• Journal of the Korean Society of Food Culture
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• v.22 no.5
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• pp.556-574
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• 2007

`Kyukonyoram Dyusikbang` is an old cooking book hand-written in Korean by unknown writer, housed in Shinam-mungo of the Korea university. This book introduces Tojungbigyul and Dyusikbang(the part about food), and explains in detail how to handle emergency cases at home, take care of women who deliver a baby and give it name and so on. It can be summarized as follows. (1) 29 'Koi's seem to keep unexpected accidents and encourage people to enjoy stable life at home. (2) In this book are not only 27 ways of how to make liquors but also ways of how to cook dishes using 12 kinds of food with cold water and one kind of rice cakes. (3) It says good yeast is critical for good quality liquors and also emphasizes the. taste of good 'Jang' to enhance the taste of other food and the importance of having basic food materials and spices at home. (4) It describes in detail the day of good or ill luck while mentioning how to name a baby. It can be seen that there were somethings that were considered especially important such as the process of making Jang, the day of placing the rooftop, or the good or ill luck of people.

• Korean journal of communication and information
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• v.84
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• pp.99-123
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• 2017

We analyzed the movie (2016/ directed by J-yong E), which is entangled in politics of gender, age, class, or sexuality, naming as "spaces of Others", using the concepts of heterotopia of Foucault. Foucault addressed three types of spaces: the realistic space where we currently live, the unrealistic and non-existent utopia, and heterotopia, which functions antithetically to reality. Thus, Foucault's heterotopia can be considered to indicate "heterogeneous spaces" in reality. The Bacchus Lady revolves a 65-year old prostitute So-Young, sells her body to old men at the parks in downtown of Seoul. Old prostitute on streets are often referred as "Bacchus Ladies", because suggest the popular energy drink a bottle of Bacchus while selling sex. The movie represents some minorities such as transgender, Tina and madam of the club, G-spot, migrant women like Camila and Aindu, and a amputee, Dohoon. Through these people's bodies, the problems such as imperials, nations, ethnics, gender, age, class are entangled in the movie. The politics of these points work and construct heterotopias in four spaces of Others. First, the spaces which ageing and death are intersected. Second, the spaces of So-Young for prostitutes, Third, the spaces of So-Young's mothering: she adopted her baby to American when he was a infant, so she have felt guilty. Fourth, the spaces for So-young's quasi-family with Minho, a Kopian boy who was abandoned by Korean father, Dohoon, who is a poor amputee, and Tina, who is a transgender singer. Fifth, the spaces of speech of So-Young as the subaltern: the subaltern does not have the language to express its own experiences. In order to listen to the words of subaltern, we must do the task of measuring the silence. This cinematic representation of So-young as the subaltern makes her speak about her situation. Finally, the spaces constructed by the movie can be connected 'heterotopia of crisis', 'heterotopia of deviation' and 'heterotopia of fantasy'. The spaces of the movie represents lives of Others, nevertheless, So-Young's Otherness through spaces of heterotopia was transformed to an absolute Other by patriarchal traits of cinematic narrative.