• The Journal of Korea Institute of Information, Electronics, and Communication Technology
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• v.9 no.2
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• pp.213-222
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• 2016

The policy agenda setting is the symbolic policy of representing the public at home and abroad in addition to what a role of the government and the ruling party made a great contribution out of a political stream, rather than the policy that was formed by external group. Especially, a policy for migrant workers and married immigrant women is the important policy that will need to be solved in the global era. Accordingly, the purpose of this study is to confirm a factor, which had a decisive influence upon a policy, by examining the decision-making process of 'policy for the married immigrant women' with which the government pushes ahead. A specific plan for achieving this research objective is as follows. It progresses a theoretical discussion about the multi-cultural policy in south Korea and discusses the process that the multi-cultural policy is formed. The advancing stage includes the process of forming a multi-cultural discourse, the differentiation process that a multi-cultural discourse is diversely formed, and the process of being made a policy of multi-cultural discourse, which had been formed by section.

• Korean Journal of Child Studies
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• v.30 no.6
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• pp.85-97
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• 2009

Korean society has been facing many challenges and promises resulting from the rapid population shifts into multi-cultural and multi-ethnic family composition. Government strived to respond to the impending demands and needs of Korean cultural families, in terms of marriage and birth, caring and educating children, and labor and work. This paper overviews the current state of Korean multicultural trends and facts in terms of family, marriage, children, and work. It also overarches major issues of multicultural studies of family relations and child development. By wrapping the facts and issues in current discourse and studies, pragmatic policy points were provided and condensed into some suggestions for the policy-making and program implementation.

• The Journal of the Korea Contents Association
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• v.15 no.12
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• pp.650-659
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• 2015

This study reports on the perspectives of Korean Chinese Japanese students (KS CS JS) on learning English at multi-cultural classrooms in Korea. The participants were 32 KS, 10 CS, and 14 JS in EFL writing classes, and the data comprised open-ended questionnaires and interviews. In analyzing the data, 'Intentional content analysis' and 'Critical discourse analysis' were adopted. The findings show that the learning of English in Korea was supported by 80% of JS, 71.9% of KS, and 50% of CS. The highest satisfaction of JS was caused by rich interactions with others. English speaking was the most difficult area for all the groups. Whereas KS (43.8%) used only Korean, CS and JS used both English and Korean for communication. Most KS (78.1%) hesitated to socialize with foreign students despite their wishes. These findings suggest that a variety of programs should be developed so that students share different cultures and use more English in the multi-cultural Korean context.

• Journal of English Language & Literature
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• v.58 no.6
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• pp.1167-1191
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• 2012

For Romantic women writers the paratext itself is essentially a masculine literary space affiliated with established writing practices; however, this paper suggests that Charlotte Turner Smith's mode of discourse in her use of notes and their relation to the text proper are never fixed in her contemplative blank-verse long poem, Beachy Head (1807). Even though the display of learning in the paratext partly supports the woman writer's claim to authority, this paper argues that Smith's endnotes also indicate her way of challenging the double bind for women writers, summoning masculine authority on the margins of her book while simultaneously interrogating essentialist thinking and instructions about one's identity in a culture and on the printed page. The poem shows how the fringes of the book can be effectively transformed from a masculine site of authority to an increasingly feminized site of interchange as Smith writes with an awareness of patriarchal, imperial abuses of power in that area of the book. There is a persistent transgression of cultural/textual boundaries occurring in Beachy Head, which explores the very scene and languages of imperial encounter. Accordingly, if Wordsworth's theory of composition suggests a subjective and abstract poetic experience-an experience without mediation-in which its medium's purpose seems to be to disappear from the reader's consciousness, an examination of the alternative discourse of self-exposure in Smith's poem reveals the essentially fluid nature of media-consciousness in the Romantic era, which remains little acknowledged in received accounts of Romantic literary culture.

• 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.

• The Southeast Asian review
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• v.20 no.2
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• pp.73-99
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• 2010

To properly answer the question 'Why have Vietnamese Women kept appearing in Korean Films and TV dramas?', We need to induce Postcolonial discourse along with historical and cultural similarities between Korea and Vietnam. It is because the relationship of two countries can be defined as a neocolonialism specially in view of economic relationship. Koreans need to locate themselves on the superior position by othering Vietnamese women, who are close enough to be compared and also distant enough to be othered. This paper is intended to bring their being in Korean films and TV dramas under the light of postcolonial discourse. According to the postcolonial concepts such as ambivalence, stereotyping and subaltern, Korean films and TV dramas are classified into three groups, which are Vietnam war melodramas, Horror movies based in Vietnam, and TV dramas with Vietnamese brides. War melodramas have been othering Vietnamese woman through ambivalence of the fear of Vietcom warrior and the fascination of exotic beauty. Horror movies, produced about 10 years later, brought the Vietnamese women back to Korean audience, stereotyping them into ghosts, which are incarnated through the suppression and eruption of sexual desire. The third group consists mainly of TV dramas. Their story usually evolves around Vietnamese brides migrating into Korea. The women are forced into the position of Subaltern, not representing themselves in their own voices. Facing multi-cultural society, our visual media are requested to modify their neocolonial approach of presenting Vietnamese women. To accomplish the goal, they have to find ways of storytelling to show the women in their everyday lives and help them to speak for themselves.

• Korean journal of communication and information
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• v.77
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• pp.255-288
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• 2016

Korean mass media has represented foreigners in their documentaries, entertainment shows, situational comedies, and dramas for long time, while the representations created plenty of controversies. Alleged West-oriented racism found from various televison programs may be one of them. Recently, however, more Korean television shows began to incorporate the ideas of multi-culturalism. This paper is an attempt to explore how television audiences interpret multi-culturalism reflected in the media. More specifically, this is a case study of JTBC's , a show featuring foreigners debating on various topics regarding Korean culture. Particularly, it focuses on disputes over the producers' decision to play 'Kimigayo' (the national anthem of Japan, which is also considered as a symbol of Japanese militaristic past) when introduced a new Japanese panel. Critical discourse analysis was adoped as the main research method, and researchers found that audiences draw certain guidelines in accepting multi-cultural aspects. If and when these aspects overstep the line, they tend to abandon it without hesitance. In the case of 'Kimigayo,' it was ethno-centrism and/or anti-Japanes sentiments which made multi-culturalsim much weaker. It does not mean that multi-culturalism was replaced-or defeated-by nationalism, but show the 'vulnerability' of multi-culturalsim. Multi-culturalism is not as concretely rooted in Korean society as many people have claimed or hoped. The research has its own limitations as a case study, but it is hoped to stimulate other researchers to keep their eyes on media and multi-culturalsim in Korea.

• Cross-Cultural Studies
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• v.39
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• pp.287-308
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• 2015

Biographical film is a genre narrativizing the actual person and history, and reproducing the character and history in a biographical film is in a dimension different from a film focused on a fiction. Discussion between these methods of narrative composition and image reproduction in a biographical film is also, in line with artistic/aesthetic problems and ethical/philosophical theses of the film text. This study discusses the phase of the way of reproduction of the actual person, $Xi{\bar{a}}o$ $H{\acute{o}}ng$ in the biographical film, The Golden Era and the time she lived in a biographical film and how the audience's discussion of the film and socio-cultural discourse differ depending on their attitude towards the cinematic introspection of the text. The narrative structure, the method of image reproduction and cinematic devices of the film, The Golden Era are completely off the point of the general format of the traditional biographical film. In The Golden Era, $Xi{\bar{a}}o$ $H{\acute{o}}ng$ and the history which she lived in did not revive depending on an omniscient subject's selective statement and meta-film structure. Ann Hui removed general, mythic images of $Xi{\bar{a}}o$ $H{\acute{o}}ng$ formed in the field of traditional Chinese culture and reproduced her through multilateral visions of a real, fictional narrator. Each spectator's judgment and interpretation of the film intervene in the multi-layered and sparse descriptions of the actual person's images and the era of the characters. Through this, it is possible to approach the uniqueness and authenticity a historical character, $Xi{\bar{a}}o$ $H{\acute{o}}ng$ and to have an opportunity of multi-layered reflection on how to secure a critical distance and make a perception in historical judgment.

• Korean Journal of Comparative Education
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• v.28 no.3
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• pp.265-289
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• 2018

The word culture itself is very difficult to define. Therefore, in order to confine its meaning, many scholars prefer to attach different prefixes such as inter-, bi-, multi-, cross-, pluri-, trans-, in front of the adjective cultural instead of defining the word culture itself. These prefixes have been used along with about thirty various nouns, ranging from adaptability to training. In this paper, we focused on the adjective intercultural. In fact, this adjective has been widely used, not only in education but also in the communication and philosophy sectors among the world academia discourse. Intercultural Education appeared in America in the 1930s and also in the 1970s in Europe, in order to improve relations between immigrants and the people who received them. Intercultural communication arose in America as a cultural education program for American diplomats and professionals, while interculturalism appeared in the 1970s in Canada as a policy in opposition to multiculturalism. Intercultural philosophy started in 1990s Germany as philosophical speculation against Eurocentrism. As such, the adjective intercultural has been used with a combination of diverse nouns. In regards to this, one can ask the following questions: did the scholars have any kind of agreement during their discussions? Did they communicate and make a positive impact on each other? If not, how can we interpret their common use of the word intercultural? To answer these questions, we tried to compare fives types of intercultural waves of the 20th century, paying particular attention to their time periods, places and backgrounds of appearance, their emphases and shortcomings. Following our research, we found that intercultural waves in the 20th Century have developed independently despite their common use of the word intercultural. Therefore, we concluded that the use of same word intercultural was the result of humankind's effort to approach cultural differences in a positive way in the global village created by internationalization and globalization of the 20th century.

• English & American cultural studies
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• v.13 no.1
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• pp.83-103
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• 2013

This paper focuses on the function of suicidal images in the history of art including literature. Death has been romanticized or repoliticized into an existential act of defiance and rebellion in literary works, so questions remain about the correlation between literary suicide and the essence of suicide. Although Jacques Ranciere insists that the order of art contrasts with the order of common people whose acts and gestures can express either their specific purposes nor the rationalities of their frustration, literary suicide reflects the outside life of readers. In fact, images of suicide produces the order of things about the real world. William Shakespeare's Hamlet handled two oppositional self-murder significantly. As Ron M. Brown pointed out, Hamlet, by choosing confrontation, seeks out an end which is voluntary, thus he avoids self-destruction and feels triumph of heroic fashion. Ophelia's self-chosen death stems from loss, frailty and the disintegration of reason, which demeans the act and diminishes her from the tragic to the pathetic(16). In the $19^{th}$ century, the resurrection of Ophelia acted as the context for later periods where life itself is fictionalized from the differing periods of network of signifier and texts. Finally, in Ophelia's case, fiction became life(Brown 285). Her suicidal image was fixed in the Victorian Culture whose visual discourse was strikingly similar to that of the men. Likewise, the ambiguities of the suicide became intertwined with the social, cultural issues of a certain period, and the paradigm of suicide was conformed to the changing needs of successive generations. However, if literary art understands that a European culture grappled with the almost impossible task and coming to terms with this strangest and most persistent of phenomena, it will be able to focus on of the multi-layered suicide by recognizing the inherent instability of the verbal sign which cannot reveal the design and grammar of truth.