• The Korean Journal of Archival Studies
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• no.68
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• pp.205-241
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• 2021

This article explores how to incorporate the topic of the global environmental crisis called the "anthropocene" into archives studies and connect it to ecological practical reasons. In order to encourage discussion of archival studies, which puts the environmental crisis at a kind of archive constant value, this study seeks to examine the possibility of a quality shift in archival studies based on ecology. This article aims to go beyond the pragmatism of preparing improvements to eco-friendly record management, which is recently claimed by the "Green Archive" in Western archival studies. It calls for a new concept called 'ecological archive', which theoretically combines a more archives-based and ecological paradigm, and its epistemological transformation. Specifically, the ecological approach of archives is first discovered in the discussion of archival studies and at the same time, through the "ecological turn" of archives emphasized by recent anthropocene discourses, the concept of "ecological archive" emphasized by this article is embodied. This study uses 'ecological archive' as a universal and theoretical framework for archives as a basic concept for building ecological 'living' archives. In other words, for the construction of ecological archives, we reinterpret and extend so-called democratic values for archives, i.e., post-custodianship, community archives, and archives of emotions. Finally, the records of foot-and-mouth disease killing burial sites, an important site and example of the anthropocene tragedy, exemplifies the methodology of the actual application of ecological living archives. The case analysis aims to seek a new qualitative shift in record management that adapts to global ecological transformation, while also emphasizing the documentation by archival activism in ecological field practices jointly organized by archivists and citizens.

• Cross-Cultural Studies
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• v.43
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• pp.405-428
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• 2016

The purpose of this paper is to examine the narrative-building method and the post-historical descriptive aspects of the movie Paradise in Service, which deals with the modern history of Taiwan. Although Paradise in Service tells the history of a certain time period, it focuses on the anguish and agony felt by people who lived during that age rather than on the meaning of historical events or interpretation of the past in terms of official historical discourse. That is, as it avoids looking at the present by composing a narrative in the descriptive historical context and from bearing weight from the viewpoint of realism, it gains the possibility of establishing a new field of discourse through a post-historical discussion using descriptive historical texts. However, the movie tries to create fantasy through a special type of licensed prostitution as a means of post-historical description. In other words, when this movie tries to reproduce the microscopic history of common people in trouble because of a historical tragedy, it considers only men and excludes "weak" women. Thus, although Paradise in Service has meaning in that it gives an example of how movies can disrupt official historical discourse and group memory and rewrite history by focusing on individuals, it is limited by its male-centrism.

• International Area Studies Review
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• v.21 no.2
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• pp.121-141
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• 2017

The world whitening cosmetics market is fast being taken in 'complex functional cosmetics' including complex function. And highly functional cosmetics market that call cosmeceutical market is growing up with highly functional cosmetics market. In addition, natural cosmetics market including whitening function is growing up in the world in complex functional cosmetics. Distribution channel of the world functional cosmetics is digital communication through beauty and digital. Global companies are adding relationship in new space between customer and brand. So worldwide change phenomenon of whitening cosmetics distribution channel will suggest importance that it should be able to communication with customer in non-traditional space. Domestic whitening cosmetics market is decreasing to reference compound annual growth rate -3.61%. While complex type market is increasing to annual growth rate 33.28%. Since 2008, domestic whitening cosmetics market was changed in distribution channel of center of traditional door-to-door sales. Especially, online channel is about 1/6 level of offline, but since 2014, year-on-year increase rate of online showed 27.1%. In the future, it is anticipated that ratio of online sales is above offline. Whitening cosmetics distribution is being changed, and online channel is growing up, so domestic companies will need tragedy targeting new whitening cosmetics distribution channel and traditional offline channel at the same time. If new company go into whitening cosmetics market, the new company will have to consider natural cosmetics in complex functional cosmetics than whitening cosmetics market. To secure domestic competitiveness whitening cosmetics market, securing differentiation of brand or pursuing change of distribution channel, and we need to seek a method that company and customer can forge communication in new space.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.261-288
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• 2012

This paper attempts to research on the new language in the directing of Ara Kim. She was cranky on working on the stage to experiment with her own style since the 1980s and so opened a new dawn in modern Korean theatre. She leaded the Korean experimental theatre. The background of this experiment is her idea on theatre. And here, we have to look the subject that she setted for the work in Chuksan: Ritual Past, Ritual Present. To her, the theatre has the function of ritual and fest. The theatre suggests universal tragedy given to human as natural life force and has its own agenda to drive people to healing. For it, Ara Kim explores archetypal forms and languages before the fragmentation of genres of art. Her theatre shows the results of experiments in which such languages are recreated with modernized sensibilities. We here, for example by outdoor performance in Chuksan Human Lear, try to interpret the aesthetic principles that body out her ritual theatre. And what we looked at though, is the base of the 'complex-genre-music-theatre', the methode to 'compose' the stage elements and put it all together. The directing of Ara Kim has, in terms of the composition of the stage elements, much of the indisputable artistic value. Her theatre is, so to speak, theatre of image, and it is theatre of imagination that completed by the audience's imagination. Human Lear which has its own characteristic in image fragments, convert the original Lear into a simple tale. It serves as background of the modern ritual that shows the most basic human instincts. We meet in Human Lear a ritual tale with some list of image for the human instincts. The arrangement of image, the montage of scene shows the performance as a kind of artistic space. In Human Lear the space is the natural one. It centers around the arena stage. The objects installed in the space changes it into the laboratory for 'seeing' the happening. The spectators see the performance and at the same time see themselves in the nature laboratory. They see, and equally, they are visible objects. They see the performance and us in the space in which the performance takes place. That is what Ara Kim with her modern ritual really aims. That aim is to this days still in effect. It is a major driver of her experiments to extend the boundary of the theatre. The ritualistic site-specific performance in Akor Wat, Cambodia, A Song of Mandala is the latest great product from her experiments. On the other hand, she continues on her way to experiment with pure stage elements. The 'Station' series(Station of Water, The Station of Sand, The Station of Wind) she recently showed are the non-verbal performance with all the stage elements: movement, sound, body, light, colour, objects and so on.

• Journal of the Korean Society of Marine Environment & Safety
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• v.25 no.5
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• pp.550-559
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• 2019

The sinking of the M/V SEWOL in April 2014 was not a mere marine accident, but a marine catastrophe. This grim case developed into a social tragedy that impinged the national sentiment and communal integrity. It is imperative that thorough provisions and measures be outlined at the national level with regard to massive marine accidents, oil pollution, and natural disasters that might critically affect government affairs. Pivoting on "The Black Swan Theory," a concept of improperly rationalizing a national crisis based on uncertainties, this research assesses a variety of response strategies that minimize the national economic and social damage caused by a large-scale marine disaster. Along with the effort of minimizing any potential defects in each protective barrier, the "Black Swan Detection System of the Marine Disaster" needs to be incorporated to prevent cases wherein such defects lead to an actual crisis. Maritime safety must be systematically unified under a supervisory organization, and a structure for maritime crisis on-scene command and cooperation must likewise be established in order that every force on the scene of a marine disaster may act effectively and consistently under the direction of an on-scene commander.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.123-153
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• 2020

As the importance of documented fact has weakened in historical dramas, the combination with other genres has become prominent. By reviewing the way romance is dealt with in historical dramas, this research examines how the properties of historical events adopted by historical dramas are related to the motif of love, and how the narrative of love and romance contributes to the historical effects, with a focus on the television drama Mr. Sunshine. Mr. Sunshine is the first historical drama written by Kim Eun-sook, combining deliberately rearranged history with the writer's unique grammar of romance. The failed resistance movement of the righteous army in the drama is matched with the love that cannot be achieved based on self-negation. The drama, which deals with the tyranny of Japanese imperialism and the independence of Joseon, fictionalizes key characters and events, transforming the desire of love into the passion of patriotism. Romance in Mr. Sunshine serves as a catalyst for emphasizing the tragedy of historical events and reconstitutes cultural memories. In historical dramas, the fictional plot of romance leads viewers to reflect on human life in history that flows from the past to the future. How does an individual's inner feelings contribute to the historical representation? This research is significant as it is the first attempt to examine the relationship between historical drama and romance in various ways.

• Iberoamérica
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• v.21 no.2
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• pp.25-52
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• 2019

Esperpento denotes a literary style in Spanish literature first established by Spanish author Ramón María del Valle Inclán that uses distorted descriptions of reality in order to criticize society. And esperpento's narrative strategy is similar in many ways to Mikhail Bakhtin's carnivalism. Especially Valle Inclán's first esperpentic theatre, Luces de Bohemia contained various carnivalistic elements of Bakhtin. The various techniques of Valle Inclán's esperpento used in Luces de Bohemia can be explained by Bachchin's carnivalist techniques. Therefore, this paper aims to re-examine the esperpentic techniques in Luces de Bohemia of Valle Inclán in terms of Bakhchin's carnivalism. Because the esperpentic tecniques of this play pursue the subversion of power or authority through the carnivalistic aspects such as polyphony, subversion of seriousness, parody, grotesque realism, plaza, ambivalence, anomalous structure of space, time and plot, etc. Esperpento and carnivalism serve as a tool to interpret the social reality, beyond criticism and satire of Spanish society. The characters act passively on all the external factors that determine human destiny, rather than actively carving their own destiny like the classic heroes. Modern man cannot defy or control the external situation of the modern civilization. So they are tragic. In this situation, the protagonist of the tragedy who challenges reality disappears and a puppet figure like Max Estrella, the protagonist of the Luces de Bohemia, takes his place on a satirical level. This is the satire and the true meaning of carnivalistic humor that Valle Inclán tried in his play.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.123-132
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• 2019

This paper analyzes the performances of actor Song Kang-Ho in the background of interdisciplinary and integrated film acting, using performance rather than acting as a general term. If the act is a concept limited to acting training or acting skills, performance is a broad concept that includes expressions, movements, and emotions. The performance on the screen can be explained in the context of film and can be extended to the social attitude of acting. In addition, I used the term screen in terms of representation rather than film referring to medium. Song Kang-Ho expressed the performances of various characters in more than 30 films. Although his facial expressions, gestures, and voices suitable for individual characters in various genres are represented in various ways, personality inherent in the actor Song Kang-Ho integrates persona with character. What drives it is the social attitude of screen performance. As a sign, acting is an ideological construct and foregrounds a character who describes a certain social and historical moment. Song Gang-Ho as actor, persona and character, who asserts the popularity, speaks to society and makes discourse. His comic performance is always confronting the tragedy of life, his face is the spirit of the times, and it expands into social meaning. The face of the close-up does not laugh at all, the gesture symbolized by the curved rear view is exaggerated disorderedly and disturbingly, and the voice using dialect accent does not follow the standard of the vocal.

• Journal of Environmental Health Sciences
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• v.43 no.1
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• pp.1-22
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• 2017

'The worstest environment disaster', 'World's first biocide massacre', 'Home-based Sewol ferry disaster' are all phrases attached to the recent humidifier disinfectant disaster. In the spring of 2011, four of 8 pregnant women including 1 adult man passed away at a university hospital in Seoul due to breathing failure. Epidemiologic investigation conducted by the Korean CDC soon revealed the inhalation of humidifier disinfectant, which had been widely used in Korea during the winter, to be responsible for the disease. As well as lung fibrosis hardening of the lungs, other diseases including asthma, rhinitis, skin disease, liver disease, fetal disease or cancers have been researched for their relation with exposure to the products. By February 9, 2017, 5,342 cases had registered for health problems and 1,131 of them were already dead (20.8% mortality rate). Based on studies by government agencies and a telephone survey of the general population by Seoul National University and civic groups, around 20% of the general public of Korea has used these products. Since the market release of the first product by SK Chemical in 1994, over 7.1 million items from around 20 brands were sold up to 2011. Most of the products were manufactured by well-known large conglomerates such as SK, Lotte, Samsung, Shinsegye, LG, and GS, as well as some European companies including UK-based Reckitt Benckiser and TESCO, the German firm Henkel, the Danish firm KeTox, and an Irish company. Even though this disaster was unveiled in 2011 by the Korean government, the issue of the victims was neglected for over five years. In 2016, an unexpected but intensive investigation by prosecutors found that Reckitt Benckiser manipulated and concealed animal tests for its own brand and brought several university experts and company employees to court. The matter was an intense social issue in Korea from May to June with a surge in media coverage. The prosecutor's investigation and a nationwide boycott campaign organized by victims and environmental groups against Reckitt Benckiser, whose product had been used by more than 70% of victims, led to the producer's official apology and a compensation scheme. A legislative investigation organized after the April 2016 national election revealed the producers' faults and the government's responsibility, but failed to meet expectations. A special law for the victims passed the National Assembly in January 2017 and a punitive system together with a massive environmental epidemiology investigation are expected to be the only solutions for this tragedy. Sciences of medicine, toxicology and environmental health have provided decisive evidence so far, but for the remaining problems the perspectives of social sciences such as sociology and jurisprudence are highly necessary, similar to with the Minamata disease and Wonjin Rayon events. It may not be easy to follow this issue using unfamiliar terminology from medical and chemical science and the long, complicated history of the event. For these reasons the author has attempted to write this article in a question and answer format to render it easier to follow. The 17 questions are: Q1 What is humidifier disinfectant? Q2 What kind of health problems are caused by humidifier disinfectant? Q3 How many victims are there? Q4 What is the analysis of the 1,112 cases of death? Q5 What is the problem with the government's diagnostic criteria and the solution? Q6 Who made what brands? Q7 Has there been a recall? What is still on sale? Q8 Was safety not checked by any producers? Q9 What are the government's responsibilities? Q10 Is it true that these products were sold only in Korea? Q11 Why and how was it unveiled only in 2011 after 17 years of sales? Q12 What delayed the resolution of the victim issue? Q13 What is the background of the prosecutor's investigation in early 2016? Q14 Is it possible to report new victim cases without evidence of product purchase? Q15 What is happening with the victim issue? Q16 How does it compare with the cases of Minamata disease and Wonjin Rayon? Q17 Are there prevention measures and lessons?

• Korean Security Journal
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• no.10
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• pp.103-125
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• 2005

Hazard are defined here as threat to life, well-being, material goods and environmental from the extremes of natural processes or technology. The challenges of natural and technology in increasing the exposure of people and property to risk pose a dilemma for any government seeking the fullest protection for its people and their property. As society progresses and as technology improves and becomes ever more intricate and far reaching, the human species is confronted with increasingly diverse and numerous catastrophic events. Not so infrequently, unfortunately, the impact of either a man-made or natural disaster is compounded by the fact that policy makers have neither prepared themselves or the public to respond appropriately to a disaster once the tragedy has struck. Many concerns have been raised for importance of emergency management after 1990's numerous urban disasters in Korea. Emergency management is the discipline and profession of applying science, technology, planning, and management to deal with extreme events that can injure or kill large numbers of people, cause extensive damage to property, and disrupt community life. When the primary function of private security is to protect lives and property of clients, emergency management should be included in the security service and many countermeasures should be carried out for that purpose. The purpose of this study is to establish ways and means needed to improve the private security emergency management system in Korea. This study is spilt into four chapters. Chapter I is the introduction part. Chapter II introduces the reader to a private security and emergency management theory, and Chapter III deals with the establishment of an effective emergency management system in Korea private security, Chapter IV is a conclusion. Policy makers and private security industry employers in Korea has not concerned with the importance of training and education by lack of recognition and has been passive about qualified guards. And the authorities supervising and the administrating the guards has not recognized the importance of private security and has neglected the training of the guards. In theses contexts, private security should develop and maintain a educational program of emergency management to meet their responsibilities to provide the protection and safety of the clients. Today's modern corporate security director, is, first of all, a competent, well-rounded business executive and, second, a 'service expert'. And, emergency management personnel in private security industry need continuous training.