• Korean journal of communication and information
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• v.78
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• pp.79-115
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• 2016

This study, by proposing a case study of community radio, attempts to expand the horizon of academic and social discussion on the medium that has been disproportionately skewed towards discourses on alternative media, technology, and programming content. As residents of local community actively participate in the production process, they reconstruct their cultural identities. In that sense, community radio is a medium that makes it possible the re-negotiation and reconfiguration of cultural identities of local residents. That is to say, a case study on the specific ways in which community residents appropriate community radio in reconstructing their identities offers us some entry points where we may come up with a new perspective on the identity of community radio. The results of fieldwork show that community radio, as it is closely intertwined with the residents' participatory cultural practices, is a medium of 'lived culture' -i.e., a medium that contributes to the making of civility, communitarianism, and social network. Community radio, then, may be redefined as an interactive medium that contributes to the formation of social rapport and solidarity.

• Korean journal of communication and information
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• v.62
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• pp.5-29
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• 2013

This study criticizes the neoliberal dominance in social web popular culture from a feminist perspective. A key question is to identify the nature of the social web popular culture-is it the repercussion or recapturing of feminism in relation to the social context of the prevalence of popular cultural practices of neoliberalism and how to challenge against neoliberal ideology with the critical positioning of feminism? In dealing with these questions, four celebrities' twitter discourses are analysed. The emphasis of smartness in digital mediascape, neoliberal imperative to be competitive, autonomous, positive and affirmative, and desire and fantasy brought by postfeminist lifestyle industries are embedded in the present popular culture. The critical account of neoliberal postfeminism suggests the necessity of an critical feminism which brings about alternative values to the current neoliberal demand for the active subject and consumer freedom of choice as the standard of ideal women.

• Journal of the Economic Geographical Society of Korea
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• v.17 no.2
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• pp.296-320
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• 2014

Since the last decades, livestock ranching has been fast industrialized and the global trade of meat products is sheer increasing. And the Korean government opened its domestic beef market to meet increasing domestic demand for beef. In this context, domestic beef production took its way to specialization and scale economies, and subsequently the commodity chain of beef became different from the conventional one. Such institutions as beef quality grade, HACCP, and brand marketing have strong influence on current beef production systems. Furthermore, along with the macro-scale change, regional and local systems and actors also transform the beef commodity chain. Hampyong-gun, which had once been a declining rural and under-served region in the past, is now actively reviving its economy by producing industrialized, specialized, and localized beef. Such native beef production is both impacted by and associated with multi-scaled actors, their institutions and supporting discourses. These heterogeneous actors and institutions form a newer form of native beef system in the region.

• The Mathematical Education
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• v.56 no.3
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• pp.257-280
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• 2017

The purpose of this study is to analyze middle school students' learning characteristics they showed on the inquiry-based learning process of circumcenter using various teaching tools, and then to identify the effects of using teaching tools in the middle school students' learning process of circumcenter. For this purpose, we developed teaching materials for inquiry-based learning of circumcenter using textbook, origami, ruler and compass, GeoGebra and sand experiment. Then we applied them on the learning process of circumcenter for five groups of middle school students. From the analyzing of audio/video materials and documents which are collected from the process of participants' inquiry-based learning of circumcenter, we identified the following results. First, inquiry-based learning of circumcenter using various teaching tools promoted mathematical discourses among participants of this study. For example, they conjectured mathematical properties or justified their opinions after manipulated teaching tools in the process of learning circumcenter. Second, inquiry-based learning of circumcenter using various teaching tools promoted participants' divergent thinking. They tried many inquiry methods to find new mathematical properties relate to circumcenter. For example, they tried many inquiry methods to know whether there is unique circle containing four vertices of given quadrangles. Third, we found several didactic implications relate to inquiry-based learning of circumcenter using various teaching tools which are due to characteristics of teaching tools themselves. Participants showed several misconceptions about mathematical properties during they participated inquiry-based activity for learning of circumcenter using various teaching tools. We identified their misconceptions were not due to any other variables containing their learning characteristics but to characteristics of teaching tools.

• The Journal of Art Theory & Practice
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• no.1
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• pp.23-48
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• 2003

Art theorists support art productions by, introducing them to the public, explaining their meanings, and playing a crucial part in the development of art. These tasks seem like their opus. Because the principles of art production and the artistic languages are quite different from the ordinaries, we need 'interpreters' who can mediate us and the artists. Art works need interpretation. And the interpretation includes not only the characteristics of the given art work, but the customs, history, and the unique qualities of the race that produced the art work. The former director of the Korean National Museum, Choi Soon-woo wrote on the characteristics of Korean art as those that stem from the poised, arbitrary, and non-elaborate state of mind. The statement of the former Director of the National Museum has its weight far greater than just a personal opinion. In fact, we encounter the same resonance of this statement over and over reproduced in the mass media. The problem lies on that it deals with not only a single art work, but the entire Korean art. And going further, this kind of remarks are already infused into every sector of our thought on art appreciation. In this paper, I argue for a re-reading of the characteristics of Korean beauty based on two reasons. First, the characteristic of art work is contemporary, thus we cannot define the characteristics of entire Korean art in a few words without the context of the period of its making. Second, Director Choi defined the characteristics that I pointed out above as 'natural' and 'nature-friendly.' Nature or being natural is not an usual word that defines the characteristics of art work, which stands for the opposite side of the nature in the binary opposition of nature/culture. To delve into these misunderstandings of Korean beauty in the popular notions of Korean art, I suggest the re-reading of three major articles on Korean art: Ryoo Jong-yeol's "Korean race and its art," Ko You-seup's reiteration of Ryoo's thesis called "Discourses in Korean Art History and Aesthetics," and Yoon Hee-soon's antithesis of Ryoo Jong-yeol titiled "Studies on Korean Art History."

• Journal of the Korean earth science society
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• v.31 no.6
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• pp.647-655
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• 2010

This study analyzed discourse types and meaning making strategies used in a secondary beginning science teacher's class. A voluntary middle school science teacher participated in this study, and her instruction was observed and videotaped. The analysis consisted of two parts. First, we categorized the types of discourses occurred in class. Second, we examined her instructional strategies used through meaning making practices at the micro-level. Results indicated that there were five episodes emerged representing different discourse types and meaning making strategies in the beginning teacher's lesson about 'the pathway and property of light'. Conclusion and implications for further study and teacher professional development were presented in the paper.

• Korean Institute of Interior Design Journal
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• v.15 no.5 s.58
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• pp.85-94
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• 2006

Due to multidisciplinary characteristic of the Interior Design field, it has developed into complex interdisciplinary field. Therefore Interior Design field has grown and established its major trends dependent upon other related field of study. With this perspective in mind, esthetics on Interior Design has to be treated in similar manner. In modem architects or artists have defined the terminology 'object' theoretical principle where by unable to distinguish between 'object's type' and 'objects', Presently, the term 'object' became a trend word. In order to confront misconception of the idea of 'Objectification', some people definition as reflection of this complex society. In this paper, it will establish a solid groundwork for a discussion on Objectification. The initial approach will deal with Le Corbusier and esthetics, which is the center of argument. By reviewing theoretical background of the related modern art, the paper discusses about the relationship between Le Corbusier and esthetics. Subsequently, the discussion about the criterions necessary to define object is provided. This paper only suggests a methodology of analyzing a trend in Interior Design. The condition to define Objectification in Interior Design, which is a result of the reviewing process on esthetics, can be concluded as 'modeling form(transformation of morphological meaning with change wrought by causing a visual reaction)', 'mixtures and modification of materials(transformation and spontaneity through mixing materials)' and 'elements greatly influence space' of the Interior Design.

• The Journal of the Korea Contents Association
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• v.11 no.4
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• pp.196-206
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• 2011

The development of projection technology produces series of discussions associated to various form of visual immersing possibilities by the way of projecting image directly to the obscure surface surrounded us. Besides, the significance can be found in terms of that this kind of image projection offers chance to citizens to enjoy high standard images and makes people consider media environment of city. Video art as the digital technology grafts penetrates formative space of city by projecting images. The certain thing about questions how the media has status in city is that media is now not existing for self neither for abstractly and virtual reality is existing in the general appearance of metropolis. This paper treats media environment of city and the meaning of image projection as from of video art in the city. It accesses about the meaning of video form visual art in big city- new reality, the virtual and the real, immersion and interactivity. And media reality of metropolis defines that there is not one major discourse in the gigantic text -metropolis rather they are different discourses each other simultaneously compatible in the gigantic text -metropolis and in fact, they affect each other and interact.

• Korean Security Journal
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• no.13
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• pp.279-303
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• 2007

The Study on the Film, as the one of the main fields in the cultural studies, has the significant meaning in analyzing our society in that culture represents the realities of the present society. Film is the metaphorically expressed text and the specific space where a variety of discourses cross. The director's social consciousness projected in the film must have the ultimate significance through the dialectic relation between the intention of the director and the interpretation of the audience, not through the his one-sided message to the audience. This paper focuses on the analysis of the movie 'The Host', which is evaluated to show the meaningful social phenomena related to 'disaster' among the recent movies in Korea. The Host which is characteristic of 'the open structure' can be referred to as the film reflecting the imperial order prevalent in the colonial society.

• International Journal of Costume and Fashion
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• v.4
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• pp.63-80
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• 2004

Elegance in dress has been mentioned as an important term for explaining a beauty of dress and a fashion image through the times in the history of dress. Nevertheless, it has been spoken indeterminately without analyzing the accurate meaning. In addition, almost all the scattered discourses of it were very limited to womenswear. The purpose of this study is to provide a framework for a better understanding of the concept of elegance and its aesthetic characteristics expressed visually on dress from the holistic viewpoint, focusing on male elegance in dress. To obtain the purpose, the documentary study and the practical analysis were carried out. Elegance in dress is based upon the idea of aristocratic taste cultivated by good breeding. It is expressed visually through not only the carefully contrived dress but also a sort of aura of dressed body with skillful ease. Its aesthetic values consist of luxury, nobility, refinement, femininity, harmony. Though male elegant styles had already existed throughout the history of dress, it was Mannerism in the 16th century which expressed ‘studied elegance’ for the first time. On the grounds of both the classification of periodic styles and the periodic values, they can be defined and categorized into Mannerism Elegance, Salon Elegance, Modern Elegance Since Dandyism, Aestheticism Elegance. In the late 20th century they can be recognised as Classic Dandyism Elegance, Soft Casual Elegance, Elaborate Heroic Elegance. Although male elegance in dress has been visualized in different ways depending on periodic values, it has essentially been a refined beauty of high class which was valued until recent years. Its common plastic features appear as soft shapes, subtle colors and delicate fabrics modulated with exquisiteness and well-adorned appearance, graceful behavior make elegant styles completed. All of elegant styles have m common with refinement, harmony as main aesthetic values.