• 한국언론정보학보
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• 제78권
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• pp.206-242
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• 2016

이 연구는 1950년대 미국정부가 문화냉전의 와중에서 공공외교의 일환으로 해외에서 수행했던 도서 프로그램의 전체적인 윤곽을 살펴본 후, 한국에서 시행한 도서번역 사업의 전개 과정과 목적 및 내용을 분석하고, 사업의 성과와 의미를 검토하였다. 분석의 결과로, 한국에서의 미국 도서번역 사업은 미군정기부터 극히 미진한 수준에서 시작되었지만, 한국전쟁을 거치면서 본격화되어 1950년대 후반에 최고조에 도달했던 것으로 밝혀졌다. 1950년대 미국 국무성과 대외공보국(USIA)의 지침에 따라 주한 미공보원(USIS)이 수행했던 도서번역 사업의 목적은 시기에 따라 개별적인 비중이 변화되기는 했어도, 대체로 미국의 자유민주주의와 자본주의 체제의 우월성을 강조하고, 공산주의 사회의 부조리와 모순을 비판하며, 미국의 외교 정책에 대한 이해를 제고하고, 예술 문학 과학 부문에서의 미국의 성취를 전파하려 했던 것으로 확인되었다. 특히 번역 도서를 선정할 때 미국의 대외정책과 모순되거나 국가적 이미지를 훼손할 가능성이 있는 도서는 철저히 배제하였고, 미국정부의 공보정책에 기여할 것으로 판단되는 소수의 한국인 저작물에 대해서는 지원을 아끼지 않았으며, 도서번역 사업의 효과를 극대화하기 위해 일본어 번역서를 활용하는 것도 마다하지 않았다. 이러한 미국정부의 도서번역 사업은 한국이 해방과 분단으로 겪게 된 지식과 정보의 공백 상태를 극복하는 데 일정하게 기여했다고 평가할 수 있지만, 다른 한편으로 미국정부의 정책적 기준에 따른 도서 선정으로 말미암아 한국인들의 대미 인식이나 세계정세 판단에 왜곡을 초래했을 수도 있다고 생각된다.

• 한국조경학회지
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• 제41권4호
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• pp.85-101
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• 2013

이 논문은 현재 단절되어 있는 도시 재생과 도시공원의 역사를 연계하여, 그 안에서 도시 공원이 경제적 기여를 했던 사례를 찾아내고, 더불어 도시공원이 가진 도시 재생 매체로서의 가능성을 역설함을 목적으로 한다. 19세기부터 오늘날에 이르기까지의 시기를 총 5개로 구분하였으며, 그중 2단계는도시화, 3단계는 도시 재생 시기를 아우른다(1940s~1960s, late 1960s~1970s, 1980s~present). 도시화 단계에서의 도시 공원은 도시 계획에 있어 정치, 경제적 지배력을 가진 요소였으나, 뒤이은 대공황과 세계 2차 대전을 거치면서 고용을 증대하기 위한 경기부양책으로 이용되기도 한다. 전후 도시 재생시대의 첫번째 단계에서 발견된 도시 공원은 도시의 매력적인 요소로서 인구와 산업을 유인하는 역할을 하게 된다. 두 번째 시대에는 정부 예산의 부족에서 비롯된 자발적 커뮤니티 오픈 스페이스가 증가하게 되는데, 이도 궁극적으로는 인근 주거지역의 이미지를 쇄신시켜 개발을 촉진시키게 된다. 마지막 단계에서 찾은 도시 공원 형태도 첫번째 시대에서와 마찬가지 역할을 하게 되나, 국제화 시대의 요구에 따라 글로벌 인재와 국제 기업을 유치하는데 기여한다.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• 제27권4호
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• pp.278-305
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• 2016

Objective: The aim of this systematic literature review is to analyze the psychosocial interventions for children and adolescents after disasters. Methods: We conducted a review of the extant research literature from 1991 to 2015 via a comprehensive search of the MEDLINE, EMBASE, Cochrane CENTRAL, PubMed and PsyclNFO databases. The keywords employed in this research included: 'child', 'adolescent', 'youth', 'disaster', 'posttraumatic', 'psychosocial', 'therapy' and 'intervention'. The researchers followed the PRISMA guidelines. A total of 850 articles were screened for their eligibility and fifty-nine were found to meet the study criteria. The final data analysis was performed based on the disaster type, study design, type of intervention, sample size, age, school grade, number of sessions, setting of intervention delivery, providers, approach and parent involvement. Results: Countries worldwide have experienced various kinds of disasters, including earthquakes, hurricanes, vessel accidents, tornados, tsunamis, volcanic eruptions, war, fire, terrorism, and traffic accidents. The types of psychosocial intervention that were conducted after these disasters included: psychological first aid, psychological debriefing, psychoeducation, trauma focused cognitive behavior therapy, eye movement desensitization reprocessing, prolonged exposure therapy, group play therapy and arts therapy, project interventions, school-based interventions and web-based interventions. Conclusion: The findings of the systematic literature review suggest that an appropriate psychosocial intervention could be utilized as evidence-based mental health treatment for children and adolescents after disasters.

• 마케팅과학연구
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• 제20권2호
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• pp.135-148
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• 2010

阿拉伯人联合抵制丹麦产品, 澳大利亚人联合抵制法国产品, 而中国人厌恶日本产品, 这些是国家间的敌对行为影响消费行为的案例. 敌意文献中已考查过消费者对其他国家敌对行为的反应, 以及这种敌意如何影响消费者对敌对国家产品的态度和倾向. 例如, 中国消费者不愿购买日本产品, 是由于日本人在第二次世界大战中的暴行, 以及不平等的经济往来(Klein, Ettenson and Morris 1998). 然而在市场营销文献中, 却没有考查过那些对他国实施敌对行为的国家消费者的反应, 这些敌对行为是否会影响他们购买受害国产品的态度. 社会心理学文献认为, 消费者面对这样的敌对行为时, 会产生一种集体犯罪感. 集体犯罪感源于当组织成员认为组织要对伤害其他组织的行为负责时所产生的痛苦感(Branscombe, Slugoski, and Kappenn 2004). 案例包括美国人由于美军在Abu Ghraib监狱的暴行而产生犯罪感(Iyer, Schamder and Lickel 2007), 荷兰由于过去对印度尼西亚的占领而产生犯罪感(Doosje et al. 1998). 本研究的主要目的是考查当国家成员对他国有敌对行为时消费者的感知, 这种感知是否会影响他们对敌对国家产品的态度. 更准确的说, 本研究的目标之一是考查集体犯罪感的感知前提, 以及当国家成员对他国有敌对行为时, 人们的情绪反应. 另一个目标是考查集体犯罪感如何影响消费者对敌对国产品的感知和倾向. 如果集体犯罪感能起到明显的预言作用, 敌对国双方的公司可能会从这类不幸的事件中受益. 本研究利用了由Klein, Ettenson and Morris (1998)提出并经Klein (2002)发展的敌意模式. Klein发现美国消费者对日本人怀有敌意, 起因是二战期间的事件(如日军偷袭珍珠港)和近年来日本的经济威胁. 因此本研究认为, 二战间的事件(如广岛长崎的原子弹爆炸)可能导致美国消费者的集体犯罪感. 曾有过一系列的三个假设, 第一个假设关于集体犯罪感的前提. 之前有研究认为当消费者感知到侵害造成的非法伤害, 并且认为侵犯者来自的国家应为此负责, 集体犯罪感就产生了(Wohl, Branscombe, and Klar 2006). 因此提出下列假设: 假设1a: 感知到的伤害非法性越高, 集体犯罪感越强烈. 假设1b: 责任越大, 集体犯罪感也肯定越强烈. 第二个和第三个假设关于集体犯罪感对倾向日本产品的影响. Klein (2002)发现对日本的敌意越强, 相比较韩国产品对日本产品的倾向越小, 但相比较美国产品对日本产品的倾向并未变小. 这些结果说明集体犯罪感存在时, 消费者在购买日本产品和韩国产品时会更倾向于前者, 但在购买日本产品和美国产品时并未受影响. 假设2: 集体犯罪感与购买日本产品的倾向大于韩国产品有关, 但与购买日本产品的倾向大于美国产品无关. 假设3: 集体犯罪感与购买日本产品的倾向大于韩国产品有关, 并且对产品的判断和敌意保持不变. 有过一个实验测试这个假设. 使被调查者面临发生在二战中的敌对事件, 从而产生非法伤害和责任. 该实验由一家美国的消费者调查小组收集数据, 将调查对象随机分配到低等级责任和违法情况(n=259)或高等级责任和违法情况(n=268). 测试假设关系时, 运用到潜在变量结构方程模式(LVSEM). 第一个假设得到了支持, 美国人因二战中对日本人的伤害而产生的伤害非法性和责任都对集体犯罪感有积极影响. 第二个假设也得到了支持, 集体犯罪感与购买日本产品的倾向大于韩国产品有关, 但与购买日本产品的倾向大于美国产品无关. 最后, 第三个假设也得到了支持, 集体犯罪感与购买日本产品的倾向大于韩国产品有关, 同时还影响人们对日本产品的判断和敌意. 由这些研究的结果可得出结论. 第一, 伤害的非法性和责任是集体犯罪感的前提. 第二, 当消费者面临来自敌对行为目标国家的产品和其他外国产品之间的选择时, 会受到集体犯罪感的影响. 但当他们面临来自敌对行为目标国家的产品和本国产品时, 不受集体犯罪感的影响. 这一结果意味着当竞争对手来自国外时, 利用集体犯罪感对那些受到敌对行为的国家的公司是可行的, 但当竞争对手来自国内时则不可行.

• 비교문화연구
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• 제19권
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• pp.127-147
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• 2010

Lee Chan's early poems were defined as the world of romance. His second-term poems were defined as proletarian poetry and poems written in prison when he made the romance as the core point through longing and desire for lost world. Maximizing the romance was proletarian poetry. His third-term poems were feelings of the northern countries called the spirit of Lee Chan's poems. He recognized the emotion of diaspora as the tragedy in these poems. It was remarkable time that the poet's tragedy observing and expressing the reality of colony. Afterward he wrote poems related inside withdrawal and war cooperation, finally he wrote poem after defecting to North Korea. Lee Chan showed the romance of desire in early poems and proletarian poems. Then he indicated acute scenery of the tragedy in the late 1930s' poems. In heavy situation, he moved from pro-Japanese literature to North Korean literature. However he didn't throw introspected self-reflection language to himself each his changing. But through several form of garden, he clearly showed consistent of maximizing his utopia sense. The time Lee Chan experienced was an icon which intensively indicated several features of deformed modern Korean poetic history. He was a unique poet who expressed various traces of modern Korean poetry in short time step by step. His path informed that he was a special poet who stepped the trace of many modern Korean poetry's extremes such as romantic poetry, proletarian poetry, prison poetry, pro-Japanese poetry and North Korean poetry. Likewise we can call his life as a grudge return. Because he left hometown, experienced the light and darkness of modern times and returned his hometown.

• 영어영문학
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• 제64권3호
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• pp.453-468
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• 2018

Nat Turner's rebellion in 1831 was considered pre Civil War South's most dreadful nightmare due to the merciless murder of white slave owner victims. The motive of vengeance has been emphasized as that of Turner's notorious black preacher religious fanaticism. However, the recent film, The Birth of a Nation (2016) directed by Nate Parker, utilized the identical title of a film (1915) directed by D. W. Griffith. Providing limited evidence, information about the rebellion in Thomas Gray's pamphlet The Confessions of Nat Turner (1831), was the only accessible historical source for the factual event of the slaves' rebellion. In addition, William Styron's The Confessions of Turner (1967), a fictionalized biography, also examined Turner's life in the harshness of slavery. Although these two texts deal with the personal level of Nat Turner's rage and religious enthusiasm, both provide only fractured parts of the motive of vengeance. Strikingly, Parker's film interrogates the ideology of "victims," as well as the hierarchical term of "confessions," with their different positions between whites and blacks. More specifically, Parker's film offers discursive fields of proslavery arguments regarding biblical interpretations in addition to external visualization of slaves' inner emotional lives. The film demonstrates how the institution of slavery allowed slaves to be exploited, beaten, raped, through interrogating the problematic image of the "contested hero" Nat Turner. In contrast to the traditional image of blacks' bloody rebellion, the film underlines the absurdity of certain Biblical misinterpretations. It furthermore implies how the 1915 film manipulated proslavery propaganda in America.

• 영어영문학
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• 제57권2호
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• pp.265-284
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• 2011

This paper examines how Sedgwick makes a political allegory of founding the nation in domestic terms in The Linwoods (1835). Set in the Revolutionary period, The Linwoods is a historical fiction reconstructed by the writer in order to diagnose currently controversial issues. In this aspect, Sedgwick's interest in history is genealogical in Foucaudian sense. Foucault's genealogical method provides a way of recuperating a part of history hidden, submerged, obliterated by the official history. Seen in a genealogical perspective, the story of the Linwoods can be viewed as a political allegory in order to explore political conflicts of Sedgwick's own day. Faced with the threat of national disunion presented in the Nullification Crisis of sectional conflicts and divisions, Sedgwick attempts to provide a fictional solution to the first serious challenge to the U. S. Constitution. Going back to the times around the American Revolution, Sedgwick emphasizes how strenuously the American Constitution of America was formed as the outcome of the war against the tyranny of Britain, and how the Union was made on the basis of the cooperation between the States. By posing a contrast of political positions between family members, Sedgwick imagines a family/nation that allows diverse political positions. The conclusion of a diversity of marriages between man and woman who agree to be united after overcoming their differences in political affiliations seems to show her conservative proclivity to support the Union. However, by emphasizing the principles of freedom and equality represented by the significant role of Isabella and Rose, an African-American slave, in the victory of the American Revolution, Sedgwick also supports the spirit of the Jacksonian American democracy.

• 영어영문학
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• 제57권3호
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• pp.515-527
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• 2011

Miss Pettigrew Lives for a Day, Winifred Watson's novel of 1938, is a fairytale in novel form. Set in London of 1938, the story revolves around a one-day adventure of an ill-starred but truthful governess who is granted a second chance. This light-hearted comedy of manners was turned into a film by director Bharat Nalluri in 2008. An Anglo-American collaboration, co-scripted by Simon Beaufoy and David McGee, the film converts Watson's quaint novel into an edged heritage piece that encapsulates the 1930s, the problematic decade between the two World Wars. The film, while sustaining the narrative core of Watson's Cinderella story, attempts to place it firmly within a wider current of the novel's setting or London in 1938, tapping into the major concerns of the interwar years that engage with characters in one way or another. Stylistically, the film presents Art Deco as a main visual idiom to convey the prevailing mood of nihilism and decadence of the day. The setting here takes on significance in that it offers a telling counterpoint to the giddy superficial world of the novel. The 1930s was a highly charged decade under the threat of fascism and the Great Depression, fraught with economic and socio-political tensions and apprehensions. The film makes an explicit reference to the dismal context which is suppressed in the original text. The thirties is, therefore, portrayed as a decade of contradiction. It features gay buoyant festivity, rampant consumerism, and shifting morals and attitudes towards love, marriage and sexuality. Yet lurking beneath the surface glamour are the symptoms of crises and the deep-seated anxieties on the eve of World War II. In this way, Watson's novel of manners has been recreated into a defining film on the 1930s with its period feel propped by the atmospheric lighting, the exuberant Jazz score, and the splendid Art Deco costume and production design.

• 영어영문학
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• 제56권2호
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• pp.187-217
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• 2010

By reading the main character, Rene Gallimard, in M. Butterfly as a spatial metaphor of America, this article examines how homogeneous American national identity of heterosexuality and white masculinity has been reinforced since the cold war and has constituted a crisis of hegemony with the decline of imperialism and how its pathological symptom is shown through the melancholic suicide of Gallimard. This article also argues how the feminine attributes implied in race, gender and sexuality in M. Butterfly are designated and allegorized as an impure, contaminated and ahistorical marker of national integrity in pthe social and material status of the heterosexual American white male. To develop my argument, I read M. Butterfly from a psychoanalytic point of view. Therefore I depend on Freud, Lacan, and Bhabha's psychoanalysis as the theoretical basis. In this paper, I also argue that the homogenized and fixed national identity is splitted and collapsed from within as shown in the Gallimard's melancholy and in the process of splitting the "Third Space" of hybrid subjects for the marginal and the emergent like Song Liling, a homosexual Asian man, can be built "from a space in-between." Therefore Hwang calls into questions conventions of fixed, essentialist identities through the shifting gender identities between Song and Gallimard in M. Butterfly and how identities in the plural are constructed variously in throughly historicized, politicized situations, and these constructions can be complicated by relations of power.

• 한국의류학회지
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• 제24권4호
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• pp.594-604
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• 2000

This study aims to investigate the changes in the Wedding costume for Paebak(Hyunkugorye) in Westernizing Korean society of the twentieth century. For this study, I analyzed the related literature for the first half of the twentieth century due to the lack of relevant photographs, while I used the method of content analysis of 116 photographs for the second half of the twentieth century. It is obvious that bridegroom and bride wore the same clothes for Hyunkugorye and the formal wedding ceremony in the early twentieth century. According to the analysis of photographs, wonsam was rather more widely used than hwalot as the bride's wedding costume in the late twentieth century. But there were many changes starting from the early 1970s. The changes were deviated from the traditional style and became more decorative and somewhat crude: that is, people began to embroider wonsam and the piping was added to the collar of danryung. All these changes resulted from the pursuit of commercial interests with the misunderstanding of and the indifference to traditional beauty, while Korean society had experienced the Japanese rule of Korea, the Korean War and the industrialization during the 1960s and 1970s. Therefore, to establish appropriate wedding culture and costume in Korea, it is important to educate people who get involved in wedding business for traditional wedding culture and clothes, because nowadays . most of bridegrooms and brides borrow ceremonial costume for Hyunkugorye.