Re-Locating the National: Spatialization of the National Past in Seoul

2009 ◽  
Vol 7 (2) ◽  
pp. 256-265 ◽  
Author(s):  
Soochul Kim

This article is an attempt to make sense of the emerging culture of mobility in Seoul in the 1990s. The 1990s in a South Korean context is emblematic of a changed social reality and transformation. Grand narratives of development, anti-state democratization activism and Cold War politics were losing their effect and authority. Meanwhile, new forces of consumption, individualism, westernization and globalization were increasingly claiming a central presence in society and accentuating the crisis of identification and representation in cultural life and production. Looking at this particular historical situation, this article argues that the culture of mobility, in terms of the reorganization of mobility and visuality, interrupted the existing norms and mode of national identity and culture in South Korean society. The article focuses upon a new socio-cultural phenomenon known as ‘Yu Hong Jun Syndrome’, which emerged in the early and mid 1990s. It asks how a culture of mobility, while providing cues for ways of experiencing and seeing national landscapes and cityscapes, makes Seoulites rediscover the nation and locality as a potential space of belonging and, further, allows them to renegotiate alienated forms of social relations and everyday experiences in a globalizing metropolitan city.

Asian Survey ◽  
2019 ◽  
Vol 59 (4) ◽  
pp. 630-652
Author(s):  
Sarah A. Son

This article investigates the capacity and willingness of women from English-speaking countries, married to Korean men, to integrate into South Korean society, via examination of the expression of national identity in everyday life and the negotiation of relationships across socio-cultural boundaries.


2019 ◽  
Vol 7 (1) ◽  
pp. 67-87
Author(s):  
Ji-Young Lee ◽  
Jaehyun Lee

Abstract In this article, we show that the Dokdo/Takeshima islands issue has become a cultural phenomenon in South Korea, in which the popular desire for national pride has increasingly been intertwined with the government’s efforts for promoting its policy position vis-à-vis Japan. We argue that narratives on Dokdo – created in and through activities in the realms of education, media, and civil society activism – are designed to enhance South Korean territorial sovereignty over the islands. In the process, however, Dokdo has become a symbol of Korean identity or “Koreanness,” as the public, teachers, students, and activists have all engaged in meaning-making activities surrounding the islands. This phenomenon has become salient, in part because these actors sought to respond to Japan’s own activities, including the designation of “Takeshima Day” in 2005. As part of a grassroots movement, their strategy of creating everyday symbols over the islands not just expressed, but also reproduced Korean national identity.


Slavic Review ◽  
2020 ◽  
Vol 79 (3) ◽  
pp. 566-590
Author(s):  
Patryk Babiracki

Engaging with regional, international, and spatial histories, this article proposes a new reading of the twentieth-century Polish past by exploring the vicissitudes of a building known as the Upper Silesia Tower. Renowned German architect Hans Poelzig designed the Tower for the 1911 Ostdeutsche Ausstellung in Posen, an ethnically Polish city under Prussian rule. After Poland regained its independence following World War I, the pavilion, standing centrally on the grounds of Poznań’s International Trade Fair, became the fair's symbol, and over time, also evolved into visual shorthand for the city itself. I argue that the Tower's significance extends beyond Posen/Poznań, however. As an embodiment of the conflicts and contradictions of Polish-German historical entanglements, the building, in its changing forms, also concretized various efforts to redefine the dominant Polish national identity away from Romantic ideals toward values such as order, industriousness, and hard work. I also suggest that eventually, as a material structure harnessed into the service of socialism, the Tower, with its complicated past, also brings into relief questions about the regional dimensions of the clashes over the meaning of modernity during the Cold War.


Focaal ◽  
2013 ◽  
Vol 2013 (66) ◽  
pp. 25-35 ◽  
Author(s):  
Felix Ringel

Hoyerswerda, Germany's fastest-shrinking city, faces problems with the future that seem initially unrelated to the past and yet excite manifold conflicting accounts of it. The multiple and conflicting temporal references employed by Hoyerswerdians indicate that the temporal regime of postsocialism is accompanied, if not overcome, by the temporal framework of shrinkage. By reintroducing the analytical domain of the future, I show that local temporal knowledge practices are not historically predetermined by a homogenous postsocialist culture or by particular generational experiences. Rather, they exhibit what I call temporal complexity and temporal flexibility-creative uses of a variety of coexisting temporal references. My ethnographic material illustrates how such expressions of different forms of temporal reasoning structure social relations within and between different generations. Corresponding social groups are not simply divided by age, but are united through shared and heavily disputed negotiations of the post-Cold War era's contemporary crisis.


2021 ◽  
pp. 1-21
Author(s):  
HYUN KYONG HANNAH CHANG

Abstract Protestant music in South Korea has received little attention in ethnomusicology despite the fact that Protestant Christianity was one of the most popular religions in twentieth-century Korea. This has meant a missed opportunity to consider the musical impact of a religious institution that mediated translocal experiences between South Korea and the United States during the Cold War period (1950s–1980s). This article explores the politics of music style in South Korean diasporic churches through an ethnography of a church choir in California. I document these singers’ preference for European-style choral music over neotraditional pieces that incorporate the aesthetics of suffering from certain Korean traditional genres. I argue that their musical judgement must be understood in the context of their lived and remembered experience of power inequalities between the United States and South Korea. Based on my interviews with the singers, I show that they understand hymns and related Euro-American genres as healing practices that helped them overcome a difficult past and hear traditional vocal music as sonic icons of Korea's sad past. The article outlines a pervasive South Korean/Korean diasporic historical consciousness that challenges easy conceptions of identity and agency in music studies.


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