• Journal of the Korean Geographical Society
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• v.41 no.4 s.115
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• pp.470-490
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• 2006

The paper critically examines resource mobilization theories, frame theory, and new social movement theories, and proposes studies on the spatiality of the social movements as one potential to mitigate the limitation in these theories. The resource mobilization theories and the frame theory, the strategy-oriented approaches, lack contextual understandings of the origin of social movements. While new social movement theories provide macro-scale analysis and the structural explanations of the origins of social movements, they have covered limited geographical areas. The spatiality of social movements promotes deep understandings of local differences, and contexts in and through which grievances are constructed and collective actions are organized. Physical structures and symbolic representations of places are often created and utilized as social movement strategies. The spatiality of social movements can be a useful conceptual tool to explain the diversity and the dynamics of social movements.

• 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.

• Informatization Policy
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• v.18 no.2
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• pp.3-22
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• 2011

The study of online social movements is basically concerned about the impact of the Internet on the existing social movements. More specifically, researchers have paid attention to changes in participants, leadership style and movement strategies caused by the Internet. Due to the Internet, networks of the individuals who are geographically scattered or a network of networks have emerged as new movement agents. Researchers have also analyzed a repertoire of collective action adopted by the online social movements. The increase in online social movements calls for a new interpretation of the existing social movement theories such as resource mobilization, collective identity and political opportunity structure. There are still a lot of debate about the impact of the internet on social movement and the resulting changes. Not only the early debate of cyber-optimism and cyber-scepticism, many studies done by the mid-range perspective also suggested different arguments on the impact of the Internet. This discrepancy comes from a relatively short history of online social movement study, which leads to a limited number of case studies and a shortage of date accumulations. In the future, researchers need to place more attention on the unique characteristics of different technologies and comparative studies of online social movements. The study should also extend its focus to a wide range of political systems in order to explain the impact of online social movements on political intermediary organizations and the democracy itself.

• The Journal of Art Theory & Practice
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• no.5
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• pp.217-229
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• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

• 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.

• The Journal of Art Theory & Practice
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• no.15
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• pp.7-30
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• 2013

This is a study on the ecological view of Robert Smithson's reclamation projects. Smithson was a pioneer of Earth art in the late 1960's. Robert Smithson believed that he could transform industrial wastelands, such as an abandoned oil rig and a no longer used quarry, into "Earth Art." In the early seventies, he conceived of land reclamation as a new art form and called this art "Reclamation Projects." His attention regarding industrial ruin started from the American political and social situations in the 1960's. In the late 1960's, American society was in chaos from the right of movement of African Americans, the women's rights movement and from the strike for renunciation of the Vietnam War. The intellectual class seemed to believe that it was the destiny of a closed system's society to run in the direction of entropy. Smithson, who was skeptical about the system of American society, also thought that entropy was the proper diagnosis to describe America's situation in the 1960's. The 1960's civic movements like the civil rights movement and antiwar movements expanded into the environmental movements based on ecological views of the 1970's. The government had also started to worry about environmental pollution. Thus, the reclamation act was also established in 1972. Smithson believed that the relation between art and social background are closely related and affect each other. He was concerned with how art can join society, and the result was reclamation projects. Such reclamation projects lie on man-made wastelands, like abandoned oil rigs and no longer used quarries, which was an allegory of entropy. He also thought that Frederick Law Olmsted was a pioneer of earth art. The aesthetic category of Olmsted's view of landscape is to be based on the picturesque of Uvedale Price and William Gilpin. So Smithson, who considered Olmsted as his touchstone, also accepted the picturesque. Such reclamation projects aim to change with nature by adapting the creative power of artists to the ruin which has the highest level of entropy in industrial society. Smithson wanted this to become the bridge between man and nature. His reclamation project's aim, which shows the system interacting between man and nature as a network, is not different from the ecological view of the 1970's environmental movement.

• Korea and Global Affairs
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• v.1 no.1
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• pp.7-30
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• 2017

The conspiracy theories of political events are occurring in every country and society. In Korean society, conspiracy theories about political events are constantly happening. Conspiracy refers to the phenomenon of a particular individual or group who oppose the official causes of social phenomena. Conspiracy is a resistance to the credibility of the state and the government. In Korean society, conspiracy occurs mainly in political events. The conspiracy theories of political events appear in the form of conservatism and progressivism, which seeks to replace political power and political power to stabilize political power. The conspiracy theory about Jang Jun-Ha's death occurred in the process of seeking justification for a person who is resisting the ruling forces. Also, the conspiracy theory of the Gwangju Democratization Movement and the Cheonan Warship Sinking may be a drag on the justification for the justification for the takeover of the new military government and the justification for the Disconnection of inter-Korean relations. In Korean politics, Conspiracy theory is a factor that confuses Korean society regardless of whether it is true or not.

• The Journal of Fisheries Business Administration
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• v.24 no.1
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• pp.65-86
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• 1993

In this paper, fishery economics is reviewed to extend a basic opportunity for developing new fishery economics and to evaluate the effects of the import liberalization on the fish trade structure of Korea. The principle outline of extensions emphasis to realize the modern fishery problems based on fishery economics and develop the practical methodology in order to analyze the impacts of the import liberalization on the fishery and fishermen welfare. During the process of export - oriented industrilization, the role and position of fishery in the economy is changed dynamically. When faced with the imperative of the role and position of fishery in the economy, fishery economists and domestic policy makers must decide how to organize themselves for solving fishery problems under the new regime in the import liberalization on the fish trade. Fishery problems impacted by the new regime can not be solved by fishery itself but be solved by the centralized efforts of all contributors in national views. Therefore the new systematic analytical methodology must be develop and the traditional fishery economics must be related to the regional development strategy and fishery sociology as subsidiary theories specialized. Due to the impacts of the import liberalization on the fish trade structure, fishery economists face with radical changes in the domestic fishery : a place of the resources harvest to place of the combination resource harvest and its demand, a fishing as a resource exploitation to a fishing as a resource management, a traditional small scale costal fishing to a modernized and scaled fishing, fishery using the given natural resource itself to fishery as technology intensive industry, and a food supply industry to a welfare indusry based on the regional and economic resource and social environment. As these changes, fishery and its community's regional and economic resource and social environments as multiple roles of the regional economic development are emphasized in fishery economics under the new regime in the import liberalization on the fish trade. Furthermore, domestic policy makers and administrators in a public sector must realize the above radical changing trends in fishery and understand a social and economic environment in fishery and develop a new fishery structure focusing on the fishing system and the fishery laws. As this point, they make efforts to improve and develop fishery as a food supply industry. Japan, for example, has a non - governmental organization to conflict the problem of international fishery such as a movement of a civil environmental protection. Also fishermen in Japan already realized conservation and pollution problems in fishing as fundamental issues of human being.

• Iberoamérica
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• v.13 no.1
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• pp.123-152
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• 2011

The long standing people's culture of Latin America based on social solidarity of the communities makes the political relations between the leader and the people very different from them of the european societies based on the representative democracy. At any rate, the main stream of the Populist Discourses sees the real populist political processes with the pejorative senses attributing the demagogue style of the leaders. In these sense, it is very important to re-consider the populism discourses of Ernesto Laclau who thinks that the populism is a way of interpreting the emergence of the people to establish the social demands in the context of populist real politics. According to Laclau, "the populism seeks for the radical reconfiguration of the revolt of the 'Status Quo' and new order". This work will confirm if this interpretation of Laclau can be applied to Peronist political regime. Meanwhile the first group of the orthodox line of the discourses on populism including Gino Germani shows that the populism is a political movement based on the manipulation and demagogue by the charismatic leader of the irrational mass during the period in transition after the crises of the traditional oligarchy in Latin America. And another line of the main stream of discourses on populism including Cardoso and O'Donnell says that the populism is a political phenomena in a period of transition towards the modernization and the national development by means of the industrialization through the substitution of the imports and the alliance between the classes after the 1930's. But these principal interpretations on populism disregards that in Argentina many urban poor working class people had lived under the racist, unequal painful social relations due to the underestimation and the discrimination by the upper and the middle class with many intellectuals. But Peronism had considered them as the new social subjects with human dignities. And so we have to rethink the clientelism also with another meanings. In this sense, the theories of Ernesto Laclau on populism is very helpful to illuminate the sensitive and ambiguous meanings of Peronism. Especially Peronism makes the urban working class maintain their life styles more tended to them of the traditional communities and go towards the anti-Status Quo. That is a key of success of Peronism not only that time but until these days. And so this study will show that it is the most important thing that Peronist regime had made the emergence of the 'people' in the meaning of advancing the democracy in Argentina.

• Issues in Feminism
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• v.9 no.1
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• pp.79-111
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• 2009

This paper analyses the stories of 38 women of the in-depth survey, enforced by the Institute for Gender Research, Seoul National University. This survey focused on motherhood, but many memories were told by most of women. That shows strong existence of fatherhood in the process of personality formation in Korean society. The stories of 38 women could be divided into 5 types: (1) 5 cases where there is no mention about father; (2) 5 cases where simple and negative mentions are made about fathers; (3) 6 cases where no instrumental fatherhood but expressive fatherhood is found; (4) 11 cases of women who experienced both instrumental and expressive fatherhood, and (5) 12 cases (1 case is overlapped with one of the 3rd type) where the relationship between daughter and father is very close. The analyses denies the dichotomy of instrumental and expressive fatherhood, and the theories of "New Men" with expressive fatherhood who appeared as a result of social change and feminist movement. It also shows the various aspects of expressive fatherhood, and that close relationship between father and daughter plays an important role for the empowerment of daughter.