• Cross-Cultural Studies
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• v.40
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• pp.159-183
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• 2015

This study examined the issue of criticism in Korean Chinese literature in 1990's. This is transitional time why China introduced a market economy system. It had an important effect on Korean Chinese society not the cultural climate but also literature. Besides, Diplomatic Relation between Korea and China in 1992 gave an impulsion to changing literature. So this study tried to take note of directionality of Korean Chinese literature through the Korean Chinese magazine Literature and Art(Munhakwayesul) and Zhangbaikshan. First issue of Korean Chinese literature in early 1990's is crisis and restoration of criticism genre. At that time criticism faced with what is modernity. Some critics insisted that criticism should to improve. So it was necessary to accept foreign theory. Then they were concerned postmodernism and deideology tendency. What was important thing is that they would find their culture identity. So few critics tried to communicated with world literature. Especially they emphasized communication with Korean writer who lives in other country. Ultimately they thought that Korean Chines literature must get literal universality and ethnic speciality. For example poet Nam-YoungJeon's totem poetry is representative work. The issues of Korean Chines criticism in 1990's are not directivity of literature but also directivity of culture identity. Korean Chines literature had departed from Socialistic realism little by little and had getting diversity. Above all things criticism aimed for international sense and ethnic culture identity.

• Journal of English Language & Literature
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• v.60 no.2
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• pp.395-400
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• 2014

• SUVANNABHUMI
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• v.15 no.2
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• pp.245-270
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• 2023

Many publications of ecocritical research papers and translations of ecocriticism occur in Vietnam in recent years. This paper examines ecocritical scholarly writing in Vietnam, understanding how it corresponds to-reflects and attends to-contemporary Vietnamese society and politics. Specifically, this paper contextualizes Vietnamese ecocriticism in contemporary social and political concerns-embodied in journalistic and administrative documents-about the modernity-oriented postcolonial nation-building of Vietnam. In revealing critiques of political and social degenerations implied in ecocritical writings in Vietnam, this paper suggests that the emergence of ecocriticism in present-day Vietnam indicates a recent "political turn." More importantly, such emergence reflects and engages with the continuing Marxist perspective of literature as an instrument for social criticism and cultural revolution in Vietnam. Vietnamese ecocritics bear the mission of prophets of the time, public educators, and soul engineers, writing is an act of engaging with and influencing reality. Writing (literary and scholarly) still forms an idealized ideological instrument in the struggles for national homogeneity and sovereignty and social democracy in present-day Vietnam.

• The Journal of the Korea Contents Association
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• v.17 no.3
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• pp.150-161
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• 2017

The short animation directed by Sang-Ho Yeon has led the sympathy and reflection of audiences through reveling the violence of the military in the form of the social criticism film. The explores the social value of animation by the content of social criticism, not for entertainment uses but for public interest. This research addresses how the function of social criticism implements in animation film, especially, its narratives and direction. In the light of this, firstly, literature will review the general characteristics of social criticism films, Secondly, based on literature reviews, analysis tools will be drew, thirdly, the case study regarding will be processed by focusing on The function of social criticism, the technique of direction and expression of animation. As a result of this research, shows unique traits because of the hierarchical and exclusive characteristics of military culture, which differs from general characteristics of social criticism films dealing with historic and social issues. In addition to this, the function of social criticism is effectively implemented in animation film, by the creative narratives and technique of direction by a director, Sang-Ho Yeon.

• Cross-Cultural Studies
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• v.25
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• pp.87-106
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• 2011

This article studies that Korean literature has been renewed to World literature-oriented in the history of Modern Korean literary criticism from early modern period to present for reflecting the slogan, "globalization of Korean Literature" as well as contextualizing the necessity, "new relationship between Korean literature and World literature". Some writers, such as Lee Gwangsoo a pioneer of Modern Korean literature and the group for foreign literature[haioei-munhak-pa] introducing World literature to Korea and Lim hwa a prominent critic of proletarian literary theory under Japanese Colonial period, have understood European literature as World literature Korean literature had to reach. Inevitably the hierarchical relation between Korean literature and European literature as World literature had been interiorized to them. Meanwhile Jo Dong-il and Paik Nak-chung who have been representative researchers of Korean literature had tried to broken down the hierarchical relation between Korean literature and European literature interiorized to Korean writers until the 1980s, with Korean literature could be accomplished to World literature meaning. Since the late 1990s Park Sung-chang and Park Sang-jin who are leading researchers of comparative literature in Korea these days, have emphasized the methodology of new comparative literature for 'universality of literature' between Korean literature and World literature, which have been the renewal way of Korean literature in today's age of globalization.

• Korean Institute of Interior Design Journal
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• no.29
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• pp.112-119
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• 2001

In general, the definition of criticism is making a constructive analysis between good & evil, right & wrong, and beauty & ugliness. Just as the literature, art, music, and architecture welcomes productive criticism in order for further advancement in each professional field, constructive criticism in the field of interior architecture must be activated stance it would be as useful as in other fields to upgrade the level of design quality If the constructive criticism were to be taken properly in the benefit of further advancement in particular design, then the criticism must hale a proper criteria in order to examine and review the design work objectively However, as the design symbolizes cultural interpretation and reaction towards better creativity, we expect design to be mutated in many different directions. As the limit of Interior architecture shares limitless possibilities in today's society, it seems that we need to set up a guidelines of design criticism in order to support the further development of the area of interior architecture.

• Lingua Humanitatis
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• v.1 no.2
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• pp.141-158
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• 2001

Criticism of today finds itself in an awkward situation, for it is now being transformed in the same way that literature and the arts were transformed by the avant-garde movements at the end of the 19th century and the beginning of the 20th century. It is characterized predominantly by a break with harmony and with the values of realism. As such, it is driven by a post-modem ethos, an artistic, social, and cultural phenomenon that veers toward open, fragmentary, and indeterminate forms. In this paper, I examine today's most urgent social and cultural issues with reference to artistic production and criticism, in order to illuminate the true nature of criticism. The outstanding questions in the world of art criticism are given in five categories: the lack of critical reality in argumentative criticism; the problem of artistic and literary production in global capitalism; the artistic mind and its consciousness of socio-historical ideology; anxiety of the rise of cyberjournalistic criticism; and the question of subordination to western systems in the field of interpretation and criticism. For my analysis, I have tried to formulate a three-dimensional critique structure that will help us organize the relationships between the points of argument: 1) criticism as a creative force behind the artist; 2) criticism as critique of artistic production; and 3) criticism as critique of other critics. This multi-layered structure will be appropriate to our task of interpretation and evaluation, as the proposed complex structure of criticism will be able to embrace the diverse aspects of our problematic argument. In the final analysis, my argument resolves itself into a question of art, more specifically into a question of criticism as a protective device of art in an age threatened by globalization and cultural monopolization.

• Journal of Korean Classical Literature and Education
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• no.33
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• pp.45-82
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• 2016

Class, the fundamental unit of school education and the meeting place of teacher and students, plays an important role in study of the subject matter of education. Class criticism is material to the theory or method that helps researchers deeply understand and analyze class phenomena or teachers' actions during a class. In this study, I make a critique on the features of a classic novel class as attempt to expand on new prospects in the field of research on classical literature education. The classic novel class in this class criticism is typical one, which reads the work analytically. Nevertheless, the teacher turns the students' vague repulsion into empathy and helps them appreciate and internalize the work. Students' empathy and response are reflected in the interpreting-centered class because the teacher's insights about the work and experience, knowledge, and method of literature education are projected during the class. Especially, a situation in which the teacher spends a relatively long time narrating the background of the work clearly shows the value and meaning disseminated in a classic novel class. Based on the aforementioned, attempts to collect a variety of cases of a classic novel class and to understand the meaning of these cases have to be part of future research. The research on the attributes of a class such as criticism of classic novels enables us to renew introspection to discover classical literature education.

• Journal of Korean Library and Information Science Society
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• v.14
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• pp.39-69
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• 1987

The purpose of this research is to analyze the differences between literature (Belles-letters) class in DDC 19 and literature class in KDC 3. The results of the study can be summarized as follows : 1. The section of philosophy and theory of literature in DDC was subdivided according to the properties as including subsection of theory of criticism but KDC didn't subdivide this section. 2. In DDC, the subsections of 'rhetoric in specific languages' and 'rhetoric of specific kinds of composition' in rhetoric section was established and can subdivide according to each languages and subjects. These considerations can be useful as compared with KDC. 3. In DDC, collections or criticism of several literatures in specific forms can be more subdivide according to specific aspects or features dealing with in the collections or criticism by a n.0, pplying Table 3-A when specified more than the literary form. 4. Reviewing a notational rank to be assigned in literatures of specific languages, Latin literature and Classical Greek literature to be ranked in division in DDC was established as subsection in KDC to treat them as literatures of minor languages. 5. The DDC can sometimes a n.0, pply, in literatures of all languages, the notations of Table 3 to be subdivided again as specific kinds of literary forms, but KDC subdivided literary forms as specific kinds of each forms in only Korean, Chinese, Japanese literature. 6. In DDC, even literatures of minor languages are provided with 'the period table for the specific literature' under each literature of specific languages in schedules and these period tables can be a n.0, pplied a n.0, ppropriately, but period numbers in KDC was established in only Korean, Chinese, Japanese literature. 7. The optional use of letter prefixes or special numbers such as 828.99 to distinguish literatures of countries other than the "mother country" which makes the use of period tables feasible, but the KDC can only use to distinguish without the function of dividing a period such as DDC. 8. According to a n.0, pplying Table 3 and 3-A also in literatures of specific languages(810-890), a literature of specific languages, a specific literary form in literature of specific languages and a literature or literary form of specific period, in case of a n.0, pplying 'form divisions 08-09', can subdivide again by a specific aspect or feature dealing with in the works when specified. 9. For grasping the rate of subdividing, after selecting several sample-titles in literary field, they classified by DDC and KDC and gave a definite score in accordance with analytic small subjects. According to the results, the rate of subdividing in literature class of KDC is proved as less 22.8% than DDC. than DDC.

• Journal of English Language & Literature
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• v.64 no.1
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• pp.25-37
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• 2018

The turning point is one of the more evocative concepts in the critic's arsenal, as it is equally suited to the evaluation and analysis of a given moment in one's day as to those of a historical event. But how does one recognize a turning point? As we find ourselves always "in the middest," both spatially and temporally, we inhabit sites that may be points at which many things may be seen to turn. Indeed, it is usually only possible to identify a turning point, as it were, from a distance, from the remove of space and time which allows for a sense of recognition, based in part on original context and in part of perceived effects. In this article, Robert T. Tally Jr. argues that the apprehension and interpretation of a turning point involves a fundamentally critical activity. Examining three models by which to understand the concept of the turning point-the swerve, the trope, and peripety (or the dialectical reversal)-Tally demonstrates how each represents a different way of seeing the turning point and its effects. Thus, the swerve is associated with a point of departure for a critical project; the trope is connected to continuous and sustained critical activity in the moment, and peripety enables a retrospective vision that, in turn, inform future research. Tally argues for the significance of the turning point in literary and cultural theory, and concludes that the identification, analysis, and interpretation of turning points is crucial to the project of criticism today.