• 수완나부미
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• 제9권1호
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• pp.85-108
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• 2017

This paper argues that Thailand's internal colonial model is facing severe challenges: no longer is it so possible to suppress local and regional identities, or to submerge ethnic difference in an all-embracing but potentially suffocating blanket of "Thainess." In recent decades, Thailand's diverse localities have become increasingly assertive. This is most acutely the case in the insurgency-affected southern border provinces of Pattani, Yala, and Narathiwat, but also applies in the "red' (pro-Thaksin) dominated North and Northeast. As the old ruling elite faces serious legitimacy challenges, Thailand's emerging post-colonial politics may require a radical rethinking of the relationship between center and periphery.

• 영어영문학
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• 제64권4호
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• pp.531-550
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• 2018

This paper contemplates egalitarian ethics and ecumenical consumerism suggesting expansive possibilities of Northern Ireland's sectarian limits towards unlimited spatialities in Robert McLiam Wilson's Belfast novel, Eureka Street. This paper argues that Northern Ireland's (Belfast's) (post)modernity and a social ethics promoting outwardly mediated relationships are a vision for nonidentity Eureka Street espouses against the identity politics of Protestant-Catholic schism. Eureka Street remarkably challenges Northern Irish sectarian politics propelling inwardly unmediated relationships by ethical possibilities of infinitively mediated relationships. In the argument for a postmodern view of the novel, commodity fetishism and consumerism are considered as key to a prospect of emancipation of Northern Ireland from the political fetters of total identity the partisan communities impose on themselves. This paper also demonstrates that a post-national cosmopolitanism Eureka Street envisages embraces a new social solidarity predicated upon socio-political pluralisms against Northern Irish sectarian identities.

• 비교문화연구
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• 제35권
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• pp.35-58
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• 2014

This article aims to explain the 'people-image' of Bakhtin's works in the light of "Transgredience" and "Transition." According to Bakhtin, the real core of every culture is the people. But he did try to answer the question "what is the people?" I think, the secret of Bakhtinian thought is located in the people-image, because it is the one of the territories that have not been explained. For this purpose, we have to examine four images represented by Bakhtin, - rogue, clown, fool, thief. These images are the concrete and individualized images of people, who can characterize the power of transgredience and transition. They commonly act for changing ordinary borders of identities formulated with nationality, property, status, classes, sex and so forth. In this sense, Bakhtin thinks that the masks are the real nature which can show the mutational power of Being. That is the kernel of Bakhtin's people-image that makes and changes every cultural world. When we accept and practise this perspective positively, we will realize that Bakhtin's position is close to the cultural politics, because a practical power of thought cannot help but being political. That's why we have to investigate Bakhtin's people-image from a vantage point of "Transgredience" and "Transition."

• 패션비즈니스
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• 제25권6호
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• pp.70-80
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• 2021

The purpose of this study is to compare and analyze the identities and roles so that they can grasp their social roles and directions. Artists show a change in identity from the deification of modern artists with freedom and genius to artists who challenge the cognitive aspect of art and redefine the scope and concept of artists by expanding their social role. Artists dreaming of an ideal art utopia, in which art, society, politics, and daily life are coordinated, are constantly presenting the social role and direction of art through the combination and challenge of new ways of art and craft, beauty and function, creative imagination, and public service. Fashion designers act as contemporary genius artists, creators who express the appearance of the times, practitioners who advocate social values and changes, members of business in the fashion system, celebrities who are spotlighted by the public at the center of the fashion industry, or fashion influencers. Thus, fashion designers are complex or selective in their role depending on the fashion philosophy of individual designers or location given within the fashion system. They are becoming the subject of creating the culture of the times by expressing social ideology or playing a role in practicing art in life that leads social culture so as to raise the value of fashion in their development and satisfy cultural enjoyment of fashion consumers who consume art in everyday life.

• 미술이론과 현장
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• 제15호
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• pp.111-135
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• 2013

This study explores gender images represented in the works of women artists from the Middle East, where male chauvinism is recognized to be more predominant than elsewhere. The artists included in this study such as Mona Hatoum, Shirin Neshat, Lida Abdul and Sigalit Landau are Post-Feminist generation of artists who were born in the Middle East but spent significant amount of time in the West. In addition, they were trained as artists under the influences of the Western Feminist Art. This particular group of female artists pays much attention to the ontological question of their identities rather than male/female inequality, and each artist represents men and women in the ways that can hardly be found in the works by women artists in the West. These artists not only connect gender identities to the socio-political geography of the Middle East but also deconstruct Western stereotypes of men and women from Arab world. The paper focuses on the way these women artists incorporate male/female vs. culture/nature dichotomies into their works to subvert the premises on which Western Feminism has been based and not only to cast light on women's freedom and their ontological conflicts but also to emphasize social suppression inflicted upon men. In such process, these artists resist stereotypical images of Middle Eastern men and women widely circulated in the mainstream media of the West.

• 한국지역지리학회지
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• 제9권3호
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• pp.248-261
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• 2003

본고에서는 오사카의 이꾸노 한인축제의 정성적 분석을 통하여 민족적 정체성이 어떻게 구축되며, 커뮤니티 내외적 이해관계를 매개로 그 과정이 어떻게 형성되는지를 고찰하고자 한다. 여기서는 차이보다는 유사성을 고려함으로써 재조직되는 문화의 잠재성에 특히 주목하고 싶다. 이러한 역동적 상호관련은 특정한 사회논리와 정체성이 겨루어지는 속에 특유하며 비공식적인 공공권이 축제에 의해 제공된다는 것을 시사한다. 따라서 이러한 광범위한 활무대는 특정의 배제와 포섭으로 특징지어진다. 이 연구는 축제를 통해 정체성이 구축되고 끊임없이 협의되는 미시적 수준의 복합적 정체화 과정을 드러낸다.

• 대한지리학회지
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• 제37권1호
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• pp.75-92
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• 2002

이 논문은 중국 민족정책의 특징이라 할 수 있는 민족식별과 민족자치구역 설정에 내재된 공간적 전략과 그 효과에 대해 검토한다. 중국의 민족식별과 자치구역의 설정은, 전통적인 정체성의 기초를 약화시키고 민족을 지역화시킴으로써, 소수민족들을 중국 내의 확고한 인민으로 전환시키는 국가통합과정의 일부라고 할 수 있다. 이러한 과정에서 민족 식별에 있어서 기준의 자의성, 국가에 의한 인구의 재배치 그리고 민족자치구역의 설정 및 영역 조정이 중요한 역할을 하였다. 이러한 과정은 보다 상위의 개념으로서 '중국민족' 혹은 '중화민족'이라는 정체성을 구성하려는 국가의 의도와 맞물려 있었지만, 그렇게 식별된 민족과 구획된 영역을 따라서 새로운 개별 민족적 정체성을 창출하게 되는 과정이기도 하였다.

• 응용통계연구
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• 제32권3호
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• pp.435-450
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• 2019

한 중 일 3국에 대한 연구는 정치 경제 외교를 비롯한 여러 분야에서 지정학적 관점을 비롯한 여러 방법으로 분석되어 왔다. 최근에 한 중 일 3국 간 경제적 문화적 교류는 어느 때보다 활발한 상태이지만 정치 외교분야에서 피할 수 없는 갈등은 점점 심화되고 있다. 본 연구는 최근에 한 중 일 3국에서 실시한 설문조사를 토대로 국가 정체성에 대한 종합지수를 주성분분석을 통해 제시하였으며 이들이 한 중 일 3국의 협력과 갈등에 어떤 영향을 주고 있는지를 조사해 보았다. 그 결과 자국에 대한 애착도는 흔히 예상했던 것과 달리 국가 간 갈등에 유의한 영향을 끼치지 않았다. 반면에 이웃 나라에 대해 친근감이 증가할수록 국가 간 갈등에 덜 민감하게 반응하며 국가 간 협력에 대해서는 더 긍정적인 반응을 보였다.

• 비교문화연구
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• 제24권
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• pp.46-61
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• 2011

This paper considers how Koreans found their positions in the complex, overlapping, disjunctive, and interconnected "Oriental" repertoires in the early Cold War years. When we use the term, Oriental, it should require careful translation from context to context because it may be subject to very different sets of contextual circumstances. Klein views Cold War Orientalism in the complex of various regions including East Asian and Southeast Asian countries; however, when Koreans are contextualized at the center of the discussion the Orientalism produces another discursive meaning. Even though many great researches have been done on Korean immigrations, Korean American literatures, and US-Korea economic, political, and foreign relations, not many discussions about Korean American popular cultures have been discussed in the basis of the Oriental discourse in the United States.For this argument, this paper investigates the performative trajectory of a girl group "Kim Sisters" who began to sing at the US military show stages in South Korea in 1952 during the Korean War. They moved to Las Vegas show stages in 1959 and later appeared in Ed Sullivan Show more than thirty times during the 1960s and 70s. Meanwhile, they not only returned to South Korea often times to perform at the stages for Korean audiences in South Korea but also played at the shows for Korean immigrants in the United States. Korean American immigration to the United States has followed a different route from the majority of Asian American population such as Chinese or Japanese Americans, which means that efforts to compare this particular group to the others may be unnecessary. Rather doing comparative studies, this paper, therefore, focuses on the formation of the intersecting and multiple identities of Korean female entertainers who were forced or forced themselves to be incorporated into the American popular "Oriental" imagination, which I would call "embedded" identities. This embeddedness has been continuously maintained in the configuration of Korean characters in the United States. This will help not only to observe the discursive aspect of Asian American identity politics but also to claim a space for comparatively invisible Korean characters in the United States which has been often times neglected and not brought into a major Asian American or Oriental historical discourse. This paper starts with American scenes at the beginning of the twentieth century to trace Americans Oriental imagination which was observable in the various American cultural landscape and popular music soundscape. It will help us more clearly understand the production and consumption of the Korean "Oriental" performances during the early Cold War period and especially the Korean performance in the American venue, silently overshadowed into the political, social, and cultural framework.

• 한국심리학회지 : 문화 및 사회문제
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• 제17권1호
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• pp.115-130
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• 2011

기존의 여가연구는 이론을 결여한 경험적 연구 위주로 진행되어 왔다는 점과 사회구조와 개인의 인성을 분리하여 연구를 진행한 것이 대부분이었다. 본 논문은 문명화과정론에 입각하여 한국사회가 구조적인 변동을 겪음과 동시에 구성원인 한국인의 인성 역시 변동을 겪었다는 것을 경험적으로 보여주고 있다. 해방을 맞은 한국사회는 근대적 국민국가 건설에 돌입하였으며 급속한 경제성장을 거듭하면서 동시에 사회적 민주화를 달성하였다. 그러나 세계화로 대별되는 제3의 사회변동에서 경제위기를 겪고 국민은 민족정체성의 위기를 경험함과 동시에 군사모형에서 합리적 지배모형으로 지배연합이 바뀌는 변동기의 갈등을 경험한다. 이 과정에서 여가의 사회적 의미도 '놀고 있네'라는 비아냥에서 '신바람'이라는 긍정적인 변화의 과정을 거친다.