• (The)Study of the Eastern Classic
• /
• no.57
• /
• pp.301-330
• /
• 2014

Varied opinions have been raised on Sushen's regional activities. These are Hwabuk drift theory, Shandong Peninsula drift theory, Liaotung Peninsula theory and the theory of Eastern Area in Heilongjiang Province. The theory of Sushen Dongbei that Sushen's regional activities are the Eastern Area in Heilongjiang Province is widely accepted in the chinese academia. However, this paper try to criticize the theory of Sushen Dongbei on the basis of archeological data. Prehistoric monuments of the Eastern Area in Heilongjiang Province are Singaeryu remains, Sonamsan remains, Aenggaryeong remains, Seokhoejang remains, Jinheung remains and Aporyeok remains. Residential group in the Eastern Area of Heilongjiang Province lived the economic life of fishing and hunting and were involved with primitive agriculture only in partial area. Its society was patriarchal clan steps of phallocentrism. By considering the cultural exchange between the Eastern Area in Heilongjiang Province and Chinese dynasty, the aspect of cultural exchange in two areas was unascertainable. Therefore, the theory of Sushen Dongbei is a mistake in Chenshou's "Sanguozhi" and nothing but a theory that base on the unified theory of Zhonghua minzu and the nationalistic intention in China.

• Journal of the Daesoon Academy of Sciences
• /
• v.47
• /
• pp.173-202
• /
• 2023

In this study, we delve into the potential for innovative cultural education techniques that utilize the timeless tales of Princess Bari and The Tale of Shim Cheong as tailored for the upcoming generations of overseas Korean learners. With a rising number of young overseas Koreans born and raised in their host countries, there emerges a pressing need to craft an educational framework that resonates with the evolving dynamics of their generation. Our endeavor revolves around proposing educational strategies that help solidify identity while carefully considering the intrinsic motivation prevalent among most overseas Koreans. Naturally, the choice of employing the classic epics Princess Bari and The Tale of Shim Cheong as educational resources was deliberate. These narratives are rich in rites of passage and offer profound insights into the transformative journey of their protagonists. Both characters are affluent women in patriarchal societies, and both embark on quests to redefine themselves through new relationships, liberating themselves from the confines of parental ties. This narrative framework provides a unique opportunity for overseas Koreans who are often adrift in the social fabric of their adopted countries. These stories inspire them to introspect and contemplate their own identities. By intertwining their personal narratives with the empowering stories of characters, students are provided a chance to reaffirm their authentic selves. Therein, a paradigm shift can occur that allows individuals to embrace the core elements that define them. Our ultimate objective was to enable students to explore their own stories and immerse themselves in the intricate narratives of classical works. This immersive experience fosters a profound sense of unity with the characters and paves the way for a comprehensive educational plan. This plan not only celebrates the hybrid nature of identity but also cultivates a deep sense of positivity within amalgamated 'subjects.' Such an approach not only fosters a stronger connection with one's heritage but also sparks a genuine curiosity about and affinity for the rich cultural tapestry of one's home country. It's not just education; it's a transformative journey that enriches the lives of overseas Koreans and nurtures a profound bond with their cultural roots.

• Journal of the Korean Society of Costume
• /
• v.54 no.3
• /
• pp.27-42
• /
• 2004

Music videos provide for many others images, alluring the audience to fall in another emotional world, while the sexual images shown in them suggest new images of man and woman. Today, men's images are being interpreted from various viewpoints. As interests in men's fashion are visualized through music video clothing, not only juveniles who want to be identified with the music video images but also adults try to imitate them, and proceed to wear the clothing, obliterating the boundary between 'reality' and 'illusion' and creating new images of men. This study is aimed at reviewing the male images shown in the music videos, particular their clothing, produced between 2000 and 2002. The results of this study could be summarized as follows : 1. Since beginning of the human history, men's image has been characterized by patriarchal system, capitalism, bourgeois class which emerged after industrial revolution and other man-dominant socio-cultural phenomena, such male image are shown in the music video as conservative and dominant image. 2. However, due to the post-modern culture, the power began to be decentralized. while feminism and men's liberation movement gain strength. As a result, women or heterosexuals began to regard men as sexual objects, and such a phenomenon is featured as sexual, bisexual or decadent images in the music videos. 3. On the threshold of the 21st century, music videos have begun to creatively describe men's life, their social conflicts, dreams and hopes and death and thereby. feature men's such images as being destroyed in view of existentialism. The numerous creative men's images interpreted in this way are featured in many music video works only to create playful, cyborg or demonic images using the senses. After all, men's images are featured in the music video costumes in diverse ways ranging from the conventional images to acquiescent images. In addition, various male images are combined with the characteristics of the music videos to be re-created anew. The young men in the our modern age tend to imitate or apply such images to create their own images or individualistic styles. All in all, men's image can be fixed no longer but diversified and fragmented in the new age.

• Cross-Cultural Studies
• /
• v.45
• /
• pp.269-293
• /
• 2016

This research studies the characteristics of the family systems of traditional societies in Black Africa. For this purpose, this study has chosen three subtopics: the distinctive features of traditional societies, marriage customs (polygamy and polyandry), and the societal features of patriarchal and matriarchal societies. First, we analyze men's and women's roles, ownership and management of the land, dowry, and social values of livestock as the distinctive features that support the family system in traditional Black African societies. These elements play an important role in increasing the number of family members. Next we analyze marriage customs-polygamy and polyandry-which increase the number of family members, on the one hand, and secure the labor force, on the other hand. Most traditional societies in Black Africa prectice polygamy. However, the $Bashil{\acute{e}}l{\acute{e}}$ and Bahima prectice polyandry. Polygamy in traditional societies in Black Africa is based on the traditional social customs that display the authority and dignity of the family head, who has control over all family members in both patrilineal and matrilineal societies. The authority and dignity of the family head are used to keep and increase the number of family members, that is, to secure the community firmly. Finally, most traditional societies are patrilineal. However, matrilineal societies are prevalent in the so-called Matrilineal Belt, which term refers to the savanna regions where Bantu peoples reside, that is, the coastal regions from the Angolan coast, bordering the Atlantic, to the Tanzanian and Mozambique coasts that border the Indian Ocean. These societies trace descent through the maternal bloodline. The traditional family system in Black Africa is based on economic social, and political factors, as well as on the community spirit of the members, which has resulted from the choices made to increase the prosperity and well-being of the people.

• Journal of Christian Education in Korea
• /
• v.65
• /
• pp.81-102
• /
• 2021

In church tradition, cultural misappropriation has often legitimized unjust hierarchy rather than to challenge it. Under the rubric of culturalism, Christian Education has served to justify the oppressive system and maintain status quo as well. A feminist theologian, Rebecca Chopp argues that the contemporary Western culture has intensified narcissistic individualism and self-referentiality and has supported the powerful, while forced the marginalized to be silent. Chopp insists that the role, nature, and mission of Christianity is to provide Word and words of emancipatory transformation. She advocates poststructural feminist theology and aims at renewal of the socio-symbolic order in society by criticizing assumptions underneath language, culture and politics. In this study, we will review the interview with an Asian-American couple and disclose the underlying assumptions and hegemony which have contributed to maintain the male domineering system. I suggest that Christian education for emancipatory transformation should encourage the oppressed women to reflect critically the existing order and to restore their own voice through constructive intervention facilitating "plurivociy" and "problem-posing" dialogue. Proclaimation of transformative Word can empower the marginalized people to revision the world alternatives to monotheistic patriarchal modernism.

• Journal of Popular Narrative
• /
• v.27 no.2
• /
• pp.215-262
• /
• 2021

This thesis focuses on Wandeuki and Elegant Lies - novels written by Kim Ryeo-reong and adapted into the film by Director Lee Han; this thesis analyzes the process of storytelling being transformed as the media is converted. Also, this thesis discusses cultural-political implications of transmedia storytelling where different narrative responses coexist concerning post-IMF family disorganization and "individualization." First of all, this thesis critically reviews existing discourses on the concept of transmedia storytelling and refers to 'transfictionality' the narratological concept of Marie-Laure Ryan in order to look into media conversion storytelling that starts from original novels. The novels Wandeuki and Elegant Lies show two aspects of "individualization" that adopts existential conditions of family disorganization. Wandeuki deviates from patriarchal family romance through self-discovery and exhibits loose family bond, which is something similar to companionship of close individuals. Elegant Lies shows individualization of pain by portraying a teenager who found herself completely isolated, while showing that it is impossible for the people left behind to mourn. On the other hand, director Lee Han's films and show stories in which family members, who are confronting family dissolution, rediscover and restore their families against family dissolution. The film promotes the expansion of family community through multicultural identity, and the film completes condolence of the people left behind by having the remaining families survive as survivors of suicide. The storyworld of the novels puts emphasis on 'self-discovery' of individual adolescents, while the storyworld of the movies puts emphasis on 'rediscovery of family'. Through transformation of storytelling - especially the redesigning of narrative structures called "modification" - transmedia storytelling shows that the relationship between media-converted texts is far from "faithful representation," but rather, shows conflicting themes and perspectives. With a reference point of 'the emergence of character' transmedia storytelling, which is predicated on the original work but aims to free itself from the original work by transforming storytelling through media conversion, opens up polyphonic storyworld by creating heterogeneous voices. In the post IMF-era, where uncertainty mounts over family dissolution and individualization, polyphonic storyworld created by transmedia storytelling provides an opportunity to experience disparate desires over individual freedom/risk and complacency toward community. We can call this the cultural-political implication of transmedia storytelling based on transferring, transcednding, and transforming.

• Journal of Korean Philosophical Society
• /
• v.145
• /
• pp.1-43
• /
• 2018

This article intends to look for the desirable form of Confucian familism in the era of the 4th Industrial Revolution. First of all, the concept of the fourth industrial revolution is a very vague concept. Therefore, it would be more meaningful to analyze the situation of the family in present Korean society and to find an alternative to it in Confucian familism. But the problem is that it is very burdensome to bring out the Confucian familism idea again. Since Confucian Confucianism was criticized in 1915 during the New Cultural Movement, many people have criticized Confucian familism as patriarchal and authoritarian, and thus an anti-democratic value that seriously damaged the equality of men and women. Therefore, the discussion starts with looking at the justification of such an evaluation. I wanted to see if their evaluation of Confucian familism is legitimate or an unjustified evaluation resulting from misunderstanding, and if it is an inappropriate evaluation, where they are based. In addition, I examined whether the cause of such an evaluation was attributed to the subject who made the evaluation, or because the spectrum of significance contained in the Confucian familism thought formed over 2500 years was too wide. I sought to reassess criticism of the existing Confucian familism by looking for answers to these questions. Through such a reevaluation, I has found that the wrong criticism of Confucian familism was because we saw the Confucian scholarship and the Confucian scholarship without distinguishing the ideological Confucianism from the Qin(秦) Dynasty. In the end, I tried to show that Confucian familism can function as an alternative to resolve family problems that are occurring in today's Korean society through the illuminating work of the ideas of Confucian familism.

• Cross-Cultural Studies
• /
• v.50
• /
• pp.77-101
• /
• 2018

Even in our modern era, the projection of monsters in the recent literature contains the critical imagination of human existence for the posthuman age. The meaning of the monster-abject, especially as from the perspective of feministic criticism, contains criticism of the violent and oppressive patriarch as observed in the modern times. This article focuses on the gendered imagination of the discussions of the "abject" discussed by Julia Kristeva, and the "monstrous femine" discussed by Barbara Creed. Kim Eon-Hee's poems and Han Kang's novels, which have been examined extensively for analysis, show that the practical strategy of abject that goes beyond hate and sublime, wonder and joy through the imagination and concepts of monsters. The monster-abject strategy of Kim Eon-Hee's poem can be summarized by the narrative method of mirroring and the imagination of the truncated body. Mirroring falsification, which mimics the male speaker, is a method that some feminists strategically utilize in relation to the problem of female aversion in recent years as noted in the literature. In Kim Eon-Hee's poem, "becoming a man" and "imitating a man," through the method of mirroring appear as an image of cutting to dismantle the body. In that way, the narrative strategy of the abject that draws out abominations and bizarre effects which contains a strong critique of the patriarchal dominant ideology. The monster-abject strategy of Han-Kang's novel is embodied through the being of plants and the process of vegetarian-anorexia process. The world of the adject which was oppressed in the Han-Kang's novel, returns to the senses of the body through the symbol of the body. It is noted that the fictional characters who realize the repressed desire through the pathological symptom expressed by the female, go on to body perform active transformation. The sense of a body in a novel is not only a rejection of the world of animalman-civilization, but also a radically questioning of the noted and recognized boundaries between human beings and non-human being entities. The two writer's works show that the imagination of the monster-adject is not limited to rejecting the existing gender categories, but also goes in the direction of exploring the possibilities of various associated gender actions.