• Journal of Agricultural Extension & Community Development
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• v.3 no.1
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• pp.141-155
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• 1996

The purpose of this study was to investigate the sole of local newspaper for community development in Korea. Specific objectives of the study were : 1) to identify the role of local newspaper in community development, 2) to analyze problems and situations on local newspapers in Korea, and 3) to suggest desirable roles of local newspaper for the community development. To attain the above objectives, this study was carried out through literature review, contest analysis of selected local newspapers, and the questionnaire survey of selected readers of local newspaper. The data were collected from 267 readers of local newspaper who participated in the farmers` training session in the Rural Development Administration, by using questionnaires developed by the researcher, and total of 263 questionnaires were analyzed. The statistical techniques used for the study were frequence, percentile, standard deviation utilizing the $SPSS/PC^+$. The major findings of the study were as follows : 1. The major roles of functions of local newspapers identified in this study were summarized as to reinforce the community consciousness, to form community opinion, to watch and to monitor community environment, to provide education and entertainment, and to contribute to the conveyance and promotion of community culture. 2. The general characteristic of local newspaper readers surveyed were; a) average distance from town to their village was 9.3 Km, b) average age was 29 years, c) about 75% of them were senior high school graduates, and d) about 96% of them participated in group activities. 3. About 45% of the respondents used television or radio for their moor sources of local news were TV or radio, while about 31% respondents used immunity newspaper for their moor sources of local news. About 67% of the respondents kept their readership over two years, and about 40% of them read community newspaper regularly at their home. 4. The results of content analysis showed drat the local newspapers were dealing with articles on cultural affairs, community consciousness, administrative and civic affairs, however, there were not enough educational news, and various kinds of general news in the community. 5. Survey also showed the most needed news were ; 1) political news including administrative and civic affairs, 2) economic news including sales and distribution, 3) social news including social problems on environmental pollution and community development works, 4) educational news including technology and information, 5) cultural news including guide to cultural and historical sites and local brief news. 6. In the evaluation of local newspaper, the readers were generally positive in valued roles of local newspaper in community relations, community development, promoting community cohesion and understanding of community members, and about 40% of the respondents were positive in predicting the bright future perspectives of local newspapers. 7. In the readers` evaluation of local newspaper, readers responded that local newspapers were very closely related to the community and residents, reflecting the current concerns of local population and recognizing the value of community media, and the contents of local newspaper were positively related to daily lives of community residents and opinions of overall community.

• Korean journal of communication and information
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• v.22
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• pp.167-210
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• 2003

This study examined the organizational status of female employees in three major over-the-air broadcasting companies in South Korea in terms of both formal and informal organizational structures. Quantitative and qualitative analyses were conducted for the data collected through the official statistical documents on Korean broadcasting industries, in-person/telephone interviews, and survey. The results show that the proportion of female employees in the three major over-the-air broadcasting companies remained relatively unchanged at about as low as 10 per cents during the past 10 years, Furthermore, most of them are positioned in the lower hierarchical positions. The informal organizational status of female employees in terms of informal organizational culture, informal network, and mentoring, also reveals inequal conditions in many respects. Concerning role assignments, no significant evidence of sexual discrimination was found. Discrimination against women in assigning core roles such as political and economic news reporting and drama producing, however, was still prevailing. Currently, a marked increase of female proportion is observed among newly hired reporters, producers, and announcers. In the long term, these trends can bring positive changes in the status of female employees in the broadcasting industry organization.

• Korean journal of communication and information
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• v.71
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• pp.75-115
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• 2015

This study is to describe the meaning of associations at $5{\cdot}18$-related photographic portrait phenomenologically. Referent in the photography arouses different and unique type of associations. Moreover, it appears differently emotional experience by the associations. Therefore, the purpose of this study is to describe types of associations and emotional experience about referents gained through $5{\cdot}18$ photography and to construct the meaning. It is based on concepts of primordial associations discussing in the phenomenology but this study was described the meaning of $5{\cdot}18$ the May 18th democratic uprising focusing on types of associations and meanings derived by direct experience from photography. According to this result, the viewpoint of $5{\cdot}18$ Democracy Movement approaches from objective academic system or cannot be withdrew as dynamics of the political ideology. It is that the fundamental and impulsive emotions from each individual who participated in the movement are affected. The fundament of the May 18th democratic uprising is based on their basis of life and the will to primitive power of a love & affective community.

• Journal of the Korean association of regional geographers
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• v.22 no.2
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• pp.307-330
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• 2016

This article aims to explain how Gangnam, as a model and standard of compressed urbanization in South Korea, was created. Gangnam and Gangnam-style urbanization need attention not only because they contrast with Korea's urbanization in the past as well as urbanization in the West but also they provide an important model in contemporary Korea's politics, economy and culture. However, there are little studies of how Gangnam's peculiar urbanism was created. To fill this gap, this article will first capture Gangnam's peculiar urbanism as a material landscape and sociocultural lifestyle. Gangnam-style urbanism is (a) materially characterized by high-rise apartment complexes owned by the middle and upper class for dwelling and asset growth and (b) socio-culturally characterized by political conservatism, public indifference, competition over academic performance, appearance, and fashion, and nightlife. Then it will show Gangnam's archetype was created in a spatially and temporally compressed way in and through the spatial selectivity of Korean anti-communist authoritarian developmental state strategies: (1) anti-communism led to the diffusion and accommodation of the population through apartments in Gangnam in the context of its confrontation with North Korea and the fast-growing population of Seoul; (2) military authoritarianism excluded the low-income class and the urban poor from urban development; and (3) the developmental state adopted selective housing policy which treated construction companies and the middle class preferentially through exceptional zoning and price distortions, promoting the construction of apartment in Gangnam and its resultant uneven development.

• Korea journal of population studies
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• v.31 no.3
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• pp.107-130
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• 2008

The study of Korean diaspora has focused on migration, adaptation, and identity of overseas Koreans in China, the CIS, Japan, and the United States. However, the contemporary concept of a diaspora is a way of understanding migration, cultural difference, identity politics, and so on. Thus, this more broadly defined diaspora is used to mean a dispersion of people of a common national origin or of common beliefs living in exile. As of 2007, it is estimated that there are about 7 million Koreans living in 170 countries outside the Korean peninsula. Some have left Korea involuntarily and some others voluntarily. But most of them actively try to maintain their identity and culture as Koreans. With the large number of overseas Koreans, there has recently been the recognition of the importance of networking among overseas Koreans in the 21st century. The purpose of this paper is to emphasize the necessity of Korean Global Network of overseas Koreans. In doing so, this paper reviewed the case of Jewish and Chinese network. Then, this paper indicates the problems in the networking of overseas Koreans and suggests the policy implications for Korean Global Network. Above all, there should be changes in the government's policy towards overseas Koreans in the direction of organizing networks of overseas Koreans to coexist with the mother country. The government should adopt a policy to restore trust in overseas Koreans. It should take a pragmatic approach to the mutual interests in the socioeconomic relations instead of taking a political approach to overseas Koreans.

• The Journal of Art Theory & Practice
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• no.3
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• pp.51-66
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• 2005

With the advent of the time when the competitiveness of a nation or a city can be evaluated by the extent of cultural reception, the art exhibitions, like other genres of art, are actively held in various ways by different institutions. The spaces of exhibition offered not only by public museums and galleries but also by private galleries, alternative spaces and open-air exhibition spots are being increased. Likewise, the number of exhibitions organized on a large scale by Biennales and local governments is on the increase. In accordance with actual tendency, the Ministry of Culture and Tourism has planned to increase the number of museums and galleries up to 500 by the year of 2011. Under these circumstances, the actual situation shows that the central and local governments are adopting beneficial measures to support the private galleries such as permission of construction on green belt areas and tax deduction. That is, our society has come to realize that the necessity and importance of public as well as private galleries to play their roles as cultural and educational institution. Now, the number of galleries is growing. Exhibitions are held everywhere. Therefore, spectators have more chance to visit them than before. With these conditions and the growing number of amateurs, social interest in curator organizing exhibitions is getting popular. Because of the rise of curatorial popularity on the social level, the influence of curators which is exercised within the gallery seems to become gradually enlarged. In reality, it is true that the curatorial influence cannot be ignored more than ever for appear in various fields their new features made from their professional cometence. The function of gallery is more strengthened and its position is more heightened than those in 80s. For these reasons, the curators whose playground is the gallery, they may be regarded as invisible power to the artists. Futhermore, their influence as such seems to be more likely because our world of art does not still have any reliable system of art criticism. Nevertheless, considering the actual situation in which national and public galleries as cultural institution would rather exist on the local sentiments or political dynamics than on autonomy, there must be some restrictions for the galleries and the curators to obtain the power. In this context, the actual moment is looked upon as transitional period to make the curatorship settled down. Before discussing the power relevant to curatorship, we are going to examine first the role and function of curator and then the new curatorial role and function at the age of information. Finally, we will see in sequence the development and problems of curatorship, the power and dilemmas of curator.

• Cross-Cultural Studies
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• v.30
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• pp.7-29
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• 2013

A movie which brought its material from a historical character or incidents in the past was produced by a story suggestion through a historical fact. It is because Shakespeare created a story based on a mythical element related with his life in the plot which was written from the script of the play and was on the show in the cinemas of London. It is an obvious fact that the historical drama of this movie was intentionally modified and the fictional story was added to episodes in order to create a dramatic effect. However, reflecting historical backgrounds and cultural aspects accurately through a historical study would also be an important factor. Therefore, the backgrounds and aspects presented in this movie are a kind of storytelling which was reconstructed as if a historian added his opinion to historical facts like a discourse. A historical background in was a story about Shakespeare who worked at the theater in London as a writer in 1593 the period of England Reneissance. The movie included the working and playwriting of Shakespeare who is a main character. This indicated not only the environment of the theater and literature during the reign of Queen Elizabeth I but also historical aspect in the early modern industrial society in England. This movie, that is, described that time as a recreation such as a cultural acceptance and an achievement of an initial capitalism in Renaissance in the life of characters. In particular, the factor of theaters flourishing during the Renaissance was because a newly emerging class, bourgeoisie, who held the capital emerging from a policy for middle class led to a box office hit through founding theaters and drama company and selling tickets and performing plays by themselves. Like this, the movie depicted the time led by plays to a industrialization. Moreover, Social aspects in the late 1500s were revealed in this movie through a depiction of the cinemas and the city of London. The depiction of the city of London reflected a social situation of an initial capitalism rapidly developed in trade and commerce. The social aspects such as conflicts between social classes based on getting richer and poorer, mammonism, a corrupted love between the male and the female, a immortality with growing brothels, religious and political conflicts with the foundation of the church in England were closely linked with characters' daily routine at that time in London and were reflected in this work overall. The reason why we highlight characters' job and custom like this in the movie is that these are ideationally inherent in a critical mind from people at that moment. The historical background and reproduction of the image depicted in the movie were focused on characters' daily routine and indicated the problem mentally and independently exposed in the form of initial capitalism.

• Cross-Cultural Studies
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• v.38
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• pp.29-63
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• 2015

This paper attempts to re-read Tennessee William's A Streetcar Named Desire from a non-Aristotelian perspective, particularly focusing on the audience performativity. In Chapter 6 of the Poetics, Aristotle says that tragedy has a final purpose or end (telos) and that is to inspire a catharsis (literally "purification") of pity and fear by means of representation and to give pleasure from experiencing their relief. However, a dramatic theoretician Augusto Boal argues that Aristotelian catharsis is not to get rid of pity and fear through their vehement discharge; rather, the basic function of catharsis is the purging of antisocial elements from the social body and the restoration of order because catharsis occurs when the spectator, terrified by the spectacle of the catastrophe, is purified of his "hamartia" which looks similar to the tragic flaw of the hero in the play. Thus, Boal asserts that Aristotle's coercive system of tragedy manipulates the emotions of the passive spectator. By contrast, in non-Aristotelian aesthetics, tragedy functions not as legitimation for a particular political configuration but as the performance of ethical acts-through which all the participants, including not only the actors but also the audience, communicate more actively about practical problems and actively work in order to make sense of themselves, others, and society. Here, the audience is required to restore and reinforce his/her capacity to think and to act; thus, an unquestioning, passive, indifferent attitude is not allowed. In these contexts, this paper explores how Tennessee William's A Streetcar Named Desire involves the audience in the responsibility for what occurs on the stage, in order to urge the audience's ethical judgements and responsible acts. This paper argues that what this play asks of us is not catharsis, the purging of pity and fear, but empathy toward the other's pain, beyond pity and fear, to carry out our responsibility of sharing in and caring for the other's suffering. That is to say that it will be an ethical way to "re-member" Blanche DuBoi-the iconic Williams victim "dis-membered" by traumatic memories and open wounds and is thus unable to complete her grieving and mourning-as one of us, not as the other. It will be the only way to remember right regarding her tragedy.

• Review of Culture and Economy
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• v.20 no.1
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• pp.21-50
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• 2017

The rise of Hallyu (Korean Wave) has generated a treasury of historiographic and cultural inquiries into the phenomenal success of South Korea's media entertainment industry. Whereas the majority of such studies focus on TV dramas and popular music, there is a medium, or rather a hybrid sub-genre within the medium category of short films, that must be reexamined and thus appreciated as the archetypal predecessor of popular Hallyu contents: music videos. The rapidly changing social, political, and economic climate in the mid- to late 1990s called for content that would grasp the attention of a younger, increasingly mobile population with diversified interests and routines that no longer guaranteed fixed-time viewership. Meanwhile, the advent of cable TV channels and high-speed internet service ensured greater temporal and infrastructural accessibility. The media entertainment industry's response to the new opportunities and challenges arising from these sudden growths in the scale, range, connectivity, and mobility of consumer demographics was synergetic cross-sector collaboration in the form of dramatized blockbuster music videos, which combined two popular and lucrative genres: trendy dramas and ballad music. In this essay, by relocating Hallyu's archetypal medium/genre, I claim that increasing upward and sideways mobility across sectors not only inspired new production but also reconfigured the very concept, form, and impact of media-driven cultural imaginary in South Korea.

• The Journal of Natural Sciences
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• v.12 no.1
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• pp.85-101
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• 2002

Landscape civilization in Korea originated in Cochosun(Ancient Chosun) era, this again succeeding to the period of the Three States - Koguryo, Baekje and Silla. The distribution of this culture showed great progress with the association of two particular religions - Buddhism and Confucianism.. Landscape development in Korea has greatly changed during specific times of both cultural and political upheaval in various societies. Religion has had a great deal of influence on landscape development. Traditionally Korean people have had a tendency to favor more natural landscape than man-made structures in landscape : This trend was a quite different concept from that of other oriental countries, not to mention of western countries. In particular, Buddhism influenced natural landscape, far from artificial craftsmanship in landscape. Oriental garden is a typical 'tabloid edition' of natural landscape which consists lakes, islands, ponds, stone monuments, and fruit trees, quite often raising animal in parks and courtyard style house. This style of garden influenced in Chosun Dynasty landscape. Landscaping was usually for royal gardens, cemetery parks or high level of officer's residence. However, landscaping in Chosun Dynasty which had established Confucianism as a state religion gave us a specific designation. It was neither ethnic imitation of the garden style of both China and Japan : People were used to enjoy nature-friendly landscape or sink into the ecstasy of natural scenery itself. The trend that landscape or establishing garden had been aimed at royal family- or bureaucrat-centered formatives was to become an obstacle to the development of landscape techniques in Korea. An example represented in a beautiful garden with fabulous decoration which established in places. This was completely not fit for the nation's feeling.