• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.4
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• pp.420-425
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• 2016

This study discusses the architectural space's phenomenology, focusing on the physical environment and psychological behavior. Kim, Ju-Tae House, which is divided by special relationship, was analyzed by method of constructing space, and behavioral meaning with the perspective of visual structure. Kim, Ju-Tae House was constructed in a clear way by reflecting the users social, and cultural relationship. It has a relational and independent territories by physically surrounding Chae and wall. Each independent limited space is suggesting the space being opened by accessing the space stage by stage. This method of constructing the space makes the user aware of the relative difference from the induced space experience, and recognize the incremental strong isolation. Between the yard, which is located in the center of the house, forms a three-dimensional layer between Sarangchae and Anchae, emphasizing the spacial depth. The physical space is relatively small but because of the environmental conditions, such as the positioning of the observer's perspective, short cycle reorientation, and overlapped layer, it is recognized as far or deep compared to the actual size. This is the relative method as a visual perspective that is intended, and is understood as an active element that induces the psychological attitude by the recognized environment affordability of the user.

• Cross-Cultural Studies
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• v.45
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• pp.245-268
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• 2016

Tokyo! is a 2008 French / Japanese / South Korean / German anthology film containing "Interior Design" by Michel Gondry, "Merde" by Leos Carax, and "Shaking Tokyo" by Joon-ho Bong, all of which were filmed in Tokyo. This cinematic triptych of three Tokyo-set stories is concerned with how the experience of self-alienation is related to urban life, that is, how to survive in a city as a self. The problem of life is the struggle for self-preservation. In Tokyo! the three film directors have shown that urban life is both self-deconstructing and self-preserving. In this paper, our purpose is to examine different modes of urban life by using two concepts reformulated by the French philosopher Jacques Derrida: the urban ipseity and auto-immunity. According to Derrida, ipseity is a system subjected to a circular structure. Such a system cannot avoid the general logic of auto-immunity; i.e., the structure of ipseity functions as both self-deconstructing and self-preserving. The three episodes contained in Tokyo! testify, each in its own way, to the function of that logic. In bringing to light the three modes of self: appropriation, dis-appropriation, and in-appropriation, we claim that the modality of urban life is confronted with the autoimmune reaction.

• The Journal of Korean Philosophical History
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• no.30
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• pp.259-282
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• 2010

Ethical value of Confucianism seeks to realize the ideal of life to the reality, through ethical life. It is discussed based on myself, which is the main ethical agent, in relationship with the others. These traditional values include universality in the homogeneous aspect such as humanism that has been commonly sought by the human race, or awe toward the absolute one. 'Pursuit of universality in the Korean context' ultimately seeks 'Korean ethics', that prevailed in Korea, based on the Korean traditional culture. Therefore, we should comprehensively understand this universality and diversity, so called 'us'. Through the understanding, we should play an active role of culture creators as noble persons that realize fraternity, along with respect to each culture. Studies on traditional ethics will not only be an important opportunity to look at the history and current status of ethics, but also it will be a cornerstone to understand the Korean mind-set based on the Korean culture. Recently, establishing Korean identity and recovery of ethics damaged due to anomie of value are key social issues. Studies on traditional value are not separated from this issue. If our adolescents are able to correctly understand the traditional ethics and pursue a life recreating it, they will be able to enjoy healthier life, contributing to a healthier society.

• Korean journal of communication and information
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• v.27
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• pp.63-91
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• 2004

The purpose of this study is to investigate the gender discourse of Korean newspapers. For this, the study analyzes the frames of frames of crime news on Chosun Daily and Hangyurae Newspaper for 2 years. The data are collected using KINDS, and include 265 crime articles involving woman. According to the results of this research, the episodic frames are used in the most of crime news. The five frame devices are founded in the episodic frame articles; the male subjectivity and the female objectivity, the male-oriented perspectives which reporters have, the abused sexual details and sensationalism, the emphasis of women body's fragility which imply woman's unavoidability as victims, and finally, blaming women who are victims of crimes. And in the articles of thematic frames, the similar frame devices are found. In particular, they only emphasize the problem of crime and fail to suggest a concrete resolution. Finally, the study discusses the findings relating to the patriarchal news making convention and the commercialism of newspaper industry. The two newspapers have been pursuing quite different political lines in Korean society. It is generally considered that Hangyurae newspaper is progressive and Chosun Daily is conservative. However, this study reveals that the way dealt with women in the crime news are not different. It is concluded that Korean newspapers still produce the gender discourse based on male-centric perspective and patriarchal ideology.

• Journal of the Korean association of regional geographers
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• v.23 no.1
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• pp.23-46
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• 2017

This article examines the sexualization of place under conditions of the compressed modernization and reflexive cosmopolitanism. In particular, I adopt Michel de Certeau's spatial didactic model of strategy and tactic to investigate the dynamics at play in the gay labelling of a Coffee Bean & Tea Leaf (Coffee Bean) in South Korea, and explore the 'gaying' that takes place within preconceived heteronormative space. Using interview data, I additionally explore the negotiation tactics and coping mechanisms at work when gays compete with heterosexuals for non-gay place. The results illustrate how gays gay in heteronormative space and how heteronormative space harmoniously embodies gay men. The findings suggest that spatial location and tactic play important roles in stimulating compromise of sexual territory. Gay Bean benefits from being nestled between locations with histories of tolerance, while it also prospers from reflexive cosmopolitan ideals of diversity and acceptance of others. Gay identity and gaying is interpreted as foreign in Korea, which buttresses gay performativity in spaces welcoming of foreigners and so-called "deviance." However, how gaying functions within place relies not only on spatial histories of tolerance outside, but also on the tactics of identity negotiation within. The findings suggest that spatial and tactical conditions induce gay individuals to police other gay-identified individuals when gays gay in so-called heteronormative places.

• Journal of Korean Philosophical Society
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• v.116
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• pp.437-464
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• 2010

The article, focusing on the theory of Zhong-He, sheds a new light on the philosophy of Daizhen. The theory of Zhong-He, according to the philosophical system of Zhuxi, serves as the theoretical foundation in erecting the apriori moral nature and guiding mental cultivation of subjects. Daizhen, on the contrary, criticizes the doctrine of Zhonghe in Zhuxi's philosophy as it produces negative side-effects of moral dogmatism. Zhuxi's doctrine, according to Daizhen, as it reduce the origin of morality to apriori condition of consciousness and delimit the range of cultivation to psychological realm of subjects, restricts moral subjects in the fortress of their own subjectivity. In this vein of his criticism, Daizhen attempts new interpretation on Zhonghe. The character Zhong (中), according to him, does not refer to apriori moral state or metaphysical moral substance as it does in the doctrine of Zhuxi. On the contrary, it denotes the state in which diverse existent beings are placed in their own position by their own dispositions. Similarly, the other character He (和) does not refer to the condition where an individual's consciousness is in equilibrium, but to the process of achieving the harmony of entire society in which diverse existent beings are communicating to each other. With his novel interpretation of the theory of Zhong-He, Daizhen could dissolve the tradition of Weifa (未發) and moral subjectivism in Zhuxi's philosophy and provide a way of establishing reciprocal communication and harmony between various individuals. It is in his ethics of rational mutual understanding where the significance of Daizhen's philosophy should be found.

• Cross-Cultural Studies
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• v.46
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• pp.85-112
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• 2017

Donald Trump, the $45^{th}$ president of the United States, has revived the 'English Only' policy since the beginning of his presidential campaign. The monolingualism not only underscores his extremely conservative ideas, but it also reflects the nativist tendency that prevents the demographic and cultural transformation of the US, which is accelerated by globalization and transnational migration. In particular, Donald Trump tries to reconfirm the mainstream American culture that is now thought to have been threatened by Hispanization and the growing number of Spanish speakers. This paper examines the effects of "code-switching" and the possibility of a bilingual community by contrasting Donald Trump with Gloria $Anzald{\acute{u}}a$, one of the representative Latina writers who created a "border language." Borderlands/La Frontera (1987) includes Spanish glossaries and expressions to represent her bilingual realities, while attempting to translate from English to Spanish, and vice versa. However, the text occasionally demonstrates the impossibility of translation. In doing so, $Anzald{\acute{u}}a$ indirectly states that it is indispensable to present both languages at the stage; she also invites monolingual readers to make more efforts to learn and better understand the Other's language. A "border language" she attempts to embody throughout the text is created in the process of encounters, conflicts, and negotiations among languages of different ethnicities, classes and generations. It does not signify an established form: rather it appears as a constantly transforming language, which can provide us with new perspectives and an alternative way of communication beyond monolingualism.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.75-83
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• 2021

This study will analyze the meaning of the signifiant, which occupies an absolute position in Lacanian psychoanalysis, and will prove the slip of meaning and signification that are accompanied together at the same time when the signifiant was utter through the subject. By directly citing the part where Lacan explained signification in his seminars and Écrits, I would like to examine how signifiant is carried out in everyday conversation. In addition, the dialogue that takes place in our discourse has the purposefulness and groundless purposelessness of the signifiant. Understanding this purpose is the core part that Lacanian psychoanalysis aims to pursue, and it discovers the cracks of the hidden meaning in the relationship between the signifiant and the signifiant connected to the next, presenting that the signifiant which arouses unrelenting fantasy of the subject is the practical ruler of body and mind. This thesis is aimed to present the above points mentioned above, and as an alternative to overcome the limitations of the signifiant, the ruler in discourse, this study would like to suggest the autonomy as a subject resisting against "Where it was, I must come into being," pursued by Lacan psychoanalysis.

• (The) Research of the performance art and culture
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• no.20
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• pp.129-161
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• 2010

Women's social status is marginal in the patriarchal system, therefore it is not easy to express their's desire. Women's social role are restricted by the Confucian culture in the late of Chosun Dinasty. But women freely expressed their's gamseong(感性) by singing the folk songs. Many researches have focused on the reality of life or the structure and meanings of the women's folk songs. On the contrary, no one has paid attention to the gamseong in the women's folk songs. This is the reason why this thesis focused on the aspects of gamseong in the women's folk songs. The aspect of gamseong expression in women's folk songs can be classfied as follow: HAN(恨) resulting from living with one's husband's parents (Si-jip-sa-ri); LONGING caused by parting with the lover; HOPE due to childbirth and bringing up; SHIN-MYOUNG(神明) through deviation and liberation. In conclusion, We can find out women's gamseong would be formed from the their own roles and relationship with the others. Besides they could offset their sorrow and cure their pain through loving others and selfloving.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.12 s.159
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• pp.1737-1746
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• 2006

The purpose of this study is to present a concrete image of the ideal beauty as shown in era preceding 1945 that effects the shaping of our aesthetic values; by analyzing its characteristics through the covers of women's magazines of that period, this research aims to promote the understanding of beauty of the human body. The scope of my research extends throughout the collection of women's magazines stored in the National Library and the Korea Magazine Information Center. The gathered research materials are: 5 kinds of Shin-Yeo-Sung (신여성), 51 kinds Yeo-Sung(여성) and 30 kinds of Ga-Jung-Ji-Woo(가정지우). The result of the research could be summarized as the followings. Before the 1920's in response to the violent opening, there was a trend of sticking to the traditional standard. In the 1920's, the prevalent images of women were meek and fragile. Japanese standard of beauty was explicitly indicated. In the 1930s, as Western movies started to be shown to the general public, western features were idealized and furthermore intelligence was required as a further condition. In the 1940s, preparation of the war led to encouragement of images of motherhood and natural beauty, and resistant to this trend led to pseudoclassicism.