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  • 한국과학기술정보연구원(KISTI) 서울분원 대회의실(별관 3층)
  • 2024년 07월 03일(수) 13:30
 

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  • P-ISSN1229-0076
  • E-ISSN2773-9351
  • SCOPUS, ESCI

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2002 - 2024논문 발행년도

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15개 논문이 있습니다.

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Abstract

This paper examines the history of Korean art collections in the United States by dividing it into four major periods and discussing key issues to each period. During the first period, from 1882 to 1910, foreigners who visited Joseon and the Korean Empire collected Korean artworks. In the second period, Japanese antique dealers primarily gathered artworks in colonial Korea and sold them to American institutions and individuals. The third period, under U.S. military government rule following World War II, during the Korean War, and subsequent U.S. military presence, was marked by American residents collecting Korean art. The fourth period involves professional collectors who acquired Korean artworks through dealers in the United States instead of traveling to Korea and collecting them in person. This history of Korean art collections raises issues related to nationality, ethnography, and colonial collecting practices. Additionally, certain types of artworks that have not been highly valued in Korea received significant attention and were actively collected within the United States. This paper proposes alternative exhibition methods for overseas cultural heritage and calls for a reevaluation of Korean art collections in the United States from a perspective that moves beyond an ethnographic gaze.

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Museum collections of Korean art and ethnographic objects outside Korea are often explained as the product of national endeavors on the one hand, or as uprooted overseas cultural heritage on the other. This research argues for a holistic approach to understanding the cultural significance of such objects as a combination of their material attributes and as part of a larger body of Korean relics of the past, and their contextual attributes such as the circumstances, networks, and individual actions that have led to them ending up in the museum. By acknowledging also the importance of these opposing views of what makes Korean collections outside Korea culturally significant, we can preserve the history surrounding them more completely and more accurately. This article proposes the mobilization of a digital approach to gathering these different bodies of knowledge in one location in an inclusive, flexible, and sustainable manner.

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This paper explores the cross-section of meanings and values attributed to the Korean pictorial work One Hundred Boys at Play, now part of the Denver Art Museum’s permanent collection, examining its potential for evolving interpretation. As this object prepares for its upcoming display in the Korean gallery of an encyclopedic museum in the United States, this study serves as a preliminary curatorial step. It aims to illuminate the artwork’s multiple meanings for contemporary viewers, contextualized within the historical and societal frameworks in which these significances were constructed.

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The study of Korean history in the 13th and 14th centuries, when Eurasia was unified with the rise of the Mongol Empire, is still dominated by a dichotomous view of Mongol interference and Goryeo resistance. However, the relationship with the Mongol Empire imposed constraints and burdens on the Goryeo state, but it also provided new opportunities for the Goryeo people. The state to-state relationship between Goryeo and the Mongol Empire had a profound effect on the lives of the people who lived during this period. The individual trajectories that various groups of Goryeo people, including women, eunuchs, monks, and scholars, followed in the Mongol Empire after their voluntary or involuntary journeys to the Mongol Empire under these external circumstances influenced events that, whether they intended it or not, in turn, had a decisive impact on the unfolding of Goryeo and Korean history. While the Goryeo state drew lines and judged their lives based on their attitudes toward the Goryeo state, in the Mongol Empire, where the Goryeo people settled, they formed bonds and networks of relationships that were somewhat independent of such lines and judgments by the Goryeo state. This article aims to overcome the national historical perspectives of interference and resistance that have been central to understanding the Goryeo-Mongol relations by examining the diverse backgrounds of the Goryeo people who traveled to the Mongol Empire and the trajectories of their lives there from their perspectives.

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This paper examines the lives and works of three early Koreanologists, Harold J. Noble (1903–1953), George M. McCune (1908–1948), and his wife, Evelyn B. McCune (née Becker) (1907–2012), to explore the characteristics and significances of Korean studies in the United States before formalization or during the transitional period. They were all missionary children born and raised in Korea. They began studying Korean history based on their strong affection for Korea, and all received their final degrees in Korean history from the Department of History at the University of California, Berkeley. While working as Koreanologists at different times from the early 1930s to the early 1960s, they inherited the Korean studies that Americans had done in Korea, studied Korean history from a different perspective from that of ordinary Westerners, and laid the foundation for Korean studies in the United States before it was formalized.

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Saemaeul undong is regarded as one of the leading forces behind Korea’s economic progress and modernization by resolving economic and social problems in rural society, overcoming national crises, and instilling confidence in the people. Since the 1970s, Saemaeul undong has been studied and discussed in numerous contexts. However, not many research efforts have been made to specifically classify the overall flow and development stages of Saemaeul undong by age from the perspective of sustainability. By applying the open systems approach, research on the evolution of the Saemaeul undong was conducted. The Saemaeul undong seen through this systems approach shows itself as an effective open system organization. The study results show that Saemaeul undong’s evolution is driven by an iterative cycle of input, throughput, output, and feedback. Within this process, the goals and value indicators, project type, and content of Saemaeul undong were determined by the degree of involvement in the promotion system by the government, private sector, and academia. Following the findings, the promotion system of Saemaeul undong is an important variable that has a key influence on the development process of Saemaeul undong. The study concludes that continuous academic research is needed to analyze changes in the international environment and propose new parameters for the promotion system of Saemaeul undong.

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This article examines the representation of queerness in 2010s’ Korean literature, showcasing a significant shift from prior depictions of queer subjects as symbols of deviance to embodiment of critical resistance against social norms. It posits queerness as a performative act, one that not only challenges established identities but also questions societal constructs. The concept of queer failure is reinterpreted as a subversive stance against normative definitions of success, proposing that failure itself can be a form of critique and expression of queerness. Through analyzing fictions by Park Min-jung and Park Sang Young, this article highlights how irony serves as a central narrative strategy, allowing for a multifaceted portrayal of queerness that both reveals and disrupts. This irony facilitates a deeper engagement with the texts, prompting readers to confront and reinterpret the conventional narratives around identity and societal integration. This article suggests that the ironic representation of queerness and failure contribute to a re-envisioning of social structures, proposing the potential for a queer utopia that extends beyond the confines of current societal limitations.

The Review of Korean Studies