• English & American cultural studies
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• v.14 no.1
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• pp.241-267
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• 2014

Media representations of race have attempted to contain blackness by packaging and commodifying it to reflect and affect preconceptions and prejudices of dominant culture. From the early beginnings of blackface minstrelsy as entertainment form in the $19^{th}$ century, representations of African Americans in popular culture and mainstream media have been closely associated with the notion of performance. The performative nature of racial representations is situated within the discursive struggle over what it meant to be Black, or what it meant to be labeled and portrayed as Black in American culture. This essay discusses four films that contain performances of "blackness" that assemble race and gender in complex configurations: Bamboozled (Spike Lee, 2000), Girl 6 (Spike Lee, 1996), Big Momma's House (Raja Gosnell, 2000), and White Chicks (Keenen Ivory Wayans, 2004). I explore how the performative nature of "blackness" is emphasized, thematized, and problematized in these films through the physicality of corporeal figures that embody the close link between race and gender identities. Once we are cognizant of the fact that race and gender are fabricated cultural constructs and performative acts, we can recognize that notions of "blackness" and "femininity" are not naturalized or essentialist, but open to recontextualization and revision.

• KIEAE Journal
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• v.11 no.6
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• pp.101-108
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• 2011

The weather data has important role for performative building design. If the data location is close to building site, the result of performative design can be accurate. The data which have used nowadays in Korea are from U.S. Department of Energy (DOE) and Korea Solar Energy Society (KSES) but they cover only several locations in Korea which are 4 in DOE and 11 in KSES and there are opinions which it could be served building design efficiently even if the data are not enough. However the weather data for micro-climate are exist which are Green Building Studio Virtual Weather Station (GBS VWS) and Meteonorm weather data. Each weather data has different generation methods which are TMY2, TRY, MM5, and extrapolation. In this research, the weather date for climate are compared with DOE and KSES to check correlation. The result shows the value of correlation in Dry Bulb Temp. and Dew Point Temp. is around 0.9 so they have high correlation in both but in Wind Speed case the correlation(around 0.2) is not exist. In overall result, the data has correlation with DOE and KSES as the value of correlation 0.648 of GBS VW and 0.656 of Meteonorm. Even if the correlation value is not high enough, the patterns of difference in each weather element are similar in scatter plot.

• Journal of Korea Game Society
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• v.16 no.1
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• pp.51-62
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• 2016

This study tries to present a new perspective for the coding and coding education. Therefore, this study analyzes coding game as performative writing. First, coding as writing process has the mechanism of serial expansion and circulation by utilizing basic code blocks. And coding as writing process produces a meaning as unit operation that generate an emergent game play. Second, coding as performative writing displays the speaking and writing at the same time and is embodied in game play. Also, absence of failure and correction makes possible users to explore the problem area and to strengthen the problem-solving ability.

• 기호학연구
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• no.57
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• pp.27-57
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• 2018

This paper aims at (re)investigating the interrelationship between Communism and language in terms of historical experiences of Soviet Union in $20^{th}$ century. Critically reviewing Boris Groy's famous thesis about Soviet communism as the "kingdom of language", in which Soviet system is regarded as the result of "linguistic turn, executed in the dimension of social practice", i.e., as a state of "total linguistification of society", I will examine it in comparison with another very interesting view on the language system of communism(socialism): Alexie Yurchak's controversial thesis on "performative shift" in late socialism. Yurchak's unique view on Soviet socialism as a specific discourse system, thoroughly illuminating peculiar paradox of Soviet discourse system in the period of late socialism, in which performative repetition of authoritative ideological discourses does not prohibit, but rather enable the possibility of creative deviation from or unexpected reappropriation of them, could provide us with profound insights on the problematics around the collapse (the end) of "linguistic imperial" of Soviet Union.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.129-165
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• 2014

In diesem Aufsatz werden die performative Ereignishaftigkeit und kulturwissenschaftlicher Aspekt am Beispiel der Aktion von Emilio García Wehbi untersucht. Die Methodik der Untersuchung geht von der performativen Theorie von Fischer-Lichte aus. $Au{\ss}erdem$ werden $interdisziplin{\ddot{a}}re$ Methode und ethymologische dichte Beschreibung verwendet, weil diese Untersuchung eine an Praxis orientierte kulturwissenschaftliche Herangehsweise $enth{\ddot{a}}lt$. Die konstitutive ${\ddot{A}}sthetik$ von ist die performative Ereignishaftigkeit, die hier als Grenzerfahrung zwischen Kunst und Alltag, und Transformationserfarung zu beschreiben ist. Dabei spielt das Handlungkonzept eine wichtige Rolle, das aufgrund der autopoetische Feedback-Schleife der Wahrnehmung und der Emergenz fungiert. Der Aspekt von Cultural Studies von besteht in der Kultur konstitutiven Diskurs und Praxis ${\ddot{u}}ber$ visuelle und $k{\ddot{o}}rperliche$ Wahnehmungsweis in der ${\ddot{O}}ffentlichkeit$. Insbesondere handelt es sich bei dem $K{\ddot{o}}rperdiskurs$ um Leiche, verlezten oder kranken $K{\ddot{o}}rper$ und hygenischen Sauberkeit, der in den $anbendl{\ddot{a}}ndischen$ $L{\ddot{a}}ndern$ mit und durch die medizinische Praxis vollzogen wurde.

• Journal of Science and Technology Studies
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• v.12 no.2
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• pp.185-204
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• 2012

This paper will analyze the development and management processes of the STS (Science and Technology Studies) course in the Division of Performative Humanities at College of Humanities, Hanyang University. The STS Course is one of the five integrated courses in Performative Humanities which are recommended for Humanities students as second major options. The Performative Humanities courses were established through support from the Ministry of Education, Science and Technology between 2005 and 2009. Then, these courses were integrated as the independent "Division of Performative Humanities", whose courses are being taught today. Among these courses, the STS course is a compositive course which is based on STS and links humanities, science and technology. The establishment of the STS course symbolizes a new integrative approach to interdisciplinary education both in terms of its contents and operation processes. This paper will discuss the roadmap of the STS course and how to manage its education system. The advantages and disadvantages of the course's development process and the result of its management procedures will also be analyzed. With the importance of integrated education being recognized, this paper will analyze how the interdisciplinary STS course is incorporated and operated as a major course in the University. This will enable readers to seek ideas for alternative integrated education models that can be applied in Korea's university system.

• Cartoon and Animation Studies
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• s.38
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• pp.1-28
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• 2015

The work appeared a featured female character in the Disney animation film begins with 'Snow White' released in 1937. After then, the 11 female characters appeared included 'Tangled' in 2010. Female characters reveal their identity due to obedient, family-oriented and marriage with prince and then gradually develop to heroine who leads to man, and is independent, pioneering, and sometimes saves the nation. Nevertheless, the ending of the Disney animation was still not escape the institutional, traditional discourse. Female characters are followed to meet the featured actor kissing and marriage, or was to show the virtues of sacrifice for the actor. However, Elsa in 'Frozen' is the character with an independent identity compared with the patriarchy, male chauvinism and heterosexual dichotomous discourse given so far in Disney. In this study, it is to explain the change of gender identity in the character of Elsa through Queer theory that deconstructs the distinction between sex and gender, and is constituted by the actions typed and performed the gender concept, and is dismantling the dichotomy itself such as male/female, heterosexual/homosexual. The performative of Queer make the boundaries between lesbian-gay, sexuality and heterosexual ambiguous. It can be said that the performative has political nature resisted to the dominant discourse through these parodiable strategy. The performative showed of Elsa is in the boundaries between the sisterhood and the heterosexual. When analyzed in a heterosexual perspective Elsa's identity is to be understood as simply just love the intimacy of a sister and a sister. On the other hand, if you focused on the relationship between women and the relationship between Elsa and Anna is recognized as the point of view of homosexuality. Because if you look at the concept of lesbian continuum, the homosexual love in the female characters of Disney seems like a bond between women, easier than heterosexual love can be hidden sexual desires. Elsa has developed into a performative identity through the expression of performative and the inhibitory of queer identity. And then the her sorcery that was initially contraindicated and the presence of a fear became to the 'lesbian phallus'. The sorcery that can be seen the signifying phallus against to the privileges of heterosexual patriarchy is recognized in the world of Arendal. Elsa is a new women featuring Disney characters. as this character is analysised by Queer theory, this study seeks to expand the area of the various character analysis methods.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.175-187
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• 2020

The purpose of this study is to discuss the elements and meanings of the performative scenography which has been revealed through the new directorial interpretation and deconstruction process of the musical 『All Shook Up』. The performative scenography characteristics after postmodernism aim to create individual active perceptions and various social meanings through audience's voluntary and particular emergence. To this end, the theoretical foundation of scenography was examined by periods in advance. Based on this, I attempted to establish performative scenography for synthesized scenic and media design through the reconstruction process for the 『All Shook Up Travelers』. As a result, I set up visual narrative based world of 『All Shook Up Travelers』 which was produced by text-based intense images for a direct medium in order to expand actors' inner narrative and established unique performative scenography of its own: 1. enhancing the adapted one's narratives for the actors' and audience's co-existence and detachment, 2. delivering its own independent meanings which have double meanings, 3. encouraging audience's critical and active perception experiences through collage and montage of media.

• Journal of Christian Education in Korea
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• v.61
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• pp.9-35
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• 2020

In the second half of the previous century the composition of the teacher population - and the composition of the pupil and parent population - in the Netherlands gives rise to the name change 'age of secularisation' to 'age of pluralisation'. In previous centuries the (religious or secular) worldview identity of the parents and the educational philosophy of the school were attuned to each other, and merged into a mono-cultural perspective on the identity development of pupils. The basis for both - the upbringing by the parents and the socialisation in the family on the one hand, and the teachers' efforts to enculturate the students at the school on the other - was a similar life orientation. The school choice of the parents was predetermined by their commitment to a particular (religious) worldview, very often inspired by Christianity. The religious identity of their children developed in a clear-cut context. However, in contemporary society plurality dominates, at home and at the school, both in case of the parents and the teachers. A direct relationship with a community of like-minded believers is no longer decisive for parents with varying cultural and religious backgrounds. Instead, a good feeling upon entering the schoolyard or the school building is a convincing argument in the process of school choice. The professional identity development of teachers and the religious identity development of children takes place in a plural context. Our question is: what does this mean for the normative professionalism of the teacher? To answer this research question we make use of the resources of the Dialogical Self Theory (DST) with its core concepts of 'voice' and 'positioning'. After presenting the Dutch dual education system (with public and denominational schools) we provide a lively description of a Dutch classroom situation occurring in a public school, as viewed from the perspective of the teacher. The focus in this description is on performative dialogue as a 'disruptive moment' and on its potential for the hyphenated religious identity development of teachers, which makes up a part of their normative professionalism.

• Journal of Korea Multimedia Society
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• v.22 no.8
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• pp.974-982
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• 2019

Contemporary narrative and documentary share across boundaries between the 'actuality' and the 'creative treatment.' The documentary has blended modes of representation from various genre to reflect the world changing. The narrative movies also has applied the historicality of 'evidence' and 'documents' from documentary to obtain the new form of realism. Boyhood shows a differentiated realism to retain both the narrative structure and the documentary temporality, containing 12 years of timeline with the limited artificial space time. Boyhood also takes the analogical concept of 'the dramatization of the actual materials' from the early documentary films.