• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.5
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• pp.19-27
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• 2013

This paper claims that the One Million-peyong Park(hereafter abbreviated as OMP) project is different from a typical citizen participatory park project by recognizing the exceptional leadership of the Civic Committee for the One Million-pyeong Park Construction(CCOMPC) in promoting and developing the OMP project. Since 2001 the CCOMPC has published a variety of written promotional materials to inform and educate the public about the project. In terms of approaching the promotional materials, this research focuses on the use of language on how the CCOMPC justifies the OMP project, namely the OMP justification discourse, and considers the discourse as a unique form of social document that represents the perspective of the CCOMPC in explaining the local environmental issues and values of urban parks to the public. Using a discourse analysis method, this research analyzes the justification discourses and investigates how they changed over the three main development phases of the OMP: the initiation and preliminary development phase(1999-2001.2), the development phase (2001.2-2008), and the time period after the greenbelt policy release on Dunchi Island(2008-present). In each discourse, the OMP project is rationalized as a citizen participation park project that (1) aims to enhance the quality of public green space in Busan, (2) is accompanied by various community engagement programs that emphasize the value of urban nature and environmental education to expand citizen participation, and (3) has contributed to the National Urban Park Bill. This research emphasizes the role of the discourses in helping the public gain a critical understanding about the local environment and values of urban parks. By analyzing the contents of the discourses, it explains the social learning values of the OMP expressed in the discourses.

• Journal of Korean Society of Archives and Records Management
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• v.16 no.1
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• pp.41-59
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• 2016

In archival discourse, social memory has been discussed for some time. Despite this, however, theoretical studies have not been prolific at all in the Korean archival community. Many Western scholars have argued that archivists should consider memory rather than records for archival preservation because the inclusiveness of the former will fill the gaps in the latter. Social memory that is shared and transmitted across generations in society would include the stories of marginalized groups of people who are often neglected in official documents. Archivists can reconstruct the diverse narratives of a variety of social groups based on social memory, and this would be their social responsibility. In this sense, it is archivists who exercise power regarding how history will be written in the future because they determine what would be preserved in archives: mainstream culture with official records or a broader spectrum of diverse stories of people in society. From this perspective, this paper intends to understand how memory is discussed in archival discourse and to review how archives and history are associated with memory in theories and practices.

• Journal of the Korea Convergence Society
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• v.13 no.5
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• pp.181-186
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• 2022

Until now, sexist culture in Korean society has been naturally accepted as a very universal cultural phenomenon. Our society recognized the superiority of men. Women were considered as auxiliary roles. It is expected that the current generation who will lead the 21st century will break the vicious cycle of gender stereotypes and prejudices. Only when they can dispel sexist prejudices will their humanity be restored. Breaking down gender stereotypes is never just for women, but also includes men living with women. Thus, I believe that the true union and harmony of men and women is possible.

• Journal of Digital Convergence
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• v.11 no.4
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• pp.403-408
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• 2013

The configuration analysis for the image appeared in the storyboard as the 1st stage to change the scenario to the image expressed the visual phenomenon image starting from the literalism. The simultaneity of description on the interpretative level of the narrative description may describe various information multiple simultaneously, the relationship has been presented as a lot of these information has been weaved as one episode. The incident time of narrative description as the scene described mainly objectively and illustratively has been used usefully to present the accurate information for characters or incidents. The time series of narrative description appeared as one episode by expressing various spaces or images under the continuity of flow according to the time. The collision image seen from the angle of internal ignition played a role to create the meaning colliding into each other or interconnecting symbolic effects appeared as respectively fragmented image, the continuity of space played a role of expressing the different symbol when the image of completely different space is connected to one context, the continuity of time as well makes a different symbolism by interpreting symbols appeared as each images under the flow of time. These results show that the narrative description may be expressed in accordance with the narrative structure from the viewpoints of narrative description, but the internal ignition may be interpreted through the cultural and periodical background widely known in those years based on the experience and information capability the audiences are keeping not by any descriptive structure. Images appeared in the internal ignition appeared by colliding into each other or amplifying mutually no related scenes and revealing the overall symbolism by reinterpreting again.

• Korean Journal of Social Welfare Studies
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• v.48 no.3
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• pp.57-81
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• 2017

As of the end of the year 2016, the foreigners staying in Korea have surpassed 2 million people for the very first time ever since the statistical writings began. Because the inflow of the foreigners has been greatly increased within a short time period, the Korean society has been rapidly changing into a multi-racial and multi-ethnic society, and the children of the multicultural families, too, have been increasing gradually. Because of the social prejudices, discriminations, negative recognitions, etc., the children of the multicultural families get exposed to the diverse problems. It can be considered that such social prejudices and negative recognitions comprise the discourses that are possessed by the constituent members of the society regarding a certain subject or phenomenon. By analyzing the special characteristics and discourses of the reports on the multicultural children and youths by the Korean press through newspaper articles, this research confirmed what influences the media have in the process of forming the recognitions regarding the multicultural children and youths at present. As a result of the research, the discourses appearing in the newspapers could be typed into the support emphasizing frame of the Korean society, the adaptation emphasizing frame of the Korean society, the global people of talent frame, the change emphasizing frame of the Korean society, and the social problem emphasizing frame. Based on such research results, I made a proposal regarding the direction for the desirable reports by the media.

• Korean Association of Arts Management
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• no.56
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• pp.243-274
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• 2020

Maker culture in Korea began to receive public attention after the 2012 Maker Fair Seoul. Central and local governments took note of this trend and subsumed makers' culture into its policy domains such as Creative Industry, Creative Cities, 4th Industrial Revolution, and the all-encompassing Creative Economy. Creative Economy was a public policy discourse formed in the public sector for the purpose of overcoming economic depression and revitalizing the economy. Under Creative Industry and Creative Economy, creativity and culture/arts are deemed indispensable but at the same time objectified and alienated as their ultimate value are recognized only as the basis for economic production. In this article, makers' culture itself goes through the same process of objectification and alienation that creativity and culture/arts suffered as the relevant policies were pursued under Creative Economy. The authors attempted to corroborate this through the case of Makercity Sewoon, and found that the Seoul City's urban development plan surrounding Sewoon Plaza proceeded in a direction destructive to the local technological ecosystem and therefore conflicts with the pronounced goal of leading 4th Industrial Revolution by encouraging and nurturing makers' culture. Makercity Sewoon, although packaged in a discourse of Creative Economy and Creative City, betrayed the same problem of alienating arts/culture and labor that the previous discourse showed.

• Archives of design research
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• v.17 no.4
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• pp.375-384
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• 2004

The general tendency of approach to Korean Design History has been focusing its primary interest on the grand story in relation to the problems of modernization in political, economical and social aspects of Korea. In the discourse of modernization, however, there are two sides immanent in the modernization: there is the formal, institutional and authoritative modernization developed inside the capitalistic mode of production and the informal, individual and cultural modernization manifested in the mode of everyday lives. Especially, despite the viewpoint of the latter being embossed as an alternative approach in various areas including the academic world of history since the collapse of socialism, the historical recognition of the phenomena of modern design by the Korean design historians is more like the 'history from the above' that exists at the level of the discourse outside the reality rather than the 'history from the below' that exists within the ordinary life. To grant a sense of balance in such frame of historical understanding, it requires the restructuring the design history of Korea through the cultural perspectives from having the representation of mundane lives realized by the voluntary design activity of the common people as research subjects. One of the methods to acquire an answer to such problem is decoding, in the manner of 'cultural history', the life-long domestic artifact made by Madame Yang, Gap Jo (currently 87 years of age) who is a model of typical Korean mother. Through the historical rumination on the traces of unpretentious lives of the people that has been buried under the grand narrative of the Korean Design History, a new era aimed for the historical prospect of Korean design as cultural history will be possible by excavating the petit yet multi-layered meaning of Korean designs.

• Cross-Cultural Studies
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• v.43
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• pp.51-77
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• 2016

In February, 2012, three members of the Russian Feminist Rock group 'Pussy Riot' were accused of staging a 'Punk Prayer' in the Cathedral of Christ the Savior in Moscow and were imprisoned for two years. This case, which sparked widespread enthusiastic support from those in the West, was viewed in Russia in quite a different way. The Pussy Riot affair very effectively shows the historic base of contemporary Russian gender discourse and gives an explanation as to why Putin's very conservative and masculine-centered nationalistic agenda works in Russian society with such great success. In this article, we introduce the Pussy Riot case and compare the reactions to the case published in the Russian and Western press; we then examine the historic causes of the masculine-centered nationalistic agenda of Putin's government.

• The Korean Publising Journal, Monthly
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• s.249
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• pp.7-7
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• 1999

최근 한국사 연구상황을 보면 전반적인 수준은 매우 높아졌고, 견해는 보다 세련되었으며, 관점 또한 적잖게 다양해졌다. 한편으론 거대담론에서 벗어나 시민사회와 밀착된 역사의 대중화가 올해 역사학계의 과제다.

• (The)Study of the Eastern Classic
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• no.54
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• pp.183-211
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• 2014

This article is to search the aspects of realization and the characteristics of Gasa, Sijo, Japga among the Korean poetry genre based on Chohan-gosa. Chohan-gosa is a basic literary and historic discourse for the medieval intellectuals. The story had been realized its own literary value at almost every genres such as Chinese literature, novels, Gasa, Japga and Sijo etc. I focused on Gasa, Sijo and Japga among the genres in this article. First of all, I subjected to Wumiin-ga enjoyed in a area of boudoir culture from Gasa based on Chohan-gosa. I catch the meaning that the text has a characteristic that popularized history and normative ideology are mingled in through it. In the case of Sijo, I focused on the Sijo which Xiang Yu is appeared in because Xiang Yu has been most quoted person from people of Chohan-gosa. Xiang Yu was described as a strong man[hero] or a man who part with the beauty Wu. I understand that this point is caused by the theatricalized characteristic of the place where Sijo have been played. For the last time, Japga is played with the characteristic of stimulative reediting of the familiar normative ideology. Chohan-ga is based on contexts of former discourse eohan-yeonui but it was not plagiarized. Chohan-ga was organized for the way which attracted the interest of the public and stimulated the emotion of the public through using popular imagery or intensifying the sorrow.