• The Korean Journal of Archival Studies
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• no.68
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• pp.205-241
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• 2021

This article explores how to incorporate the topic of the global environmental crisis called the "anthropocene" into archives studies and connect it to ecological practical reasons. In order to encourage discussion of archival studies, which puts the environmental crisis at a kind of archive constant value, this study seeks to examine the possibility of a quality shift in archival studies based on ecology. This article aims to go beyond the pragmatism of preparing improvements to eco-friendly record management, which is recently claimed by the "Green Archive" in Western archival studies. It calls for a new concept called 'ecological archive', which theoretically combines a more archives-based and ecological paradigm, and its epistemological transformation. Specifically, the ecological approach of archives is first discovered in the discussion of archival studies and at the same time, through the "ecological turn" of archives emphasized by recent anthropocene discourses, the concept of "ecological archive" emphasized by this article is embodied. This study uses 'ecological archive' as a universal and theoretical framework for archives as a basic concept for building ecological 'living' archives. In other words, for the construction of ecological archives, we reinterpret and extend so-called democratic values for archives, i.e., post-custodianship, community archives, and archives of emotions. Finally, the records of foot-and-mouth disease killing burial sites, an important site and example of the anthropocene tragedy, exemplifies the methodology of the actual application of ecological living archives. The case analysis aims to seek a new qualitative shift in record management that adapts to global ecological transformation, while also emphasizing the documentation by archival activism in ecological field practices jointly organized by archivists and citizens.

• Cross-Cultural Studies
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• v.50
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• pp.1-29
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• 2018

In the contemporary American cinematic landscape, there is a distinctive tendency to depict the disturbing ways in which characters with brain damages perceive, remember, and think about the world. Despite its attempts to examine the socio-political implications of these characters' subjectivities, the previous scholarship on this trend of film was limited in being either too pessimistically deterministic or too euphorically optimistic. Critically reading neuroscientific discourses on the brain-damaged subject from the perspective of Giorgio Agamben's critique of biopolitics, this paper explores how the contemporary American cinema of the impaired brain attempts to mediate the neurologically inexplicable affects of those subjects who are in the neurological state of exception and to express their experiences of a becoming-nonhuman. By closely reading Darren Aronofsky's Black Swan and Alejandro $Gonz{\acute{a}}lez$ $I{\tilde{n}}{\acute{a}}rritu^{\prime}s$ Birdman in this regard, I show how the two films, by employing different sets of cinematic free indirect techniques, express the neurologically impaired subject's affective experience of a becoming-nonhuman animal in different ways, and thereby to a more or less extent act as 'profaned' neuro-biopolitical apparatuses.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.385-419
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• 2012

Son Jinchaek got into his directing career since 1976 when he founded the theatre group Minye with Huhgyu and others. His experience in Minye was the turnaround of his life; Huhgyu was a teacher in his artist's life whereas Brecht was a teacher for his ideology to make 'Korean Theatre'. From these two teachers, he learned how and why Korean Theatre should be made. Since then, Korean theatre was his calling for 40 years of his directing career. As he established Michoo in 1986, it served a turning point in his art. His focus was on intrinsic attributes of Korean Theatre with Madang Jungshin. With Madang Jungshin, he tried to get over the former generation's fixation on external materials of Korean traditional theatre and folk culture to make Korean Theatre. Rather, he believed Korean Theatre could be realized when it grafted Korean social reality onto the stage, while the form was subsequent. He advocated Korean Theatre should mirror present social reality and circulate social energy. Also, he did not give up aesthetics. On the contrary, his aesthetic style was conspicuously evident in his productions. In spite of his life long career with noteworthy works, the critical discourses are strikingly scarce especially when compared with other senior and peer directors such as Hugh Gyu, Ahn Minsoo, Oh Taesok, and Lee Yoontaek. During his career he has crossed into various genres from Changeuk, Madangnori, and to theatres, which were too versatile to thread them into a discourse and caused a lack of theoretical greeting. Madangnori has anchored its artistic structure on its polished aesthetics which were acclaimed by the general audience for 30 years. For theatre, he concentrated on one production per year to grasp its own style. Theatre works also had revealed his own style of being opened and of being emptied which was certainly different from Madangnori, but had same aesthetic principle within it. This paper attempts to recompose his stylistic features with 'Madang aesthetics' which were based on open space, open acting style, and graphic ensemble. This paper tries to demonstrate how his 'Madang aesthetics' has refined his productions in scenography, acting style, and in more like metaphoric and metonymic symbolic expression of the graphic ensemble. To do this, two productions were explored: eLee Chunpoongjeun and Yulha Ilgyee Manbo. Madangnori was sorely explored by Son Jinchaek with his artistic colleagues Yoon Munshik, Kim Jongyeup, Kim Sungnyu, music designer Park Buhmhoon, and choreographer Guk Sooho. Though it has been ignored for its popular appeal by the doctrinaire theoretical opinions, it started to pull academic attention recently. His theatres are also getting sharp with his 'Madang aesthetics' as well as minimalistic expression in scenography, acting style, and graphic ensemble. Madang Jungshin is the soul and Madang aesthetics is the body in his artistic works. The Madang Jungshin animates the Madang aesthetics, so they become alive in his theatre.

• Cross-Cultural Studies
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• v.43
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• pp.377-404
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• 2016

In this paper, I intend to focus on the 1991 racial tension and violence portrayed in Anna Devear Smith's book Fires in the Mirror, which was published in book form in 1993. I make use of a series of interviews with many of those involved in the conflicts, which were based on the Jewish Holocaust and the history of African American enslavement. In Crown Heights, the black community and the Jewish community have each suffered terrible losses, but individuals and communities become rhetorically attached to foundational historical traumas that lie at the center of each group's cultural identity rather than try to understand each other's pain. Smith lets this rhetoric dominate Fires in the Mirror by putting contradictory monologues side by side in order to show how discourses on 'slavery' and 'the Holocaust' still have control over specific ethnic communities. My intention is not to delve into the conflict between the Jewish and black communities exclusively. Rather, I attempt to form an understanding of the problems of the critical/theoretical tenets proposed by 'the rhetoric of holocaust,' including the Jewish Holocaust and the black experience of enslavement. Such an understanding will help us see the failure in the theories, illuminating the ways that such rhetoric should have recognized its own violence and helped to forge a new relationship between racism and anti-Semitism. Fires in the Mirror mirrors back to us the ways that 'the Holocaust' betrays the possibility of error to indicate its own susceptibility to blindness. The cracks brought forth by conflicting narratives enable readers to observe wounds being healed and the possibility of new narrative looming up.

• Cross-Cultural Studies
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• v.52
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• pp.223-251
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• 2018

This paper comparatively considered how Korea and Japan address the concept of 'postwar' in descriptions of their literary history. In Japan, 'postwar' refers to the period after World War II (Asia-Pacific War). This word implies a variety of contexts such as collapse, poverty, confusion, calendar reform, reconstruction and restoration as well as a series of historical events such as war, war defeat, and American occupation; and so it has been treated in Japanese society a significant period. In the history of Korean literature, it is after national liberation that the word 'postwar' appeared; however, it has usually indicated 'the period after the Korean War.' The question is that although the term of postwar refers to periods after different wars, Koreans used the term of postwar also in the same way as Japan, and their concept of postwar overlaps with the concept of prewar or postwar used in Japan, and accordingly, side effects are produced that fail to grasp properly the independent characteristics and significance of the Korean War. In conclusion, the Korean War brought about contrasting effects on the history of Korean and Japanese literature. While the Korean War meant a start after the war in Korean literature, it became a turning point marking the end of postwar in Japanese literature. Such different perceptions on postwar also have major implications in that perceptions represent postwar discourses in today's Korea and Japan.

• Korean Journal of Child Education & Care
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• v.19 no.1
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• pp.45-57
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• 2019

Objective: The purpose of this study is to critically analyze the process of framing child abuse cases through the news coverage after the enforcement of mandatory CCTV installation policy which was initiated in 2015. Methods: The research uses the revised and supplemented frame analysis tools developed by Iyengar (1990) and Semetko and Valkenburg (2000) to investigate 25 broadcasting news reported by KBS, from September 2015 to December 2017. Results: First, according to the formal analysis, the reports on abuse cases prove to be either a mixed or episodic frame which covers the cases heavily based on a particular incident rather than holistically looks into the situation. Second, in content analysis, child abuse news is delivered mainly through "human interest frame." Conclusion/Implications: The study identifies three dominant discourses formed as a result of the child abuse CCTV news: 'CCTV is a all-around player' discourse, 'preschool teachers as potential criminals' discourse and 'preschool teachers as nonprofessionals' discourse. This study is significant in that it presents that mass media do not always say the truth, but frame social issues within an ideological delivery system.

• The Korean Journal of Archival Studies
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• no.46
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• pp.5-44
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• 2015

This article purposes to define archival justice and suggest democratic modeling of the archive on the Truth and Reconciliation Committee (TRC), which is focused on victims of state violence. These purposes come from critical mind that the absence of framework of the records management for collective memory would cause incorporation of TRC archives into mainstream archives systems in which voices of victims have been marginalized. This article intends to expand theoretical prospects of documentation of past affairs through applying humanistic and theoretical frameworks differently from institutional and policy approaches on restoration of collective memory. In order to do this, this article first considers archival justice as archives building in which state violence' victims are pivotal and then extracts theoretical frameworks for building the archives based on archival justice from recent discourses of post-colonial archives and community archives. As the next step, it criticizes current conditions of TRC archives in Korea on the basis of extracted theoretical frames and finally suggests realistic models in which each theoretical frame could be applied effectively into TRC archives that is focused on victims.

• Journal of The Korean Association For Science Education
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• v.40 no.6
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• pp.611-620
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• 2020

The purpose of the study is to find creativity factors of students in the process of small group modeling and relate them to the types of interactions among students. In order to capture students' detailed interactions, this study was conducted as an 'essential case study' through qualitative analysis. We have developed the modules of nine lessons about terraforming, and they were used in an actual classroom. In order to understand the creativity of the students in the process of modeling, students' discourses and interview data were analyzed using 19 creative factors or abilities. The findings are as follows. Frequently found creativity factors are Elaboration, Evaluation, Visualization, Resist premature closer, Originality, Analysis and Concentration. And students' interactions that affect students' creativity in the process of modeling can be classified into four categories: Suggestion, Agreement, Questioning, Refutation, and Conversion. Through each interaction, students demonstrated the process of expressing and modifying their own thoughts and ideas in the modeling process. The findings of the study suggest that it is important to the teachers to understand types of interactions among students and the relationship between the types of interaction and creativity factors for students' creative modeling in modeling-based learning.

• The Journal of the Korea Contents Association
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• v.21 no.1
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• pp.129-138
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• 2021

This study suggests user-friendly design fiction method applying user-centered design process. Design fiction is a method that predicts futures from design perspective with critical discourses and physical representation. It has been regarded importantly in HCI and interaction design realms as aesthetical and experiential approaches, yet not firmly established. Especially, it has not been considered from user-centered perspective which considers users and related problems. Anticipatory design based on current problems which predicts futures and defines design-oriented scenario is becoming significant. Therefore, this study regards design fiction method in relation to prior design also should consider user-centered perspective, not just experimental approaches. In this regards, this study tries to apply user-centered process, specifically affordances which lead more intuitive and direct impact on users into conventional design fiction process. This study led junior students in visual communication major into design fiction process with specific topics and the Design with Intent Toolkit amongst practices of creating affordances so as to develop new design fiction process with its diverse outcomes. Throughout the process, this study aims to suggest alternative user-friendly design fiction method beyond its critical and experiential approaches.

• (The)Study of the Eastern Classic
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• no.68
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• pp.69-97
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• 2017

In this paper, I tried to examine the aspects of overcoming the aftermath of war through literary works. As history is continuously being reinterpreted and reevaluated, historical figures are described differently and given new meanings especially in the field of literature. It is not only important to examine these interpretations from previous generations themselves; it is also important to analyze them from a modern day perspective and look closely at their meanings. This research, by focusing on the post Manchu's invasion period, I examined the contemporary discussion. Literary works which were written in the post Manchu's invasion had different meaning comparing to the other time. Scholars at that time wanted to use historical figures as an allegory of temporary national situation. And this social phenomena was deeply related to the temporary discourses such like wipe off a disgrace by taking revenge on Qing (boksu $s{\breve{o}}lch^{prime}I$, 復讐雪恥) or loyalty to the Ming dynasty ($taemy{\breve{o}}ng$ ${\breve{u}}iri$, 對明義理). So that this research takes genre, time period, and nationality as the main variables to interpret typical historical figures and study their aspects.