• International Commerce and Information Review
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• v.8 no.3
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• pp.43-69
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• 2006

All the factors related in education of Korea are very important in the aspect of economic development. The numbers of students being in school from kindergarten through university approximate a quoter of Korean people. Nevertheless paradigm of commercialism in education has been excluded completely in discussion by the reason of 'educational objective' of education fields in Korea. So Korea's educational services have been confronted with various problems which could hardly be solved, and have lost global competitiveness with the development of globalization. The purpose of this paper is to examine the commercialism of educational services by analysing various social phenomena and government policies relating to educational services in Korea, and to find some alternatives which are able to introduce commercialism on educational fields in Korea. Methodology of this paper depends on the theoretical analysis. Major findings of this study can be summarized as follows: First, notwithstanding that the relative importance of education is the same to that of economy in Korea, the providers of educational services in Korea are against their commercialism problems. Second, it is suggested that the stereotyped idea, that is, the commercialism in educational services be excluded, should be removed above all. Third, in order to improve the competitiveness of educational services in Korea, it is recommended that the commercialism be recognized in a part and various strategies such as the s-SCM, educational service marketing, etc. be introduced. Fourth, we have to prepare for globalization of educational services through making the educational industry to exporting services.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.3
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• pp.217-233
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• 2012

Placeness forms the traits unique to certain areas inducing people to visit there and purchase goods related to the place. The purpose of this study is to survey fashion images linked with placeness, by examining on-line and off-line fashion goods which claim the placeness. Hong-dae area in Seoul is selected for the case study, and the fashion goods claiming Hong-dae style or Hong-dae fashion are selected in order to analyze the fashion images. Hong-dae area, which was known for its art scenes and small restaurants in the 1980s, has been flourished its postmodern style cafes formed as yuppies-style consumer space in the 1990s. Foreign influenced subcultures were adopted, mimicked and mixed. Afterwards, dance clubs and live clubs gathered around this area. Recently, various local events to enhance the place identity such as "freemarket" and festivals are hosted by the local community. Based on the historical and regional background, the placeness of Hong-dae area is characterized with its artistry, counter-culturalism, and commercialism. The fashion images related of Hong-dae area fashion can be characterized as avant-garde image, art & craft image, kitsch image, vintage image, sexy casual image, and pop art image. The avant-garde image and the art & craft image are related with altistry and counter-culturalism. Kitsch image is related with the artistry, counter-culturalism, and the commercialism. Vintage image is related with artistry, counter-culturalism and commercialism. Sexy casual image is known to have commercialism of Hong-dae area, while Pop art image has its artistry and commercialism.

• International Journal of Advanced Culture Technology
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• v.5 no.1
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• pp.32-39
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• 2017

The ideology of space development can be classified into three types: national security, scientific inquiry, and commercialism. Korea and Japan have influenced the space development innovation system by different proportions. In the rhetoric analysis of Kim Young Sam, Kim Dae Jung, Roh Moo Hyun, and President Lee Myung Bak, the periods when Korea's space development began in earnest, the pragmatism (commercialism) of strengthening industrial competitiveness through space development has been consistently emphasized. But it also maintains national security and scientific inquiry as ancillary.

• Korean journal of communication and information
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• v.56
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• pp.26-47
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• 2011

Commercialism of journalism adheres to short-term profit, and the decrease in quality. Commercialization means the process that is deepened low quality of journalism. It is for a purpose and a means to have been transposed. The mid term of 1990's, deregulation of media and commercialism of journalism were gaining power in the developed countries. Korea has come to the similar condition which is most laws of press and broadcasting are deregulated. There is also concern to the commercialization of journalism in Korea. Four broadcasting channels (cross-ownership media) enter in media market, and a huge change is expected. It is for concern regarding commercialization of journalism not to stop to a baseless anxiety. In order to consider more deeply the problems of commercialism, I have approached instances of the art world and the developed countries. Through this, I declared the importance of ethics of journalists.

• Journal of the Korea Furniture Society
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• v.12 no.1
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• pp.91-101
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• 2001

This study explored the trend of postwar period American furniture design and analyzes the contexts of the trend. To be more specific, this study categorized the types of the styles or "looks" of furniture which were dominant in postwar period America: the machine look ; the handicraft look ; the biomorphic look. The background and the context for each look were traced back and analyzed both diachronically and synchronically. Based on the analysis, this study provided two conclusions. First, postwar period American furniture design is in many ways indebted to the World War II, because the war itself and postwar economic revival produced high demands for furniture, which consequently produced a variety of looks of furniture. Second, the furniture design in this period is attributed to commercialism and consumer-oriented design policy formulated in the mid 1920′s when American design established its own identity separating from European avant-gardism.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.58-67
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• 2006

This study of popular culture is in based on an academic point of view and based thereon an investigation of popular culture from a fashion standpoint follows. This study is to suggest that the popular culture theory can be a basic framework to examine the characteristics of fashion Icon and to verify that the characteristics of Fashion Icon is similar to the codes of the popular culture of today, This study considers the characteristics of popular culture as commercialism, mass-media relationship and a symbolic interaction. The images of movie stars projected through diverse entertainment media are the very fashion icons and strong role models that are copied by consumers. Now, the public take the lead in cultural industry, and they create new images as positive receivers of the images of fashion icons, not as mere imitators or followers. Fashion irons have contributed to diversifying the styles of ideal feminine beauty, and their lift pattern and image are one of the major sources to stir up the imagination and inspiration of people. Thus, the times, fashion and entertainment media have continued to evolve, closely affecting one another, and fashion icons play a role of fashion leader, through entertainment media, who takes the initiative in mass fashion without just being confined to the field of entertainment. This study meaningful from the aspect that discussion of popular culture has been placed in a position that recognizes the entity of and interest in popular culture. through this study, I hope that the scope of interest in Fashion design will expand and that approaches to popular culture will become more diversified.

• Archives of design research
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• v.16 no.3
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• pp.33-40
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• 2003

With the view of an art history, 3D Animation is one of the media that was anxiously solved the issue of time and space by traditional painters, however it still could not acquire the proper position in the art field due to compromising commercialism. This is the result of devaluating for the possibility of art itself and it is only a matter of the range to apply 3D animation. In order to obtain a proper position for an art genre, previously it can be focused on how to visualize the 3D animation from our perceptions. 3D animation should not ding to the realism, it can be understand in the way of a narrative relation between the description of objects and the objects itself, further more it will be illustrated as whole units. After the aesthetical reflection, 3D animation production can be defined as an art genre and also independent from commercialism. Therefore this paper is the first step for improving 3D animation as an art and trying to discuss the way to observe 3D animation.

• Journal of the Korean Society of Costume
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• v.54 no.4
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• pp.1-14
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• 2004

This study suggests the popular culture theory as a basic framework to find out the characteristics of contemporary fashion show meeting the popular culture, and describes that the show is the popular culture of this generation. The culture is the way of our life unifying the world at common area of human being. The popular culture is to subdivide it into the public culture that shares aesthetic taste, and to borrow each other and develop it mutually because of the collapse of dichotomous boundary with high quality culture, and to represent the people’s thought and behaviour expanding their areas. The author has examined the characteristics of popular culture of modern fashion show by four collections, that is, commercialism, mass media, political relationship and interaction, etc： Firstly, at the commercialism, the fashion show combines it with other genre organically to do mass production and sales and produces cultural consumption goods supplying a lot of sight-seeing. Secondly, at the mass media, the image of contemporary fashion show has been spread out with mass media such as fashion magazines, cable TV and Internet beyond time and space to produce advertisement effects and makes new fashion and bring democratic culture. Thirdly, at political relationship, the fashion in its peak can make a big stream of wealth, so that it plays important roles under governmental regulations in this era and governments make efforts to support and develop it. Lastly, at interaction, the fashion show shares media functions to let users participate in the program and to exchange information as a feedback to influence each other.

• Journal of English Language & Literature
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• v.55 no.3
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• pp.415-427
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• 2009

Woolf s preoccupation with the interplay between gender, commercialism, and the modern city is exposed in higher relief by her feminist remapping of the city through a discourse of fl nerie, which is epitomized in her singular urban travelogues such as Street Haunting and The London Scene essays. A fanatical London-adventurer herself, she assumes the persona of the fl neuse in exploring the street of modern London and especially the public sphere of the marketplace, as represented in Oxford Street Tide. Living and working in the quarter of Bloomsbury, in close proximity to the capital s famous sites of tourism, entertainment, and mass consumption, Woolf was placed at the heart of urban spectacle. In spite of the lack of critical analysis of this high-profile writer s interest in such quotidian matters as shopping, fashion and appearance, which would be informed by a hierarchy of value within literary criticism, it seems that they are inextricably intertwined with her quest into more serious-minded topics that revolve around the twin pillars of her literary project: feminism and modernism. Her essays, in particular, suggest this point in one way or another, mirroring her extraordinary susceptibility to such concerns. For Woolf, street sauntering is synonymous with an act of creative mobility, by which she plays with the notion of shifting identities, rediscovers the urban rarities and splendors, and ultimately pins them down in her literary output. By adopting the identity of a masterly rambler/observer/explorer with an omnipotent gaze, she firmly anchors herself as an active interpreter of urban modernity and viewer of its spectacle. She thus challenges the idea of public space as a male domain, which is central to the classic androcentric discourse of loitering, spectatorship and urban modernity.

• International Journal of Contents
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• v.6 no.2
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• pp.28-32
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• 2010

Reports on the Korean culture's gaining popularity among foreign audiences have filled the Korean news media for more than a decade by now. On the other hand, some observers have begun to argue that the hyper-commercialism has brought the Korean cultural industries to a crisis. By examining a brief history of U.S. commercial media system's global spread, this paper makes an effort to understand the Korean media industry within an international and historical framework. Secondly, it analyzes the processes of Korean media industry losing its competitiveness following the Korean Wave success. Based on the research findings, this paper warns against the potentially detrimental effects of commercial media system.