• 비교문화연구
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• 제42권
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• pp.107-129
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• 2016

근대 이후 많은 지역이 국가 단위를 넘어선 대륙 단위의 통합체를 구상한 바 있다. 오래 전부터 지구촌의 각 대륙에서는 범아랍주의, 범라틴아메리카주의 나아가 범아시아주의를 구상한 사상가들이 지속적으로 나타났으며 여전히 많은 사람들에게 이것들이 국민국가의 틀을 넘어선 지역과 세계의 행복한 관계를 구현할 수 있는 체제로 받아 들여지고 있다. 이러한 지역 내의 국가를 하나로 묶는 작업은 국민국가의 폐쇄성을 넘어선다는 점에서 상당한 의미가 있지만, 그것이 그 지역이 공유하는 문화적 가치와 다른 지역과 다른 역사적 특징과 지역적 경계를 전제한다는 점에서 세계시민주의와도 구별된다. 이러한 사상이 유럽연합이나 남미국가연합처럼 구체적인 정치적 행동으로 나타나게 될 때 국민국가처럼 일정한 폐쇄성을 가질 수밖에 없는 점은 분명하다. 국민국가와 세계 사이의 중간지대를 지향하는 이러한 운동을 우리는 '국가를 넘어선 국가주의'로 부를 수 있을 것이다. 케냐라는 국민국가의 차원에서 외세로부터의 경제적, 문화적 자주독립과 독재로부터의 민중의 해방을 위해 활동해 온 응구기는 아프리카연합에 주목하면서 이 기구가 지향하는 범아프리카주의는 유엔, 미합중국, 유럽연합과 같은 기능을 수행할 수 있을 것으로 생각한다. 응구기는 현재의 아프리카의 질곡은 다양한 문화적 기원을 가진 부족들이 혼재하던 공간에 인위적인 국경선을 채우고 그 공간 속을 살게 된 아프리카인들이 국민국가의 이기적인 틀 속에서 살아가기 때문이라고 본다. 그는 범아프리카주의를 통해 동일한 언어와 문화를 가진 아프리카의 구성원들이 근대 국민국가의 과도한 쇼비니즘적 욕망을 제어하는 민중의 연합을 꿈꾼다.

• 한국콘텐츠학회논문지
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• 제6권11호
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• pp.45-55
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• 2006

한국형 블록버스터는 호미 바바의 문화적 혼성주의가 표명하는 두 문화간의 만남과 충돌의 변증법으로 완성된 작품들이다. '한국형'과 '블록버스터'가 한국적이라는 것과 서구적인 것을 나뉘어 대표하고 있으면서도 그 경계는 해체되고 변증법적으로 혼합되어 혼성적이고 복합적인 새로운 하나를 탄생시킨다. 한국형 블록버스터로 대표되는 [쉬리], [JSA], [실미도], [태극기 휘날리며]는 분단 이데올로기라는 한국적 특수성을 이슈화하는 민족적 서사를 내용으로 하고 있으면서 그 표현양식과 제작방식은 지극히 서구적 보편성에 충실한 스타일로 바바의 문화적 혼성성의 특성을 고스란히 담고 있다. 문화적 혼성주의를 통해 한국 영화 미학의 현주소를 탐구해 보고자 한다.

• 한국의류학회지
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• 제37권5호
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• pp.676-690
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• 2013

This study explored the historical meaning and the present practices of Indonesian batik. Relevant literature was reviewed first; subsequently, interviews and observations were conducted to achieve the purpose of the study. Historically, batik was an integral part of the Javanese court art as well as a representation of each regional culture. Batik also became an important means to reveal a national identity in postcolonial Indonesia in the 1950s. There exist two types of traditional and modern type batik in present Indonesia. The traditional batik refers to batik tulis, batik cap, and the combination of tulis and cap. The modern batik is comprised of a batik print as well as the combination of the print and the traditional batik. The traditional batik was practiced at the small-sized village batik workshops and in the government batik research center. A few batik workshops often co-operate with modern screen print factories; however, the use natural dyes for the dyeing of batik cloth is rarely found. Batik was used for varied objects made from fabric materials that include clothing, small fashion items, living supplies and furniture, as well as fine art such as paintings and wooden crafts.

• KDI Journal of Economic Policy
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• 제42권2호
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• pp.31-56
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• 2020

This study investigates the impact of the use of the main local languages in Burkina Faso (Moore, Dioula, Fulfulde) on labor force participation. Using Ethnologue language data, I compute the relative language distance reduction index, after which I use a probit/logit model and instrumental variable approach to account for language use policy endogeneity. This study finds that the use of the Moore language increases the likelihood of labor force participation by 36 percent, with a strong impact on women at 59 percent, nine times higher than men, and 38.3 percent for rural individuals, five times higher than individuals living in urban areas. The Dioula language exhibits comparable trends, while Fulfulde has a negative impact on individuals. The study recommends the use of local language(s) as official language(s) to improve labor force participation. However, a bilingual approach combining local and international language(s) will be of use to account for globalization and international competitiveness. The findings here may be of use to researchers and policymakers as part of their effort to increase the labor force participation rates of women and rural individuals. Moreover, this research has significant implications with regard to the implementation of language use policies in a variety of postcolonial language contexts.

• 비교문화연구
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• 제36권
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• pp.61-95
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• 2014

At the turn of the century in which European colonialism was reaching its zenith and modernization was gathering speed, public museums were institutionalized. This paper looks into the part these European modern museums played in territorializing academic disciplines like anthropology and art history. The museums to deal with are the British Museum and the National Gallery in London, Mus?e du Louvre in Paris, and Museumsinsel in Berlin. Rather than in-depth detailed analysis of each museum, the aim is to explore the ways in which these museological institutions interacting with modern disciplines in the wider colonial context objectified other cultures and formulated a framework of the world through classification and comparison of material things, on the basis of the judgement of their artistic values. This exploration is also to rethink theoretical positions and perspectives on the museum in Korea. It is remarkable in Europe that such academic fields as history, art history, anthropology and cultural studies look for new possibilities of museology in conjunction with the recent proliferation of studies on the museum as a medium to construct and deconstruct knowledge. Meanwhile, the mammoth European museums which are often considered a stronghold of museology advocate the 'universal museum' themselves, quite the modern idea but in a revised rendering. Under these circumstances, this paper seeks to shed light on the definition of the museum as an arena in which scholarly discourses about art, culture and history can be created and contested, on the effectiveness of the museum as a communication medium in a postcolonial era, and on the need to pay trans-disciplinary attention to the museum in its broadest sense.

• 영어영문학
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• 제60권2호
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• pp.193-209
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• 2014

Writers in England's colonies and former colonies have long struggled with the advantages and disadvantages of employing the language of the colonizer for their creative work, an issue that today reaches beyond the older imperial trade routes in the era of "global English." Creative writers in widely disparate locations are now using global English to their advantage, with what can be described as post-postcolonial strategies. This essay explores the politics of global English, beginning with a satiric dictionary of "Strine" (Australian English) from 1965, and then looking back at the mid-1960s debate at Makerere University between Ngugi wa Thiong'o and Chinua Achebe, in which Achebe famously asserted the importance of remaking English for hi own purposes. The essay then discusses early linguistic experiments by Rudyard Kipling, who became the world's first truly global writer in the 1880s and 1890s and developed a range of strategies for conveying local experience to a global audience. The essay then turns to two contemporary examples: a comic pastiche of Kipling-and of Kiplingese-by the contemporary Tibetan writer Jamyang Norbu, who deploys "Babu English" and the legacy of British rule against Chinese encroachment in Tibet; and, finally, the Korean-American internet group Young-hae Chang Heavy Industries, who interweave African-American English with North Korean political rhetoric to hilariously subversive effect.

• 영어영문학
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• 제54권1호
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• pp.107-127
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• 2008

Critics are inclined to interpret J.M. Coetzee's novels in South African contexts, which Coetzee's own background seems to support. One has to bear in mind, however, that Coetzee tends to "see the South African situation as only one manifestation of a wider historical situation to do with colonialism, late colonialism, neo-colonialism." In other words, putting too much emphasis on South African contexts may diminish or undermine significance of Coetzee's multi-layered novels. In this context, the purpose of this paper is to highlight what Coetzee has to say about American colonialism/imperialism and to emphasize importance of "postcolonial rhetoric of simultaneity" which is repeatedly shown in his fictional works. It gives a meticulous attention to and analyzes "Vietnam Project," the first novella of Dusklands, Coetzee's very first novel, which depicts and characterizes "what Chomsky in the context of Vietnam [War] called 'the backroom boys.'" "The Narrative of Jacobus Coetzee," "When a Woman Grows Older," and Diary of a Bad Year are occasionally brought into discussion as well. This kind of study seems timely and pertinent especially when we take into account the rampant American imperialism which has devastated and almost traumatized the world.

• 영어영문학
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• 제56권6호
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• pp.1339-1360
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• 2010

An analogical reading of socio-historical context of Harold Pinter's The Caretaker employs some postcolonial discursive analyses of postimperial British capitalistic interests in their post war reconstruction. It is also concerned with causes of so-called broken society. The Caretaker dramatizes minimal actions: a tramp is invited by the elder brother; a job as caretaker is offered; he is reluctant to accept the first offer by the elder brother, but is willing to the second by the younger; eventually, he is excluded because he makes noises while dreaming. These trivial actions produce serious and critical speech acts with their socio-historical implications. The tramp Davies is socially and thereby existentially excluded from the centre of the cold, banished to even colder peripheries. The audience face to the question. Why is Davies excluded? This study tries to answer the question, uncovering deep-rooted capitalistic racism, and reading its symptoms. Even after 50 years The Caretaker was staged, post-imperial broken society tries to operate the betrayals of disparity between the cause and effect of what has gone wrong. Pinter confirms that the action of the play takes place in a house in west London. With the city of London as its capitalistic centre, British imperialism lavished much of its wealth which has only served sectional interests dividing people against themselves. Pinter dramatizes the root of broken society. On the one hand, Pinter foregrounds the very general conflicts between individuals and forms of power; on the other hand, he underlies the very specific strategies of socio-historical exploitation, domination and exclusion.

• 대순사상논총
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• 제17권
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• pp.151-171
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• 2004

TAKAHASHI Toru (1878-1967) was one of the most significant Koreanologists in Japanese academic field. He was a professor of Kyeongseong Imperial University in the prewar period and Tenri University (department of Korean studies) in the postwar period. He was majored in Korean intellectual history and literature. His achievements, especially on Korean Confucianism and Buddhism, are still referred and influential. He wrote two pamphlets published by department of education of the Government-General of Korea in 1920. This year was a year after of 3.1 Independent Demonstration. This riot might have demanded Japanese governors to survey about Korean mentality and characteristics. One of outcomes was Chousenjin (Korean People). The pamphlet tried to explain the Korean character in the perspective of a essentialism in Korean race. The other was a simple outline about history of Korean religions entitled Chousen shukyoushi ni arawaretaru sinkou no tokushoku (The characteristics of faith in the history of Korean religions). He explained that Korean religions, especially its Buddhism, were easily influenced by political condition. These pamphlets seemed to be typically colonialistic, since such negative characteristics of Korean made Japanese colonial rule legitimated as the Mission of civilization and enlightenment. His discourses synchronized with the desire of Japanese Imperialism. This article attempted to analyze his discourses in the perspective of postcolonial critics and sociology of knowledge.

• 건축역사연구
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• 제20권6호
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• pp.57-76
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• 2011

This study is on the pedagogical convention of architectural history in Korea, especially that of Western Architecture. Recent institutional change in architectural school in Korea has caused overall restructuring of academic program. In spite of extension in the field of history there was no progress of method and way of thinking. There is no change in the point of view to see the western architecture and its history as a unique and specialized phenomenon in the civilization of mankind. Because of no recognition about for what, for whom, and how to, and because of orientalism, the cultural position of western architectural history and its narrative was not asked. With the help of post-colonialism, de-constructivism and critical historiography this paper tries to show the fundamental premise of western architectural history as a myth and show its prejudice as not being justifiable. The background of the discourse there has been a representation effect with regard to knowledge as a power. we need to escape from this kind of cognitional frame With the analysis of the its premise and narrative we can find it is a historical construct that was made in the age of imperialism. In fact it has a lot of false information and problematic point of view. The Identity and originality of western architecture and its history has no logical reason or foundation if we think that it depends on the difference and comparison with other civilization. For example the explanation of its historical origin western architecture has big difference with Islamic architecture in spite of the resemblance each other. This paper try to show several reasons that discourse of western architectural history can not be survived any longer. So we need to reconstruct new pedagogy with deconstruction for the students of non western, or Korean students. Because it has important effect to see and think about architecture and its history.