• Cross-Cultural Studies
• /
• v.33
• /
• pp.171-192
• /
• 2013

The article is a research about the Belle Epoque era and Dadaism in the modern culture as a whole and separate. The years from 1890s to 1914, is known as the Belle Epoque era, in which the European continent including France had developed the climax of the modern culture after the Renaissance. At the same time, it was the period where the postmodern developments were being spread, leading to the present days. Moreover, the main ideologies in art that led to the cultural advancement of the time were impressionism, cubism, art nouveau, evolutionized painting category, symbolism and futurism. It was a literature category that was maintained to present Dadaism and surrealism. Dadaism began since the magazine, Bulletin Dada was published, originating in 1916 by Tristan Tzara of Zurich, Switzerland during the WWI. The extreme motto that the Dadaists supported was a contradiction, as they had to dissolve from their own art movements and expression techniques. However, until Andre Breton introduced 'Manifeste du Surrealisme' in 1924, the "Dada group" had a tremendous influence in France as an epicenter and rejected the modern cause and art that continued during the time, thus attempting its dissolution. First, they rejected the ideology, ethics and customs of rationalism from the previous system and demonstrate an anarchical and anti-bourgeoisie characteristic. They also reject the French lucid thoughts and the artistic techniques. They strongly emphasized on their motto "The idea is created from the mouth", while reframing from the philosophical ideology and at the same time, attempting to express the psychical unconsciousness. Second, the most important catchphrase that the Dadaists supported was the theory of negation. The question "Why do you write?" connotes the negative consciousness about the artistic value and the stereotyped method of the preexisting writing and drawing. Third, the Dadaists bring forward a radical query about all of the former esthetic and morals, and reveal an admirable resistance spirit. They emphasized on the slogan "Dada, means nothing" and insist on 'the anti-literal Dada, anti-artistic Dada, anti-musical Dada'. The Dadaist movement manifested their resistant spirit and the new artistic spirit through the publication of , , and most importantly through the magazine . Fourth, the Dadaists embodied the volume, density, and quality into an image through the auto-technical, cubistic writings and drawings. They ignored the fixed form of arrangements, verses, and rhymes of a poetic diction. The Dadaists utilized an unfamiliar and inversed expression method of applying the combination of the size of print, or capital letters and lowercase letters, even combining printed and handwritten writings. As presented, the auto-technical and cubistic characteristic of expressing the auto-psychical ideology into writing is called as the radical aesthetic and moral and can be considered as the most essential cause of the Dadaists' avant-garde features. As a conclusion, Dadaism demonstrated dual characteristics of consuming the nutritive elements of the modern culture through the most powerful resistance and liberation of the artistic movement of the Belle Epoque era, where at the same time, it deconstructed the modern art. By revolting against the former grounds and expression techniques, and dominating the era with the new artistic spirit, their resistant actions were artistic movements that symbolized the dissolution of the modern times. Moreover, the Dada's expressionism and resistance of saying "There's nothing" can be evaluated as postmodernity's initiative of outweighing the modern history and opening the door for new period of nowadays.

• Journal of Korean Theatre Studies Association
• /
• no.48
• /
• pp.51-84
• /
• 2012

In Korea, historical plays took an epoch-making turn from the previous historical plays in terms of approaches to topic and material and methods of rewriting history in the 1990s. Historical plays became dehistoricized with individual, everyday life, and faction emerging as major codes of historical plays according to mistrust in history and grand narrative as the original and disappearance of trust in the growth and totality of history. A new trend became dominant of presenting fictionality prominent instead of reproduction of history and freely playing with history outside the context. While modern historical plays were subject to the content of history, post-modern historical plays sought after new history writing to tell a new story on history within a framework of fiction. Focusing on some of the trends in post-modern historical plays since the 1990s, which include play with history, daily life-style history writing, and reproduction patterns of colonial modernity, this study examined the goals, representations, and text strategies of new history writing in three historical plays, Generation After Generation(2000) by Park Geunhyung, The Mercenaries(2000) by Park Sujin, and Chosun Detective Hong Yunshik(2007) by Sung Giwoong. In Generation After Generation, the author adopts a plot of starting with the present and tracing back to the past, breaking down the myth of racially homogeneous nation. At the same time, he discloses that the colonial history is not just by the oppressive force of Japan but also by the voluntary cooperation of Korean people. That is, we are also accountable for the colonial history of the nation. The Mercenaries contrasts the independence movement during the colonial period against the modern history developed after Liberation, thus highlighting the still continuing coloniality, namely post-colonial present. The past is presented as the "phantom of history" making its appearance according to the request of the present hoping for salvation. The author politicizes history and grants political wishes to history by summoning the history by personal memories such as fictional diaries and letters with Messiah-like images opposed to the present of collapse and catastrophe. In Chosun Detective Hong Yunshik, the author makes an attempt at the microscopic reproduction of daily life by approaching the 1930s as the modern period when capitalist daily life started to take root. The lists of signs comprising daily life in colonial Gyeongseong are divided between civilization and savagery and between modern and premodern. With the progress of narrative, however, they become mixed together and reversed in the representation system in which the latter overwhelms the former.

• Cross-Cultural Studies
• /
• v.43
• /
• pp.115-138
• /
• 2016

The Milk of Sorrow (La teta asustada) (2009) is a Peruvian-Spanish film by a young, female Peruvian director, Claudia Llosa (1976 - ). By applying the theories that feminist and subaltern scholar Gayatri Chakravorty Spivak presents in "Feminism and Critical Theory", the present work questions the ironic term, "Feminism in the Third World" by considering the Latin American context. Would the term refer to the feminism of Native Indian women or white creole women? The present work raises this question via Llosa's The Milk of Sorrow, in which a white creole woman, Aída, takes advantage of a quechua woman, Fausta. Through analysis of this film, this work demonstrates that in the Latin American context, even in a single country, there should be various types of feminism, since what Native Indian women fight against is different from what white creole women fight against. Thus, it insists that feminism in the Third World should develop in a deconstructionist manner, in which each woman has the ability to interpret her own social and political stance. Furthermore, it can be said that cultural appropriation is taking place in the "real" world as well as on the screen: a white creole director, Llosa, is taking advantage of a hot-button issue in our postmodern era, the violation of the human rights of minorities, especially those of Latin American Native Indian women, since Llosa became a success and won many prizes in international film festivals for her work.

• Journal of Christian Education in Korea
• /
• v.64
• /
• pp.81-107
• /
• 2020

Church education in Korean churches is facing a very serious crisis. This crisis is a negative perception of the church as viewed by the present society. The negative perception of the church has led to children, adolescents, young adults, and even adults leaving the church. There have been countless studies on the problem of Christian education and its alternatives. However, those problems still remain a matter of church education. The alternatives do not become viable and remain a problem. To solve these problems, a paradigm shift is required, and in order to overcome the crisis of the church, it is necessary to study alternatives and its method factors and find application points. Today's church education is absolutely influenced by postmodernism and informationalization. However, church education is education for Christian identity that transmits Christian faith. This Christian education is facing challenges and crises against its religious and academic identity. Christian education has a responsibility to be aware of this reality and to present alternatives to overcome various crises facing church education. Therefore, it is the task of church education to establish standards so that we can live a life where the Bible becomes the standard. In other words, it is to give them biblical faith. Furthermore, it is necessary to point out and understand Christian faith in the Korean church, which has been evaluated as insufficient. In addition, establishing a Christian worldview and realizing the Kingdom of God that practice justice and love in society are tasks that can be accomplished efficiently through Christian education. Therefore, the Korean church should actively seek ways to support the practice of Christian education as well as church education in forming ideal Christians which is the goal of Christian education.

• The Journal of the Convergence on Culture Technology
• /
• v.7 no.4
• /
• pp.243-249
• /
• 2021

In the postmodern world, it is widely believed that being a fool or looking foolish can be more profound and unique than being smart and serious. Comic characters, or fool characters in comedy, have been used as basic tools to make people laugh in various cultures around the world. As such, this study will summarize the types of fool characters that have been depicted in plays and organize how they can be categorized in a culture of laughter as well as revealing their characteristics in performing arts. The ridiculous actions and words of fool characters fall outside the common dichotomy of wisdom and foolishness. This is significant and it is because the ways in which they act overturn the values that we consider to be truthful in the world of experience and contain wit and ridicule beyond the general knowledge. Also, it's worth pointing out that many comic characters that appear on TV shows are not all the same. To put it simply, each and every funny character has unique traits and these characters predictably change according to the times. In performing arts, a fool character's personality is displayed through his or her interactions with the audience. That is, on one hand, the character may or may not recognize himself as a fool, while on the other hand, the audience may regard the character as a fool or otherwise. Based on this background, the comic characters that appear in performing arts are categorized into four types and their features are discussed.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
• /
• v.7 no.3
• /
• pp.477-496
• /
• 2017

A drastic development of modern cities and transportation means as part of a rapid industrialization and urbanization for the past half-century has consistently broaden the boundaries of urban dwellers while, at the same time, raising issues as to establishing relationships among them throughout the society following the materialization of modern urban planning. Within the framework of the postmodern concept, there have been consistent efforts to create a community space in appropriate size and, in particular, the concept of New Urbanism and Urban Village that emerged in mid 1800s along with the effort to build a community by building an ideal city provides an important meaning today when people are seeking to restore a healthy community. Against this backdrop, this study aims to explore the concept of community and to determine its optimal scope of implementation in the sense of healing environment under the premise that organizing a healthy city is based on building a solid urban community. The study findings and conclusions are as follows. First, a community is a subject of constant consideration in the process of historical development of the city and has required us to take a variety of strategic approaches and to determine the scope of implementation. Second, the activities of a healthy community have been conducted under various types of environments, including churches, commercial facilities, urban plazas, parks, and streets in various scales, reflecting their unique characteristics. Third, in the process of designing a healthy and sustainable city, determination of location carries significant implications along with building a community of appropriate size, which requires multidisciplinary considerations in addition to functional approaches. Fourth, the composition and design of a modern urban community need to seek practical ways of its implementation within the concept of healing environment.

• Korean Journal of Social Welfare Studies
• /
• v.41 no.4
• /
• pp.5-44
• /
• 2010

The main purpose of this study is to critically examine the existing theoretical as well as analytical scope of 'sexual minority' in Social Welfare, and to (re)construct and expand it incorporating feminist theories on sexuality. The body of literature on sexual minority or homosexuality in social welfare in Korea as well as in the West can be characterized as two distinct features: first, medical discourse leaning on pathological perspective which perceives homosexuality as a disease or defect, homosexual as a pervert; and second, human rights perspective premised upon the idea of diversity and multi-culturalism, both which are anchoring at 'essentialism.' Based upon the understanding of sexuality as a social construct, we argue that feminist insight on sexuality can lead to reconceptualizing homosexuality and reorienting theories and practices in social welfare. From radical feminism to postmodern queer theories, feminists have developed diverse ideas and complex theories on sexuality and homosexuality, including the concept of 'compulsory heterosexuality,' 'lesbianism as political resistance,' and 'performative gender.' For feminists, particularly, sexuality which is constructed in the complex power matrix of dominations to producing and maintaining inequalities and discriminations is not merely a distinctive variable, but one of the important organizational principles such as gender, class, race, age, and nationality. This epistemological principle will hopefully shed lights on alternative 'knowledge' on homosexuality in social welfare, and lead to significant contribution to its critical expansion in theory and practice.

• 기호학연구
• /
• no.57
• /
• pp.211-255
• /
• 2018

This paper attempts to "re-read" the webtoon Misaeng, which was once an important issue in the field of public discourse on "labor". Our hypothesis was that the dual actactial structure of Misaeng's hero Jang Geurae gave a dual structure to the entire text, which leads to the discovery of text meaning that was not mentioned in the existing discourse. This is based on the concept of 'meta-story character', which Hiroki Azuma talked in his postmodern literary theory. To verify this hypothesis we analyzed the text by applying the Parisian semiotics, more specifically J. Fontanille's theory. Jang Geurae is observed to be a actant of dual structure divided into 'character' of the enunciated level and 'player' of the enunciation level. Considering this characteristic of the hero, Misaeng can be interpreted as a metafiction that shows the 'shifting' between the subject of the enunciated level and the subject of the enunciation level. On the level of 'character' Jang's existence mode turns out to be "Deficiency (actualized)", but on the level of 'player' Jang 's existence mode turns out to be "Inanity(potentiallized)." His somatic responses also show a duality, which is represented by Fontanille's corps-actant model, where on the level of 'character' the somatic actant of Jang consists of 'Moi-chair(ego-flesh)' and 'Soi-idem(self-idem)', and on the level of 'player' it consists of 'Moi-chair(ego-flesh)' and 'Soi-ipse(self-ipse)'. The former mainly acts as a 'role' and takes charge of exteroceptive perception, while the latter mainly acts as 'attitude' and takes charge of interoceptive perception. Because of this dissociative nature of actant, Jang's two 'self' draw the re-adjustment of values without serious conflict between the collective norms and the individual identity. This is in sharp contrast with other characters who struggle with the conflict between the environment and "self". It becomes customary to adopt norms that are suspected to ineffective, but if you raise questions, the normative system can be updated. On one axis of Misaeng there are characters who have lost themselves in customs. On the other axis, there is Jang who can not help dismantling the existing ineffective norms and updating the normative system. Jang's existence mode seems to be one of many possible modes generated by this era where people share no longer solid community values, His actantial structure also communicates with readers of these days who put themselves more in subject of enunciation level than of enunciated level.

• Cross-Cultural Studies
• /
• v.40
• /
• pp.111-131
• /
• 2015

An unusual success engendering loyalty among cult fans in the United States, Mamoru Oshii's 1995 cyberpunk anime, Ghost in the Shell (GITS) revolves around a female cyborg assassin named Motoko Kusanagi, a.k.a. "the Major." When the news came out last year that Scarlett Johansson was offered 10 million dollars for the role of the Major in the live action remake of GITS, the frustrated fans accused DreamWorks of "whitewashing" the classic Japanimation and turning it into a PG-13 film. While it would be premature to judge a film yet to be released, it appears timely to revisit the core achievement of Oshii's film untranslatable into the Hollywood formula. That is, unlike ultimately heteronormative and humanist sci-fi films produced in Hollywood, such as the Matrix trilogy or Cloud Atlas, GITS defies a Hollywoodization by evoking much bafflement in relation to its queer, posthuman characters and settings. This essay homes in on Major Kusanagi's body in order to update prior criticism from the perspectives of posthumanism and queer theory. If the Major's voluptuous cyborg body has been read as a liberating or as a commodified feminine body, latest critical work of posthumanism and queer theory causes us to move beyond the moralistic binaries of human/non-human and male/female. This deconstruction of binaries leads to a radical rethinking of "reality" and "identity" in an image-saturated, hypermediated age. Viewed from this perspective, Major Kusanagi's body can be better understood less as a reflection of "real" women than as an embodiment of our anxieties on the loss of self and interiority in the SNS-dominated society. As is warned by many posthumanist and queer critics, queer and posthuman components are too often used to reinforce the human. I argue that the Major's hybrid body is neither a mere amalgam of human and machine nor a superficial postmodern blurring of boundaries. Rather, the compelling combination of individuality, animality, and technology embodied in the Major redefines the human as always, already posthuman. This ethical act of revision-its shifting focus from oppressive humanism to a queer coexistence-evinces the lasting power of GITS.

• Journal of Christian Education in Korea
• /
• v.64
• /
• pp.289-321
• /
• 2020

Without overcoming the fragmented characteristics of the postmodern era and solving many difficulties as it is, our society is passing through a time of crisis more than ever because of Corona 19, a more rapid social disaster. As the crisis caused by the pandemic is prolonged, our society is becoming more diverse than before the coronavirus, and efforts in various fields of society are required to cultivate new capabilities to overcome social conflicts. This study started with an awareness of the necessity of reinforcing Christian civic education to fulfill the public responsibilities of Christians by recognizing the social and situational problems of this era as a public task amid in the crisis and change of the pendemic. Therefore, a meaningful work was undertaken to find an educational ministry practice frame for essential core competencies and transformative transformation competencies responding to changes in the times as education to cultivate and reinforce competencies as Christian citizens. First, the theoretical basis for competency education for Christian citizens was reviewed through the theological and Christian education theories that were studied in the situation of public theology about the public perception and social responsibility of Christians on the issues of the times. Furthermore, through this study, education to establish and cultivate the public identity of disciples-citizens as a Introductory education is explored in a multifaceted method of educational ministry, and educational methods were searched for cultivating communication competencies of Christian citizens with practical capacity of public faith. In conclusion, through this study, an educational ministry frame of identity cultivation, the core competency of recognizing the position of the public mission as a Christian citizen while living as a disciple of God's kingdom in the world and an educational frame to cultivate the ability to communicate as a transformative Christian citizen's transformative competency to carry out public tasks was systematically established, and an educational ministry convergence frame was proposed for cultivating core competencies and transformation competencies for Christian citizenship education.