• Journal of the Korean Society of Costume
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• v.51 no.2
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• pp.27-42
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• 2001

The objectives of this study are to give a definition and to find out the background and the pursuits of Saenghwal Hanbok. Conclusions are described as follows : 1. Saenghwal Hanbok and Gaeryang Hanbok are used together at the same tome, but they are different the background and the pursuits. Gaeryang Hanbok was pursued practical aspects - activities, simplification, sanitation, courtesy, economy, and diversity. And then Saenghwal Hanbok was added the pursuits of Minjung's image, traditional image, modern esthetic. 2. The background of Saenghwal Hanbok is divided into two group. One is the Minjung Hanbok in University, and the other is the recreated Hanbok in mass fashion. The former was effected to youth culture, political quarrel of culture movement, anti-government group. The Latter was a tendency toward reviving the tradition. 3. The characters of Saenghwal Hanbok were a national tradition, a resistance. the image of poor Minjung, a revival of the tradition, and a diversity and negotiation of post-modernism.

• The Journal of Art Theory & Practice
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• no.16
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• pp.71-103
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• 2013

This paper explores the key figure of minjung misul ("the people's art"), Kim Bongjun, and the art collective Dureong in the relationship between 'dialogue' and the dissidents' structural critique of Korea's modernities. During the 1980s' prodemocracy movement, the minjung artists and other dissident intellectuals used the notion of dialogue as metaphor for and allegory of democracy to articulate not only Koreans' experience of modern history, which they saw as "alienating" and "inhumane," but also the discrepancies between Koreans' predicaments and their political aspirations and their working toward the fulfillment of those ideals. Envisioning alternative forms of modernities, Kim Bongjun and other Dureong members paid attention to the fundamental elements of art, which consist of art as a modern institution, as well as the everyday lives of people as the very site of Koreans' modernities. They endeavored to create "art of life," which presumes its being part of people's lives, based on the cultural and spiritual traditions of the agrarian community. They also participated in the national culture movement, the minjung church, and the alternative-life movement to radically envision everyday lives through the indigenous reinterpretation of democratic values. Despite the significant role played by the church mission and its community involvement, its effects on minjung misul have received little attention in the relevant studies. Thus, I consider in particular the minjung church's and the alternative-life movement's confluence of multiple cultural and social constituencies in relation to Kim and the Dureong collective's vision of a new art and community.

• Journal of English Language & Literature
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• v.64 no.3
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• pp.307-327
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• 2018

In light of Korean inclusion of its diaspora as part of the nation, a "creolized" approach that brings together constructions of the bad subject of Asian American studies with conceptions of the Korean minjung grounds an analysis of two poets as they might be considered from a bi-national, Korean and U.S. American, perspective. The poets Ed Bok Lee and Jason Koo show different ways of being the bad subject. Lee is clearly a bad American subject, resisting American white racial hegemony, and his poetry often addresses a kind of American minjung multiculturalism, as is shown in poems from his first two books Real Karaoke People and Whorled. He challenges some aspects of contemporary Korea, and might be a kind of Korean bad subject in those challenges. Koo, on the other hand, resists the call to bad subjectivity, so that his poetry may not fit the preferred paradigm of Asian American studies, as he recognizes. As he resists that paradigm, he also gives little attention to his Korean heritage, so his not-bad American subjectivity becomes bad Korea subjectivity. He recovers some measure of badness in the final poem of Man on Extremely Small Island when he connects briefly to his Korean heritage and his Asian American present. The creolized juxtaposition of the bad subject with the minjung suggests the use of these poems in considering both American and Korean society.

• Korean journal of communication and information
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• v.33
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• pp.87-114
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• 2006

The concept of alternative sphere is terminologically various; resistance media, counter media, minjung media, grassroots media, underground media, alternative media, civic media, etc. Each terminology reflect the feature of times and the emphasis of advocator. This article explore the transformation of alternative public sphere and its motive in Korea. In a world, Korea's alternative public sphere has changed as following: resistance media and liberty media in 70', counter media and minjung media in 80', alternative media in 90', and alternative media and civic media in 2000'. The motive of transformation is basically the expansion of civil society and extension of social movement in Korea. As social movement's character has changed, the feature of alternative public sphere has also changed. Minjung movement played key role of social movement in 1980', the alternative public sphere characterized as minjung media or counter media which was based on working class consciousness. After this, According as civil movement have initiative of social movement, the character of alternative public sphere changed by alternative media and civic media. Besides, this article argue that the alternative public sphere of Korea has changed dialectically with social movement.

• Proceedings of the Korean Institute of Navigation and Port Research Conference
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• 2001.02a
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• pp.11-1-11-6
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• 2001

• Proceedings of the Korean Institute of Navigation and Port Research Conference
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• 2000.10a
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• pp.111-116
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• 2000

No Abstract.See Full-text

• 제어로봇시스템학회:학술대회논문집
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• 2002.10a
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• pp.106.6-106
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• 2002

1. Introduction 2. Computed Torque Controller 3. Controller Design 4. Simulation and Experiment 5. Conclusions

• 제어로봇시스템학회:학술대회논문집
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• 2002.10a
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• pp.99.3-99
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• 2002

1. Introduction 2. Detection and Tracking of Moving Objects 3. Objects Tracking and Experiment 4. Conclusion

• Quality Improvement in Health Care
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• v.14 no.2
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• pp.23-31
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• 2008

• The Journal of Art Theory & Practice
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• no.16
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• pp.41-69
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• 2013

The inauguration of the collective Reality and Utterance (Hy$\breve{o}$nsil kwa Par$\breve{o}$n) in 1979 and 1980 marked a watershed moment in Korean art. This is not only because the collective gave birth to the politically-engaged art movement that would come to be labeled "Minjung Art" by the middle of the 80s, but also because it enthusiastically embraced a wide range of images from the urban culture. With a special focus on the members' early work, my research explores an issue largely neglected in the dominant narrative of Minjung art as a form of activism against the authoritarian Korean government during the 80s. The issue is what was at stake in Reality and Utterance's exploration of contemporary urban visual culture. The aim of this essay is to recognize the engagement with the urban visual culture as central to the group's early project and to consider it at some distance from the anti-urban and anti-mass culture perspective which was endorsed by the Minjung narrative. Focusing on members' turn to urban visual culture, this essay instead argues that this turn was by no means merely a means to making art as social critique, but more importantly, it was an experiment with the shared image world, as opposed to the rarefied visual vocabularies of abstract modernism. Visual productions such as advertisements, billboards, posters, and kitsch paintings, which come from outside the narrow confines of fine art, were definitely ominous signs of the colonization of everyday life in the capitalist city, but at the same time they were anticipated to be a catalyst for redefining Korean art in a more communicative, accessible, and democratized way. In this regard, in the early 1980s-in particular 1980 and 1982-the members' gesture oscillated between critique and embrace, which allowed the group to occupy a unique domain in the realm of Korean art production.