상하이의 공간적 실천에 관한 소고

고윤실(Ko, Yoon-Sil) 중국문화연구학회 2015 중국문화연구 Vol.0 No.28

This paper is about the city space and spectacle of Shanghai, along with the spatial practice happening inside its “Circle of Life”. Shanghai’s spectacle, which is composed of urban planning, capital and various senses spanning three decades, reconstituted humans as subjects of capitalism, that is, subjects of consumption, using the commercial desire as an instrument. Department stores are a key apparatus of Prominent Shanghai People’s Capitalistic subjectivation that pioneers consumption and trend, life and culture, along with entertainment and leisure. The term Guangchang (Plaza), which refers to a department store, first made its appearance in the 1990s and became overwhelmingly abundant after the start of the 21st century. During this process, the original meaning of Guangchang(Plaza) as a public space has diminished. Due to capitalism, the ‘Plaza’ became private space but the people of Shanghai has appropriated the private ‘plaza’, designated by politics and capital, to a square of the citizen. If a square privatized by capital was reclaimed to an amusement square for everyone, through the case of Guangchangwu, the transition from mourners for the Apartment Fire of 11.15 to demonstrators caused the sense of individual ownership to change into “community ownership”. For the first time, the people living in Shanghai experienced the common emotional bond as “Shanghai People”, and through this process, the true meaning of the Square was resurrected. This strategy of everyday life is constantly realized in the “Circle of Life”, originally formed from the authorities and capital, and it is beginning to generate new meaning. The objective of the Tactics of Everyday Life is not aimed at the mere neutralization of the authorities. Through endless trial and effort, it’s purpose is to restore the area once dominated by capital and power into the property of the public.

중국 드라마 생산 메커니즘과 주선율 드라마

고윤실(Ko, Yoon-Sil) 중국문화연구학회 2018 중국문화연구 Vol.0 No.41

After China’s economic reform, in order to meet the needs of the times, that is, promotion of economic recovery and modernization, the West that had been the enemy was changed to the object of learning and imitating, and thus the necessity of ideological security came to the fore. In addition, in order to adjust the various contradictions in the national policies, institutional arrangements came to be made. After the basis of China’s establishment, its socialism ideology and economic reform, the censorship regulation was formed in the middle of conflicts and contradictions between modernization and market ideology as well as various political and structural competences including maintenance of social orders and ideological security. Especially, in this age of post-socialism when it is certain that revolution idealism would vanish, the censorship regulation is working as the mechanism of regulations and prohibitions to conceal the ideological vacuum of drama contents, establish ideological security, and maintain social orders. The drama censorship regulation is at the core of the drama production system in China. As the influence of capital increased in the period of economic transition, Chinese officials have tried to protect mainstream ideology and give ideological identity to cultural contents. The formation and enhancement of the censorship regulation could be considered to be an ideological reaction against the fact that market ideology would dominate mainstream ideology in the period of economic transition. All the drama contents in China are adjusted by Chinese officials’ ideology through this censorship regulation. Particularly, as the example of standardization in the period of economic transition, mainstream dramas started to suggest the ideological standard of drama contents depending on the censorship regulation. Since the decline of revolution idealism, mainstream dramas have played the role of producing ‘universal ideology’ to conceal ideological vacuum, establish ideological security, and maintain social orders. The purpose of this study is, targeting the 1980s when the drama system started to be organized in earnest, to examine the process of the formation of the censorship regulation and grasp the ideological strained relations depending on the political and social changes in the contemporary society of China. Then, this study tries to analyze the narrations of typical mainstream dramas to examine how mainstream ideology would change and operate, because mainstream dramas are important in grasping the ideological effects and operating ways as they are important means of propagating ideology and are typically influenced by the regulatory mechanism of the censorship regulation in the whole stages of planning and production. Lastly, this study intends to examine how mainstream dramas would function ideologically. Although mainstream dramas are producing universal ideology for maintenance of social orders, they are also clearly concealing the functional vacuum of mainstream ideology, simultaneously.

상하이 도시 공간과 기억의 재구성 그리고 이미지의 정치 - 드라마 〈蝸居〉〈偽裝者〉〈歡樂頌〉을 중심으로

고윤실(Ko, Yoon-Sil) 중국문화연구학회 2019 중국문화연구 Vol.0 No.45

This study attempts to examine the cultural system which entirely organizes Chinese life worlds and changes of the contemporary Chinese society, by analyzing the main ideologies appearing through the design of urban structures and spaces and the action of images as practical discourses for it. It recognizes the ‘culture’ for problems in the contemporary Chinese society as a meaning system, reflects the Raymond Williams’ cultural research perspective arguing that multilateral reading is possible and begins with active interest in problems and phenomena in the contemporary Chinese society. This study has an implication, in that it attempts to enhance the potential of new humanities through the negotiation and dialogue with literature and sociology, and it also extends the width of studies and seeks for qualitative improvement. This study aims to examine the mechanism of cultural production in the contemporary Chinese society. It intends to analyze institutions and policies for organizing the urban landscape in Shanghai and consider the political action of images as practical discourses. Here, the urban landscape is the representation of main ideologies and the political action of images involves all of visual practice and contents, for propagation and reinforcement of policies based on main ideologies: all kinds of posters, slogans and cultural events. They reorganize the memory of a specific period and space in Shanghai, a capitalist city into symbolic images in the space of socialist revolution and continuously reinforce it. This study considers the mechanism in which politics integrates culture via capital, by examining such reorganization and reinforcement. In addition, it attempts to understand the contemporary mechanism of cultural production, by deeply considering Chinese lifestyles and changes in their psychological structures, in terms of politics, economics and culture.

당대 중국 ‘청년의 소멸’과 정서적 구조의 변동

고윤실(KO, Yoon-sil) 중국문화연구학회 2016 중국문화연구 Vol.0 No.34

Young adults in the 21st century have come to suffer from fierce competition for survival and anxiety about their future. They no longer form a central point through sense of community and common good, and they have become fragmented as ‘separately-existing us’ or ‘individuals extinguishing alone.’ This appears more apparently in cultural phenomena and subcultures of resistance and defiance are consumed as individuality and youth is commercialized. Young adults who grew mature though internal reflection and contemplation were named based on various cultural traits and distinction of generation, and they have become the principal agents of consumption. Polarization of cities and rural areas in China has become even more serious and survival has emerged as dire problem for young adults in competition structure represented by ‘survival of the fittest’ and ‘winner takes it all.’Selfishness for survival prevented genuineness from growing up through inner self, and young adults who lost this genuineness have come to be born again as snobbish subjects, which takes place not only in China but also around the whole world including Korea. Especially, appearance of snobbish society and rebirth of snobbish subjects are deemed to be related with change in economic structure and corresponding transposition of power. Radical change in the dominant structure of feelings in China is linked with the change in the form of power which is closely related with economic conditions. This structure of feelings in Chinese society faced a turning point of rapid change at them time of Den Xioping’s ‘Addresses in the Southern Provinces (南方講和).’ At the beginning of this historical point of inflection lay 6/4 Tiananmen Square Massacre in 1989. Since then, Chinese system has been on the continuum of Deng Xioping’s system called ‘6/4 system’, which has strengthened consumption capitalism, produced emergence of various cultural tribes of young adult generation and created a new structure of cultural industry-new media-mass culture, spreading the materialism of desires. Now, snobbish emotions have taken firm root widely in overall contemporary Chinese society. From white collar workers to farmers in rural areas as well as young adults are willing to spend their whole life to accumulate wealth and earn social status, and shameless pursuit of these values means formation of structure of feelings which puts these values before anything else and does not feel ashamed of it. This has changed everything from individual way of thinking to interpersonal relationship and way of daily lives. This study explores the changes in Chinese young adults’ culture and structure of feelings through analysis of popular discourse on ‘extinction of young adults’, popularization of cuteness (萌) culture, phenomenon of retrospection of youth and various sub-culture phenomena of young adults.

중국 미디어 관리의 생성적 변화와 이데올로기적 수렴

고윤실 ( Ko Yoon-sil ) 경희대학교 비교문화연구소 2016 비교문화연구 Vol.44 No.-

중국의 미디어 영역에서는 정치적ㆍ경제적ㆍ제도적 변화에 따라 생성적 변화의 흐름이 존재해왔다. 드라마 생산 영역에서 시장체제가 도입된 이후에는 정부 대리인이자 시장관리의 역할을 하는 ‘제편인(制片人)’이라는 사람들이 자생적으로 출현하게 되었으며 국가는 곧 이 ‘제편인’에게 합법적 자격과 권한을 부여함으로써 제도화하여 제도권내로 흡수시켰다. 이 과정에서 ‘드라마 제편인 제도’는 사회주의 시장경제라는 특수한 환경 하에서 정부의 직접관리에서 간접관리, 그리고 자아검열로의 변화 과정을 잘 드러내는 중국식 관리 모델을 보여준다고 할 수 있다. 또한, 인터넷이 보급되면서 풀뿌리 미디어를 비롯한 다양한 미디어가 출현하였고, 네티즌들의 참여와 생산 활동으로 문학영역에 인터넷 문학이라는 새로운 장르가 출현하기도 했다. 그리고 동영상과 풀뿌리 미디어의 플랫폼으로 역할했던 일부 사이트가 자체적으로 콘텐츠 생산을 하게 되면서 미디어로서 기능하게 되었다. 본래 인터넷을 IT 산업의 일부로 양성하였지만 인터넷이 미디어로서 기능하며 새로운 미디어 지형을 형성하게 되자 점차적으로 이에 대한 규제와 제도를 갖추어나가기 시작했으며, 이후 전면적인 인터넷 미디어 콘텐츠 관리 및 규제의 방향으로 나아가기 시작했다. 미디어 영역에서 생성적 변화의 흐름이 출현하고 이것이 관방의 미디어 정책에 수렴되는 생성-수렴의 양상이 반복되어 나타나고 있다. A flow of generative change has existed in the Chinese media following political, economic, and institutional changes. Since a market system was introduced to the field of drama production, people called ‘zhipianren’ who act as government agents as well as market administrators have spontaneously emerged. The government, by granting legal qualifications and authority to these ‘zhipianren’, have institutionalized and absorbed them within the system. Through this process, the ‘drama zhipianren system’, under the unique environment of a socialist market economy, demonstrates a Chinese administrative model that effectively reveals the changing process from a direct administration by the government to indirect administration and self-censorship. Furthermore, with the widespread adoption of the internet, various types of media including grassroots media have emerged, and the participation and production activities of netizens has enabled the development of a new genre of literature called internet literature. Furthermore, some websites that functioned as platforms for video and grassroots media came to self-produce contents so as to function as media in and of themselves. Originally, the internet was cultivated as a portion of the IT industry, but when it began to function as media, forming a new media landscape, regulations and institutions were gradually established and subsequently advanced in the direction of supervision and regulation over all internet media contents. A flow of generative change in the field of media has emerged, and the pattern of generation-convergence repeats itself as the official media policies converge.

군집분석 비교 및 한우 관능평가데이터 군집화

김재희,고윤실,Kim, Jae-Hee,Ko, Yoon-Sil 한국통계학회 2009 응용통계연구 Vol.22 No.4

자발적인 군집을 유도하는 다변량 통계기법으로 널리 사용되는 군집분석은 데이터에 기반한 탐색적 방법으로 쓰이며 군집원칙에 따라 여러 가지 방법이 제안되어 왔다. 또한 군집화된 결과에 대하여 유효성을 측정하는 측도도 다양한방법이 개발되었다. 본 연구에서는 계층적 군집분석 방법으로 최장연결법과 Ward의 방법, 비계층적 군집분석 방법으로 K-평균법 그리고 확률분포정보를 활용한 모형기반 군집분석방법을 이용하여 모의실험으로 군집분석을 실시하고 군집유효성 측도로는 연결성, Dunn 지수, 실루엣을 구하여 각 군집방법에 대해 유효성을 비교한다. 또한, 한우 관능평가 데이터에 군집분석을 적용하여 최적의 군집 상황을 구하고자 한다. Cluster analysis is the automated search for groups of related observations in a data set. To group the observations into clusters many techniques has been proposed, and a variety measures aimed at validating the results of a cluster analysis have been suggested. In this paper, we compare complete linkage, Ward's method, K-means and model-based clustering and compute validity measures such as connectivity, Dunn Index and silhouette with simulated data from multivariate distributions. We also select a clustering algorithm and determine the number of clusters of Korean consumers based on Korean consumers' palatability scores for Hanwoo bull in BBQ cooking method.

사회인구학적 요인이 1⁺⁺ 등급 거세한우고기의 부위 및 요리형태별 관능특성에 미치는 영향

조수현,김재희,김진형,성필남,박범영,김경의,고윤실,이종문,김동훈,Cho, Soo-Hyun,Kim, Jae-Hee,Kim, Jin-Hyoung,Seong, Pil-Nam,Park, Beom-Young,Kim, Kyung-Eui,Ko, Yoon-Sil,Lee, Jong-Moon,Kim, Dong-Hun 한국축산식품학회 2008 한국축산식품학회지 Vol.28 No.3

This study was conducted to investigate the relationship between the socio-demographic factors and the Korean consumers' palatability evaluation and to collect the sensory information for development of prediction palatability model of Hanwoo beef. Ten cuts [Abjin (short plate), Bosup (top sirloin), Cheggt (striploin), Dngsim (loin), Guri (chuck tender), Hongduke (eye of round), Moksim (chuck roll), Sulgit (bottom round), Udoon (top round), Yangji (brisket)] were separated from 5 Hanwoo steer beef (28-30 months old) and prepared with the same manner for 3 different cooking methods such as boiling, grilling, and roasting. The cooked beef samples were served to 650 consumers recruited from Seoul, Joongbu, Honam and Youngnam locations and evaluated as tenderness, juiciness, flavor, and overall acceptability. The consumer living location, age, gender, occupation, monthly income, and cut were significantly related with the scores of sensory properties when steer beef were cooked as boiling cooking (p<0.05). The eating habit and aging of beef were also significantly related with the tenderness and overall acceptability scores (p<0.01) when beef were cooked as boiled. In grill cooking, living location, aging, and cut had the significant effect on the sensory properties of Hanwoo steer beef (p<0.01). When steer beef were prepared by Korean traditional roast cooking, consumer's sensory scores were significantly different by the living location, age, occupation, monthly income, eating habit of consumers, aging and beef cut (p<0.001). Also, results from the principal component analysis showed that palatability scores of Korean consumers were decided with different contribution rate of tenderness, juiciness, flavor and overall acceptability for beef cut depending on cooking methods. In conclusion, Korean consumers' palatability for Hanwoo steer beef were related to the socio-demographic factors and the sensory scores were different by cut and cooking methods.