• Cross-Cultural Studies
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• v.45
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• pp.295-324
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• 2016

This essay attempts a contrapuntal reading of Thomas More's Utopia. Contrapunctual reading, proposed by Edward Said. attempts to make a text speak across temporal, cultural, and ideological boundaries to a topic of present. I examine two opposite readings of Utopia around 2011 by both pro- and anti-Occupy Wall Street positions. On the one hand, the opponents of Occupy find its limits as a utopian social movement echoing in the fictional character of Hythrodaeus and the alternative society verbally sketched by him in Book Two of Utopia. On the other, Occupy's advocates read More's text as embodying its radial possibility. However, each shares the tendency to denounce Book Two, praising Book One in which Hythrodaeus vehemently criticizes England; they read Hythrodaeus not as an utopian idealist but as a social critic. The Occupy, as a result, is seen here as having an ambivalent relationship to utopianism. I reinterpret the radical possibilities of Book Two criticized by both pro- and anti-Occupy invocations of Utopia. Book Two provides a utopian space in which the existing social contradictions are cancelled, revealing the limits of the three partial utopias proposed at the end of Book One. Following Louis Marin's argument, I argue, the "utopic" space does not lie in the so-called ideal society described in the text but in the inconsistencies between the text's description(discourse) and topography(map). In Book Two the existence of a king is described, yet his space is not found in the topography of utopia; likewise market is described as existing at the center of a city, yet its space is not found either. These inconsistencies create a neutral space in which the ideological contradictions of the text are cancelled, and the space opens up the possibility of communal society beyond modern sovereign power and capitalism I argue this utopian dream needs to be summoned once again in our time as a compelling alternative to the corporate, capitalist order.

• Journal of architectural history
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• v.2 no.1 s.3
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• pp.25-41
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• 1993

This study was made to analyze the housing adjustment phenomenon in the first half of Chosun Dynasty by applying Microsociological approach. By reviewing the housing adjustment theory of Morris and Winter, research model for the period was developed in terms of socioeconomic characteristics, normative housing deficit (=cultural norm-housing condition+family norm), constraints, behavioral propensities, and housing adjustment mechanism with the following results : 1. In the first half of Chosun Dynasty the size of the house, the house site and decorating items were specified by law (cultural norm) according to the social status. Although the law was constraints for the housing phenomenon, it was not applied universally. Frequantly the law was violated by the upper class. By the middle of the Dynasty the family norm became more important for the housing phenomenon than the cultural norm. 2. Efforts were made to practice the Confucianism as a cultural norm in the first half of Chosun Dynasty At that time Husband-Living-in-Wife's-House was more popular than Wife-Living-in-Husband's-House. Because the customs were against the Confucianism, the latter was encouraged by law. But it did not change. Instead a compromised system became popular in the middle of the Dynasty. The house shrine was practiced to increase the symbolism of the family, which, in turn, exerted influences in deciding the housing site (cultural norm). These cultural norm was not accepted as the family norm untill the second half of the Dynasty. These trends forced the man and woman use separate areas of the house, and formulated a hierarchic positions within a house. 3. It was shown that the settlement of Confucianism as a family norm was closely related to the popularization of the Ondol system in the house, which functioned as one of the behavioral propensities to encourage diversity of space for many purposes. Though the Ondol system was accepted as a useful heating system earlier, this became more popular in the middle of the Dynasty because the housing pattern with Ondol fitted very well with a large family system with patriarchism. Ondol system for one or two rooms substituted Ondol for all rooms in the second half of the Dynasty. 4. From the beginning of the Dynasty housing adjustment of the family was determined by the social status and by law (cultural norm). Within this cultural norm each family decided its adjustment mechanism according to its economic ability (family norm). Family norm was more important factor than the cultural norm to determine the micro-space pattern in the house. But this period witnessed the formations of new conditions by the ruling class's efforts to implement new ethics for hierarchy and sexual discrimination. According to these conditions the Confucianism overruled the family norm in the later period.

• The Journal of the Korea Contents Association
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• v.17 no.2
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• pp.415-428
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• 2017

This article is a socio-cultural research on the fitness members by employing an original synthesis of the work of Elias and Bourdieu. The purpose of this research is to provide a multidimensional and in-depth analysis of fitness members, by researching the relationship between body groups with differing economic and cultural capital (e.g. Gangnam and Gangbuk, private and public center). Through interviews and participant observation, the established and outsider relations of fitness members in both Gangnam and Gangbuk are examined (Gangnam 12: Gangbuk 12). Participants in social space differentiated by fitness capital and socio-economic positions gather in certain spaces that identify them as members of the same class location: the established body in Gangnam (Gangnam E), the outsider body in Gangnam (Gangnam O), the established body in Gangbuk (Gangbuk E), and the outsider body in Gangbuk (Gangbuk O). The E-O figuration of the body in fitness clubs shows differences in their body tastes and habitus (selecting a fitness centre, body ostentation, social assessment, making muscles, participation in other sports) and civilizing process (fitness manners and etiquette). The fitness centers in Gangnam and Gangbuk were not simply spaces for exercise but symbolic spaces that both recreate and perpetuate socio-cultural hierarchies between members.

• The Research Journal of the Costume Culture
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• v.18 no.5
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• pp.977-990
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• 2010

Today, as individuals show their social identities and reflect their being as the members of society with a culture, an art style and communication function are stood out in fashion photographs. Accordingly, the meanings of images into text are expanded in its interpretative width through the acceptor's various terms. This researcher looked into four theories of both positions on the textuality of language and image, and considered the point of discussion on image of each theory through modern fashion photographs. First, the theory which divides language and image as auditory and visual recognitions in the textuality of language and image is limited from the view it focuses on only one side without considering the ambivalent elements of each field. For the textuality in modern fashion photographs, the observer attempts to turn it into text to give meaning to it as the recognition through five senses conforming to the acceptor's condition. Second, the theory dividing language and image into the text of time properties and spacial properties has limitation in the text, for acceptor's experience of the object appears as the structured form in time and space rather than being defined as two things like time and space. Third, the theory classifying the language and image text into conventional taste and natural taste has limitation from the view that image text is hardly an object of consistent classification in ease of recognition by the code accepted in society. Thus, this can't be fundamental approach for the understanding of the text of decoding trend represented in modern fashion photographs. Fourth, accordingly, this researcher focussed on contextual and arbitrary text of fashion photographs through the theory of Nelson Goodman which discusses image text through the differences in textuality. Basic mechanism of perceiving and recognizing and distinguish image is closely related to habit and custom like language. So, each acceptor perceives the image as a text through arbitrary interpretation obtained by individual, empirical, historical, and educational viewpoints. The textuality of modern fashion photographs aims to widen the range of diverse knowledge and understanding, transcending the regulations of simple function of existing fashion photographs. Consequently, this researcher puts forward the opinion of consistent and diverse follow-up studies on instilling meaning into fashion photographs for the understanding de-regulatory and de-constructive through various senses by avoiding only one sense-dependent fixed and regulatory properties of it.

• Cross-Cultural Studies
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• v.24
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• pp.46-61
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• 2011

This paper considers how Koreans found their positions in the complex, overlapping, disjunctive, and interconnected "Oriental" repertoires in the early Cold War years. When we use the term, Oriental, it should require careful translation from context to context because it may be subject to very different sets of contextual circumstances. Klein views Cold War Orientalism in the complex of various regions including East Asian and Southeast Asian countries; however, when Koreans are contextualized at the center of the discussion the Orientalism produces another discursive meaning. Even though many great researches have been done on Korean immigrations, Korean American literatures, and US-Korea economic, political, and foreign relations, not many discussions about Korean American popular cultures have been discussed in the basis of the Oriental discourse in the United States.For this argument, this paper investigates the performative trajectory of a girl group "Kim Sisters" who began to sing at the US military show stages in South Korea in 1952 during the Korean War. They moved to Las Vegas show stages in 1959 and later appeared in Ed Sullivan Show more than thirty times during the 1960s and 70s. Meanwhile, they not only returned to South Korea often times to perform at the stages for Korean audiences in South Korea but also played at the shows for Korean immigrants in the United States. Korean American immigration to the United States has followed a different route from the majority of Asian American population such as Chinese or Japanese Americans, which means that efforts to compare this particular group to the others may be unnecessary. Rather doing comparative studies, this paper, therefore, focuses on the formation of the intersecting and multiple identities of Korean female entertainers who were forced or forced themselves to be incorporated into the American popular "Oriental" imagination, which I would call "embedded" identities. This embeddedness has been continuously maintained in the configuration of Korean characters in the United States. This will help not only to observe the discursive aspect of Asian American identity politics but also to claim a space for comparatively invisible Korean characters in the United States which has been often times neglected and not brought into a major Asian American or Oriental historical discourse. This paper starts with American scenes at the beginning of the twentieth century to trace Americans Oriental imagination which was observable in the various American cultural landscape and popular music soundscape. It will help us more clearly understand the production and consumption of the Korean "Oriental" performances during the early Cold War period and especially the Korean performance in the American venue, silently overshadowed into the political, social, and cultural framework.

• Journal of the Korean Geographical Society
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• v.50 no.3
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• pp.289-303
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• 2015

This paper is an introductory research to theorize women migrants' positionality in the era of globalization and the feminization of migration. It particularly examines three recent theoretical approaches within feminist studies and their application to the feminist migration study. Migration means a process of continuous negotiations of one's social and material positions within ever changing relations and situations through crossing various borders including national boundaries. Women migrants face multifaceted oppressions due to gendered relation and greater challenges to transform their identities. They embody politics of location through migration. The paper revolves around theories that explore a potential of feminist subjectivation of marginalized women such as female migrants through their identity negotiation and transformation. The theories in questions are Borderlands and the New Mestiza introduced by Gloria $Anzald{\acute{u}}a$, Intersectionality of oppressions, and Transpositions and the Nomadic Subjects by Rosi Braidotti who borrowed the theories of Deleuze and Guattari through feminist critiques. These theories all represent power relations and subject transformations through spatial metaphors. rough spatialized understandings, the paper proposes interlocking relations among space, gender and migration, and explores conceptual tools as well as epistemological insights for Korean migration study.

• Journal of Intelligence and Information Systems
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• v.20 no.1
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• pp.195-211
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• 2014

Cloud computing services provide IT resources as services on demand. This is considered a key concept, which will lead a shift from an ownership-based paradigm to a new pay-for-use paradigm, which can reduce the fixed cost for IT resources, and improve flexibility and scalability. As IT services, cloud services have evolved from early similar computing concepts such as network computing, utility computing, server-based computing, and grid computing. So research into cloud computing is highly related to and combined with various relevant computing research areas. To seek promising research issues and topics in cloud computing, it is necessary to understand the research trends in cloud computing more comprehensively. In this study, we collect bibliographic information and citation information for cloud computing related research papers published in major international journals from 1994 to 2012, and analyzes macroscopic trends and network changes to citation relationships among papers and the co-occurrence relationships of key words by utilizing social network analysis measures. Through the analysis, we can identify the relationships and connections among research topics in cloud computing related areas, and highlight new potential research topics. In addition, we visualize dynamic changes of research topics relating to cloud computing using a proposed cloud computing "research trend map." A research trend map visualizes positions of research topics in two-dimensional space. Frequencies of key words (X-axis) and the rates of increase in the degree centrality of key words (Y-axis) are used as the two dimensions of the research trend map. Based on the values of the two dimensions, the two dimensional space of a research map is divided into four areas: maturation, growth, promising, and decline. An area with high keyword frequency, but low rates of increase of degree centrality is defined as a mature technology area; the area where both keyword frequency and the increase rate of degree centrality are high is defined as a growth technology area; the area where the keyword frequency is low, but the rate of increase in the degree centrality is high is defined as a promising technology area; and the area where both keyword frequency and the rate of degree centrality are low is defined as a declining technology area. Based on this method, cloud computing research trend maps make it possible to easily grasp the main research trends in cloud computing, and to explain the evolution of research topics. According to the results of an analysis of citation relationships, research papers on security, distributed processing, and optical networking for cloud computing are on the top based on the page-rank measure. From the analysis of key words in research papers, cloud computing and grid computing showed high centrality in 2009, and key words dealing with main elemental technologies such as data outsourcing, error detection methods, and infrastructure construction showed high centrality in 2010~2011. In 2012, security, virtualization, and resource management showed high centrality. Moreover, it was found that the interest in the technical issues of cloud computing increases gradually. From annual cloud computing research trend maps, it was verified that security is located in the promising area, virtualization has moved from the promising area to the growth area, and grid computing and distributed system has moved to the declining area. The study results indicate that distributed systems and grid computing received a lot of attention as similar computing paradigms in the early stage of cloud computing research. The early stage of cloud computing was a period focused on understanding and investigating cloud computing as an emergent technology, linking to relevant established computing concepts. After the early stage, security and virtualization technologies became main issues in cloud computing, which is reflected in the movement of security and virtualization technologies from the promising area to the growth area in the cloud computing research trend maps. Moreover, this study revealed that current research in cloud computing has rapidly transferred from a focus on technical issues to for a focus on application issues, such as SLAs (Service Level Agreements).

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.