• Korea Journal of Hospital Management
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• v.12 no.4
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• pp.45-67
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• 2007

This study is focused on the medical services market in china which would be the largest one in the world sooner or later. An empirical research has been performed on the country images and related buying attitudes of the Chinese potential consumers for foreign medical services of more higher level. Upon the basis of this research results, the components of a country image has been restructured and the country image effects on the process of a purchasing decision of the advanced foreign medical services in China has been investigated and analyzed. This research shows that the forming process and the dimensions of a country image in Chinese consumers are rather simplified than the former researches of the same kind in any other countries. In China the expectation and buying intension for foreign medical services is found to be affected directly by a country image. Furthermore among various components of a country image the expected service quality level of the Chinese is found to be mostly dependent on the social stability and safety rather than on the degree of economic developments. Recently breaking through the domestic medical market crisis, more and more hospitals consider to advance into Chinese medical market. This research shows that the reexamination and political concerns on the country image of Korea are needed in the level of government's public relations. Especially the proactive policy making and propaganda of political, social and economic stability and safety in Korea are thought to be more important for successful entry in Chinese medical services market.

• Korean journal of communication and information
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• v.40
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• pp.80-113
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• 2007

This study aims to describe the brief history of war reporting by Korea press and investigate the problems and reform measures of war coverage suggested by journalists who have experienced and covered the war. Although Korea press had 50 year war reporting history, it lacks knowhow about war reporting and systematic support for war coverage. Its main reason is that Korea press tend to dispatch war correspondents habitually without training them sufficiently. In addition, war journalists cover the war based on their environment and personal experiences. Dispatching journalists who have few experiences in war reporting to conflict region is another problem of war reporting by Korean press. To overcome these problems, Korea press need to manage journalists' pool who are well informed of or accustomed to Islam culture and region. Cultivating experts who are familiar with international issues or troubles are also necessary for vivid war reporting.

• Lingua Humanitatis
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• v.1 no.2
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• pp.197-217
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• 2001

The literary products of Authors Under the Service of the Army during the Korean War have been neglected on the whole because of the perception that they were little more than war propaganda. The majority of the works (poetry, serial novels, and short stories) Published by these authors in various Army publications such as Junsunmunhak (Literature of the War Front) and Comet, as well as in regular literary periodicals, supports this perception. Most of these works convey simplistic emotions and stereotypes that project untroubled patriotism and strongly antipathetic sentiments against to the Communist North. The appointed leader of this group, Dock-Kyun Choi regarded the pen as another form of weapon to be used against the Communists in the North, and did not shy away from describing in graphic details the atrocities committed by his enemies. But what truly deserves our attention is the fact that many of the same authors who wrote highly propagandistic works also wrote works that can only be described as antiwar. In these works are depicted as faithfully as possible the human sufferings of the war. These works resist and even question the very ideologies that have brought about the conflict, focusing instead on the dark side of the war -the horrifying deaths, the separation of families, and the displacement of people from their homes, How we are to interpret this ambivalence in many of these authors is a task that remains to be carried out. We must approach these works with more seriousness and begin by comparing them with similar products from authors under the service of the Navy and the Air Force during the Korean War.

• Journal of architectural history
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• v.27 no.2
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• pp.125-138
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• 2018

During the 1950s, the North Koreans rebuilt their capital-Pyongyang-as a modern city under the principle of Soviet urban design. One North Korean architect, Kim Jung-hee, has been widely credited since the late 1980s as the master architect of the General Plan of the city's reconstruction. While Kim Jung-hee played a crucial role in its reconstruction, his heroic image as the founding architect of Pyongyang is considerably attributed to North Korea's mythical narratives rather than his historical activities. This paper argues that Pyongyang's postwar urban design was not a work made by a single actor, Kim Jung-hee; rather, it was a long-term collaborative project in which a team of North Korean architects and Soviet technical advisors took their respective roles. Beginning in the late 1980s, North Korea, which had been struggling with economic decline and an increasing sense of lagging behind in its rivalry with its Southern counterpart, used heroic narratives during the 1950s' postwar reconstruction period as an important propaganda tool for their regime. In this mythical narrative of Pyongyang's reconstruction, massive economic and technical aid from other communist countries has often disappeared, and the memory of the architects who contributed greatly to the reconstruction but later purged in North Korea have also completely vanished. Kim Jung-hee, meanwhile, remained in this epic as the founding architect who rebuilt the city in faithful accordance with the leadership of Kim Il Sung.

• Informatization Policy
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• v.20 no.2
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• pp.73-90
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• 2013

Rational debate and public conversation in the public sphere of social network are crucial conditions for realizing deliberative democracy. However, negative communication can occur online more frequently than in the real space, and mutually hostile messages are appearing. In the electoral process, citizens combining for particular candidates have made personal attacks against, abused and slandered the opposing candidates. Then, how and to what degree has the flaming behavior been appearing in the elections? Are there influencers to propagate the flaming behavior? And how flaming are these influencers, compared to internet users? This research focuses on the flaming behavior which occurred during the reelection for Seoul Mayor, in order to diagnose the role of social network as an online public sphere. This study analyzes the spreading degree of flaming messages depending on each issue, and the differences of messages between influencers and normal users. There was frequent flaming behaviors to distribute biased information which criticized, laughed at and maliciously attacked individual candidates. Moreover, influencers who advanced leading opinions, displayed a higher flaming degree than normal users.

• Journal of the Korean Institute of Landscape Architecture
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• v.13 no.2
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• pp.13-26
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• 1985

^x The enviroment defines the living conditions for people and has at the same time the possibility to create new environment. In Korea, where the rate of urbanization reached more than 50% in 1970′s the priority has been put on the economic development and administrative function. Under the circumstance, visual environmental field was dealt lightly and it resulted in undesirable environment. The techniques of Mordern Arts (Montage, Depeysment, Tromp L′oeil, P.O.P Art, etc.) helped Super Graphics appear in the urban areas. Environmental Art has been expended into the public space and people came to recognize the Arts as the "Street Art" or "Street as Gallery". Super Graphics has four types 1) Resident′s Super Graphics ; Minority groups came to maintain social equality and rights, in cooperation with each other. Such maintenance required general urbanites to form communities which gave birth to the community art, Mural Painting. 2) Environmental Super Graphics ; Beauty has come to be stressed in order to improve the quality of urban lives in the course of inescapable urban development. Instead of renewal of all established construction conservation oriented renewal was encouraged. 3) Super Graphics as Population Arts ; In the 1960′s artists repulsed the establishments in an efforts to open new phase independent from the expressional in the arts. They recognized the relationship between painting, society and the public in different angle and tried to describe all living space on canvas. 4) Super Graphics as Advertisement ; Super Graphics functions as efficient media to deliver images to the urbanites. Super Graphics as media plays the role for political propaganda and commercial advertisements according to their purposes. In Korea, especially, it is required to introduce the environmental Super Graphics. But it is desirable to introduce Super Graphics with Korean culture and sense of beauty. Designers themselves are also required to have responsibility to improve the quality of urban culture.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.4
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• pp.14-21
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• 2016

This article explores Changgyeongwon's spatial and cultural characteristics that were created there as the first modern urban park in Kyeongseong in the Japanese colonial era. First, in point of comparison regarding a colonial historical view, the study tried to understand the background of Changgyeongwon's establishment as well as three aspects of Changgyeongwon's characteristics as a modern urban park. The study found that; First, foreign envoys and high ranking members had visited Changgeongwon in the early opening period. This shows that this site was a park for foreign propaganda and modern display. Second, Changgyeongwon was altered as a place of enlightenment in the 1920s. This is related to the tendency of Changgyeongwon's increasing popularity around this period. More facilities and events particularly for women and children were offered at that time. Third, investigating the historical records, Changgyeongwon's cultural characters as a park are discussed. Changgyeongwon was an important place creating a modern park culture in Kyeongseong in the colonial era.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.171-196
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• 2012

In der vorliegende Arbeit wird die neue politische $M{\ddot{o}}glichkeit$ des Theaters untersucht. Wie die politische Propaganda, die Volk mit den absoluten Dogmen zu ${\ddot{u}}berzeugen$, immer seltner geworden ist, haben die alten Versuche des Theaters, ein Publikum mit einem Botschaft $aufzukl{\ddot{a}}ren$ und zu ${\ddot{u}}berreden$, ihre ehemalige ${\ddot{U}}berzeugungskraft$ verloren. In der heutigen Welt kann Theater leider nicht als eine moralische Anstalt mehr funktioniert. An diesem Endpunkt, wo Theater heute anzukommen scheint, gibt es aber auch Versuche, Theater auf neue Weise politisch zu machen. Es handelt sich hier $nat{\ddot{u}}rlich$ nicht um Wiedergabe einer ideologischen Diskurs mehr, sondern um die $St{\ddot{o}}rung$ der Wahrnehmung der Zuschauer durch das $Enth{\ddot{u}}llung$ des Anderen, den die System des Neo-liberalismus $verh{\ddot{u}}llt$. Damit der Anderen aufgezeigt wird, machen die verschiedene theatralische Experimente die $B{\ddot{u}}hne$ zu einem leeren Raum, indem sie den $gew{\ddot{o}}hnlichen$ dramatischen Rahmen zu $zerst{\ddot{o}}ren$ versucht. In diesem Raum wird die Vorstellungskraft der Zuschauer erst aktiviert, dadurch die Zuschauer selbst entscheiden $k{\ddot{o}}nnenn$, was sie verstehen $m{\ddot{o}}chten$ und wie sie sich dazu verhalten sollen. All diese Prozesse $m{\ddot{u}}ssen$ die Zuschauer auch als Individuum konstruieren. Die von tradtionellen Theater $getr{\ddot{a}}umte$ Zuschauergemeinschaft, die der Botschaft aus der $B{\ddot{u}}hne$ $gleichm{\ddot{a}}{\ss}ig$ zugestimmt hat, ist daher nicht mehr da. Im heutigen Theater handelt es sich um jeden Zuschauer, der selbst aktiv handelt. Solche Subjekt ist die echte demokratische, die in der heutigen politischen Wissenschaft mehrmals betont wird.

• Journal of English Language & Literature
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• v.64 no.3
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• pp.453-468
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• 2018

Nat Turner's rebellion in 1831 was considered pre Civil War South's most dreadful nightmare due to the merciless murder of white slave owner victims. The motive of vengeance has been emphasized as that of Turner's notorious black preacher religious fanaticism. However, the recent film, The Birth of a Nation (2016) directed by Nate Parker, utilized the identical title of a film (1915) directed by D. W. Griffith. Providing limited evidence, information about the rebellion in Thomas Gray's pamphlet The Confessions of Nat Turner (1831), was the only accessible historical source for the factual event of the slaves' rebellion. In addition, William Styron's The Confessions of Turner (1967), a fictionalized biography, also examined Turner's life in the harshness of slavery. Although these two texts deal with the personal level of Nat Turner's rage and religious enthusiasm, both provide only fractured parts of the motive of vengeance. Strikingly, Parker's film interrogates the ideology of "victims," as well as the hierarchical term of "confessions," with their different positions between whites and blacks. More specifically, Parker's film offers discursive fields of proslavery arguments regarding biblical interpretations in addition to external visualization of slaves' inner emotional lives. The film demonstrates how the institution of slavery allowed slaves to be exploited, beaten, raped, through interrogating the problematic image of the "contested hero" Nat Turner. In contrast to the traditional image of blacks' bloody rebellion, the film underlines the absurdity of certain Biblical misinterpretations. It furthermore implies how the 1915 film manipulated proslavery propaganda in America.

• Journal of English Language & Literature
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• v.55 no.2
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• pp.315-335
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• 2009

Controversies over W. H. Auden's "political" poetry remind us of an old but perhaps never easily resolved problem about the relationship between poetry (literature) and politics. Auden has arguably been referred to as a "leftist" or "Marxist" because of his political viewpoint registered in "Spain" or "September 1, 1939," which embodies his contemporaries' loss and fear, brought by the socio-political turmoil, economic depression, and moral conflicts of the 1930s. Interestingly, however, Auden is known to have an ambivalent position toward the political reality. He once disavowed the above "political" poems as "dishonest" in the preface of the 1966 edition of Collected Poems and declared, "poetry makes nothing happen" in "In Memory of W. B. Yeats," which seemingly acknowledges the political incapacity of poetry. Auden's position and poetry should be understood as the result of complicated interactions between his perspectives on society, human beings, and poetics. Auden definitely believed in the role of poetry in such a politically demanding time, yet was not concerned with the anticipation of certain immediate changes effected by poetry in real situations. Instead, he sought the intellectual and moral effects that poetry could give his readers to help them survive the dismal circumstances of the 1930s. This is what distinguished Auden's poetry from political propaganda. In doing so, Auden's poetry captures the zeitgeist of his generation and has privileged him as the leading voice of his time, but it has also encouraged the following generations to confront different socio-political difficulties. This is something poetry can make happen politically, and the survival of Auden's "memorable speech" proves the legitimacy of his frequently misunderstood poetics.