• 수완나부미
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• 제14권1호
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• pp.53-70
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• 2022

This article compares archetypal heroes in Nguyễn Huy Thiệp's "The Tiger's Heart" and John Steinbeck's The Pearl. It aims to explore the voices of marginalized groups and ethnic minorities who suffer amidst the clash of civilizations. In exploring cultural communication between minority and mainstream communities as embodied by the archetypal heroes in the two works, this article highlights implications of resistance against values of the dominant. The method of "mythization" in modern Eastern and Western Literature, as this article argues, demonstrates the importance of minority discourses in as far as cultural conflicts in the globalizing world are concerned.

• 한국언론정보학보
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• 제23권
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• pp.79-112
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• 2003

본 논문은 가상공간에서 권력이 어떻게 형성되고 작동되는지 그리고 권력의 형성에 기여하는 주요 요인들은 무엇인지 밝히기 위해 <보고 또 보고> 시청자 게시판을 분석하였다. 연구결과, 인터넷 게시판은 참여자들이 다양한 담론들을 제기하고 끊임없이 상호 경쟁하는 공간이었다. 그러나 이 과정 속에서 특정의 담론을 생산하는 참여자들이 양적으로 지배적인 위치를 점하면서 타 담론들을 배제하(려 하)고 이에 대해 타 담론들을 생산하는 참여자들은 저항도 했지만 지배적 담론의 계속되는 공격 속에 게시판에 참여를 꺼리는 경향을 보였다. 게시판의 후반부로 갈수록 이러한 경향들이 더욱 강화되었고 지배적인 담론을 포함한 편지들이 게시판에서 점점 더 압도적인 비중을 차지하였다. <보고 또 보고> 시청자 게시판에서 지배적인 담론은 유교적 가부장적 담론이었는데, 이는 물리적 사회공간에서의 참여자들의 경험과 지배문화, 드라마의 저자성, 그리고 게시판의 팬덤적 성격 등에 주로 기인하는 것으로 나타났다.

• 한일민족문제연구
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• 제32호
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• pp.215-275
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• 2017

In the absence of the alternative public space of women in Japan, the experience of the "Bongseonhwa" was interpreted as the public domain of Japanese society as a public domain, a confession that focused on gender discrimination in the patriarchal system of Japan, Most of the enemy discourse is. These alienated discourses are the product of the efforts of women in Japan who do not want to forget about the traces and memories that can not be incorporated into the big narrative. It can not be denied that the women in the society of Japan have been excessively excluded and alienated by national ideology and patriarchal ideology. The meaning of presenting them through "Bongsinghwa" is the resistance of the minority, and it is the expression way of reconstructing and strengthening the identity of the women, and it is said to be a space of symbolic meaning. It is further clarified that it is based on a narrative that creates a new life area for coexistence with Japanese society, on the other hand, by constantly searching for the linkage with the motherland, held by women in Japan. As a result, between public social phenomena and private living space, confirmed that it conflicts with repetitive internal contradiction of controlling power and confirmed that complicated and detailed material of women living in Japan who undergo double discrimination What has been expressed over a period is considered to be a resistance expression and a will of expression of reconciliation to coexist with Japanese society. I have attempted to analyze the confessed alienated discourse of "Bongsinghwa" by classifying it as . As a result, it is confirmed that the public social phenomenon and the private life space are confronted with the repetitive internal contradictions of the power of domination, and the expression of the complex and detailed material of the discriminated women in Japan over a long period of time is a resistance to symbiosis with Japanese society And the will of the conversation.

• 미술이론과 현장
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• 제14호
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• pp.125-158
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• 2012

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People's Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of 'Korean' we usually consider ambiguous, and prompts careful attention to the silence of 'some Koreans' forced to live against their will in the blurred boundaries between nation and people. This dissertation regards 'Koreans' who came to live in the border of nations, especially 'Korean-Japanese third generation women artists'who are marginalized both Japan and Korea. It questions the category of 'Korean women's art' that has so far been considered, based on the concept of territory, and presents a new perspective for viewing 'Korean women's art'. Almost no study on Korean-Japanese women's art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of 'Korean women' and 'Korean women's art'considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority's diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist's cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual's historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with postcolonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women's art.

• 한국콘텐츠학회논문지
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• 제17권1호
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• pp.567-584
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• 2017

본 연구는 탈북자 TV 토크쇼가 어떠한 포맷과 의미구조를 근간으로 하는지 분석했다. 채널A의 <이제 만나러 갑니다>와 TV조선의 <모란봉 클럽>을 연구대상으로 선정해 탈북자들의 남 북에 대한 사고와 그에 따른 담론 생성에 주목했다. 분석 결과, <이제 만나러 갑니다>는 무거운 주제들과 체제에 대한 주제들을 근간으로 '북한에 대한 긍정형'과 '남한에 대한 판타지형' 담화가 주로 전개되었고, 남한의 우월성을 강조하는 것으로 드러났다. 이에 반해 <모란봉 클럽>은 가볍고 선정적인 주제를 중심으로 '남한에 대한 비판형'과 '남한에 대한 불만형' 담화 유형이 주룰 이루며, 남한의 사회적 문제에 대한 북한의 비판적 시각을 부각시켰다. 또한 <이제 만나러 갑니다>는 수렴적 담론 구조를 근간으로 남한 우월 이데올로기가 두드러진 반면에, <모란봉 클럽>은 대립적인 담론 구조를 통해 남한 절망 이데올로기를 생성하고 있다. 요컨대 한국사회에서 '이방인'으로 분류되는 탈북자들의 혼재된 정체성이 드러났고, 자신들을 반-북한적인 존재로 자임하고 있음과 동시에 남한사회의 정착과정에서 불만 및 혼란스러움을 토로하고 있다.

• 대한지리학회지
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• 제51권6호
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• pp.873-892
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• 2016

2015년은 광복 70주년이자 한반도 분단 70년이 되는 해였다. 광복 이후 통일 연구가 다양한 학제 분야에서 이루어졌으나 공간을 기반으로 한 지리학 차원에서는 미흡한 실정이었다. 이에 지금은 통일을 대비하고 미래 통일 국토를 조망하기 위한 지리학 중심의 문헌과 담론의 정리가 필요한 시점이다. 그 출발점은 통일지리학을 정의하고 그 동안 이루어졌던 통일 관련 지리학 연구의 동향을 고찰하는 데 있다. 통일지리학은 시공간적 개념으로 이해되어야 한다. 우선, 시간적 개념의 단계로 통일연구, 통일 대비 연구, 통일국토 연구, 통일 이후 지정학적 연구로 구분 할 수 있다. 공간적 개념으로는 한국지리, 북한지리, 남북한 접경지역을 포함한 북중과 북러의 접경지대, 동북아와 환태평양 지역으로 구분할 수 있다. 시공간적 개념을 모두 갖춘 통일 관련 지리학 연구를 통칭하여 통일지리학으로 정의할 수 있다. 이 연구의 목적은 통일지리학의 개념과 연구영역을 담론 측면에서 도출하고, 통일지리학의 연구동향을 지리학의 주제별로 고찰하며, 향후 통일지리학의 과제를 제안하는 데 있다.