• 영어영문학
• /
• 제60권2호
• /
• pp.233-247
• /
• 2014

Cultural Studies is characterized by being opposed to (elite) literary studies not only because it points to popular or non-elite literature which is usually not dealt with by elite literary scholars or comparatists, but also because it severely challenges the established literary canon and even tries to subvert this elite-oriented canon. In addition, Cultural Studies complements literary studies in that it contributes a great deal to the reconstruction of new literary canon by expanding the narrow domain of (elite) literature and its studies. What was not touched upon by traditional literary scholars is now studied by Cultural Studies scholars. In this sense, we should realize that it is not the field of Cultural Studies that occupies the domain of literary studies, but rather, it has expanded its traditional domain and added some new cultural elements. This article will illustrate how the interdisciplinary writings of some of the representative Anglo-American literary scholars have paved the way for effective dialogues between literary studies and Cultural Studies. I argue that the practice of Cultural Studies in China will not only contribute to global Cultural Studies in general, but also carry on equal dialogue with its Western and international counterparts. My purpose is to deal with the challenge of Cultural Studies to comparative literature studies in general before mapping the new orientations of Cultural Studies in $21^{th}$ century China.

• 한국연극학
• /
• 제40호
• /
• pp.307-344
• /
• 2010

Cultural Studies built on the critical mind of New Left exposes the relationship between culture and power, and investigates how this relationship develops the cultural convention. It has achieved the new perspective that could make us to think culture and art in terms of political correctness. However, the critical voices against the theoretical premises of Cultural Studies have been increased as its heyday in 1980s was nearly over. For instance, Terry Eagleton, a former Marxist literary critic, declared in 2003 that the golden age of cultural theory is long past. This essay, therefore, intends to show the weak foundations on which the approaches of cultural studies to theatre rest and to clarify the general problem of their introduction to theatre studies. The approach of cultural studies to theatre takes the form of 'top-down inquiry' as it applies a theory to a particular play or historical period. In other word, from the theory the writer moves to the particular case. The result is not an inquiry but rather a demonstration. This circularity can destroy the point of serious intellectual investigation as the theory dictates answers. The goal-oriented narrow viewpoint as a logical consequence of 'top-down inquiry' makes the researcher to favor the plays or the parts of a play that are proper to test a theory. As a result it loses the fair judgment on the artistic value of a play, and brings about the misinterpretation. The interpreter-oriented reading is the other defect of cultural studies as it disregards the inherent meaning of the text, distorting a play. The approach of cultural studies also consists of a conventionality as it arrives at a stereotyped interpretation by using certain conventions of reasoning and rhetoric. The cultural theories are fundamentally the 'outside theories' that seek to explain not theatre but the very broad features of society and politics. Consequently their application to theatre risks the destructive criticism, disregarding the inherent experience of theatre. Most of, if not all, cultural theories, furthermore, are proven to be lack of empirical basis. The alternative method to them is a 'cognitive science' that proves scientifically our mind being influenced by bodily experience. The application of cultural materialism to Shakespeare's is one of the cases that reveal the limits of cultural studies. Jonathan Dollimore and Water Cohen provide a kind of 'canonical study' in this application that is imitated by the succeeding researchers. As a result the interpretation of has been flooded with repetitive critical remarks, revealing the problem of 'top-down inquiry' and conventional reasoning. Cultural Studies is antipodal to theatre in some respect. It is interested chiefly in the social and political reality while theatre aims to create the fiction world. The theatre studies, therefore, may have to risk the danger of destroying its own base when it adopts cultural studies uncritically. The different stance between theatre and cultural theories also occurs from the opposition of humanism vs. antihumanism. We have to introduce cultural theories selectively and properly not to destroy the inherent experience and domain of theatre.

• 비교문화연구
• /
• 제45권
• /
• pp.497-517
• /
• 2016

This paper interrogates the theoretical foundations of Cross-Cultural Studies across the Social Sciences through an examination of the field ELT. Through an examination of ELT's major theoretical and pedagogical moves, this paper illustrates how ELT is by nature a field of cross-Cultural Studies. A closer examination of the history of ELT shows how the colonial genesis of the field indicates a skewed representation of power between native English speaking nations and non-native speaking nations both in terms of academic theories and pedagogies, as well as socio-cultural relations of power. A further analysis of how the field theorizes and represents various relations of power between disparate cultures in ELT literature explicates the dilemma of the objectivity and neutrality of Cross-Cultural research in ELT. In doing so, the analyses included in this paper thus necessarily raises questions regarding the theoretical foundations of research methodologies of Cross-Cultural Studies in terms of the reflexivity of researchers and the problematic of how, or if, relations of power are included in the studies. This paper questions whether studies that do not include these research perspectives properly represent the disparate cultures under study, or are more of a biased, or Orientalized (Said, 1979) interpretation of cultures.

• 비교문화연구
• /
• 제21권
• /
• pp.189-211
• /
• 2010

The purpose of this paper is to 1)examine the current state of cultural studies in Korea with a focus on recent discourses about its 'crisis' and 2)attempt to find some ways out of these dilemmas in drama/theatre/performance studies. As Raymond Williams redefined 'culture' as 'a whole way of life,' performance studies has expanded the boundary of 'performance' from traditional performing arts onto almost everything that can be studied and analyzed 'as' performance. Performance is not only the final product on display but a whole process that includes training, workshop, and rehearsal of culture. According to Richard Schechner, workshop and rehearsal are the most critical and creative 'liminal' phases that allow traditional knowledge and alternative challenges to coexist in conflict and intentionally delay the final decision by putting itself in a perpetual process. From this view, this essay attempts to find an-no matter how limited and temporary-answer to or a possible exit from political and theoretical aporias of cultural studies.

• 한국언론정보학보
• /
• 제70권
• /
• pp.95-131
• /
• 2015

이 글은 '비재현적 문화연구'에 대한 소개와 필요성, 시급함에 대하여 버밍엄 문화연구의 재고찰을 통하여 이야기한다. 더불어 어떻게 비재현적 문화연구라는 지적 기획이 추상적 구분과 재현적 담론이 주도했던 그 동안의 주된 문화연구적 사고와 방법론에서 빈번히 배제되었던 세계의 양식들에 강조점을 두어 이를 읽어 내는지 살펴본다. 대표적으로 스튜어트 홀의 주요 저작과 후기 생애에 대한 실천적 모습을 통해 비교적 익숙한 모습의 버밍엄 문화연구 한계를 극복하면서 궁극적으로 문화연구, 특히 한국의 문화연구를 현재 시점에서 다시 한 번 생각해 보고자 했다. 이 글에선 주로 후기 스튜어트 홀의 사유와 현실에 밀착된 방법론의 관계성 그리고 그 방향성을 주목하여 살펴보았다. 사실 한국 문화연구는 버밍엄 문화연구와 특별히 연구 방향성과 주제의 부분에서 거의 같은 것으로 여겨져 왔고, 우리 비판언론학계에서 이러한 이른바 '전통적 영국 문화연구'의 영향력은 여전히 매우 강력하지만, 오히려 어떤 면에서 이는 매우 한국적이며 특수한 현상일 뿐이다. 그 점을 스튜어트 홀의 대표 저작들에 대한 재독해와 이에 기반을 두어 후기 삶의 실천적 자취를 따라가 보면서 조금이나마 발견해 보고자 했다.

• 지역사회간호학회지
• /
• 제29권4호
• /
• pp.450-466
• /
• 2018

Purpose: The purpose of this study is to identify trends in research on cultural competency of nursing students and nurses in Korea and to provide suggestions for future studies. Methods: A literature search was conducted with 432 papers published between 1985 and 2016 from five electronic databases and other sources using such key words as 'cultural competency', 'cultural nursing', 'multi-cultural competency', 'nursing students', 'nurses', etc. Results: The research design of 86 nursing researches on the cultural competence of nurses and nursing students analyzed in this study was 90.7% in quantitative research, 9.3% in qualitative research, and 2.3% in mixed research. Cultural competence was the most measured concept. A total of 41 papers (47.7%) out of 86 papers were used to measure cultural competence. Ten different tools were used various instruments of cultural competency were used in 41 papers. In 11 experimental studies, new methods such as role playing, case study, four stage 3D puzzle model, newspaper reading, and writing reflection note were used other than traditional method of lecture. Conclusion: The overall findings of this study suggest that future research should include more well-designed experimental studies, qualitative studies and repeated studies to confirm the effects of findings from previous studies. Development of effective and highly diverse teaching methods is recommended to increase cultural competency. Supporting systems and funding are required to help activate research of nurses.

• 유통과학연구
• /
• 제12권7호
• /
• pp.63-75
• /
• 2014

Purpose - This study analyzes topics discussed in the International Journal of Consumer Studies through a content analysis, to reveal the impact of cross-cultural management in consumer research. Research Design, Data, and Methodology - The International Journal of Consumer Studies has the highest impact factor among international consumer journals, and was chosen for research. This study investigated 712 articles, covering a ten-year period. Results - A total of 82 articles were found to be related to cross-cultural management, out of 712 articles. This shows a need for improvement in the area of cross-cultural management, and implies that the discipline of cross-cultural management will continue to have a significant impact on consumer studies. Conclusions - While content analyses have been conducted in the area of consumer research in the past, a comparative content analysis in the International Journal of Consumer Studies is unprecedented. This study offers insights on the comparative analysis of general articles and articles related to cross-cultural management, which will be useful reference points for future global markets and fields in distribution and consumer research.

• 비교문화연구
• /
• 제24권
• /
• pp.62-83
• /
• 2011

The totality of language learning comprises three integrated components: linguistic, cultural, and attitudinal (Wilkes, 1983).Positively sensitizing students to cultural phenomena is urgent and crucial. A positive attitude toward L2 culture is a factor in language learning that leads to cross cultural understanding. This research examined, through a survey analysis, how three groups of students (one high school group and two university student groups) viewed the role of their foreign culture (i.e., American and British cultures) in achieving cultural understanding. The focus was upon how EFL learners approach the target language culture as well as their own culture.

• 한국언론정보학보
• /
• 제54권
• /
• pp.76-97
• /
• 2011

가추법은 문화연구의 방법론으로서 어떤 의미를 지니는가? 이 논문은 문화연구의 방법론 논의가 연구방법이 아닌 인식론적 맥락에서 이루어져야 함을 주장하고, 이를 위해 가추법의 의미를 문화연구의 방법론의 측면에서 재해석한다. 논리학자이자 기호학자인 찰스 샌더스 퍼스는 연역법이나 귀납법으로는 불가능한 새로운 명제나 지식을 발견하기 위해 가추법을 제안한다. 근대의 과학적 실증주의가 객관성과 확실성의 논리에 기대고 있다면, 가추법은 경험된 현상으로부터 새로운 전제를 찾아내는 발견의 논리로서 의미를 지닌다. 이 논문에서는 학문과 지식의 생산 구조와 역사적 맥락을 살펴보고, 그 과정에서 형성된 과학적 연구방법의 신화를 비판한다. 그리고 사회와 문화를 연구하는 방법론적 대안으로서 가추법이 갖는 의의를 살펴보고, 가추법이 문화연구의 방법론에 던져주는 시사점은 무엇인지 논의한다. 이를 통해 문화연구가 방법론으로서 갖추어야 할 세 가지 요소, 즉 '직관'과 '공감'과 '지적 협업'의 중요성과 의미를 탐색한다. 결국 문화연구는 관찰할 수 있는 현재로부터 알 수 없는 실재를 찾아내는 발견의 논리가 되어야 함을 주장한다.

• 비교문화연구
• /
• 제26권
• /
• pp.405-444
• /
• 2012

This paper is based on the view that film should be conceived as a form of cultural practice whose meaning is always in the process of being produced within diverse socio-cultural contexts and aims to examine the ways in which the meaning of Korean film is (re)mediated or received in diverse cultural contexts outside the country. In this paper, we employ two theoretical grounds. Firstly, it positions itself in line with the audience studies within the field of cultural studies where the audience is conceived as active agents who produce the meaning of a popular culture text. The recruitment of the theoretical propositions from the audience studies enables recognition of the significance of the reception in film practice which recently seems to be oriented on production and distribution. Secondly, we conceive transnationality of film as that which is being produced in the process of transaction between the film and the audience, that is to say, transnationality is a form of discourse that emerges upon cultural interaction. The empirical work involves examination of a set of reviews of four films--Chihwaseon, Oldboy, Thirt, Poety--that have been published in daily newspapers and some popular film magazines in the U. S., the U. K. and France. Through the analysis of the film reviews, we identify four interpretive schemes or rather discourses recruited via which the Korean films are approached and understood: auteurism, formalism, universal themes, emotional response. We propose that these four kinds of discourse provide a common ground for the audience from different cultural backgrounds to understand Korean film. Furthermore, we also suggest that transnationality of Korean cinema needs to be reconsidered in terms of the reception as the audience from different socio-cultural backgrounds should be understood as active agents who are capable of engaging in Korean cultural texts such as film in their own way producing various meanings and these are also constituent of the meaning of the cultural texts.