• The Journal of the Korea Contents Association
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• v.14 no.3
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• pp.113-124
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• 2014

Ah! My Goddess has impressive narrative structure including a "narrative as a discourse," a "narrative as a story" and a "narrative by narrator": in a narrative as a discourse, North and South Korean soldiers make friendship; in a narrative by a narrator, main characters (including Sun-ho, Seok-gu, Ju-hwa, Chang-seop and Dong-hyeon) appear in the outer story and narrate the inner story of characters (including Dong-hyeon, Goddess and Seok-gu) within the frame of a play within a play; and in a narrative as a story, reality and fantasy intersect by the appearance of the "Goddess." This narrative structure contributes largely to 1) the character formation of space, 2) the strategic minimization of the stage, 3) the multiplicity of main characters, 4) the repetition of similar life story, and 5) the flexible change of a point of view. And the musical number serves as dramatic functions such as 1) pursuing the multiplicity of characters, 2) maximizing the effect of the expression of tragic feelings, 3) drawing audience's interest by irony and fantasy, 4) evoking the nostalgia for delicate feelings and pure wishes, and 5) ordinary female characters' playing the role of healing and salvation, thereby contributing to the reconstruction of reality and the style of fantasy.

• 한국HCI학회:학술대회논문집
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• 2007.02b
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• pp.737-742
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• 2007

The concept of 'Picturing' is beyond the 'Illusion' of traditional art in the Digital Media era. It is a 'Suffering' of the 'Re-appearance' that is masquerade the 'Actual' as a 'Digital Apparition.' This study aims to concern the point of view on the above subject; the 'Picturing' through the analysis of communication problems in the digital era. To begin with, need to define the concept of 'Picturing' and how it is expected to have a role through the accessibility of medium use, intervention by body and images. Also, I suggest a new approach to 'Picturing' as a new mutual communication method. Body, Digital media, and Image. These three principles of 'Picturing' create huge benefits to our world/nature whether we want it or not. It seems to become more and more of powerful self-replicating organism. We have to be aware what sort of images are surrounding us and how transmitting it to where in/on our body via newest sophisticated media we use. 'Picturing' is an invasion of ordinary, no longer exists pleasure for body, no longer speaks intension of its next destination. It strongly self-grows and also controls us in the name of Digital media era. However, 'Picturing' is a mode of re-imaging activity and also suggestion of re-appearance practice.

• Journal of the Korean association of regional geographers
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• v.17 no.2
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• pp.181-203
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• 2011

Transformation towards multicultural society requires discussion on new concepts of citizenship which would overcome some limits of national citizenship developed on the basis of the nation-state. Citizenship can be defined as a relationship between individuals and their community, and conceptualized in a relation with identity. Citizenship also includes its spatial elements such as site and movement, place and public/private space, boundary and territory, flow and network, level and scale, etc. and in particular implies a multi-scalability of local, national, and global level. A new discussion on citizenship has emerged in Japan in shift to multicultural society, especially focusing on activities of local governments and grassroots social movements to support and ensure welfare services to and human rights of foreign immigrants in local communities, hence develops a concept of local citizenship. This concept seems to be highly significant for both foreign immigrants and Japanese dwellers for multicultural coexistence, but raises serious problems of separating local citizenship from formal national citizenship and from universal global citizenship. In order to resolve these problems, a new multiscalar concept of glocal citizenship which links interrelationally local, national and global citizenship. The concept of glocal citizenship is suggested to lead academically a new version of cosmopolitanism which embraces the universal and the particular in a dialectic manner, and to give strategically an alternative to multicultural coexistence policy and discourse and local citizenship discussion in Japan.

• (The)Study of the Eastern Classic
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• no.62
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• pp.209-229
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• 2016

This thesis is to discover the meanings of boundary through East Asian thought so as to make rooms for discoursing on it. First of all people have their own boundaries of 'Me', and they make others as persons or objects in their thoughts. Originally boundary has represented nation's frontier, and it indicated the worlds of space in Buddhism of East Asian culture. It is represented by loka or visaya in Sanskrit and region, dominion, boundary, border in English, which means the worlds that people would fancy in their minds over domains of politics, societies, culture, arts ect, not to be simple. Accordingly we must not approach to its meaning simply like 'beyond border'. There are many boundaries, which are similar to the sublime, for us to arrive in our lives. Spiritually there are also many boundaries(regions) that are made by our desires, wills and concepts. In a while there are limit or problem in our recognizing things, for example, of human's five senses that would be, to an extent connected with Buddhistic understanding of boundaries. Boundaries resulted from partiality in understanding of objects must be got rid of eventually. In regard of these matters, this thesis discusses the meanings of boundary, those that are inevitably made by human's consciousness, and negative ones to be got over from recognition systems of person or any groups.

• Cartoon and Animation Studies
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• s.33
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• pp.223-246
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• 2013

Even though cartoons and narration comics were born from different origin, they have been called by names such as 'cartoons' or 'comics'. The reason can be found in the similarity of cartoons and narration comics. The similarity of cartoons and narration comics is the genre consisting of writing and drawing. Writing can be the format of expression and it can represent the story. Such story is present as a component of 'narration'. Sub genre of comics includes cartoons and narration comics. It includes animation in a broad range. In cases of narration comics and animation, it is thought that narration is present with continuity of time. However, in case of cartoon, because one or two cuts without continuity of writing are frequently expressed, it is being asked whether narration is present. It is easy to be reminded of epic or chanson de geste whenever you hear 'narration'. Since it deals with a biography of the character, we think the concept of 'narration' with temporality. However, narration provides a certain event in a broad range. Thus, cartoons presenting one event with the image may have the existence of narration, because description of multiple scenes of narrative comics can be implicitly represented in cartoons. As such implications leave a space, the empty space can be filled by active reasoning of recipients. However, nevertheless, it is very difficult to find studies as well as mentions of narration in cartoons. Thus, in this paper, we investigate the concept and structure of narration and demonstrate the presence of narration in cartoons. First of all, we looked at the narration theory in literature before studying narration in cartoons. The reason is that we thought the approach to the literary theory was required in order to investigate the basic elements, since cartoons are a collection of writing and drawing. We were focused on the prerequisites of narration presented in "story and discourse" of s. Chatman. If the prerequisites of narration are present, we can assume that the narration is present. The prerequisites are 'narration reasoning', 'screening', 'consistency', 'process statements' and 'stasis statement'. As s. Chatman described them as prerequisites of narration, he analyzed the narration structures of films and novels. In addition, we revealed that the narrations were present in cartoons as we identified how prerequisites of narration presented by Chatman were presented and expressed through "vocabulary of comics", "Timeframe" and "life in the line" described in "understanding comics" by Scott McCloud.

• Journal of Science of Art and Design
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• v.11
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• pp.109-152
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• 2007

This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.

• Journal of the Korean Institute of Landscape Architecture
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• v.42 no.1
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• pp.27-40
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• 2014

The functions of urban open space, which embraces community revitalization, are diverse. It is the means of public healthcare, learning centers for children, hub of arts and cultural programs, as well as promoter of urban tourism. However, in-depth discourse and research on the topic of urban open spaces has been limited so far. Hence, this study aims to investigate the motivations and satisfaction of visitation based on four representative waterfront open space in Seoul; Cheongyecheon Waterfront, Seoul Forest Park, Seonyudo Park and Banpo Hangang Park. The methods of study are literature review, observation investigation, and questionnaire survey. The findings are analyzed through the Exploratory Factor Analysis, Reliability Analysis, ANOVA Analysis and Regression Analysis by SPSS 18.0. The results of the study are as follows. First, urban waterfront open spaces in Seoul has 5 factors of visitor motivation; community amenity, nature access, cultural and educational assets, aesthetic enjoyment, and lastly means of escape. Second, factors of recognizing urban waterfront open spaces as community amenity and nature access indicate meaningful differences in visitor's perception by spatial characteristics. Third, distances between the destination and the visitor's residence influence significantly their perceived motivation. Close-range visitors perceived nature access as a principal factor, whilst medium to long-range visitors perceived visitation for aesthetic purposes more importantly. Lastly, the will to escape was shown as the influential factor in visitor satisfaction. Visiting open spaces for the enjoyment of nature and aesthetic purposes were factors that also closely relate to visitor satisfaction. In addition, it was found that there are different visitor motivations that influence visitor satisfaction in accordance with the spatial characteristics of each open space. In summary, it can be said that urban waterfront open space is a hybrid space connected to various types of urban contents beyond daily experiences. It was found that several visitor motivations including community development, design aesthetics, education and culture, entertainment, enjoyment of natural landscape, and relaxation, affect the overall satisfaction of the visiting experience. It is anticipated that the results of the study will be used by the local government in setting up strategies for the creation and management of successful urban waterfront open space, and for those involved in planning and design act as a starting point for spatial programming and amenities arrangement in accordance to the city's tourism and urban marketing approach.

• Journal of the Korean Society for information Management
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• v.19 no.1
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• pp.89-114
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• 2002

Information technology. computers, networks, and the World Wide Web are ubiquitous. Academic libraries have applied information technology over the last ten years. The traditional role of the library as the scholarly information heart of the university is being questioned as information technology makes Information ever more easily accessible. And the recent technological development may alter the fundamental concept or identity of the academic library in the twenty-first century. This paper examines the ways in which information technology have chanced the academic library over the last decades and deals with the logical interrelation of 'information technology' and 'management' in the context of academic libraries in Korea. The purpose of this paper is to analyse the impacts of information technology on academic library management (organizational structure. librarian's job and role. budget allocation and expenditures, space planning and functionality, collection paradigm, user service, academic entity, etc) and suggests a desirable acceptance attitudes and efficient management acceptance attitude and management.

• Informatization Policy
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• v.17 no.4
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• pp.23-43
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• 2010

Informatization in Korea has undergone significant changes. So far, most studies on informatization policies have been carried out just on the basis of their structural or functional backgrounds. However, actually, informatization policies have changed dynamically as a lot number of people and organizations have participated in their formulation and implementation. So, this study approaches them with an actor-network view that is distinct from but contains a chronological perspective, which other studies have overlooked so far. This approach allows us to have a clear picture of the changes in and to look into the characteristic of informatization policies from the Chun Doo Hwan government to the Lee Myung-bak government. Consequently, on the basis of the actor-network view, it is found that information and communication technologies, knowledge, and professionalism have dominated the characteristics and streams of informatization policies and brought about changes.

• Journal of the Korean Geographical Society
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• v.32 no.4
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• pp.527-540
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• 1997

이 글에서는 해외지역연구에 있어 세계와와 관련한 여건 변화, 지리하계의 동향, 그리고 21세기의 새로운 지역연구에 지리학의 역할이 어떠하여야 할 것인가를 살피고자 한다. 해외지역연구는 2차대전 이후 미국을 중심으로 발달하였다. 냉전기에 세계적 우위를 유지하고 국익을 보호하기 위하여 외국 현지어 구사 능력을 포함한 해외 정보 수요가 늘어 지역연구의 발달을 보게 된 것이다. 이러한 배경 때문에 지역연구는 개성기술적(ideographic)성격을 띠게 되었다. 요즘에는, 지역연구가 주로 초국적기업, 국제 경영대학원 등을 중심으로 이루어 지고 있다. 새 지역연구는 해외시장정보 수집 등 경제적 동기로 이루어지고 있어, 경제적으로 편향되는 취약점이 있다. 세계화는 요즘 하계의 화두(話頭)로, 세계 경제와 사회에 일고 있는 이 변화를 바로 이해하는 것은 향후 지역연구의 방향을 정립하는데 매우 중요하다. 세계화는 세계 어디서나 똑같이 일어나는 동질적인 현상이 아니라, 매우 다양하고 여러 의미가 담긴 현상이다. 마치 동전에 양면이 있듯이, 세계화는 수렴과 분화를 동시에 일으키고 있는 것이다. 따라서, 국경을 개방하고 장애를 없애 하나의 동질적인 세계시장환경을 지향하는 신자유경제 논리에 바탕한 지역연구는 설득력이 약하다. 지리학이 지역연구에 기여하기 위해서는 다음과 같은 노력이 계속되어야 한다. 첫째, 해외지역을 이해하려면 공간(space)과 장소(place)연구가 필수적이라는 점을 인식하고, 둘째, 인간과 환경의 상호작용 관점에서 지리적 차이를 파악하려는 노력이 필요하다. 셋째, 지리학은 이론정립 노력을 계속해야 하며, 넷째, 그 이론들은 해외지역의 현장답사와 정보수집을 통하여 검증되어야 한다. 지리학은 일찍부터 도시, 농촌 등 미시적 수준의 연구를 수행해왔기 때문에 경험적 연구에 강하다. 다섯째, 정부와 기업 등 조직에 대한 지리학적 연구가 이루어져야 할 것이다. 경제활동 분포에 대한 조직의 역할, 소유권에 대한 정부의 규제, 생산 조직의 환경 영향 등의 연구가 그 예이다. 여섯째, 지리학의 발달을 위하여 국가, 국제적 학술 기구를 활용하는 전략이 필요하다. 국제지리학연합(IGU)에서 개발한 지리교육과정, 미국National Research Council에서 세계지리에 밝지 못한 국민을 대상으로 펴낸 지리서 등이 그 사례이다. 지역연구는 사회과학 이론과 문화연구가 서로 접목되도록 새롭게 방향이 설정되어야 하며, 지리학의 인간-환경 연구 전통이 여기에 기여할 수 있을 것이다. 그러나 지리학의 역할이 효율적이기 위해서는 지리학 자체의 담론을 다시 확립해야 한다. 지리학계에서 지난 20여년간 추구해왔듯이 일반적 법칙을 지향(nomothetic)하는 접근법을 활용해야 하며, 여타 사회과학 및 환경과학과도 긴밀한 관련을 유지할 필요가 있는 것이다.