ABSTRACT The commemoration of whaling is a recent form of consumer culture in the Korean city of Ulsan, where the utilisation of the Bangudae Petroglyph as the emblem of the city is part of a wider process of re-modernisation in Korea. Starting with the concept of re-modernisation, developed by Ulrich Beck, I consider the extension of the concept by Bruno Latour, who has endowed it with a materialist emphasis. From the Latourean perspective, the petroglyph can be viewed as a non-human actor (‘quasi-object’ or ‘actant’) that allies with other actors (such as humans and whales) to create far-flung material networks. I present evidence from the re-enactment of a Neolithic Era whale hunt at a tourist festival to argue that the Bangudae Petroglyph is not merely a representation of whaling, but a portrayal of the relation between past and present which is crucial for sustaining the social solidarities of industrial capitalism in South Korea. From this study, I suggest that purposive nostalgia, the human desires and moralities that motivate human actors to seek the revival of modernisation, exercises a more powerful influence over the work of mediation in comparison to the weaker influence of non-human actants.

中文翻译：

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Bangudae Petroglyph：韩国工业城市的捕鲸和再现代化

摘要 捕鲸纪念活动是韩国蔚山市最近的一种消费文化形式，在那里使用盘龟台岩画作为城市标志是韩国更广泛的再现代化进程的一部分。从 Ulrich Beck 提出的再现代化概念开始，我考虑了 Bruno Latour 对这个概念的扩展，他赋予了它唯物主义的强调。从 Latourean 的角度来看，岩画可以被视为一个非人类的参与者（“准对象”或“行动者”），它与其他参与者（例如人类和鲸鱼）结盟以创建遥远的物质网络。我提供了在旅游节上重现新石器时代捕鲸活动的证据，以论证盘龟台岩画不仅仅是捕鲸的代表，而是对过去和现在之间关系的描绘，这对于维持韩国工业资本主义的社会团结至关重要。从这项研究中，我认为，与非人类行为者较弱的影响相比，有目的的怀旧，即激励人类行为者寻求现代化复兴的人类欲望和道德，对调解工作的影响更大。