• Korean journal of communication and information
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• v.56
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• pp.219-236
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• 2011

Since the end of the $19^{th}$ century, Korean English-language newspapers have been published in Korea to inform readers about Korea and Korean people's point of view concerning world problems. Among them was the Korean Republic (KR), the former name of the Korea Herald, founded on August $15^{th}$, 1953 (Korean Liberation Day from Japanese colonial rule). This newspaper was started especially to report on international affairs, just after the Armistice agreement was signed on July $27^{th}$, 1953, at the initiative of the first president of the Republic of Korea, Syngman Rhee. He vehemently expressed his and the Korean people's opinion about Korean problems in world politics where big powers were dominating and deciding small countries' destinies. This paper is written to show that Korean English-language newspapers were used as tool of public diplomacy not only for the readers of target countries but also for Korean readers, well before the media diplomacy theory became popular several decades later. In the deplorable world situation where Korea was colonized and divided into halves by the wills of the super powers, the Korean media participated actively via dialogue in English to solve the Korean problem. This paper studies the editorials of the KR for one year, the year just after its foundation. Vis-a-vis the United States, the KR defended its political system of free democracy by insisting on the Korean people's hopes, the reunification of the peninsula and acquiring American assistance in economic and military areas. Regarding Japan, Korea had doubt about its expansionist policy by way of rearmament. First, the Korean government tried to defend its territorial waters, including Dokdo Island. As for multi-lateral relationships, Korea was concerned about the spread of communism to its territory in the world where socialism was dominating.

• Journal of Korean Society of Industrial and Systems Engineering
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• v.17 no.32
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• pp.255-266
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• 1994

This study does present things to suggest to foreign multinational corporation or domestic corporation through the empirical study on the standardization level. If we summary this study, it is as follows. In chapter I, we did institute the problems and explain the objects and methods and system of the study. In chapter II, we did explain the universality of the culture and international advertisement. Next, we did explain the background of doing specialization strategy and standardization strategy. Also we did study the previous study about the arguements for and against these. Lsat we did institute the hypothesises as follows. - Hypothesis 1 $H_0$ : The use of westerner appeal means has been increased than 11 years before and is able to increase continuously. - Hypothesis 2 $H_0$ : The use of westerner model and knowned has been increased than 11 years before and is able to increase continuously. - Hypothesis 3 $H_0$ : The use of the English language has been increased than 11 years before and is able to increase continuously. - Hypothesis 4 $H_0$ : The use of the west short piece and background has been increased than 11 years before and is able to increase continuously. In chapter III, we did refer to the method of this study. First, we did adjust the measure of standardization index, and we did work coding it, such after the two coder did check the freguency of the appeal meanstype about the advertisement of four daily report. Then we did select eight production as high involvement production and seven production as low involvement. We did test the coder's trust degree on the such sample to be selected through the 't-test' of the SAS statistic program and regression analysis through the spss/$pc^+$ statistic program to approve the this study's hypothesises. In chapter IV, we did analysis the results of the empirical study on the high or low involvement productions. First, the results of t-test to approve the coder's trust degree is that it is same statistically attentionly the distribution of the sample between coder at 10% attention level. Next, the results of the regression analysis on eight hypothesises are as fellows. In case of high involvement production we are able to speak that the use of the English language appeal among the eight appeals is only standardized. And incase of low involvement production, we are able to speak that the use of the hard-sell appeal among the eight appeds is only standardized. Therefore we did conclude that the standardization level of Korea newspaper advertisement is low. Also this suggests that it will do plan and do the specialzation strategy or localization strategy foreign multinational corporation or domestic corporation in Korea newspaper advertisement. In chapter V, we do present the boundary of this study and new study methods.

• Journal of English Language & Literature
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• v.55 no.4
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• pp.567-596
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• 2009

A staple of feminist literary anthologies which was instrumental in reevaluating the writer Susan Glaspell, Trifles(1916) has received numerous comments from feminist scholars so far. Most of them tend to concentrate on the themes of female solidarity and justice challenging the androcentric system of law and order. Lacking in the plethora of thematic approaches to the play's feminist subject, however, are formal analyses considering the way in which the play's generic form assists in communicating such thematic concerns of feminism. An alternative to the typical scenario at the courtroom whose mistreatment of women must have loomed large to the young Glaspell as she revisited the old trial of a midwestern murderess which she had covered as a journalist for a local newspaper in Iowa, Trifles serves as a corrective to the courtroom dynamics offering a 'dramatic justice' as opposed to a strictly legal procedure. What this article discovers at the heart of this dramatic justice is the celebration of the unsayable, or what Wolfgang Iser termed negativity, of women's experience which has no room for reflection in the legal discourse at the courtroom tyrannized by the sayable and the evident. Examining how the dramatic form of Trifles gives a voice to the unsayable of woman's experience, which can not be properly represented at the courtroom governed by the straightforward and definitive male rhetoric, the article argues that the play is a better form than its fictional adaptation "A Jury of Her Peers"(1917) in that it syntactically suppresses the monopolizing operation of the verbal by giving precedence to the scenic and non-verbal which is constituted of setting, props, gesture and eye contacts. As a theoretical frame of reference with which to examine the modes of the unsayable in the play the article brings the concept of 'negativity,' defined by Iser as textual effects or modes of the unspeakable and unsaid, into the discussion of the taciturnity of the absent heroine and the non-verbal representation of drama.

• International Journal of Advanced Culture Technology
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• v.11 no.3
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• pp.59-64
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• 2023

The ongoing war between Russia and Ukraine increases concerns around the world. Russian President Vladimir Putin attacked Ukraine, with a clear aim to protect ethnic Russians from Ukraine, and further to keep Ukraine from joining NATO. However, as the war takes longer than expected, Russia is getting more isolated from the world. Given this, we analyzed editorials from the New York Times by paying attention to the newspaper's viewpoint or ideological stance to the war, under van Dijk (1998)'s ideological square within the framework of critical discourse analysis. The analysis results are as follows: first, Ukraine, the United States and the Europe were designated as the ingroup, whereas Putin was as its outgroup; second, the editorials used negative words for their outgroup presentation, highlighting the outgroup's bad properties, while the positive words for their ingroup presentations were rarely used, indicating that the editorials reinforce outgroup exclusion only; third, it was only Russian President Vladimir Putin who was in their outgroup, while Russians were depicted as scapegoats to satisfy the pleasures of the maniacal Putin. Thus, it can be concluded that with the strategy of negative exclusion, the editorials clearly show their negative ideology towards the war by using negative words for the outgroup almost six times as often as positive words for the ingroup.

• Korean Journal of Childcare and Education
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• v.8 no.3
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• pp.25-51
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• 2012

This study analyzed the social image of children from the 1960s to 1990s in the Dong-A Ilbo advertising. The 7,760 representative ad samples were used for the purpose of this study. The findings were as follows: 1) The number of advertising related to children was similar in the 1960s and 1970s and it dramatically increased in the 1990s. 2) Drug advertising was the most frequent from the 1960s until the 1980s. The advertising of english instruction for young children emerged in the 1990s. 3) Young children, especially boys were mostly the model in advertising from the 1960s to the 1990s. 4) Advertising content focused on the role of the mother in early childhood education.

• Korean journal of communication and information
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• v.26
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• pp.83-104
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• 2004

Most studies of Korean Newspaper in historical view have focused on the news writing form and editorial practice. Those studies have much rely on the memories of ex-journalist or the impression of scholars. So this study aims to give the concrete figures of news writing forms and editing practices in 1920-30's by investigating Kim Dong-Seong's activities as a journalist. He was a first journalist who studies journalism. He studied journalism during his stay in the Ohio State University as an english department student. After he came back to Seoul, he worked at the Dong-A Il Bo as an one of the first publish members. His activities as a journalist have much important meanings because of his varied works and careers. He also wrote a practical affair book for reporters which was the first book in Korea. As a result of research about Kim Dong-Seong's activities in 1920-30's, the feature of edit practice in 1920's had much emphasis not only on the headline but on the relation between type and print, and at the same time the combination of news or the change of typography was one of methods which make the editing more variety. News materials were collected varied news sources and legworks by reporter. These results show us that such a news reporting practice in 1920-30's is similar co the contemporary.

• Journal of the Korean Society for Library and Information Science
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• v.57 no.1
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• pp.23-44
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• 2023

The word library(図書館) is a Japanese translation of the Western library or Bibliothek in the mid-Meiji period. This word has been accepted in Chinese(图书馆), Taiwan(圖書館), Korea(도서관), and Vietnam(Dđồ thư quán), which are Chinese-speaking countries. If so, when and who first introduced the term library to Japan and China? In Japan, the enlightenment thinker Fukuzawa's 『Seiyo Jijo, 1866』 is regarded as the first document to introduce the Western library, and in China, the article published in 『Qing Yi Bao, 1896』 by the reformed thinker Liang Qichao referred to as the first example. Therefore, this study traced and demonstrated the time and person in which the word library appeared, focusing on modern dictionaries, books, translations, papers, and newspaper articles that were introduced in both countries. As a result, the theory of the introduction to Fukuzawa in 1866 is wrong because Western libraries are described in various terms in many diaries and dictionaries, including Motoki's 『An English Japanese Dictionary of the Spoken Language, 1814』. Also, in China, the theory of introduction of Liang Qichao in 1896 is not true because the term library first appeared in Ryu Jeong-dam's 『A Dictionary of Loan Words and Hybrid Words in Chinese, 1884』. In the same context, it is necessary to trace and argue the history of the first use of the term library in Korea and the name of the first library in Korea established by the Busan Branch of the Japan Hongdo Association in 1901.

• The Journal of Art Theory & Practice
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• no.2
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.