• Journal of the Korean Society for information Management
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• v.40 no.3
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• pp.119-142
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• 2023

Copyright is a legal criterion for determining the scope and method of digital library service. Works with expired protection periods correspond to the public domain and can be freely used by anyone. For this reason, it is a priority consideration in digital library construction and services. The purpose of this study is to examine how actively libraries are using expired protected works for digital library services. To this end, the relevant provisions of the Copyright Act applied to the construction and service of digital libraries were first summarized, and the meaning of the copyright protection period was theoretically examined. The current status of online services for expired works by the National Library of Korea was examined, focusing on the works of three Japanese colonial era writers, Kim Yoo-jung, Lee Hyo-seok, and Chae Man-sik, to check the specific service status of expired works. It reveals that the National Library of Korea is not fully utilizing the scope of the law, and that this situation is linked to the rights of other authors included in the book. Based on these results, it suggests that there is a need to change the service unit to focus on copyrighted works and to use authority records to systematize the management of authors' death years.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.243-253
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• 2019

Geyonggi-geommu have developed based on the long history of Korean sword dance. Han Sung-joon, the great master of modern music and dance of Korea during the Japanese colonial period, collected and reconstructed folk dances that had disappeared or were cut off due to the policy to obliterate Korean culture through Chosun Music Dance Research Society. Since then, it has been passed down to Kang Sun-young and Kim Geun-hee that has designated as the Intangible Cultural Property No. 53. of Geyonggi-do in 2011. This study focuses on highlighting the uniqueness of Geyonggi-geommu for proper modeling and transmission of Geyonggi-geommu with historical significance so as to understand and preserve the Intangible Cultural Heritage. This study examines the transmission system of Geyonggi-geommu, followed by Kang Sun-young and Kim Geun-hee, originated by the master Han Sung-Joon of Geyonggi-geommu. Geyonggi-geommu has its uniqueness of using the pure Korean dance terminology established by the holder Kim Geun-hee at the time of designation of intangible cultural properties in Gyeonggi-do. The unique features of Geyonggi-geommu are performed and transmitted in two forms, Daemu(Group dance) and Holchum(Solo dance) which are not currently found in other regions. This is meaningful to passed down according to the original form of Geommu(Sword dance). In particular, the Holchum(Solo dance) is a form of artistic dance, showing the beauty of the sword dance during the Chosun Dynasty. In short, Gyeonggi-geommu can be described as an artistic dance with a soft and strong temperament considering its unique features.

• Women's Studies Review
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• v.28 no.1
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• pp.79-120
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• 2011

The purpose of this paper is to illuminate the implication of feminist oral history from a postcolonial feminist perspective as critically reexamining the relationship between hearer and speaker, representer and narrator, the said and the unsaid, and secrecy and silence. Based upon oral (life) history of a U.S. military prostitute (yanggongju), I tried to show the experiences of a historically-excluded and marginalized 'Other,' and then critically reevaluate the meaning of encountering 'Other', not just through the research process but also in the post/colonial society in Korea. The narrative of an old woman in the "kijichon" (a formal prostitute in U.S. military base) shows how woman has navigated the boundaries between inevitability/coincidence, the enforced/the voluntary, prostitution/intimacy, and military prostitute/military bride while continually negotiating as well as having conflict with various myths and ideologies of the 'normative woman,' 'nationhood,' and 'normal family.' In addition, her narrative which causes the rupture of our own stereotypical images of a military prostitute not only proves the possibility of reconstructing the self-identity of a subaltern woman, but also redirects the research focus from the research object to the research subject (ourselves). Consequently, the implication in feminist oral history is that feminist researchers who whish to represent the experiences of other should first inquire 'what/how we can hear,' 'why we want to know others,' and 'who we are,' while simultaneously asking if subaltern woman can speak.

• Journal of International Area Studies (JIAS)
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• v.14 no.3
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• pp.223-240
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• 2010

In this article I would like to propose the characteristics of "Village Council(Consejo del Pueblo)" as a sociopolitical device and institution, which maintains and encompasses all aspects of governance in a decentralized authority. A brief definition of Village Council is a "select group of people from the same village who are in charge of deciding the most important affairs of the village". The Village Council took charge of the most fundamental aspects of prehispanic Mayan society, most significantly, during the Late Postclassical era. The members of this council were respected people from the village, but not necessarily the people who held high positions within the hierarchical structure of Mayan society. It is likely that they were selected by the public in a direct way. This is the most essential bureaucratic institution in terms of the control of the political and socioeconomical affairs. The important decisions regarding legislation, the governance and jurisdiction of the village were entrusted to the council. Especially, the Village Council was responsible for monitoring and punishing the abuses of village governors. The majority of the members of the council were elders, consequently, the council was a political institution, more powerful than the governorships. The "Multepal" of Yucatán, could be an example of the Village Council during the late postclassic period.

• (The) Research of the performance art and culture
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• no.40
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• pp.37-69
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• 2020

This study was designed to investigate the characteristics, aesthetics, similarities and differences through the flow of Korean female movies. In order to carry out this study, four movies with representations of each age had to be selected. These four films are respectively Sweet Dream produced during the Japanese colonial period, Madame Freedom which prompted the debate on feminism in the 1950s, The Silver Stallion Will Never Come which combines the devastated lives of women in the 1990s with anti-malevolent views, and A Good Lawyer's Wife which presents a futuristic selection of Korean feminist films. Especially, these works are noteworthy in that they guarantee the typicality and representative of Korean films in each period. Based on this, two common motifs appearing in these works have been intensively studied. One is a 'cage' motif that symbolizes women's detention and the other is a 'mirror' motif that women need to be aware of their situation and check the current situation. Korean women's films have not only shared some of the motifs of 'Cage' and 'Mirror', but also have focused on conveying the author's message that ultimately aimed at linking these motifs.

• (The) Research of the performance art and culture
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• no.42
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• pp.205-231
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• 2021

Noung-kun(a farmer as a soldier) Parade, one of the Choseon folk plays/dramas, was recorded in its chapter titled of the booklet 'Guk-Geuk-Yo-Ram', which was published in 1932 by Waseda University Tsubouchi Memorial Theater Museum in Tokyo, Japan. The general understanding on the Korean culture of that era was that 'there is no theater in Choseon'. However, a few examples of existence of Korean theater were recorded in the book mentioned above, which was mainly the record of Japanese theater. This study specifically focused on a 'famers' parade' recorded in the chapter 'Traditional theater'. Seok-ha Song, a folklorist, revealed that the Noung-kun parade recorded in that book is a cultural asset of Ulsan. On the basis of these records, this study asserts that the Noung-kunParade is an intangible cultural asset of Ulsan, which had been performed by the local residence of fishing villages during the Japanese Colonial Rule. Therefore, the outcomes of this study would be as follows: First, the clear understanding of Ulsan traditional village festival. Second, the festival is named as 'Ulsan Noung-kun Parade' on the basis of the previous records researched in this study. Finally, I have laid a foundation for full restoration and embodiment of this intangible heritage of Ulsan.

• (The) Research of the performance art and culture
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• no.43
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• pp.229-261
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• 2021

On the musical stage in 2019, there were many works depicting the Japanese colonial period. This is due to 2019 the timeliness of the March 1st Movement and the centennial of the establishment of the Provisional Government of the Republic of Korea. The way of remembering and commemorating historical facts reflects the power relationship between memory subjects and the time, namely the politics of memory. Until now, stage dramas dealing with the era of Japanese rule have focused on the commemoration of modern national and national defense, including feelings of misfortune and respect for patriots. This study analyzed the metaphor of the memorials emphasized to the audience in the commemorative musicals Shingheung Military School, Ku: Songs of the Goblin, and Watch which were performed in 2019, and looked at how to adjust memories and memorials. The above works highlight the narratives of ordinary people as well as those recorded against the backdrop of the Manchurian Independence Movement and Hongkou Park, expanding the object of the commemoration. Through this, active armed resistance efforts, self-reflection and reflection were highlighted. The case of Shingheung Military School revealed the earnestness of ordinary people who led the independence movement through the movement of central figures. Ku: Songs of the Goblin revises memories by reproducing forgotten objects and apologizing through time slip. Watch has strengthened the spectacles of facilities through documentary techniques such as photography, news reels, and newspaper articles, but it also reveals limitations limited to records. In the 3.1 Movement and the 100th anniversary of the establishment of the Provisional Government of the Republic of Korea, devices that actively reveal that the "people's movement" is connected to the present. To this end, the official records reflected the newly produced values and memories and devoted themselves to the daily lives and emotions of the crowd. In addition, both empirical consideration and calligraphy were utilized to increase reliability. These attempts are meaningful in that they have achieved the achievement of forming contemporary empathy.

• Journal of Popular Narrative
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• no.26
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• pp.413-433
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• 2011

What this study aims is to analyze that how the stories of Prince Hodong are represented in modern historical fictions. The stories have been reproduced in many forms such as TV dramas, films, fictions, plays. It can be depicted that the narratives are indeed national and popular. Interestingly, however, the description of Hodong has not been found in pre-modern documents or fictions. The story began to appear and became popular in 1935 by Yoon Baek Nam. It can be explained that the narratives are the one of the example of the invented tradition since it became visible in modern period. Yoon, Lee Tae Joon, and Yu Chi Jin have constructed the character of Hodong what we are familiar with. Yoon depicted Hodong as a romatic lover with the motif of a lovers suicide. Lee and Yu put a context of nationalism by explaining Nakrang as a Nakrangkun of Hansagun(the four colonies of China). These are pure invention of the writers which cannot be found in The History of Three Kingdoms(三國史記). These characters are closely related with the surrounding of their own society. Yoon shows how the past can be seen as a nostalgic object by modern aesthetic perspective. Lee illustrates the ambiguous thought of a colonial intellectual who (anti)internalizes the ideology of militarism. Yu tries to find the way to recover the muscularity of the nation by re-colouring the memory of the past. These, the representations created in various contexts, make our common knowledges of Prince Hodong nowadays.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.73-108
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• 2019

This paper is an attempt to discuss the history and the current state of 'SF theaters.' SF theater is still an unfamiliar genre to the public, and may surprise some, given that the stage is perceived as an insufficient space for stretching the scientific imagination. Since 2010 works that bring the scientific imagination into the theater have frequently been performed, and a recognition of SF theaters began to be established. Producers came to be absorbed in human psychology, and our isolation amidst the progress in technology, as well as in the absurdities of the world, while giving up the ideal of realistic descriptions. This became the foundation for SF theaters in South Korea today. Starting from the research history and the conceptual change in SF theaters, this study examined the status of SF dramas going back to the colonial period for SF theaters. Through inquiring into the history of SF theaters, we were able to derive the following implications and problems. Firstly, as they are based on future society or technical improvement without consideration of scientific probability or rationality, the scientific imagination is too absent for the work to be named 'SF theater.' Secondly, while being highly evaluated as an attempt to integrate science and stage in an era that emphasizes convergence, when we delve into the creativity of a material it is noticeable that the view of the world is still regressive. Thirdly, there are many cases in which scripts lean on SF classics or Japanese original works. Nevertheless, if young creators' diverse attempts in a genre can breathe with the contemporary audience desiring a new material, the foundation of a Korean-style SF theater may be expanded to include more significant work.

• SUVANNABHUMI
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• v.2 no.2
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• pp.29-51
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• 2010

The diversity of Southeast Asia can be also represented at the tremendous number of ethnic groups residing throughout its various regions even beyond national boundaries. What does it mean by the composite of numerous peoples? It has triggered a lot of problems in a nation or overall Southeast Asia. Among them, the most serious one seems to be ethnic conflicts having damaged national integration and caused political, economical, and social instability. In that respect, Karen people have been a minority group situated in the most chronic dispute in Myanmar. Since 1947 some of the Karen equipped with armed forces have been fighting against the military government currently ruling Myanmar. As the result, the refugees over 200,000 population had moved to the mountain camps located at neighboring Thailand, attracting a lot of attention throughout international societies. According to 1931 census by British colonial government, the Karen have the greatest numbers in population as minority and include 16 subgroups including Karenni(Kayah) and Pa-O seemingly excluded from its category in contemporary point of view. It means that Karen people should not be regarded as an ethnic group, and in fact do not show a homogeneous identity under the title of Karen. Given the situation, we need to reconsider the category of Karen. What does the Karen mean in a real sense? Previous studies on the Karen had been performed mainly by anthropologists or missionaries such as Marshall(1922), Hamilton (1976), Hanson Tadaw(1959), Smeaton(1920), Keyes(1979), Hayami (1992; 2004), etc. Most of them examined the Karen as a group and ignored the possibilities of representing the divergent identities vis-à-vis their subgroups. Therefore, they have focused on the myth to convert Karen people to Christianity, although the Christian Karens are less than 20% of total population. As a result, I argue that they would fail to define the real meaning of Karen. It has been caused us to recognize the Karen as a meaningless total entity to be accepted by all means. According to their arguments, the difference among Karen's subgroups is just dealt with the trivial matters that do not affect the ethnic boundary itself, still maintaining the ethnic identity as Karen. As we shall see on this thesis, this is never the case. My thesis aims at uncovering and scrutinizing the real meaning of the category of Karen. For the purpose of it, I will consider Karen people as a linguistic group from the beginning as shown in 1931 census. I argue that the Karen have been affected or exposed by various conditions or environments throughout the harsh history having happened on the areas of current Myanmar and Thailand, leading the vicissitudes of their ethnic identities.