Abstract

Globalization undertaken on the level of daily life is changing the imagined geography of people practically in the background of transnational digital media and mass migration. And also, non-material production inter-locked with economic neo-liberalism brought extensive retro-culture, which is removing historical layer of emotion perception. As a result, existing spatial aspect of ‘center-periphery’ looks deconstructed or reconstructed. In addition, cultural reinterpretation is being made on what was perceived as ‘the countrified’ in the meaning of ‘the outdated’. On the premise of such critical view, this study focuses on the voice related to auditory perception. On the one hand, the study reviews dialect as a ‘local language’ of internal nation-state, on the other hand, reviews traditional music regarded as ‘musical local language’ on the global level on the border of language and music, and analyses the change pattern in cultural representation of ‘locality’ or the instance of popular perception. Firstly, we can review the aspect of conventional use of local dialect in Korean films, especially the study compares the representation pattern of the otherness of dialect in <Milyang> and <Goksung>. And also there is visible change in non-Western traditional music which can be a counterpart in the imperial order on local dialect in nation-state. In digital culture and daily retro culture, history of music is flattened and past music coexists with present music. Cultural deterritorialization accompanied with neo-liberalism and globalization contains liberating instance which allows to get over emotional colonization related to the perceptional level of ‘the countrified’ on virtual level. But, neo-liberalism and globalization based on transnational financial capital regenerates oppression and domination through reterritorialization. Local as ‘periphery’ and tradition as ‘the past’ are displayed as new global goods covered with ‘the sophisticated’, instead of wiping out the labeling, ‘the countrified’.