• Journal of Arbitration Studies
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• v.13 no.2
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• pp.157-179
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• 2004

Currently major countries, including the USA, have developed and contrived to activate ADR(Alternative Dispute Resolution) in order to both choose effective means for dispute resolution and establish the reformation of the judicial system; thus meeting people's revamped expectations due to the rapid increase of, and diversification in, civil disputes. This is why there has been some haste in many countries to organize systems for this, so called, 'the Fundamental ADR Act' which regulates the essential structure to accelerate the use of ADR and strengthen the links with trial procedures. For example, in 1999 Germany revised it Civil Procedure Act, to allow for a pre-conciliation process in cases involving only small sums of money. Whilst, with regard to the Civil Procedure Act in France, new regulations have been introduced with regard to actions before either a suit or return to conciliation. In the United Kingdom, as far back as 1988, additions to the legal structure allowed for expansion of regulations applying to ADR. By 1999 the new ADR regulations were part of the legal structure of the UK Civil Procedure Act. The USA passed the federal law for ADR in 1998. Since then the world has tried to enact this model in UNCITRAL on international conciliation. When we consider this recent trend by the world's major countries, it is desirable that the fundamental law on ADR should be enacted in Korea also. This paper traces the object, and the regulatory content required, for the fundamental ADR law to be enacted in Korea's future. Firstly, the purpose of the fundamental ADR law is limited only to the private sector, including administrative and excluding judicial sector and arbitration, because in Korea the Judicial Conciliation of the Civil Disputes Act, the Family Disputes Act and the Arbitration Act already exist. Secondly I will I examine the regulatory content of the basic ADR Act, dividing it into: 1)regulations on the basic ideology of ADR, 2)those on the transition to trial procedures of ADR, and 3)those on the transition to ADR from trial procedures. In addition I will research the regulatory limitations of ADR.

• Journal of Families and Better Life
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• v.22 no.1
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• pp.103-114
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• 2004

This study was performed by the literature review on housing of the aged in Korea with social constructionism perspective. This kind of research may be utilized as a theoretical framework for performance of any systems of housing for the aged. In terms of structural context, the value of conventional custom of filial piety thoughts and duty for family are being collapsed, which nay be suitable to the change of society, should be considered for positive acceptance of changes in ideology. In terms of institutional context, a method to grope for housing for the aged should be established through amicable cooperation between organizations of legalization concerned. In terms of organizational context, there is no organization that exclusively concern housing for the aged until now, thus, development of concrete manual is required for jobs of service in current department of policy for the aged. In terms of operational context, the service may include the understanding of characteristics of the aged and design of housing may also change the service of administration, and as cooperation in the local community care systems may change the service to the aged in the field. Connection of these services and operation of these organizations nay be required in the field to manage housing. Finally in terms of intersubjective context, as the form and method of housing management service is important, with understanding of the social meaning and importance on the role of manager.

• Journal of English Language & Literature
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• v.55 no.2
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• pp.215-240
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• 2009

This paper focuses on how Younghill Kang internalizes whiteness ideology through interracial romance to build himself as an oriental Yankee and recover his masculinity in his autobiographical novel East Goes West. This paper also focuses on Kang's strategy of racial and cultural hybridity presented in this novel. The theoretical basis of my argument is a mixture of Fanon's psychoanalysis in his Black Skin, White Masks, Bhabha's notion of mimicry in The Location of Culture, and notions related to race and gender of some Asian critics such as Patricia Chu, Jinqi Ling, and Lisa Lowe. In East Goes West, white women appear as "ladder of success" of successful assimilation and serve as cultural mediators and instructors and sometimes adversaries who Korean male immigrants have to win to establish identities in which Americanness, ethnicity, and masculinity are integrated. However, three Korean men, Chungpa Han, To Wan Kim, George Jum, who fall in love with white women fail to win their beloveds in marriage. George Jum fails to sustain a white dancer, Jun' interest. Kim wins the affection of Helen Hancock, a New England lady, but Kim commits suicide when he knows Helen killed herself because her family doesn't approve their relationship. Han's love for Trip remains vague, but Kang implies Han will continue his quest for "the spiritual home" as the name of "Trip." In East Goes West, Kang also attempts to challenge the imagining of a pure, monolithic, and naturalized white dominant U.S. Culture by exploring the cultural and racial hybridity shown by June and the various scenes of Halem in the 1920s. June who works for a Harlem cabaret is a white woman but she wears dark makeup. Kang questions the white face of America's self-understanding and racial constitution of a unified white American culture through June's racial masquerade. Kang shows that like Asian and black Americans, the white American also has an ambivalent racial identity through June's black mimicry and there is no natural and unchanging essence behind one's gender and race identity constitution.

• Analyses & Alternatives
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• v.7 no.1
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• pp.147-170
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• 2023

The purpose of this study is to examine the socal policy of the Yoon Seok-Yeol government from the perspective of both policy and theory. Theoretically, the analysis reveals that the Yoon government attempts to build and implement a welfare system model that was distinctly different from the previous Moon government. The newly elected government adopted a welfare model known as 'welfare for the vulnerable.' This model inherits the welfare ideology of the conservative parties in Korea, which is the self-reliance welfare. The Yoon government continues to expand welfare and family support, which were promoted by the Moon government. However, in most other areas, the Yoon government pursues different policies than the previous government. In terms of policy, this study demonstrates that the social security policies of the Yoon government is insufficient to solve the welfare blind spot problem that is widespread in the Korean welfare system. Among the Yoon government's policies, there are only a few policies that can eliminate welfare blind spots, such as improving social assistance systems, introducing parental allowance, and promoting sickness allowances.

• Journal of English Language & Literature
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• v.56 no.3
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• pp.501-517
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• 2010

This paper examines the British imperialism found in Edith Nesbit's fantasy stories by looking at the function of magic and of the hierarchical relationships seen in the books. Although Edith Nesbit is relatively unknown in Korea, she is widely recognized as having had a great influence on the 20th century British literary world, and is also well-known for her political position as a socialist. Nesbit's fantasy books are commonly differentiated from other Victorian children's books written before her in that she created realistic and liberal children characters and rejected the adult didactic tone. While Nesbit's books have been recognized as revolutionary and being distinguished from other Victorian children's books, I suggest that the ideas found in her fantasy novels largely include the dominant Victorian message of British imperialism. This imperial ideology is delivered by the logic of magic and the multilateral hierarchies. The two magic creatures (The Psammead and the Phoenix) and the two magic items from an Oriental background (the Carpet and the Amulet) all have a magic power to grant people's wishes, wholeheartedly exercising their power and knowledge for the sake of the British characters. While the magic agents serve to fulfill the children's wishes, the children aim to please their parents and to benefit their family, showing layered hierarchies among the characters. Also, there is a hierarchical distinction between the magic items and the magic creatures in that the magic items have no voice to express themselves but only serve and obey the British children. The foreign characters that the children encounter in their adventures also cooperate with the British characters to help them to fulfill their goals. In short, magic frees the children from the adult-centered world but ultimately their free adventures serve their parents and other adults, and represent the ideals and hierarchical concepts of British imperialism. Thus, Nesbit's position as a modern writer seems to be ambiguous, switching between modern characterization and style, and the old Victorian imperial messages that also exist in her fantasy novels.

• Korean Journal of Social Welfare
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• v.36
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• pp.39-69
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• 1998

The study is to grope for the unified device of the women's welfare policy in the United Korea by considering and comparing with the women's welfare in South Korea and North Korea centering on the women's welfare law and system among the social security laws and systems in the present both countries. The both Koreas have enforced the different women's welfare policies according to the different ideologies and constitutions. But in the welfare policy women are in the secondary stage by means of the ideology of sexual devision. It, therefore, is clear that the position of the North Korean woman goes in advance of the South Korean woman in the law and system. However, they are similar to the North Korean women in the aspects of the application of law and system. That is, both of them are discriminated not only in home and labor participation, but also in social welfare. There are the patriarchal family system and sexual devision of labor under the discrimination against woman. As though the both sexes are equal in law, the welfare law and system are applicated unequally to woman because of the ideology of sexual devision and familism which family should take the primary responsibility of welfare. From this perspective the women's welfare policy of the United Korea is not just to unify both laws and systems related women's welfare, but to search for the convergence on the higher level of quality and to make the real gender-equal society. The study suggests as the women's welfare the spread of the application of social welfare system, and social security network constructed through the mother protection policy, women's poverty and social security on basis of the primary principles such as the gender equal right as civil right, benefits of social welfare as social right, escape from the patriarchal familism, strengthening of resposibility of state and the principle of women participation in process of social welfare management. The device of women's welfare means building the social welfare system based on the real gender equality, so the unification will be the important turning point for the gender-equal society to the South-North Korean women.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.223-261
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• 2019

This article is a reexamination of the feminist criminal narrative I wish for what is forbidden by Yang Gui-ja in the context of the rise of the women's movement and consumer culture of the middle class in Gangnam in the 1980s and 1990s. At this time, the explosive media culture served to strengthen the ideology that placed the middle-class family at the center as well as the consumption culture. The combination of consumer media culture, women's movement and democratization created a soft and domestic male image while visualizing the material foundation of the middle class in the 1990s of South Korea. In this novel, the domestic male image transforms the feminist criminal narrative into the narrative of the femme fatale attacking the stability and dignity of the middle class family, and at the moment of the transformation, the feminist woman Kang Min-ju is killed by a lower class man who has admired and loved her. This novel is not only current but also signifying as a text that overlaps sociocultural reproduction and feminist issues of the middle class based on Gangnam in the 1990s. This is because it shows the sociocultural context of femicide, such as serial murder of targeting women, as a core code of criminal narrative to be held in Korea since the late 1990s.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.429-465
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• 2019

This paper analyzed the ways in which "others" were reproduced in Korean movies in the 1970s. In the midst of the social changes of the era, such as urbanization due to rapid industrial modernization, many people became laborers for industry in order to obtain the fruits of modernization.But the landscape of others, which was inevitably produced in the process of constructing such subjects, has been limited to analysis that is focused on gender and youth discourse. This article aims to extract the landscape of others in the 1970s by adopting a different perspective. The way in which the other is present can be divided into the following two categories. First, in 1970s film, the family community, in contrast with 1960s film, has disintegrated and cracked, due to the inability of others to enter or leave the community. The desperate perception that the family community can no longer function as a stable foundation or center of the constitution, and that it cannot have a sense of security and belonging,is revealed through the way the others are wandering in and out of the community. Second, 'Death' is an element of social life in the violence of the national ideology of the 1970s, and the everyday exceptional state. The way in which the 'other' is completely eliminated from the normal subjectivity requested by the state and is deported in film reflectshow everyday death or potential death is part of life of the 1970s. Normal life pursued through rapid urbanization and industrialization leads to the death of the other beings, but the way of existence of others is the desperate reality of the 1970s, when the boundaries of the state that provide stability and belonging are broken. As a result, the landscape of others in the 1970s reveals a violent reality that destroys the perfect middle class family discourse that industrial modernization was oriented around in the 1970s, and that produced masses of others who caused numerous deaths. In spite of regime censorship, Korean films were popularly revealing the violence of life brought in by the 1970s, following a detour of representation.

• Cartoon and Animation Studies
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• s.35
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• pp.107-128
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• 2014

Cultural Content industries based on imagination and creativity are attracting attention and the animation high value-added industry is still spotlighted. Among them, Disney Studios make money through using their professional skills. There are the know-how has developed for a long time, and there are timeless strategy. This study is analyzing by fantasy elements for knowing the messages of Disney animation. Fantasy defined as genre of literature by Todorov and Jackson emphasized its social role and significance. Hume expanded the area of fantasy and Tolkein Jahoriski and Boyer classified the fantasy according to the purpose. Through the analyzing Disney animation , Disney's fantasy show the specific expression depending on the target. Disney is based on the three types of fantasy depending on the growth of the journey. The first area is composed of the main character's growth and satisfy the desire and escapism, The second is the word of antagonist who opposed to reality and break the rules of the dominant ideology. The last area is the utopia provided after hero beat the antagonist. Disney characters give the messages by using the fantasy like the transformation or alter ego. That show the subject of the main character's growth and the supporting characters as the expression of the multiple personality of main. These emphasize the hero's growth and give the fun. Also, in the subject of the otherness, the hero always destroy the evil who broke the rules of reality. In this way, the fantasy offered by Disney give the messages of sacrifice and family from true love. Disney has the support of their target audiences continue to be able to convey ideology.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.1
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• pp.10-20
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• 2023

Zhū Xī, the representative of Confucianism, and Báiyùchán, the representative of Taoism in the South Song Dynasty, showed different sense of appreciation and enjoyment on the same space that was Mountain Wǔyí in their ideologically cultural ways. Based on the temples Wŭyíjīngshè(武夷精舍) where Zhū Xī stayed and Zhĭzhĭān(止止庵) where Báiyùchán resided, this study revealed their lives in such temples to look into their appreciation on ideology and space. Then, based on the words 'YiBoEumYeong [移步吟詠]' shown on the poetry they chanted in relation with Wǔyíjiǔqū from its 1^st valley to its 9^th valley, this study examines their understanding of scenery and system of appreciation that appeared in dynamic ways to conclude: First, even same scenery shows different understanding of scenery and appreciation of space in accordance with the viewers' thinking ways of culture. Second, as the Confucianism and Taoism influenced in ideologically cultural ways to develop each other in the Song dynasty, they absorbed their merits each other to supplement shortcomings in their own. In this process, they made it clear that their own propositions were different between them in their essential meanings although they used common terms for such propositions. Third, as the Confucian master who compiled the Neo-Confucianism of the South Song dynasty, Zhū Xī regarded Wŭyíjīngshè and Wǔyíjiǔqū as a place of learning and a place of seeking the truth to go for 'being unified with nature' so that everyday life can be united with Tao of Li [理] everywhere beyond the limited appreciation of the scenery. That is, this thought works for 'recovery of nature of our own [復其性]', the learning goal of Confucianism, and is aimed to 'cultivate the essential nature of our own(性情涵養)' through such beautiful nature. Fourth, as the master of Keumdan family of the South Song Taoism, Báiyùchán regarded Zhĭzhĭān and Wǔyíjiǔqū as a Taoist temple that has a long history rooting from Taesangwon temple, a clean place of discipline to become a Taoist hermit through hard training. He, therefore, directly referred to Zhĭzhĭān and Wǔyíjiǔqū in relation with the Taoist legends remaining in Wǔyíjiǔqū such as hermits' dinners, female hermits, leaving the human world as a hermit and so on as ways for becoming a hermit so that he went for the level of perfectly going out of human world and becoming a hermit. He, therefore, defined Mountain Wǔyí as a world and universe of hermits where he himself too hovered between outside and inside of poetry literature as a hermit through the mood and attitude of keeping himself enjoying the scenery as a hermit.