• Journal of the Economic Geographical Society of Korea
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• v.5 no.2
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• pp.157-174
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• 2002

This study aims to examine the structure and meaning of the perception of rural amenity which rural and urban residents have. Many Lickert scaled questions measure how much important the respondents think about the various items related to rural amenity respectively. It reveals that there is not meaningful difference in the relative importance among three upper dimensions composing the construct of rural amenity, historic-cultural dimension, natural environmental dimension and living condition dimension. This means that our respondents are not willing to pursue historic-cultural aspects and natural environmental aspects at the risk of living condition being able to enjoy comfortable and affluent opportunities. And also, this results reveals that people might have a quite different perception compared with academic discourse putting much weight on historic-cultural dimension and natural environmental dimension.

• Journal of architectural history
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• v.25 no.6
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• pp.73-80
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• 2016

A discourse on the Independence Hall of Korea, a representative cultural project of the 1980s, has been understood as a repetition of the traditional debate of the 1960s. It was considered as a petrified propaganda aimed at ensuring the fragile legitimacy of the military regime, and the architect as a sympathizer. Even if all these facts are true, it does not give any explanation for the architecture. Scrutinizing the building process and the change of discourse in the Independence Hall of Korea, this paper tries to explore a section of contemporary Korean architecture in the 1980s. The architect who designed the Independence Hall of Korea is Kim Kiwoong, however, it was Kim Won who took charge of overall scheme for it. Kim Won replaced the role of a technocrat in the 1960s, who deprived architects of his autonomy. Against this backdrop, Kim Kiwoong attempted to explain his own building via various concept like postmodernism, which gave him very proper context. But, later, he appropriated words like void and madang. These derived from some architectural historian's researches in 1970s, and were to predict the architecture of the 1990s.

• The Journal of the Convergence on Culture Technology
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• v.7 no.2
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• pp.261-267
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• 2021

The enlightenment project raised in both Korea and China during the modern period worked as a part of the patriotic enlightenment movement against the imperial powers. Among them, "boy" appeared as the subject of enlightenment, and "sea" appeared as a medium. Specifically, through "Boy Discourse," Liang Qi Chao ultimately envisioned a nation for "subjects", and Choi Nam-seon also seeked to overcome the national crisis as "New Korea" and join the ranks of powerful nations. Liang Qiqiao proposes the concept of a "Boy Nation" and an "Old Nation" through boy discourse, and wishing for the development of the "Boy Nation" through "proficiency training". Choi Nam-seon also recognized that the future of the nation depends on "boys", influenced by Liang Qi-qiao's discourse on boys, and argues that Choseon should cultivate skills to become a "Boy Nation". In addition, Liang Qi-chao and Choi Nam-seon actively spread the "boy discourse" through the creation of poetry. Liang Qi Chao introduced the world's geography and history through poetries related to the sea, while at the same time inspiring a sense of challenge to recognize and pioneer the sea as a pathway that connects the world in a broad sense. Namseon Choi also created a poem that directly linked "the sea" and the "boy" to promote the "adventure at sea" and "the progressive spirit of the sea and the boy".

• Cross-Cultural Studies
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• v.43
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• pp.377-404
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• 2016

In this paper, I intend to focus on the 1991 racial tension and violence portrayed in Anna Devear Smith's book Fires in the Mirror, which was published in book form in 1993. I make use of a series of interviews with many of those involved in the conflicts, which were based on the Jewish Holocaust and the history of African American enslavement. In Crown Heights, the black community and the Jewish community have each suffered terrible losses, but individuals and communities become rhetorically attached to foundational historical traumas that lie at the center of each group's cultural identity rather than try to understand each other's pain. Smith lets this rhetoric dominate Fires in the Mirror by putting contradictory monologues side by side in order to show how discourses on 'slavery' and 'the Holocaust' still have control over specific ethnic communities. My intention is not to delve into the conflict between the Jewish and black communities exclusively. Rather, I attempt to form an understanding of the problems of the critical/theoretical tenets proposed by 'the rhetoric of holocaust,' including the Jewish Holocaust and the black experience of enslavement. Such an understanding will help us see the failure in the theories, illuminating the ways that such rhetoric should have recognized its own violence and helped to forge a new relationship between racism and anti-Semitism. Fires in the Mirror mirrors back to us the ways that 'the Holocaust' betrays the possibility of error to indicate its own susceptibility to blindness. The cracks brought forth by conflicting narratives enable readers to observe wounds being healed and the possibility of new narrative looming up.

• Journal of Korean Library and Information Science Society
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• v.46 no.1
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• pp.135-154
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• 2015

The objective of this study is to analyze such discourse as mission statements and objectives, goals, and strategic plan of iSchools. Educational changes created by the digital reality and prevalent information systems and computers became an increasingly important part of library and information science. As a result, library and information schools joined iSchools as the cooperative effort to advance and to understand the rapid changes. These positioning validated the missions, objectives, goals of iSchools and thus an analysis of these documents can lead the way to the future of LIS education. For this job a qualitative analysis were performed to scrutinize the awareness of, support for and involvement with the field among key constituencies.

• Korean journal of communication and information
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• v.50
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• pp.73-93
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• 2010

This study examines the characteristics of Korean journalism ethics as job ideology by analyzing the specific conditions revealed in the historical process of the construction of Korean journalism ethics, focusing on the change of social relationships which intervene in the construction of journalism ethics. By this interpretation, this study proposes the desirable directions in journalism ethics discussion and practice strategies in the journalism field. Therefore this study analyzed the historical process and the development phase of discourse in journalism ethics in which the job position of Korean journalists have changed. In result, this study found that the discourse of Korean was used for the instrumental and rhetorical means to cope with the outside pressure in the lack of occupational self-control which becomes the premise of ethics. Because of this, the Korean journalism ethics characterize the rhetorical feature of ethical code, the structured separation of practice from cognition, the conceptual confusion of responsibility from ethics.

• Cross-Cultural Studies
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• v.50
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• pp.347-370
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• 2018

This paper proposes a new direction for Comparative Literature which has been deeply Eurocentric and even colonial ever since its birth. 'Comparison' in Comparative Literature has been in fact the ideological mechanism for containing, classifying, and eventually controlling all differences in the world. Literature has naturally served as a national institution of the West at epistemological and discursive level with hidden adjective "comparative". To re-conceptualize the discipline and practice of "Comparative Literature", we need to revolutionize methodology itself based on Wai Chee Dimock's idea of "Weak Theory", Foucault's "disappearance of author", and Clifford Geertz's "thick description". "Thick description" as a methodology of comparative literature re-establishes the discipline as a field of "weak theory", defusing the centrality of linguistic identity and re-making it as a "long network" of loose and missed connections. "Thick description" poses the publicness of nation-state within "confusion of tongues", problematizes the legitimacy of modern knowledge, and puts (the western) nationalism in question. With this idea as a starting point, we can re-imagine Comparative Literature anew as a field of ceaseless discourse of longer, weaker, and thicker networks of interpretation and re-interpretation of differences.

• Journal of English Language & Literature
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• v.55 no.5
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• pp.793-820
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• 2009

The studies of correspondence between novel and nation-state, among which The Rise of the Novel by Ian Watt is supposed to be the first book, have flourished for more than twenty years, encouraged by Benedict Anderson's and Cathy Davidson's works. According to them, the novel should come simultaneously with, or after the foundation of the nation-state, and testify to its production or the emergence of its subject/citizen. This paper questions about these prepositions, trying to introduce a new paradigmatical approach, "between global and transnational historical approach," to first novels in transatlantic areas including England and atlantic coastal areas. In its complex relation to a variety of colonial, post-colonial, and transnational geopolitics, various cultural practices such as history, traveler's tales and epistolary novels can be included in the genre of the novel. The idea of the sexual contract by Carole Pateman is very useful because it helps more clearly understand the nature of relation between men and women in the capitalist reproduction, while the social contract tells about the relation between men as citizens. Unlike Freud in Totem and Taboo, Zilboorg argues that there were primordial and violent scenes such as rape before the first sexual contract. This paper will illuminate that "the rise of the novel" corresponded with the emergence of the sexual contract. In the so-called first novel Pamela, the heroine Pamela was threatened to be violated by Mr. B., and was really even confined in his cottage. Mary Rowlandson's The Captive Narrative shows that her body was confined as an English female captive, and troubled with imaginary rape by Indians which resulted in the unequal sexual contract between her and her puritan community in America. However, Leonora Sansay's Secret History in an alternative communality, which was not a nation-state, was different from both novels mentioned above, in that it shows the possibility of emancipation from their unequal marriage, the sexual contract. Therefore, it can be argued that "between global and transnational historical approach" has a possibility to provide a new vision of global sisterhood and solidarity to recognize globalized women's violence, and free themselves from the unequal sexual contract.

• Journal of Korean Society of Archives and Records Management
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• v.24 no.1
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• pp.31-46
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• 2024

This study provides a synthesis of the fundamental concepts of "art archives" and "archival art" while undertaking a reconsideration of the latter. Archival art refers to "artworks or art practices that utilize archival structures or methodologies." Accepted as a new trend in contemporary art, archival art is evaluated as a counternarrative and reconstructs histories that are marginalized and omitted from the public sphere. This approach reveals the contradictory nature of criticizing the contemporary archive from an anti-archival perspective while simultaneously presenting the archive as a core identity of the work. Given the limited research on archival art, often with potential contradictions regarding record authenticity, this study expands the concept of archival art, includes archaeological aspects, classifies types, and analyzes their characteristics. By approaching artists' use of archives from a traditional archaeological lens, this study broadens the scope of the examination.

• (The) Research of the performance art and culture
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• no.39
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• pp.457-507
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• 2019

The purpose of this study is to explore the formal and content features of the material for the Changgeuk album , which was produced and released in 1971. Changgeuk album was produced and published as a headword for "Changgeuk". However, it differs from the style of Changgeuk which is treated as a stage drama in that the narrative is developed around the commentary and dialogue in the formal aspect and the Pansori is only partially used. The styles of Changgeuk, implemented through gramophone record, radio broadcasts and television broadcasts, varied widely, unlike those of Changgeuk established in the 1930s. Pansori music wasn't the only center, and traditional performers weren't even the main members of the play. The characteristic form of the Changgeuk album is an experiment of Changgeuk that emerged naturally with radio reading and the advent of radio dramas in the 1950s and 1960s. So it is necessary to pay attention to the Changgeuk album in that it shows diverse forms of experiments conducted by Changgeuk in the newly introduced culture and media in the middle and late 20th century As for the contents of the Changgeuk album , the work embraces Lee Jong ik 's novel (1957), but develops the narrative centering on the life of Saint Sa-myung(四溟大師). And it is faithfully portraying the life of a Buddhist monk and the national salvation hero who pursued the original work. This content composition can be understood in the will of singer Lee Yong bae, the soundman who produced the album, and in the flow of historical dramas that summon the historical hero of the old country of the time to the stage. Singer Lee Yong bae reflects on his life in the past when he was full of greed and conceit through his life as a monk of Saint Sa-myung(四溟大師) and is greatly impressed by the personal aspect of Saint Sa-myung(四溟大師), and these emotions encouraged his creative will. Also, the Changgeuk record is meaningful in that it is one of the specific materials that embodies the national hero as a record and a traditional play under the discourse of the people, the nation in the 1970s.