• Journal of the Korean Geographical Society
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• v.41 no.1 s.112
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• pp.39-57
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• 2006

Place marketing strategy is an research or policy field of cultural politics on which various meanings, discourses and practices are deployed, contested and negotiated surrounding the development or destruction of urban cultures. So it is needed to correct and concrete understanding about the cultural significations of place marketing strategy. In that sense, this study aims to establish the concept and methodology of place marketing strategy as urban culture development strategy. At first, the theory of cultural politics of space and cultural political approach to the place marketing strategy are reviewed. And then, basic concept of place marketing strategy and the process of place marketing strategy are established. Finally, with drawing the cultual political factors(named SAUNE factors), the methodology of place marketing strategy is systematized.

• Journal of the Korean Geographical Society
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• v.43 no.4
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• pp.599-619
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• 2008

Korean peninsula has a long history and a geopolitical location as a buffer tone, which has provided the conditions for cultural dynamism and diversity across space and time. The changing processes of place names in Korea is considered to be better suited to the study on cultural politics that is interested in the culture wars over the meaning of culture among different social subjects. In order to ensure the legitimacy of cultural politics for the study of place names in Korea, this study attempts to make a theoretical construction based on the concepts of place identity, territorial contestation, and the politics of scale. Cultural and linguistic theories to be best applied to the study of place names in Korea are the theories on Angehm's and Castells' identity, $P{\hat{e}}cheux's$ identification, Hall's decoding, and Voloshinov's ideological sign. Power relations involved in the inclusion and exclusion are necessarily concerned with the process of constructing a place identity or territorial identity by means of a place name, which represents identity and ideology of a social subject. In the examination of this process, it is necessary to take the elements of identity, ideology and power relations into consideration. In this study, therefore, the politics of scale is experimented for its applicability in the study of place name in Korea, which is expected to accommodate concepts of boundary, territory, territoriality and territorialization. In the end, it is suggested in this study that a series of basic and interdisciplinary studies on the cultural politics of place names in a range of area should be undertaken along with the enough theoretical knowledge of cultural politics.

• Journal of the Korean association of regional geographers
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• v.13 no.1
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• pp.18-31
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• 2007

This paper aims to establish the cultural tourism strategy for culture-based city Gwangju. For this purpose, six key words 'topic, viewpoint, strategy, creation, change, project' are presented. The topic part includes the concept and paradigm of culture-based city Gwangju, The viewpoint part includes the cultural politics of tourism. The strategy part presents creative tourism as a vision of tourism, planning for the alternative cultural tourism contents, seven core types of Gwangju cultural tourism, and the five strategies of creative tourism Gwangju. The Creation part and the change part include respectively Gwangju place marketing strategy and the method of making creative cultural tourism subjects. Finally, the core projects of Gwangju creative tourism named 4CT projects are presented.

• Proceedings of the Korean Society of Disaster Information Conference
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• 2016.11a
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• pp.299-301
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• 2016

현대 사회에서 테러는 국제적으로 매우 빈번하게 일어나고 있으며, 대한민국도 더 이상 테러의 안전지대가 아니라는 뉴스가 보도되고 있다. 하지만 우리에 테러의 인식에 따른 시각은 다소 편협하여 성별, 나이, 직위, 장소등 많은 부분에서 갈등을 갖으며, 또한 한반도는 남북한의 갈등으로 인한 특수성은 게릴라 전을 테러라고 인식하는 시각이 있다. 국내 특수성으로 인해 테러를 전쟁의 영역으로 보고 테러대응 전략은 국가 안보로 많이 치우쳐져 있다. 역사와 정치적으로 또한 테러는 이념대립으로 인한 전쟁으로 치우쳐 전쟁의 전략에 한 부분으로 인식 되어 왔다는 것이 사실이다.(Rumyana G., 2014) 이는 전쟁의 시각에서 테러를 잘 설명하고 있다. 한편, 테러의 개념은 시간이 지남에 따라 기존의 안보의 개념뿐 아니라 재난의 개념에서도 찾을 수 있다. "불평등한 사회에 대한 민중의 분노로 이해하여야 한다"고 스위스 진보적 사회학자 장 징글러(Jean Ziegler) 는 말하며 무고한 사람들을 타겟으로 한 정치적 목적을 이루기 위한 비합법적 무력 사용으로 보았다. 즉, 비합법적 무력사용으로 무고한 다중(Innocent people)에게 폭력을 행사한 것이다. 젠킨스와 라쿼르의 정의를 살펴보면 "테러리즘이란 폭력 혹은 폭력의 위협이다"라고 정하였다.(Jenkins 2004) 폭력이란 형법에서는 다른 사람에게 상해를 입히거나 협박하거나 하는 등의 행위와 함께 다른 사람을 감금하는 행위, 주거에 침입하는 행위, 기물의 파손 등에 대해서도 폭력이라 표현한다. 철학, 정치학 등의 학문에서는 다른 사람 또는 국가나 세력을 제압하는 힘을 일반적으로 지칭하기도 한다. 힘자랑이나 힘겨루기가 이에 속한다. 무력의 사용으로 사회에 심리적인 영향을 끼치며 사회적 파괴를 일으키는 것을 보편적 테러의 개념으로 볼 수 있다. 테러는 국가 통치 질서와 사회질서 안정에 큰 위협과 혼란을 초래하는 파괴행위의 무력행사로 국가의 재난 상황을 유발하는 인류가 만든 재난으로 볼 수 있다. 자연현상으로 발생하는 자연재해는 인류의 시점에서 재난으로 해석된다. 마찬가지로 사회현상으로 발생하는 폭력적 파괴행위에 대한 피해는 인류의 시점에서 재난의 현상으로 해석 되어야 한다. 과학기술이 발달하면서 첨단기술을 이용한 폭력행위와 파괴의 두려움은 정보통신 기술의 발달로 두려움의 전파 속도도 빨라 질 것이다. 따라서 테러행위의 극복을 위해서는 테러를 인적재난(Man-made Disaster)로 보고 재난의 범주로 포함하여 미래의 테러를 위한 대비전략을 수립해야 할 것이다. 이를 위해 본 논문에서는 학계의 학자들과 기관 및 민간 의 전문기관들에 따른 테러의 정의를 분석하고 재난정의를 고찰하여 시사점을 제시하고, 대테러 대비 전략의 방향에 기틀을 마련하고자 테러정의를 도출하였습니다.

• English & American cultural studies
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• v.14 no.1
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• pp.27-51
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• 2014

Doris Lessing describes a band of revolutionaries who become involved in terrorist activities far beyond their level of competence in The Good Terrorist. Alice Mellings who is from a middle-class family has organized a squat house in London and seems capable of controlling everyone around her and anything about the house. She is seemingly like a housekeeper or a breadwinner. She also likes to be on the battlefront, for instance, demonstrating, picketing and spray-painting slogans. Such is able to easily exploit the others and she increasingly becomes the leader in the house. Recently some critics have focused on the political and social roles of the protagonist who represents a voice of terrorists in the 1980s England. Based on this, The Good Terrorist is read with the concept of the subject of feminism that Gillian Rose adopts in order to show that this subject tries to avoid the exclusion of the master subject. This subject imagines spaces which are not structured through masculinist claims to exhaustiveness. Alice as the subject of feminism shows different roles; she extorts or steals money for the maintenance of the house from her affluent parents; she spends all her time cleaning, fixing, decorating the deserted house; and she looks after the official affairs related to the house with her skills and experiences. She is systematically in charge of the house and sits at the head of the table in the kitchen. But when their activities turn into disaster and their plans fail, Alice willingly decides to close down the house after ousting the members. Here in her extorted gaze it is revealed that she takes control over the working class members of the house who are unable to lead a revolution because of their own problems and thereby the working class are dominated by the middle class. That is, the place is paradoxically recreated based on class differences, which the revolutionaries try to break. By representing the deconstruction and recreation of the place through squat houses, Lessing reveals her implicit feminism in which a new place should be produced crossing the principle of the dichotomy of gender and class.

• Women's Studies Review
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• v.27 no.1
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• pp.73-109
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• 2010

The cultural pluralism on which more and more emphasis is put in the globalized cultural environment, takes local identity as a crucial index for the cultural exchange on the global level, but at the same time it results in transforming individual regions/places into a homogeneous space, as it forces the local identity itself to fit into the standardized global perspective. In this context I focus on two art projects that are related to 'Dongducheon', a town that houses the U. S. Second Infantry Division. These projects attract specific attention due to the fact that Dongducheon is a significant place with very 'thick' cultural identity: it reveals that modernization in Korea took place in intersection of nationalism, patriarchy and gender/sexuality postcolonial (military) culture. With these two Dongducheon related art projects (Donglyung Kim) and (Eunyoung Jeong) as excellent examples of site-specific art practice, this paper asks what it means to keep the historicity of disappearing local space/place in the global era. And how is it possible to 'represent' an extremely gendered/sexualized place like Dongducheon. This should be examined from a postcolonial feminist perspective. Since emancipation from Japanese occupation Dongducheon has been an island or an outside space in the nation-state Korea. This becomes more complicated, as now mostly women from the Philippines or former Soviet countries are working in the nightclubs in Doungducheon. and are feminist activist experiments to make the place with its residents to be seen and heard in proper a way of mourning, recognition and communication. shows the 'new' kijich'on women as those who are daring to be on an 'Odyssey' for a better life as they run everyday life in Dongducheon, working in clubs, doing laundry, bearing children, going to mass; tries to help them to be heard and felt, while it gathers sounds on the street or at mass and shows the doors or narrow alleys which lead to the their rooms. It aims to mourn the dead kijich'on women and to represent the precarious life of the present migrant kijich'on women, as it shows no faces.

• Journal of Science and Technology Studies
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• v.11 no.2
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• pp.97-119
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• 2011

This paper, as an initiative to fertilize analyses on women's technoscientific practices, reviews theoretical discussions and empirical studies in-between feminism and STS, mainly owing its thinking technologies to Karen Barad's Agential Realism. The first part of this paper shows that women's technoscientific practices as research sites are not only fertile grounds between STS and feminism but also conflict areas between constructivist theories and feminist politics. The second part proposes Agential Realism as an way of thinking to deal with 'conflicts' between STS and feminism in analytical levels. Agential Realism provides useful conceptual tools for 'techno-scientific ways of thinking' through the reconceptualization of agency, the displacement of agency by accountability, and the configuration of STS analysis as 'apparatus.' The third part finds three examples of 'techno-scientific ways of thinking' on women's technscientific practices from previous feminist STS works, which suggests how to analyze not only women's technoscientific practices but also diverse practices of science, technology, and medicine as follows: follow 'the invisible', account for 'ontological choreography', and 'care' for what is analyzed.

• Korean journal of communication and information
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• v.84
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• pp.99-123
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• 2017

We analyzed the movie (2016/ directed by J-yong E), which is entangled in politics of gender, age, class, or sexuality, naming as "spaces of Others", using the concepts of heterotopia of Foucault. Foucault addressed three types of spaces: the realistic space where we currently live, the unrealistic and non-existent utopia, and heterotopia, which functions antithetically to reality. Thus, Foucault's heterotopia can be considered to indicate "heterogeneous spaces" in reality. The Bacchus Lady revolves a 65-year old prostitute So-Young, sells her body to old men at the parks in downtown of Seoul. Old prostitute on streets are often referred as "Bacchus Ladies", because suggest the popular energy drink a bottle of Bacchus while selling sex. The movie represents some minorities such as transgender, Tina and madam of the club, G-spot, migrant women like Camila and Aindu, and a amputee, Dohoon. Through these people's bodies, the problems such as imperials, nations, ethnics, gender, age, class are entangled in the movie. The politics of these points work and construct heterotopias in four spaces of Others. First, the spaces which ageing and death are intersected. Second, the spaces of So-Young for prostitutes, Third, the spaces of So-Young's mothering: she adopted her baby to American when he was a infant, so she have felt guilty. Fourth, the spaces for So-young's quasi-family with Minho, a Kopian boy who was abandoned by Korean father, Dohoon, who is a poor amputee, and Tina, who is a transgender singer. Fifth, the spaces of speech of So-Young as the subaltern: the subaltern does not have the language to express its own experiences. In order to listen to the words of subaltern, we must do the task of measuring the silence. This cinematic representation of So-young as the subaltern makes her speak about her situation. Finally, the spaces constructed by the movie can be connected 'heterotopia of crisis', 'heterotopia of deviation' and 'heterotopia of fantasy'. The spaces of the movie represents lives of Others, nevertheless, So-Young's Otherness through spaces of heterotopia was transformed to an absolute Other by patriarchal traits of cinematic narrative.