• Journal of International Area Studies (JIAS)
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• v.14 no.2
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• pp.187-214
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• 2010

This article is aimed at understanding the goals of the citizenship educations and changes of political cultures in the Sukarno, Suharto, and the post-Suharto periods in Indonesia. Sukarno's and Suharto's regimes adopted Pancasila, Indonesia's state ideology, as the philosophical basis of education. The citizenship education based on Pancasila was nothing but a political education, which aimed at suppressing the masses and justifying authoritarian rules of the regimes. After the collapse of the Suharto regime, a democratic citizenship education has launched, which emphasized the expanded civic rights and obligations as world citizens and the masses' active participation in politics. However, in this new curriculum, Pancasila is still emphasized as the supporting philosophical pillar of education. The reason is because, through the values of communitarianism represented in the discourse of Pancasila, the state needs to control the possible irresponsible and undemocratic behaviors of local powers and global economy when liberalism is not effectively controlled.

• Journal of Digital Convergence
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• v.20 no.5
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• pp.813-817
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• 2022

The purpose of the study was to suggest how and what human rights education goes with civil democracy education. Analysis of civil democracy education contents in the 2022 revised general education curriculum draft and that of the 2030 OECD Education project have been performed to find out what contents are necessarily included. Results are as follows: Firstly, human rights education needs to be adopted as an independent subject to be delivered with detailed and organized information. Secondly, actual experiences in diverse curricular and extracurricular activities need to be provided. Thirdly, a human rights-friendly atmosphere needs to be established to update teachers' perception and upgrade competency regarding human rights education. Lastly, it is expected that these activities facilitate adoption of human rights education curriculum into 2022 general education.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.26 no.12
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• pp.1880-1889
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• 2022

The online portal platform provides online news with online comments, but the anonymity of comments causes incivility, and online comments are considered social problems. While there are many foreign language-based incivility detection studies, in-depth research is not being conducted in Korea since there has not been implemented Korean language dataset which is labeled detailed criteria of incivility. In this study, the incivility notation of comments was conducted in a total of 13 items, uncivil words were summarized. Furthermore, Attention algorithm was applied to each comment and summary to extract embedding vectors. 2-d CNN followed at the end to detect incivility in given data. As a result, we showed that the proposed algorithm is useful for anti-citizen detection such as name-calling and offensive tones. This study is expected to contribute to the formation of a healthy online comment culture by detecting uncivil comments which hinder democratic discourse.

• The Journal of the Convergence on Culture Technology
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• v.9 no.4
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• pp.135-140
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• 2023

In the era of globalization, universal values and empathy are analyzed as important factors in the success of media content. In this context, the perspective of interculturalism is meaningful in K-culture discourse. The TV drama <Itaewon Class> presented a storytelling structure in which the existing order was overturned and new values triumphed. This concept has led to great success in the global market. First of all, it shows multiculturality through the symbolic space of Itaewon. It reproduces people who have various cultural differences in various standards. Characters with diverse values realize intercultural values through cultural dialogue. Such storytelling is evaluated as something that can be widely accepted by people around the world. Interculturalism enables us to seek the direction of sustainable Korean Wave.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.263-288
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• 2019

Barrier-free films enhance accessibility to audiovisual image contents by providing specific information on screen and through sound so that people with vision or hearing loss can receive the same amount of information as those without disabilities and immerse themselves in the audiovisual images. This study pays attention to barrier-free audiovisual contents in relation to the cultural civil rights of people with vision or hearing loss in South Korea. While institutional efforts have been made in the 2010s to improve the access to audiovisual media of people with vision or hearing loss, the goal of enabling people with vision or hearing loss to fully enjoy all audiovisual contents at a level equal to the non-disabled has not yet been realized. Amid the lingering conflict between disabled groups and multiplexes that has lasted years, the global video streaming service Netflix has aggressively threatened the dominance of local multiplexes with the launch of its Korean service. As Netflix, which is subject to U.S. regulations guaranteeing the rights of people with vision or hearing loss, has produced original dramas and movies involving Korean production teams, the cultural civil rights discourse of the disabled has transitioned to the issue of the rights of cultural consumers crossing national borders in the era of globalization. Changes in the media environment raise the issue of civil rights guarantees in which disabled people enjoy the right to simultaneously watch movies and comment on movies by participating in a common discourse, equally with non-disabled people. The "right to be part of the audience for Korean cinema" for Korean deaf people, which has long been neglected, should also be considered as a cultural civil right that crosses the boundaries of language, nation and disabilities. This essay examines the current issues surrounding the right to cultural entertainment of people with vision or hearing loss in South Korea in conjunction with the contemporary trend of rapid changes in the media environment and the global spread of the movement for cultural civil rights of people with disabilities, and suggests the need for visual culture studies to take a serious step toward disability studies.

• (The) Research of the performance art and culture
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• no.22
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• pp.223-252
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• 2011

If we remember that modern world history has built systems of meaning through the concepts "difference," "different," and "other-ness" and has constructed new identity based on opposing hierarchy, music anthropology which tried to build "difference" between the west and the non-west was thoroughly west -centered, in the sense that it has perceived the heterogeneous symbolic systems among nations, as well as the barrier between the two cultures. On the other hand, world music, which has emerged as the most attractive field in culture industry and concert-art-market by crossing over global capitals, markets, and barriers, can be considered the most post-modernist and glocal. However, it is interesting to note that world music, which has been described as post-modern and glocal, has "difference" and "different" in its basis, just like the precepts for modern music anthropology (Meintjes 1990; Guilbault 1993; Taylor 1997; Frith 2000; Feld 1988). Furthermore, one can understand that the "different" and "difference," generally termed as being "non-western," are fundamentally based on ethnic or national imagination. In this sense it is interesting and important to examine such ethnic imagination in the "non-western ethnic musics" in music anthropology and in world music. Notwithstanding the attention paid and research made by music anthropologists, they have failed to elevate the "non-western ethnic musics" to become universally communicative, and these ethnic musics were reborn as "global" and "world music," through the process of "acculturation," "derivation," and "hybridization," with the west as major site for production and consumption. Meanwhile, the audience for world music, which did not exist before the birth of world music as a term, was now born as world music emerged. They are global populace who consume the musical "difference" and "imagined ethnicity," who through their consumption are constructing new social meanings including ethnicity, race, nation, and class identity. This study, by examining current discourse, performance, and process for the world music through media and field studies and scholarly debates, attempts to understand the production and consumption of "imagined ethnicity." This will also shed light on how "ethnicity" is created and consumed, and how this is involved in the process of world music.

• Korean Journal of Comparative Education
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• v.28 no.3
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• pp.135-159
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• 2018

This thesis compares and analyzes the dynamics between policy, knowledge and power of Myanmar's higher education development. The papers begins by exploring the dynamics during the Socialist Military Regime(1962~1988), the Collapse of Higher Education Era(1988~2010), Thein Sein's Reform Era(2010~2015) and the current Aung San Suu Kyi's Civilian Era(2015~Now). By highlighting recent dramatic policy changes, the article argues that the policy discourse on the subject of internationalization of higher education and the technocratization of education development policy by the current Civilian Government in its new policy discourse, that resulted in the active participation as well as the contributions of international donors has directly impacted on the policy dynamics around the Comprehensive Education Sector Review and the introduction of the National Education Strategic Plan 2016~2020. Further, by examining complex interaction between the current domestic education stakeholders and international donors in education sector in Myanmar, this thesis argues that the new analytical framework on the understanding of policy dynamics in developing countries goes beyond the national level. The paper argues that there needs to be broadening of the analytical framework towards the multidimensional analysis perspective that includes global, national as well as local level policy, knowledge and power dynamics in Myanmar's dynamically changing higher education sector.

• Journal of the Daesoon Academy of Sciences
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• v.40
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• pp.1-38
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• 2022

The aim of this research is to discover the value of peace conveyed by Haewon Sangsaeng, the Resolution of Grievances for Mutual Beneficence, as espoused by Holy Teacher Kang Jeungsan (姜甑山, 1871~1909) and to evaluate its modern significance. To the faithful, Jeungsan is seen as the Supreme God who descended into the world in the Late Joseon Dynasty in the year 1871. Until the time of His passing away into Heaven in 1909, He vastly saved the world and fulfilled the hopes of humankind by carrying out the fundamentally innovative Reordering Works of Heaven and Earth (1901~1909) in the Three Realms of Heaven, Earth, and Humanity. He has thereby been appraised as a great religious figure within religious and academic circles. Jeungsan's ideological contributions can be summarized into two main points. One is the concept of 'the Great Opening and the Later World,' which foreshadowed the liquidation of the old system of order and the arrival of a new world. The other contribution is the concept of 'the Resolution of Grievances for Mutual Beneficence,' a fundamental principle meant to achieve human salvation and world peace. In this context, 'the Great Opening' is precisely a 'positivistic religious expression of peace,' and 'the Resolution of Grievances for Mutual Beneficence' is the principle by which 'peace can be achieved in the world for all humankind.' In particular, the Resolution of Grievances for Mutual Beneficence is a tenet within the doctrine of Daesoon Jinrihoe, and it is the main concept that forms the basis of Daesoon Thought. It can be said to be the core current that flows through Jeungsan's Reordering Works of Heaven and Earth. Nowadays, the Resolution of Grievances for Mutual Beneficence is being discussed and cited in various ways in academic fields as well as in discourse on coexistence, mutual beneficence, and peace. The Resolution of Grievances for Mutual Beneficence is specifically based on observations of the structure of conflicts as observed throughout world history via global conflicts, regional conflicts, cultural conflicts, ideological conflicts, class conflicts, generational conflicts, racial conflicts, religious conflicts, and other such conflicts. That is why the Resolution of Grievances for Mutual Beneficence is discussed in depth within academic settings wherein the nature of conflict-resolution is examined. Looking at the previous studies on this topic, those studies tended to focus on key concepts or concerns such as human beings, divine beings, the earthly paradise of the Later World, ideal societies, world peace, new principles of order, and lasting peace. In particular, the Resolution of Grievances for Mutual Beneficence has been presented as directly related to concepts such as love, coexistence, harmony, and peace for humankind and the world. Its significance has been applied to ethics, philosophy, order, and principles, and it has been understood as conveying values such as peace. Accordingly, this paper examines the ideological connections to the succession and establishment of Jeungsan's notion of the Resolution of Grievances for Mutual Beneficence based on previous research, but further examines the value of peace communicated via the principles and ideas that pervade current discourse on the Resolution of Grievances for Mutual Beneficence. I hope to thoroughly explore Haewon Sangsaeng in regards to its modern significance to the world and to humankind.

• The Journal of Art Theory & Practice
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• no.7
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• pp.7-36
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• 2009

This paper intends to examine the significance of the "Minjoong Misool(People's art)" of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked under the dominant discourse that has emphasized their political role as a collective group. In particular, this paper scrutinizes the work of "Critical Realists" by examining the way in which they perceived Korean society in the early 1980s and visualized their experiences of the period. The figurative art newly emerged in the early 1980s challenged the formalist Modernism, which was adopted into Korea and translated into monochrome paintings and the work of the conversative academicism of the 1970s. The figurative art encouraged a social communication and moreover it intended to criticize the conflicts in the political, economical, and social domains in Korea. The targets of its critique include the unavoidable results of the unprecedented development of economy, various social phenomena of the post-industrial society, and the growth of the commercialized kitsch culture. Along with Shin, Hak-chul's work that incorporates collage technique since the 1980s, the work of some members of "Reality and Utterance" and "Im- sul-nyun" exemplify their critical interests in disclosing the false dream of wealth and happiness by both referring to and drawing on the utopian fantasy manipulated and distributed by mass media and commercial advertisements. This paper pays particular attention to Nouvelle Figuration emerged in France and Europe during the 1960s, which is comparable to the new figurative art emerged in Korea during the 1980s. Nouvelle Figuration criticized the autonomy in art isolated itself from political and social reality after WWII, in particular the indifference of Informel and abstract art as well as American abstract art. Moreover it became rather politicized around May of 1968. Given that French Nouvelle Figuration was introduced in Korea in 1982 and made a significant contribution to the formation of figurative art in Korea, it should be noted that the new figurative art emerged in the 1980s in Korea cannot be categorized merely in relation to People's Art. This paper intends to critically redress the notion that People's art was formed in the particular political, economical, and cultural context of Korea independent of the contemporary artistic practices outside Korea. It will provide a critical examination and analysis of the content and form of the new figurative art, from which People's Art was germinated, in the global context.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.12
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• pp.380-389
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• 2019

Animation is a medium that can be enjoyed by many age groups, and it often reflects the discourse and ideology of the time. Therefore, studying the tendency of gender identity as it is expressed in animations is meaningful as a process to understand current trends. Therefore, I examined how the female characters' performative gender identity has been expressed in Disney animations and how it has changed. Disney animations have stuck to dichotomous gender performance, with men playing active and adventurous roles, while women play submissive and passive roles. Disney began to deviate slightly from the dichotomous gender performance through "Pocahontas" and "Mullan", which emphasized the heroic role of women. However, these animations have been limited in the way that love stories between men and women make up the main theme. In "Frozen", however, women actively explored their lives by overcoming these limitations, and expressed their happiness through sisterhood rather than love between men and women. Therefore, "Frozen," which expresses an active female character who sets up her own kingdom as an independent entity, is meaningful in that it has demonstrated the changed gender performance.