• 한국초등수학교육학회지
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• 제23권3호
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• pp.289-303
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• 2019

본 연구에서는 비판적 인종 이론의 관점에서 학교 수학 교육에서 인종 문제를 다룬 연구들을 분석하였다. 본 연구는 두 부분으로 구성 된다. 첫 번째 부분에서는 국내외 문헌 연구를 바탕으로 사회 정의를 위한 수학의 의미와 이를 주제로 한 연구들의 동향을 분석한다. 이를 통해 사회 정의를 위한 수학 교육의 의의와 방향을 도출한다. 두 번째 부분에서는 비판적 인종 이론을 토대로 사회 정의를 위한 국내 수학 관련 연구를 검토한다. 본 연구에서는 비판적 인종 이론의 기본 원리인 인종적 영속성 또는 인종 사실주의, 자유주의 비판, 교차성의 관점에서 기존 연구들을 검토하였다. 분석 결과 현재 인종 문제와 관련한 사회 정의를 위한 수학 교육에서는 학생들 스스로 문제를 찾고 이를 수학 수업에서 논의하는 과정에 대한 연구가 부족하며, 수학 교실 안에서 학생 스스로 차별의 요소를 자각하고 이를 해결하는 접근법에 대한 고민이 필요하다는 점을 발견할 수 있었다. 또한 그동안 수학 교육 연구에서 인종 문제가 다른 차별 요소와 필연적으로 연결되어있다는 관점은 충분히 다루어지지 않은 부분으로 후속 연구의 필요성을 확인할 수 있었다. 이러한 시사점은 향후 인종 문제와 관련한 사회 정의를 위한 수학 교육 연구 방향을 설정하는데 근거 자료로 활용될 수 있다.

• 수산해양교육연구
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• 제27권6호
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• pp.1783-1796
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• 2015

The purpose of this study was to verify the formation of serious leisure experience for water sports mania using grounded theory method approach. Research participants were selected 6 water sports mania by reputational sampling method. Six participants who usually participated in water sports club were selected as research participants. The data for this study included participants' observation and in-depth interview. This study categorized the coding paradigm which was presented by using the findings derived from data as they were into casual condition, contextual element, central phenomenon, critical situation, mediative element, interaction, final result and core category to draw out the process of becoming a water sports mania and its significances. The results of were as follows. First, water sports mania recognized the environmentally safe pleasure and value. Second, water sports mania was in a race against myself. Third, water sports mania felt the social and environmental changes. Fourth, water sports mania was looking for alternative method. Fifth, water sports mania overcome physical limitations and liberation from fear of water. Lastly, water sports mania felt alive through the enthusiastic participation.

• 미술이론과 현장
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• 제14호
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• pp.125-158
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• 2012

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People's Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of 'Korean' we usually consider ambiguous, and prompts careful attention to the silence of 'some Koreans' forced to live against their will in the blurred boundaries between nation and people. This dissertation regards 'Koreans' who came to live in the border of nations, especially 'Korean-Japanese third generation women artists'who are marginalized both Japan and Korea. It questions the category of 'Korean women's art' that has so far been considered, based on the concept of territory, and presents a new perspective for viewing 'Korean women's art'. Almost no study on Korean-Japanese women's art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of 'Korean women' and 'Korean women's art'considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority's diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist's cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual's historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with postcolonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women's art.

• 미술이론과 현장
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• 제4호
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• pp.145-180
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• 2006

In Korea, nation and nationalism are undeniable justice, absolute virtue and moreover system of desire. From the late Chosun Dynasty when the Korean Peninsula had to survive from the critical situation of being the arena of competition, and through the colonial period under Japanese imperialism, nationalism became stronger as a logic of survival. The policy of seclusion under closed and exclusive nationalism that didn't recognize the world situation well enough, eventually gave more pain to the nation. Nationalism in colonial Korea which was as reformed nationalism and on the other hand, as intransigent, resisting nationalism. Since the purpose of this writing is not for clarifying the argument raised on Korean nationalism, there is no use mentioning how it went with the change of time. But we have to focus on the fact that the word 'nation' which appeared under the influence of popular revolution and capitalism meaning 'a group of people', was translated and understood as a racial concept for strengthening the unity of 'single-race nation with five thousand years' history. First of all, there is nationalism used to fortify the system. 'The Charter of National Education' and 'The Pledge of Allegiance' were ornaments to intensify the ruling ideology and dictatorship to militarize entire South Korea for 'settling Korean democracy' professed nationalism. Also, another ruling ideology armed with 'self-reliance' put North Korea into the state of hypnosis called nationalism. Nationalism, claiming 'nation' outwardly, but in reality, being an illuminating, instructing ideology isolating each other was indeed a body with two faces. This made 'nation' in Korea mysterious and objective through work such as. The statue commemorating patriotic forefathers' and picture of national records' in South Korea art. Nationalism used to strengthening the system encountered the magical 'single-race' and made 'ghost' being an extreme exclusion to other nations. We can find pedigreed pureness not allowing any mixed breeds from the attitude accepting western art -via Japan or directly- and making it vague by using the word Korean and Asia. There's nationalism as a resistant ideology to solidify the system on the other side. It came out as a way of survival among the Great Power and grew with the task of national liberation to became as a powerful force facing against the dictatorship dominating South Korea after the liberation. This discussion of nationalism as a resistance ideology was active in 1980s. In 1980, democracy movement against the dictatorship of 5th Republic originated from military power which came out suppressing the democratic movement in Gwangju, spread out from the intellects and the students to the labors, farmers and the civilians. It is well known that the 'Nation-People(Minjoong)'s Art Movement could come out under this social condition. Our attitude toward nationalism is still dual in this opening part of 21st century. On one hand, they are opposing to the ultra-nationalism but are not able to separate it from nationalism, and on the other, they have much confusion using it. In fact, in a single-race nation like Korea, the situation of being nationalism and jus sanguinis together can cause dual nationalism. Though nationalism is included in the globalization order, it is evidence that it's effective in Korea where there are still modern fetters like division and separation. In particular, in the world where Japan makes East Asia Coalition but exposed in front of nationalism, and China not being free from Sinocentrism, and American nationalism taking the world order, and Russia fortifying nationalism suppressing the minority race after the dissolution of socialism, Korean nationalism is at the point to find an alternative plan superior to the ruling and resisting ideology.

• 사회복지연구
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• 제41권4호
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• pp.5-44
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• 2010

본고의 목적은 동성애에 관한 사회복지(학) 지식생산 양식을 비판적으로 검토하고 이론적·실천적 확장을 시도하고자 하는 것이다. 사회복지(학)의 성적 소수자에 관한 연구 경향들은 병리와 결함으로 개념화했던 초기의 의료적 담론을 넘어 인권과 다양성이라는 인권담론으로 이동해왔다. 이러한 변화는 상당한 진전임에도 불구하고 이미 '다수' 를 정상화하고 규범화하는 이분법을 전제하고 '타자화되는' 사회구조적인 맥락을 간과하면서 다양성을 단순히 병렬적으로 나열하는 한계를 드러낸다. 무엇보다 두 가지 담론 모두 섹슈얼리티에 관한 본질론적 입장에 근거한다는 공통점을 지닌다. 이에 반해 페미니스트들은 섹슈얼리티를 사회적인 구성물이자 역사적으로 의미 부여된 사회적 장치라는 인식하에 섹슈얼리티와 동성애에 관한 새로운 이론화를 진행해 왔다. 예를 들어, 레즈비언 페미니즘은 남성중심사회에서 사회적 억압에 대한 변혁의 주체로서 레즈비언 정체성을 강조하며, 페미니스트 퀴어이론은 섹스와 젠더와 섹슈얼리티에 관한 분류 그 자체를 문제시하고 해체하고자 한다. 이 이론들은 주체에 대한 새로운 이해방식을 제안하며, 섹스와 젠더, 섹슈얼리티에 관한 통념에 도전하게 하고, 이성애/동성애의 이분법이 사회적으로 구성되고 의미화된 권력의 효과라는 분석을 가능하게 한다. 본 연구자들은 페미니스트 섹슈얼리티 이론의 통찰력을 빌어 사회복지(학)에서의 '성적 소수자' 에 대한 논의가 '새롭게' 구성될 것을 주장하면서 궁극적으로 보다 진보적 사회복지학의 지평을 지향하고자 한다.

• 한국경제지리학회지
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• 제13권1호
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• pp.111-125
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• 2010

기존의 노동, 여성, 환경 운동의 경계를 넘어 새로운 연대의 패러다임을 구성하기 위해서는 노동운동의 이론적 토대를 형성하는 마르크스주의와 여성주의운동의 이론적 토대인 후기구조주의 간의 차이를 고찰함이 필요하다. 그러나 한국 학계에서는 이런 작업이 불충분하였다. 이에 본 논문은 마르크스주의 지리학자인 Harvey와 후기구조주의 여성주의 지리학자인 Gibson-Graham을 비교함을 통해 "차이(difference)"에 대한 이해의 이론적 차이를 밝혔다. Harvey에게 "차이"의 문제는 노동계급이라는 정체성에 동일시된 자와 동일시되지 못한 자 간의 문제이다. Harvey에게 젠더와 인종차별은 계급 권력의 특정한 형태이므로 노동계급의 보편성에 기반한 연대가 지구적 자본의 연대에 맞서는 효과적인 실천적 방법이 된다. 반면 Gibson-Graham은 계급에 특권적인 지위를 부여함으로써 젠더와 인종의 범주들을 주변화/식민화하는 이해방식에 문제를 제시한다. 헤게모니적인 자본주의 담론을 해체하고 다양한 "공동체 경제들"을 가시화하는 것이 자본주의를 극복하는 전략임을 Gibson-Graham은 강조한다. 두 학자의 "차이"에 대한 이해가 상이함에도 불구하고, 본 논문에서는 이 둘간의 차이를 극복하기 위해서는 자본주의 축적과정에 공간이 가지는 누적적이고 능동적인 역할을 이해함이 중요함을 강조하였다. 왜냐하면 공간은 자본의 이동성과 고착성, 연결성과 단절성 등의 상반된 경향들을 공존시키는 물질적 토대로 자본주의의 지역적 차이를 만들어내기 때문이다. 또한 공간은 다양한 주체들의 우연적인 서로 다른 실천들이 어떻게 자본주의로 연결되는지를 보는데 유용하기 때문이다.