• Journal of the Korean association of regional geographers
• /
• v.15 no.4
• /
• pp.478-493
• /
• 2009

The purpose of this paper is to discuss the educational implications of global citizenship and regional identity in geographic education of multicultural society. Geographical education inquires into places and region on local, regional, national and global scales. Geography studies geographical representation of ethnical, cultural, political diversities of human societies. Therefore geography is a very proper subject for multicultural education. Geography has also inherent legitimacy on multicultural education in the viewpoints that space or region has valued inherent nature which is constructed by human experience, perception and response etc. Citizenship in multicultural education requests some abilities and attitudes of world citizens superior to state or nation oriented citizenship. However the education of world citizenship doesn't mean abandonment of regional identity in geographical education. Citizenship is based on geographical units which have their territories. Regional identity is the feeling of belonging as a member of a certain region, and is formed not only by race, ethnic, gender, political and social position but also by thought of nature, landscape, national identity, regional dialect, and historical context, etc. The regional identity in multicultural society means the homogeneity which includes the heterogeneity of diverse groups, and has a key which solves the conflicts of diverse groups in the region. Consequently multicultural education in geography would focus on the cultivation of regional identities which are founded on critical thinking to solve the conflicts of multicultural society. The geographic education in multicultural society would rather emphasize on region than on race or nation, and can integrate the global vision of world citizenship with the diverse viewpoint of multicultural education.

• Journal of Science and Technology Studies
• /
• v.15 no.2
• /
• pp.263-301
• /
• 2015

Digital inclusion is the ability or opportunities of individuals and groups to access and use information technology (IT). Digital inclusion strategies aims to ensure that all citizens regardless of their gender, race and class benefit from IT. Discourse of digital inclusion is notable in that it proposes a desirable relationship between the state, individuals, and the market within the shifting topology of technoscience. Throughout broad discourse analysis of media coverages, in-depth interviews and reports on Korean IT industry, this research argues that dialogues on digital inclusion have substantially influenced the formation of a specific ethical regime. In this regime, individuals should become subjects embodying IT expertise and acceptable codes of conducts. We further discuss that such government-driven ethical regime conflicts with technological citizenship practiced by IT experts and semi-experts. We make theoretical contribution to STS by expanding the concept of technological citizenship to include the rights and obligations of heterogeneous expert and semi-expert groups to form, propose and socially demand alternative developmental pathways of technoscience. We also note that, amid the conflict between ethical regime and technological citizenship, alternative interpretations of gender gap can be forged, providing competing perspectives on women's under-representation and labor conditions in the IT industry. Further research is required to capture the emergence of multiple identities--differentiated by gender, race, class, and more--within the clashing interface between the ethical regime and technological citizenship.

• Korean journal of communication and information
• /
• v.39
• /
• pp.473-505
• /
• 2007

Advertising is regarded as one of media's most proficient instruments of reflecting changing society. It represents the channel through which globalization and consumption culture have spread into everyday life. This study explores the significance and representations of multi-culturalism in contemporary television commercials. For the purpose, the social and historical meanings of the term 'multi-culturalism', generated inside and outside Korea, are discussed. A series of text analysis are followed, focusing on the representation of non-Korean models in terms of ethnicity and race. The result shows that the advertising is the instrument utilized in creating the relationship between multi-culturalism and racialism, which is called 'strategic multi-culturalism'. This strategy commonly happens in today's commercial advertising such as information/telecommunication, real estate/branded apartment complex, and bank/finance market. Despite the increasing number of multi-cultural commercials in the past decade, multi-culturalism in Korean society has not yet fully articulated.

• Journal of the Korean Society of Costume
• /
• v.65 no.4
• /
• pp.124-136
• /
• 2015

Xinjiang Uygur Autonomous Region is the area with the most Muslim populations in China and the costume of this ethnic minority group was influenced from its surrounding environment and religion. Headgear is one of the important costume elements of Muslim ethnic minority such as Kazakh, Kirghiz, Uzbek, and Tadzhik people, and each group has developed narious forms of it. Especially, we can notice characteristics of headgear in Xinjiang Uygur and four ethnic minority groups through women's headgear pursuant to motive of wear, classification of type, differences and comparability with other areas. Thus, purpose of this study is to investigate women's headgear of Muslim ethnic minority in Xinjiang Uygur Autonomous Region. Based on local data at the Xinjiang Uygur Museum, the study referred to Chinese ethnic minority costume and literature data as well as advanced researches related to Islam, and analyzed characteristics of women's headgear of four ethnic groups in connection with Muslim formation background in Xinjiang Uygur. Women's headgear of Muslim ethnic minority in Xinjiang Uygur can be largely divided into three types; cylindrical, conical and hood type. Headgear was influenced not only by natural environment and weather for protection of body, but also by Islam. Along with strong desire for decoration and expression of racial features, it was used as a means of race discrimination and representation of identity. The religion of Islam within these four ethnic groups grew in accordance with tradition of existing nomadic tribes and regional characteristics, and women's headgear developed in various ways added with religious precepts and nomadic features. Taking everything into consideration, it is found that women's headgear of Kazakh, Kirghiz, Uzbek, and Tadzhik people developed, adopting their own living style and features of minority races instead of remaining identical to the headgear type of Muslim countries in other area.

• Proceedings of the KSPS conference
• /
• 2000.07a
• /
• pp.166-177
• /
• 2000

The purpose of this study was to create letters for of nonliterary Pulang tribe in Thailand those who immigrant from China. illiterate Pulang tribe hand down their tradition by primary oral culture therefore their tradition can't initiate and keep, moreover, it may disappear throughout history. So it is expected to crusade against unlettered people. The scheme of research adopted in this study was a minority race who habitate at the northern Machan, Chiangrai in Thailand. It is not only analysis of language but also the eradication of literacy and the research based on linguistic, ethnolinguistic, and primary oral culture. Five Pulang people who live in that area were chosen for creating letters. By using the I. P. A., after each word was listen to their pronunciation one by one it was described and repeated this process several times; the material words and humanbody were pointed in front of them while other words were described by gesture. For final description, number of people were in the lineup for listening the sound of words and phrases to sentences. In the first stage, it was an analysis segmental of Pulang: vocoid, contoid and diphthong were described with each sample syllables and words. The suprasegmental were studied with intonation and juncture of the words in the second stage. Two words were compared and different meanings within their intonation and juncture were shown. At the end of this part, each case of phonemic or morphophonemics representation described the juncture in the words. In the third stage, minimal pairs were analyzed with vowels and consonants and described in free variation based on words. In the last stage, syllable structure in open syllable and closed syllable was studied and then each syllable of its structure was analyzed with samples. There were thirty-two phonemes in apong Pulang as follows: seven vocoids; a, i, e, o, u, ${\ae}$, and $\wedge$, one diphthong; wu, 24 contoids; b, c, d, f, g, h, j, k, k, 1, m, n, ${\eta}, {\;}p^{h}$, p, p, r, s, s, sh, t, t, w, and y. Their pronunciations of p, s, d, $p^{h}$, j, and t are frequently used in speech and are unique in triphthong. Moreover, most of the words used initial and final consonant cluster.

• The Journal of Art Theory & Practice
• /
• no.14
• /
• pp.125-158
• /
• 2012

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People's Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of 'Korean' we usually consider ambiguous, and prompts careful attention to the silence of 'some Koreans' forced to live against their will in the blurred boundaries between nation and people. This dissertation regards 'Koreans' who came to live in the border of nations, especially 'Korean-Japanese third generation women artists'who are marginalized both Japan and Korea. It questions the category of 'Korean women's art' that has so far been considered, based on the concept of territory, and presents a new perspective for viewing 'Korean women's art'. Almost no study on Korean-Japanese women's art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of 'Korean women' and 'Korean women's art'considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority's diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist's cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual's historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with postcolonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women's art.