• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.6
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• pp.902-910
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• 2008

A view of the Orientalism that sees the Orient as the inferior Other, characterized by the heterogenic, eccentric, backward, and passive features, has been internalized in the unconsciousness of Westerners. 'Orientalism' which is the cultural device and the system of discourse to put Asia in the fixed frame of dominance was the West European centered term, designating Southwest Asia including South Europe and North Africa as Orient, and contained the idea that non-Western society could progress only with the acceptance of Western civilization. Accordingly, it is need to use this term deliberately. In addition, even though the Asian Look of the West, borrowing the images and costume styles of Asia has lost the original mentality of Asia, it was not initiated from the perception that sees Asia as the inferior Other. Since the Asian Ethnic Look is the Western costume, borrowing the image of Orient and style by being fascinated by Oriental Aesthetics, the attributes of it are different from those of Orientalism. Therefore, it is not appropriate to designate the Asian Ethnic Look as 'Orientalism Fashion' or 'Oriental Look' except for some eccentric manipulation of Asia costume and image. Instead, it is desirable to exchange the term 'Asian Look', 'Asian Fashion', and 'Asian Ethnic Look' upon occasions or the name of individual nation or region can be referred to as preferred alternatives. Today, Asia including Korea is taking the initiative in the World Fashion as one of central axes of World Fashion Industry, and cannot be interpreted from the perspective of West Centrism. Now, it's time to dissolve the dichotomous prejudice of the West centrism on Asia's own strength.

• Korean Journal of Heritage: History & Science
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• v.51 no.3
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• pp.54-71
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• 2018

This year marks the 40th anniversary of the first inscription of 12 UNESCO World Heritage sites in 1978. Based on an overview of the implementation of the 'Convention Concerning the Protection of the World Cultural and Natural Heritage', this article examines the current issues of the inscription of cultural heritage over the past 40 years. In particular, this paper focuses on the case study of 'Sacred Island of Okinoshima and Munakata Region' nominated by Japan, which was inscribed on the World Heritage List at the 41st World Heritage Committee in 2017. Also, it demonstrates the recent trend and investigates the issues of imbalances in the evaluation and the decisions among relevant actors in the nomination process of World Heritage. Furthermore, this article attempts to derive feasible implications and lessons, and to generate heritage discourse by examining Japan's management in 'heritage diplomacy' of the World Heritage Convention, which is rapidly changing in the course of its nearly half a century of implementation. In conclusion, the research is expected to provide Korea with strategic guidance marking the 30th anniversary of its entry into the Convention, and to steer the future direction for the inscription and conservation of cultural heritage.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.301-338
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• 2021

John Woo's A Better Tomorrow arrived at the turning point of Korean society between 1987 and 1988. The Hong Kong movie boom that started here reached its peak around the 1990s. What does this phenomenon mean? Hong Kong action films have functioned as an important resource for Korean young male subculture since the late 1960s. The audience of A Better Tomorrow matches the audience of previous Hong Kong films in a generational and gendered way. The fascination of Hong Kong action films by young Korean men from 1987 to 1991 has nothing to do with Hong Kong's political context. However, a certain affect is shared between Korean and Hong Kong audiences. It could be said to be the brotherhood within the struggling group. The affective economies of this fraternity embodies the broad solidarity of 1987, the solidarity of comrades seeking to resist the violence of the world. It also works on symbolic and practical gender bias. In other words, this loyalty is nothing but loyalty between the (male) brothers who are confronting the injustice of the world. This is the "translational possibility" of A Better Tomorrow.

• Journal of the Korean Institute of Landscape Architecture
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• v.42 no.1
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• pp.27-40
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• 2014

The functions of urban open space, which embraces community revitalization, are diverse. It is the means of public healthcare, learning centers for children, hub of arts and cultural programs, as well as promoter of urban tourism. However, in-depth discourse and research on the topic of urban open spaces has been limited so far. Hence, this study aims to investigate the motivations and satisfaction of visitation based on four representative waterfront open space in Seoul; Cheongyecheon Waterfront, Seoul Forest Park, Seonyudo Park and Banpo Hangang Park. The methods of study are literature review, observation investigation, and questionnaire survey. The findings are analyzed through the Exploratory Factor Analysis, Reliability Analysis, ANOVA Analysis and Regression Analysis by SPSS 18.0. The results of the study are as follows. First, urban waterfront open spaces in Seoul has 5 factors of visitor motivation; community amenity, nature access, cultural and educational assets, aesthetic enjoyment, and lastly means of escape. Second, factors of recognizing urban waterfront open spaces as community amenity and nature access indicate meaningful differences in visitor's perception by spatial characteristics. Third, distances between the destination and the visitor's residence influence significantly their perceived motivation. Close-range visitors perceived nature access as a principal factor, whilst medium to long-range visitors perceived visitation for aesthetic purposes more importantly. Lastly, the will to escape was shown as the influential factor in visitor satisfaction. Visiting open spaces for the enjoyment of nature and aesthetic purposes were factors that also closely relate to visitor satisfaction. In addition, it was found that there are different visitor motivations that influence visitor satisfaction in accordance with the spatial characteristics of each open space. In summary, it can be said that urban waterfront open space is a hybrid space connected to various types of urban contents beyond daily experiences. It was found that several visitor motivations including community development, design aesthetics, education and culture, entertainment, enjoyment of natural landscape, and relaxation, affect the overall satisfaction of the visiting experience. It is anticipated that the results of the study will be used by the local government in setting up strategies for the creation and management of successful urban waterfront open space, and for those involved in planning and design act as a starting point for spatial programming and amenities arrangement in accordance to the city's tourism and urban marketing approach.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.4
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• pp.22-34
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• 2016

The purpose of this study was to analyze commemoration characteristics of fifty-nine Vietnam war memorials in Korea(VWMK) including monuments and national cemeteries from landscape architectural point of view such as location, spacial characteristic, landscape detail, sculpture, and interpretive text. Based on the commemoration characteristics of the analysis, the commemoration culture among Vietnam, the U.S.A., and Korea were studied and differences compared. The results are as follows. First, monuments were mainly located in public open space such as national cemeteries, parks, and plaza, and some of them were elected along with Korea war memorials to honor Vietnam war veterans at the national level. Second, because the monuments were relatively small and memorial towers were conventionally built on a square platform, the memorial style had been simply standardized to stereotype the commemoration characteristics. Third, outmoded memorial towers, stone plates, emblems, and memorial walls were used as main landscape details and standardized facilities were considered from an artistic and social point of view. Fourth, realistic soldier statues to show heroic and humanitarian image were in majority, while symbolic and abstract sculpture were small in number, they were mostly conventional and unexpressive. Fifth, the causes of participation in the Vietnam War were predominantly expressed as 'defending freedom', 'keeping world peace', and 'national economic development' based on anti-communism and patriotism, and also the collectivity of Vietnam War veterans by troop and local level was emphasized through engraving each veterans's name on towers, plates, and walls. VWMK are mostly conventional and stereotyped in style and show strongly national official memory and the collectivity of veterans from a sociopolitical perspective, and aim for anti-communistic patriotism ideologically. Further study and projects will be required to make creative and innovative memorials and to study how to rethink sublime fundamental themes like war, death, and the individual veteran's experience in VWMK.

• Cross-Cultural Studies
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• v.44
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• pp.87-121
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• 2016

Daehoon Ham's novel 'Cheongchunbo' features a studier as the main character who majored in Russian literature and admired the culture of the Soviet Union. From his viewpoint, the novel reproduces North Korean society before and after its independence from Japan. In this regard, it shows multilayered presence related to Russian culture and Soviet Russia. Such an aspect is based on the sense of sympathy that the main character has. The sense of sympathy is originated from the main character's admiration for the exoticism of Soviet culture which was forbidden during the late Japanese occupation. After Korea's independence from Japan, Russian was replaced by English. Such change also occurred in the main character's viewpoint. He underwent a change in his integrative viewpoint on Russian and Soviet under the name of Red Army. After defecting to South Korea, he began to put Russia down as a den possessed by the devil called 'communism.' In the meantime, Russia and Soviet have been separated from each other in ideological terms. The novel 'Cheongchunbo' stresses that the decisive cause of such changes is argued over trusteeship. The main character, fascinated by the presence of exotic Soviet, predicates that Soviet is a political symbol around the national division caused by the trusteeship. His change alluded to the life path of Korean authors who translated Russian literature after independence. During the Japanese occupation, Russian literature translated into Korea was a longing for forbiddance and admiration for Russia. However, the Russia presented in Daehoon Ham's novel before and after independence implies that the romantic translation has ended.

• (The) Research of the performance art and culture
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• no.38
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• pp.249-275
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• 2019

Gangneung farm song is important for the ritualistic labortheatricals. Especially, in the theatrical process program, the songsof weeding, such as Haksan Odokkteggi and Ssadae, were alsoincluded to represent the agricultural ritualistic prayer for goodharvest. The use of Gangneung farm song is attractive in termsofthe circumstances. There is no chance of success as a plan simplyfor local events. As a comprehensive art, Gangneung farmsongshould simultaneously revitalize locality, representability andglobality. In this context, three directions are suggested dependingon the development progress. The second direction to the thirddirection are mainly oriented toward government-local authoritycentered support, but, in particular, the third direction should aimtobe an open archive in which the public and the contents prosumercan participate. In the production of the traditional content, OSMUmust be endlessly recreated and spread through 'diversity' and'interrelationships'. The contents utilization was discussed based on the transmissiondetails and analysis evidence of Gangneung Haksan Odokttegi. Thediversification of the way of performing farm song and the folk songs that can induce interest were proposed. Furthermore, basedon the fact that 12 songs classified into 8 work types, there-creation of the contents that focus on the playful aspect of theperforming arts was also proposed. In addition to suggestingthedesirable discourse of the performance groups, the experienceprogram development, education, public relations andcommunication reinforcement based on the narrating principlesoffarm songs, and the development and execution of farmsongprograms based on the tradition and the event demands wereproposed. While mentioning the necessity of value creation, thevitality of performing arts skills that put emotion, imagination, fun, sympathy, and etc. on the original form and the model of farmsongs should be supplemented to Gangneung Haksan Odokttegi. The independent transmission aspect of Gangneung Arirangisalso positive. There are difficulties of reduction of traditionalitydueto the designation, standardized transmission, lack of developmentof voluntary performances, and demonstration-centeredtransmission. Narrowly, we focused on the education andvitalization directions in terms of the capacity building of theconservation council itself. By embodying the essential value of theagricultural literature that farm songs possess, it can bringimpression of all worlds, all lives, communication and sharing, anddraw inspiration from the humanistic view of the world andemotion. The reconstitution of agricultural heritage, theconstruction of a storytelling linked with the concrete objects suchas Beomil National Preceptor, Gulsansa, FlagpoleSupport(Dangganjiju), Seokcheon, Hakbawi rock, and etc., andtheestablishment of fusion type farm song museum were proposed. In terms of culture industry, we requested active support fromtheinstitutions including local governments and various farmsongstorytelling creation projects.

• Journal of the Korean Geographical Society
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• v.47 no.4
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• pp.522-540
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• 2012

The main aim of the paper is to identify the position or status of Korean economic geography in changing global economic geography by reviewing papers published in Korean geographical journals since the mid-1950s. Since the late 20th century as economic geography has developed significantly with the introduction of new research issues, methodologies, and theory and concepts, economic geography in Korea also has gone through rapid development in terms of both quantitative and qualitative perspectives. The paper attempts to analyze trends in Korean economic geography by reviewing agricultural, industrial, commercial geographies, and others since the mid-1950s. The review of economic geography in Korea would be based on four periods classified by research issues and approaches; foundation (~1950s), positioning (1960s and 1970s), jump and rush (1980s and mid-1990s), and transitional period (late 1990s~). Agricultural geography in Korea has decreased due to increases of the interests in industrial geography since the 1980s. In particular, since the late 1990s industrial geography has undergone a significant transition in accordance with the emergence of new theories of institutional perspectives, centering around issues on value chains, innovative cluster, cooperative and competitive networks, foreign direct investment, flexible specialization and venture ecology. Along with this, there has been changes in the interest of commercial geography in Korea from researches on periodical markets, the structure of store formats, and distributions by commodity, to researches on producer services and retailer's locational behaviors and commercial supremacy according to the emergence of new store formats. Since the late 1990s, many researches and discussions associated with the new economic geography began to emerge in Korea. Various research issues are focused on analyzing changes of local, regional and global economic spaces and their processes in relation to institutional perspectives, knowledge and innovation, production chain and innovative networks, industrial clusters and RIS, and geographies of service. Although economic geography in Korea has developed significantly both in quantitative and qualitative perspectives, we pointed out that it has still limited in some specific scope and issues. Therefore, it is likely to imply that its scope and issues should be diversified with new perspectives and approaches.

• Journal of Science and Technology Studies
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• v.19 no.3
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• pp.51-117
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• 2019

On 15th November 2017, the coastal city of Pohang, located in the Southeastern part of South Korea was shaken by a magnitude 5.4 earthquake. The earthquake displaced more than 1,700 residents and caused more than $ 300 million dollars of economic loss. It was the second most damaging earthquake in the history of Korea. Soon after the earthquake, a group of scientists raised a possible link between the first Enhanced Geothermal System (EGS) project and the earthquake. At the same time, another group of scientists put forward a different hypothesis of the causation of the earthquake claiming that it was caused by the geological movements that were initiated by the Great Tohoku Earthquake in 2011. Since then, there were scientific debates between the two different groups of scientists. The scientific debate on the causation of the earthquake has been concluded temporarily by the Research Investigatory Committee on the Pohang Earthquake in 2019. The research committee concluded that the earthquake was caused by the Pohang EGS system: this means that the earthquake can be defined not as a natural earthquake, but as an artificially triggered earthquake. This article is to examine the Pohang earthquake can be defined as an Anthropocenic event. The newly suggested concept, the Anthropocene is a relatively novel term to classify the earthly strata and their relationship to geological time. The current geological period should be defined by human activities and man-made earthly environment. Although the term is basically related to geological classification, the Anthropocene has been widely debated amongst humanist and social science scholars. The current disastrous situation of our planet also implies with the Anthropocene. This paper is to discuss how to understand anthropogenic events. In particular, the paper pays attention to two different scholarly positions on the Anthropocene: Isabelle Stenger's Gaia theory and Barbara Herrnstein Smith's relativist theory. The former focuses on the earthly inevitable catastrophe of Anthropocene while the latter suggests to situate and contextualise anthropogenic events. On the basis of the theoretical positions, the article is to analyse how the Pohang earthquake can be located and situated.

• 기호학연구
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• no.54
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• pp.93-117
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• 2018

The process of creating Hunminjeongeum described in Haerye version of Hunminjeongeum shows a rule of signification by which a signifiant represents a referent. In this article, I will suggest two types, the mythical and the anti-mythical, that affect the iconic relation between signifiant and referent, and consider how they are realized in Hunminjeongeum. The mythical type is shown as Yin-Yang and the Five Elements Theory and Three Elements Theory of Heaven, Earth and Man dominating the thought of intellectuals at that time. It had became mythos, that is the object of absolute belief, by connecting with the power of King at that time. It is very metaphysical and involves a kind of grand narrative. It is also the voice from the past in time and from China in space. It is reflected in Hunminjeongeum's letter system intactly. Meanwhile, the anti-mythical type also affects the creation of Icon in Hunminjeongeum. Even if Hunminjeongeum had been created from King Sejong's project, its intention seemed to be educational and practical. That is the problem of that time, not of past time, and for common class, not for ruling class. It can be considered as logos in that it had been planned and processed at a real-life situation at that time. Some arguments between King Sejong and liege Choi, Manri about the validity of Hunminjeongeum also show that the creation of Hunminjeongeum had involved the problem of critical logos. Above all, in that referents of Icons of Hunminjeongeum are the figures of human vocal organs, we can suggest that these Icons also implied an Indexicality implying actual connection between voice and body. It can be considered as a deconstrucion of metaphysics and grand narrative that had been dominated by foresaid mythical type. Hereafter, from time when Hunminjeongeum have been widely used, mythos of metaphysics and grand narrative that had dominated Hunminjeongeum have been deconstructed and Hunminjeongeum has become to realize its potential competence of pragmatic sign system for the convenience of common people. Therefore, I expect that the cultural potentiality of Hangul today can be realized by such tendency of logos incessantly deconstructing mythos, that is one direction of mythosemiosis.