• Korean journal of communication and information
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• v.18
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• pp.63-97
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• 2002

Public debate is an essential communication process of our society and now it's carried out generally by television. The purpose of this study is to discuss on the potentialities and limits of TV debate as a public space. First, we examine the way of television's construction of public debate to discover the conventions of the genre. Second, examine its limitation and potentials as an public sphere. We analyse four TV debate programs during one month(June, 2001) using text analysis: format construction, nature of agenda, characteristics of panels and chairman, participation of audience, type of knowledge. The result shows that although numbers of programs are increased, many TV debates not differentiated each other in their format, panel, and contents, and merely reproduce genre conventions. Especially in policy debates, abstract agenda, male-dominated panel, limited participation of audience, and elitism and authoritative are prevailing. The genre's preconceived formulae and fixed convention restrict its own possibility of a participant and democratic public sphere. So, in order for TV debates to function as a open public sphere, to be flexible and re-examinate the proper frame for mass media public sphere.

• The Journal of Art Theory & Practice
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• no.3
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• pp.9-34
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• 2005

Contemporary Korean art in the 1960s and the 1970s reflects the social and political contexts in Korea from the 5 16 revolution through the Yoo Shin period. This paper investigates whether art has been free from power or not. It examines the power embedded in contemporary Korean art in the 1960s and the 1970s. This paper examines the historical moments of the Korean Art Exhibition, focusing on the complications between the abstract and figurative artworks of the 1960s. One of the significant art exhibitions since the 8 15 liberation of Korea, the Korean Art Exhibition witnessed conflict among Korean artists who wanted to have power in the art world of Korea. Institutional contradiction based on factionalism and conservatism prevailed in the Korean Art Exhibition was attacked by the avant-garde young artists in the 1960s. With the contact of Abstract Expressionism, young artists' generation participated in the The Wall Exhibition. This exhibition challenged and established moral principles and visualized individual expression and creation similar to the Informal movement in the West. In the world of the traditional painting of Korea, the Mook Lim Exhibition of 1960, organized by young artists of traditional painting, advocated the modernization of Soo Mook paintings. Additionally, abstract sculptures in metal engraving were the new trends in the Korean Art Exhibition. In the 1970s, the economic development and establishment of a dictatorial government made the society stiffen. Abstract expression died out and monochrome painting was the most influential in the 1970s. After the exhibition of Five Korean Artists, Five White Colors in the Tokyo Central Art Museum in 1976, monochrome paintings were formally discussed in Korea. 'Flatness' 'physicality of material' 'action' 'post-image' 'post-subjectivity' and 'oriental spirituality' were the critical terms in mentioning the monochrome paintings of the 1970s. 'Korean beauty' was discussed, focusing on the beauty of white which was addressed by not only Yanagi Muneyoshi but also the policy of national rehabilitation under the Yoo Shin government. At this time, the monochrome paintings of the 1970s in Korea, addressing art for art's sake, cutting of communication with the masses, and elitism, came to be authorized.

• The Journal of the Korea Contents Association
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• v.14 no.4
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• pp.456-466
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• 2014

This is a study of George Lindbeck's postliberalism that views religion as a cultural-linguistic approach. Knowing that the conceptual-propositional approach of the traditional Christian theology and the experiential-expressive approach of liberalism cannot be a solution for the post-modem religious phenomenon, George Lindbeck proposes an alternative. He proposes a cultural-linguistic approach to overcome the previous approaches. The first insight of Lindbeck's postliberalism is to understand religion as culture or language, because human beings become acquainted with a religion as they learn a language. The second insight comes out of the first, to understand doctrine as grammar. If we understand religion and doctrine this way the troubles and conflicts among religions will be resolved naturally, because each religion can be interpreted in its own system just as a language cannot be said to be good or bad, right or wrong. This approach makes several contributions as follows: it promotes a dialogue among religions, it emphasizes practice; and it preserves the Bible as an authoritative theological text. However it also brings many limitations as follows: it emphasizes the church's interpretation rather than the text's own interpretation; it views the truth simply as coherence; it promotes radical relativism and elitism; and through theological eschatology he makes his theory return to a propositionalism. Accordingly, the researcher concludes that Lindbeck's cultural-linguistic theory of religion is not an alternative that overcomes the limitations of theological conservativism and liberalism.

• Journal of Korean Philosophical Society
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• v.123
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• pp.87-110
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• 2012

The kitsch was emerged from the people's cultural desire in the conditions of the various duplicating technology, the capital economy system, and the civil revolution in the western modern mass society. But it is underestimated constantly because of the conspicious consumption and the aesthetic inadequacy. Even though some kitsches are elevated to the 'kitsch arts' in the historical description of the modern arts, still the most of kitsches are remained as 'just kitsches' and excluded from the aesthetic research according to the double standard. In this essay, I research for whether anti-kitsch theory is convincing theoretically and practically. Anti-kitsch theory criticizes the kitsch on the basis of the modernist aesthetics, in which the 'fine art' provokes the aesthetic pleasure in the disinterested contemplation. But kitsch purposes for the sensual gratification and the sentimentality. So the anti-kitish theorists conclude that the kitsch is the bad taste. In critically analyzing the argumentation of Greenberg's. Kaplan's and $C{\tilde{a}}linescu^{\prime}s$, I refute the privileged prejudice of the ideal critic. They don't justify the criteria of the classification of 'art'/ 'kitsch'. They supplement the economical and the political grounds for the evaluative theory of the kitsch. But the argumentation of the kitsch is consumed conspicuously and results in the unlettered masses is not sufficient. People produce and enjoy the kitsches in the various ways. People envelope the genres, styles and media of the kitsches and they try to suggest the new horizon of the popular aesthetics. So anti-kitsch theories cannot be accepted because they adhere to the elitism and formalism. The exclusion of the kitsch is the derogation for people's taste. Also they didn't reflect the contemporary cultural practice and the aesthetic needs in the system of post-art. The alternative aesthetics of the kitsch is the topic of my next essay.

• Journal of The Korean Association For Science Education
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• v.29 no.6
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• pp.611-625
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• 2009

The purpose of this research is to investigate the characteristics of beginning science teachers' subject matter knowledge (SMK) as revealed in their classroom teaching methods. In this research, we explored six beginning teachers' classroom teaching episodes on the 'work and energy' unit. Using open-ended interviews with the teachers and group discussions taking place on a regular basis to analyze and compare the classes of six beginning teachers, we extracted the features of beginning science teachers' SMK. Using grounded theory methods, the characteristics of beginning science teachers' SMK drawn from this research are: (1) beginning teachers' positivistic epistemology on science, (2) claiming the teacher's authority based on rich subject content knowledge, and (3) beginning teachers' science elitism. These epistemological characteristics are realized such PCK as (1) representational errors caused by the teacher's own science misconception, (2) doing harm to students with too much content knowledge, (3) sporadic content presentation lacking a focus, and (4) surplus class hours with lack of effective science teaching explanations. Suggestions for alternative perspectives on science SMK are presented by experienced teachers. In conclusion, science teachers' SMK is necessary, but not sufficient, for effective teaching. Science teachers' SMK does have an effect on science teaching, mediated by other types of teacher knowledge. The beginning teachers need a systematic support to transform their SMK into a viable PCK.

• Journal of Fashion Business
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• v.1 no.1
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• pp.71-83
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• 1997

The purpose of this study is to analyze the present fashion phenomenon by considering the types of street fashion, the center of avant-grade modern fashion, that shows the origination background and special feature concretely. The times was defined through the 1980's from World War II that street style originated, so the range of study was the 1990's when the street style was influenced by that of the past and was revived. The ways of study were to analyze the records of ideology, art and music connected with the street style from World War II to the present when it has risen. The summary of result is as follows. (1) In the 1940's, Zooties was the jet of desire suppressed by African-Americans that couldn't receive favors socially and economically and Hipsters pursued reformative bebop that made up of soft Jazz. In the 1950's, Modernists were running after Cool Jazz to the minimum. In the 1970's, Funk appered in the sexual desire and erotic strength, and was surfaced from Negro Getto. In the 1980's B-boys & Flygirls showed the street style by the scribble art of slum in the New York. As mentioned above, In the 1990's, Acid Jazz influenced by the Jazz of Negro has been the fashion added to the tradition of musical form that come from eclecticism of Jazz tended Neo-Jazz. (2) In the 1940's, Western style dreamed the country life because of rapid urbanization. In the 1950's, Beat obtained the feeling of liberation from the dissolute life and activity. In the 1960's, Psychedelics showed the freedom affected by the Pop-art and Op-art, and Hippies pursued the true individuality as 'love & peace' life style and the return to nature. In the 1990's, Grunge look influenced by the above has been fashion that shows the practical use of second-hand clothing or patchwork contrary to elitism. (3) In the 1940's, Caribbean style appered in the typical textile color with the center of West Indies. In the 1960's, Rude boys showed the magnificence and difficulty of Jamaica, and Rastafarians had a tendency to come back to the ancient civilization of America. In the 1970's, Two-tone was the simple clothing for harmonizing among human races. In the 1990's, Jamaica look influenced by the above has been the Lege fashion introduced to a high fashion, appearing in the special bright color, applique, unique hair style, and so on. (4) In the 1950's, Sufers pursued natural rhythm, getting out of everything. In the 1970' s, Skaters enjoyed the speed on the paved road. In the 1980's, Casuals emphasized the spirit of cooperation of young-things. In the 1990's, Casual look Influenced by the above has been the fashion that forms the activity, function and strong spirit of cooperation by pursuing comfortable life and sports in the tension of life and variety of modern society. (5) It was hard for Bikers to adjust themselves in society after the war. In the 1950's, Coffee bar cowboys were the reckless running boys in the leather jacket. In the 1960's, Rockers created the group originality as disobedient outsiders and Greasers imitated Rolling Stones. In the 1980's, Punks resisted the viewpoint of the old generation in offensive fashion. In the 1990's, Cyberpunk influenced by the above has pursued the classless structure, electronic music and metallic clothing that forebodes gloomily as the computer generation of ultra-modern science times. Accordingly, in understanding a complex modern fashion phenomenon, it was analyzed that the street styles of the past, from World War II to the 1980's, were reflected in that of the 1990's dividing into the five types in a word, namely Acid Jazz, Grunge look, Jamaica look, Casual look and Cyberpunk.

• Korean Journal of Comparative Education
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• v.27 no.4
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• pp.187-209
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• 2017

The purpose of this study was to highlight the necessity of a conceptual reestablishment of world university evaluations. The hitherto most well-known and validated world university evaluation systems such as Times Higher Education (THE), Quacquarelli Symonds (QS) or Academic Ranking of World Universities (ARWU) primarily assess big universities with quantitative evaluation indicators and performance results in the rankings. Those Systems have instigated a kind of elitism in higher education and neglect numerous small or local institutions of higher education, instead of providing stakeholders with comprehensive information about the real possibilities of tertiary education so that they can choose an institution that is individually tailored to their needs. Also, the management boards of universities and policymakers in higher education have partly been manipulated by and partly taken advantage of the elitist ranking systems with an economic emphasis, as indicated by research-centered evaluations and industry-university cooperation. To supplement such educational defects and to redress the lack of world university evaluation systems, a new system called 'U-Multirank' has been implemented with the financial support of the European Commission since 2012. U-Multirank was designed and is enforced by an international team of project experts led by CHE(Centre for Higher Education/Germany), CHEPS(Center for Higher Education Policy Studies/Netherlands) and CWTS(Centre for Science and Technology Studies at Leiden University/Netherlands). The significant features of U-Multirank, compared with e.g., THE and ARWU, are its qualitative, multidimensional, user-oriented and individualized assessment methods. Above all, its website and its assessment results, based on a mobile operating system and designed simply for international users, present a self-organized and evolutionary model of world university evaluation systems in the digital and global era. To estimate the universal validity of the redefinition of the world university evaluation system using U-Multirank, an epistemological approach will be used that relies on Edgar Morin's Complexity Theory and Karl Popper's Philosophy of Science.