• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.5
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• pp.19-27
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• 2013

This paper claims that the One Million-peyong Park(hereafter abbreviated as OMP) project is different from a typical citizen participatory park project by recognizing the exceptional leadership of the Civic Committee for the One Million-pyeong Park Construction(CCOMPC) in promoting and developing the OMP project. Since 2001 the CCOMPC has published a variety of written promotional materials to inform and educate the public about the project. In terms of approaching the promotional materials, this research focuses on the use of language on how the CCOMPC justifies the OMP project, namely the OMP justification discourse, and considers the discourse as a unique form of social document that represents the perspective of the CCOMPC in explaining the local environmental issues and values of urban parks to the public. Using a discourse analysis method, this research analyzes the justification discourses and investigates how they changed over the three main development phases of the OMP: the initiation and preliminary development phase(1999-2001.2), the development phase (2001.2-2008), and the time period after the greenbelt policy release on Dunchi Island(2008-present). In each discourse, the OMP project is rationalized as a citizen participation park project that (1) aims to enhance the quality of public green space in Busan, (2) is accompanied by various community engagement programs that emphasize the value of urban nature and environmental education to expand citizen participation, and (3) has contributed to the National Urban Park Bill. This research emphasizes the role of the discourses in helping the public gain a critical understanding about the local environment and values of urban parks. By analyzing the contents of the discourses, it explains the social learning values of the OMP expressed in the discourses.

• Journal of the Korea Furniture Society
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• v.12 no.1
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• pp.103-112
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• 2001

This study explored the background of contemporary furniture design called New Design furniture, which newly expresses the aesthetics of communication in the postmodern era. Qualitative conceptual analysis as the principle methodology was used to explore the background of the decorative and meaningful contemporary furniture in postmodernism. Thereby, the postmodern concepts of Charles Jencks, Robert Venturi, and Michael Graves were analyzed in terms of their postmodern architecture and furniture. As initiatives of postmodern architecture and furniture, Jencks, Venturi, and Graves explored the pluralism and eclecticism, the decoration, the semantics, and the materials reestablished from the traditions of craft. As a result, their furniture was expressed by various wood and color; the furniture was beautiful, decorative, pluralistic, and eclectic for communicating symbol, metaphor, narrative, and/or humor with people; the furniture has influenced the communicative elements on the contemporary furniture design called New Design furniture design, which shows the blurring of fine arts and craft distinctions.

• Journal of the Korea Furniture Society
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• v.12 no.1
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• pp.113-124
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• 2001

This study explored the characteristics of contemporary furniture called New Design furniture design in terms of aesthetics of communication in the postmodern era. Qualitative conceptural analysis as the principal methodology was used to explore the characteristics of New Design furniture, which is accessible to the broadest possible public. Thereby, the communicative elements of symbol, metaphor, narrative, animation, imagination, humor, and/or wit expressed in New Design furniture were analyzed according to the designers'concept and work. As a result the postmodern aesthetics of communication made New Design furniture accessible to the largest number of People through cultural considerations in New Design furniture as it influences designers 'concept and work. However, it showed problems of New Design furniture in connection with postmodern aesthetics affecting mass production. Therefore, the designers have begun rethinking, redefining, and redesigning their furniture aesthetically, functionally, economically, and ecologically.

• Journal of The Korean Association For Science Education
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• v.38 no.2
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• pp.203-217
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• 2018

The research objective of this study is to analyze the aspects of small group decision-making process based on reading news reports in the context of the socio-scientific issues (SSI) activity related to climate change. Twenty-two high school students from Gyeonggi Province, South Korea, were asked to read two news reports on the UN climate change conferences and take a stance on joining the Paris Agreement both as an individual and as a small group. The news reports were analyzed in terms of genre, discourse, and style adapting the critical discourse analysis (CDA) and the decision-making processes of the small groups were examined on recognizing a problem and evaluating alternatives and decisions. The results from analyzing the news reports denoted that the Paris agreement is not only related to finding ideal solutions to climate change, but rather, connected to political or economic interests and power relationship. In the stage of recognizing a problem, meanwhile, different frames which students recognize the Paris agreement and discourses in the foreground of the news reports were the critical causes in terms of identifying the problem. In the stage of evaluating alternatives and decisions, the equity and fairness were the criteria for the small group discussions. This study implies the necessity of the scientific literacy instruction to develop the ability to critical reading in the context of the SSI.

• Journal of The Korean Association For Science Education
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• v.39 no.5
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• pp.681-694
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• 2019

This study intends to delineate the characteristics of various perspectives on the nature of science (NOS) through the textbook analysis. Thus, centering on a science textbook called Science Laboratory Experiments, this study analyzes the elements of the NOS from three different perspectives: the consensus view, features of science (FOS), and family resemblance approach (FRA). While the consensus view highlights the similar elements of the NOS across the topics, the FOS is concerned about empirical ways for doing science. The FRA rather focuses on socio-cultural aspects of science activities. While the consensus view is useful to reify the features of the NOS, the FRA helps to understand science from various viewpoints. Regarding the philosophical account for three perspectives, all of them are ambiguous to some extent. The consensus view holds contradictory dispositions e.g., relativism vs. (post-)positivism, and critical realism and instrumentalism. The FOS supports empirical tradition but cannot effectively cope with the anomalous situation. The FRA is useful to show up the ways of science in both microscopic (personal) and macroscopic (social) viewpoints. However, the broader concept about science may mislead understanding of the NOS. Consequently, this study provides some implication for improving the framework of the NOS and teaching the NOS in the classroom.

• Journal of English Language & Literature
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• v.55 no.3
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• pp.415-427
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• 2009

Woolf s preoccupation with the interplay between gender, commercialism, and the modern city is exposed in higher relief by her feminist remapping of the city through a discourse of fl nerie, which is epitomized in her singular urban travelogues such as Street Haunting and The London Scene essays. A fanatical London-adventurer herself, she assumes the persona of the fl neuse in exploring the street of modern London and especially the public sphere of the marketplace, as represented in Oxford Street Tide. Living and working in the quarter of Bloomsbury, in close proximity to the capital s famous sites of tourism, entertainment, and mass consumption, Woolf was placed at the heart of urban spectacle. In spite of the lack of critical analysis of this high-profile writer s interest in such quotidian matters as shopping, fashion and appearance, which would be informed by a hierarchy of value within literary criticism, it seems that they are inextricably intertwined with her quest into more serious-minded topics that revolve around the twin pillars of her literary project: feminism and modernism. Her essays, in particular, suggest this point in one way or another, mirroring her extraordinary susceptibility to such concerns. For Woolf, street sauntering is synonymous with an act of creative mobility, by which she plays with the notion of shifting identities, rediscovers the urban rarities and splendors, and ultimately pins them down in her literary output. By adopting the identity of a masterly rambler/observer/explorer with an omnipotent gaze, she firmly anchors herself as an active interpreter of urban modernity and viewer of its spectacle. She thus challenges the idea of public space as a male domain, which is central to the classic androcentric discourse of loitering, spectatorship and urban modernity.

• Korean journal of communication and information
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• v.77
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• pp.255-288
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• 2016

Korean mass media has represented foreigners in their documentaries, entertainment shows, situational comedies, and dramas for long time, while the representations created plenty of controversies. Alleged West-oriented racism found from various televison programs may be one of them. Recently, however, more Korean television shows began to incorporate the ideas of multi-culturalism. This paper is an attempt to explore how television audiences interpret multi-culturalism reflected in the media. More specifically, this is a case study of JTBC's , a show featuring foreigners debating on various topics regarding Korean culture. Particularly, it focuses on disputes over the producers' decision to play 'Kimigayo' (the national anthem of Japan, which is also considered as a symbol of Japanese militaristic past) when introduced a new Japanese panel. Critical discourse analysis was adoped as the main research method, and researchers found that audiences draw certain guidelines in accepting multi-cultural aspects. If and when these aspects overstep the line, they tend to abandon it without hesitance. In the case of 'Kimigayo,' it was ethno-centrism and/or anti-Japanes sentiments which made multi-culturalsim much weaker. It does not mean that multi-culturalism was replaced-or defeated-by nationalism, but show the 'vulnerability' of multi-culturalsim. Multi-culturalism is not as concretely rooted in Korean society as many people have claimed or hoped. The research has its own limitations as a case study, but it is hoped to stimulate other researchers to keep their eyes on media and multi-culturalsim in Korea.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.211-227
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• 2020

This study intends to analyze the storytelling strategy of EBS's YouTube channel , which has been creating a remarkable cultural phenomenon since April 2019, and to examine the potential for its transition to transmedia franchise. Based on Henry Jenkins'seven principles of transmedia storytelling, shows satisfactory relevance in all but 'multiplicity'out of the 10 capacities consisting of the principles. In particular, was found excellent in terms of core capacities such as 'spreadability', 'immersion', 'worldbuilding', 'continuity', 'drillability' and 'performance'. In addition, critical discourse analysis(CDA) in sociocultural practice dimension of the keywords of the related news articles has discovered that is strongly linked to the following five values: 'social integration', 'resistance against authoritarianism', 'self-dignity and reasonable individualism', 'gender neutrality' and 'ecologism', indicating the reason why the work has been able to resonate so extraordinarily with participants across all generations. By answering the two chosen research questions, this study has proved that has high potential to be successful in evolving into transmedia franchise, while keeping building a new realm of edutainment storytelling by cleverly exploiting EBS's unique identity as a public education broadcaster. is viewed as an exceptional property capable of advancing transmedia storytelling in the local market; thus, productive arguments and contemplation over its evolution in storytelling needs to continue so that it can maintain a long-lasting positive influence.

• The Journal of Art Theory & Practice
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• no.7
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• pp.7-36
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• 2009

This paper intends to examine the significance of the "Minjoong Misool(People's art)" of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked under the dominant discourse that has emphasized their political role as a collective group. In particular, this paper scrutinizes the work of "Critical Realists" by examining the way in which they perceived Korean society in the early 1980s and visualized their experiences of the period. The figurative art newly emerged in the early 1980s challenged the formalist Modernism, which was adopted into Korea and translated into monochrome paintings and the work of the conversative academicism of the 1970s. The figurative art encouraged a social communication and moreover it intended to criticize the conflicts in the political, economical, and social domains in Korea. The targets of its critique include the unavoidable results of the unprecedented development of economy, various social phenomena of the post-industrial society, and the growth of the commercialized kitsch culture. Along with Shin, Hak-chul's work that incorporates collage technique since the 1980s, the work of some members of "Reality and Utterance" and "Im- sul-nyun" exemplify their critical interests in disclosing the false dream of wealth and happiness by both referring to and drawing on the utopian fantasy manipulated and distributed by mass media and commercial advertisements. This paper pays particular attention to Nouvelle Figuration emerged in France and Europe during the 1960s, which is comparable to the new figurative art emerged in Korea during the 1980s. Nouvelle Figuration criticized the autonomy in art isolated itself from political and social reality after WWII, in particular the indifference of Informel and abstract art as well as American abstract art. Moreover it became rather politicized around May of 1968. Given that French Nouvelle Figuration was introduced in Korea in 1982 and made a significant contribution to the formation of figurative art in Korea, it should be noted that the new figurative art emerged in the 1980s in Korea cannot be categorized merely in relation to People's Art. This paper intends to critically redress the notion that People's art was formed in the particular political, economical, and cultural context of Korea independent of the contemporary artistic practices outside Korea. It will provide a critical examination and analysis of the content and form of the new figurative art, from which People's Art was germinated, in the global context.

• Journal of The Korean Association For Science Education
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• v.37 no.6
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• pp.1037-1049
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• 2017

The purpose of this study is to explore how the flow of discourse move and their reasoning process in dialogic argumentation during group modeling on excretion. Five groups of three to four students in the second grade of a middle school participated in the modeling practice of a Gifted Center. Analysis was conducted on argumentation during the modeling activity in which students should explain how the waste product (ammonia) leaves the body. It was found that there was a sequential argumentative process-tentative consensus, solving the uncertainty, and consensus. There were several discourse moves - 'claim' and 'counterclaim' in the stage of tentative consensus, 'query' and 'clarification of meaning' in the stage of solving the uncertainty, and 'change of claim' in the stage of consensus. Students participated in the dialogic argumentation by constructing argument collaboratively for reaching a consensus. Critical questioning in the stage of solving the uncertainty and reasoning in the stage of consensus were the impact factors of dialogic argumentation. By answering the critical questions, students changed their claims or suggested new claims by defending or rebutting previous claims. Students justified group claims with diverse argumentation scheme and scientific reasoning to reach a group consensus. These findings have implication for science educators who want to adopt dialogic argumentation in science classes.