• Journal of Contemporary Eastern Asia
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• v.17 no.2
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• pp.237-253
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• 2018

In order to understand China's internet governance, this paper examined 1,931 Internet policies of China by bibliometric techniques. Specifically, the bibliometric techniques include simple document counting, co-word analysis, collaboration network analysis and citation analysis. The findings include: (1) China's Internet legislations mainly emphasized e-commerce and Internet governance, and, to some extent, neglected personal data protection; (2) China's Internet is under intensive multiple regulatory controls by central government. A large number of government agencies are involved in Internet policy-making. The Propaganda Department of the Central Committee of the Communist Party of China and the State Information Leading Group of the State Council, enforced fewer policy documents, but occupy higher positions in the Internet governance hierarchy; (3) China's Internet legislation system is primarily composed of industry-specific administrative rules, rather than laws or administrative regulations. Nevertheless, laws and administrative regulations received significantly more citations owing to their superior force. This paper also discussed current gaps in China's internet governance and how the country's internet policies are situated in the broader global context.

• Journal of Public Diplomacy
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• v.1 no.2
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• pp.49-74
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• 2021

In this paper, I applied grounded theory in exploring how Twitter became the battlefield for China's public diplomacy campaign. China's new move to global social media platforms, such as Twitter and Facebook, has been a controversial strategy in public diplomacy. This study analyzes Chinese Foreign Spokesperson Zhao Lijian's Twitter posts and comments. It models China's recent diplomatic move to Twitter as a "war of words" model, with features including "leadership," "polarization," and "aggression," while exerting possible effects as "resistance," "hatred," and "sarcasm" to the global community. Our findings show that by failing to gage public opinion and promote the country's positive image, China's current digital diplomacy strategy reflected by Zhao Lijian's tweets has instead constructed a polarized political public sphere, contradictory to the country's promoted "shared human destiny." The "war of words" model extends our understanding of China's new digital diplomacy move as a hybrid of state propaganda and self-performance. Such a strategy could spread hate speech and accelerate political polarization in cyberspace, despite improvements to China's homogenous network building on Twitter.

• Journal of Korea Multimedia Society
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• v.24 no.7
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• pp.922-932
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• 2021

This thesis mainly studies the impact of short-term memory in VR tour games on users. The thesis is based on VR tour games and short-term memory, using the literature research method, the practical research method, and the investigation method. First, the author designs and makes VR tour games on the Beijing-Hangzhou Grand Canal, and then conducts a questionnaire survey and designs a control experiment. The experiment explores the differences of the short-term memory level of individuals between the normal environment and the VR tour game environment. It verifies whether the influential hypothesis proposed by the research is correct. Research conclusions show that: VR tour games have an impact on short-term memory. Compared with the normal environment, the subjects have better performance in the VR tour game mode and can maintain a high short-term memory level for a longer time. Its conclusions should promote the cultural propaganda of scenic spots and provide theoretical support for tourists' short-term memory of scenic spots culture.

• Journal of English Language & Literature
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• v.57 no.6
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• pp.1173-1198
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• 2011

In this paper, I discuss Chaucer's Clerk's Tale by viewing the relationship between Walter and Griselda as that of a medieval translator and his translation. My major concern is how a medieval translation can serve power, more specifically the consolidation of power under particular historical circumstances. The motive and the process of Walter's creative translation of Griselda are closely examined to show that his translation, which includes a creation of a new Griselda as a pinnacle of wifely virtue of patience, is performed as a form of political propaganda, ultimately aimed at strengthening his governing power over his people and land. My discussion of the Clerk's Tale ends with the comparison of the two translators, Walter and the Clerk, the latter of whom is an example of an unsuccessful translator for his lack of creation in the translation.

• Archives of design research
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• no.18
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• pp.113-121
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• 1996

Persuasion is one of the attractive channels to enhance the relation between markerters and consumers and deliver the true communication on products to the consumers. This arctic tried to examine the symbolic meaning system as a way of maximizing the visual communicational effect of persuasion, the efforts of marketers who are trying to utilize the psychology of the mass that consume the symbol rather than products and the symbol system as a mean of propaganda were analyzed as well. People in modern age, in general, place more value on the emotional assoessibility than the efficiency of the product, As a result, the ways of expression of propaganda approaching the mass are in the process of gradual change, which was another theme this article tried to explore. Ames sied that the human preoeption has a tendency to perceive things in some organized pattern, which can be applied to even untransparable and meaningless image. Human beings don't perceive what there is but what, thery believe there to be, and his peroeption are channelized by the opportunity of the past, his peroeption are channelized by the opportunity of the past, his experience of the environment, and the history of learning. To say another word, people not only recognize the objective form but also accept the inside meaning of the visual object. Their reponse to the visual object, therefore, include personal cognition, judgment, and attitued. The communication in visual design reveals the culture, society, and art in a complex symbol, and make synthetic cultural interpretation possible. It's pretty attractive, effective, and reasonable method to use symbolic meaning system as a way of persuasion. It is because communication means whole process from receiving and delivering the information and message to making common meaning system, to measuring the effect of the behavior change.

• The Journal of Art Theory & Practice
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• no.6
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• pp.27-50
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• 2008

This thesis examines contemporary Chinese painting after the Cultural Revolution(1966~76), focusing upon so-called "Chinese Pop art", which I termed as "Socialist Pop art". I considered the art of this period within the broader context of social changes especially after the Tienanmen incident of 1989. After the Cultural Revolution during which idolization of Chairman Mao was at its peak, one of the major changes in communist China was that an anti-Mao wave was generated in almost every social class. For example, novels that revealed the hardships during the Cultural Revolution were published. Posters that openly criticized the Maoism were also produced and displayed on the walls, and demand for democracy spurred widespread activist movements among young generations. These broad social changes were also reflected in art. A variety of art movements were introduced from the West to China, and after a period of experimentation with the new imported styles, artists began to apply the new artistic idiom to their works in order to visualize their own social and political realities they lived in. It was a shift from earlier Socialist Realism to a new expression either directly or indirectly, "Socialist Pop", an amalgam of Socialist Realism and Pop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communist government quelled with brutal measures the students, workers, and ordinary people who rose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This time coincided with the gradual emergence of art using Pop art vocabulary to satirize the social reality, the Socialist Pop art, along with many other art forms all with avant-garde spirit. One of the most frequent subjects of Chinese Pop art was visual images of Chairman Mao and his Cultural Revolution, and new China that was saturated with capitalism, which tainted the Chinese way of life with a Western way of consumerism and commercialism. The reason for the popularity of Mao's image was spurred by the "Mao Craze" in the early 1990's. People suddenly began to fall in a kind of nostalgia for the past, and once again, Mao Zedong was idolized as an entity who can heal the problems of modern China who had been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is no more an object of worship of almost religious nature but he has become an iconography symbolizing the complex nature of present Chinese society. During this process of depicting the social reality, Chinese artists are making the authority and sanctity of Maoism ineffective. Dealing with this new trend of contemporary Chinese art in view of "Socialist Pop art" two manners of re-creating Pop art can be illustrated: one that incorporates the propaganda posters of the Cultural Revolution; the other borrows from Chinese traditional popular imagery or mass media, such as photos taken during Mao era. What is worth mentioning is that these posters and photos of the Cultural Revolution can be identified as 'popular' media, as they were directed to educate the popular mass, thus combination of this ingenuous pop media with Western Pop art can be fully justified as a genre unique to China. Through this genre, we can discover a new chapter of the Chinese contemporary painting and its society, as their Pop art can be considered as self-portraits true to their present appearances.

• Korean Journal of Legislative Studies
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• v.23 no.1
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• pp.187-226
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• 2017

North Korea discourse is doubtful. A considerable portion is distorted under political objectives, group identity, and interests. Surely, there are facts based on North Korea's conducts. Apparent deceptions commonly exist as well though. Korean media does not endeavor to set the records straight and there are no revision towards mislead information. This is substantially dangerous as it can misjudge North Korean policies, beget national antipathy, and interferes with rational and constructive policy making. This study stems from such concerns and takes such cases as HEU(Highly Enriched Uranium) suspicion of 2002, dispute covering BDA(Banco Delta Asia)'s counterfeiting, and the abandonment of the Geneva Agreed Framework into consideration. The first part concentrates on fathoming the truth of the three cases. References from US government, academia, think tanks, media were inquired with an addition of secondary material from Korea and China. Secondly it examines whether domestic news properly reflects the precedent facts along the process of discovery. The cause and solution suggested by domestic media were organized and inductively reconstituted to frames. The last study questions the structural factors that reproduces suspicion analogs. Today's dangers facing Korean society are essentially not natural but artificial. This research hopes to foster peace by analyzing related discourses that are infamous to reinterpret reality.

• Journal of Korean Philosophical Society
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• v.137
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• pp.409-438
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• 2016

The movie, Battle of Wits which is based on the cartoon by Morihideki(森秀樹) is directed by Zhang Zhiliang(張之亮), a director from Hong Kong. Morihideki's cartoon is based on the novel by Sakemikenichi(酒見賢一). The movie represents a successful one-source multi-use case. Battle of wits, which deals with the Mozi's propaganda against war, presents the thought of Mozi School(墨家) in spring, autumn, and warring states. The movie criticizes aggressive war by powerful nations. Aggressive war is an extreme form of brutality and worthless action without any benefit. Aggressive war represents 'never each love(buxiangai, 不相愛)' and 'never each benefit(buxiangli, 不相利)' as understood by Mozi. The main character of the movie endeavors and successfully defends the enemy's attack as Mozi did. It is due to the propaganda of Mozi School 'not to attack(feigong, 非攻)' that they can defend themselves from the attack from a powerful nation. It means that 'the universal love(jianai, 兼愛)', the ideology of Mozi, is concretely actualized. The philosophy of Mozi School in the Battle of Wits has its limits as follows: the thought of Mozi School is just suitable during times of war and unnecessary in times of peace, the contradiction between universal love and hatred for one person; the Mozi School's faith in the nature of human beings to confront betrayal. This limit was also proposed in the movie. However, the movie presented how the masculinity of Mozi School, supplemented by the feminity of Daojia(道家), can succeed in achieving genuine communication. When focusing on this point, the movie can be interpreted as biased towards the philosophy of Daojia.

• Journal of the Korean Society for Library and Information Science
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• v.53 no.3
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• pp.291-315
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• 2019

The aim of the present study was to compare the research trends on disinformation between Korean and abroad. To achieve this objective, a total of 283 author-assigned English keywords in 104 Korean papers and 3,551 author-assigned English keywords in 861 abroad papers were collected from the whole research fields and the publication periods. The collected data were analyzed using NetMiner V.4 to discover their 'degree centrality' and 'betweenness centrality'of the keyword network. The result are as follows. First, the major research topics of disinformation in Korea were drawn such as 'Freedom of Expression', 'Fact Check', 'Regulation', 'Media Literacy', and 'Information Literacy' in order; whereas, in abroad were shown like 'Social Media', 'Post Truth', 'Propaganda', 'Information Literacy', and 'Journalism' in order. Second, in terms of the influence of research topics related to disinformation, in Korea were identified such as 'Fact Check', 'Freedom of Expression', and 'Hoax' in order; whereas, in abroad were shown such as 'Social Media' and 'Detection' in order. Finally, in an aspect of intervention of research topics related to disinformation, in Korea were 'Fact Check', 'Polarization', 'Freedom of Expression', and 'Commercial'; whereas, in abroad were 'Social Media', 'Detection', and 'Machine Learning' in order.

• Journal of Popular Narrative
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• v.25 no.2
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• pp.33-69
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• 2019

This thesis aims to reveal the meanings of SF as a genre in Korea. Most of the studies on the characteristics of SF novels in Korea have revealed the meanings of characteristic elements of SF, or peripherally reviewed the characteristics of works. However, these methodologies have a limitation, such as analysis through the existing methodologies, while overlooking the identity of SF texts with the characteristics as a genre. To clearly define the value of texts in the SF genre, an understanding of the customs and codes of the genre is first needed. Thus, this thesis aims to generally handle matters like the historical context in which Korean SF was accepted by Korean society, and the meanings and characteristics when they were created and built up relationships with readers. In addition to fully investigating SF as a popular narrative & genre narrative that has not been fully handled by academic discourses, this thesis aims to practically reconsider the present/future possibilities of SF, which is currently being reconsidered given that the scientific imagination is regarded as important in the 21^st century. This thesis considers the basic signification of Korean SF texts in academic discourses. Through this work, numerous Korean SF that have not been fully handled in the area of literature and cultural phenomena will be evaluated for their significance within the academic discourses, and also reviewed through diverse research afterwards. As a result, this work will be helpful for the development of discourse and the expansion of the Korean narrative area that has been diversely changed since the 21^st century.