• The Journal of the Korea Contents Association
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• v.17 no.10
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• pp.120-139
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• 2017

The purpose of this research was to explore life history of an elderly woman who fled from North Korea and to understand and provide interventions for female North Korean Defector. The participant of this research is an 81-year-old woman who escaped from North Korea and has lived in South Korea for over 14 years. This life history study followed the analysis of Mandel baum(1973) pointing three perspectives of life: dimensions, turnings, and adaptations. This study concluded that the participant of the research study had no protection while staying in China and North Korea and had experience of Homo Sacer. And even after arriving to South Korea the participant had to live her life with the past negative experiences in North Korea and China. Based on the research results discussions and implications were suggested.

• SUVANNABHUMI
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• v.14 no.2
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• pp.89-116
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• 2022

During the Covid-19 pandemic's first term of April-June 2020, the general public throughout Indonesia became familiar with the slang term "local lockdown." This term emerged in response to disorderly implementation of the half-hearted government policy called Pembatasan Sosial Berskala Besar (PSBB). In villages around the country, people started to build portals to restrict "strangers" or "outsiders" from entering their village areas. These portals were also meant to publicly signal the villagers' fear of the spread of the virus. This paper will discuss two things: first, how fear was produced, using frameworks drawn from Giorgio Agamben's notable works State of Exception and Homo Sacer, and how governance reproduces it; and second, how people come to accept the state of emergency and then publicly express their acceptance of the situation. Critical discourse analysis is applied to read government policy and its reception. The research took place at Rempoah, Kedungmalang, and Pabuwaran villages in Banyumas, the southern regency of Central Java, Indonesia. The villagers' responses to the government's policy are visually represented through written warning signs.

• Cartoon and Animation Studies
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• s.37
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• pp.267-286
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• 2014

Yeon Sang-Ho's Animation occupies an exceptional place in Korean Animation, being categorized as the kind of realism representing the pitiable actuality rather than the liberal and creative imagination. His animation appreciated as 'stories much more real than the reality' mainly depicts the world of 'the others' who resides on the periphery of the society in a rough and straightforward way. Yeon Sang-Ho's Animation represents the emotions and desire of characters as well as the heartless real world refusing the fantasy, through which it reflects the portraits of people living in post-capitalistic era seen from the microscopic view. This article investigates the textual characteristics, defining his animation as the Brutal history of 'The Others'. Two conditions which constitute the actual world in his works are the absurd social system and the characters who are afflicted with the trauma, belonging to the lower classes. Therefore, the landscape of real life which contains vicious victim, corrupted monster and being as 'homo sacer' looks like a painting of hell. Yeon Sang-Ho's Animation summons the shadow of ourselves which has been negated or neglected through the figure of 'the others' produced in post-capitalistic era and exposes our bare face and the uncomfortable truth by displaying the affected area of out society plainly. Furthermore, his works demonstrate the possibility of Korean animation as a representational language of facing the reality and searching for the truth.

• 한국체육학회지인문사회과학편
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• v.56 no.1
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• pp.99-110
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• 2017

The purpose of this study was to focus on the social influence of the movie , to review the meaning and symbolism of Koreans living in Japan (ざいにち) and rugby in the movie, and to eventually reveal the messages from the movie. The research method was text analysis. As a result, Koreans living in Japan were represented in 2 ways. Koreans living in Japan were represented as Homo Sacer, the contradictory being, located inside society by Japan's sovereignty but considered as outsiders. Meanwhile, the identity of Koreans living in Japan were represented clearly as Korean and they were acknowledged in Japan as proud and capable. The rugby in the movie has 2 symbolic meanings. First, it was the most important and effective way to prove Korean existence in Japan by representing the struggle for recognition, additionally it also carried an important message about their ideal society.

• Korean Journal of Social Welfare
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• v.68 no.1
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• pp.23-52
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• 2016

This study aims to reveal the meaning and essence of male immigrant workers' life who underwent industrial accidents through specific experiences. This study is based on the Van Manen(1990)'s lived experience phenomenological method, which actively describes the experiences about the industrial accidents in the perspective of male immigrant worker. The in-depth interviews were carried out with the thirteen male immigrant workers participants who underwent the industrial accidents. Through the interview, 121 meaning units and 38 disclosed themes were constructed. The following is the summarized results as 9 essential themes: < the oppression of the Industrial accident compensation insurance's hospitals to the aliens >, < being treated like the surplus man who lost the labor force >, < the class rank below despite undergoing the industrial accidents >, < survival having resistance sentiments >, < living at the anonymous lands as the Homo sacer >, < the stratified strategies between the immigrant workers >, < the origins as the bodiless shadow >, < struggling to escape the present conditions >, < present circumstances tied by the past experiences without hope >, researcher sought the essential meaning structure about the four Life-world Existentials (Body, The other, Space and Time) of constructing human's live-world. Based on the study results, some suggestions were made to restore the male immigrant workers' damaged quality of their lives who experienced industrial accidents and to contribute the social integration in view of the social welfare.

• Journal of Popular Narrative
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• v.27 no.2
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• pp.143-177
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• 2021

In the history of Korean literature, evaluations on 『Jirisan』 (Lee Byeong-ju) are bisected. Some evaluate it as a novel of authentic records which reproduces the history before and after the emancipation objectively while others say it takes advantage of anti-communistic ideology. This study analyzes that difference is resulted not from the distinction of perspectives but from cracks in the text. This is associated with the process of 『Jirisan』's publication. 『Jirisan』 was published serially in 『Sedae』 from 1972, and then, part of the manuscript was published in 1978 and the whole edition published in a series came to be republished in 1981. After that, in 1981 and 1985, part of the follow-up story was printed on the magazine, and then, with the memoirs of those two years as materials, the sixth and seventh volumes were again published through 'revision'. In other words, the publication of 『Jirisan』 is divided into that of the edition published in a series and that of the edition published in 1985 including the contents of revision. The theme of the work, 『Jirisan』 differs according to the point of its completion you may think of. This researcher pays attention to the difference of perspectives between the contents up to the fifth volume and those of the sixth and seventh volumes. Particularly, his evaluation on 'partisans' seems to have changed. In the edition published in a series, he extended 'partisans' into the independence movement in the Japanese colonial era under the Revitalizing Reforms system and adopted the representation of 'partisans' three-dimensionally whereas in the sixth and seventh volumes, he reproduced 'partisans' as beings that were the 'doctrinaire' and 'vicious' 'Reds' and had to be punished. In brief, with 『Jirisan』, he represented 'partisans' in the background of history before and after the emancipation and segmented the discourse, representation and ideology of the Cold War system, but in the process of revision, he stitched up 'partisans' as beings that were evil and losers. Consequently, with 『Jirisan』, he revealed the process of division and contention that proceeded around anti-communism/capitalism within the abyss of the 1970's to 80's and reproduced 'partisans' as beings that were either 'hostile (the Reds)' or 'unknown (losers)