scholarly journals Changes and Implications of 'North Korea Factors' in the South Korea-China Diplomatic Normalization

2018 ◽  
Vol 34 (3) ◽  
pp. 151-178
Author(s):  
Dong-Ryul Lee
Keyword(s):  
South Korea ◽  
North Korea ◽  
The South

6. Globalizing south, inward north

2020 ◽  
pp. 107-126
Author(s):  
Michael J. Seth
Keyword(s):  
South Korea ◽  
North Korea ◽  
Democratic Society ◽  
The Political ◽  
Consumer Society ◽  
Political Systems ◽  
The South ◽  
The North ◽  
Economic Stagnation

‘Globalizing south, inward north’ shows that from the 1980s the two Koreas grew further apart, economically, politically, and culturally. Few states moved faster from poverty to ‘developed’ status than South Korea, none developed a more totalitarian, isolated society than North Korea. South Korea’s economy expanded impressively well into the 2000s, becoming a wealthy consumer society, while North Korea went through economic stagnation and decline. Both started with authoritarian political systems; however, the South evolved into an open, democratic society while the North remained authoritarian and closed. Most Koreans continued to see themselves as part of one nation united by common ethnicity and ancestry, and regarded the political division as unnatural and unacceptable. Is reunification possible?

scholarly journals Adaptation in South Korean Society of North Korean Elite Defectors

Studia Humana ◽  
2017 ◽  
Vol 6 (4) ◽  
pp. 62-73 ◽  
Author(s):  
Nicolas Levi
Keyword(s):  
South Korea ◽  
North Korea ◽  
Research Question ◽  
Integration Policy ◽  
Major Research ◽  
The South ◽  
South Korean Government ◽  
Korean Society ◽  
South Korean ◽  
North Korean Defectors

Abstract This paper aims to explain the adaptation of North Korean elite defectors who fled from North Korea. Data used for the purpose of this article came from surveys of North Korean defectors conducted in the late 2000’s. Findings of the realized research indicate that the majority of senior defectors are experiencing less psychological and material issues when adjusting to society than regular North Korean defectors. The paper will proceed in three steps: explaining the notion of defectors, outlining their background, and focusing on their adaptation in South. Although defectors as a whole has emerged as of the most research group as a minority in South Korea, the so-called senior defectors have hardly been spotlighted. Basically North Korean senior defectors are supposed to strengthen the anti-Kim movement and legitimize the power of the South Korean government and the image of South Korea abroad. What has to be enlightened upon is the fact that North Korean senior defectors partially disagree with the integration policy of South Korean authorities. A major research question emerges: How are the experience of elite defectors localized in South Korea? How do their specific identities impact their opinion within the South Korean society? The aim of the article is also to categorize senior defectors and to provide in a single document a list of senior North Korea defectors based abroad. This kind of information is only available for Korean speaking readers. I wanted to make it accessible to the Englishspeaking community.

Different Cinematic Interpretations of Ch’unhyangjŏn: The Same Korean Identity

2021 ◽  
pp. 155-188
Author(s):  
Gabor Sebo
Keyword(s):  
National Identity ◽  
South Korea ◽  
North Korea ◽  
The South ◽  
South Korean ◽  
Korean Identity ◽  
Korean Film ◽  
Film Style ◽  
North And South

The article examines the classic Korean folklore fable, 춘향전 (春香傳), Ch’unhyangjŏn (The Fragrance of Spring), The Tale of Ch’unhyang, through the lens of three different successful movie adaptations produced in North and South Korea. Respectively, Yu Wŏn-chun and Yun Ryong-gyu portrayed The Tale of Ch’unhyang (1980) in its modest “Juche realist” North Korean film style, whereas Im Kwŏn-t’aek depicted his work, Ch’unhyang (2000), in a contemporary liberally and daringly revised version, while the romantic portrayal produced in North Korea by the South Korean film director, Shin Sang-ok, in Love, Love, My Love (1984), is performed from a human-oriented and entertaining perspective filled with musical ingredients and brave images of love. The study aims to demonstrate how the story is diversely interpreted through the two divided film cultures by highlighting differences between collectivism and individualism, noting also that all three interpretations emerge from similar roots of cultural and national identity.

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