• THE INTERNATIONAL COMMERCE & LAW REVIEW
• /
• v.13
• /
• pp.869-895
• /
• 2000

The US supports the Information and Communication (IC) industry as a strategic one to wield a complete power over the World Market. However, several other countries are also eager to have the support for the IC industry because the industry produces a high added value and has a significant effect on other industries. Korea is not an exception. Korea recently succeeded in the commercialization of CDMA for the first time in the world, after the successful development of TDX. Hence, it is highly likely to get tracked by the US. Although the IC industry is a specific sector of IT, there is a concern that there might be a trade friction between the US and Korea due to a possible competition. It will be very important to prepare a solution in advance so that Korea could prevent the friction and at the same time increase its share domestically and globally. It will be our important task to solve the problem with the minimum cost if the conflict arises unfortunately in the IT area. The parties that have a strong influence on the US trade policy are the think tank group and the IT-related interest group. Therefore, it would be important to have a close relationship with them. We found some implications by analyzing the case of Japan, which has experienced trade frictions with the US over the long period of time in the high tech industry. In order to get rid of those conflicts with the US, the Japanese did the following things : (1) The Japanese government developed supporting theories and also resorted to international support so that the world could support the Japanese theories. (2) Through continual dialogue with the US business people, the Japanese business people sought after solutions to share profits among the Japanese and the US both in the domestic and in the worldwide markets. They focused on lobbying activities to influence the US public opinion to support the Japanese. The specific implementation plan was first to open culture lobby toward opinion leaders who were leaders about the US opinion. The institution, Japan Society, were formed to deliver a high quality lobbying activities. The second plan is economic lobby. They have established Japanese Economic Institute at Washington. They provide information about Japan regularly or irregularly to the US government, research institution, universities, etc., that are interested in Japan. The main objective behind these activities though is to advertise the validity of Japanese policy. Japanese top executives, practical interest groups on international trade, are trying to justify their position by direct contact with the US policy makers. The third one is political lobby. Japan is very careful about this political lobby. It is doing its best not to give impression that Japan is trying to shape the US policy making. It is collecting a vast amount of information to make a correct judgment on situation. It is not tilted toward one political party or the other, and is rather developing a long-term network of people who understand and support the Japanese policy. The following implications were drawn from the experience of Japan. First, the Korean government should develop a long-term plan and execute it to improve the Korean image perceived by American people. Second, the Korean government should begin public relation activities toward the US elite group. It is inevitable to make an effort to advertise Korea to this elite group because this group leads public opinion in the USA. Third, the Korean government needs the development of a relevant policy to elevate the positive atmosphere for advertising toward the US. For example, we need information about to whom and how to about lobbying activities, personnel network who immediately respond to wrong articles about Korea in the US press, and lastly the most recent data bank of Korean support group inside the USA. Fourth, the Korean government should create an atmosphere to facilitate the advertising toward the US. Examples include provision of incentives in tax on the expenses for the advertising toward the US and provision of rewards to those who significantly contribute to the advertising activities. Fifth, the Korean government should perform the role of a bridge between Korean and the US business people. Sixth, the government should promptly analyze the policy of IT industry, a strategic area, and timely distribute information to industries in Korea. Since the Korean government is the only institution that has formal contact with the US government, it is highly likely to provide information of a high quality. The followings are some implications for business institutions. First, Korean business organization should carefully analyze and observe the business policy and managerial conditions of US companies. It is very important to do so because all the trade frictions arise at the business level. Second, it is also very important that the top management of Korean firms contact the opinion leaders of the US. Third, it is critically needed that Korean business people sent to the USA do their part for PR activities. Fourth, it is very important to advertise to American employees in Korean companies. If we cannot convince our American employees, it would be a lot harder to convince regular American. Therefore, it is very important to make the American employees the support group for Korean ways. Fifth, it should try to get much information as early as possible about the US firms policy in the IT area. It should give an enormous effort on early collection of information because by doing so it has more time to respond. Sixth, it should research on the PR cases of foreign enterprise or non-American companies inside the USA. The research needs to identify the success factors and the failure factors. Finally, the business firm will get more valuable information if it analyzes and responds to, according to each medium.

• The Journal of Art Theory & Practice
• /
• no.9
• /
• pp.171-193
• /
• 2010

This paper examines Fernand Khnopff's Symbolism, focusing on the I Lock My Door upon Myself as a manifesto of his artistic credo in style and theme. Its title was originally in English, originating from the poem "Who Shall Deliver Me?" by Dante Gabriel Rossetti's sister Christina Rossetti. I use the term "Social Symbolism" which combines a nationalist perspective with traditional French Symbolism, in order to explain how the image of Bruges is represented in his oeuvre. Symbolism calls for psychological introspection evoking death, love, silence, and solitude and recluse from realty in pursuit of the Unknown and the Ideal. Although Khnopff shared this idea, he departed from symbolist tradition by incorporating a political milieu in his paintings. First, I discuss Khnopff's early stage in the formation of his artistic concept, including his family background as well as his early opportunity to visit the Exposition Universelle in Paris where he formed his early interests in aesthetics, philosophy, literature, mythology and Egyptian art. His early works, La Painture, la Musique, la Poesie(1880-1881), Le Crise(1881), and En ecoutant Schuman(1883) reveal his favorite subjects which were quite prevalent in the symbolist traditions of both Belgium and France. By looking at Khnopff's paintings, I endeavor to situate his Symbolism in the context of the development of Belgian modernity and cultural nationalism. Second, my analysis of Khnopff creates a new overview of Symbolism in Europe, especially in Belgium. In the absence of socio-political integration, the Symbolist painter adds nostalgic meaning to the landscape of Bruges. The scene of Bruges illuminates the social atmosphere in Belgium at that time. Since Belgium became an independent country, it tried to differentiate its own cultural and national identity from France. There was a powerful social movement for Belgium to claim its own identity, language, and culture. Bruges was, for Symbolists, the epitome of Belgium's past glory. This encouraged the formation of Belgian nationalism centering on Brussels, as I demonstrate in Khnopff's Bruges-la-Morte(1892). The relationship between Symbolist artist and writers is crucial for understanding this development. Khnopff, for instance, illustrated or provided frontispieces for many Symbolist writers such as Rodenbach, Peladan, Spencer and Le Roy. Khnopff did not objectify the exact meaning, but rather provided his own subjective interpretation. In this respect, I Lock My Door, inspired by Rossetti, started from the same motif, but Khnopff seeked escape into silence and death while Rossetti searched for Christian salvation. Finally my paper deals with the social context in which Khnopff worked. He was a founding member of Les XX in 1883 and later La Libre Esthethetique he also participated in the exhibition of le Salon de la Rose + Croix. Les XX was not a particular school of art and did not have a uniform manifesto, but its exhibitions focused on decorative arts by encompassing art for all people via common, everyday objects. The Periodical, L'art moderne was founded to support this ideal by Edmond Picard and Maux. Les XX declared art as independent art, detached from all official connections. Khnopff designed the 1890 catalogue cover of Les XX and the 1891 cover. These designs show decorative element of Art Nouveau in an early example of "modern poster." Les XX pursued all art including graphic arts, prints, placard, posters and book illustrations and design. These forms of art were l'art social and this movement was formed by the social atmosphere in Belgium in terms of social reforms and strikes by working class. Khnopff designed the book cover for la Maison du Peuple. The artist, however, did not share the ideal egalitarianism of the working class to a certain degree, while he was working in his villa he designed under the ideal motto, "on n'a pas que," he expressed the nihilistic emotions toward society by the theme of interiority such as solitude, silence, narcissism, introspection, and introversion. In the middle of his Symbolism, we find the "cultural nostalgia" or longing that the artist develops in the I Lock My Door upon Myself. Khnopff's longing toward the lost city of "Bruges" form the crux of his "Social Symbolism."

• Journal of Science and Technology Studies
• /
• v.6 no.1 s.11
• /
• pp.89-118
• /
• 2006

The formation of early korean scientific community is a dynamic process of korean modern history in which colonialization, liberation, United States Army Military Government and Korean War is included. Particularly, scientist's crossing over the border into north korea and south korea have profound effect on the early stage of our scientific community. This period is so important to understand the nature of korean scientific community that we need to re-interpret the role of 'ideology' in the development of scientific community. On the other hand, war is a important element in our formation of the image of the science. This study purported to interpret the problem of political ideology, it's role in the formation of early scientific society, it's implication on our idea of science positively. Also the study is a an attempt to re-construct the scientist's struggle(1945-1950) to demarcate new science from old, colonial science.

• Journal of the Korean Society of Costume
• /
• v.18
• /
• pp.291-306
• /
• 1992

From the mid-1980s '91s, remarkable Ethnicism and Primitivism in the Europe fashion trend could be represented as an exotic taste longing for secenery and emotion of non-europe area in the West. These phenomenon could be found out in connection with Acculturation, which means when two different cultures or more were contacted they were identified or merged in process of diffusion and change of them. This point of view was the culture anthropologic one that make a comparison and analysis of sameness and difference between cultures. The purpose of this study was to illuminate exotic taste represented in costume in the cluture-anthroplogic aspect, to compare with beauty of costume that each culture of costume and the meaning of the times due to those differences. an aspect of the exotic taste and character in the western costume that was inspected by dividing into 'Primitivism', 'Oriental element' and 'the element of a national costume in the East European bloc ' were as follows; First, Primitivism had something in common with what was pursued in the trend of Modern Art, through the late 19th century to the early 20th century. In fashion fettered by technique, the creation expressed in a free was and showed simple beauty of costume. At the same time, pure emotion expression, creative power and witty strong expression give the cognition of transcendency breaking the routine and the cognition of complexity of an included conception. Those are garments showing not only the primitive thought and mysticism but a fancy, an abstraction, and a life. Colors and accessaries which described nature and matched simple costume composition to the expression of various material or patterns transmitted the image of the primitive strongly. Second, "Drental element" which had an effect on western custome historically in a long time had outstanding luxurios adornmental beauty of custome. Extending from the Arab stated India, China, Korea, Japan, each national costume with a gay national culture became one of motif. Various ornamental factors expressed on Trapez Line, Sime Line and Drape, or Raied style, which did not restrict the body. Those were not only functional Easy Look, but were also satisfying human's ornamental desire. Third, national factors in the East European bloc are theme that begins to be embossed in the late 80's. In view of a political change and cultural situation with a double character of Europe and Orient, it was estimated that national factors have great importance in fashion. Item concerned with new concern appeared at Autumn & Winter collection. It shows elegant and graceful beauty of costume by adding a fur or jewel to simple form. These national factors in the East European bloc are simple form, but shows the difference in more cubic formation than form expressed in Primitivism or Oriental factors Exotic taste appeared form 80's to 91's, is thought to create an forgotten romantic emotion and traditional fashion

• The Journal of Art Theory & Practice
• /
• no.2
• /
• pp.169-190
• /
• 2004

The purpose of this article is to delve into the problems of originality of the artwork by examining issues of reproduction within the contemporary art market. In contemporary arts, especially in terms of art production and consumption, we can't overlook society and its economic structure and its connection with of capitalism. As the purity of art creation has turned into an exchange value, art, especially an object as artwork, has fallen into the status of production in an economic marketing system. Walter Benjamin mainly referred to that point in his thesis Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, which originated the sociology of plastic arts. This thesis, published in 1936, traced how the artistic functions of photograph and movie had been changed through the social development. His main concerns were movie and photograph but what I am concentrating from his point of view, is that even in the field of plastic arts, the manufacture of reproduction has been practiced as a primary method within the social and political contexts and development. Though I am referring to this in the main body of this article, reproduction in contemporary art strongly needs a new definition since it has been spread all over like a newest virus, not only by collector's personal taste or hut also by commercial circulations of these reproductions to the public. This relates to Benjamin's argument about the value of an exhibition at a museum(Ausstellungswert). Since the function of an artwork has been one of cultural industry, the manufacturing of reproduction raises unexpected problems, such as, the originality of the artwork, the value of an exhibition at a museum, its achievement as documentary and as a territory of art criticism. In this point of view, I want to inquire into the value and criteria of an exhibition in contemporary art through the review of the definitions and the intrinsic attributes of reproduction. Somehow in a broad sense, the reproduction is a product coming out of representation or copy (replica) of an original art work or an model. Therefore, the problems it presents differ from the Simulacre, which is an image without an original one. In terms of the Meanings of reproduction, we can distinguish it as reproductions, copies, and productions. These types of reproductions are not the original artworks reflected by the creative intention of the artists. For example, a publishing company reproduced some of lithographs of Salvador Dali in the 1960s. They are commercial copies in the form of representation or reproduction with no artistic and creative intention of the artist. However, In despite of this theoretical basis, reproductions of the famous artists are still displayed without any verification for of the public's quest for the artworks. Moreover, many commercial companies that are planning to exhibit art works of the world-famous artists only for their profits keep trying to speak ill of and judging by the law the honest art critics' articles which discuss the true values of exhibition. If freedom of expression is one of the ideals of democracy, even the judgment of the originality of the artworks should be freely expressed.

• The Journal of Art Theory & Practice
• /
• no.6
• /
• pp.27-50
• /
• 2008

This thesis examines contemporary Chinese painting after the Cultural Revolution(1966~76), focusing upon so-called "Chinese Pop art", which I termed as "Socialist Pop art". I considered the art of this period within the broader context of social changes especially after the Tienanmen incident of 1989. After the Cultural Revolution during which idolization of Chairman Mao was at its peak, one of the major changes in communist China was that an anti-Mao wave was generated in almost every social class. For example, novels that revealed the hardships during the Cultural Revolution were published. Posters that openly criticized the Maoism were also produced and displayed on the walls, and demand for democracy spurred widespread activist movements among young generations. These broad social changes were also reflected in art. A variety of art movements were introduced from the West to China, and after a period of experimentation with the new imported styles, artists began to apply the new artistic idiom to their works in order to visualize their own social and political realities they lived in. It was a shift from earlier Socialist Realism to a new expression either directly or indirectly, "Socialist Pop", an amalgam of Socialist Realism and Pop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communist government quelled with brutal measures the students, workers, and ordinary people who rose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This time coincided with the gradual emergence of art using Pop art vocabulary to satirize the social reality, the Socialist Pop art, along with many other art forms all with avant-garde spirit. One of the most frequent subjects of Chinese Pop art was visual images of Chairman Mao and his Cultural Revolution, and new China that was saturated with capitalism, which tainted the Chinese way of life with a Western way of consumerism and commercialism. The reason for the popularity of Mao's image was spurred by the "Mao Craze" in the early 1990's. People suddenly began to fall in a kind of nostalgia for the past, and once again, Mao Zedong was idolized as an entity who can heal the problems of modern China who had been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is no more an object of worship of almost religious nature but he has become an iconography symbolizing the complex nature of present Chinese society. During this process of depicting the social reality, Chinese artists are making the authority and sanctity of Maoism ineffective. Dealing with this new trend of contemporary Chinese art in view of "Socialist Pop art" two manners of re-creating Pop art can be illustrated: one that incorporates the propaganda posters of the Cultural Revolution; the other borrows from Chinese traditional popular imagery or mass media, such as photos taken during Mao era. What is worth mentioning is that these posters and photos of the Cultural Revolution can be identified as 'popular' media, as they were directed to educate the popular mass, thus combination of this ingenuous pop media with Western Pop art can be fully justified as a genre unique to China. Through this genre, we can discover a new chapter of the Chinese contemporary painting and its society, as their Pop art can be considered as self-portraits true to their present appearances.

• The Journal of Art Theory & Practice
• /
• no.13
• /
• pp.35-71
• /
• 2012

The purpose of this essay is to examine the responses of artists on nuclear experiences through an analysis of the nuclear images represented in contemporary Japanese art. Japan has previously as twice experienced nuclear disaster in 20th century. The first atomic bombs were dropped in 1945 as well as the 5th Fukuryumaru, Japanese pelagic fishing boat, exposed by hydrogen bomb test operated by the US in 1954 nearby Bikini atoll. Due to Tsunami taken place by the great earthquake that caused the meltdown of Fukushima Nuclear Power Plant in March 2010, Japan is being experienced a nuclear disaster again. Despite practical experiences, comtemporary Japanese art has avoided the subject of nuclear disasters since the end of the Asia-Pacific War for a variety of reasons. Firstly, GHQ prohibited to record or depict the terrible effect of atomic bomb until 1946. Secondly, Japanese government has tried to sweep the affair under the carpet quite a while a fact of nuclear damage to their people. Because Japan has produced numerous war record paintings during the Second World War, in the aftermath of the defeated war, most of Japanese artists thought that dealing with politics, economics, and social subject was irrelevant to art as well as style of amateur in order to erase their melancholic memory on it. In addition, silence that was intended to inhibit victims of nuclear disasters from being provoked psychologically has continued the oblivion on nuclear disasters. For these reasons, to speak on nuclear bombs has been a kind of taboo in Japan. However, shortly after the atomic bomb dropped on Hiroshima, the artist couple Iri and Toshi Maruki visited to ruin site as a volunteer for Victim Relief. They portrayed the horrible scenes of the legacy of nuclear bomb since 1950 based on their observation. Under the condition of rapid economical growth in 1960s and 1970s, Japanese subculture such as comics, TV animations, plastic model, and games produced a variety of post apocalyptic images recalling the war between the USA and Japanese militarism, and battle simulation based on nuclear energy. While having grown up watching subculture emerged as Japan Neo-Pop in 1990s, New generation appreciate atomic images such as mushroom cloud which symbolizes atomic bomb of Hiroshima. Takashi Murakami and other Neo-Pop artists appropriate mushroom cloud image in their work. Murakami curated three exhibitions including and persists in superflat and infantilism as an evidence in order to analyze contemporary Japanese society. However, his concept, which is based on atomic bomb radiation exposure experience only claimed on damage and sacrifice, does not reflect Japan as the harmer. Japan has been constructing nuclear power plants since 1954 in the same year when the 5th Fukuryumaru has exposed until the meltdown of Fukushima Nuclear Plant although took place of nuclear radiation exposures of Three Mile and Chernobyl. Due to the exploding of Fukushima Nuclear Power Plant, Japan reconsiders the danger of nuclear disaster. In conclusion, the purpose of this paper may be found that the sense of victim which flowed in contemporary art is able to inquire into the response of artist on the subject of nuclear as well as the relationship between society, politics, culture, and modern history of Japan and international political situation.

• Journal of the Korean Association of Geographic Information Studies
• /
• v.16 no.3
• /
• pp.136-146
• /
• 2013

This study has specified terminology for mountain ridgeline, and organized the present condition of Korean mountain ridgeline and empirical management measures of Beakdudeagan and Jeongmeak. Moreover, based on previously published paper maps, mountain map, and numerical maps, this study has used GIS to reorganize Jeongmaek of Korea, including Hanbukjeongmaek, Hannamjeongmaek, and Gumbukjoengmaek. To ensure accuracy, DEM, Shaded Relief Image, gradient, curvature, and aspect have been analyzed from recent numerical maps. On extraction process, this study analyzes more specifically the results, previous Beakdudaegan is modified and new Jeongmaeks have been extracted. Moreover, for analyzing natural environment of surrounding of major mountain ridgeline, ecological zoning grade of mountain ridgeline is analyzed. With the analyzed result, domestic and foreign mountain ridgeline management policy is suggested, and environmental impact assessment method for major mountain ridgeline development is also suggested. In this study, Baekdudaegan and its Jeongmaek are organized and analyzed. With the results, this study suggested political linkage of mountain ridgelines and guidelines for environmental impact assessment of ridgeline development.

• Journal of the Society of Disaster Information
• /
• v.7 no.4
• /
• pp.273-285
• /
• 2011

This research present actual conditions on realization about safety of observable individual and country, terror countermeasure from danger of terrorism which special guards have. To achieve these purposes, 400 special guards were sampled using the convenience sampling method and collected data through questionnaire from self-administration method. the collected data are in statistics of p<.05 levels. As the result, we drew following conclusions. Special guards thought that terror might occur most in 'aircraft, rapid-transit railway, subway, and bus'. It was no difference in society demography(p>.05). In type of terror, 'bomb terror' seemed to happen most, and they recognized that biochemistry terror and factor terror, and hostage terror may happen in society demography. Purpose of terror was thought that 'political purpose' may be the biggest, and 'ideological purpose' and 'social purpose' joined the remainder. According to society demography, woman's realization about terror was higher than man in two low variables. According to age, image of terror was high in 40 more than 20. According to educational background, university graduate were higher than a high-school diploma in two low variables. According to place of work, metropolis was higher than small and medium-sized city.

• Journal of Digital Convergence
• /
• v.10 no.11
• /
• pp.47-58
• /
• 2012

This study selects political and military decision factors of Participatory Government's Wartime Operational Control(OPCON) Transition and analyzes, both quantitatively and qualitatively, the effects and relations between those factors. Previous research utilizing the Analytic Hierarchy Process(AHP) selected their decision factors based on academic data and field experience, requiring more objective analysis of the factors. For this study, we conducted a survey among security subject matter experts(SME) both online and offline. The results show that OPCON transition's decision factors were to 'recover military sovereignty', 'set the conditions for peaceful reunification' and 'improve ROK image through enhancing national power' which differs little from the previous AHP method studies. It also showed that 'recover military sovereignty' and 'set the conditions for peaceful reunification' had no relationship to each other and that the key factor that decided the OPCON Transition was actually 'recover military sovereignty' which represents the interest of the liberal party in ROK. This study finds its meaning by analyzing the decision factors of Participartory Government's OPCON Transition thorugh Delphi and DEMATEL method.