• Lingua Humanitatis
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• v.1 no.2
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• pp.141-158
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• 2001

Criticism of today finds itself in an awkward situation, for it is now being transformed in the same way that literature and the arts were transformed by the avant-garde movements at the end of the 19th century and the beginning of the 20th century. It is characterized predominantly by a break with harmony and with the values of realism. As such, it is driven by a post-modem ethos, an artistic, social, and cultural phenomenon that veers toward open, fragmentary, and indeterminate forms. In this paper, I examine today's most urgent social and cultural issues with reference to artistic production and criticism, in order to illuminate the true nature of criticism. The outstanding questions in the world of art criticism are given in five categories: the lack of critical reality in argumentative criticism; the problem of artistic and literary production in global capitalism; the artistic mind and its consciousness of socio-historical ideology; anxiety of the rise of cyberjournalistic criticism; and the question of subordination to western systems in the field of interpretation and criticism. For my analysis, I have tried to formulate a three-dimensional critique structure that will help us organize the relationships between the points of argument: 1) criticism as a creative force behind the artist; 2) criticism as critique of artistic production; and 3) criticism as critique of other critics. This multi-layered structure will be appropriate to our task of interpretation and evaluation, as the proposed complex structure of criticism will be able to embrace the diverse aspects of our problematic argument. In the final analysis, my argument resolves itself into a question of art, more specifically into a question of criticism as a protective device of art in an age threatened by globalization and cultural monopolization.

• The Journal of the Korea Contents Association
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• v.21 no.12
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• pp.713-727
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• 2021

This paper want to examine how Gwanghwamun and its surrounding areas work in the cinematic spaces for Korean films of the 1950s-2010s. First, in Korean films of the 1950s-1960s, Myeong-dong(Namchon), Bukchon, Seochon, and Dongchon are the primitive, perceptual, existential spaces that show the underground world and tragic pathos in the splendid city through intense desires and fatal frustration, the shadows and conflicts of modernization. Second, in Korean films of the 1970s-1990s, Myeongdong·Jongno(Namchon·Bukchon), Seochon and Dongchon are the perceptual, existential spaces that show public revenge and private alienation through the dichotomy of freedom/evil and the dichotomy of wealth/poverty. Third, in Korean films of the 2000-2010s, Gwanghwamun(Seochon), Bukchon, Namchon, and Dongchon are the perceptual, existential spaces that show civil society ethos and gloomy requiem through national agendas, resistance movements, desires and losses, miserable reality and death.

• The Southeast Asian review
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• v.19 no.2
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• pp.173-218
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• 2009

Bring this analysis down to people-centered development perspective and looking through democratization in the Philippines, Thailand and Indonesia, we find similarities and differences among them related with the intensity of conflicts between development and human rights in the process of democratization in line with global transformation. Civil society in the Philippines criticized the developmental path in the Philippines which failed to implement land reform and eradication of poverty under the transition from 'patrimonial oligarchy' to democracy. In Thailand the coalition of military and the royalists had consolidated its power since Sarit military regime, which later paved the way 'hybrid oligarchy' era. Most Thai civil society organizations has regarded their developmental experience rather as 'maldevelopment' which disregarded economic and social rights. It has been especially believed by Thai localists that the stimulation of local markets and the building of autonomic community society will form the alternative economy without going against the conservative banner of nation, religion and king. Thaksin as a populist successfully took advantage of Thai localist ethos in favour of taking the seat of power. He projected himself as a modernizer focused on economic growth and cleaner politics. However Thaksin's procedural legitimacy was overthrown by counterattacking from military-royalist alliance, pretexting that Thaksin caused internal conflicts and lacked morality. Soeharto's New Order regime which can be called 'administrative oligarchy' had an antipathy towards notions of economic and social rights as well as civil and political rights. In spite of the fact that the fall of Soeharto opened the political space for democratic civil society organizations which had long struggled with development aggression and human rights abuses, there have been continuously a strong political and military reaction against human rights activists, NGOs and ethnic minorities such as Aceh and Papua. Nevertheless, Indonesian democracy is more promising than Philippine's and Thai democracy in terms of comparatively less pre-modern legacies.

• Cartoon and Animation Studies
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• s.40
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• pp.397-421
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• 2015

Aristotle's Poetics is the earliest work of dramaturgy. It explains some of the most important narrative notions, for example, Mimesis, Katharsis, Mythos(Plot), Ethos(Character), Anagnorisis and Peripeteia. etc. Aristotle considered the plot which is the arrangement of events, as the most important element of drama. This paper presents an example of a plot configuration as an alternative to the traditional narration used since Aristotle. Dead Island, developed by Techland and published by Deep Silver, is one of the most successful action role-playing survival zombie video games. Its trailer, the Winner of Gold Prize for Internet Film at Cannes Lions International Festival of Creativity in 2011. Since the purpose of the trailer is to attract the audiences/gamers to the film/game, it has generally a similer narrative method from its own works. But Dead Island trailer is different. We treat this trailer as an short animation. It could be a new example of the non-linear narrative by the control of the time for example, temporal arrangement, direction and speed. We analyse all shots of Dead Island's trailer with Poetics' rules and with $G{\acute{e}}rard$ Genette's some narrative notions for example temporal order and duration. Furthermore we look for how to maximize the audiences' curiosity by the adjustment of the time, combined with its shocking images.

• Korean journal of communication and information
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• v.69
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• pp.71-110
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• 2015

Beyond the technological behaviorism-oriented notion of prosumers, the current study explores the question of digital creative labour of the youth in the interrelated context of post-capitalist crisis and neoliberal ethos of selfhood. This analysis is situated particularly in the social conflicts and struggles in Korea, where the problems related to the precarization of the younger generation have been increasingly aggravated (in the realm of embodied reality) whereas their digital activities have been highly expressive (in the realm of mediated reality). The contradictions embedded in the question of the labour of the youth are delineated in the respect of the subjectivities of young free labour, or 'digital creative labour' in proposed terms: the precarious young free labour in Korea is the compound of social fragmentation, economic polarization, expansion of cognitive and emotion labour, boom of hedonistic consumerism, economic-cultural celebration of creativity and self-entrepreneurship, technological saturation of digital media, subjective/collective affects around excitement and ambition but also of anxiety and fear. The ambivalence and complexity of the young free labour is converged at the emergence of homo-economicus (Michel Foucault) through the subjectivation of the social (con)fusion of post-capitalist crisis and neoliberal governmentality of selfhood.

• The Journal of Korean Philosophical History
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• no.35
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• pp.189-222
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• 2012

This study aims to explore Yulgok Yi I(栗谷 李珥)'s political intention through his presenting Seonghakjibyo(The Essentials of the Studies of the Sages, 聖學輯要) to the King Seonjo(宣祖), paying attention to his political situation in early reign of the King. Until presenting the book to the King in December 1576(the 8th year of King Seonjo's reign), Yulgok had been neglected from the political development of the King. So his presenting Seonghakjibyo, which basically professed the perfection of the studies of the Sages(聖學), to the King included another aim to convert the King's negative view on him by synthesizing his political views and appealing to the King. Yulgok's political views are intensively summarized in the book's beginning "Jincha(進箚)" and the final chapter "Seonghyeondotong(聖賢道統)". Through "Jincha", he recalled the past of his political situation during early reign of the King and expressed his own will to participate in the government again by presenting this book that was the summary of his political views. Then through "Seonghyeondotong", he suggested his own specific political opinions to the King as the successor of Taotong(道統) in Chosun by expressing such an ethos that he succeeded directly to Chutzu(朱子). This study firstly tries to identify Toegye Yi Hwang(退溪 李滉)'s presenting Seonghaksibdo(The Ten Diagrams on Sage Learning, 聖學十圖) to the King and Yulgok's successive will on it. Then we will review the times till presenting Seonghakjibyo to the King, 8 years of early reign of King Seonjo when he had been neglected from the political development of the King. Finally we will specifically analyze how his political views are expressed in each beginning and final chapter of the book.

• Journal of the International Relations & Interdisciplinary Education
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• v.4 no.1
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• pp.85-111
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• 2024

Since the release of the 2000 PISA results, Finland's education has consistently been regarded as a competitor or benchmark for South Korea's educational system. However, recent indicators of division, opposition, and discontent within our educational sphere suggest a considerable departure from Finland's ethos of happiness in education. Against this backdrop, this study aims to analyze the trends in Finnish education-related research appearing in Korean academic journals. Utilizing network text analysis, we examined 160 papers indexed in RISS with titles containing "Finland" and "education". Key findings are as follows. Firstly, research on Finnish education has been steadily increasing, albeit showing recent signs of decline. Secondly, the majority of research topics were micro-level, with literature review-based methodologies predominating. Thirdly, a minority of researchers accounted for one-third of the total research output. Fourthly, countries compared with Finland predominantly included neoliberal states such as Japan, the United States, the United Kingdom, Australia, and Singapore. Fifthly, research themes and subjects primarily focused on primary and secondary education, particularly in domains such as mathematics and science, influenced by PISA. Future research on Finnish education should transcend localized and fragmented areas of inquiry, undertaking comprehensive investigations into the processes and history of Finland's happiness-oriented education. Such endeavors are essential for deriving insights crucial for our learning. Particularly, consideration should be given to moving beyond literature-based methodologies, fostering international collaborative discussions facilitated online, and linking the Finnish education community with educators, parents, students, local councils, and governmental stakeholders to collectively discuss and research.

• Journal of the Korean Geographical Society
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• v.51 no.5
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• pp.613-632
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• 2016

The recent diagnosis of the Anthropocene challenges public understanding of nature as a pure and singular entity removed from society, as the diagnosis confirms the earth-changing force of humans. In geography, the nature-society divide has been critically interrogated long before the diagnosis of the Anthropocene, developing several ways of theorizing nature-society relations. This paper introduces a new frontier for such theoretical endeavors: more-than-human geography. Inspired by the material and performative turn in geography and the social sciences around the 2000s, more-than-human geographers have sought to re-engage with the livingness of the world in the study of nature-society relations. Drawing on actor-network theory, non-representational theory (NRT) and vitalism, they have developed innovative ways of thinking about and relating to nature through the key concepts of 'nonhuman agency' and 'affect'. While more-than-human geography has been extensively debated and developed in recent Euro-American scholarship on cultural and economic geography, it has so far received limited attention in Korean geographical studies on nature. This paper aims to address this gap by discussing the key concepts and seminal work of more-than-human geography. I first outline four theoretical strands through which nature-society relations are perceived in geography. I then offer an overview of more-than-human geography, discussing its theoretical foundations and considering ontologies, epistemologies, politics and ethics associated with nature-society relations. Then, I compare more-than-human geography with political ecology, which is the mainstream critical approach in contemporary environmental social sciences. I would argue that more-than-human geography further challenges and develops political ecology through its heightened attention to the affective capacity of nonhumans and the methodological ethos of doing a careful political ecology. I conclude by reflecting on the implications of more-than-human geography for Korean studies on nature-society relations.

• Journal of Christian Education in Korea
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• v.68
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• pp.375-415
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• 2021

Although the interest in Christian education of spirituality has increased recently, the practice of the education of spirituality in the Korean Church has been fragmented in the contents and methods without any clear educational purpose of the Protestant tradition. This requires a creative study to seek out the contents and method best suited to realizing the educational purpose of the Protestant tradition, through a rigorous academic methodology. This study proposes just such a creative model for the education of spirituality with an educational purpose based on the core ethos of the Protestant spirituality, integrating the long tradition of spiritual practices of Christianity. First, I survey the teachings on 'the life of faith' of the main leaders of the Protestant church, including Martin Luther, John Calvin, and John Wesley. Through this process, I reveal 'liberated-ness' to be the common purpose of the Protestant leaders, and the core of the practices for that purpose are 'the means of grace,' which has a different meaning from that of the Roman Catholic tradition. I construct the meaning of 'liberated-ness' in a dynamic manner, which begins with the 'liberating will' of God, and is followed by the 'self-giving will' of the believer as the response to the 'grace' of the 'liberating will.' The contact point of these two 'wills' is what I call 'the living membrane of faith.' As a creative synthesis of the above discussions, I propose a model of 'the practice of liberated-ness' for an education in spiritual practice. The purpose of this education is for the learner to become a person who continuously experiences ever-increasing 'liberated-ness' through continuous personal 'encounters' with God, and to become ever more faithful in carrying out practices for the 'liberated-ness' of her or his neighbors. The relationship between the teacher and the learner is that of personal 'encounter' as put forth by Sherrill, and also incorporates elements of 'co-authorship' as conceptualized by Kim. I transform and rename major practices of spiritual discipline according to a principle of 'liberated-ness' based on the Protestant tradition, and these comprise the main content of my spirituality education model. They include: 'lectio divina of encounter,' 'prayer facing the Lord,' 'service in liberation,' 'reflection of liberated-ness,' and 'mutual spiritual direction.' The teaching and learning process draws on Dykstra's methods of coaching and mentoring. The key environment is that of a 'sacramental community' as defined by Moore. Evaluation can be performed only by the learner her/himself. The significance of this model is that it creatively inherits and succeeds the tradition of Christian spiritual discipline from the early church onwards by transforming it through a Protestant spirituality of 'liberated-ness.'

• Journal of Popular Narrative
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• v.25 no.4
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• pp.159-190
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• 2019

This paper aims to examine to the political unconsciousness of social movies that have caused social repercussions in the 2010s, and to study the social imagination of Korean films at that time. Korean Movies such as (2013), <1987>(2017) and (2017) reflect the ethos of civil society based on common sense and justice. The epic structure was the same as that of ordinary citizens, who move toward a public space (court, square) after awakening their political correctness. More than anything else, the fact that such films were based on "a historical fact" could have been a strategy to avoid censorship in the era of the blacklist. In these social films, courts and squares have become places for democracy. The conservative government of the time was tired of anti-government resistance and the politics of the square. Thus, films from directors and producers blacklisted were difficult to produce. That's why the court in the movie during this period could become a symbolic proxy for the "legitimate" reenactment of the politics of the square, which was subject to censorship and avoidance by the regime of the time. Meanwhile, the square has gradually become the main venue for political films that advocate "historic true stories." The square of the 1980s, which appeared in the movies, will be connected to the Gwanghwamun candlelight square that audiences experienced in 2017. Furthermore, it was able to reach the concept of an abstract square as an "open space for democracy." At the foundation of these works is a psychological framework that equates the trauma of the failed democratic movement of the 1980s to the trauma of the failed progressive movement of the 2010s. Through this study, we were able to see that social political films in the 2010s were quite successful, emphasizing "political correctness" and constitutional common sense. But they also had limitations as "de-political popular films" that failed to show imagination beyond the censorship of the blacklist era.