• Cross-Cultural Studies
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• v.44
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• pp.373-391
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• 2016

Since the 2000's, interest toward Africa in Korea has increased rapidly. Korea's interest in Africa began in the second half of the 1960's. However, this interest in the 1960's was motivated by political and diplomatic necessity at the time rather than the needs of indigenous groups in Africa. Korea had to oppose North Korea's diplomatic expansion in Africa to gain the support of international organizations like the United Nations. This interest in Africa motivated by diplomatic needs vanished quickly after the end of the cold war in the 1990's. Authentic Korean interest in Africa began to emerge in the 2000's. Korea's rising international status based on economic development led to a natural interest in Africa, which was the last frontier on earth. As a result, African studies in Korea increased significantly after 2010. The increase in the number of theses, articles and books was remarkable from 2010-2016, in comparison with 1957-2010. In spite of the increase in the quantity of thesis, articles, and books, the problem with Korea's African studies is above all, its preponderance. Over 75% of thesis and 70% of articles are concentrated in the domain of politics and economics. This reflects the fact that Korea's interest in Africa is based on short term political and economic interest, indicating that Korea's African studies did not deviate from the rudimentary phase in its quantity and quality. Another problem with Korea's African studies is the lack of integration of different types of research. African studies in Korea has three components, government funded research centers, university laboratories and individual researchers. The government funded research centers focus on the overview of African nations and their political and economic information. University laboratories mainly perform research on the theoretical aspects of politics, economics, human sciences and culture in Africa. Individual researchers are concerned with various categories. However, these three groups have failed to achieve a synergic effect on African studies in Korea and most of the research on Africa does not extend beyond each academic area. To overcome this problem, first of all, a live exchange may be necessary between domestic researchers.

• The Journal of the Convergence on Culture Technology
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• v.5 no.2
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• pp.117-122
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• 2019

This paper aims to investigate ideological preferences of news media outlets by looking at the news coverage of North Korea-Russia summit in April, 2019. The meeting has gained attention in South Korea, China, Japan and America in that the historical meeting will reflect the future direction for denuclearization on the Korean peninsular and the peace in the world. Given this, in particular, a special attention is paid to the editorials and headlines of news articles reported in two Korean quality newspapers, DongA Ilbo and Hankyoreh because both are quality newspapers, but are ideologically different. To achieve objectivity and fairness, the same issues dealt with during the summit were compared and analyzed within Martin and White (2005)'s Appraisal framework. As a result, it was found that in editorials of DongA Ilbo showed a negative stance to the summit by employing the 'attitude' factor, whereas the Hankyoreh was overwhelmingly positive toward the issue, also by employing the 'attitude' factor. The political stance is likely to be in line with those shown in the headlines of news articles from each newspaper. That is, it is clear that each news outlet shows its ideological stances to news consumers through linguistic expressions, in that both editorials and the headlines of news articles express their political preferences to the summit by means of linguistic appraisals.

• Journal of the Korean Society of Costume
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• v.50 no.3
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• pp.13-30
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• 2000

The purpose of this study was to analyzed the types of Deformation dipicted on the late 1990s western costumes. The late 20th century cultural experience or lifestyle is interpreted with 'popular culture' ,popular culture is described as cultural phenomenon in postmodern condition. Contemporary popular culture may no longer be strictly 'working-class' as the idealistic purists of political formalism would like to , but does emerge from subordinate cultures, from the inventive edges of the consensus, and from the previously ignored and suppressed. It gestured through a widening democratization of styles, sounds and images, to an important remarking , to new possibilities , new perpectives, new projects. The growing importance of popular culture as a source for change of expression in the art, expecially new desire and will of artists has been caused lots of ' Deformation' in their works. Deformation, doesn't mean to represent object faithfully as it were seen through the artist's eyes. In a sense it implies that artists deform it with conscious or unconscious form. So in this study , the phenomenon of the postmodern western costumes is to describe ' formative language' called 'Deformation.' and it is classified three types, that is, 'Deformation of human-body image.' , Deformation of silhouette.' 'Deformation of detail.'. First , Deformation of human-body image is represented by deconstructive , subversive image in western costumes, a lot of costumes types of deconstruction have been shown by fashion designers are emphasized empathy with Deformation of human-body image. Second, Deformation of silhouette is also represented subversion of traditional manner and ultiity, underwear and outwear structure and ugly image. parody image of postumodernism , and so on. Above all, the late 1990s western costumes with Deformation of silhouette was an infinitely larger and more complex world than it appeared from outside and has expressed as a rejection against the values which traditional aesthetic concept had pursued, And parody through the change of internal meaning is to bring about parodox, irony, contempt, satire , unexpectedness by applying the original to inapproporate subject through its substition, inversion. Third, Deformation of detail is represented overdecoration, exaggerative distortion of for , overlapping and fetish image, parody image, kitsch image, and so on , Once fetish achieve a certain' style factor' among trendsettler, they are picked up by internationally famous fashion designers, The characteristics of kitsch are overdecoration , unfitness , imitation , used western costumes.

• Journal of the Korean Society of Food Culture
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• v.24 no.1
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• pp.10-22
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• 2009

This study was conducted to evaluate changes in food consumption during the 1950's on the basis of articles that reflected national policy and changes in society during that time period. Many factors are involved in the development and changes in food consumption culture, and these factors can affect each other. As a result, the process involved in the development of food consumption culture acts as a living system. This study evaluated the food consumption culture during the 1950's because this period was subjected to obvious influences that may explain the modern food consumption market logic and commercialism. Changes in the national food consumption are dependent on natural changes such as income enlargement or cultural exchange with a foreign country. Accordingly, food consumption during the 1950's was influenced by changes in economical, social, and political needs. In addition, the influx of surplus agricultural products from the United States had an adverse effect on local agriculture and resulted in an increased external dependence on food during the 1950s. Moreover, the import of raw materials and simple manufacturing techniques led to the development of an industrial food processing industry that enabled accelerated mass production of food at a low-price. Furthermore, the importation of surplus agricultural products from the United States that were used as the raw materials for foods that had traditionally been produced domestically led to an increased burden and qualitative decline in the local food-service industry. Taken together, the results of this study indicate that during the 1950's fresh food began to be replaced with processed foods in Korea.

• Journal of the Korean Society of Costume
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• v.16
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• pp.15-42
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• 1991

A nation's culture isn't consisted by the characteristics of the nation only, but it is greatly affected by the geographical features and natural conditions, and it could be also dominated by the continual effect through mutual contact on economic exchange or social problem and political interests with neighboring countries. It is a well known fact that the contact of culture between Korea and Mongolia established under the special political situation that Corea was invaded by Won. But more basically, the Nomad including Mongolia had influenced upon neighboring countries, therefore, our country was also greatly influenced on consisting of our own culture by them. Moreover. the fact that our language belongs to their language's category(mostly Tweigru and Mongolian language) proves that the origin of our culture was deeply related with Mongolia. Accordingly, we could not limit the cultural relation between Korea and Mongolia within a special era. But especially, since unification of China by Mongolia, Won which appeared as a new great nation had dominated Corea for one hundred years, and the Corea's costume culture had a point of conversion to the mongolian. Therefore, this study expects to comment upon the relations of costume between Corea and Mongolia from a view point of Corea's tribute and royal gifts gifts by Mongolia written on the reference literatures. 1) From the ancient times, between our country and Mongolia there has been a direct or indirect exchange caused by the people's movement or invasion due to very closed neighboring. The relations between Corea and Mongolia have started from the mongolia's requests of tribute for the reason why they helped Corea against the Keoran's invasion, and these relation had continued by King Kongmin's age. 2) Mongolia had plundered a tribute such as dress, cereals, horses, military supplies, soldiers, maiden and little girls etc. from Corea, and therefore, a great confusion occurred on political, economic and social fields. And since King Chungyoul of Corea got married with a Princess of Won, the Corea's position was placed as the Buma nation(nation of son in law) and then high class people of Corea preferred to follow the mongolian costume such as Byunbal (pigtail), Ho dress (mongolian dress), Rouges, Chockturi (a kind of formal cap) and Doturak pigtail ribbon, and some have been applied up to date. On the other hand, the custom of Corea had transmitted to the Mongolian nobility, they called it "Corea Yang(style)". 3) The costume of Corea could be divided into three different periods, the first is the period influenced by Tang and Song's regime, the second is affected by the Won's costume and the third is applying the Myung's regime in the end of Corea. The Mongolian dress was based on the Ho dress form and it has been developed through compounding artistic traditional fields and foreign customs in long history. And Mongolia is composed of various tribes, therefore, they have their own dress for each tribe. Our country and Mongolia had a similar dress form based on Ho dress and both used the Chacksukunggo (jacket with small sleeves and slacks) and Seon(line). And the ornaments of costume such as Chockturi, Doturak pigtail ribbon and Rouges had transmitted and fixed down as a traditional wedding garment, but the Rouges has been used by noble women from the ancient times in our country. Since a member of the Society of Korean Costume has visited Mongolia in August 1990 for the first time, I really recognized the neccesity of more detailed study on the costume relation between Korea and Mongolia, and I will proceed with the study on various fields of costume under cooperation of Institute of Oriental Academy of Mongolia.

• Korean journal of communication and information
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• v.43
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• pp.7-46
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• 2008

The purpose of this essay explores a critical review of the Korean critical communication studies focused on the problematic of cultural studies and political economy in 2000s. The findings are as follows; The 'consumer turn' or 'audience turn' in new revisionism modelling John Fiske's cultural studies has been interpreted not to complement but to substitute the necessary criticism of the post-authoritarian media establishment of Korea at that time, arising identity crisis of Korean cultural studies as one of the critical camp. On other side, however, some political economy studies close to the unilinear theses of orthodox marxism has been appraised to neglect the complex process and structure of media and cultural production as well. While the press war between the market-dominant dailies and some progressive dailies has given rise to a whole debate as expected in consolidating period of Korean emerging democracy, the conjucturalism as modelled by Hall's 'authoritarian populism' failed to initiate a new theo tical practice in Korea. Finally, this review essay propose the some new research issues that would converge cultural studies and political economy, modernism and postmodernism; citizenship vs 'cultural citizenship'(valuing the private identity and gender) or Habermasian public sphere vs 'cultural public sphere', the culture of production, (modern)citizen/(postmodern)consumer(recently debated in English media policy), 'differentiation' in capitalist production and 'difference' in consumer sovereignty, 21c future vision of public service broadcasting as one of the 20c institutions.

• The Journal of Art Theory & Practice
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• no.7
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• pp.7-36
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• 2009

This paper intends to examine the significance of the "Minjoong Misool(People's art)" of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked under the dominant discourse that has emphasized their political role as a collective group. In particular, this paper scrutinizes the work of "Critical Realists" by examining the way in which they perceived Korean society in the early 1980s and visualized their experiences of the period. The figurative art newly emerged in the early 1980s challenged the formalist Modernism, which was adopted into Korea and translated into monochrome paintings and the work of the conversative academicism of the 1970s. The figurative art encouraged a social communication and moreover it intended to criticize the conflicts in the political, economical, and social domains in Korea. The targets of its critique include the unavoidable results of the unprecedented development of economy, various social phenomena of the post-industrial society, and the growth of the commercialized kitsch culture. Along with Shin, Hak-chul's work that incorporates collage technique since the 1980s, the work of some members of "Reality and Utterance" and "Im- sul-nyun" exemplify their critical interests in disclosing the false dream of wealth and happiness by both referring to and drawing on the utopian fantasy manipulated and distributed by mass media and commercial advertisements. This paper pays particular attention to Nouvelle Figuration emerged in France and Europe during the 1960s, which is comparable to the new figurative art emerged in Korea during the 1980s. Nouvelle Figuration criticized the autonomy in art isolated itself from political and social reality after WWII, in particular the indifference of Informel and abstract art as well as American abstract art. Moreover it became rather politicized around May of 1968. Given that French Nouvelle Figuration was introduced in Korea in 1982 and made a significant contribution to the formation of figurative art in Korea, it should be noted that the new figurative art emerged in the 1980s in Korea cannot be categorized merely in relation to People's Art. This paper intends to critically redress the notion that People's art was formed in the particular political, economical, and cultural context of Korea independent of the contemporary artistic practices outside Korea. It will provide a critical examination and analysis of the content and form of the new figurative art, from which People's Art was germinated, in the global context.

• Cross-Cultural Studies
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• v.42
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• pp.343-369
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• 2016

This is an attempt to analyze original films of ChunHyang Jun that Shin Sang-Ok filmed in North and South Korea, focusing on the character of MongYong. These films were made during political transition periods of North and South Korea. Sung ChunHyang was made during the second republic of South Korea, which was established after the collapse of Rhee SyngMan government; and Love, Love, My Love was made in North Korea during the period of power transfer from Kim Il-Sung to Kim Jong-Un. Considering these political changes, the character of MongYong seems to represent the figure of authority North and South Korean society of the time had in mind. First, MongYong in Sung ChunHyang has a strong image of a lover who repays ChunHyang's devotion and sacrifice with romantic affection. As an authoritative figure, he has the aspect of a democratic leader or mediator. On the other hand, MongYong's image in Love, Love, My Love is a heroic authority figure of the revolutionary class. He is a subversive reformer who shows love for the people and treats them favorably, gaining public desire. This research is expected to inspire more studies on the meanings of hit movies based on classic literature under synchronic terms.

• The Southeast Asian review
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• v.19 no.2
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• pp.1-56
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• 2009

It is generally acknowledged that Philippines politics has achieved a basic soil for democracy at the macro-level by the two incidents of 'People Power' (1986 & 2001). However, in spite of such an achievement, Philippine politics at the micro-level, does not enjoy the same reputation. Institutionalized 'Bossism' or 'patron/clientelism' political culture has been attributed to make such a gap. This paper aims to bridge the gap by a longitudinal observation on local politics of a particular province in the Philippines. Surigao del Norte is the province picked up for the study. The reason why this particular province attracts special concerns is that there appears to come a very dynamic local politics, led by an indigenous Christian organization, the PBMA (Philippines Benevolent Missionary Association), which was founded in the mid 1960s. With the coming of the organization in the province, the political power of the traditional families has been narrowed. On the other hand, new families, not only the leader family of the PBMA but also the family allied with the PBMA, has expanded political influence. Following steps are adopted to understand the meaning of such a change. First, institutional frame of Philippine politics and elections will be reviewed. Second, demographic changes will be investigated on Surigao del Norte province to find out how popular the PBMA organization is among the people. Third, local election outcomes will be examined to describe the changing nature of political landscape of the province. This will reveal how the relationship between the old and new families has been developed in the province. Lastly, based on the facts discovered by a longitudinal observation, an attempt to evaluate theories on Philippines politics will be made Conclusions are as follows. To understand the dynamics of Philippine politics, 'expectations from the below,' or, 'passions of the people,' suggested by Ileto, needs more attention. Furthermore, 'mutual accommodation' between domination and resistance, coined by Abinales, also demands more appreciation. The case of local politics in the Surigao del Norte, with the coming of the PBMA, is sure to show a concrete example of changing politics in the 'changeless land.'

• Journal of Digital Convergence
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• v.19 no.3
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• pp.379-385
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• 2021

Tattoo, which has been 5000 years' history is the symbol of the collective society. It was used as one of the methods not only to defense and camouflage but also to decorate themselves. In modern society, tattoo culture is either limited to ethnic minorities or be used as a decorative element of personal preference. Among them, the Chinese ethnic minority, the Dai, is still maintaining its tattoo culture, but gradually faded. Hence, the necessity of protecting the tattoo culture of the Dai is essential. The procedures and methods of this study were conducted by analyzing an antique book, explore residential areas, data research, and data collection through interviews. According to research, the tattoo culture of the Dai has been consistently passed down through traditional tattoo pictorial books, the memories of tattooists, and the stories of people who got tattoos. However, the Dai's traditional culture and customs are influenced by the China political reform between 1952 and 1956, confirming that the size of tattoo culture was reduced than before and evanesces. As a result, in order to inherit the ethnic minorities Dai's tattoo heritage, records of tattoo culture are required. Besides, it is considered that the records of tattoo culture and interpretations of tattoo culture by tattooists and the people who got a tattoo due to aging in the future should be studied.