• Korean Journal of Cognitive Science
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• v.26 no.1
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• pp.97-123
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• 2015

This paper theoretically examines the mediations of media on disaster and the structure of the politics of compassion, from the cultural politics approaches. The media has treated for a long time many different forms of disaster and sentimental reactions that were bound to the human life. In the present paper we shall take a different approach from traditional ones that focus on how the media represents these subjects and how it arouses cognitive, affective, behavioral reactions of the audience. We will instead focus on how these subjects of disaster and compassion constitute new social meanings through the mediation of media. And we will investigate that the experiences of social sufferings mediated by media are related to the ethical potentiality vital to the construction of global public sphere and global civil society that need to be reshaped in the $21^{st}$ century media environment. This paper attempts to understand new cultural-politics meanings of the media as a major factor conducting the audience's new public actions through mediating sufferings of the others.

• Proceedings of the KGS Conference
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• 2005.05a
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• pp.18-19
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• 2005

• (The)Study of the Eastern Classic
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• no.68
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• pp.319-344
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• 2017

Saam Park Sun(1523-1589) holds a very important position in history of 16th century $d{\grave{a}}oxu{\acute{e}}$ politics. Starting from King Seonjo's accession in 1567, he took a lead in changing the former Politics by Hoonchuck(勳戚政治) to $d{\grave{a}}oxu{\acute{e}}$ politics. He served a prime minister alone for 14 years. Following philosophy of $d{\grave{a}}oxu{\acute{e}}$ politics that Jo Gwang-jo(趙光祖, 1482-1519) had advocated a generation earlier, he sought reformative politics by rising elites. He pursued ideal politics of $d{\grave{a}}oxu{\acute{e}}$ in which principles and public opinion agreed with each other and to realize it, he was in the forefront of correcting 'shìdào(世道)' and improving 'qīngyì(淸議).' It is why $d{\grave{a}}oxu{\acute{e}}$ politics is called shìdào politics(世道政治). He emphasized 'old manners(古禮)' as standard to criticize wrong reality and to realize ideals. The 'old' in his mind was ideals, principles and traditions. The most meaningful reform was to go back to spirit of 'old.' It is why he put stress on and stuck to practice of 'old manners' in national liturgy.

• Journal of English Language & Literature
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• v.64 no.3
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• pp.469-481
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• 2018

When literatures and cultures encounter their counterparts in terms of the big data or statistics of a new reconfiguration in the cognitive map, the tangential points of the borderland will be reduced to what Mitchell calls "a mere abstraction on a map," which nevertheless will provide a vast interstitial zone of "intersections, competition, and exclusions." This zone will be the dynamic vortex for the aesthetics, politics, and ethics of cultural translation. The translated discourse will engage in carrying across the disturbing region of untranslatability and demonstrate how the literary texts of world literature reveal enriching but threatening human experience. This dynamic border of vortex will construct the translational space of world literature, transcending the fragmentary untranslatable nature of the hybrid convergence of the ethnic, racial, cultural and national intermixtures and constructing what Pascal Casanova terms "The World Republic of Letters." In this paper, I will demonstrate how the very concept of scale is related to literary space as well as how distance creates a poetics of literary landscapes which looks ahead of world literature. Also, I will attempt to find the possibility to relate the "micro-scale" with the "macro-scale," and to construct the scale politics of representation. "Glocalization" is a convenient theoretical tool for the double movement of the up-scale and down-scale.

• Journal of the Korean association of regional geographers
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• v.22 no.1
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• pp.135-150
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• 2016

This paper studied on the geographical distribution location arrangement and the social construction of Pungsu discourse and the Pungsu(Fengshui) management of royal tombs on the Joseon Dynasty from the historical, cultural geographical perspective. The Pungsu landscape of royal tombs during the Joseon dynasty was the direct result of the political dynamics among the king, his family, other royal families, and various groups of vassals. Pungsu was a important factor in deciding tomb sites or landscapes, but it was a secondary factor to politics in the Joseon Dynasty. The primary factor was politics, clearly showing Pungsu's status in social discourse. The royal tomb Pungsu is defined as the Pungsu discourse of the Joseon Dynasty period which is combined with Confucian ideology in Korean Pungsu history.

• Journal of English Language & Literature
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• v.64 no.4
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• pp.585-600
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• 2018

Over the last three decades, the field of American Studies has increasingly paid attention to transnational approaches in an effort to diversify and expand the field's concerns beyond the narrow sense of the nation-state in today's globalizing world. Yet, the mediation of the transnational requires a careful analysis of the nation that is still in transit. In this context, this essay examines Herman Melville's novel Moby-Dick (1851) as a case study that vividly shows how reading American literature and culture through transnationalism not only offers new interpretations of canonical texts, but also helps us to better understand the historical roots and cultural contexts of contemporary issues such as global labor and migration, US citizenship and racial justice. To address the complexity of the text's circulation and reproduction, coupled with US national ideology and cultural conditions, I first turn to the canonization of Melville's Moby-Dick during the Cold War era as a national project and then explore the possibilities of transnational readings by focusing on the politics of race and global capitalism in the nineteenth century whaling industry. In doing so, I argue that critical transnationalism allows readers to keep questioning about their own understanding of race, nation, and cultural identity while remaining attentive to the destructive force of US imperialism and global capitalism in the twenty-first century.

• SUVANNABHUMI
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• v.11 no.2
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• pp.59-83
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• 2019

The Chinese Belt Road initiatives in the Southeast Asian countries marked a new chapter in the development of China political influence on this region. This article looks at the initiative from the cultural dimension and aims to place its narrative as the entry point to understand the use of identity politics in Asian countries that target the Chinese diaspora. This topic relates to the primordial sentiments of Southeast Asian nations amid massive Chinese investment in the region. The issue of Chinese investments under the Belt Road Initiative corridor has a relationship with the formation of anti-Chinese discourse and anti-communist in some Southeast Asian countries. We took the cases of Indonesian and Malaysian elections to observe the use of identity politics and anti-Chinese political discourse in Southeast Asia. In both cases, a common issue emerged, that of the strengthening both Islamic and indigenous sensibilities. The establishment of ASEAN during the Cold War may be seen then as an anti-thesis to emerging Chinese power. However, anti-Chinese and anti-communism sentiments were not enough to unite the forces of the nations of Southeast Asia. We have concluded that brotherhood, mutual prosperity, and anti-neo-colonialism are yet to be fostered completely to make a distinct ASEAN identity.

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.478-482
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• 2010

Considering the globalization and the development of regional culture, culture and design become more and more closely connected. It is obvious that every country, based on politics, economy, society, industry, has a different understanding to the design. With the popularity of mobile phone, it has been in close contact with our lives. Mobile phone is changing our way of life, it also has become a culture, and is reflected in a period in different countries and different ethnic's cultural traditions and lifestyle. In this paper, the study is about the impact of culture on mobile telephone design and application, especially for appearance and input for mobile telephone.

• The Journal of Economics, Marketing and Management
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• v.6 no.2
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• pp.1-4
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• 2018

Purpose - This research, based on the successful experience of Korea, especially of Korea government, which, though promulgating laws and making policies, plays an rather pivotal role in Korea cultural industry development process, in developing cultural industry, explores possibly successful path and pattern that is suitable for China cultural industry. Research design, data, and Methodology - The study conducted a survey on Korea's 2000-2011 year data. After empirically analyzing the data, we believe that cultural industry in Korea and China will maintain its growth momentum. Results - This study shows that China and Korea are both belong to the only cultural circle of Confucianism and Chinese character, therefore, to research the successful experience of Korea government in cultural industry development will do much good to better promoting the optimal development of China cultural industry. China can encourage private flow to take on enterprises. In terms of financing, diversification can be achieved, by the means of cash, land, intangible assets, technology, stock, bond, cultural lottery etc. Conclusions - Besides, to better the degree of the internationalization of the allocation of the cultural resources, China government can, under the condition that Chinese laws permit, encourage foreign capital to invest in Chinese cultural industry field.

• The Southeast Asian review
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• v.21 no.1
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• pp.137-184
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• 2011

This article is aimed at understanding the political narratives represented in the National Museum of Indonesia. Starting initially as a colonial museum, the National Museum of Indonesia functioned as a useful tool for the Dutch colonial force to fuel its imaginations of the colonial territory and the people within it. The Dutch used the cultural display to advertize its benevolent colonial rule. All the while, the museum also inevitably reflected orientalism on the people and the culture of the colony. The republic of Indonesia inherited the colonial museum's practices and its display patterns. The business surrounding the museum also played a key role in the newly-born nation-state laying out a future for its redefined territory and people. Thus, what the colonial force imagined for the colonial territory through the study of museum displays was rather directly transferred to the republic without serious consideration of the decolonization process. Four main characteristics have been seen in the museum displays. The first is an emphasis on the glorious Hindu-Buddha history, from which numerous temples, statues, and jewelry have been found. Secondly, the Islamic period, which spanned between the Hindu-Buddha times to the colonial era, has almost completely been eliminated from the display. Third, the colonial era has been depicted as the time of Europe's exportation of scientific tools and adaption of sophisticated living patterns. Fourth, the images of ethnic groups were represented as being stagnant without reflecting any challenges and responses that these groups had faced throughout history. Looking at these display patterns, it can be concluded that all the dynamic internal developments and anti-colonial resistance that took place during the Islamic and Colonial Era have simply not been represented in the museum display. These display patterns do not reflect the real history or culture of the archipelago. Two considerations are thought to have influenced the neglecting of social realities in the display. The first of which is the Dutch's and Republic's apprehension over the possible political upheaval by the Islamic forces. Yet, more fundamentally, cultural displays themselves are distinct from historical education in that the former pays more attention to business ideas with an aim to attract tourists rather than to project objective historical knowledge. Thus, in cultural displays, objects which work to stimulate fantasies and spur curiosity on archipelagic culture tend to be selected and emphasized. In this process, historical objectivity is sometimes considered less vital. Cultural displays are set up to create more appealing narratives for viewers. Therefore, if a narrative loses its luster, it will be replaced by another flashy and newly-resurrected memory. This fact reveals that museums, as transmitters of historical knowledge, have a certain degree of limitation in playing their role.