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The fundamental question surrounding the community is where do I feel I belong. Today the ‘community’ is extremely divided, and the cause needs to be ascertained. It is necessary to pay attention to the concept of ‘dividual’ in Deleuze’s ‘societies of control’. Dividuals are created when surfing the Internet using IDs and passwords. The pre-modern community was established on territorial contiguity, and the modern community could be unified on the ground based on the belief that people felt one through common language and mass media. However, as we enter today’s hyper-connected network society, a postmodern community or a divided community has become visible. Social media is at the heart of such kind of society. Unlike the one-to-many vertical ways of transmission of mass media, social media connects many-to-many horizontally. In this process, regardless of spatial proximity, connections by electronic devices and subsequent divisions occur. Humans are connected, but at the same time dispersed and divided. In this way, a digital tribe of dividuals is formed. Individuals become dividuals and communities are divided. In general, people are pessimistic about this situation. However, if the individual is a product formed due to the needs of modern capitalism, dividuals also have the possibility of being a starting point for a new human. The touchstone would be how to play the roles of a dividual.

On January 23, 1993, 22 Nepalese workers established the Nepalese community at Jongro Cathedral. Nepalese people gathered with the goal of survival, regardless of the class, ethnicity, religion, or political orientation. In order to secure the human rights and workers' rights of migrant workers, it has become a core subject leading the Korean migrant worker movement by actively participating in all rallies, sit-ins, and campaigns. In the history of the Korean Migrant Labor Movement, it has played an important role in securing labor rights to the extent that there is nothing to record, except for the organized activities of Nepalese workers and Nepalese communities. In Korea, migrant workers are still suffering industrial accidents, unpaid wages, abusive language, and assault, and more than 60 people are ending their own lives. Why did the Nepalese society stop fighting when Nepalese agricultural workers are being forced to work long hours under section 63 of the Labor Standards Act and live in accommodations that do not have air conditioners, toilets, televisions, and Wi-Fi connections? This article aims to analyze the process of change in the Nepalese community over the past 30 years and examine the challenges currently faced by the Nepalese community.

This paper analyzes the documentary film People in Elancia (Park Yun-jin, 2020), which deals with the game user community of the MMORPG Elancia launched by the Korean game company Nexon in 1999. This paper aims to explore how a utopia and dystopia are simulated for young people in the current Korean society through the documentary. The game space of Elancia, which is filled with bugs and where macro software is widely used because the server is maintained but not managed, is analogous to the competitive society under neoliberalism experienced by the game users in Elancia who spent their childhood under the IMF crisis in 1997. The high degree of freedom, various occupational choices of characters, and non-productive game play, which were regarded as the strengths of Elancia, no longer work through Nexon’s governance of negligence. Nevertheless, in Elancia, which was called an ‘abandoned game’, the game user community to which the director herself belongs forms a ‘utopia of failure’ that performs non-productive and non-competitive game play. This paper redefines the concept of a utopia through the community as one that is slow, fragmentary, and in process; in contrast to the traditional utopia, which is homogeneous, totalitarian, and teleological. In addition, the documentary reversely utilizes the fact that art culture is never completed in the post-Fordist era, but is always in process, and has the property of content that constantly commercializes itself, leading to management and operation of Nexon and changing reality. It shows the possibility of a new activism documentary in the 21st century.

This paper aims to examine the new landscape of contemporary French-language African poetry since the 1980s. A new generation of Francophone African poets, who have shown a distinctly different orientation from the Negritude movement since the 1980s, tried to pay attention to the fundamental issues of endless African tragedies from various perspectives. Through his concept of "The Poetry of Interference", Senegalese poet Babacar Sall reminds us that a poet's duty is to resist oblivion. In his poetical work, The Blood of the Hills, he poignantly describes the Rwandan genocide, while achieving a high level of aesthetic perfection. Following Sony Labou Tansi’s insistance on "the act of breathing" against the death and violence rampant in the African continent, Côte d'Ivorian poets Véronique Tadjo and Tanella Boni face the darkness of reality and sing for hope for the African women. Finally, Chadian Poet Nimrod does not openly reveal the death and suffering of Africa, but draws a new poetic landscape that is overlapped in his memory while crossing the borders of the continents with a delicate sense of nature and a keen eye for reality.

This paper analyzes the intertextuality, the semantic relationship of multimodal texts. Complex style text refers to text that comprises a single text with character text and text in various other forms. In one text, disparate texts coexist, interact, and form a complete text. We looked at how these multimodal texts form a semantic relationship and interact within a complete text. The semantic relationship between multimodal texts, which is the core part of this paper, is based on the theory of intertextuality, which refers to the semantic relationship between texts. China's People's Daily, where various complex texts appeared, was used as language data, and the types of complex texts shown here included photographs (pictures), graphs, and QR codes, excluding character text. The intertextuality with each type of character text was analyzed. Finally, in this paper, we also examined the intertextual notation of complex style texts. In this paper, the intertextuality of complex style text was examined by limiting it to the scope of newspaper report text. Since it is self-evident that complex style text is also a textual phenomenon, it is expected that the individuality and universality of various types of text will be studied further in the future.

This paper summarized the cases in which Korean literature was translated and published in Japan in the 1970s, and it examined the significance of translation and publication of Korean literature in Japan, with a focus on 󰡔an anthology of modern Korean literature󰡕 published in all five volumes from 1973 to 1976. Unlike ordinary translations, publication of this collection was organized and edited by the Korean publishing capital and writers, who wrote the starting words, and then it was sent to Japan, where the arrival words were written. It is considered to be the first case of introducing works published after the 1950s on a large scale under the title of “Korean Literature”, and not “Chosun Literature”, which was the commonly used title in Japan in the 1970s. The political color of Kim Ji-ha's literature, which was spotlighted in Japan in the 1970s, was not strongly revealed in this collection. Unlike the Korea-Japan Solidarity through literature, the publication of 󰡔an anthology of modern Korean literature󰡕 originated from an attitude to unilaterally inform Japan about the Korean sentiment. The significance of publication of this anthology is related to the fact that Japanese literature welcomes the minds and emotions of modern Koreans through translation and publication, and not through a literary "solidarity" method. Japanese literary circles and readers did not respond significantly to the purpose of the Korean publishing capital and writers to inform Japan about the "literary output" of Korea. However, the Japanese side welcomed the practice of translation that allows modern Koreans to understand not only the political situation but also the reality caused by the Korean history and modernization. After publication of the collection, translations and publications of modern works began to increase in Japan under the title of “Korean Literature” and not "Chosun Literature." It can be said that publication of 󰡔an anthology of modern Korean literature󰡕 was the basis for the popularity of “Korean literature” in Japan today.

In the American culture at the height of neoliberalism, ethnicity has been understood as something to be overcome and left behind in the past. Different from this trend, the question of ethnicity finds its way into the heart of performative utterances, as observed in Asian American theater and performances written in the wake of the 2008 financial crisis. This essay examines the extent to which ethnicity contains plural forms of life without denying ethnic differences by focusing on David Henry Hwang's Chinglish and Young Jean Lee's Straight White Men. These plays do not feature Asian American characters on stage, but through a series of "likeness," they address ethnicity within a scene of plurality rather than as immanent to the individual. In the essay, such capacious thinking about ethnicity is called "ethnicity-in-common." By analyzing the instances in which the performative force of one’s ethnic presentation does not work or is unintentionally at work, the essay explores a time-space yet to come in which the language of ethnicity makes us imagine and inhabit plural forms of life.

This study aimed to find an answer to the problem of mural communication, which has been regarded as a representative public art genre, under the circumstance of lack of interactivity of murals. Therefore, we attempted to provide an alternative direction for the domestic mural village project to plan a mural communication strategy through a plastic semiotic analysis of Mexican murals, which have been actively conducting mural communication since the ‘Mural Painting Movement’ in the 1920s. This study focused on the analysis of plastic elements, such as ‘frame’ and ‘framing’, which are considered as the elements of plastic sign, to understand an interactive communication strategy of Mexican murals in relation to spatiality. As a result, this study found that Mexican murals actively use frames and framing strategies that take into account the spatiality of each public space and gaze of the audience. It was also found that Mexican murals use a communication strategy that encourages participation of the audience; the audience, in terms of the relationship between the mural and the identity of the place. Based on the above research results, this study could propose a plastic semiotic mural communication strategy that considered the interaction between murals and the place where the murals are installed, the interaction between the place where the murals are installed and the visitors to this place, and the interaction between the visitors as audiences and the murals.