• The Korean Journal of Archival Studies
• /
• no.65
• /
• pp.253-319
• /
• 2020

Hongdong Herstory in an narrative-based archival activities. This Herstory Workshop designed by a facilitator who is using her love for language and storytelling to empower all voices. Herstory Workshop has been opened at winter every year for a month. The place where the workshop opened is located at farming area. Hongdong Herstory Workshop has been the field where the members of the community having a talk together. 20 women have been participated at the Herstory Workshop. Herstory projects have been published every year. This essay is an trial for rearchiving the herstory projects. This essay focused on the narrative function of archives.

• The Korean Journal of Archival Studies
• /
• no.31
• /
• pp.3-42
• /
• 2012

This paper considers some possibilities of community archives by exploring the concepts ans meanings of archival description. The author deals with two interesting cases -Herstory Writers Workshop Collection of Stony Brook University in New York and Poolmoo Collection of Poomoo Agricultural School in Korea. The author argues that archivists should know the specifications of Community Archives related to National Archives when they organizing and preserving records and archives of community archives.

• Journal of Korean Neurosurgical Society
• /
• v.62 no.6
• /
• pp.619-625
• /
• 2019

The Korean Women Neurosurgical Society (KWNS) was founded in 2008. To commemorate its 10th anniversary, herein we review its history and the status of Korean Neurosurgical Society (KNS)-certified women neurosurgeons. Based on the academic and social activity of the KWNS, we can expect to promote professional work as members of the KNS, facilitate interaction among neurosurgeons, and sustain professional careers.

• Journal of Popular Narrative
• /
• v.26 no.1
• /
• pp.175-209
• /
• 2020

This paper examines how the cinematic representation of the Japanese military "comfort women" stimulates 'imagination' in the realm of everyday life and in the memory of the masses, creating a common awareness and affect. The history of the Japanese military "comfort women" was hidden for a long time, and it was not until the 1990s that it entered the field of public recognition. Such a transition can be attributed to the external and internal chronopolitics that made possible the testimony of the victims and the discourse of the "comfort women" issue. It shows the peculiar status of the comfort women history as 'politics of time'. In the same vein, the cinematic representations of the Japanese military "comfort women" can be found in similar chronopolitics. The 'comfort women' films have shown the dual time frame of the continuity and discontinuity of the 'silence'. In Korean film history, the chronotope of the reproduction of "comfort women" can be divided into four phases: 1) the fictional representations of "comfort women" before the 1990s 2) documentaries in the late 1990s as the work of testimony and history writing, 3) melodramatic transformation in the feature films in the 2000s, and 4) the diffusion of media and categories. The purpose of this article is to focus on the first phase and the third phase in which the issue of 'comfort women' is represented in the category of popular fiction films. While the "comfort women" representations before 1990 were strictly adhering to the framework of commercial movies and pursued the sexual exploitation of "comfort women" history, the recent films since the 2000s are experimenting with various attempts in the style of popular imagination. Especially, the emergence of 'comfort women' feature films in the 2000s, such as Spirit's Homecoming, I Can Speak, and Herstory, raise various questions as to whether we are "properly" aware of issues and how to remember and present the "cultural memory" of comfort women. Also, focusing on the cinematic representation strategies of the 2000s "comfort women", this article discusses the popular politics of melodrama, the representation of victims and violence, and the feature of 'comfort women' as meta-memory. As a melodramatic imagination and meta-memory for the historical trauma, the "comfort women" drama shows the historical, political, and aesthetic gateways to which the "comfort women" problem must pass. As we have seen in recent fiction films, the issue of "comfort women" goes beyond transnational relations between Korea and Japan; it demands a postcolonial task to dismantle the old colonial structure and explores a transnational project in which women's movements and human rights movements are linked internationally.