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임순희 숙명여자대학교 대학원원우회 1991 원우논총 Vol.9 No.-
Korea's northern diplomacy is the product of favorable changes in both domestic and external diplomatic environment last decade. Domestically the change is due to remarkable economic growth in 1970s 1980s and, based on economic prosperity, the expansion of diplomatic horizon promoting national prestige in terms of diplomatic position. Internationally, influenced on Korea's diplomatic policy are detante between the U.S. and the Soviet Union the end of the cold war and the revolutionary changes in china the Soviet Union and East Europe. Worldwide cooperation between nations is developed inpursuit of each party's national interest beyond ideological hostility. The world wide change has affected on Korea's foreign policy goals as well as means discarding Korea's tradional anti-communist foreign policy. Recently, Korea has established trade and economic cooperation with the Soviet Union, Chian and six Eastern European countries execpt Albania. And it is expected that the success in establishing diplomatic relations with those countries will widen Korea's diplomatic horizon and enhance its international status. However, the objective of northern diplomacy should maintain improvement of the South-North Korean relationship toward peaceful reunification which is the ultimate goal of northern diplomacy. Without considerable development of inter-Korean relations if it makes north Korea more isolated and provokes its militant at tempt, northern diplomacy should be reevaluated. The purpose of this thesis is to examine Korea's diplomacy with communist countries. For this purpose, examined are the definition and goal of northern diplomacy, its progress, domestic and international variables that affect on the policy, and finally the prospective of the future of northern diplomacy.
The Debates on Visual Arts as a Cultural Critique in D. H. Lawrence's Women in Love
임순희 새한영어영문학회 2009 새한영어영문학 Vol.51 No.2
D. H. Lawrence's Women in Love (1920), whose final shape was taken during the First World War, inevitably deals with such modern crises from the problems of human relationships to the degeneration of culture and society. In the process, the novel brings to the fore an apocalyptic vision of the decadent Western civilization. In the novel, Lawrence, an amateur painter himself, takes issue with many artist characters and art schools such as primitive art, Impressionists, Bloomsbury, Futurism, Asian art etc. Many debates on art objects are connected with the criticism of life and society set in an atmosphere of cultural turbulence. Lawrence criticizes a group of degenerate London artists-Gudrun Brangwen, Julius Halliday-for their sensualism manifested in their worship of primitive art. He also criticizes Futurism for its cerebral emphasis and mechanism. Loerke's industrial art is portrayed as an extreme version of the mechanical dehumanization of art; thus, his art epitomizes all the terror that Lawrence felt about modern art and the negative cultural forces behind it. The author tries to find an alternative trend of vital art in the Third World art such as Chinese painting or African fetishes, as opposed to the degenerate Western art. However, the novel also reveals a limit of Lawrentian cultural critique in the form of Eurocentric biases. For example, Rupert Birkin, the hero of the novel, argues that he can capture the essence of Chinese culture by copying a picture of geese. The grounds of his overbearing confidence in the knowledge of the other are neither verified nor deconstructed. Both Asian and African art works are appropriated to represent some oppositional principle to what Birkin believes to be the defects of Wetern culture. In this sense, it seems that he sets out to respect the other but ends up absorbing it into the frame of the same. However, Lawrence does not always totalize his aesthetic vision. Although he was certainly subject to Eurocentric backsliding, Lawrence tries to keep alive his spontanenous and multi-faceted aesthetic response towards the European and non-European artworks. Overall, Lawrence's aesthetics in Women in Love, manifests itself as the significant attempt to a cultural critique which responds to, and incorporates the counter-cultural perspective of artworks and life.