• Title/Summary/Keyword: Culture Nation

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Culture, Empire, and Nation: A Critical Appropriation of Edward Said's Culture and Imperialism (문화, 제국, 민족 -비판적 전유를 위한 에드워드 사이드의 『문화와 제국주의』 읽기)

  • Koh, Boo Eung
    • Journal of English Language & Literature
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    • v.58 no.5
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    • pp.903-941
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    • 2012
  • This essay examines Edward Said's Culture and Imperialism focusing on the concepts of 'culture,' 'empire,' and 'nation'. The approach is critical, theoretical, and historical rather than explicatory. Consequently, the range of the essay is not limited to Said's own explanation and argument about Western imperialism and its culture presented in the book. In doing this, this essay finally purposes to be a discursive resistance to the current global empire, the United States, via a critical reading of Said's work. Said's notion of culture is set upon to disclose the function of culture as an apparatus of ideological consent of the dominated to the dominant. When applied to imperial practice, Western culture functions to subject the colonized to the colonizer. Said's geographical approach to imperialism complements the historical understanding of imperialism. Imperialism is not only the practice of Western-centered historicism but also the spatially mutual interaction between the West and the rest of the world. Along with European imperialism, Said poses the current global empire of the United States as his main target of criticism. Said's problem is that he takes the United States as a nation-state. When examined, the United States is not a nation-state, but today's empire. The empire in the appearance of the nation-state United States does not work for the interest of the American nation, that is, the American people. The empire is the transnational and postnational political and economic institution that works for the interest of global capital. In order to resist the current global empire, this essay suggests that the building or restoration of nation-states with its basic principle of people's sovereignty is in need.

A Comparisonal Study between Korean Po and Turkish Sultans′ Dress (우리나라 포(袍)와 터키 Sultans′의 의례용 외의 형태 비교 연구 - 1400∼1800년대를 중심으로 -)

  • 이상은;김영란
    • Journal of the Korea Fashion and Costume Design Association
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    • v.6 no.1
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    • pp.55-63
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    • 2004
  • The dress culture of Korea and Turkey should be necessary to study in view of a similar culture of Korea and Turkey due to similarity of oriental culture. Thus, as two nation's dress is investigated, cultural characteristics and dress form of two nations are analyzed with cultural background in detail. Also, comprehension is determinated for the dress color and texture as well as dress culture. In this paper, It is investigated theoretically for the function, type, and class of dress. Also, The form of Korean Po are compared to background of Turkish dress and Sulltans' dress form. To unify a cultural propagation and dress form, technical, inductive contents analytical method as well as literature review are used in positivism. Subject is limited to the Korean Po and Sultans' dress of Turkey. As a results, as the nation's dress reflect to culture and society of the nation, Korean dress have some similarity and differences comparing Turkish dress as followings. In dress form of two nation, rectangular Gil's shape was very similar. Mu's shape was similar too. However, Sultans' dress had outside shape of caftan type and Po had full or partial wrinkles by transforming Mu. Also, Sultans' dress did not have Sup. Korean Po have side slits or back side slits and Jun-Sam but Sultans' dress had only some side slits.

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A Brief Review of Backgrounds behind "Multi-Purpose Performance Halls" in South Korea (우리나라 다목적 공연장의 탄생배경에 관한 소고)

  • Kim, Kyoung-A
    • (The) Research of the performance art and culture
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    • no.41
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    • pp.5-38
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    • 2020
  • The current state of performance halls in South Korea is closely related to the performance art and culture of the nation as the culture of putting on and enjoying a performance is deeply rooted in public culture and arts halls representing each area at the local government level. Today, public culture and arts halls have multiple management purposes, and the subjects of their management are in the public domain including the central and local governments or investment and donation foundations in overwhelming cases. Public culture and arts halls thus have close correlations with the institutional aspect of cultural policies as the objects of culture and art policies at the central and local government level. The full-blown era of public culture and arts halls opened up in the 1980s~1990s, during which multi-purpose performance halls of a similar structure became universal around the nation. Public culture and arts halls of the uniform shape were distributed around the nation with no premise of genre characteristics or local environments for arts, and this was attributed to the cultural policies of the military regime. The Park Chung-hee regime proclaimed Yusin that was beyond the Constitution and enacted the Culture and Arts Promotion Act(September, 1972), which was the first culture and arts act in the nation. Based on the act, a five-year plan for the promotion of culture and arts(1973) was made and led to the construction of cultural facilities. "Public culture and arts" halls or "culture" halls were built to serve multiple purposes around the nation because the Culture and Arts Promotion Act, which is called the starting point of the nation's legal system for culture and arts, defined "culture and arts" as "matters regarding literature, art, music, entertainment, and publications." The definition became a ground for the current "multi-purpose" concept. The organization of Ministry of Culture and Public Information set up a culture and administration system to state its supervision of "culture and arts" and distinguish popular culture from the promotion of arts. During the period, former President Park exhibited his perception of "culture=arts=culture and arts" in his speeches. Arts belonged to the category of culture, but it was considered as "culture and arts." There was no department devoted to arts policies when the act was enacted with a broad scope of culture accepted. This ambiguity worked as a mechanism to mobilize arts in ideological utilizations as a policy. Against this backdrop, the Sejong Center for the Performing Arts, a multi-purpose performance hall, was established in 1978 based on the Culture and Arts Promotion Act under the supervision of Ministry of Culture and Public Information. There were, however, conflicts of value over the issue of accepting the popular music among the "culture and arts = multiple purposes" of the system, "culture ≠ arts" of the cultural organization that pushed forward its establishment, and "culture and arts = arts" perceived by the powerful class. The new military regime seized power after Coup d'état of December 12, 1979 and failed at its culture policy of bringing the resistance force within the system. It tried to differentiate itself from the Park regime by converting the perception into "expansion of opportunities for the people to enjoy culture" to gain people's supports both from the side of resistance and that of support. For the Chun Doo-hwan regime, differentiating itself from the previous regime was to secure legitimacy. Expansion of opportunities to enjoy culture was pushed forward at the level of national distribution. This approach thus failed to settle down as a long-term policy of arts development, and the military regime tried to secure its legitimacy through the symbolism of hardware. During the period, the institutional ground for public culture and arts halls was based on the definition of "culture and arts" in the Culture and Arts Promotion Act enacted under the Yusin system of the Park regime. The "multi-purpose" concept, which was the management goal of public performance halls, was born based on this. In this context of the times, proscenium performance halls of a similar structure and public culture and arts halls with a similar management goal were established around the nation, leading to today's performance art and culture in the nation.

A Study on the Culture of Incense in the Period of T'ang (당대 향문화 연구)

  • Chun Hea-Sook;Lee Ae-Ryun
    • Journal of the Korea Fashion and Costume Design Association
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    • v.7 no.3
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    • pp.113-127
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    • 2005
  • From the ancient times, incense was used for various usages including a means of beauty expression with flavor, a medicine for disease treatment and a device for religious event or ritual. The period of T'ang was the times when cultural and material exchanges with foreign countries were very actively made under the political openness of the Chinese nation. Here the exchanges were made mainly through inland trade, called Silk Road(絲綢之路) and marine trade routes, Incense Road(香料之路). This indicates that incense was one of the main items actively traded at that time. In addition, literatures of the T'ang period show that in the Chinese nation, a wide range of classes from the imperial family to the public used incense for many different purposes. This suggests that the culture of incense was deeply prevailed and very socially significant in T'ang. This study investigated social factors that promoted the incense culture of T'ang and the applications and types of incense widely used in the period of T'ang. First, influential religions and the openness of sex culture were main social factors that made incense culture flourish in the period of T'ang. Above all, two main religions of the Chinese nation, Buddhism and Taoism became secularized under political protection by the imperial family. As Buddhism was popularized, the Buddhist ritual of incense burning made a contribution to making public incense culture. Providing its doctrines of eternal youth and eternal life, Taoism necessarily used incense to form a Taoistic climate. The flourishment of the foresaid religion in T'ang added more fuel to that of incense culture in the Chinese nation. The openness of sex culture brought about the Inauguration of the empress, improvement in female position and free relationships between man and woman. It was accelerated by sexology as a method of eternal youth provided by Taoism. The opened culture also developed the culture of kibang where female entertainers called kinyeo consumed lots of incense for decoration and sexual desire stimulation. These open climates of T'ang society made a great contribution to making incense culture, especially for decoration, prevailed throughout the Chinese nation. Second, types of incense prevailed and widely used in the period of T'ang included olive incense, germander(廣藿香), olibnum(乳香), myrrh Resinoid(沒藥), jia Xiang(甲香), clove(丁香) and Shen xian(沈香), all of which were imported from foreign nations and had various applications. Specifically, olive incense, germander(廣藿香), olibnum(乳香) and myrrh Resinoid(沒藥) were used for religious purposes while, jia Xiang(甲香), clove(丁香) and Shen xian(沈香) for the purposes of religion and decoration. In conclusion, a number of social factors including political, religious and medical purposes and the openness of sex culture set fundamentals on which the culture of incense was extensively developed and established as a social trend in T'ang. In the Chinese nation, incense culture was not just an option for taste, but a part of life style social members needed to know. People of T'ang not only enjoyed incense mainly for purposes of religion, pleasure and make-up, but also had the wisdom to know various effects of incense, curiosity about such new things and the will to imitate and pursue alien culture, resultantly flourishing incense culture. Thus the culture of incense represented many social aspects of T'ang.

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Design Positioning of the Korea Railway (한국철도차량의 디자인 포시셔닝)

  • Lee, Hee-Yup;Kim, Chang-Hyun
    • Proceedings of the KSR Conference
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    • 2007.05a
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    • pp.1268-1275
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    • 2007
  • The Korea railway design trends has been developed by the change of the society and culture through the consideration of the history of railway. The railway design trends is as the vehicles in the external form of railways, instantly means to plan and create the value added something like the form of the exterior design. The railway design has been changing form instinctive methods to settle the mass transport of the early days, to sensitive methods to pursue the railway culture centering around human being. As dividing by the style's change of railway in image scale aspects between 1800's and 2005 according to the life environment into the external nation, there are big differences so that is to study the development history of the railway design accordingly each nation (Korea, United Kingdom, Germany, France, Japan) and the style's change, to confirm into the design applied in society and culture needs, and to analyze by a year in changes of the environment and the railway design history. This paper analyzed railway introduced as railway models by top 4 nation (United Kingdom, Germany, France, Japan) and Korea in the past years(1800-2005) for their Korea railway design trends by image scale positioning.

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Analysis of Railway Design Trends by Image Scale (이미지 스케일에 의한 철도차량 디자인 트렌드 분석)

  • Lee, Hee-Yup;Hong, Suk-Ki;Kim, Chang-Hyun;Na, Hee-Seung
    • Proceedings of the KSR Conference
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    • 2006.11b
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    • pp.1115-1122
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    • 2006
  • The railway design trends has been developed by the change of the society and culture through the consideration of the history of railway. The railway design trends is as the vehicles in the external form of railways, instantly means to plan and create the value added something like the form of the exterior design. The railway design has been changing form instinctive methods to settle the mass transport of the early days, to sensitive methods to pursue the railway culture centering around human being. As dividing by the style's change of railway in image scale aspects between 1800's and 2005 according to the life environment into the external nation, there are big differences so that is to study the development history of the railway design accordingly each nation (United Kingdom, Germany, France, Japan) and the style's change, to confirm into the design applied in society and culture needs, and to analyze by a year in changes of the environment and the railway design history. This paper analyzed railway introduced as railway models by top 4 nation (United Kingdom, Germany, France, Japan) in the past years(1800-2005) for their railway design trends by image scale positioning.

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Whitman's Strategy of Cultural Independence through Reterritorialization and Deterritorialization

  • Jang, Jeong U
    • Journal of English Language & Literature
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    • v.55 no.3
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    • pp.497-515
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    • 2009
  • Culture as a source of identity, as Edward Said says, can be a battleground on which various political and ideological causes engage one another. It is not mere individual cultivation or private possession, but a program for social cohesion. Sensitively aware that a national culture should be independent from Europe, Walt Whitman enacts a new form of literature by placing different cultural values against Old World tradition. His interest in autochthonous culture originates from his deep concern about national consciousness. He believes that literary taste directed toward highly-ornamented elite culture is an obstacle to cultural unification of a nation. In order to represent American culture of the common people, Whitman incorporates a lot of cultural material into his poetry. Since he believes that America has many respectable writers at home, he urges people to adjust to their own taste instead of running after foreign authors. Whitman differentiated his poetry from previous literary models by disrupting the established literary norms and reconfiguring cultural values on the basis of American ways of life. In his comment on other poets, he concentrates on the originality and nativity of poetry. By claiming that words have characteristics of nativity, independence, and individuality, he envisions American literature to be distinguished from British literature in literary materials as well as in language. Whitman s language is composed of a vast number of words that can fully portray the nation. He works over language materials in two ways: reterritorialization and deterritorialization. Not only does his literary language become subversive of the established literary language, but also makes it possible to express strength and intensity in feeling.

Evaluation of Railway Trends by Railway Characteristic Factors (철도차량 특징요인에 의한 철도차량 트렌드 평가)

  • Lee, Hee-Yup;Kim, Chang-Hyun
    • Journal of the Korean Society for Railway
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    • v.9 no.6 s.37
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    • pp.705-710
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    • 2006
  • The railway has been developed largely by the characteristic factors of the railway through change of the society and culture. The railway trends has been changing from instinctive methods to settle the mass transport of the early days, to sensitive methods to pursue the railway culture centering around human being. As dividing by period according to the changes of railway trends into the external nation, there are to analyze the development history of the railway design. Accordingly each nation (United Kingdom, Germany, France, Japan) and the style's change, to confirm the changes into the design applied in society and culture needs, and to analyze by a year in changes of the environment and the railway history from the 1800's to 2005, so there contribute in the development of railway design to present the paradigm of the future railway by analyzing the trend according to the changes of railway design and the life environment in this paper.

A comparative study on configuration of the nation in epics (서사시에 나타난 '민족' 형상화에 관한 비교 연구 - 고은의 『백두산』과 리욱의 『고향 사람들』, 『풍운기』를 중심으로)

  • Jang, Eun Young
    • Cross-Cultural Studies
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    • v.25
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    • pp.337-362
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    • 2011
  • This study focused on difference of the nation's concept between Ko un's Baekdusan and Lee uk's Gohyangsaramdul, Pungungi. These works are epics restructure nation's history. A epic's story provides framework of recognition to social members. An individual and community accept their story and then stories construct pesonal identity and community's identity. So we can say a epic configurates national identity by story nation history and nation territory. The nation's concept is understood steadfast and very pure as like a blood relationship in Korea. This is aspects of Korean nationalism. But the Nation is modern, social and historical concept. That is different from ethnic identity. This way throws open the door to analyze nation identity. Ko un's Baekdusan narrates permanence and sacralization of the nation for emphasizing the unification of North Korea and South Korea. Baekdusan expresses the social desire of Korea in the 1980s. In comparison, Lee uk's Gohyangsaramdul representate ambivalent attitude. One is a position as a settler and the other is a new master of Yanbian Korean Autonomous Prefecture. So Gohyangsaramdul narrates and remembers their motherland Chosun. But Pungungi exclude recognition of Chosun as motherland. This work's narration focuses on association with struggle of classes and anti-Japanese Movement during the Japanese colonial period. Because these events are able to unity Korean and Chines. Three works deal with same history and same background, but those show defferent recognition about the Nation. Because each society has different social desire and expect different future. The present desire and future prospect construct nation identity.