• SUVANNABHUMI
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• v.14 no.1
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• pp.53-70
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• 2022

This article compares archetypal heroes in Nguyễn Huy Thiệp's "The Tiger's Heart" and John Steinbeck's The Pearl. It aims to explore the voices of marginalized groups and ethnic minorities who suffer amidst the clash of civilizations. In exploring cultural communication between minority and mainstream communities as embodied by the archetypal heroes in the two works, this article highlights implications of resistance against values of the dominant. The method of "mythization" in modern Eastern and Western Literature, as this article argues, demonstrates the importance of minority discourses in as far as cultural conflicts in the globalizing world are concerned.

• Korean journal of communication and information
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• v.23
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• pp.79-112
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• 2003

The purpose of this study is to explore the way that power in cyberspace is constructed and work and the factors that contribute to forming the power by analyzing a bulletin board system(BBS) on an everyday drama, "Can't Take My Eye Off You"(MBC). Research findings are as follows. The participants in the BBS produce various discourses and constantly compete with each other. In the process, the participants who produce a dominant discourse in quantity tend to exclude other discourses from the BBS and the participants who produce the minority discourses sometimes resist the dominant discourse but tend to refrain from expressing the minority discourses. These tendencies have intensified, and eventually the dominant discourse overwhelmingly powers over the BBS at the end of it. The dominant discourse in the BBS is confucian patriarchal one and this is primarily due to the characteristic of the BBS as the fandom of the drama, the participants' experience and dominant culture in their embodied social world, and the authorship of the drama.

• The Journal of Korean-Japanese National Studies
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• no.32
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• pp.215-275
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• 2017

In the absence of the alternative public space of women in Japan, the experience of the "Bongseonhwa" was interpreted as the public domain of Japanese society as a public domain, a confession that focused on gender discrimination in the patriarchal system of Japan, Most of the enemy discourse is. These alienated discourses are the product of the efforts of women in Japan who do not want to forget about the traces and memories that can not be incorporated into the big narrative. It can not be denied that the women in the society of Japan have been excessively excluded and alienated by national ideology and patriarchal ideology. The meaning of presenting them through "Bongsinghwa" is the resistance of the minority, and it is the expression way of reconstructing and strengthening the identity of the women, and it is said to be a space of symbolic meaning. It is further clarified that it is based on a narrative that creates a new life area for coexistence with Japanese society, on the other hand, by constantly searching for the linkage with the motherland, held by women in Japan. As a result, between public social phenomena and private living space, confirmed that it conflicts with repetitive internal contradiction of controlling power and confirmed that complicated and detailed material of women living in Japan who undergo double discrimination What has been expressed over a period is considered to be a resistance expression and a will of expression of reconciliation to coexist with Japanese society. I have attempted to analyze the confessed alienated discourse of "Bongsinghwa" by classifying it as . As a result, it is confirmed that the public social phenomenon and the private life space are confronted with the repetitive internal contradictions of the power of domination, and the expression of the complex and detailed material of the discriminated women in Japan over a long period of time is a resistance to symbiosis with Japanese society And the will of the conversation.

• The Journal of Art Theory & Practice
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• no.14
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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.

• The Journal of the Korea Contents Association
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• v.17 no.1
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• pp.567-584
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• 2017

This study investigated formats and structure of meanings for the TV talk shows with North Korean defectors. The authors selected of Channel A and of TV Chosun as research subjects. As results of this study, it was found that the former dealt with heavy issues about North Korea, expressed positive perspectives on North Korea and fantasic expectations about South Korea, and produced superior dicourse of South Korea. On the other hand, the latter one dealt with light and sensational items about North Korea, employed dialogues about critics and disappointments on South Korea, and produced problematic discourse about South Korea. The former produced a kind of converged discourse structure to create superior ideology of South Korea, while the latter produced a kind of dichotomous discourse structure to create frustrating ideology. In short, through this study, it turned out that North Korean defectors suffered from their confused identities, unclear self identities, and minority positions in the South Korean society.

• Journal of the Korean Geographical Society
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• v.51 no.6
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• pp.873-892
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• 2016

2015 was the seventieth year from the liberation and the division of Korean peninsular. Although the research on the unification has been performed in various interdisciplinary fields since the liberation of Korea, the geographic research on the unification based on the space stays in a minority. It is time to wrap up the literatures and discourses centered on geography for preparing the unification and taking a view of Korean territory of future unification. The starting point is to define the concept of the geography for unification and give careful consideration to the geographic research trends related to the unification that has been achieved since the liberation of Korea. The geography for unification should be understood in the concept of time and space. First of all, the geography for unification can be composed of the stages such as the research for unification, the research for unification impact, the research for united Korea, and the geopolitics of East Asia under the concept of time. It also can be divided into the regions such as Korea, North Korea, borderlands between North Korea-China and North Korea-Russia including South and North Korea, and North East Asia and Pan Pacific Ocean. The geographic research on the unification embracing the concept of time and space can be defined as the geography for unification. The purpose of this study is to elicit the concept and the research field of the geography for unification in the perspective of discourse, investigate the research trends by geographic themes, and suggest the agendas of the geography for future unification.