Fragments and Borders: (re)constructing South Korean identity through patchwork

这部作品通过韩国妇女的拼凑文化探索大韩民国（韩国，1948年至今）的（重建），记录和恢复被忽视的妇女家务劳动的故事。1970年代，随着韩国文化遗产政策的体制改革，关于拼凑手工艺的书面历史开始激增。这些故事重申了节俭坚韧和建设性极简主义的品质，以线性轨迹将布料追溯到朝鲜王朝（1392-1910），在那里，它们被认为是被遗忘和未知女性的代表性声音。此外，线性历史在试图将国家身份与朝鲜民主主义人民共和国（朝鲜，北朝鲜）的共产主义政权区分开来的时期，加强了真正的“朝鲜性”概念。这个项目通过运用女性主义、后殖民和非殖民化的方法，从复调的角度探讨韩国女性拼凑文化的线性和真实性。使用一个框架，在本地化和跨国韩国历史中定位后殖民主义，必须考虑日本殖民主义时期（1910-1945）和美国帝国主义的存在（1945年至今），传统形式的迭代，现代改编，流散的解释和correspondence表现揭示了多样性和复杂性的韩国妇女超越了定义的真实和静态（南）朝鲜民族，具有新儒家和非欧洲中心主义的阅读女性主体模式的特定历史。利用机构档案中的拼凑，我探索了在国内和国际上建立对chogakbo的看法的过程。通过对物质技术、形式和构成的分析，物质对象丰富和挑战了书面历史。我认为纪念品是为了研究重复，重复，工业化和大规模消费和生产如何加强国家身份的建立。旧拼布时装旨在探索物体与身体之间的界限，以及拼布包装的实用性和功能。最后，这些问题和主题将通过拼布皮肤进行调查，其中韩国的整容手术文化的扩散将被检查为拼布的corruptive表现。使用口述历史，这项工作的目的是前景的女性，美丽和martentalism的问题，通过挑战机构，资本身份和殖民历史的还原观念的观点。拼布是不同碎片的混合物，通过修补、拼接和缝合反映出一种累积的时间性。这项研究使用的适应性，不断增长的潜力拼凑形式，从根本上重新考虑规定的概念，韩国女性，并提供一个原始的透镜，以解决紧迫的全球性问题，殖民主义，冷战遗产和妇女的历史。我的目标是揭示新的光的物质过程支撑殖民主体性和跨国身份，使用从对象收集的故事，以及制造商，设计师，策展人和档案管理员和口述历史的角度来建立对话和关系的历史。

This work explores the (re)construction of the Republic of Korea (ROK, 1948-present) through Korean women's patchwork culture, recording and recovering neglected stories of women's domestic labour. Written histories of the patchwork handicraft, chogakbo, began to proliferate during the 1970s, coinciding with South Korean institutional reforms of cultural heritage policy. Reiterating qualities of frugal tenacity and constructive minimalism, such narratives trace the cloths in a linear trajectory to the Choson dynasty (1392-1910), where they were and are said to act as the representational voices of forgotten and unknown women. Furthermore, the linear histories served to reinforce notions of authentic 'Koreanness' during a period that sought to differentiate national identity from the Communist regime of the Democratic People's Republic of Korea (DPRK, North Korea). This project troubles linearity and authenticity by deploying feminist, postcolonial and decolonial methods that explore polyphonic perspectives of Korean women's patchwork culture. Using a framework that positions postcolonialism within localised and transnational South Korean histories, necessarily considering the period of Japanese colonialism (1910-1945) and US imperial presence (1945-present), iterations of traditional forms, modern adaptations, diasporic interpretations and corporeal manifestations reveal the multiplicity and complexity of Korean womanhood beyond definitions of authentic and static (South) Korean nationhood, with specific histories of neo-Confucian and non-Eurocentric modes of reading female agency. Using patchwork in institutional archives, I explore the very processes of establishing perceptions of chogakbo, both nationally and internationally. Material objects enrich and challenge written histories through analyses of material technologies, forms and compositions. I regard souvenir objects to examine how repetition, reiteration, industrialization and mass consumption and production work to reinforce establishing versions of national identity. Worn patchwork fashions aim to explore the boundaries between object and bodies, and the utility and function of patchwork wrapping. Finally, these questions and themes will be investigated through patchwork skins, wherein the proliferation of ROK's cosmetic surgery culture will be examined as corporeal manifestations of patchwork. Using oral histories, this work aims to foreground questions of womanhood, beauty and ornamentalism through perspectives that challenge reductive perceptions of agency, capital identities and colonial histories. Patchwork is the amalgam of different pieces, reflecting an accumulative temporality through mending, piecing and stitching. This research uses the adaptive, growing potential of patchwork form to radically reconsider prescribed notions of Korean womanhood, and offer an original lens to addressing urgent global questions regarding colonialism, Cold War legacy and women's histories. I aim to shed new light on the material processes underpinning colonial subjectivities and transnational identities, using stories collected from objects, alongside perspectives of makers, designers, curators and archivists and oral histories to build dialogical and relational histories.