중남미 문화연구에 대한 고찰

이성훈 한국외국어대학교 외국문학연구소 2002 외국문학연구 Vol.- No.12

Culture Studies originated in the Great Britain in 1950s and 1960s, does not necessarily come to a realization with an unified character and an universal form. As an intellectual project, each Culture Studies bears unique historical background and also different form according to history of the nation in which Culture Studies has been performed. For example, there is profound difference in the way Culture Studies is carried out among in Great Britain where Culture Studies was originated, and in United States, and of course in the Latin America. This makes the historical meaning of the Culture Studies significant. It is of much importance to understand what kind of form does Culture Studies takes and why one can find various forms of the Culture Studies, in considering the practical aspect of Culture Studies. This means that Culture Studies itself is not performed in search for a sole project, but is deeply affected by the text or the language on which Culture Studies is carried out and the ideological attitude the researcher bears toward the text. In that sense, the Latin American Culture Studies its own value, and it shows a certain tendency in diverse spectrum of the theory camps in the Latin America, and complications and agony that the Latin American intellectual went through seeking alternatives for the globalization which has taken place since 1990s. What this paper like to present is to draw the ‘cognitive map’ of the theory camps in the Latin America, covering the process that Culture Studies was discussed among Latin American intellectuals, and the historical context which caused the fundamental distinction, other than to introduce a mere general discussion about the nature of Culture Studies. Moreover, through this discussion, one can understand the characteristics the Latin American Culture Studies presents, and criticize a few concept about Latin American Culture Studies. As we saw above, Culture Studies in the Latin America was formed in the state of both tension and cooperaton with literature criticism. With not only the hybriditical nature of the Latin American literature but also social stand Latin American writers has hold, one may say that the Latin American Culture Studies has been ahead of others in raising an issue in research method or in research criteria of Culture Studies. Due to the peculiar intellectual tradition in Latin American and Sociohistorical condition, one may see the Latin American Culture Studies has its ownand distinguished feature. Unlike the western Culture Studies which took up most part of existing literature criticism after it was rapidly forced out of the scene, in Latin America Culture Studies actively absorbed the analyzing tools of literary criticism and broaden its criteria, in other words, cultural-researchization of literature criticism was the distinguished tendency in Latin America. The phenomenon that the theoretical concepts widely used in literary criticism are adapted as tools for analyzing the culture to the culture researcher is one evidence. On the other hand, whereas the western Culture Studies pursued bringing something political to substantial routine space, that is, micro-politics, the Latin American Culture Studies tried to solve politic problems in the very conceptual space-the Nation. That tells us about the intellectual complication of Latin American intellectuals who still has modern problems with them and attempts to solve this through ‘post-modern’ Culture Studies as a key. In short, Latin American Culture Studies adapting the tools general culture studies suggests, according to Latin American situation, searches for its own and unique method.

미국소설로 미국문화 가르치기

최정선(Jung sun Choi) 한국영미문학교육학회 2014 영미문학교육 Vol.18 No.2

Teaching American culture through American literature has been discussed a lot since 2000, and it has been hypothesized that literature is the suitable contents for teaching culture. According to this hypothesis, this article demonstrates my experience of teaching American culture to undergraduate students, attempting to share it with the teachers who are interested in using American novel. This study includes selection of textbook, choosing crucial issues in American culture, teaching methods, and an analysis of students' responses. As an introduction, the first section focuses on the discussion of teaching culture through literature. The second section illuminates how an American novel, Holes, is a suitable text for teaching American culture. The textbook contains critical issues in American culture, such as immigration, racism, and gender, as well as lots of other cultural issues. This section also explores an auxiliary textbook and bibliography. The third section investigates an effective way of teaching American culture. It includes recognizing cultural issues in Holes, sharing indirect experiences of American culture through audiovisual aids and students' participation and activities through presentation and discussion in small groups in classes. The fourth section shows students' responses to teaching American culture through Holes and the analysis of those responses. The last section suggests using another novel as second textbook and assignments of experiencing American culture for a better class.

조지 산타야나와 새로운 미국의 정체성: 문화적 다양성을 중심으로

김서형 ( Seo Hyung Kim ) 한국미국사학회 2008 미국사연구 Vol.27 No.-

The 1910s was an era that proposed more severe criticisms about American and traditional culture than any other period in American history. Americans had been trying to create indigenous an American culture or criticizing American society since the late nineteenth century. However, the criticisms of the Young Intellectuals in the 1910s were broader and wider. They criticized everything in American society and offered innovations such as pluralistic identities and cultural relativism that could form the basis of a new American culture. The critiques of the 1910s could therefore be considered the basis for the reinvention and reinvigoration of American culture in the 1920s. George Santayana was the most important figure among intellectuals in the criticism of American and traditional culture. He suggested that Americans form a new culture embracing the rapid changes in their society. In this process, he labeled traditional culture as the “Genteel Tradition,” to which he assumed a critical attitude. Santayana`s critique of American culture focused on Puritanism, Transcendentalism, and traditional art that he considered inadequate to sustain and control American society. His criticisms aimed to present a new American identity as the basis for American culture. With the advent of the 20th century America had become the most diverse nation because of its variety of races, nations, ethnic groups, and religions. Therefore, Santayana believed that a new American culture should reflect this variety and thus unify the society as a whole. Santayana stimulated alternatives for this new American culture based on the ideas of Walt Whitman or William James that focused on American democracy, cultural universality and minority cultural viewpoints. In their portrayals and critiques of American society Young Intellectuals built on Santayana`s concept of the “Genteel Tradition” as they defined the role of intellectuals in resolving these problems. Santayana`s critique and the movement for a new American culture were halted by the entry of the United States into the First World War in 1917. But after the war, America had become one of the powerful nations in the world, and the essential questions about American culture emerged once again. From the 1920s forward to the present day, the criticisms and proposed alternatives of Santayana would help shape the conception of American multiculturalism to replace the “Genteel Tradition” he first identified in the 1910s.

한국학생들의 미국문화에 관한 인식과 실제

박미경(Park, Mikyoung) 인천대학교 인문학연구소 2012 인문학연구 Vol.18 No.-

This paper shows the results of a survey on the perception and viewpoints of Korean English-learning students on American culture and the result of reference research on the characteristics of American culture. Seventy Korean university students participated in the survey, which asks students their perception and view points on American culture. Editorials from major American press were used for reference research. Findings of this survey are: 1) Korean students widely perceive American culture relatively correctly in the systematic aspects as well as in the way of everyday life. 2) Korean students show comparatively poor recognition of American culture in some aspects: the social distance dramatized by American individualism, the aggressive defense culture, the social insecurity fueled by gun culture, and the non-interfering political culture. 3) Korean students view American culture neutrally or positively though they perceive the negative aspects of American culture. This study proves Korean students have unrealistic viewpoint on American culture with uncertain reasons.

American Studies in the 21st Century: A Usable Past

Shelley Fisher Fishkin 한국외국어대학교 영미연구소 2004 영미연구 Vol.10 No.-

  This article describes some of the transformations taking place in the field of American Studies today, and mines the past for figures who can help light our way. It concludes by describing some instances of model scholarship that exemplify where American Studies is heading. The myth-and-symbol analyses of American national character and the belief in American exceptionalism that dominated American Studies when the field first became institutionalized in the 1950s and 1960s have given way to more complex and nuanced perspectives on American culture as a nexus of multiple cultures constantly influencing and reshaping each other, as a site in which lived experience is inflected by race, by class, by ethnicity, by gender, by sexual orientation, by place of origin, by region, and by religion in complicated and dynamic ways, as a culture whose myths and symbols need to be interrogated rather than reified, and as a culture and nation just as vulnerable as other cultures and nations to the seductions of greed, arrogance and empire. Revisionist historians have re-examined every chapter of U.S. history and uncovered perspectives ignored by previous generations, listening to voices that were previously silenced, exploring conflicts previously erased, and probing power relations that were previously so naturalized as to be invisible. Revisionist literary critics have mined canonical American literature for traces of these silenced voices and evidence of these naturalized power relations and forgotten conflicts. They have recovered vast bodies of texts that have expanded ideas of what American literature is, was, and might be, in ways that their predecessors could not have imagined. Notions of "mainstream" and "margins" that a previous generation of scholars found obvious and unremarkable have been challenged and dismantled. The physical place that is the "United States" has been decentered as the object of study in American Studies by scholars who know that there are stories and histories that don"t take place in the U.S. at all that are central to the field as it is recognized today. We are paying more attention now to American literature in languages other than English, and distinctions between the "domestic" and the "foreign" are increasingly challenged as scholars become more aware of the ways in which each informs the other. As the twenty-first century opens, scholars" ideas about what constitutes "American Studies" are changing in dynamic and exciting ways that make the contributions of international scholars more important than ever.<BR>  Where the old American Studies aspired to describe American Culture as a monolithic, stable, homogeneous entity characterized by universally-shared experiences, myths and symbols, the new American Studies increasingly understands American Culture as a crossroads of cultures. In place of exceptionalist, triumphalist narratives of progress, American Studies scholars today are reconstructing complex stories of crossroads and contact zones, of conflict, transformation, and change. Some of the keywords that characterize the new "American Studies" are "transnational," "intercultural," "international" "multicultural," "diasporic," "multilingual," "counter-hegemonic" and "comparative." In place of unitary ascriptions of a particular meaning to a particular event, scholars are contextualizing and historicizing the construction of memory and meaning during different periods, understanding why different pasts become "usable" at different moments in time. Five pioneering figures whose work is particularly "usable" at this juncture in time are Gloria Anzald?a, Robert Morse Crunden, Anna Julia Cooper, W.E.B. Du Bois, and Mark Twain. These five figures are forebears American Studies scholars today need to embrace and celebrate. Together they point us toward new paradigms for American Studies in the 21st century that are transnational, collaborative, and interdisciplinar

재미동포 아동의 문화 간 의사소통능력 신장을 위한 한국학 기반 문화 교육

이정희 국제한국어교육학회 2015 한국어 교육 Vol.26 No.2

The essence of Korean Culture Education for Korean-American Children is to instill an identity of a Korean-American. The priority should be given to develop intercultural communication competency and gain comparative perspectives through learning both Korean culture and American culture. In order for this to transpire, Korean culture education needs to be based on authentic Korean contents, and there is also a necessity for a curriculum that incorporates elements of Korean studies with American culture. In particular, since culture education is aimed for young children, it needs to be motivating and provoke cultural curiosity in children. Furthermore, appropriate cultural items need to be selected for students in order for them to relate with emotionally. In this study, the aim was to suggest a ‘Culture Education based on Korean Studies to develop Intercultural Communication Competence,’ and recommend ways to improve educational content and methodologies. The study proposed contents for a school curriculum fit for a 32 week curriculum at local Korean Language Schools. In particular, the proposed contents can be applied to class activities, such as Korean fairy tales, folk songs, traditional games which allow for a comparative perspective of Korean and American culture. In turn, this will allow heritage children to properly recognize the commonalities and cultural differences of the Korean and American local culture, and improve cultural sensitivity to act appropriately in each culture.

적에서 동맹으로: 20세기 중반 미국미술 속의 일본 내셔널리즘

조은영 서양미술사학회 2009 서양미술사학회논문집 Vol.31 No.-

During the postwar and Cold War period, the status and image of Japan in the United States took on a rapid transformation—from America’s enemy to an indispensable ally. As the US needed Japan as a valuable partner in the Cold War, American efforts to recreate and circulate a new and agreeable image of Japan appeared in various areas, ranging from political arenas to Hollywood films and art museums. In tandem with American endeavors and in an effort to promote its national image as a new cultural power, Japan attempted to replace its jingoistic image with an aesthetic one and circulated its art and ideas throughout the US. Demonstrations of Japanese art and culture, including Zen aesthetics, were positively and often enthusiastically received among Americans in general despite the strong nationalistic stance of prominent New York critics who championed Abstract Expressionism as “the American-type painting” and denied/ignored any kind of “oriental” influence on mainstream New York artists. The study and utilization of Zen became a widely spread phenomenon among postwar American artists and intellectuals. Many American artists, including Mark Tobey, Morris Graves, Ad Reinhardt, Isamu Noguchi, Ibram Lassaw, John Cage, and the Beats, took part in the “Japan boom” and “Zen boom.” The appropriation of Zen and Asian aesthetics by American artists during the postwar and Cold War era is now viewed as a summit of cultural/artistic interchanges between the US and East Asia, an aesthetic fusion of the West and East in the history of American art. However, in a discussion about Zen in the field of American art, we are bound to ask: whose Zen and which Japanese aesthetics did American artists encounter? Zen in American art has kept much stronger ties with Japanese Zen rather than with either Chinese Chan or Korean Sun. In disseminating Japanese aesthetics, Japanese art and Zen experts played the role of cultural diplomats by fostering specific aspects of Japan’s cultural heritage and advocating their ideal of Japanese Zen and art among American artists and the public. The popularity of Zen Buddhism was generated by the teaching and proselytizing activities of Japanese Zen proponents and popularizers such as Shaku Soen, head abbot of the Engakuji branch of the Rinzai Zen sect, and his protégé, D.T. Suzuki, as well as Okakura Kakuzo, Alan Watts, and Sabro Hasegawa, who visited or lived in the US from 1893 onward to cultivate Japanese Zen Buddhism and aesthetics in the US. In postwar America, Sabro Hasegawa, while formulating Japan’s modern art of national identity, took an important part in boosting the Zen boom and love for Japanese aesthetics in the US, to the extent that people joked the Japanese government should appoint him as an “art ambassador” for his role. Also, D.T. Suzuki, known as the most influential figure on Zen Buddhism in the West and whose teachings were employed by American artists, aggressively promulgated Zen. He contributed to making Japanese Zen more appealing and less threatening to Western audiences through his universalization of Zen by underlining its applicability to all cultures and areas as well as its aesthetic aspect. This examination of the presence of Japanese nationalism in postwar American art suggests that a particular sect of Japanese Zen worked as a means of cultural diplomacy to build, recreate, and restore the ideal and supreme image of Japan in the West from the last decade of the 19th century onward. A sect of Japanese Zen, introduced and popularized in America, was rooted in “New Buddhism (shinbukkyo),” which was originally produced in order to be in line with the Japanese government’s nationalist and imperialist policy, as expounded in recent studies by Robert Sharp and Brian Victoria. Accordingly, Zen of “New Buddhism” was presented to American and European audiences as the heart of Japanese culture as well as the spiritual and aesthetic quintesse... During the postwar and Cold War period, the status and image of Japan in the United States took on a rapid transformation—from America’s enemy to an indispensable ally. As the US needed Japan as a valuable partner in the Cold War, American efforts to recreate and circulate a new and agreeable image of Japan appeared in various areas, ranging from political arenas to Hollywood films and art museums. In tandem with American endeavors and in an effort to promote its national image as a new cultural power, Japan attempted to replace its jingoistic image with an aesthetic one and circulated its art and ideas throughout the US. Demonstrations of Japanese art and culture, including Zen aesthetics, were positively and often enthusiastically received among Americans in general despite the strong nationalistic stance of prominent New York critics who championed Abstract Expressionism as “the American-type painting” and denied/ignored any kind of “oriental” influence on mainstream New York artists. The study and utilization of Zen became a widely spread phenomenon among postwar American artists and intellectuals. Many American artists, including Mark Tobey, Morris Graves, Ad Reinhardt, Isamu Noguchi, Ibram Lassaw, John Cage, and the Beats, took part in the “Japan boom” and “Zen boom.” The appropriation of Zen and Asian aesthetics by American artists during the postwar and Cold War era is now viewed as a summit of cultural/artistic interchanges between the US and East Asia, an aesthetic fusion of the West and East in the history of American art. However, in a discussion about Zen in the field of American art, we are bound to ask: whose Zen and which Japanese aesthetics did American artists encounter? Zen in American art has kept much stronger ties with Japanese Zen rather than with either Chinese Chan or Korean Sun. In disseminating Japanese aesthetics, Japanese art and Zen experts played the role of cultural diplomats by fostering specific aspects of Japan’s cultural heritage and advocating their ideal of Japanese Zen and art among American artists and the public. The popularity of Zen Buddhism was generated by the teaching and proselytizing activities of Japanese Zen proponents and popularizers such as Shaku Soen, head abbot of the Engakuji branch of the Rinzai Zen sect, and his protégé, D.T. Suzuki, as well as Okakura Kakuzo, Alan Watts, and Sabro Hasegawa, who visited or lived in the US from 1893 onward to cultivate Japanese Zen Buddhism and aesthetics in the US. In postwar America, Sabro Hasegawa, while formulating Japan’s modern art of national identity, took an important part in boosting the Zen boom and love for Japanese aesthetics in the US, to the extent that people joked the Japanese government should appoint him as an “art ambassador” for his role. Also, D.T. Suzuki, known as the most influential figure on Zen Buddhism in the West and whose teachings were employed by American artists, aggressively promulgated Zen. He contributed to making Japanese Zen more appealing and less threatening to Western audiences through his universalization of Zen by underlining its applicability to all cultures and areas as well as its aesthetic aspect. This examination of the presence of Japanese nationalism in postwar American art suggests that a particular sect of Japanese Zen worked as a means of cultural diplomacy to build, recreate, and restore the ideal and supreme image of Japan in the West from the last decade of the 19th century onward. A sect of Japanese Zen, introduced and popularized in America, was rooted in “New Buddhism (shinbukkyo),” which was originally produced in order to be in line with the Japanese government’s nationalist and imperialist policy, as expounded in recent studies by Robert Sharp and Brian Victoria. Accordingly, Zen of “New Buddhism” was presented to American and European audiences as the heart of Japanese culture as well as the spiritual and aesthetic quintessence o...

Teaching a Part of American Culture Through Hip-Hop and African American Videos: A Media Content Analysis and Teaching Implications

Im Jae-hyun 영상영어교육학회 2020 영상영어교육 (STEM journal) Vol.21 No.2

Despite their increasing popularity, hip-hop and African American culture have rarely been regarded as a valuable source of pedagogical resources in Korean English education. The lack of academic discussion regarding this issue has led Korean English teachers and learners to overlook hip-hop and African American culture even though they can function as a counternarrative to the biased, Anglo-centric discourse and can be a motivator for the young generation that is interested in them. In this vein, this paper argues that the inclusion of hip-hop and African American cultural texts can be meaningful for English teachers and learners in Korea, especially with the aim of teaching about a significant segment of American culture. By performing a media content analysis of readily available hip-hop and African American videos that include real African American figures, this paper identifies pedagogically valuable themes to approach American culture from African American perspectives. Six themes are included: brute force, advocation of peace, the self-made man, an appreciative attitude toward the community, African American English and identity, and life-saving intervention. This paper calls for further discussion to expand the scope of teaching and learning about hip-hop and African American culture, which has been overlooked to date in cross-cultural and ESL/EFL education.

Teaching a Part of American Culture Through Hip-Hop and African American Videos: A Media Content Analysis and Teaching Implications

임재현 영상영어교육학회 2020 영상영어교육 (STEM journal) Vol.21 No.2

Despite their increasing popularity, hip-hop and African American culture have rarely been regarded as a valuable source of pedagogical resources in Korean English education. The lack of academic discussion regarding this issue has led Korean English teachers and learners to overlook hip-hop and African American culture even though they can function as a counternarrative to the biased, Anglo-centric discourse and can be a motivator for the young generation that is interested in them. In this vein, this paper argues that the inclusion of hip-hop and African American cultural texts can be meaningful for English teachers and learners in Korea, especially with the aim of teaching about a significant segment of American culture. By performing a media content analysis of readily available hip-hop and African American videos that include real African American figures, this paper identifies pedagogically valuable themes to approach American culture from African American perspectives. Six themes are included: brute force, advocation of peace, the self-made man, an appreciative attitude toward the community, African American English and identity, and life-saving intervention. This paper calls for further discussion to expand the scope of teaching and learning about hip-hop and African American culture, which has been overlooked to date in cross-cultural and ESL/EFL education.

비평적 미국문화교육 방안을 위하여

박경남(Park Kyungnam),윤희수(Yoon Heesoo) 한국외국어대학교 영미연구소 2005 영미연구 Vol.13 No.-

  This paper aims to show why to teach culture for foreign language education and how to teach American culture critically using movies.<BR>  Teaching culture is usually considered subordinate to language teaching in EFL classes. Teachers tend to think cultural education is next to listening, speaking, writing, and reading. However, this language-oriented perspective in teaching foreign languages needs to be reconsidered because misunderstanding of other culture can cause much linguistic confusion and miscommunication, and understanding culture, including its social, historical and political backgrounds, can help students learn their target language more fully and effectively.<BR>  In this regard, movies can play the role of alternative texts in providing various authentic cultural subjects in target culture. Movies cover a lot of cultural dimensions including historical developments, human struggles, social issues, political happenings through ages, which help students build cultural competence and awareness.<BR>  Teaching culture cannot be neutral. Culture involves historical, political, and ideological points of view surrounding gender difference, ethnic problems, color struggles, and social classes. For example, American frontier history told by white Americans and Native Americans comes up with very different versions because both groups will rehearse antithetical histories based on their own ethnic experiences. To show a critical method of teaching American culture, this paper will select Malcolm X by Spike Lee and suggest various topics for students to think of in order to understand an important and on-going racial issue in the United States.