• Journal of Ginseng Culture
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• v.4
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• pp.38-58
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• 2022

Park Wan-seo's novels deal with realistic topics of society, such as women's issues, the capitalist system, and the problems that come with old age. Assuch, her work is used as a tool to analyze social phenomena in various fields, such as women's studies, sociology, and literature. A characteristic style of Park Wan-seo's novels is that she bases them on her own experiences. However, among her novels, the novel Mimang is exceptional. The plot is based on stories that have been passed down from generation to generation. This is to show the spirit of the times through the unforgettable story of her hometown, Gaesong. Mimang is the story of a family chronology that spans four generations centered on Chun Cheu-Man and his family, who became powerful capitalists through the cultivation and commerce of ginseng cultivation. Set in the late 19th century until the end of the Korean War, the novel unravels the essence of the times symbolized by merchants of ginseng and Gaeseong, focusing on the actions of people living in a period of historical turbulence. Gaeseong is the mecca of Korean ginseng, and Gaeseong cannot be portrayed without the story of ginseng and its merchants. Therefore, Mimang, a fictionalized story based on real facts, contains valuable testimony of the history of ginseng, not only as historical values of modern history and personal customs but also as microhistory. In the novel, traces of the times of Gaeseong and the spirit of ginseng merchants, as shown in the Japanese sacking of ginseng during the colonial period, the resistance of ginseng merchants, and the conversion of ginseng capitalism to modern capitalism, are imprinted like fossils. What is especially meaningful is that the stories in the novel correspond to historical facts and constitute a chapter in the history of ginseng. The symbolism of ginseng in the novel can be explained in three main ways. First, it shows the essence of Korean ginseng. It reveals the soul of ginseng through the sincerity and rigor of ginseng farming, as well as the spirit and pride of ginseng. Second, it symbolizes the exploitation of ginseng in Japan as a national issue. The efforts of ginseng merchants to protect this and support the independence movement are presented as important themes to express nationalism. Third, it shows the modern capitalist progressiveness of Gaeseong ginseng merchants, who do not stay in landownership and commercial capital, but convert them to productive capital and contribute to society by modernizing them. The three symbolisms show the spirit of the times of the Gaeseong ginseng merchants, clearly revealing the meaningful relationship between the Korean people and ginseng.

• Journal of Science and Technology Studies
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• v.6 no.1 s.11
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• pp.119-152
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• 2006

This paper deals with the historical development of research community in Korea. As the former studies of the korean scientific community show, the government supported institutes played an important role in the formation of research community. Therefore the theme of this study is concerned with the historical development of the government supported institutes and the features of their researcher group. In this paper following questions will be answered: How the social status of these researcher group is changed, what kind of response on social problems or national politics they had, and which characteristic they showed with regards to the identity problem. After the korean liberation the government institutes, such as the Chungang Kongop Yonguso(industrial research center)and the Korean Atomic Energy Research Institute, contributed to the development of the first generation of research group. However this research group could hardly identify themselves as researcher, because they spent much time on testing, evaluation or education. The identity problem is also resulted from the deficiency of authority as research institute. The status of researcher had no difference from that of civil servant. With the establishment of KIST the korean research community came into blossom. The government supported institutes, which were founded after the model of KIST, allowed quantitative and qualitative growth of research community. Thanks to the guarantee of institutional authority and the new reward system, the researcher could get respect and improve its social status. During this period the researcher volunteered to help the government policies. We can find often the nationalistic statements in the research community. During 1990s the research group demonstrated different behaviors and attitude toward the government. The nationalistic ideology disappeared. Instead of that, the research group criticized the government policies and took actions against the government. Those changes are related with the lowered position of government supported institutes.

• The Journal of Art Theory & Practice
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• no.1
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• Cartoon and Animation Studies
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• s.47
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• pp.241-271
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• 2017

Film color is equivalent to other elements of film, including narrative, and has a textual meaning according to the identity of expression. In general, red has a function of focusing attention, and the meaning derived from it is diffused. In the interaction of text and context, the function of concentration and the meaning of diffusion can be presented. The concept of concentration and diffusion is shaped by the relationship between independent colors, colors and other cinematic elements, and interactions between colors. In order to confirm this, this study analyzes a series of popular Korean films, how film colors interact, and in particular, the concentration function of red and the meaning of proliferation. The results of this study are as follows. First, in Korean popular films, at its most basic, red symbolizes a nation, a people, and a nation. The red of nationalism surrounding ethnicity, nationality and country visualizes ideology and conflict. The purpose of an individual or group, the relationship between the offender and the victim is mediated through red. The flag, the name tag, the costume appearing in the film are red. This can be seen in films such as Train to Busan, Assassination, Masquerade, Miracle in Cell No.7, Brotherhood of War, Northern Limit Line, Joint Security Area, Welcome to Dongmakgol, and May 18. Second, the red color attached to the female body fixes or strengthens socio-cultural sexuality and gender. The examples are films like Ode to My Father, The Thieves, The Host, Purpose Of Love, Sunny, Like A Virgin, Forbidden Quest, Untold Scandal, Bewitching Attraction, and Ssanghwajeom. Third, the blood red in Korean films is a visual device that directs magical horror, anger, and asceticism. Such films include The Neighbors, Bunshinsaba, R-Point, A Tale Of Two Sisters, Whispering Corridors, The Uninvited, Thirst, SECTOR 7, Asura:The City of Madness, The Tiger, Veteran, and so on. Fourth, red of tears constitutes the specific emotions such as a beautiful desire and a brilliant tragedy in films like King and The Clown, Oldboy, Memories of Murder, 26 Years, The Attorney, Unbowed, Sympathy For Lady Vengeance, Happy End, Punch, Calling, The Yellow Sea, and He's on Duty.

• Journal of the Korean Geographical Society
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• v.28 no.4
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• pp.379-391
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• 1993

Present-day world economy is characterized by : technology nationalism, economic regionalism, market protectionism, multinational corporations, efc. All nations are striving for intensifying national economic rivalry and seeking after their own interests above everything else. Many regions of the world are also forming trading blocs, which could negatively affect nonmember states. The ultimate way to meet these difficulties is to establish production facilities in the countries imposing trade regulations. However, as the existing models of direct forrign investment (DFI) do not account for the particular nature of Korean firm's DFI activities, a new point of departure is imperative. It is because of this that Korean firms have only limited firm-specific advantages, the basic precondition of extant DFI theories, compared with their developed counterparts.

• The Journal of Art Theory & Practice
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• no.7
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• pp.37-64
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• 2009

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.

• Journal of Technology Innovation
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• v.25 no.3
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• pp.155-195
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• 2017

The goal of the present study is reviewing the literature on the scientific community and also on science, technology & society to increase interactions between innovation studies and social studies of science and technology. Up until now, various empirical studies on Korean scientists and engineers have been concentrated on researchers at universities, while they have paid inadequate attention to researchers at state-funded research institutes and private companies. In addition, these studies have tended to use concepts in Western academia to elucidate Korean cases. On the other hand, recent empirical researches on the effects of the evaluation systems in universities, PBS system, and the network of school ties suggest that these topics may reveal the unique characteristics of Korean scientific community. Empirical studies on the scientific community have also shown that Korean research institutes and researchers who are in charge of innovation in Korea have demonstrated a tendency to conform to the government's guidance due to long experiences of state-led R&D and nationalism. Research on science, technology and society has viewed the participation of citizens in science and technology as a way toward science and technology democracy, and tended to have a strong practical orientation. However, there has been a relatively small amount of research on how citizen participation influences the direction and content of technological innovation. Also, although, from the viewpoint of technological innovation, how participation of citizens in science and technology can contribute to knowledge production and innovation is a critical issue, relatively small numbers of case studies on this subject have been conducted. Therefore, as the scholars who have emphasized the democracy of science and technology have actually experimented with various ways of citizen participation, innovation researchers may have to design and implement citizen participation through which citizens' local knowledge can contribute to technological innovation.

• The Korean Journal of Air & Space Law and Policy
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• v.33 no.1
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• pp.147-174
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• 2018

The air transportation industry is a field where control and interference of the state are generalized compared to other industries. However, the premise for national intervention in the air transportation industry is the determination of the nationality of the aircraft or airline company concerned. This is because it is necessary to clarify the distinction between the domestic and foreign carriers so that they can exercise airspace sovereignty. The purpose of this paper is to compare the current status and contents of Korean law and regulations on the determination of nationality with the foreign legal system. To this end, the starting point of the discussion is to look at the history of nationality restrictions on the US air transport industry and the issues that arise in the content and operation of the system today. In addition, this paper examined the provisions of the Japanese aviation law, which is very similar to that of Korea, and then compared the current legal provisions of the United States, Japan and Korea. As a conclusion, this paper sought the direction of revision of the Korean law on the basis of the foreign status of the restriction of nationality in the air transportation industry. Compared with our law, the US and Japan are generally regarded to be more concerned with the contents of their own airline companies than those of foreigners or non-citizen. In spite of the fact that there are many laws and regulations in the United States regarding the de facto dominance of domestic airline companies by foreigners, there have been a lot of controversies in this matter. By the way, Japan has been stipulating regulations on holding companies and affiliated companies. In the global era, it would be meaningful to check the status of the nationality restrictions in the aviation industry, which is based on internationality. I hope that this study will be able to build a legal institutional basis for Korea's aviation industry development from a reasonable protectionist point of view rather than a narrow nationalism in a rapidly changing era.

• International Commerce and Information Review
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• v.15 no.4
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• pp.457-479
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• 2013

Through a Chinese rise, Chinese dream is actualizing as the world's great power. According to outlook of World Bank and IMF, Around 2030 China will be a great power bigger than America's economic power. The rise of China will give a huge impact to the whole world. China expands her influence through a global manufacturing base and a global market. To actualize 'Peaceful Rise' Strategy, China has many constraints. Chinese society is facing many difficult social problem due to side effects of a rapid development. Such as the spread of corruption, the severity of wealth gap, environmental degradation and energy shortage. Internationally there are containment from hegemon so-called 'China threat' dispute, Taiwan issue and territorial disputes. Western countries are hostile to China for two reasons. Based on expectations, one is China's socialist system and the other is the rising China which will compete for supremacy with Europe and America. Recent emergence of Chinese nationalism and the containment of the neighboring countries are also serious limiting factors. Domestically they have the rampant corruption in the bureaucracy, weakened capacity of Communist rule, wealth disparity due to the discriminatory economic development strategy, seriousness of rural problem, social instability, lack of social security systems and the development gap between the eastern coastal areas and western inland areas, ethnic minorities problems, the constraint of sustainable development issues due to lack of resources, environmental pollution and energy constraints. Like the former Soviet Union, China may face a dismantlement. After the rise, China may encounter possibilities of a war between great powers or a collapse of Chinese society caused by deepening internal conflict. Serious economic polarization would make peasants and urban workers, who are social vulnerable people, to turn their back to communist party and threaten the justification and the appropriateness of the ruling communist party. Chinese government will think internal system security threat is more formidable risk factor than a system security threat from the hegemon. The decline of great country comes from internal reasons rather than external reasons. To achieve peaceful rise, unification with Taiwan is an essential prerequisite. Taiwan issues are complex problems which equipped with international and domestic factors. Lack of energy resources, environmental pollution in China will bring economic crisis to Korean enterprises. Important influence to Korean economy will be a changeover of the method in economic development. It will turn the balance of investment and consumption, GDP-centered growth to consumption and environment-centered growth. Services industries including finance, environment, culture, education, health care and social welfare will grow. Change in China's growth model will give a great challenge upon the intermediate goods industry in Korea. Korea should reduce the portion of machinery, automotive, semiconductor, steel and chemical-centered export industry to China, and should increase the proportion of the service industry.

• Korean journal of communication and information
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• v.67
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• pp.177-208
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• 2014

This study inquires how human interest news on society section of newspapers had been modulated as multi-layered political narratives that would consistently have Koreans consider, realize and question on colonial situation as well as ethnic identity. Under totalitarian censorship of the colonial government, newspapers could not publish reports on political issues and current affairs, so society page of human interest such as crime, accident, conflict, disaster, and many kinds of sufferings of peoples to death would take great public attention and consequently be considered as a substitute of political section. Society page had enjoyed its influence on formation of public opinion of the colonized ethnic society and had maintained cultural-nationalist position ever since the founding of newspaper in mother-tongue in 1920. In colonial context, there is nothing non-political to the lives of the colonized, social facts would be necessary and happen to be modulated into a narrative that could trigger nationalist sentiment. For this end, news reporting of society section usually concentrated on aspects of 'Les Mis${\acute{e}}$rqbles', dramatic quality, and psychological factors in detail. Narrative style of news reporting got used to modulate factual informations with a proper taste of exaggeration, emotional expression, and commercial touch of exciting words. Even in a case of death by drug abuse, news was written to indicate what made him/her drive to miserable death on street, that is, what is de facto reason of all of social problems like as migration, hunger, leaving home, crime, suicide, violence, gambling, love affairs to death, adultery, and even opium habit. Those social problems and personal sufferings appeared up on newspaper 3rd page at daily base. Readers could acknowledge and identify what the real matter that should be resolved and then blame colonialism, capitalism, and militarism for those social problems. Journalists put values on inciting the colonized to realize the national and ethnic situation and feel sympathy for their people tied up by a common destiny. In this terms, news on society section of newspaper under Colonial Occupation were encoded as narratives of politically layered text and then decoded as intriguing sentiments against colonial dominance. I argue that society page of newspaper of colonial period engaged in a sort of cultural politics of sentiment and emotion which is a private area outside of imperial sight.