in an effort to turn the Cultural Revolution into a class struggle on behalf of her husband. During the Cultural Revolution period, artists were made to associate with workers, farmers and soldiers based on the idea of advocating revolutionary arts for the proletarian classes. The characters in The Rend Lantern were portrayed as heroes from the proletarian classes according to the demands of the era. Chinese leaders set forth the principles of artistic expression, stressing three important factors: politics, heroes, and heroic acts, which were to be applied to all the visual arts, including Yangbanxi. This paper attempts to present a new view of fine arts during the Cultural Revolution in China by focusing on the productive significance of a leading style of a specific era in the past. To that end, this paper sheds light on products made in conformance with political instructions, stressing the importance of revolutionary heroes in The Red Lantern.

• 한국간호교육학회지
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• 제3권2호
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• pp.163-192
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• 1997

As the population over the age of 65 increases, the demand for nurses who care for this group also continues to grow. Well-prepared nurses who are knowledgeable and skilled for the elderly can be prepared through systematic gerontological nursing curricula. This study was carried out to identify the needs for gerontological nursing curricular contents. The subjects for this study were two participant groups the educators who teach gerontological nursing in three-year and four-year baccalaureate nursing programs, and the nurses who are working with the elderly in hospitals, community health centers, social welfare agencies, and community health practioner's posts. The major findings of the study are as follows : 1. The differences between actual contents and essential contents of the educators : Concerning the actual contents that is actually taught, the educators showed the highest scores on the demographics of older adults and the lowest scores on the cultural variations affecting health care. Regarding the essential contents, the educators showed the highest scores on the demographics and the lowest scores on the economics of aging. Aside from the demographics, all of the items were found to have significant differences between essential and actual contents. This implies that all the content areas except demographics should be emphasized. 2. The differences between actual knowledge and essential knowledge of the nurses : Concerning the nurses' actual knowledge, the nurses showed the highest scores on the common health problems and their treatment and the lowest scores on the politics of aging. Regarding the essential knowledge, nurses showed the highest scores on the chronic illness and common health problems and the lowest scores on their roles and functions. However, they thought all the items to be essential. All of the items were found to have significant differences between actual and essential knowledge. The nurses who studied gerontological nursing in their school years and after graduating had more knowledge. However, they felt more knowledge was needed. This implies that the nurses need more education in all content areas of gerontological nursing. 3. The differences between educators and nurses : Concerning the essential contents, the educators showed higher scores on the demographics and growth and development than the nurses. Whereas, the nurses showed higher scores on the cultural variations, long-term care, economics of aging, politics of aging, legal and ethical issues, and common health problems than the educators. 4. Activities of nursing care for the elderly : Most common activities were related to direct nursing care such as giving physical care, counseling/teaching clients, and assessing and planning care for the clients. Nurses thought that all the items were critical, but they showed relatively low scores on the following :'serve on multidisciplinary committee', 'preparing reports', 'evaluation of outcomes of care', 'determine policy for nursing service', 'set patient care standards', and 'participate in nursing research' The constraints in providing better nursing service were time constraints, administrative restraints, social restraints, and inadequate knowledge.

• 한국언론정보학보
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• 제75권
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• pp.9-42
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• 2016

이 연구는 한국 사회 남성들의 명품 소비가 갖는 사회문화적 의미는 무엇이며, 개인이 명품 제품에 어떤 의미를 부여하고 또 이를 소비하는 과정에서 어떤 경험과 실천을 하는지 분석하고 있다. 이러한 의미와 실천을 둘러싼 일련의 과정들이 개인의 삶에 개입되는 방식과 이들의 총합으로서 한국 사회의 브랜드 소비와 물질문화를 둘러싼 다기한 지형과 문화정치를 비판적으로 독해하고 있다. 연구 방법으로 30대 남성 9명을 대상으로 심층면접을 통해 이들의 명품 소비 경험을 수집하였다. 연구 대상자들은 자기표현이나 타인과의 관계를 위한 상징적 욕구의 충족과 정체성 및 라이프스타일(lifestyle)의 연장선상에서 명품 제품을 소비하고 있었다. 이들에게 명품은 애착의 대상일 뿐 아니라, 새로운 관계와 자기 정체성의 형성 과정으로서 이를 소비하는 일련의 활동을 통해 지속적인 만족감이나 자기 효능감을 경험한다. 이들은 자신의 준거 집단으로부터 브랜드 소비 양식을 학습하면서 명품과 명품이 아닌 제품을 혼용해 사용하는 포스트모던(postmodern)적 소비 행태와 전략을 드러내기도 한다. 한국 사회에서 적절한 명품소비는 타자와의 관계에서 우위를 점하기 위한 전략이나 필요로 인식되며, 이에서 파생되는 기호들은 현대사회의 남성성이 경제적 자본과 연동되는 자기관리, 자기계발 등의 가치와 불가분의 관계에 있음을 시사한다.

• 한국철학논집
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• 제54호
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• pp.43-75
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• 2017

이 글은 조선시대 지성인들이 고(古)와 금(今)에 대해 어떻게 이해하였으며, 그 결과 역사가 어떻게 바뀌었는지를 고찰하였다. 학파 간의 차이를 중심으로 거시적 차원에서 조망을 한 것이다. '고'와 '금'에 대한 이해는 조선시대 전 시기에 걸쳐 학술과 예술, 나아가 정치 등에 직, 간접적으로 영향을 끼쳤다. 학자에 따라, 학파에 따라 고 금에 대한 인식을 달리하면서 전통과 창조, 보수와 진보, 이상과 현실의 문제가 심도 있게 논의되었다. 또 그런 논의가 역사적으로 정치와 사회를 바꾸는 데 크게 기여하였다. 조선시대는 전반적으로 '고'를 중시하는 문화 전통이 뿌리를 내렸다. 그러는 가운데 시대의 흐름에 따라 '금(今)'이나 '신(新)'에 대한 이해가 요구되었다. 현실이 혼란하거나 타락하였다고 판단될 때에는 근본으로 되돌아 가자는 복고(復古)를 기치로 내걸기도 하였다. 고와 금에 대한 인식이 사회를 바꾸는 원동력이 되었다. 다만 '고'를 버려둔 채 '금'을 말하거나 '신' 을 외치는 경우는 없었다. '고'를 비판한 경우도 고에 얽매인 것을 비판한 것이지 '고' 자체를 겨냥한 것은 아니었다. '금'은 사실상 '고'의 종속 변수였다. '고'를 보수, '금'을 진보라고 보는 것은 이분법적인 인식이다.

• 커뮤니케이션학 연구
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• 제25권5호
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• pp.81-101
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• 2017

본 논문에서는 중국 인터넷 사이트에서 네티즌을 중심으로 논의되고 있는 반한감정을 한류의 대응현상으로 보고 이러한 현상을 야기하는 요인을 키워드를 중심으로 살펴보고 분석해보았다. 중국의 포탈사이트 티엔야논단(天涯论坛)에 게재되어 있는 반한감정과 관련된 34만개의 게시글을 분석하여 역사, 정치, 연예인으로 키워드 분류하여 정리하였다. 반한감정을 유도하는 주제로 가장 큰 비중을 차지하는 것이 정치관련 이슈(34%)였으며 특히 사드(고고 도미사일방어체계·THAAD)와 관련된 문제가 가장 자주 언급되었다. 이것은 중국 내 반한 감정이 단순히 미디어콘텐츠의 내용이나 연예인들로 인해서 야기된 것이라기보다는 중국의 정책과 밀접한 관련을 갖고 있음을 의미한다. 따라서 중국내 반한 감정을 극복하고 변화하는 미·중 국제 정세 속에서 양국과의 안정적인 관계를 유지하기 위한 대응책으로 중국 정부당국의 미디어 정책에 대한 한국의 미디어콘텐츠 제작진의 이해와 더불어 양질의 콘텐츠로 미디어 비즈니스를 리드할 것을 제안한다. 이를 위해서는 이미 성장한 중국미디어시장에 공동제작이나 합작을 통해서 우회적이지만 안정적인 접근을 시도하는 것이 필요하며, 무엇보다도 중국적 민족주의인 중화사상과 중국문화에 대한 밀도있는 이해와 더불어 중국문화의 대체제로서가 아니라 콘텐츠의 독립성과 우수성을 통해서 한국산 문화콘텐츠의 경쟁력과 정체성, 우수성을 확립하는 것이 필요하다.