• 한국언론정보학보
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• 제57권
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• pp.137-159
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• 2012

후기 자본주의 재생산 국가 이론(state theories of reproduction of late capitalism)을 전개한 오페에 따르면(Offe, 1972), 뉴미디어 산업의 도입과 확대는 자본주의 국가가 체제를 재생산하기 위해 차용한 기제이다. 후기 자본주의 국가의 목표는 '자본 축적(accumulation)'과 '민주주의적 정당화(democratic legitimation)'이다. 본 논문은 90년대 후기 자본주의 국가의 현대적 역할과 케이블TV 산업의 상호관련성을 연구한 것이며, '국가주의(국가주도적 자본주의; state-led capitalism)'의 양상 변화로 집약된다. IMF 상황을 넘겨받은 김대중정부는 자본주의 재생산 기제 회복을 위해 시장 개입적 국가주의를 표면적으로 포기하였다. 또한 국가 기능과 정책 재조직, 신자유주의 방법론, 조합주의적 의사 결정, 통합방송법 제정 등을 통해 탈규제적 시장 경쟁주의를 확립시키고, 미디어 시장의 힘의 분산을 통해 시장과 시민 사회의 신뢰를 얻었다. 시장 구조 개혁은 다층적 국가주의를 확립시켰으며, 국가는 시장의 조직자, 육성자, 감독자, 규제자 역할을 통해 공통적 이해의 관리 주체로 자리잡았다.

• 한국콘텐츠학회논문지
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• 제14권3호
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• pp.140-150
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• 2014

음모론은 현실에서 일어나는 부당한 상황에 대한 책임을 '사건의 뒤에서 모든 것을 조종하는 존재'인 큰 타자에 돌림으로써 비판론자들로부터는 책임전가이자 일종의 편집증이라는 평가를 받지만, 은폐와 불충분한 정보로 인해 총체성을 파악하기 어려운 이 세계를 해석하는 하나의 방식이자 일종의 정치사회적 하위문화 Sub-culture로서의 역할을 하기도 한다. 한편 최근 음모론 영화의 재현 방식은 외형적으로 가시적이고 리버럴하지만 내적으로는 더욱 촘촘한 은폐가 작동하고 있는 지금의 후기 자본주의 체제 하의 세계를 반영하며 그 안에서 파국의 정서와 무정치성이라는 어떤 이데올로기적 경향성을 드러낸다. 본고는 당대 헐리우드 음모론 영화들에서 보이는 변화된 재현의 특징과 그 재현이 지시하는 이데올로기를 분석해 봄으로써, 음모론이라는 정치 사회적 해석 기제가 후기 자본주의라는 정치사회적 자장을 배경으로 현재 내러티브 재현의 장에서 어떤 식으로 수렴 및 변화되고 있는지 살펴보고자 한다.

• 복식
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• 제50권
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• pp.69-84
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• 2000

Th purpose of this study is three folds: to analyze postmodern fashion through the notion of pastiche to enhance an understanding of uncertain and confused situation in the late 1990s and to suggest a way of approach to creativity and originality in recent fashion design. The results can be summarized as follows: 1. Pastiche is an art work that borrows some parts of other artists authentic works and recombines them thus imitating their style technique or motifs selfconciously. 2. Pastiche is based onthe Deconstruction theory: the end of art as a result of deconstruction of the subject the collapse of the meaning the loss of history: the late Capitalism in which reality becomes chage into images or simulacre. 3. Pastiche represented by the death of author which means the exhaustion of creativity is shown in the fashion borrowing subculture styles and art works or religious images. Pastiche fashion which is equal to the play of signifiers floated as image is shown as graffiti and objects Time and space pastiche fashion can be explained by historical eclectism and ethnic looks, Finally pastiche means not the fixed aspect but the open concept of indeterminate condition which includes " anything goes" through the coesistence of various style in pastiche fashion.

• 영어영문학
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• 제64권4호
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• pp.629-649
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• 2018

To date, one of the prevailing criticisms of Daniel Defoe's Robinson Crusoe has seen the adventure novel as a celebration of the rise of mercantile capitalism and the beginnings of colonialism. From this point of view, the Englishman has often been interpreted as an early embodiment of the concept of the sovereign economic subject. Prominent social critics who took up this interpretation have included Karl Marx, Max Weber, and Jean-Jacques Rousseau. Within literary studies proper, the work of Ian Watt offered perhaps the earliest version of this point of view of the novel. Influenced by both Weber and Rousseau, Ian Watt argued that Defoe's wandering protagonist embodies the rise of economic individualism. More recent criticism has tended to challenge this dominant interpretation by laying greater stress on such countervailing factors as Crusoe's mental uncertainty and inner conflict. Drawing inspiration from Fredric Jameson's diagnosis of the ills of late capitalism, this paper analyzes the ways in which Defoe's hero, rather than championing modern rationality, can in fact be seen as suffering from many forms of emotional psychosis. Robinson Crusoe can, after all, be better viewed as a contradictory multi-layered text that, despite its outward valorization of economic individualism, portrays its hero as a victim of negative capitalistic forces, a hero driven by his desire to possess but haunted by a fear of loss, a hero who flaunts inflated feelings of self-worth even as he reveals deflated notions of material insecurity and mental persecution.

• 영어영문학
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• 제58권4호
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• pp.679-700
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• 2012

This study aims to examine Mark Twain's criticism of American capitalistic ideals in the late nineteenth century. During this second industrial revolution, industry showed rapid growth and capitalism established an order, while America suffered under the monopolization of capitalistic conglomerates. This resulted in the widening gap between the rich and the poor and the dehumanization caused by rapid industrialization. In A Connecticut Yankee in King Arthur's Court, Hank Morgan, the protagonist--who represents nineteenth-century America's industrialism, individualism, and capitalism--is sent back in time to the sixth century of Arthurian England. Hank attempts to introduce nineteenth-century technologies and machines to build a capitalistic system in the middle ages. However, Hank's efforts lead to disaster in which the country and civilization he worked to build is completely destroyed. Although Twain does not deny capitalistic ideals, he criticizes the "governmentality" that operates Hank's reform system to the extreme. Hank values efficiency and utilizes human beings as capital. Hank's economic reason not only transforms the Round-Table knights into speculators but also transforms their religious acts and abstract ideals into moneymaking businesses. The destructive ending anticipates the World Wars and the Great Depression in the first half of twentieth century and even serves to predict the dangers that follow.

• 대한가정학회지
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• 제44권8호
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• pp.143-150
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• 2006

Life Science or Home Economics has its own history of scholarship. In South Korea, the School of Home Economics was regarded as the best school of 'producing best brides' in the early stage of its academic history. Since the 1980s when South Korean society went through a speedy economic growth with development of culture and service industry, the school was transformed to educating highly professional career women in the field of industry which deals with everyday lives. As an applied science in nature, the school of Home Economics has had a heavy emphasis on engineering the familial and social life. It also has heavily depended on imported theories and statistical researches. In the crisis of familial and social disintergration, the role of School of Home Economics needs to be redefined. Reexamination of the premises of Home Economics and methodology is necessary. Decolonializaton of the scholarship in the changed condition of global capitalism is particularly urgent in the late modern era of reflexion.

• 한국실내디자인학회논문집
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• 제26권5호
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• pp.75-82
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• 2017

The aim of this study is to find phenomenological characteristics in the background and contents of Kenneth Frampton's architectural theories and their contribution to architectural phenomenology. His theories reflect on the interpretations of Modern architecture synchronically and diachronically. This difference makes Frampton have more concrete direction for architectural phenomenology. Hanna Arendt, who contribute to form Frampton's architectural theory, introduced various concepts of Heidegger's phenomenology to Frampton. And criticism of image centered late capitalism also act as a background for Frampton to relate to phenomenology. Frampton emphasized the importance of 'critical regionalism' and 'tectonic' as a poetics of construction as the resistance of globalization. All of these have relations to 'place' and 'perception' that are main themes of phenomenology. Frampton explains his theory with phenomenological terms and above all things, he assimilates concerns of architectural phenomenology with critical thinking. In these aspects, his theories can be recognized as playing an important role to the development of architectural phenomenology.

• 미술이론과 현장
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• 제10호
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• pp.25-46
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• 2010

Street art operates within an already given visual order: the visuality of the modern city in which the regimentation of the image has become fully adaptive to-what Fredric Jameson termed-the logic of late capitalism. What is the relationship between street art and the hegemonic forms of the image dictated by the "city's rulers"? Does street art evoke an alternative kind of spectatorship? Can the unsolicited visual intervention in the life of the city open up an "optics" that resists the reifying patterns of the contemporary gaze? This paper follows Baudrillard's pioneering analysis of graffiti, arguing that the visuality of a certain kind of street images carries an important potential of challenging the hegemonic manner in which the contemporary image has come to dominate the field of vision.

• 비교문화연구
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• 제30권
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• pp.7-29
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• 2013

A movie which brought its material from a historical character or incidents in the past was produced by a story suggestion through a historical fact. It is because Shakespeare created a story based on a mythical element related with his life in the plot which was written from the script of the play and was on the show in the cinemas of London. It is an obvious fact that the historical drama of this movie was intentionally modified and the fictional story was added to episodes in order to create a dramatic effect. However, reflecting historical backgrounds and cultural aspects accurately through a historical study would also be an important factor. Therefore, the backgrounds and aspects presented in this movie are a kind of storytelling which was reconstructed as if a historian added his opinion to historical facts like a discourse. A historical background in was a story about Shakespeare who worked at the theater in London as a writer in 1593 the period of England Reneissance. The movie included the working and playwriting of Shakespeare who is a main character. This indicated not only the environment of the theater and literature during the reign of Queen Elizabeth I but also historical aspect in the early modern industrial society in England. This movie, that is, described that time as a recreation such as a cultural acceptance and an achievement of an initial capitalism in Renaissance in the life of characters. In particular, the factor of theaters flourishing during the Renaissance was because a newly emerging class, bourgeoisie, who held the capital emerging from a policy for middle class led to a box office hit through founding theaters and drama company and selling tickets and performing plays by themselves. Like this, the movie depicted the time led by plays to a industrialization. Moreover, Social aspects in the late 1500s were revealed in this movie through a depiction of the cinemas and the city of London. The depiction of the city of London reflected a social situation of an initial capitalism rapidly developed in trade and commerce. The social aspects such as conflicts between social classes based on getting richer and poorer, mammonism, a corrupted love between the male and the female, a immortality with growing brothels, religious and political conflicts with the foundation of the church in England were closely linked with characters' daily routine at that time in London and were reflected in this work overall. The reason why we highlight characters' job and custom like this in the movie is that these are ideationally inherent in a critical mind from people at that moment. The historical background and reproduction of the image depicted in the movie were focused on characters' daily routine and indicated the problem mentally and independently exposed in the form of initial capitalism.

• 농촌계획
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• 제30권1호
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• pp.15-31
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• 2024

The study primarily aims to examine the characteristics of the transition from natural landscape to modern agricultural landscape on the Daesan plain in Dong-myeon, Changwon-si, in the lower reaches of the Nakdong River. The periods covered in the transition include the late Joseon Dynasty, the early Japanese colonial period, and the late Japanese colonial period. The study concluded the following: It was found that the Daesan Plain used to function as a hydrophilic landscape before it formed into a rural landscape. This is characterized by the various water resources in the Plain, primarily by the Nakdong River, with its back marsh tributaries, the Junam Reservoir and Jucheon. To achieve its recent form, the Daesan Plain was subjected to human trial and error. Through installation of irrigation facilities such as embankments and sluices, the irregularly-shaped wetlands were transformed into large-scale farmlands while the same irrigation facilities underwent constant renovation to permanently stabilize the rural landscape. These processes of transformation were similarly a product of typical colonial expropriation. During the Japanese colonial period, Japanese capitalists initiated the construction of private farms which led to the national land development policy by the Governor-General of Korea. These landscape changes are indicative of resource capitalism depicted by the expansion of agricultural production value by the application of resource capital to undeveloped natural space for economic viability. As a result, the hierarchical structure was magnified resulting to the exacerbation of community and economic structural imbalances which presents an alternative yet related perspective to the evolution of landscapes during the Japanese colonial period. In addition, considering Daesan Plain's vulnerability to changing weather conditions, natural processes have also been a factor to its landscape transformation. Such occurrences endanger the sustainability of the area as when floods inundate cultivated lands and render them unstable, endangering residents, as well as the harvests. In conclusion, the Daesan Plain originally took the form of a hydrophilic landscape and started significantly evolving into a rural landscape since the Japanese colonial period. Human-induced land development and geophysical processes significantly impacted this transformation which also exemplifies the several ways of how undeveloped natural landscapes turn into mechanized and capitalized rural landscapes by colonial resource capitalism and development policies.