• Journal of Environmental Policy
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• v.7 no.4
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• pp.105-134
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• 2008

Local opposition and protest constitute single greatest hurdle to the siting of locally unwanted land uses(LULUs), especially siting of high-level radioactive disposal not only throughout Korea but also throughout the industrialized world. It can be attributed mainly to the NIMBYism, equity problem, and lack of participation. These problems are arisen from rational planning process which emphasizes instrumental rationality. But planning is a value-laden political activity, in which substantive rationality is central. To achieve this goals, we need a sound planning process for siting LULUs, which should improve the ability of citizens to influence the decisions that affects them. By a sound planning process, we mean one that is open to citizen input and contains accurate and complete information. In other word, the public is also part of the goal setting process and, as the information and analyses developed by the planners are evaluated by the public, strategies for solutions can be developed through consensus-building. This method is called as a co-operative siting process, and must be structured in order to arrive at publicly acceptable decisions. The followings are decided by consensus-building method. 1. Negotiation will be held? 2. What is the benefits and risks of negotiation? 3. What are solutions when collisions between national interests and local ones come into? 4. What are the agendas? 5. What is the community' role in site selection? 6. Are there incentives to negotiation. 7. Who are the parties to the negotiation? 8. Who will represent the community? 9. What groundwork of negotiation is set up? 10. How do we assure that the community access to information and expert? 11. What happens if negotiation is failed? 12. Is it necessary to trust each other in negotiations? 13. Is a mediator needed in negotiations?

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.3
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• pp.22-31
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• 2012

This study was prompted by the recognition that the tenn "Community design" has recently been used in diverse practical fields without prior discussion about its underpinnings, a potentially problematic state of affairs. Based on these problems, this study studied the special quality about the concept of community design. Community design can be discussed from two perspectives. The first views community design as a design that concerns the community, an inhabited area populated with people who have common interests, at least in part because of geographic proximity to each other. The second sees community design as a movement that started in the 1960s and places a great importance on democratic decision making, communication, and collaboration. This study will focus on the latter. This branch of community design encompasses an advocacy planning approach, in which design professionals represent deprived communities in their resistance against comprehensive redevelopment. This was associated to the wider social protest movements of the mid and late 1960s. In the 1970s, this branch of community design was developed alongside community design centers, which provided local-level technical assistance to the communities on a number of issues, such as design and planning. The discussion about community design started in earnest from the early 1980s. A review of the literature m community design reveals several characteristics. First, community design deals with the relationship between the physical environment and several aspects of a region, including the social and cultural. Second, it involves community participation, which many scholars believe is the core of community design. Specifically, community design has been characterized by increased participation and democratic debate and decision making. The Third is about communication methods. Since the 1960s, diverse methods had been developed to promote communication effectively. Finally, community design must consider the relationship between designers, who typically value aesthetics and efficiency of form, and the needs of the community with which they are working. Indeed, some scholars believe that this relationship is generally contentious, although the designer can also be thought of as the facilitator of the community's needs. As community design practice becomes more prevalent, a review of the foundation of institution and policy and the role of experts is also needed. The community design movement bas been theorized ex post facto through diverse discussion that has sought to ascribe meaning and direction to its practice. In other words, the relationship between this theory and practice is cyclical. Therefore, this study can contribute to the virtuous circle.

• The Korean Journal of Food And Nutrition
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• v.16 no.1
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• pp.72-83
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• 2003

Korea has its long history and tradition of eating dogmeat as food, but dogmeat was excluded from the animal procession law because of the criticism from foreigners, so it is being distributed without inspection of government. Government rejects people's demand for the legalization of edibility of dogmeat due to the protest from a few animal right activist groups, but 80% of nationals favor edibility of dogmeat, and urge the legalization of dogmeat, while 20 lawmakers in legislature submitted the bill to legalize the edibility of dogmeat, and judicature ruled dogmeat is edible meat. Westerners' criticism on dogmeat is, in part, from real protection of animal, but rather their intention seems to be from the racism of colors, the purpose to increase the export amount of beef, to divert the attention of utilizing the abandoned pet dog as animal feed, and to raise a fund for the animal right activist groups. Government distorts the public opinion of edibility of dogmeat, making use of the related animal protection group, and the ministry of Agriculture and Forestry controlling over the animal protection law sides for the concerned groups opposing to the edibility of dogmeat, not for farmers. Furthermore, government has no intention of solving the problem of edibility of dogmeat and can't even propose the solution without presenting any adequate measure, worsening the situation. As a result, the issue of edibility of dogmeat is on the dead angle of sanitation, and wastes of dog slaughtering are polluting the environment. To solve this problem, it is necessary to legalize the edibility of dogmeat in order to distribute it sanitarily, to protect the environment, to increase tax revenues, and to secure the national pride. In addition, the Ministry of Agriculture and Forestry should transfer the jurisdiction over the animal protection law to the Ministry of Environment, and government should execute a reliable policy on the bases of objective and accurate investigation and statistics. Also, it is needed not only to set up the exclusive public bureau to make the edibility of dogmeat known worldwide and research institute, but also to launch the non government organization under the auspices of government. Then dogmeat can become the world renowned food as that of representing Korea.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.175-183
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• 2021

Gongjae Yoon DuSeo(1668~1715), from Haenam in the late Joseon Dynasty, is a scholar-born painter who was active during King Sukjong. He is the person who created the foundation as a pioneer of realist paintings in the late Joseon period during the transition from the middle to the latter period. He was born in Namin's prestigious family, but he ended his career as part of a partisan fight and immersed himself in painting and learning. 18C, the beginning of the late Joseon Dynasty, was a period when Silhak emerged and the Jinkyung era opened with awareness of nationalism. At this time, by incorporating the Silhak thought into the art world, the real reformed aesthetic consciousness was demonstrated to pioneer common people's customs, the application of Western painting methods, the pursuit of realist techniques, and the introduction of Namjongmuninhwa. His view of painting, who thoroughly learned the old things and pursued change, must have both the form and spirit that he can achieve 'HwaDo' only when it has the science of 'learning and knowledge' and the technical elements of 'practice and quality' emphasized. He has worked in a variety of reconciliations. In particular, portrait paintings are characterized by ihyeongsasin's realistic expressions of aesthetics. His masterpiece, 「Self-portrait」, excels in extreme-realistic depiction and innovation in composition, and stands out with an unconventional experimentation spirit that expresses his mind and thoughts in a painting with a sense of resentment. His landscape paintings combine to express the form as it is and mental notions, and beautifully embodied Do as a form, thus achieving ihyeongmido, which reached the level of'joyfulness forgotten even the heart of joy'. On the other hand, the generalization of the common people using various common people's lives as the subject of an open-mindedness aimed at gaining the facts of ihyeongsajin, a passive protest against corrupt power and an expression of a spirit of love. Since then, his painting style has been passed down from generation to generation to his eldest son Yoon Deok-hee and his grandson Yoon Yong, leading the change and revival of calligraphy art in the late Joseon Dynasty.

• 한국사회정책
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• v.23 no.1
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• pp.1-23
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• 2016

This study evaluates the strategic capacity of Korean labor union movement by examining policy alternatives and strategic steps that the Federation of Korean Trade Unions and the Korean Confederation of Trade Unions have shown in response to Park Geun-Hye government's labor market structuring policies. While the government-led labor reform was carried out as intended, organized labor has not simply failed to achieve progressive labor reforms to enhance employment security, but also to exert their strategic capacity effectively for preventing Park's labor market flexibilization policies. The two national centers have not been able to exert their strategic capacity (such as intermediating, framing, articulating, learning) for mobilizing the resources of internal solidarity, network embeddedness, narrative discourse, and organizational infrastructure. In particular, the formation and diffusion of public discourse is a significant part of strategic capacity of labor unions dealing with the labor politics of labor market restructuring, since organized labor, which is under the unfavorable constraints of limited movement resources and power imbalance with the business circle, needs to mobilize massive support and participation from union members and civil society organizations. In this light, it becomes of more importance for labor union movement to exert their strategic capacity toward internal solidarity and network embeddedness in the stage of labor market reforms. Under the recent stage of labor reforms, however, the labor unions has not harnessed their movement resources effectively, but undertaken their protest in a traditional manner, thereby losing its public efficacy from inside and outside. Moreover, it is necessary to build and activate the network of organic solidarity among organized labor, civil society organizations and progressive political parties, in order to cope with the pro-business coalition of power elites for accomplishing pro-labor reforms.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.189-219
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• 2020

This study is an analysis of Handol Heung-Gun Lee's Tarae, which is a coinage combining the Korean words for "playing an instrument" and "song", in terms of narrative and aesthetics. The components for analysis are the phenomena and nature of binary oppositions between nature and human beings, between alienation and interest, between division and unification, and between diaspora and people of the national community. Tarae in the period from the late 1970s to the early 1990s described the experience of pain and loss from non-resistance and disobedience in protest against social problems that emerged during the era of miliary dictatorship, such as industrialization, urbanization, reckless development, Westernization, university-oriented education, the gap between rich and poor, human alienation, and the conflicts arising from the division of the nation. After Handol overcame the lack of creative motivation with self-reflection and effort, Tarae took the form of a diaspora epic meta-narratives integrating the "sound of nature and his true nature" and "the awareness of diaspora and the spirit of the Korean people". The epics of the homeland, the national soil and the people, which began with "Teo", became more intense in terms of a sense of diaspora as they shifted their focus from an origin to a path with "Hanmoejulghi" as the turning point. Handol seeks inspiration in the source of narrative rather than in music. His Tarae focuses on "adding rhythm for lyrics". For this reason, the semiotic features of Tarae have a limitation in that its extrinsic phonology is simple even if its intrinsic meaning (i.e., emotion of sadness) is profound and subtle. In order to elicit sympathy from the audience and impress them, it is necessary to strike a balance between the implicit (semantic) part and the explicit (phonological) part. To share the emotion of sadness with more people, it is necessary to strengthen phonological elements. Sympathy for sadness and deep impression on the audience are more often induced by the mood of similar sentiments than by the stories of the same experience. The aesthetics of sadness in Tarae began with the narratives of past experience which were expressed in the contexts of loss, loneliness, and poverty that Handol had experienced since childhood. However, the aesthetics of sadness, deepened over the period of a long hiatus in Handol's career as a composer, formed the narratives of ultimate salvation, embodying even the diaspora experience of others (e.g., displaced people, overseas adoptees, ethnic Koreans in Russia, victims of Japanese military sexual slavery, etc.). This gave Tarae the potential to go beyond the limits of the ethnic group of Korea. Tarae, as a "dispersed sound", can benefit from the appeal of deep sadness at the point of contact with other forms of world music. It may form a global diaspora discourse because Tarae is oriented towards interculturalism rather than anti-multiculturalism. The future challenge and goal of Handol's Tarae would be to continue to find areas of sympathy and broaden the horizon of awareness as diaspora music.