• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.2
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• pp.82-91
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• 2013

This study was performed in order to analysis the landscape change and cause of scenic sites and surrounding environment is located in the Urban Residential Area since modern. The study was carried out using of field observations, literature review, cadaster map analysis from 1962 to 2010, and survey. It trace about Seongnagwon, Mapo Choi Sa-Young's old house, Seoul Seonjamdanji, Seoul Hanyang castle and those can be process of change per period. Also, it examine to original view of cultural assets and analysis about lots alteration with landscape alteration. Seongnagwon has original view which constructed the Songseokjeong and pond in 1954. Mapo Choi Sa-Young's old house has original view that move to Sungbook-dong and restore an old house. Seoul Seonjamdanji has it define original view that remained ruins by 1960's development. Seoul Hanyang castle has original view that stone fortress. Seongnagwon's landscape was changed by institutional factors. Mapo Choi Sa-Young house's landscape was changed by society economic factors. Seoul Seonjamdanji was changed by society economic and institutional factors. Seoul Hanyang castle was changed by technical and institutional factors. Generally cultural heritage of Sungbook-dong was changed by institutional and society economic factors. It is guessed that Seoul urban planning influenced Sungbook-dong development. The establishment of capitalistic economy system was backgrounds to it. Therefore, it expect to realized desirable landscape alteration that recognized potential value as culture resources.

• 한국HCI학회:학술대회논문집
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• 2007.02b
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• pp.670-677
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• 2007

본 연구는 기존의 미디어 연구 내에서 시각미디어에 비해 상대적으로 그 중요성이 간과되어 왔던 음악미디어에 대한 계보적 접근을 통해서 MP3의 사회문화적 의미를 고찰해보는 시론적 성격을 가진 연구다. 이러한 분석을 위해서 고립주의적인 미디어 연구와는 달리 미디어 사이의 상호관계적인 맥락에서 미디어를 파악하는 미디어 재매개 이론을 이론적 기반으로 해 MP3에 대한 분석을 시도한다. 이러한 연구의 결과로 본 연구에서는 음악미디어의 재매개 과정을 소리의 비매개성과 인터페이스의 하이퍼매개성이라는 이중 논리로 분석했다. 또한 음악미디어 재매개의 관행으로 이동성과 사사화라는 측면에서 MP3가 기존 음악미디어들이 가지고 있던 '이동성과 사사화'에 '밀도의 심화'를 가져왔다고 밝혔다. MP3의 시공간성은 음악미디어의 청각적 시공간성과 모바일 기기들이 가지는 모바일 시간성의 융합을 통한 '모바일 음악 시공간성'으로 개념화 했으며, MP3의 사회적 물질적 차원의 재매개를 통한 듣기 체계의 변화는 저작권 문제와 음악가들의 지위의 변화의 차원에서 고찰되었다.

• Proceedings of the Korean System Dynamics Society
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• 2000.02a
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• pp.61-96
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• 2000

“다운사이징은 조직의 기술혁신에 어떠한 영향관계를 형성하면서 순환하는가？” 80년대 미국의 기업들이 다운사이징의 열풍을 건너면서, 90년대에 들어 국내의 기업들도 다운사이징 및 해고에 대한 정당성을 지속적으로 피력해 나갔다. 사회적 거부감의 팽배로 인해 본격적인 실행조치를 취하지는 못하던 중에, IMF 체제로까지 물려나간 기업들은 마침내 본격적으로 다운사이징을 실행 화하기 시작하였다. 기업이 다운사이징을 한다는 것은 해당기업은 물론이고 이해관계자, 정치영역, 사회전반체계 등에 지대한 영향을 미친다. 특히 국민정서가 개인주의가 아닌 공동체의식이 발달해있는 문화권에 속한 우리의 사정에서 그 영향력은 훨씬 더 막대하다. 수많은 논쟁들이 다운사이징의 정당성을 놓고 치열하게 진행되고 있다. 국내의 기업들이 겪고 있는 상황은 구태여 어떠한 자료를 제시하지 않더라도 그 생존에 대한 절실함은 이미 잘 알려져 있다. 한보파동, 기아사태, 대우사태로 연결되고 있는 기업들의 생존문제는 다운사이징의 정당성 문제를 이미 공리 화시키고 있다.(중략)

• 중국학논총
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• no.71
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• pp.131-149
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• 2021

The Oriental thought does not stay in self, society, or state, but goes further to expand its bounds as "Chunha(the World, 天下)", which is not just the spacious expansion but the moral expansion. It provides a clue to overcome the limitations of the Western international political thought resulting in nationalistic tendencies. Such a cosmopolitcan orientation in the East can be found in the concepts of "Wangdo(Just Way, 王道)", "Yinjung(Benevolent politics, 仁政)", which make Hua(harmony, 和) its essential characteristics. If the East Asian community is formed, it should be based on universal principles that all East Asian citizens can sympathize with from below, not in a one-sided and coercive way. In this regard, the formation of "Sahaeyilga(四海一家, We are the world)", the "Chunha天下" based on the philosophy of the peace seeking 'similarity' in 'difference', can provide philosophical clues to resolve the conflicts and contradictions of the current isolationalist and confrontational international situation.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.315-347
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• 2019

(1986) and (1987) represent the society of 1980s in which the professional baseball game was initiated to cover the irrational military culture. The love and marriage of sports players were the headlines of the media, and the yearly salary of the players was the hottest issue of conversation. The military culture is represented in the scenes where the coaches train the failures and inapt players in extreme drills. The films pinpoint the absurdity of military culture and win-at-all-costs mentality. The collapse of the dictatorial leadership at the end of the films is a metaphor for the collapse of the fifth Republic of Korea. The episodes where the players talk about contract money, and the trade of players and sports business were a new phenomenon of the 1980's. The fact that Oh Hyesung of chooses love instead of victory deals a big blow to the secular ambition for money, victory and dictatorial leadership. His option provides catharsis for an audience oppressed under military leadership and success driven ideology. On the other hand, Oh Hyesung of dies right at the moment of winning the world champion. He achieves neither love nor success. While Oh Hyesung of is a symbol of pure love and gives spiritual comfort to the audience, Oh Hyesung of gives a sense of hopelessness to the audience. Both of the two sports films reflect the representation of the 1980's but received opposing reviews from audiences.

• The Journal of Korean Philosophical History
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• no.23
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• pp.393-421
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• 2008

This thesis has an intention to reorganize the topic of Ontology that has not unnoticed, investigating the symbolic signs of Zhuxi. The symbols in Ontology visualize in an anthropomorphic form or a form of animals that we can usually find in the nature. The visible symbols have characteristics of the dynamic rather than the stillness. The symbols of human and a horse have developed as different interpretations depending on the relative importance. The movement of stream symbolize the Movement of Daoti that manifests thorough all things in the Dao and have a structure of 'Ti-Xiang-Yong'. The Substance of Metaphysics embodies an action thorough 'Metaphysics' or 'with Metaphysics'. Accordingly, 'a stream' symbolizes 'the Movement of Daoti' in that it manifests the form of Daoti makes body. A kite and a fish symbolize the form of a kite flies up into the sky and the shape of a fish plays in the pond. These not only represent an outlook on the world, but also symbolize the stage of the Movement of Daoti. 'Human', 'a stream', 'a kite' and 'a fish' include activeness, domination, dynamics, manifestation, visibility, naturalness.

• Korean journal of communication and information
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• v.59
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• pp.116-137
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• 2012

What is 'nation' and 'nationalism?' What does 'korean nationalism' mean? And how is korean nationalism represented through a chain of films called 'the korean blockbuster films?' The purpose of this study is to answer to these questions. The characteristics of the korean blockbuster films have been studied for quite a long time and the researchers have agreed with the context about nationalism in a large sense. However, majority of the studies ends up in the journalistic or impressionistic criticism without any theoretical discussion. Few theoretical criticisms also have founded on the formation process of nation of the Western Europe and their nationalism. Hence I would like to add the discourse of korean nationalism and to seize more accurately the social/cultural/historical peculiarity of the korean blockbuster films. In addition, as non-nationalist narratives have recently emerged, korean blockbuster films are entering to the evolution process. On this, the significance of this study seems to exist in providing a cornerstone to the expected evolution theory of the korean blockbuster films by means of complementation and reestablishment of nationalism of their first generation. and , presenting socio-historical peculiarity of the Korean nation, are examined by the close textual analysis.

• The Journal of the Korea Contents Association
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• v.17 no.12
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• pp.272-280
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• 2017

This article compares the content of a Korean movie, Miss Granny, and its Chinese adaptation, 20 Years-old Again. Popular in both countries, two movies are based on a same synopsis with similar characters and plots. With similarities, they also display differences originating from distinct social, cultural, and political conditions in each society. Firstly, Miss Granny displays women in Korea closer to mother figures than any other social roles, while 20 Years-old Again does more individualized and sexually active female images. Secondly, the former shows Korean men as the heads of houses in the Confucius tradition, but the latter does Chinese men more demoted and democratized. Thirdly, the former depicts the Confucius social caste system still surviving against oblivion, as the latter does the system being able to be overcome by serving the country. As main reasons of these differences, this article takes historical, social, and cultural differences that both societies have experienced from the early $20^{th}$ century.

• Korean Journal of Culture and Social Issue
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• v.12 no.2
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• pp.21-43
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• 2006

This study was conducted to explore college students' implicit identification with others powerful or powerless, and implicit association of self-enhancement & authenticity with their relationships with others powerful or powerless. The study was based on measuring 3 sorts of IAT: an explicit identification test, RWA, & RISC. The results were summed up as follows: Students identified their selves with others more powerful than others powerless; expressed self-enhancement when they were with powerful others; and associated 'true' with relationship with others powerful. Men with high RWA & women with low RWA identified their selves more with others powerful; low RWA & high RISC groups' associated relationship with others powerful to 'true' and others powerless to 'false' more rapidly. These results were discussed in terms of structure of authoritarianism, SEM, relationship with others powerful and powerless.

• 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.