• Journal of the Economic Geographical Society of Korea
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• v.13 no.3
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• pp.312-334
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• 2010

This paper examines the process of Gyeongbu Highway construction from the standpoint of political economy, which was pursued by President Park Jeong-Hee in the 1960s, focusing on the politics of mobility and demarcation implied in it. As results of examination, it can be argued that Gyeongbu Highway was seen as a powerful element to promote a socio-spatial integration of population and hence to enforce an authoritative political power of the Park regime through creation of mobility; that it has had an strong impact on changing the physical landscape of national space and the spatio-temporal rhythm of everyday life by extending the 'machine space' as a non-place; that it has provided a physical infrastructure on which the period of capital circulation could be reduced through its effect of space-time compression. But Gyeongbu Highway has led serious problems such as uneven regional development, expansion of non-place or alienated place, ecological destruction and pollution. In conclusion, a sustainable politics is suggested to overcome this kind of 'tragedy of highway' and to develop the highway as a true way of political and spatial balance and integration.

• The Journal of Korean-Japanese National Studies
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• no.35
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• pp.107-144
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• 2018

This paper summarizes the genealogy of post-war Zainichi magazines in Japan until 1959 and examines their meaning in the context of magazine history in Japan. The purpose of this paper is to prepare the framework to view characteristics of Zainichi magazines in Japan after the war until the present from a continuous and comprehensive perspective. Zainichi, who were left behind in Japan after the war began to project diverse aspects of their lives onto magazines. Despite the poor publishing environment, censorship of GHQ, shortage of writers and financial limitations, the Zainichi society did not give up the public sphere of magazines. The confusion in this time period acted as an element to expose limitations of Zainichi magazines in Japan. Most of magazines published in 1940s and 50s had to focus on political propaganda within the political frame, and many of such magazines were only published for a short term. In other words, it is ambiguous to define the majority of them as 'magazines' and a considerable number of them cannot even confirm the existence, making it difficult to examine the whole picture of magazines from this period. However, recently excavated materials indicate that most of Zainichi magazines in Japan attempted to reflect the reality of the Zainichi society in various ways, though they were confined in the political frame. The process in which language of magazines was changed from Korean language to Japanese and then again to Korean language suggests that Zainichi magazines in Japan tried to consistently express their existence in 'ethnicity,' 'homeland' and beyond, mediated by 'politics' and 'culture.' Moreover, the experience of seeking for the possibility of Zainichi culture in Japan from the flow of cultural movements in Japan during 1950s is an experience of seeking for a popular 'expression' that overcomes the political conflict of homeland. This reveals the diversity the Zainichi society to occur afterwards. A more precise study on individual magazines published during this period would be necessary in the future.

• Korean journal of communication and information
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• v.52
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• pp.5-26
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• 2010

This study explores how major Korean television evening news report, interpret and evaluate the Korean Grand Canal Project(KGCP). For this research, 488 news clips regarding the KGCP are selected among the MBC, KBS and SBS daily evening news. As a result, the findings are as follows: First, the ratios of analyzing reports for MBC, brief reports for KBS, and straight news for SBS are outstanding. At the same time, the three news companies show that they are against the KGCP through the reporting attitudes. However, the most frequently broadcasted news frames is the authoritative political execution for both MBC and KBS, and the political agenda for SBS news respectively. In terms of the most frequently interviewed group for all three news is the government and ruling Grand National Party; they are the most favor of the authoritative political executions and the political agenda news frames. However, the NGO groups and the opposition parties which are against the KGCP support "Process" in terms of the frames activity. Finally, MBC speaks out the frame activity of "Process", supporting the political opposition parties and NGO groups. On the country, both KBS and SBS speak up the government and ruling party, supporting the KGCP, stressing frame activity of "Aspiration". This it concludes that both KBS and SBS are short of the social responsibilities as a social media mediator for the social disputes between the government and the NGO groups, including opposition parties.

• Analyses & Alternatives
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• v.3 no.1
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• pp.93-133
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• 2019

Throughout history, there are three clues of dualistic structures for the development of Hong Kong's nativism. First, inward attribution and outward lookingare two paths to the formation of Hong Kong's nativism. In the dualistic framework of "self-others", nativism is formed. The formation path of "outward looking"can be seen everywhere in the construction history of Hong Kong's nativism. It is under the reflection of "two mirrors" with Britain and Chinese mainland that Hong Kong people acquire the concept of "Hong Kong's nativism". Second, there are two aspects of Hong Kong's nativism: economic and cultural aspect and political aspect. With the gradual development of Hong Kong's history, these two aspects come into being and are closely bound up, thus constituting Hong Kong's nativism today. The third clue is the most critical one. The subjectivity of colonization and decolonization are two different forms of Hong Kong people's subjectivity. These three clues run through the whole process of the construction of Hong Kong nativism, and are carried out in three stages of development: "Origin (1960s-1970s): Preliminary Construction of Hong Kong's Nativism", "Development of Hong Kong's Nativism (1980s-1997): Awakening of Political Aspect" and "Formation and Alienation of Hong Kong's Nativism (1997-present): Deformed "decolonization". Along the evolution of Hong Kong's nativism, with the disintegration of colonialism, Hong Kong people have gradually transited from the subjectivity of colonization to the subjectivity of decolonization, but the process of "decolonization" has not been completed up to now.When nativism loses its native complex from the perspective of "inherent in China", and further develops into the "separatism" of anti-constitutional system and anti-national continuity and unity, it will challenge the stability of the relationship between the central government and the Special Administrative Region under the "one country, two systems". At the same time, it will have a greater impact on the political structure and the rule of law system of Hong Kong, and trigger a series of public law problems that need to be solved urgently. In this regard, on the one hand, we should re-clarify the relationship between the central government and the region under the "one country, two systems" in light of the new situation of democratic political development in Hong Kong, and improve Hong Kong's governance mechanism on the basis of the constitution and the basic law; on the other hand, we should actively learn from the German defensive democracy system to systematically interpret, integrate and apply Hong Kong's existing legal resources so as to effectively curb the development of local separatist forces.

• The Journal of Art Theory & Practice
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• no.4
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• pp.77-104
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• 2006

The propaganda paintings in oil colors or in forms of posters made from 1949 to 1966 have gone through some changes experiencing the influence of the Soviet Union Art and discussion of nationalization, while putting political messages of the time in the picture planes. The propaganda paintings which have been through this process became an effective means of encouraging the illiterate people in political ideologies, production, and learning. Alike other propaganda paintings in different mediums, the ones which were painted in oil colors and in the form of posters have been produced fundamentally based on Mao Zedong's intensification of the literary art on the talks on literature at Yenan. Yet, the oil paintings and posters were greatly influenced by the socialist realism and propaganda paintings of the Soviet Union, compared to other propaganda paintings in different mediums. Accordingly, they were preponderantly dealt in the discussions of nationalization of the late '50s. To devide in periods, the establishment of People's Republic of China in 1949 as a diverging point, the propaganda paintings made before and after 1949 have differences in subject matters and styles. In the former period, propaganda paintings focused on the political lines of the Communists and enlightenment of the people, but in the latter period, the period of Cultural Revolution, the most important theme was worshiping Mao Zedong. This was caused by reflection of the social atmosphere, and it is shown that the propaganda painters had reacted sensitively to the alteration of politics and the society. On the side of formalities, the oil paintings and posters made before the Cultural Revolution were under a state of unfolding several discussions including nationalization while accepting the Soviet Union styles and contents, and the paintings made afterwards show more of unique characteristics of China. In 1956, the discussion about nationalization which had effected the whole world of art, had strongly influenced the propaganda paintings in oil colors more than anything. There were two major changes in the process of making propaganda paintings in oil colors. One was to portray lives of the Chinese people truthfully, and the other was to absorb the Chinese traditional styles of expression. After this period, the oil painters usually kept these rules in creating their works, and as a result, the subject matters, characters, and backgrounds have been greatly Sinicized. For techniques came the flat colored surface of the new year prints and the traditional Chinese technique of outlining were used for expressing human figures. While the propaganda paintings in oil colors achieved high quality and depth, the posters had a very direct representation of subject matters and the techniques were unskilled compared to the oil paintings. However, after the establishment of People's Republic of China, the posters were used more than any other mediums for propagation of national policy and participation of the political movements, because it was highly effective in delivering the policies and political lines clearly to the Chinese people who were mostly illiterate. The poster painters borrowed techniques and styles from the Soviet Union through books and exhibitions on Soviet Union posters, and this relation of influences constantly appears in the posters made at the time. In this way, like the oil paintings, the posters which have been made with a direct influence of the Soviet Union had developed a new, sinicised process during the course of nationalization. The propaganda paintings in oil colors or in forms of posters, which had undergone the discussion of nationalization, had put roots deep down in the lives of the Chinese people, and this had become another foundation for the amplification of influences of political propaganda paintings in the following period of Cultural Revolution.

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

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

• Journal of North-East Asian Cultures
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• v.19
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• pp.23-48
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• 2009

Duan Fang's doctrine of constitutional monarchy went forward from monarchy to constitutional government based on that an establishment of constitution political structure is superior to a arbitrary rule political structure. And Duan Fang's doctrine featured limitation of monarch's authority protection of subjects' rights. He thought constitution government should be based on the establishment of constitution preparation. He believed that China need to take merit equally in the process of establishment of constitution preparation. In spite of this flexible recognition, there was not enough consideration about an ideological, social and economical basis that can make possible constitutional government operation. He had understood constitutional government system from angle of monarch's safety and the wealth and power of nation. The view was that a responsible Cabinet was for monarch's safety and the nation assembly judicature local autonomous is a system for safety of nation showed us. In his opinion, neither main task of congress is legislation, cabinet nor is the high ranking executive agency, however, he expected to constitutionalism system to become a buffing role instead of monarch. A little pure and simple thinking that open nation assembly and execute constitutional monarchy could make China powerful and wealthy might reflected urgent situation at that time.

• Journal of English Language & Literature
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• v.56 no.4
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• pp.719-751
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• 2010

While Lukacs advocated the progressive effect that Darwin's evolutionary theory had on Goethe and Balzac, he was convinced that the "influences of Nietzsche, Freud, or Spengler on the writers" of his own time were "devastating." He maintains that to the "'vacuous' reality" of bourgeois life, "the bourgeois writer counterposes 'the life of the soul,' which is 'alone decisive.' This life of the soul then becomes the centre of gravity, and sometimes the sole content of his portrayal." Naming this creative tendency psychologism, he warns against the danger of "depicting only the 'inner life,' and carrying on a more or less conscious education in the direction of political and social indifferentism, of ignoring and pushing aside the 'inessential,' 'external' struggles of the world, in favour of the 'life of the soul,' which is all that matters." However, Frantz Fanon's analysis of the psychology of the colonized in Black Skin, White Masks displays that after all, "the life of the soul" cannot be separated from the "external' struggles of the world." Pat Barker's Regeneration Trilogy, which criticizes the conduct of World War I by British leaders and the British society in general with its patriarchal, gender, and class repression by depicting the psychopathology of the shell shock victims of the same war amply shows the possibility of portraying the "external struggles of the world" through the in-depth probing into "the life of the soul" and finding political and social relevance in the process.

• Lingua Humanitatis
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• v.5
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• pp.293-310
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• 2003

This study starts with a remark on the frequent usage of the term 'generation culture' in the explanations of cultural change. The term 'generation culture' itself does have neither a clear meaning nor any academic consensus for its operational definition yet. Depending on intuitions or common senses, in most cases, of everyday lift experience, the tends to designate the co-existence of different cultural layers as composing subsystems of a little broader Korean cultural trend. I tried here to analyze different positions and perspectives in the employment of this term, sometimes with strategic intentions of each social groups. Economic or political positions, for example, are intertwined with the quest of identification concerning 'we' and 'other' grouping dynamics in the Age of Globalization, which accelerates the speed of cultural re-territorialization. And the role of consumption activity as a kind of cultural indication has gained more weight in that process. This analysis will remind us, also, of the post-modem society's assumption about the space-and-time in transition, and its fluctuation.

• 중국학논총
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• no.64
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• pp.141-156
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• 2019

After coming to power, Xi Jinping has continuously announced his political conviction, novel view of values, new thoughts and theories through the various kinds of mass media. A comprehensive understanding of these contents allows us to examine Xi Jinping's intention of building Chinese national ideology, and the process of change and settlement of his ideas. This paper aims to explore the following issues based on the Xi Jinping's statements. Chapter 2 examines the process and time-background where the ideas of Marx·Mao Zedong, and China specific ideology of Socialism become the sources of Xi Jinping's Ideology formation. Chapter 3 deals with the contents and function of the China dream which is the fundamental aim of Xi Jinping's Ideology formation. Chapter 4 focuses on the historical value of Xi Jinping's Ideology formation.