다중적 국경경관(Multi-scalar Borderscapes)과 접경의 재현정치

Abstract

This paper noted the politics of representation of multi-scalar and multilateral borderscapes to examine the possibility of contact zones as research texts and a methodology. The process by which borderscapes make thought about borders multi-scalar and multilateral makes them see contact zones as an alternative space and dynamic frame of thought that clearly reveals the limits of national, ethnic, and dichotomous thinking.<BR>Borderscapes exist in the borderlands and at the same time make the border and borderlands exist away from it. Art Hotel Re:maker recently installed in Goseong is an example of the former, the documentary film All live Olive with the West-Eastern Divan Orchestra is examples of the latter. Art Hotel Re:maker transforms the national and security-oriented borderlands’ landscape into a multi-scalar and multilateral platform. Orchestra and documentary film also acquire the meaning of borderscapes as devices for revisiting borders and representing transboundary life by infiltrating borders or borderlands into the daily life of everyone in the world. This aspect of existence of the borderscape extends the borders to contact zones with the borders and suggests the possibility as a methodology seeking liberation from borders.<BR>The contact zones study is distinguished from the existing border study in that it distances the border from the existing marginalized image. Multi-scalar bordercapes make contact zones into nearby subjective place rather than distant other’s space, and approach the possibility of contact zones as a methodology by juxtaposing the origins of pre-border and the future of trans-borders. Contact Zones research and contact zones as a methodology are closely linked with social practice that eventually discovers multi-scalar and multilateral borderscapes and creates a variety of platforms for reciprocating the values of reconciliation and coexistence.