{"title":"错位的身体:第四群体与威权主义韩国的行为艺术","authors":"Adela Kim","doi":"10.1086/718491","DOIUrl":null,"url":null,"abstract":"On one balmy evening in July 1970, two men appeared in Myeongdong, a bustling commercial district in Seoul, South Korea. In their button-up shirts, the men—Chung Chan S. (Chŏng Ch’an-sŭng) and Ko Ho—might have blended in with the workforce returning home for the day. Yet the pair wore placards around their necks, conspicuously drawing attention to themselves in a society that valued conformity above all. The sign upon Chung’s chest asked, “With what do you","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The Misaligned Body: The Fourth Group and Performance Art in Authoritarian South Korea\",\"authors\":\"Adela Kim\",\"doi\":\"10.1086/718491\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"On one balmy evening in July 1970, two men appeared in Myeongdong, a bustling commercial district in Seoul, South Korea. In their button-up shirts, the men—Chung Chan S. (Chŏng Ch’an-sŭng) and Ko Ho—might have blended in with the workforce returning home for the day. Yet the pair wore placards around their necks, conspicuously drawing attention to themselves in a society that valued conformity above all. The sign upon Chung’s chest asked, “With what do you\",\"PeriodicalId\":43235,\"journal\":{\"name\":\"SOURCE-NOTES IN THE HISTORY OF ART\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2021-09-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"SOURCE-NOTES IN THE HISTORY OF ART\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1086/718491\",\"RegionNum\":3,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"SOURCE-NOTES IN THE HISTORY OF ART","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1086/718491","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
引用次数: 0
摘要
1970年7月一个温暖的夜晚，两名男子出现在韩国首尔繁华的商业区明洞。身穿系扣衬衫的陈钟s (Chŏng Ch 'an-sŭng)和高浩(Ko ho -音译)可能已经融入了下班回家的工作人员之中。然而，这对夫妇在脖子上挂着标语牌，在一个重视一致性高于一切的社会中引人注目地吸引人们对他们的关注。钟胸前的牌子上写着:“你用什么?
The Misaligned Body: The Fourth Group and Performance Art in Authoritarian South Korea
On one balmy evening in July 1970, two men appeared in Myeongdong, a bustling commercial district in Seoul, South Korea. In their button-up shirts, the men—Chung Chan S. (Chŏng Ch’an-sŭng) and Ko Ho—might have blended in with the workforce returning home for the day. Yet the pair wore placards around their necks, conspicuously drawing attention to themselves in a society that valued conformity above all. The sign upon Chung’s chest asked, “With what do you
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