• Journal of Digital Convergence
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• v.14 no.9
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• pp.73-87
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• 2016

The purpose of this study is to investigate the cultural difference between eastern and western culture in the online community in view of Hofstede dimensions of national culture through social network analysis. And this study tries to interpret the cultural dimensions by using social network indexes. The results show every cultural dimension offered conflicting results except uncertainty avoidance. The eastern culture shows individualism, and low power distance compared to western culture in the online community. Moreover the communication speed of eastern culture is faster than western culture. But eastern culture shows high uncertainty avoidance in the online community similar to an offline culture. This results of this study show that because of certain differences between the offline and online culture, the typical framework we use to analyze offline culture should not be applied to analyze online culture. Therefore we believe that the most important contribution of this study should be related with the finding that we need very different approach to be able to correctly understand the prevalent culture in the online community than the one that we use in the offline community.

• Journal of the Korean Geographical Society
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• v.42 no.2 s.119
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• pp.243-257
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• 2007

This paper aims to analyze fear of crime which is considered socio-psychologically important in our daily lives from a geographical point of view. Especially, the spatial patterns of the fear of crime which were analyzed in the area of Youngtong in Suwon city. First, this paper takes a look at the correlation between the incidence of crime and the fear of crime. Most people feel fear in actual crime scenes, but they do not always coincide with place where people feel the high level of fear. Fear of crime is closely connected with physical environments as well as the incidence of crime. The level of fear is high in places where the light is dark, unfrequented paths, especially in parks and around mountains. Several factors which have effects on fear of crime operate differently upon place. Second, a survey which measures the fear of crime was quantitatively analyzed. Factor analysis was employed to find out whether questions are appropriate for measuring the fear of crime as well as to reduce the amount of data so that more exact result can be derived from the data. Through the factor analysis, seven factors were extracted and it is found that a factor of incivility accounts for 24.032% of variance. Other factors which affect fear of crime are community cohesion, warning, incidence of crime, victimization, morality and authority.

• The Journal of the Korea Contents Association
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• v.21 no.10
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• pp.138-148
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• 2021

In this paper, the basic narrative of The Sweet Home is the story that the residents of the apartment fight and survive the monsters in the isolated circumstances from the outside. This paper analysed the narrative and revealed the characteristics of the NETFLIX drama, The Sweet Home, and dealt with the ethics of contagion, core issue of the drama. Firstly, in the drama Sweet Home, the boundary between the men and the monsters collapses from the contagion. The drama shows the aspects of the apocalyptical world through the optical images, and reveals the main contagion cause is the desire and fury of the human to dominate the others. In the drama, we can see the duality that the characters sometimes stand in solidarity with, and often abuse the others. This story reflects the times after 2000s that the boundary between the man and the monster eclipses. Secondly, the drama shows that the ethics of the others popping up after the contagion is violent and thus can go to the totalitarianism. When the residents are shot by the troopers of the nation, the governmental authority shows its brutality. In this situation, the residents recognize their past behaviors and embrace the others. However, in the point that the characters' selfless behaviors could cover up the complaints and the fury of young generations after 2000s, The Sweet Home is a problematic drama.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.399-404
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• 2022

Céline Sciamma is a leading female director of her time. She is constantly making works on the subject of women. It can be said that it has pioneered a 'female narrative'. In particular, it shows a unique perspective in dealing with the complexities surrounding the formation of a girl's sexual identity and the influence of peer culture on individuals. In Portrait of a Lady on Fire, 'The Handmaiden', 'The Painter', and 'The Maid' show the solidarity of women without hierarchies in a liberated space where the patriarch is absent, showing a feminist interpretation of classics and a self-reflecting consciousness of women's historical records. Based on the setting of drawing, this film explores the genderization of gaze, gaze and objectification, issues of seeing and power, etc. constructed throughout the history of visual arts. The portrait work of Heloise and Marianne in the film deconstructs the formula of 'a male painter as a viewer and a female model who gazes at herself through the male gaze' and turns the gaze into an interactive process of giving and receiving. The process of exchanging gazes is sealed with a nude painting in which Marianne's face is superimposed on Heloise's body. This overturns the nude painting as the dominant form of engraving the male audience's position in the image through the stylization of the viewing method in the history of Western painting with the erotic gaze of a lesbian in an instant.

• Cross-Cultural Studies
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• v.45
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• pp.295-324
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• 2016

This essay attempts a contrapuntal reading of Thomas More's Utopia. Contrapunctual reading, proposed by Edward Said. attempts to make a text speak across temporal, cultural, and ideological boundaries to a topic of present. I examine two opposite readings of Utopia around 2011 by both pro- and anti-Occupy Wall Street positions. On the one hand, the opponents of Occupy find its limits as a utopian social movement echoing in the fictional character of Hythrodaeus and the alternative society verbally sketched by him in Book Two of Utopia. On the other, Occupy's advocates read More's text as embodying its radial possibility. However, each shares the tendency to denounce Book Two, praising Book One in which Hythrodaeus vehemently criticizes England; they read Hythrodaeus not as an utopian idealist but as a social critic. The Occupy, as a result, is seen here as having an ambivalent relationship to utopianism. I reinterpret the radical possibilities of Book Two criticized by both pro- and anti-Occupy invocations of Utopia. Book Two provides a utopian space in which the existing social contradictions are cancelled, revealing the limits of the three partial utopias proposed at the end of Book One. Following Louis Marin's argument, I argue, the "utopic" space does not lie in the so-called ideal society described in the text but in the inconsistencies between the text's description(discourse) and topography(map). In Book Two the existence of a king is described, yet his space is not found in the topography of utopia; likewise market is described as existing at the center of a city, yet its space is not found either. These inconsistencies create a neutral space in which the ideological contradictions of the text are cancelled, and the space opens up the possibility of communal society beyond modern sovereign power and capitalism I argue this utopian dream needs to be summoned once again in our time as a compelling alternative to the corporate, capitalist order.

• The Journal of Art Theory & Practice
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• no.2
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• pp.75-120
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• 2004

Studies on western art in Korea has been caught in a dilemma that they could deal with only those things which had been arranged according to their 'historical generalization' in their contexts because of the bounds of time and space. It is not trivial that such conditions affect art studies in Korea. Access to the original texts and to their contexts of production is so restricted that the studies on them are prone to he superficial. And it is not independent on the politics of Korean art scene. Such factors are on the background of Korean art's excessive 'assimilation or accordance' with western art. The domestic studies on western art history and art theory have failed to notice the differences in context and Korean art has simply mediated or reproduced the restricted information by those studies. Also the studies on western art in Korea have been made use of as a justifying method of one's own academic domains. In such situations we should lead the studies on western art history and western art theory to a more reflective direction and confirm that the studies should not have any privileges of the realities. And we should try to reform a scholarship which participates in our life and existence. The field of domestic studies on western art history and western art theory should free itself from the invention of objectivity or the neutrality of mechanical reading and turn its eyes to the realities of life where events happens. Constantly suggesting which way Korean art and world art should go has to be the field's new coordinates.

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.1
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• pp.33-52
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• 2022

The History and Culture Park and the Lee Kun-hee Donation Hall will be built in Songhyeon-dong, Seoul. Political games from the Joseon Dynasty to the present greatly influenced the historicity of Songhyeon-dong. However, place analysis was limited to changes in landowners and land uses rather than a historical context. Therefore, this study analyzed the context in which the placeness of Songhyeon-dong changed according to the emergence of cultural hegemony using the perspective of modern cultural geography and comparative history. As a result of the analysis, cultural hegemony in historical transitions, such as Sinocentrism, maritime expansion, civil revolutions, imperialism, nationalism, popular art, and neoliberalism, was found to have created new intellectuals in Bukchon, including Songhyeon-dong, and influenced social systems and spatial policies. In this social relations, the placeness of Songhyeon-dong changed as follows. First, the founding forces of Joseon created pine forests as Bibo Forests to invocate the permanence of the dynasty. In the late Joseon dynasty, it was an era of maritime expansion, and as Joseon's yeonhaeng increased, a garden for the Gyeonghwasejok, who enjoyed the culture of the Qing dynasty, was built. Although pine forests and gardens disappeared due to the development of housing complexes as the population soared during the Japanese colonial era, Cha Gyeong's landscape aesthetics, which harmonized artificial gardens and external nature, are worth reinterpreting in modern times. Second, the wave of modernization created a new school in Bukchon and a boarding house in Songhyeon-dong owned by a pro-Japanese faction. Angukdongcheon-gil, next to Songhyeon-dong, was where thinkers who promoted civil revolution and national self-determination exchanged ideas. Songhyeon-dong, the largest boarding house, served as a residence for students to participate in the March 1st Movement and was the cradle of the resulting culture of student movements. The appearance of the old road is preserved, so it is a significant part of the regeneration of walking in the historic city center, connecting Gwanghwamun-Bukchon-Insadong -Donhwamunro. Third, from the cultural rule of the Government General of Joseon to the Military Government, Songhyeon-dong acted as a passage to western culture with the Joseon Siksan Bank's cultural housing and staff accommodations at the U.S. Embassy. Ancient and contemporary art coexisted in the surrounding area, so the modern and contemporary art market was formed. The Lee Kun-hee Donation Hall is expected to form a cultural belt for citizens with the gallery, Bukchon Hanok Village, the Craft Museum, and the Modern Museum of Art. Discourses and challenges are needed to recreate the place in harmony with the forests, gardens, the street of citizens' birth, history and culture park, the art museum, and the surrounding walking network.

• Journal of the Korean Geographical Society
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• v.36 no.2
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• pp.111-125
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• 2001

An estuary is semi-inclosed inlets, located between terrestrial and marine environment. Since many estuaries along south-western coasts of Korean peninsula were affected by human settlements and activities, significant changes in sedimentation environments have been observed. The research area is divided into three distinct morpho-stratigraphic units: fluvial dominated area(Area1), mixed area(Area 2), tide-dominated area(Area3). The landform of this area has been changed by reclamation and river channel change. Temporal variations affected by dam construction, periodic freshet was iterrupted. Sediments began to continuously accmulate on estuary banks by tide. Meanwhile, because of the continuous but reduced discharge of fresh water, the salinity of estuarine sediments was declined. That processes made vegetated area( Phregmites lonivalvis and Suaeda japonica) to be expanded. It indicates that the magnitude and frequency of geomorphic processes has been significantly changed.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.6
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• pp.91-101
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• 2009

In this study, the landscape of Insa-dong was interpreted from the viewpoint of a social construction of landscape, which regards the dynamic process of landscape change as more important than landscape visibility. This viewpoint also regards landscape as the result of its interaction with certain actors. From a review of previous studies on the same subject, it was found that the physical environment, institutions, and images are essential factors influencing landscape change. Insa-dong, which was Kwanindaing and Daesadong during the Joseon Dynasty, acquired symbolic meaning as a traditional area during the Japanese colonial period because of its many antique shops and Korean-style buildings. In 1970, the establishment of modern galleries in the district added to its image as a haven of the traditional Korean culture. Insa-dong thus eventually came to be referred to as "the street of traditional culture" by the people of Korea. Thanks to global festivals like the Asian Games, the Olympics, and the World Cup, Insa-dong's reputation as a cultural tourist destination has become stronger as these festivals created a need for a place in Korea where the country's traditional culture can be showcased to foreign tourists. After the mid-1990s, the merchants of Insa-dong began to cash in on the district's image as a showcase of traditional Korean culture due to the economic depression that emerged then. The people of Insa-dong and those outside it, however, came to feel that this trend damaged the district's image. Therefore, the people of Insa-dong and the district's local government started a movement to restore the aesthetic value and symbolic meaning of the district's landscape. This effort induced institutional change. Insa-dong used to be a natural haven of traditional Korean culture. Its landscape has recently been reconstructed so that this image could be restored. This process was made possible by the active interaction of diverse people: merchants, users, administrators, and NGOs.

• Journal of the Korean Geographical Society
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• v.31 no.4
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• pp.685-698
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• 1996

Southern Louisiana has one of the largest Vitnamese refrgee neighborhoods after the mid-1970s. It is impressive that one of their adaptive strategies comes from their religious lives which are centered on either Catholicism or Buddhism. The Buddhism community, especially, exhibits an exotic symbolic system of value and attitude, and thus contributes to cultural diversity in the adopted country. The landscape of the Buddhist temple is a visible symbol to them that the host socirty accepts their maintenance of their own cultural identity and that they are also an integral part of American society. Their making-place and being-in-place procedures, although their culture is being transformed in the original shape, put an emphasis on interaction with the host xociety. These procedures have been facilitated by consolidating their identity as a minority group as well as by interacting with the host society. The on-going influx of foreign immigrant groups seems not to drive them to assimilate into the melting-pot society, but to contribute to contribute to the increase in the cultural diversity of the United States.