• 한국사회복지학
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• 제65권4호
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• pp.271-294
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• 2013

이 연구는 한국 사회복지학의 발전 상황의 한 단면을 파악하는 데 목적을 두어 실천과 연구를 겸비한 김만두를 선정하여 그의 인물비평을 실시하였다. 이 인물비평 방법은 문학비평에서 빌려와 김만두의 실천경험과 연구문헌을 기반으로 이루어졌다. 김만두의 실천경험과 연구문헌에서 각기 5개와 6개 주제를 도출하고, 이들 주제를 결합해 다시 5개 주제(통합적 접근 강조, 미국과 일본 사회복지의 아우름, 사회복지학의 선순환적 형성, 사회복지학의 패러다임 전환, 실천과 연구 조화의 미완)를 도출 해석했다. 이와 같은 결과에 근거하여, 김만두의 사회복지실천이 사회복지제도를 넘나들며 정제됨, 1960-90년대 한국 사회복지의 한 단면이 드러남, 1960년대 아동 중심의 사회복지실천이 통합적으로 이루어짐, 당시 연구자의 성향에 따라 사회복지학의 구성을 달리함 들을 논의하였다.

• 영어영문학
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• 제54권4호
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• pp.579-597
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• 2008

This article discusses David Henry Hwang's M. Butterfly as a suggestive text for examining Western masculinity in crisis in the post-imperialist age, in which territorial imperialism is no longer valid. Previous scholarship on M. Butterfly has centered around the interlocking dynamics of imperialism, racism and sexism. Such critical attentions focus on how Hwang deconstructs racialized significations of the East and the West. In these discussions, the issue of gender is often addressed merely as a trope to represent the power relations between the East and the West. As such, gender as well as sexuality is highlighted as the very source of subversion of the power relations. My discussion departs from a critique of the gendered trope of the East and the West, highlighting a postmodern agent, the allegedly feminized character Song Lining: a Chinese actor who passes for a woman for political purposes in postcolonial China. Remaining an "inappropriate/d other" in the gendered imperialist discourse, Song becomes an emergent subject, who is capable of playing gender ambiguity for reclaiming a devalued identity, that of homosexual Asian man. Discussing how the central character Rene Gallimard's masculine identity is constructed in a cross-cultural space and how it evolves, I also argue that Gallimard's melancholic death signifies a historical unsustainability of imperialist masculinity in the postmodern/postcolonial age since World War II.

• 수완나부미
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• 제5권2호
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• pp.81-99
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• 2013

Đoạn tuyệt is the representative of not only Nhất Linh's literary life but also of the Tự Lực Văn Đoàn [Self-Strength Literary Group]. Đoạn tuyệt's contributions are emphasized in the following aspects: 1) critique of the feudal family model, 2) an advocate of female and individual liberation, 3) nationalistic content, though rather vague. Based on analysis of gender power relations in the masculinization of femininity exemplified in the character Loan of the novel, this paper addresses the following points: - In Đoạn tuyệt, the woman is eager to free herself from feudalist ties not to construct her own identity but to identify her with men's identities. - The construction of new feminine identities was conditioned in new rising discourses of Western modernity-based nationalisms in pre-revolutionary Vietnam. - The feminization of masculinity echoes the crisis of Vietnamese masculine in facing colonial power.

• 영어영문학
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• 제54권1호
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• pp.129-147
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• 2008

Since the beginning of her dramatic career, Suzan-Lori Parks has considered digging up and restoring African-American history buried under the dominant white Anglo-Saxon history as her mission as a playwright. In Red Letter Plays, she attempts what Deborah Geis called "canon-critique" by taking canonical work by Nathaniel Hawthorne and casting an African-American character as the main character and describing her oppression as an African-American female. This paper argues that Suzan-Lori Parks accuses the oppressive social system by restoring and representing the history of sexual, economic, and racial exploitation that African-American females had to suffer through the dominant image of body and blood. Parks had to rewrite the history of black female characters on their bodies and in the blood because their bodies have been the ultimate object of revulsion and attraction in the perspective of white male. While abhorring and despising Hester La Negrita's abject body, male characters in In the Blood nonetheless not only exploit her sexually and economically but also impregnate her. Hester resorts to her only means of revolting against this oppressive system; she kills her most beloved son and writes "A" on the floor with his blood. Likewise, Hester Smith in Fucking A, who wears "A" on her bosom like Hester Prynne, which in this case means "abortionist," "saves" her son from the hunters by slitting his throat. Abundant graphic and sensational images written on black female body and in the blood are Parks's dramatic strategy to rewrite the forgotten and hidden history of black women's history.

• 비교문화연구
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• 제23권
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• pp.101-126
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• 2011

The principal purpose of this study is to analyse and critique how precisely the representation of women in the film Retrato de Teresa reconstructs the socio-cultural image of the female in the late seventies of Cuban society. The film of Pastor Vega is obviously an outstanding challenge on the new subject of 'women's liberation' against machismo in the context of the Cuban society. Teresa, the female character, as a socio-cultural image of the Cuban society don't focuses on the declarative and iconic images of the women's role as a revolutionary heroin that had appeared frequently in the films of the sixties, but she struggles for getting more realistic and pragmatic values such as women's emancipation to take rights in daily life. Therefore, the declaration of the emancipation of Teresa against machismo of her husband $Ram{\acute{o}}n$ has the special and symbolic meanings of social role and function of the film in the process of Cuban cultural revolution. The film concentrates on inducing the audience to make new perspectives such as women and gender issues in the daily experience of Cuban society where the machista ideologies and practices characteristic of a patriarchal society. Conclusively the female image of this film does not represent a national heroin, but reflects the women's desire, hope, and dreams in the society. Teresa makes the audience think of representations of the true meanings of the revolution in daily life, the machista ideologies in the patriarchal society, and the women's role and fuction in the Cuban society.

• 수완나부미
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• 제16권1호
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• pp.39-80
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• 2024

Guided by the prism of cultural studies, this paper takes a look at the Manila Korea Town in Malate, Manila. The location, Manila Korea Town, figures as the paper's object of study by exploring, theorizing, and reflecting on its presence and location within the horizon of the signifying powers of Korea-Philippine relations in the contemporary period. With the subject position of this essay, the paper theorizes by responding to the following questions: How does the meaning-making of South Korea fare with other Koreatowns in the world from the scale of Koreatown in Manila? Subsequently, what happens to a place when a global cultural phenomenon evolves into a form of placemaking in a different nation and territory? As Koreatown finally grounds itself in the anarchic lifeworld of Manila, what does this historical development in our urban lives reveal about our contemporary times? Responding to this set of questions led this paper to foreground the idea of a modular imagined community within a four-part discussion. The body of the essay begins by theorizing on the concept that this paper proposes, modular imagined community, and such a concept work draws from the theories of nationalism by Benedict Anderson and Partha Chatterjee. Subsequently, the antinomy between Anderson and Chatterjee is pursued by looking at the history of such a place, and through this step, the paper unravels the character of the place of Manila Korea Town, which explains the conditions of possibility of such social and communitarian formation. Yet as the public is caught by the presence of such development especially at the heart of Manila, the paper expands the scale and viewpoint by shining light on the globality of South Korea in relation to the Philippines. Lastly, this paper closes with a discussion on the food culture facilitated by this recent development, which also pushes us to imagine its potential, especially in light of the critique raised against South Korea and the popular culture associated with this phenomenon.

• 한국과학교육학회지
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• 제37권4호
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• pp.565-575
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• 2017

이 연구에서는 초등 과학 영재 학생들을 대상으로 자연선택 핵심개념 논변 활동 담화에서 드러난 인식적 이해와 논변활동 수준을 분석하였다. 논변활동에 참여한 학생들은 광역시 소재 영재교육원 6학년 학생 20명이었는데, 그 중 적극적으로 논변활동에 참여한 소집단 중 담화에서 인식적 이해가 드러나며, 개념에 따라 소집단 구성원의 인식적 이해 수준이 서로 달랐던 세 명으로 구성된 소집단을 목적표집하여 그들의 담화를 분석하였다. 담화에서 드러난 인식적 이해의 요소는 본성, 일반성, 정당화, 청중의 범주로 나누어 분석하였으며 논변활동 수준은 논변의 구성과 비평을 중심으로 내재적 인지 부하에 따라 만들어진 논변활동 학습발달과정을 사용하였다. 연구 결과, 학생들의 논변활동에서 드러난 인식적 이해는 자연선택 하위 개념별로 다르게 나타났다. 자연 선택 하위 개념 모두 실천적 인식적 이해의 본성 측면에서는 모두 높게 나타났으나 일반성, 정당화, 청중 범주에서는 높거나 낮았으며, 그 수준이 담화에서 드러나지 않는 경우도 있었다. 지식의 일반성 측면에서 높게 드러난 변이의 유전개념에서 획득형질의 유전에 반대하는 다양한 현상과의 연결은 다양한 아이디어를 생성하여 논변활동 참여를 촉진하는 요소로 활용되어 세 학생 모두 논변활동 수준은 비판 제시 수준으로 나타났다. 하지만, 정당화와 청중 범주에서 실천적 인식적 이해 수준이 낮게 드러난 개념들의 학생의 논변 활동 수준은 그 보다 낮았다. 학생들이 최종 자연선택 핵심 개념인 종분화 개념 논변 시 모두 인식적 이해 수준이 높았던 개념들을 이용하여 종분화 과정을 설명하려 하였으며, 반대로 인식적 이해 수준이 낮았던 개념은 설명 요소로 포함시키지 않았다. 이 연구결과 학생들은 다양한 인식론적 자원을 통해 맥락에 따라 활용되는 인식론적 자원은 다르며 학생들이 왜, 어떻게 인식론적 결정을 하는지에 대한 구체적인 요인들을 분석할 필요성을 제안한다. 인식론적 결정에 영향을 미치는 다양한 요인 분석은 논변 활동의 질과 수준을 높일 수 있는 교수자의 중재 요소가 될 수 있다.

• 디자인학연구
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• 제19권3호
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• pp.105-116
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• 2006

In product manufacturing industries, a recent issue is the green concept. The green concept is a complicated area. If the green concept is for products, its serious issues have to be criticized. Although the importance of the green concept has overflowed, its influences have not been disputed vigorously. So this study is to critic the serious issues of the green concept in aesthetics in product design, manufacturing, and products' prices. The green environment has four representative elements: systems, policies, minds, and technologies, but they are not in the field of design. An element of the green concept, green design is also a sub concept for design, so it should be based on aesthetics. It is green aesthetics. But since green design first appeared, it has never approached by aesthetics because it has mostly had social meanings and expectations. So for green aesthetics, to think about what makes a product, and what can be aesthetic issues among them are important. Products consist of form, structure, material, and technology. Form means different shapes in a structure, but there cannot be any specific directions for a green concept. Structure has two kinds: interior and exterior structure. While interior structure has a technological character, exterior structure is deeply related with aesthetics, but it has also no chance for green concept. Material can be divided as two also: aesthetic and technological. Aesthetics materials mean the colors, opacity, and tactile sense of materials, but they are not aesthetic issues. Technological materials are recycled materials or non-recycled materials. Even if recycled materials are used today, they are close to systems or policies rather than aesthetics. With this result, green aesthetics is a very difficult concept. Second, green products are usually 30% more expensive than general products. But every consumer has his or her own economical conditions, and nobody can coerce consumers into buying expensive green products for green environments. And green products without good quality cannot satisfy consumers. This means that green concept is not accomplished by just manufacturing green products. Third, although a lot of proposals have appeared as green design in exhibitions, most of them are close to craft because they are so hard to be manufactured. Manufacturing is the first consideration for products. These three issues are enough to explain why green concept is complicated in manufacturing products. If they are not solved, the green concept is just a fiction. So if this study proposes a turning point against blind green-oriented atmosphere, it will be meaningful enough.

• 과학기술학연구
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• 제14권2호
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• pp.127-164
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• 2014

이 글의 목적은 최근 한국에서 유행하고 있는 적정기술의 의미와 그것이 지향하는 바와 그 배경에 있는 문제의식을 파악하여, 적정기술에 더 풍부한 이론적, 실천적 가능성을 열어줄 수 있는 토론거리를 제시하는 것이다. '적정기술자'들이 출판한 책과 논문, 이들이 행한 강연 및 발표 자료, 언론 기사 등을 참고하는 한편 몇 명의 적정기술자들을 인터뷰하여 적정기술에 대한 생각, 그리고 적정하지 않은 기술에 대한 생각을 물었다. 적정기술자들은 어려운 이웃을 돕겠다는 봉사의 마음, 신앙심, 한국의 발전에 대한 자부심을 바탕으로 삼아 적정기술 활동에 나서고 있다. 그러한 배경의 영향으로 한국의 적정기술 활동은 구체적인 기술이나 현실에 대한 비판과 성찰에서 동력을 얻는 운동이기보다는, 주어진 상황을 인정하고 이를 긍정적으로 개선해보려는 윤리적 노력이라고 할 수 있다. 이와 같은 긍정성은 현재 한국에서 적정기술 활동이 다양한 배경과 관심사를 가진 사람들을 불러 모을 수 있는 동력이 되고 있다. 다른 한편으로 한국의 적정기술은 기술-사회에 대한 비판적 논의에서 한발 물러나 있는 비정치적 성격을 띤다. 적정기술자는 기술-사회를 이루는 조건 자체에 의문을 제기하기보다는, 일단 주어진 조건을 받아들이고 그 한도 내에서 가장 나은 해결책을 내놓는 역할을 맡으려 한다. '소외된 90%를 위한 디자인'을 중요한 표어로 삼고 있는 한국의 적정기술 활동에 참가하는 사람들은 대부분 스스로를 소외된 90%가 아니라 혜택 받은 10%에 속하는 것으로 인식하고 있으며, 적정기술은 '우리'보다는 '그들' 또는 '현지인'을 위한 기술로 제시되고 있다. 한국의 적정기술 운동은 기술을 수단으로 하는 온정주의적, 윤리적 태도에서 더 나아가 한 사회의 토대로서 기술이 가지는 사회적, 정치적 성격에 대한 논의로 확대될 필요가 있다.