• 영어영문학
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• 제55권6호
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• pp.1013-1034
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• 2009

The space of the Other assumes the space of Barthes's multiplicity and Foucault's transdiscursive position, and, therefore, aims at becoming the locus in which the speaking subject and the hearing subjects are supposed to communicate and constitute as if they were situated in the pscychoanalytic session. However, the wall of untranslatibility across language and cultures still exist there in the space of the Other in the form of trauma and aggressivity, as Lacan demonstrate perceptively through the reading of Kant avec Sade. In short, Lacan regards the moral commandment (to love one's neighbor as oneself) as the obstacle in the Freud's myth of transgression, and interprets this in terms of the emergence of the Other. Freud understands that the aggressivity in the subject's own heart was inherent in all humans, and that one's neighbor would be evil. Lacan goes beyond Freud and articulates that the aggressivity in the imaginary relation with the Other in the mirror stage insures that an evil inheres in the very being of humanity. A global phenomenon of the diasporic identities and hybridity, the phenomenon which has been represented by the complicated intermixture of terms which span from diaspora, postcolonialism, postnationalism. and transnationalism can be clarified, if they are put in the context of the ethics of Othering or becoming the Other. The ethics of Othering presupposes the situation in which the diasporic subjects encounter the lack of the cross-cultural negotiation and communication. The purpose of this paper is to demonstrate how the poetics of Other and the logic of the ethics of Othering can explain the postmodern or transmodern world which has become deterritorialized, diasporic, and transnational as well as how one can encounter the results of diasporic and postcolonial double consciousness, a consciousness which is a discursive category for multicultural or cross-cultural, focusing on the concept of liminality/interstitiality

• 비교문화연구
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• 제23권
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• pp.81-100
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• 2011

The term of world literature is now becoming an issue and lens through which we need to rethink the value of literature on a more universal dimension so as to imagine newly the location of the local or regional literature that has been alienated from the field of world literature. This kind of recognition leads us to consider the term world literature in relation to globalization and universality and to locate it on a problematical territory rather than to understand it in the traditional and Western way. Therefore the concept of world literature is now given to us as a task to resolve from our particular, or more precisely, peripheral context. The peripheral context could best operate as a possibility of reforming the West-centered order of world literature particularly in the way in which world literature obtains a more universal value. When we discuss world literature we need to consider the way of practice to re-highlight the possibility of periphery and pre-modernity without neglecting the 'light' of modernity and center. In this respect, the discourse of 'East Asia' may be useful for a transnational approach to world literature which focuses on the criticism of all kinds of centrism by foregrounding the concepts of othering and de-homogenization. For this I emphasize the attitude and methodology of 'post' which includes the power of othering and de-homogenization. The 'posty' theories such as post-colonialism, post-structuralism, post-nationalism and post-humanism allow us to indicate properly and acutely our aim by means of freer play of thought and at the same time more just definition and practice of our thought; that is, only by embracing both indication and play can we maintain the universal value of world literature. Here we can say that the global and local enterprise of ethics is the fundamental basis of world literature.

• 비교문화연구
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• 제21권
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• pp.113-138
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• 2010

This writing verifies ideology producing unethical stratification or discrimination targeting on Grandeur's TV commercial after 2008. And attempts to point out the utopia desired by those commercials reproduces distorted ideology at Korean society. To achieve this, the analysis model was postulated utilizing narratology and semiotics system in application of methodology. The result of discussion, is that the 2008 'Grandeur New Luxury' commercial can have utilized the inflected patriotism and sexual fantasies as the core strategy of storytelling. The fact trebly othering women's body from the point of view of gender ethics can be pointed out as the biggest problem in this commercial. 2009 'Grandeur New Luxury' frankly stimulates costumer's desire of stratum rise and possessiveness, circulating the logic 'owning a vehicle' is a proof of their existence. Also considering the meaning woman narration takes up in corresponding commercial, criticism utilizing feminine signifier as a tool to reinforce male success legend was available. Finally 2010 'The Luxury Grandeur' commercial was able to make a judgement using the mechanism of present consumption culture cleverly which Baudrilliard and Althusser has critically recognized. Because commercial images precisely utilizes the mistake called the 'phantasme-$m{\acute{e}}connaissance$' or the 'reconnaissance-$m{\acute{e}}connaissance$' that consumers easily make. Reminding TV commercials exerts control power against unspecified many sitting in front of the TV, continuous studies with same interest are needed in the future. This writing will be able to have a meaning as attempting narratological methodology for analyzing the storytelling of car TV commercials. But systemizing the criticism about the commercial as a single narrative with going through theoretical supplementation is being respected in the future.

• 동남아시아연구
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• 제20권2호
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• pp.73-99
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• 2010

To properly answer the question 'Why have Vietnamese Women kept appearing in Korean Films and TV dramas?', We need to induce Postcolonial discourse along with historical and cultural similarities between Korea and Vietnam. It is because the relationship of two countries can be defined as a neocolonialism specially in view of economic relationship. Koreans need to locate themselves on the superior position by othering Vietnamese women, who are close enough to be compared and also distant enough to be othered. This paper is intended to bring their being in Korean films and TV dramas under the light of postcolonial discourse. According to the postcolonial concepts such as ambivalence, stereotyping and subaltern, Korean films and TV dramas are classified into three groups, which are Vietnam war melodramas, Horror movies based in Vietnam, and TV dramas with Vietnamese brides. War melodramas have been othering Vietnamese woman through ambivalence of the fear of Vietcom warrior and the fascination of exotic beauty. Horror movies, produced about 10 years later, brought the Vietnamese women back to Korean audience, stereotyping them into ghosts, which are incarnated through the suppression and eruption of sexual desire. The third group consists mainly of TV dramas. Their story usually evolves around Vietnamese brides migrating into Korea. The women are forced into the position of Subaltern, not representing themselves in their own voices. Facing multi-cultural society, our visual media are requested to modify their neocolonial approach of presenting Vietnamese women. To accomplish the goal, they have to find ways of storytelling to show the women in their everyday lives and help them to speak for themselves.