• Journal of the Korean association of regional geographers
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• v.19 no.1
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• pp.130-146
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• 2013

This study aimed to analyze the authenticity of dark tourism, and to discuss the possibilities and limitations of disaster tourism as an alternative type of tourism in post-modern society. For this purpose, disaster tourism related with the Great East Japan Earthquake was analyzed. After the disaster occurred, the boundaries between guests (tourists) and hosts (residents) dissolved and disaster communities emerged temporarily. This was followed by social contributive tourism, in which both guests and hosts shared their matter of life-and-death experiences, so existential authenticity became the most important motive and experience for tourism. As time passed, however, existential authenticity was reconstructed ideologically in the socioeconomic political context of disaster recovery, and replaced constructive authenticity. After all, the possibilities of disaster tourism as an alternative type of tourism based on the introspection of modernity were restricted. To discuss the underlying ethical issues of the commodification of disaster tourism, further researches should conducted to consider dark tourism as an alternative type of postmodern tourism.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.3
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• pp.544-558
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• 1997

Black street style has made unique fashion in popular music such as Jazz, Soul, Rhythm Il Blues. Reggae, and Rap, and it is counterculture and subculture against white. Furthermore, the black street style has played a starring role in the development of white culture as well as black culture, which emerged in direct opposition to the dominant cultures practised by a fraction of fellow countrymen within the black diaspora. The objectives of this study are to examine the social chronology of the black street style and the contemporary fashion, and the influences of the black street style on white culture. The seeds of black's style were sown in the late forties, developing throughout the fifties with the arrival of black immigrants from the west Indies and its examples were zooties, hip cats 8l hipsters, modernists. Rude boy & two-tone was anti·fashion style in sixties and then rastafarians continued in seventies costume is used to convey an essential symbolic class and ethnic message. The latest black's street fashion is hip-hop dress, which is pluralistic and electric, and funk is also erratic. During its ten-year reign as an international style, it has undergone numerous shifts because it is decline of racism B-boy & flygirls toraggamuffins & bhangra style to acid Jazz. These have played a crucial part in influencing the gigh fashion and avant-grade fashion designers' work. Today's street fashion has characteristics of postmodern culture without a racism in global village. Moreover, pop music stars take an effect on the street style continuously. With the opening of a new century, the study of the street style will overcast popular fashion and suggest the direction of fashion design.

• Journal of English Language & Literature
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• v.55 no.6
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• pp.1013-1034
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• 2009

The space of the Other assumes the space of Barthes's multiplicity and Foucault's transdiscursive position, and, therefore, aims at becoming the locus in which the speaking subject and the hearing subjects are supposed to communicate and constitute as if they were situated in the pscychoanalytic session. However, the wall of untranslatibility across language and cultures still exist there in the space of the Other in the form of trauma and aggressivity, as Lacan demonstrate perceptively through the reading of Kant avec Sade. In short, Lacan regards the moral commandment (to love one's neighbor as oneself) as the obstacle in the Freud's myth of transgression, and interprets this in terms of the emergence of the Other. Freud understands that the aggressivity in the subject's own heart was inherent in all humans, and that one's neighbor would be evil. Lacan goes beyond Freud and articulates that the aggressivity in the imaginary relation with the Other in the mirror stage insures that an evil inheres in the very being of humanity. A global phenomenon of the diasporic identities and hybridity, the phenomenon which has been represented by the complicated intermixture of terms which span from diaspora, postcolonialism, postnationalism. and transnationalism can be clarified, if they are put in the context of the ethics of Othering or becoming the Other. The ethics of Othering presupposes the situation in which the diasporic subjects encounter the lack of the cross-cultural negotiation and communication. The purpose of this paper is to demonstrate how the poetics of Other and the logic of the ethics of Othering can explain the postmodern or transmodern world which has become deterritorialized, diasporic, and transnational as well as how one can encounter the results of diasporic and postcolonial double consciousness, a consciousness which is a discursive category for multicultural or cross-cultural, focusing on the concept of liminality/interstitiality

• Journal of Korean Philosophical Society
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• v.126
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• pp.235-261
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• 2013

This paper aims to cast light upon the urgent problem philosophically the reason why local or locality can not help being raised as the problem of ontological 'between' in human life, in the post modern discourse trying to surmount the general modern system in modern times and it. Therefore, it is necessary that we should inspect the quality of human life, raising a basic question about the existence of human among many questions raised in the process of the discussion of modern and post modern(2). In addition, in the process, we should look into closely what relations local or locality has with the quality of human life, because only in the local, human can be the subject who is making meaning the time and the places, being tangled with the trace of various texture and wrinkles from life. Also, it is here, in the local that subjects can identify to live together through the intersubjective network(3). When these conditions are met, local or locality will emerge as the possibility of locality humanities, as ontological 'between' in human life, where true humane and social life is possible(4).

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.3
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• pp.137-147
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• 2019

The purpose of this study, I investigate the new trend, 'new-tro', through the music video costumes of young generations, and analyze the meaning and characteristics of 'new-tro'. The research method is, select 30 music video with new-tro fashion style on the music sites, and the fashion styles were analyzed in 11 music videos checked and selected by 100 students. As a definition of the term, 'retro' refers to a phenomenon in which the past reappears in modern time, and 'new-tro' is a new retro trend, a social phenomenon that enjoys the old with a modern sense, and is a compound word of 'new' and 'retro'. 'new-tro' is a modern reinterpretation and rebirth of the past style, and 'fu-tro' is a style of coexistence between the past and the future. In the music video, fashion is a media language and cultural code, and it creates trend or new fashion, that communicates with the public, stimulating emotions. As a result of the research, the common trend phenomenon expressed in the music video costume of 'new-tro' trend which appeared in 2000s is as follows. 1. New-tro style starts with items that were famous in the past. 2. It is one of postmodern marketing using color, print and logo. 3. It spreads quickly by the influence of culture that is characteristic of the Internet and SNS world. 4. It is bottom up propagation phenomenon of street fashion. 5. It is a time game where modern people connect the past with the present. 6. "new-tro" continues to evolve for that time, based on 'retro'. New-tro, an evolutionary version of the 21st century retro wave. and it is a key to marketing effectiveness as a sympathetic elements of 1020 generations with the reproduction of memories.

• English & American cultural studies
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• v.13 no.1
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• pp.29-57
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• 2013

Patricia Waugh once regarded modernism fiction as 'the struggle for personal autonomy' against the opposition existing social institutions and conventions. Michael Cunningham's characterizations of Virginia Woolf and Septimus in The Hours show the two contrasting reactions to individual alienation and mental dissolution in the modern era. As the personifications of endurance and self-destruction against the mechanical power of contemporary world, Woolf and Septimus consist of just the world of diptych where the woman's role is confined to the angel in the house. By creating Mrs. Brown based upon his own alienated mother image, however, Cunningham succeeds in representing the more dramatically vivid world of triptych where woman can have her own room and self-realization despite still facing the dilemma of the traditional family. Accepting Joycean Bloom's optimistic and relaxing way of life in part, Mrs. Brown connects the labyrinths between the author's (and also Richard's) alienation with the theme of celebration of the life. Clarissa in postmodern New York setting is still a concealed and mystified character. Similar to Mrs. Dalloway, on the one hand Clarissa watches other people's tragedy with compassion. Cunningham's Clarissa, on the other hand, is no longer seeking for either winning or defeat in the spectacular world unlike her predecessors. In many resilient attitudes of everyday life Clarissa is closest to Mrs. Brown whom Virginia Woolf originally hopes to describe. Without any fear or rage toward the society Clarissa witnesses and achieves "the humanity, humour, depth" of female values by successfully turning the trivial life into an epic journey.

• The Journal of the Korea Contents Association
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• v.21 no.6
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• pp.113-127
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• 2021

This study aims to view the architectural space of the postmodern era as a concept of continuous change without being fixed, and to understand the spatial elements in architecture with a changing network of relationships. The purpose of the study is to analyze the spatial composition strategies of the two architects while revealing the spatial characteristics shown in Rem Kolhaas and SANAA's works in terms of relativity. The method of the study defines the meaning of non-fixed relationships through theoretical considerations of relativity and then looks at the architectural approaches of Rem Kollhaas and SANAA. The relationship was divided into programs, environments, users, and furniture and furniture in the space and analyzed the works of the two architects. As a result, both architects are similar in that they reject rigid programs by organization and use potentially inherent relationships for building space activation purposes, while Rem Koolhaas uses the user's behavior-inducing strategy, while SANAA uses the user's relaxation strategy.

• The Journal of the Korea Contents Association
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• v.22 no.4
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• pp.468-478
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• 2022

'True education', which was the core ideology of 'the Korean Teachers & Educational Workers Union', is re-appropriated in the new media era. This word, which is actively used by young people, means 'punishment against the object of social condemnation'. One of the characteristics of 'true education contents' commonly seen on the Internet is that it shows a tendency to 'fragmentation'. True educational contents are short in length, and the contents are very local. This reflects the characteristics of a postmodern society where totality disappears and small stories are consumed. Second, the standard for dividing good and evil is extremely 'arbitrary'. Whereas the existing stories of rewarding virtue and punishing vice had universal values such as love, consideration, and peace, the content of true education distinguishes good and evil with an extremely narrow perspective. The way to justify arbitrary standard is to incite public outrage. Third, 'humour' is added. Here, humor is combined with the emotion of hatred, causing the problem of weakening people's critical consciousness.