• Cross-Cultural Studies
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• v.44
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• pp.87-121
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• 2016

Daehoon Ham's novel 'Cheongchunbo' features a studier as the main character who majored in Russian literature and admired the culture of the Soviet Union. From his viewpoint, the novel reproduces North Korean society before and after its independence from Japan. In this regard, it shows multilayered presence related to Russian culture and Soviet Russia. Such an aspect is based on the sense of sympathy that the main character has. The sense of sympathy is originated from the main character's admiration for the exoticism of Soviet culture which was forbidden during the late Japanese occupation. After Korea's independence from Japan, Russian was replaced by English. Such change also occurred in the main character's viewpoint. He underwent a change in his integrative viewpoint on Russian and Soviet under the name of Red Army. After defecting to South Korea, he began to put Russia down as a den possessed by the devil called 'communism.' In the meantime, Russia and Soviet have been separated from each other in ideological terms. The novel 'Cheongchunbo' stresses that the decisive cause of such changes is argued over trusteeship. The main character, fascinated by the presence of exotic Soviet, predicates that Soviet is a political symbol around the national division caused by the trusteeship. His change alluded to the life path of Korean authors who translated Russian literature after independence. During the Japanese occupation, Russian literature translated into Korea was a longing for forbiddance and admiration for Russia. However, the Russia presented in Daehoon Ham's novel before and after independence implies that the romantic translation has ended.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.6
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• pp.3778-3786
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• 2015

This paper aimed to explore the possible popular song's linkage to tourism promotion material. Especially focusing on the lyrics of Korean popular song, which explicitly containing exoticism in title or lyrics in early and mid of 20 centuries, this research verified how authors represented the one of Dann's language of tourism thesis: strangeness perspective in tourism and language of differentiation. Result suggested that song writers, as of their imaginary by-product or personal experience, present exoticism in lyrics of song in various ways: exaggerating, creating, stereo-typing exotic place. Fulfilling the Dann's idea, songs elaborately delivered familiar words, conspicuously by personifying place, allocating young ladies and mentioning origin or hometown. The research was efforts to find the origin of entertainment contents savvy-tourism promotion and also traced potential tourist's collective imagination toward potential overseas tourism destination.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.99-104
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• 2023

This study aims to 1) summarize the definitions the definitions of afrofuturism through a theoretical review 2) through exploratory empirical research, and 3) recover the concept of reversal in relation to the turning point of future technological development. To this end, first, the theoretical background and conceptual discussion of Afrofuturism were examined, and works in the field of SF literature, music, and art were analyzed. Octavia Butler's science fiction confirms the idea that black people must liberate themselves from othered oppression by bringing the past of slavery to the forefront of the world. Janelle Monae's music presents a liberated utopia where technology allows minorities to connect with the outside world. In addition, Jean-Michel Basquiat's artwork reimagines a black identity that has been excluded and seeks to expand communal discussions. In light of their work, this paper proposes that the values inherent in African humanism can provide clues to the co-evolution that is generated by relating to the Other in the face of exponentially advancing technology.

• Cross-Cultural Studies
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• v.34
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• pp.7-41
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• 2014

This article examines magical realism in contemporary european film, which is considered to be one of the most popular styles in the present culture, with regards to Antonio Negri's theory of art. Magical realism is "alternative approach to reality" (Maggie Ann Bowers, Magic(al) Realism) and defined as "a fictional technique that combines fantasy with raw physical reality or social reality in a search for truth beyond that available from the surface of everyday life" (Joan Mellen, Magic Realism). The term of Magic Realism was coined in 1923 by Franz Roh, German art historian, as the concept for the post-expressionist painting in Germany. It has flourished in the Latin-American literature during the 1950s to 1980s and spread worldwide. Since 1980s magical realism is considered to be a universal artistic mode. Since 1990s magical realism is to find in the various novels, and since 2000 one encounters magical realism in the cinema very often. Antonio Negri writes about the relationship between life, imagination, art and the political in his book Art et Multitude. According to Negri, the hard life of people in the present society liberates the imagination and this creates the art as "the excess of the existence". In this process the aesthetic becomes to the political. Negri calls this space of art as "magical time and space". Claire Denis' film Vendredi Soir is analyzed as a contemporary magic realist text, which realizes Negri's concept of art: vendredi soir (friday night) in Vendredi Soir is the magical time, when the impossible becomes the possible, and paris in the public transportation strike is the magical space, where the individuals meet the other in a new situation. The film analysis associates itself with Negri's theory of art: in Vendredi Soir, it is to see, that the excess of the existence liberates imagination and creates the magic reality both in the movements of things and the human relationship. The phenomenon of magical realism in contemporary culture can be understood as the symptom of the emotional and existential pains of contemporary people in the current world. The contemporaneity of the magical realism can be read in the film as "the metaphor for contemporary thought" (Alain Badiou, Cinema). As Antonio Negri writes, art can become "the aesthetic redemption" (Negri, Art et Multitude) for us. At the same time "(t)his is where aesthetics can be transformed into the political." (Lee, "Communism and the Void")