• Journal of the Economic Geographical Society of Korea
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• v.20 no.3
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• pp.287-306
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• 2017

Since the 1990s, political geographers have focused on the study of the process of border construction. They have shifted from the old morphological and functional approaches to boundary that have focused on the types and functions of boundaries. Recent scholarship on border studies understand boundaries and the border regions as entities with overlapping and competing relationships not as manifestation of territoriality. There has been the emphasis on the multidimensional actors and the historical and cultural legacies inherent in the border region as well. Based on these recent discussions, this study examines how the border region has been constructed by various actors and strategies in Dandong China, the border city between North Korea and China. Several sanctions including UN Security Council have been resolved and implemented in accordance with North Korea's nuclear and missile development, which is a relevant example to examine the "border as relationships" in which strategies of various actors are competing. In addition, this paper has a significance as a case study on the construction process of border and the characteristics of its materiality, which is a way to overcome the limitation of discourse-oriented critical geopolitical research.

• Journal of the Economic Geographical Society of Korea
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• v.17 no.2
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• pp.215-230
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• 2014

This study aim to do observation to 1) Trajectory of cognitive-cultural economy growth with regional historical context, 2) Spatial, cultural and social change caused by cognitive-culture economy growth, and 3) Draw the meaning of the change in glocalizational view. They said that 'Creativity' has been related with spatial, economical, cultural and social change and it leads to new economical system, what we call 'Cognitive-cultural economy'. It is the important event which is to affect economic geography and local development greatly. New cultural changes are characterized by variations from abstract discourse to concrete reality and show the emphasis on real project specific in the region. Further more, possibility of local development in the glocalization found in the specific form of cultural content, for example, Korean Wave. New media environment changes that include SNS function not only interact each other in space but also expand the scope of local units and cultural content to the world. In order to enhance the further development of local content, it will require conjunction with space and specific region, variety of organic link between the principal participants, and building infrastructure for future development.

• The Journal of the Korea Contents Association
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• v.20 no.10
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• pp.177-189
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• 2020

To newly discover the placeness of Xita Koreatown in Shenyang, this study establishes the conceptual structure of urban inclusivity based on the actor-network theory and the main discourse of inclusive cities. It then applies a framework to the relevant space for analysis. We conduct the case study by first identifying a historical timeline by dividing the age from the founding of New China to the present into sprouting and developing stages of Xita Koreatown, extracting major actors out of time, and finally creating a network graph for each of the six periods representing changes in the region. Throughout this process, we not only analyze the aspect of transition in the urban inclusivity of Xita Koreatown but also prospect the feasibility of an inclusive city for the area. The results of this study are as follows. First, the number and type of actors constituting Xita Koreatown have constantly increased significantly since the establishment of diplomatic relations between China and South Korea. The related actor-networks have also continued to expand in all indicators of urban inclusivity. Secondly, the agency of human actors such as Korean-Chinese, locals, and both South and North Koreans, representing the specificity of Xita Koreatown, has continuously improved. Lastly, due to the increase of cultural exchanges and related policy actors, the actor-network in this region has achieved an unprecedented leap forward. In conclusion, the urban inclusivity of Xita Koreatown in Shenyang shows significant growth in quality, with expectations of further improvement.

• Korean Journal of Social Welfare
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• v.65 no.2
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• pp.255-285
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• 2013

The aim of this study is to demonstrate how Self-Sufficiency Promotion Centers (SSP Centers) run by social movement groups have struggled to defend their voluntary identities in conflict with SSP Centers operated by professional social welfare centers. Since political democratization, social movement groups have been increasing invited to run frontline public welfare agencies in South Korea, and Self-Sufficiency Program is one of the representative policies in which social movement groups have actively partaked. But many critical scholars have warned that such institutionalization of social movements into social welfare system is likely to dampen their voluntary nature and force them to render their hegemonic power to professional social welfare institutions. In contrast to the critical viewpoint, however, this study unveils how social movement-based SSP Centers have strived to tackle the professionalization pressure by deploying various survival strategies at the micro level. Through a historical discourse analysis on the frontline conflicts between social movement-based and social welfare-based SSP Centers, this study contends that social movement groups in Self-Sufficiency Program can still maintain their traditional spirit despite the obvious professionalization phenomenon.

• Journal of Science and Technology Studies
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• v.1 no.1 s.1
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• pp.123-153
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• 2001

This article addresses the 2nd Korean consensus conference on cloning that was held by the Korean National commission for UNESCO in 1999. Though previous perspectives recognized the conference as a new citizen's participatory institution. they do not consider that it contains the ideal of deliberative democracy. This article notes that the citizens participated directly and handled the important social agenda through debate in the consensus conference. The consensus conference is another democratic form derived from preference aggregating democracy in the sense that it basically depends on public judgement of the citizens. This consensus conference has the historical meaning because it is in fact the first experiment of deliberative democracy in Korea. 1) We examine the theoretical foundations of consensus conference. They are social constructionism of science, the tradition of societal debate, and deliberative democracy. 2) We explore what deliberative democracy is. It is different from aggregating preference democracy in the sense that it depends on public judgement rather than private preferences. 3) We investigate the features and meaning of deliberative democracy which has experiment on the conference. In the Consensus Conference it was observed that citizens changed their preferences and went forward to developing their view of community as a result of the process of deliberation. It can be said to confirm the significance of deliberative democracy. However, it is simultaneously an opportunity to clarify some problems of deliberative democracy. First of all, it shows that there were hierarchies within the citizens' panel as well as between the citizens' and the specialists' panels. Secondly, there are difficulties in expressing the value of life in argument or discourse. Also, we need the institutional efforts concerning future generations and nonhuman beings in the respect that cloning relates to them.

• 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.

• Cartoon and Animation Studies
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• s.41
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• pp.429-454
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• 2015

The starting point of this discussion resides in the 'eyes' of mirror in a sense of seeing the self reflected in a mirror. The meaning of mirror has been evolved over the centuries while strengthening its sense of identity by bringing up some questions for resemblance, reproduction, self-reflection and reality. A mirror has also extended its vision and provided with a range of images that the self can't have. In this regard, looking into a mirror has been a sustained focus of attention by creating another ostensible being of self-image. This shows the two sides of mirror, which reveals an ambiguous gap between substance and illusion. An excessive immersion in a reflected image in a mirror is intensified and expressed today. The eyes of mirror consisting of a complex dual structure show relations between a person who sees and a person who is seen, which draws a hazy line of demarcation between the subject and the object. This opens up the possibility of the world of chiasme, where you could face all the aspects being from the eyes of others. Furthermore, the meaning of the reflection in a mirror has formed a creative discourse as an enigmatic medium that creates a variety of 'eyes' in various forms of aesthetic expression like paintings and literature. I accordingly suggest that the 'eyes of mirror' is the ambiguous 'eyes of human being' reflected in two territories of the world. Therefore, I will present the historical development of the perspective on the mirror to take a concrete approach in which it opens up the reflective structure of resemblance through a series of examples projected onto the literary and artistic productions. This study will serve as ruminations on the fact that your life is being existent in 'chiasme' of mutual entanglement between the self and the world by investigating relations between a person who sees and a person who is seen, in other words, relations between the perceiving subject and the eyes of others reflected in a mirror.

• Korean journal of communication and information
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• v.71
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• pp.116-154
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• 2015

Officially given a historical signifier as Gwangju Democratic Movement since 1987, far-right and conservative group have restated that $5{\cdot}18$ is a rebellion and a riot that was committed by rebellious elements who obeyed North Korea's command or who were connected with North Korea. As those who had been responsible for the rebellion, revolt and riot were rewarded, far-right and conservatives' collective narrative that a country was born where the pro-North Korea left became dominated aroused extreme hostility towards $5{\cdot}18$. Far-right and conservatives involved in many different fields such as political party, university, press and media and civil group carry out incendiary discourse politics with intention to reestablish history and memory of $5{\cdot}18$ in their own story. Many people at online sites such as Ilbe Storehouse who are considered 'young right wing' is a main route to spread the far-right groups' remarks on $5{\cdot}18$. Ilbe is a main channel to reconstitute and reproduce the far-right conservatives' remarks and information on $5{\cdot}18$. Ilbe is one of main area where remarks of disparagement and ridicule, hostility and hatred on $5{\cdot}18$ unfurl. This study collects $5{\cdot}18$-related remarks and stories unfolded at Ilbe and examines how these remarks and stories make significance as to $5{\cdot}18$ and how information resources which remarks are dependent upon are connected each other. In this process, this study intends to find implications of incendiary politics that echoed of remarks on $5{\cdot}18$ have which at the online site Ilbe and by the far-right conservatives.

• Journal of Science and Technology Studies
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• v.14 no.2
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• pp.165-198
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• 2014

This study investigated a mechanism of naming a disease, as examining how obesity attain a status of disease. WHO(World Health Organization) warned 'The obesity is definitely a disease to need medical treatment' in 1996 and 1997. However, before then, obesity was classified as unusual or nonstandard body status but it was not categorized as a disease. In order to examine a mechanism how obesity attain the status of disease, this study examined the historical process of construction to obesity in discourse of disease and ontological reality of pathological epidemiological to obesity. As a result of this research, it was found that the medical community manipulated BMI(Body Mass Index) and deliberately narrowed the range of person's normal weight, and institutionalized sizism. Especially, it was found that as the medical community associated the body state of obesity with high blood pressure, diabetes, and etc that causes burden of medical expenses to patients, that was fatphobia. And it tried to from a medical control mechanism to assign obesity to an independent status of a disease. Based on this examination, this study found an entailment: the noninfectious disease such as obesity attains the status of disease not because of the pathologic reason but because of cultural or socio-economical reason which han nothing to do with any medical source.

• The Journal of Art Theory & Practice
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• no.3
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• pp.85-106
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• 2005

As biennale exhibitions has been expanded into all of the world since 1990s, these trends of blockbuster exhibitions have caused several problems. For instance, some major curators monopolized most global size exhibitions despite of a variety of cultural and historical backgrounds. Besides, due to a strong connection between these curators and their own artists, the young emerging artists' opportunities tend to be reduced as a result of the power game. In addition, major curators' power have influence on the exhibition style as well as on the theme itself. Some artists who did not involved that kind of huge scale exhibitions dispute that the direction of the exhibition is concentrating on the curator's interest instead of artists or viewers. Although these dissatisfactions could not portray correctly the process of organizing and managing system of a biennale exhibition, those biennale exhibitions held in recent have shown tautologic discourses without any passion and positive attitude direct to the exploitation of our society as a vanguard. In the process of comparing several kinds of biennale exhibitions, I could find that some artists who participated several biennale exhibitions at the same time did not present their creative vision, although the triumph of an exhibition was typically measured by the amount of visitors. Thus, the aim of this article is to prove that the biennale can show us new cultural discourse as well as progressive method of understanding our times. Is biennale producing the real 'global standard'? If biennale has done it, could this global standard present upto-date paradigm for the unique exhibition system? Is biennale providing an useful opportunity for the understanding and communicating of contemporary art through the recontextualization which is pronounced by the publicity of curator and organizing committee? How can we find the distinctive strategy from each biennale exhibition including Venice Biennale? Biennale, as a blockbuster exhibition, always requires a degree of hype, otherwise it would not be a special event and would not attract a big enough audience. It is the actual reason why major biennale exhibitions seem to be similar artistic events. Unfortunately, it seems that the excess of biennale exhibitions might bring about the lack of contents. In this case, the biennale syndrome would being a kind of the center of poverty, in spite of the visual splendor. After all, following the global standard may not be a matter of great importance now. What really matters is how each biennale exhibition which started under the different conditions can search their own identity.