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The Transformation of Korean National Identity
고부응 한국비교문학회 2008 比較文學 Vol.0 No.44
On the theoretical basis of Benedict Anderson's notion of the nation as an imagined community and Arjun Appadurai's argument for the transnational cultural identity in the age of globalization, this essay attempt to trace the rise of the Korean nation in the nineteenth century and the transforming national identity in today's Korea. In contrast to the traditional notion of the Korean nation with her unique and long history, this essay argues that the Korean nation rose at the end of the 19th century in her contact with foreign nations and with the introduction of print capitalism. The rise of the Korean nation could be possible when the Korean people could see collectively their difference from other nations. The impact of the foreign nations in the constitution of the Korean nation continues today when the foreign labor forces and spouses of foreign origins make up a significant portion of the Korean population. Today's Korean nation is in the process of transformation with the human and cultural exchange with other nations.
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고부응 문학과영상학회 2007 문학과영상 Vol.8 No.1
Untold Scandal directed by E J-Yong is a remake of Roger Vadim’s Les Liaisons Dangereuses, Stephen Frears’ Dangerous Liaisons, Milos Forman’s Valmont, Roger Kumble’s Cruel Intentions as well as a adaptation of Pierre Choderlos de Laclos’ novel Les Liaisons Dangereuses. While taking a form of citation, plagiarism, and allusion of the original text, remake or adaptation calls the original text into a question by making a difference between them. Untold Scandal questions the dominant ideology of the aristocracy or bourgeoisie as presented in the preceding Western adaptation films of the novel Les Liaisons dangereuses and replace it with the subversive ideology of the dominated middle and lower class. We may call Untold Scandal a third cinema Solanas and Getino argued for in their essay “Towards a Third Cinema” in that Untold Scandal challenges the Western films based on the same novel of Les Liaisons Dangereuses and presents the Korean identity as distinct from those presented in the Western films. However, Untold Scandal is not strictly true of the militant third cinema from the notion of Solanas and Getino. The main concern of the film is to present a transitional Korean identity in the nineteenth century of the Korean society. Since the Korean identity presented in Untold Scandal is an anachronistic one in that the identity is formated after the Western filmic effects of the twentieth and twenty first centuries, the identity is an outcome of the age of today’s transnational cultural exchange. The thirdness of Untold Scandal is the presentation of the Korean identity different from those of the dominant Hollywood films and of the traditional Korean society, which comes from the cultural and ideological exchange with the outside worlds.
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고부응,김미숙 한국비교문학회 2010 비교문학 Vol.0 No.52
While the university has traditionally been the major site of the production of intellectual discourses, the disappearance of the intellectual is in parallel with the crisis of the university. This paper examines Edward Said's theory of the intellectual as presented in his Representations of the Intellectual. Said defines intellectuals as individuals with a faculty of representing a message and philosophy to, as well as for, a public. By this definition, Said distances himself from other theoreticians of the intellectual such as Gramsci, Gouldner, Foucault, and Spivak, and presents the role of the intellectual as a mediator between the intellectual himself/herself and the public. The intellectual criticizes and challenges the power for the public as well as for himself/herself. For this role, Said argues, the intellectual should do away with professionalism and take in amateurism because amateurism lets the intellectual pursue for criticism and knowledge with care and affection while professionalism restricts the freedom of the intellectual. Said himself was an amateur intellectual in that he had been trespassing the boundaries of literature professorship for the defence of the Palestine cause. Said's controversial activities had also been protected by the university authorities in the name of academic freedom. The university, when it properly functions, can be a safeguard of intellectuals. The university in Korea is in crisis and this crisis can be overcome when university professors regain the role of intellectuals because intellectual activities and the ideal of the university are mutually supportive.
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고부응 한국비교문학회 2006 比較文學 Vol.0 No.39
The Formation of National Identity in the film “Welcome to Dongmakgol” Boo Eung Koh (Chung-Ang University) Comparative studies can be defined as a study of difference in that any comparison presupposes a difference between those compared objects. In general, any cognitive activity is a study of difference because a cognitive subject can see a cognized object only in its difference with others. Since comparative literature studies deal with the cultural product constructed in language and its culture in a broad sense, it can be said to be a study of cultural difference. The film “Welcome to Dongmakgol” is a good case for the consideration of cultural difference and national identity formation. While the rise of national consciousness and thereby nation-building in the 18th century was a product of print capitalism as presented in Benedict Anderson's Imagined Communities, the national identity as formed in the film is a product of film audience's identification with the Dongmakgol community, in which the key for the national building is the Korean language. However, since film language is constituted of images based analogon unlike the arbitrary sign as in the verbal language, the national community produced by the film is rather loose and open to the outside world. The nation in the film “Welcome to Dongmakgol” is a blurry nation which is one of the main features in the age of transnational globalization.
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