• Korean journal of communication and information
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• v.48
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• pp.109-134
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• 2009

This study explores the political parody, which has become an active art form in order to express Korean Internet users' political practices, especially, during the politically turbulent periods from the presidential election of 2003 to the recent candlelight vigil protest of 2008. This study investigates the rise and fall of a parody culture by online users from the mid-2000s, and also examines aesthetical aspects of parodic artworks relying on amateurism culminated in 2004. Specifically, the current study questions an aesthetical lack shown in 'appropriation', by which most of the online users simply produce imitations of original image. This study rather notes 'photomontage' as an aesthetic prototype, the political aesthetics made by John Heartfield, through which this study intends to observe how his aesthetical legacy of political art could be realized in the contemporary form of political parodies produced by online users. The present paper concludes that online users' political participations in producing critical works of art could allow us to negate the dichotomy between the elite and the mass, professional artists and amateur parodists, and a radical politics and the politics of style.

• The Journal of the Korea Contents Association
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• v.13 no.10
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• pp.480-494
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• 2013

Globally branded culture festival in the region as a key component to the originality and distinction and with local residents and visitors to share experience and has succeeded in branding through Mind. Than mimics festivals in competitive and differentiated cultures containing festivals create a unique festival brand, and through the cultural and economic competitiveness, as well as the phase of the World Festival and preserve local culture and identity. Developing The best areas will be an asset. In order to build this world-class festival brand differentiation strategy above all, must be a top priority, Discrimination discovery and development of the local culture and sensibility in the age of the most powerful marketing tool that is being presented through storytelling brand assets to be passed on to visitors should. Thus the creation of storytelling festivals. Sensitivity of the festival right direction and in an era of paradigm key drivers of the local economy, such as image enhancement, and building long-term regional development and differentiation based on quality of life by creating a local culture can improve will Region's cultural and economic areas, the most important resource for the success of the festival is uniformly short-term planning and configuration, tube-driven operating as a one-sided non-participation. Sharing. Communication with an emphasis on the application of storytelling that is essential is considered.

• Journal of Technology Innovation
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• v.17 no.2
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• pp.187-206
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• 2009

Korea needs to create, diffuse, and exploit scientific and technological knowledge effectively through transforming its national innovation system from imitative system to creative one. For this purpose, it is necessary for Korea to nurture creative human capital (CHC), which are the main actor of generating S&T and innovation. This paper aims at discussing the strategies of nurturing creative human capital of government-sponsored research institutes (GRIs). In this paper, we argue that the management of creative human capital is particularly important for Korean GRIs because they deals directly with scientific and technological activities. For effective management of GRIs' creative human capital, we suggest a Model for Life Cycle Management of Creative Human Capital. This model is composed of four stages: inviting well-qualified researchers, strengthening mobility of researchers, providing special certificates to excellent researchers, and effectively exploiting retired researchers. We emphasize that each stage should form and reinforce a virtuous cycle. This paper argues that GRIs' creative human capital should be nurtured as 'Inverse T-Type Manpower', who have not only deep knowledge on their own special S&T areas but also broad knowledge on related areas, based on this Life Cycle Management Model.

• Women's Studies Review
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• v.26 no.1
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• pp.207-237
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• 2009

This paper aims to show that Sylvia Plath searched for the female poetic voice, by tracing the aspects of her early poems. This study attempts to demonstrate that Plath disclosed the violence of male-centered literary tradition against women poets although her early poems seem to be written from a male point of view. In her poems, "Snakecharmer", "Full Fathom Five", and "The Colossus", it is particularly found that Plath hoped to be empowered with the poet's voice, which nevertheless resulted almost in silence or babbling. Plath, indeed, devised a strategy in order to show that, for women poets, the patriarchal literary tradition is a destructive power rather than a generative one. Namely, women poets are not able to fully grow out of a male-oriented tradition. On that account, she tried to represent in her early poems herself who sought to be empowered with an authoritative voice, invoking the male muse, but this ended in failure. Plath was skeptical about the way she had desired to find her own voice by relying upon the male muse, and she needed to free herself from that literary tradition.