• KSII Transactions on Internet and Information Systems (TIIS)
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• v.11 no.1
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• pp.596-610
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• 2017

As a 'network of networks,' the Internet globally connects a huge number of regional and individual networks and provides us with new hopes and possibilities. However, a nation-state as well as the legal order of the 'state'(constitution) has limitations that are all too clear in order to regulate this new world formed by the Internet. It will soon be impossible for a single state to control these global information networks, and they will not be consistently and vertically operated and managed by anyone. As a result, ideologies or jurisdictions that support the legal order of a nation-state are no longer sufficient to control information delivery beyond borders. Furthermore, the development of the Internet and emergence of cyber space in the information society has led to the idea of 'extinction' of nation-states. Nevertheless, the conclusion that the state will be extinct due to the development of the information society is still nothing more than a hasty assumption. In other words, the information society does not indicate the end of the state. Rather, we must now clearly perceive that the object of our research and discussions must be the role and function of the nation-state in the newly emerged information society in the global aspect and international aspect, as well as in relationships with individuals or organizations that now have unimaginably strong information power. It is clear at this point that nation-states will lose the function and authority they have enjoyed or exercised to a certain degree, but this certainly does not indicate that nation-states are, and will be, unnecessary or useless. Rather, it is necessary to focus on the list of tasks that must be accepted by nation-states in the changed information society, as well as responsibilities and means to perform those tasks.

• Journal of English Language & Literature
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• v.58 no.5
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• pp.903-941
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• 2012

This essay examines Edward Said's Culture and Imperialism focusing on the concepts of 'culture,' 'empire,' and 'nation'. The approach is critical, theoretical, and historical rather than explicatory. Consequently, the range of the essay is not limited to Said's own explanation and argument about Western imperialism and its culture presented in the book. In doing this, this essay finally purposes to be a discursive resistance to the current global empire, the United States, via a critical reading of Said's work. Said's notion of culture is set upon to disclose the function of culture as an apparatus of ideological consent of the dominated to the dominant. When applied to imperial practice, Western culture functions to subject the colonized to the colonizer. Said's geographical approach to imperialism complements the historical understanding of imperialism. Imperialism is not only the practice of Western-centered historicism but also the spatially mutual interaction between the West and the rest of the world. Along with European imperialism, Said poses the current global empire of the United States as his main target of criticism. Said's problem is that he takes the United States as a nation-state. When examined, the United States is not a nation-state, but today's empire. The empire in the appearance of the nation-state United States does not work for the interest of the American nation, that is, the American people. The empire is the transnational and postnational political and economic institution that works for the interest of global capital. In order to resist the current global empire, this essay suggests that the building or restoration of nation-states with its basic principle of people's sovereignty is in need.

• The Journal of the Korea Contents Association
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• v.6 no.11
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• pp.56-64
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• 2006

It seems that there has been a tendency of faction film which reveals imagination of state/nation. As typical examples, & would show the relationship between some factional imagination and the project of blockbuster. In this regard, I've researched the tradition of cinematic representation of state/nation and some historical aspects which reveal the being of official films ruled by oppressive political intention. As a kind of discourse dealing with state/nation, & have specific strategy of representation. The analysis about that process might enable us to understand what is nationalism and what is the nature of ideological discourse consumed by faction-related products.

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.61-96
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• 2010

This research established that the two characteristics of Femail Gugguek were explored on the character as genre and the nationalism discourse. This research also included how to encounter the characteristic of Female Gugguek as a popular entertainment with the social context at the time and how to re-produce the social ideology. The 'historical nationalism narrative' piercing Female Gugguek had the close relation with the nation/state discourse of the time. The history reproduced by Female Gugguek was not real. It was the imagined past, the history as image. The Female Gugguek was a genre which typically showed how to intermediate fantasy, ideology and narrative. The happy-endings with the victory of male hero, the narrative pattern on overcoming national crisis, the narrative emphasizing the glorious past and the unification of nation, all these were projected the discourse on nationalistic ideology and nation/state-making in 1950's. The Utopian desire of Female Guggeuk imagining the glorious past and strong nation was the fantasy which concealed the contradiction in real life and the national identity damaged by colonial experience, division of territory, governance by U.S. Military Government and the Korean War. The Female Guggeuk was doing well, because it had amusement. Futhermore, imagination of glorious past and strong state/nation of Female Guggeuk satisfied the public's desire of escapism and wish to establish their position and identity in the rapid social-economic changes. However, Female Guggeuk repeatedly produced the never-changing characters, narrative pattern and conservative world-view. Thus, it became regarded as immature and obsolete thing in late 1950's. Female Guggeuk, which kept re-producing the retrogressive image of the past without modern viewpoint and interpretation, was not sensitive about change of time and trend of the people. Consequently, it was pushed out of people's major interest.

• 중국학논총
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• no.65
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• pp.287-302
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• 2020

Social Evolution was the most influential idea in modern China. Chinese intellectuals, who had made the survival of their country and people a top priority in the face of threats from Western powers, accepted the theory of social evolution as an idea calling for national unity. For Liang Qi chao, the theory of social evolution was a reason to raise the modern nation-state and the new people, along with the need for reform. This article examines that philosophical content and meaning modern Chinese social evolution has around his concept of "nation". His ideas, which are regarded as the origin of Asian nationalism, reflect his belief in and will toward a nation-state, and occupy a unique position in the political history of modern China.

• Journal of the Korean association of regional geographers
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• v.16 no.4
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• pp.355-368
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• 2010

This study is to make a framework of newly interpretating the dynamic change of regional or local landscape rapidly occurred after the establishment of the nation state and capitalistic system. The basic concepts of making an interpretative framework are power, subjectivity, and performativity. The framework of closely interrelating the three concepts developed in the near future will be applied to the interpretation of variety of (de)centralized landscapes in regions or locals. A centralized political power under the nation state has destroyed or marginalized the historically developed landscapes, traditional culture, and subjects' values in regions or locals by the political implementation of the nation state, the establishment of national identity, a centralized economic development, and so on. The landscapes produced by the political power of the nation state can take a role as a cause of conflicts in regions or locals in terms of a historical perspective. Landscapes are being made by various subjects, and the produced landscapes also positively or negatively will influence the emotion, cognition, and behavior of the subjects particularly in a performative perspective. The dynamics interrelation between subjects and landscapes has been disguised or marginalized by reason/rationality, totality/collectivity, the separation between reason and emotion mainly made by modernism, the nation state, a capitalistic system. The interrelation between landscapes and subjects is especially emphasized on people's resistibility and creativity. Lastly, landscape is not a concept given as a priori or (re)presented objectively. It is not also a material or an object independently existed from a subject's emotion and cognition. It should be interpreted through a performative relation with subjects. Performativity will take an active role of combining the materiality of landscape, power, and subjectivity. It is also important to understand the active role of landscapes.

• Journal of the Korean Professional Engineers Association
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• v.46 no.1
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• pp.58-63
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• 2013

Since 2010, politicians and netizens have been frequently talking about "The Standard of a Nation". Specification/Standard contains "de facto standard" and "de jure standard". "The Standard of a Nation", the level of a state's quality, is prescribed by the constitution. Though the constitution, which is equal to a state's official standard, has been well established, it would be undervalued without civil obedience. The state standard can never be improved by a couple of successful projects or some national policies. The time is that the people who would like to level up of the state standard also should consider technology and science as important.

• Journal of the Korean association of regional geographers
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• v.19 no.2
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• pp.203-222
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• 2013

This study has been implemented under the two purposes. One is to critically explore how married immigrant women had experienced or experience conflicts, differentiation and so on occurred in their relations to family, neighbor, friend, organization and nation. The other is to understand married immigrant women and family through a new perspective based on a relational space of interacting trans-nation, local and nation. The results of the study are summarized as the followings. Firstly, transnational space is produced by international marriage between Korean man and foreign woman and kept (or activated ) by (non) everyday activities of married immigrant women and family. There are remittance, children's rearing and education, visits to mother's house, emotional interactions by phone and computer and so on. Secondly, multi-layered and relational local spaces have been (re)produced by married immigrant women's various activities related to family, neighbor, friend, nation and so on. Thirdly, married immigrant women's relations to nation state or government has been specifically presented (or expressed) through the acquiring of Korean nationality and government's activities of supporting multicultural family. Married immigrant women feel that their national identity between mother's nation and Korea is ambiguous and undecided.

• Journal of English Language & Literature
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• v.60 no.2
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• pp.315-338
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• 2014

In The Great Hunger (1942) Patrick Kavanagh opens an Irish postnationalist discourse. Taking advantage of historical revisionism and postcolonialism, he not only demystifies a romantic nationalist ideology rooted in rural Ireland but also searches for an autonomous literary tradition free of the Irish Literary Revival, supposedly an outcome of a colonial influence. As a farmer-poet, Kavanagh deconstructs in two ways myths of rural areas, to which the Revivalists aspire. Contrary to Revivalism, he reveals that rural Ireland is not an idealized place where national identity arises and individual spirits are restored. It is instead a cruel place where farmer Maguire, deprived of health, wealth, and love, is tortured by hard labor in the field, moral regulations imposed by the Church, and his mother's domestic authority, all of which leave him unmarried until age sixty-five. Kavanagh also challenges the Revivalist tradition, led by W. B. Yeats commonly referred to as the poet of the nation, by indicting its reliance on former colonial authority and its lack of a sense of communal autonomy, both of which are diagnosed as "provincialism" by Kavanagh. Given that modern Irish literature has been strongly colored as nationalistic during the course of anticolonial resistance, Kavanagh's critique of the Revival in The Great Hunger, whose proponents blindly beautify the lives of farmers, runs directly against the grain of the founding ideology of the Irish nation-state. His voice, like that of a whistle-blower, disclosing the harsh realities of rural Ireland, ushers in a "post"-nationalist perspective on nation and national myths in Irish poetics.

• SUVANNABHUMI
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• v.8 no.2
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• pp.7-11
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• 2016