• Journal of the Korean association of regional geographers
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• v.4 no.1
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• pp.77-98
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• 1998

In general, spatial imbalance in regional growth is a major cause of social and political conflicts within a state. In Korea, this inequality has functioned as a threat to the state's integration. With the economic development policies by regional industrialization over the past three decades, most of the industrial activities have been concentrated in Seoul and Pusan metropolitan areas, which are surrounded by Kyonggi, Kyongnam provinces respectively. Compared to these areas, Chonnam and Chonbuk provinces have lagged behind in economic development. Therefore, in order to increase the regional economic development of the southwestern region in Korea, the central government has been enforcing several policies aimed at regional industrialization since the 1980s. The purpose of this study focuses on the regional economic impacts of a newly established industrial estate-Yulchon industrial complex- which would act as a regional growth center in the Kwangyang bay area. The Kwangyang bay area consists of several industrial estates such as Kwangyang Iron and Steel Co. and its related industrial complex, Chuam rural industrial estate, Yeochon industrial complex, and so on. In addition, the Kwangyang container port was constructed in 1997. The Kwangyang bay area has been changing to a new industrial district in the southwestern part of Korea as a result of industrialization policies which were activated by central government. The Yulchon industrial complex, which is expected to be completed in 2001, would draw many manufacturing plants. For example, Hyundai Motors Co. has a plan to locate a new automobile assembly plant within the estate. As the plan has high probability to be realized, it will be interesting to study the effects a new automobile assembly plant and its related production linkages have on the region. This study is to estimate the expected structural characteristics of automobile production activities in Yulchon. The following details will be discussed: the regional economic impacts of a new automobile industry in Yulchon industrial complex, the production linkage formation via hierarchical subcontracting systems, the alternative strategies to promote the growth of regional economies, and the scheme to improve the auto-parts and components industry in Kwangju and Chonnam provinces by establishing auto-mobile production function. Automoblie industry generally gives great influences on not only regional economies but the related industries, for example, the firms producing automotive components. If a new plant producing automobiles and its related firms producing components are to be established in Yulchon, they will affect on the regional development directions and change the regional characteristics of industrial structure. In order to increase the spread effects of the new industry in Yulchon industrial complex, almost all of the automobile production processes must be organized concurrently within a limited range of distance. There is an imperative that the co-operation system should be structured between the assembly firm and many firms producing its components. In addition to those, it would be required such as the effective division of labors between the firms, much more capabilities in the technical innovations, and the reconstruction of interrelationship between the labor unions and the firms' managers.

• Journal of the Korean association of regional geographers
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• v.20 no.2
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• pp.163-175
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• 2014

This study is to explain social capital characteristics of Filipino immigrant women at the level of neighborhood. This research targeted Filipino immigrant women in the metropolis, small town and rural area in Korea to find out the relevance of individual property and characteristics of the community and social capital of neighboring communities- school community, cathedral community, etc- through measurement of the participants' recognition. This study reveals that differences exist in the relationship between length of residence and social capital in the school community and the catholic church community. There is a significant positive relationship between length of residence and political factors in the catholic church community, thereby having a better relationship with longer period of stay, while length of residence and confidence show a negative trend in the school community, leading to less confidence. The catholic church community holds a dominant position in homogeneity, cohesion, and the amount of social capital. According to the findings, social capital 'relation' is more closely related to homogeneity of the community, 'norms' to cohesion. 'Relation and norms' and 'confidence and politics' factors are recognized similarly in both communities, thus resulting in the recognition that decision making within the community, the share of value, and observance of social norms approximate a friendly relationship among members, and satisfaction level, emotional support, and confidence among members approach politics that members can talk about their personal matters. It is noted in the research process that the symbolism of the cathedral community as a transnational circuit behavior occurs where collective culture and personal desires of Filipino immigrant women were combined with production of social capital. Filipino immigrant women's awareness of community and social capital appearing in the cathedral community show that not only residence, along with the cultural identity of Filipino immigrant women, but also collective social and cultural characteristics, such as 'family reunion' can not be overlooked. In particular, at this time when discussion and debate on the interculturalism over multiculturalism is heating up, communal spirit and social capital based on the ethnic identity are important in that they can be a crucial path to the cross-cultural interaction with our society, therefore, a study on the social capital of the ethnic community needs to be encouraged and extended to more diverse communities, to the space of the multilayered scale.

• The Journal of Art Theory & Practice
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• no.5
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• pp.43-80
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• 2007

PASKYULA was formed in September, 1923 through the union of artists involved in two art groups: Kim Ki-Jin, Kim Bok-Jin, Yeon Hak-Nyeon who had previously participated in the ToWolHoi, and Park Young-Hi, Lee Sang-Hwa, An Seok-Ju, former members of the BaeckJo. After its founding, the PASKYULA artists had been searching for the social function of art to reform the harsh reality of Minjung and the nation with criticism toward society as well as art world. Their art theory for MinJung could grow relatively ease in relation to changing social and political conditions in the early 1920s. In August, 1925, PASKYULA organized the Korea Artista Proletaria Federatio with the YeomGunSa, and laid the groundwork for Proletariat art movement which was regularized in the late 1920s. From PASKYULA up to the early state of KAPF, the theory of art advocated by Kim Bok-Jin and An Seok-Ju could be summarized as "art for MinJung". At that time, widely ranging discourses on MinJung, however, was spawned in art theory, because many intellectuals-including artists and writers-begun to pay more attention to MinJung, who emerged as one of the social forces after the Samil Independent Movement. Sometimes, MinJung was construed as the target of enlightenment from a negative viewpoint. On the other hand, several intellectuals under the influence of individualism asserted that the discussion itself on MinJung exerted an evil influence on art. In contrast of these cases, the PASKYULA artists including Kim Bok-Jin, An Seok-Ju perceived that MinJung had the potential to change society, and regarded them as "a creator of genuine civilization and art". In the PASKYULA artist's writings, the concept of MinJung was often overlapped with the meaning of the Choson nation suffering under colony. Although their concept of MinJung was transformed gradually into the proletariat as they were under the strong influence of socialism, it did not change that they grasped the realities of the whole Choson Peninsula through the proletarian consciousness. In the early state of PASKYULA, the methodology for social function of art was presented in a twofold manner. First of all, Kim Bok-Jin emphasized on the necessity of education to improve MinJung's way of life through art, and it was embodied by the organization of ToWol Art Workshop and public lecture. Also, he championed "the popularization of art", which was one of methods to distribute art to MinJung. According to the PASKYULA artists, art should be not art for art' sake but art for MinJung. That was why they advocated the convergence of art and MinJung's life. Especially Kim Bok-Jin affirmed a link between art and industry because he considered industry the field inextricably linked with MinJung's life. In this context, his idea could be read as the generalization and equalization within the framework of possession. Kim Bok-Jin thought that the social ramifications of capitalism deprived MinJung of their right to enjoy art, and emphasized the artist' social role to return the right to them. That is, the even distribution of art was mainly discussed than the contents of art in the half of 1920s. By 1925, the contents of art itself became an issue in the PASKYULA art theory, and it was based in realism. Kim Bok-Jin and An Seok-Ju insisted that art should be reflection of real life. At that time, realism acquired the representation of MinJung and the nation's realities not realistic style. In fact, the various Western art styles including Futurism, Constructivism, Cubism etc. were exploited in the PASKYULA's visual images. Western art, target of criticism on theory, was selectively adopted in the works which were produced by Kim Bok-Jin and An Seok-Ju. Kim Bok-Jin's MoonYeUnDong cover design was conceived of as the example in which Western art was adopted with it's ideology under the influence of MAVO, while Western art shown in An Seok-Ju's illustrations served as a decorative function in many cases. Especially, An Seok-Ju attempted the various styles of Western art simultaneously, which may be seen as representing that PASKYULA did not have a firm ideology for their style. Also, it can be read as showing his hasty zeal to overcome Western art rapidly. The wish to establish "art for MinJung" as soon as possible was accompanied with the will to jump over the all steps of Western art though it was superficial. This aspiration of PASKYULA was expressed through the mass media, which had the potential for communicating to MinJung. At this point, there was a significant disparity between PASKYULA and another art groups in the first half of 1920s. However, the PASKYULA's method on the basis of the mass media could not but have a certain limitation because of the medium's properties. Nevertheless, PASKYULA' attempts may be considered to be valuable in sense that they expended the boundaries of Korean modern art into the commercial art questioning the matter of the distribution for art.

• The Journal of Korean Philosophical History
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• no.57
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• pp.91-125
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• 2018

This study aims at attempting to make a new interpretation of Mencius from the point of social welfare. The thoughts of social welfare, found from Mencius, are temporal and humanistic and near to those in nowadays. Social welfare began under the name of philanthropic work, relief work, charitable work or social work from the Industrial Revolution in the 18th century on. Welfare means the whole social activities such as satisfying the fundamental desires of the social members, ensuring the conditions of their lives, and ultimately achieving social integration and stability. It means the conditions of their lives and wellbeing. Wellbeing means the minimal physical desires and psychological stability. The realization of the economic system through concept of steady livelihood and steady mind, tax system and well-field system, proposed by Mencius, can be ensured by the whole social activities such as ensuring the stable lives of the social members, enriching and satisfying their happiness and ultimately achieving social integration and stability. The thoughts of Mencius include people-as-root idea, which regards people as most important and tries to solve the instability and inequality that are the structural vulnerabilities in modern capitalist society. His concept of Way of the king means promoting people's sense of happiness through education of morality, based upon the people-as-root idea and filial and fraternal responsibilities. The main ideas of social welfare include living like a human being, ensuring minimal physical and psychological stabilities through social welfare system and welfare policy, enriching human dignity and freedom and enhancing the quality of lives. The thoughts of Mencius include all the above ideas. In particular, he desired to establish ethically and morally stable society by economically implementing the well-field system in Zhou dynasty, based upon politically benevolent governance of the politicians. That society was the people-as-root society, the realization of which was the ideal society Mencius desired to establish, and the goal of his thoughts on social welfare. This study, among the thoughts of Mencius, investigated his ideas on social welfare and the practical ethics for applying them to real society. In addition, to understand his ideas on social welfare, not only the social and economic backgrounds and conditions but also the political ideas at that time were also investigated. This will provide the opportunity to make more in-depth research of the elements of social welfare intrinsically contained in his thoughts.

• Korean Journal of Heritage: History & Science
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• v.52 no.3
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• pp.130-145
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• 2019

The palaces in South Korea are largely divided into primary palaces (法宮) and secondary palaces (離宮). In the early Joseon period, the primary palace was Gyeongbokgung Palace, and the secondary palace was Changdeokgung Palace. Additionally, there is the concept of imperial palaces (正宮). Gyeongbokgung Palace was the primary palace and the imperial palace. The topography of Gyeongbokgung is based on Mt. Baegak, which is the symbol of royal authority. The location of the palaces was chosen to highlight the king's dignity and authority. The three gates and three courts (三門三朝) were positioned on a straight line based on one axis along the ridge of Mt. Baegak to establish the legitimacy, hierarchy, and unity of the kingship. The secondary palace was built according to the demands of the king and the royal family or the political situation. It was created as a royal living space; thus, creating independent and diverse spaces along multiple axes. The primary palace was chosen to be built on the terrain of Yang, and the secondary palace was chosen to be built on the terrain of Yin; the criteria for laying buildings in the palace areas had to be different. The most important point in the formation of Joseon palaces was that the secret vital energy for the king (王氣) originated from the sacred mountain. Important elements of the palace were the secret vital energy chain of feng shui (風水氣脈) and the forbidden stream (禁川). The secret vital energy chain of feng shui was the gateway to the secret vital energy for the king, and the forbidden stream was a method of preventing the king from leaving the palace grounds. Gyeongbokgung Palace, which is on typical feng shui terrain, faithfully reflects the principles of feng shui. On the other hand, the secondary palace was built on incomplete and irregular feng shui terrain. Feng shui was part of the nature and the geography of the ruling classes in the Joseon Dynasty. By examining their geography, I believe that the perfection of traditional culture inheritance and restoration can be improved.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.1
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• pp.57-75
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• 2019

Soundscapes have the potential to help people experience the historical background and cultural traditions by the scenery of a local area and to be used as a cultural and tourism resource. This concept was first explained in detail by M. Schafer and has been developed as a new way of experiencing landscapes using various senses. This research studied the soundscape of Kyodong Island, the so-called "Island of Peace" and designed new cultural acoustic content for education and tourism. Kyodong Island is located right below the Northern Limit Line and the whole island is in the Civilian Controlled Area. The political and economic status of the island has been changed dynamically by the Korean War and the division of the country. These days, the island needs to realize the vision of the "Island of Peace" in a more creative way using local resources, including its "cold war landscape" and the natural scenery of the region. This research applied the concept of a soundscape to document the island, and to reproduce it in an artistic way. A workshop was conducted to learn concepts and techniques of soundscapes with a sound artist. Listening, recording, conducting interviews, and literature research was used to study the soundscape of the island. After that, this research reconstructed the soundscape of the island through a soundscape composition. The main theme of the composition story was the "Hope and Wish for the Harmony and Peace" to show the vision of the "Island of Peace". The initial sub-theme for the introduction part was "First Encounter with Kyodong Island" arranging the representative soundscape, which could be the first impression of the region. The second sub-theme was "War and Tension" using several soundscapes as a metaphor for the tragedy of the Korean War. The third sub-theme was "Everyday Life of Kyodong Island" which described the energy of the present day, after the wounds of the war have healed. The final sub-theme was "Harmony and Peace" using traditional music and keynote sounds of the region as a reminder of the peaceful past, before the war. The recording files were documented as two types of sound maps. One was a two-dimensional map to show the soundscapes from one point of view, and the other used the online application called "Sound Around You". The final artwork was displayed at an exhibition and uploaded on YouTube to be shared publicly. Through this project, we discovered the potential of soundscapes as a medium to preserve the history and local identity, as well as presenting a new vision. The artwork will be exhibited at historically and culturally meaningful places on the Island to utilize the underused places as local tourist attractions and educational resources.

• (The)Study of the Eastern Classic
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• no.37
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• pp.127-159
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• 2009

This paper is about the conception of "Hwangjoin(皇朝人)" during the reign of King Youngjo in the Joseon Dynasity. Originally, Hwangjoin meant the Chinese people till the mid-term of the Joseon Dynasty but the meaning was changed to the immigrants from the Ming(明) dynasty in reign of King Youngjo. They were Han Chinese(漢族) and moved to the Joseon between the Japanese Invasion in 1592 and the Manchu war in 1636. The Joseon government gave a warm welcome to them. Two wars made the Joseon government pay attention to the national restoration and served the entrance of 'Sallim(山林)' on the central government as a momentum. Song, Siyeol(宋時烈) was the leader of Sallim, who made an issue of 'Daecheong-boksu Discourse(對淸復讐論;to revenge on Ching(淸) Dynasty)' like a way of 'Bukbeol(北伐;to attack Ching Dynasty)'. His plan came to fail because of the death of King Hyojong and was replaced with Jonju Discourse(尊周論;respect for Zhou Dynasty). Daebodan(大報壇) was built in the reign of King Sukjong, which meant Joseon got the justness that they inherited from the Ming Dynasty. Later Daebodan expanded and it led to works in honor of loyal subjects and patriots, victims of two wars and a policy of a warm reception for Hwangjoin. King Youngjo did his best to theorize Daemyeong Euiri Discourse(對明義理論) and Jonju Discourse for himself. His efforts came out as a spread of conception on Pungcheon(風泉;fengquan), publication and education of Eoje-seo (御製書) and making literary works(英祖御製). King Youngjo employed many policies for Hwangjoin. First, operation of Chungnyanggwa(忠良科) opened a door for them to go into politics. Second, descendants of Hwangjoin had charge of Hwangdan's guard(皇壇 守直) posts. and joined in the sacrificial rites of Ming Emperors. Third, they could have government jobs and honorary posts for ancestors' merits. Fourth, a list of Hwangjoin, "Hwainlok(華人錄)" was published and they got preferential treatment unlike Hyanhwain(向化人). King Young's Pungcheon(風泉) had an effect on literature such as Lee, Gyusang(李奎象)'s "Beong-sejaeunlok(幷世才彦錄)" and Song, Gyubin(宋奎斌)'s Pungcheon-yuhyang(風泉遺響)". The general people of Joseon were jealous and envious of them because of special treatment polices for Hwangjoin. So people wanted to be included in Hwangjoin as far as possible and there were cases of pretending to be a Hwangjoin. The conception of "Hwangjoin(皇朝人)" during the reign of King Youngjo was realized as the policy for Hwangjoin based on Daemyeong Euiri Discourse (對明義理論) and Jonju Discourse(尊周論). It was a way of becoming clear about Joseon's position in political principle.

• Journal of Ginseng Culture
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• v.3
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• pp.90-118
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• 2021

Gaeseong fostered the conditions necessary for modern capitalism, as huge capital was accumulated through the cultivation and trade of ginseng, which were activities that flourished in the 18th century. During the Japanese colonial era, ginseng merchants were not simply limited to acquiring landowner capital from ginseng trade but actively converted such resource to productive and financial capital, thereby becoming modern entrepreneurs. Ginseng merchants led the joint management and investment of Gaeseong Electric Co., Ltd., Daehan Cheonil Bank, Gaeseong Brewing Co., Ltd., and Songgo Textile Company, founded in the early 20th century. They pursued corporate profits and, as leading individuals of society, spearheaded regional development by supporting educational and cultural projects in Gaeseong. These projects included the establishment of the Gaeseong Commercial School, the publication of Goryeo Times, and the operation of the Gaeseong Jwa Theater. Although liberal economics prioritized shareholder interest, the 21st century witnessed an emphasis on social responsibility among stakeholders asthe major purpose of enterprises. A trend that emerged was ESG (environment, social, governance) management, in which non-financial factors are valued more highly than financial performance. A successful business, which was denoted only by high profits in the past, is now defined by whether a company fulfills its social responsibility. In the early 20th century, the corporate activities of ginseng merchants in Gaeseong reflected entrepreneurship and stakeholder-centered ESG management, which later emerged as essential elements of modern business management. The modern management philosophy ahead of its times stemmed from the regionality of Gaeseong. The political discrimination against Gaeseong residents in the Joseon Dynasty precluded them from becoming government officers, and under a strict social hierarchy, yangban ("noblemen"), the intellectuals of the Joseon Dynasty, were forced to serve as merchants. Son Bong-sang and Kong Seong-hak, aside from being representative ginseng merchants, were both Confucian scholars and writers. The second and third generations of ginseng merchant families who had received higher education abroad returned to Gaeseong to carry on with their family businesses, then established modern companies with capital accrued from the ginseng industry. An analysis of the commercial activities of ginseng merchants in the early 20th century confirmed that these individuals were pioneering entrepreneurs who adopted the ESG management philosophy. In ginseng merchants, one sees a dimension of capitalism with a human face, as with ginseng thatsaves human life.

• Journal of Appropriate Technology
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• v.6 no.1
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• pp.28-36
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• 2020

Sustainable appropriate technology requires user-centered design with consideration of the political, cultural and environmental aspects of the area. However, in the preparation of appropriate technology, there is a limit to the prior grasp of the user's intention and experience leading to the actual behavior of the user after the dissemination. As a result, appropriate technologies are often inconvenient for practical use or used for other purposes, contrary to the designer's intention. This study analyzes the case of appropriate technology with an analysis framework that reflects Maier's affordance theory, and proposes a design solution that can overcome the limitations of existing design. Affordance theory is the theory of factors that cause the user to identify and use features through interpretation based on prior knowledge and experience about things. The analysis cases in this study are the interviews with the designers, management education materials, and manager interviews for water purification systems at three of six schools in Binh Dinh Province, Vietnam, from August 2015 to January 2018. The case was attempted to be improved by periodic installation, maintenance, and inspection, but similar problems continued to occur. First, the facility inspections and manager interviews are compared with manager training materials distributed at the time of installation to find inconsistencies. Next, we analyze the designer's intended affordance and the affordances that actually influenced the management behavior. And then, we propose design solutions based on commonly found problems and affordances. This study suggests that it is necessary to apply the design considering the user's behavior before distributing the appropriate technology, and this study will be precedent in the process of finding the improvement through the analysis framework based on the affordance.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.172-203
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• 2023

<Cheongdamdo>(true-view landscape painting) was identified in this study to be a folding screen painting painted by Jeong Seon(a.k.a. Gyeomjae, 1676~1759) in the 32nd year of King Yeongjo(1756) while exploring the Cheongdam area located in Mt. Bukhansan near Seoul. Cheongdam Byeol-eop(Korean villa), consisting of Waunru Pavilion and Nongwolru Pavilion, was a cultural and artistic base at that time, where Nakron(Confucian political party) education took place and the Baegak Poetry Society met. <Cheongdamdo> is a painting that recalls a period of autumn rainfall in 1756 when Jeong Seon arrived in the Cheongdam valley with his disciple Kim Hee-sung(a.k.a. Bulyeomjae, 1723~1769) and met Hong Sang-han(1701~1769). It focuses on the valley flowing from Insubong peak to the village entrance. The title has a dual meaning, emphasizing "Cheongdam", a landscape feature that originated from the name of the area, while also referring to the whole scenery of the Cheongdam area. The technique of drastically brushing down(刷擦) wet pimajoon(hanging linen), the expression of soft horizontal points(米點), and the use of fine brush strokes reveal Jeong Seon's mature age. In particular, considering the contrast between the rock peak and the earthy mountain and symmetry of the numbers, the attempt to harmonize yin and yang sees it regarded as a unique Jingyeong painting(眞境術) that Jeong Seon, who was proficient in 『The Book of Changes』, presented at the final stage of his excursion. 「Cheongdamdongbugi」(Personal Anthology) of Eo Yu-bong(1673~1744) was referenced when Jeong Seon sought to understand and express the true scenery of Cheongdam and the physical properties of the main landscape features in the villa garden. The characteristics of this garden, which Jeong Seon clearly differentiated from the field, suppressed the view of water with transformed and exaggerated rocks(水口막이), elaborately creating a rain forest to cover the villa(裨補林), and adding new elements to help other landscape objects function. In addition, two trees were tilted to effectively close the garden like a gate, and an artificial mountain belt(造山帶), the boundary between the outer garden and the inner garden, was built solidly like a long fence connecting an interior azure dragon(內靑龍) and interior white tiger(內白虎). This is the Bibo-Yeomseung painting(裨補厭勝術) that Jeong Seon used to turn the poor location of the Cheongdam Byeol-eop into an auspicious site(明堂). It is interpreted as being devised to be a pungsu(feng shui) trick, and considered an iconographic embodiment of ideal traditional landscape architecture that was difficult to achieve in reality but which was possible through painting.