• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.16 no.6
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• pp.177-196
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• 2021

In the era of the 4th industrial revolution, high technology is causing many changes in modern society and economy. Among them, changes in industries and jobs require new competencies of future human resources. As an educational alternative to these changes, maker education and design thinking methods are spreading around the world, and it is necessary to actively apply such education in university curriculum. Therefore, this study examines the effects of the maker education using the design thinking method on the learners' competencies required as future human resources and, relationship between the development of university students' entrepreneurial competencies and learners' competencies. And the purpose of this study is to contribute to the vitalization of entrepreneurship education for university students by suggesting an educational model. For this purpose, this study investigated the prior research on maker education/environment and design thinking methods to examine concepts and characteristics, and analyzed the influences between maker education/environment and design thinking methods and the development of learners' personal, social and technological capabilities. In addition, this study analyzed the relationship between learners' developed capabilities and university students' entrepreneurial capabilities, and based on the results, suggested directions and conceptual models for education that combine maker education/environment and design thinking methods. In conclusion, maker education/environment and design thinking methods in university education have a positive effect on the cognitive, social, and technological development of learners, and this has a significant relationship with the factors of personal, social, and technological dimensions of university students' entrepreneurial competency. It is analyzed that it has a positive effect on the promotion of entrepreneurship activities of university students. Therefore, it is judged that university's interest and support should be given to the vitalization of maker education using the design thinking method for university student entrepreneurship education and future human resources nurturing.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.1
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• pp.74-80
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• 2022

The vegetation of historical sites has been a form of vegetation that has remained since some years ago, but in modern times, vegetation and terrain have been deformed or damaged due to urban development, which was followed by an industrialization. As a solution to this, it is necessary to establish a plan for restoration and management by referring to the vegetation and landscape remaining in the historic site as indicators. This study was conducted to provide basic data for vegetation and landscape management of Baekje Historic Sites in Seoul by comparing and analyzing location characteristics, existing vegetation, and remaining vegetation of past substitutional vegetation for Pungnaptoseong and Mongchontoseong, Baekje Historic Sites in Seoul. As a result of the study, Pungnaptoseong and Mongchontoseong are located near the main stream of the Han River, Pungnaptoseong is located on a flat land consisting of natural embankments and floodplains, and Mongchontoseong is located on a hilly area. In the case of existing vegetation, it has been confirmed that Pungnaptoseong mainly has ornamental trees planting sites, while Mongchontoseong has a distribution of residual species from the past that grow in villages and hilly lowlands. The Substitutional vegetation of Pungnaptoseong and Mongchontoseong was synthesized based on the location characteristics and actual vegetation, it is estimated that the hilly areas may have been divided into "Quercus aliena Blume.", "Quercus mongolica Fisch. ex Ledeb." and so on, "Pinus densiflora Siebold & Zucc." on dry land,"Salix koreensis Andersson.", "Juglans mandshurica Maxim.", "Alnus japonica (Thunb.) Steud." in rivers and tributaries, "Quercus acutissima Carruth." in the main part of the forest, "Pinus densiflora Siebold & Zucc.", "Salix koreensis Andersson.", "Zelkova serrata (Thunb.) Makino." as a divine tree in the beginning of the village. Since the 1960s, all substitutional vegetation in the past has disappeared due to the introduction of foreign species and the creation of urban areas in Pungnaptoseong and Mongchontoseong, and the landscape has also been damaged. Fortunately, the substitutional vegetation was estimated in consideration of the species of residual trees distributed along the walls, climate, location characteristics, and times, but this study was conducted based on literature and existing vegetation surveys. Therefore, it is necessary to supplement the past target vegetation in Baekje historical sites in Seoul through quantitative experiments such as plant relic analysis in the future.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.191-200
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• 2020

Companies are seeking to maximize profits through exports and imports in the ultra-fast, ultra-high-speed modern society. It is only possible to sustain its survival if it targets the global market, not based on any specific region. The K-POP group is also targeting overseas markets in a manner similar to the various global strategies used when companies make inroads into foreign markets, including exports, contracts and direct investment. The K-POP group is engaged in various forms of activities, ranging from simple forms of performance (export) that are visited and staged by an invitation from a certain foreign country to series performances (license) by an invitation from a local promoter and tour performances using its capabilities. The K-POP group is seeking to go beyond the art of single-stage performances and make a systematic plan and make inroads into foreign countries in the form of direct investment suitable for each foreign country. The K-POP group made inroads into overseas markets in the form of simple performances from the late 1990s to 2005, when 'Korean Wave' was first introduced. Group H.O.T., etc. are typical examples. Since then, it has sought to enter overseas markets in the form of franchises by accepting overseas members by 2018, starting with Super Junior in 2005. Since then, the K-POP group in the form of joint investment attempted as group IZ*ONE in 2018 appeared, and a voice story came out in September 2018 when South Korea's JYP Entertainment and Tencent of China joined forces. Unlike K-POP Group, which has entered foreign markets with a global strategy based on the existing export method (H.O.T.), 'Boystory' is a representative group that is made with joint investment, which is a direct investment method. In February 2020, RBW released 'D1Verse,' a five-member group selected by Vietnam's reality show, as a joint investment-type group. This shows the possibility that domestic and foreign companies will release a group in the form of joint investment in order to pursue both globalization and localization.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.201-210
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• 2020

The aim of this thesis is to investigate exhibition spaces which are being expanded and transformed concurrently with social phenomena that are also the result of rapid changes, all of which are reflective of a modern society in transition. Such investigation would also include an analysis of changes in the viewing public and artworks themselves, and also an assessment of the public nature of art and its effective aspects. Expansion of exhibition spaces and the increasing connection between art and the public have very important ramifications, in many respects. They present opportunities for the viewing public to immerse themselves in artistic spaces, with some reaching further into other activities - activities that they often share with other individuals. This also leads them to expand their range of activities, turning them into more mobile, proactive audiences. In connection, many corporations have turned their attention to this public aspect of art, which has resulted in a display of art in different types of spaces. The government also began to adopt 'public art' as a matter of policy, using it as a medium of communication between the state and its populace. The public aspect of art, being highlighted as a result of expansion and diversification of exhibition spaces, will have a significant impact not only on the viewing public, but also on the art market. This represents a momentous change for creators of art, which naturally warrants close scrutiny and research.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.75-88
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• 2021

The film won the Golden Palm Award at the Cannes Film Festival, and received the Academy Award for a non-English-speaking film in February 2020, respectively. It has received a monumental evaluation in the world film history. Overall, this film is about class conflict, and critics evaluate the theme of the film as "badly twisted class gap" and "anger from class." The film expresses an intrinsic conflict embodied in culture as a "tragedy in which no bad person appears," rather than the dichotomous composition of the classical class struggle from Marxism. In other words, this can be seen as expressing the substrated class relationship of the modern society that Pierre Bourdieu had argued. This film has been focused as a controversial target under Korea society with excess of ideology. Politics used to adopt the keyword, 'parasite', for political disputes not only in culture contents world. Paradoxically socialism China did not allow to release film 'Parasite.' On the other hand, Lee O-Yong argues that the movie "Parasite" does not look at social phenomena through a dichotomous perspective, but is viewed through a "double perspective" and evaluates that it does not lose eyes looking at humans through tension. This view is based upon 'Vital Capitalism'. Lee. O-Yong looks at the movie "Parasite" from the perspective of "Vital Capitalism". The theory of Vital Capitalism does not seek to find the root of historical development in class struggle conflicts, but rather figuring out history and society pays attention onto the intrinsic characteristics of life, Topophilia, Neophilia, and Biophilia. Lee Eo-ryeong argues that the development of civilization theory evolved from the stage of Hobbes' Darwinism or predatism to the stage of host vs. parasite of Michel Serres, and onto the stage of Margulis's 'Win-Win (inter-dependence)'. In this paper, after overview of vital capital concept and preceeding research, re-interpretations were tried onto scenes based upon fields from habitus, culture capital. This exploration looks for a alternative for excess of ideology in Korea society.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.273-280
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• 2021

GangAm Song Sungyong (1913~1999) was from Gimje, Jeollabuk-do. And he is a calligrapher from the last Confucian scholar of the 20th century and a writer of poetry, calligraphy, and painting. While wearing a topcoat and hanbok for the rest of his life, he approached the study, thought, and calligraphy art of Yoo Jae Song Kimyeon and Kojae Lee Byungeun from the perspective of 'GucheSinyong'. And he kept the philosophical subjectivity that tries to maintain character and a right mind. It was based on 'Guche', which is a faithful succession to the reverence of the old. When I was young, I practiced Mibul and Dong Kichang with Gu Yangsun as the center, and Hwang Jeonggyeon, Hanye, Oh Heejae, and Sojeon typefaces were grafted together during the national exhibition. Then, in 1965 (age 53), he moved to Jeonju, and learned several typefaces such as Chusa typeface on his own, creating a Gangam typeface without any obstacles. And he created 'Sinyong' with Windy Bamboo painting, which embodied strange and unconventional meanings. In addition, he re-established his identity by reexamining the fundamental spirit and natural aesthetics of calligraphy, and based on this, he greatly contributed to expanding the aesthetics of modern calligraphy and painting art by pursuing an aesthetic that explores novelty. In particular, Windy Bamboo painting has strong abstraction based on the principle of 'drawing the will'. And, in terms of discipline, the ethical aesthetic of Express Tao with pictures (畵以載道), which expresses the high level of elegance of observing small things in a big way, based on deep research on the logic of things and fulfilling human nature. By implementing it, Tao and Art become one. The Jeonbuk calligraphy group achieved the greatest prosperity in the Gangam era, and at the end of the 20th century, it entered a period of revival as it established itself as the central calligraphy group of Korean calligraphy.

• Journal of Christian Education in Korea
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• v.66
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• pp.113-145
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• 2021

As a contemporary exponent of Bauderillard's Simulation and Simulacra, this paper aims to reflect on the 'consumer culture' criticized by Baudrillard from the lens of Christian Education in reading the Drama, Penthouse related to the notions of the consumption-ideology, the desire and violence of image in the post-Covid 19 era. As Baudrillard begins to realize that the concept of simulation rooted from mass media in the modern society, he explains mass media as the emerging of Simulation or the process of Simulation will lead to the impulsion of reality, which ends up with vanishing the original reality. Baudrillard is explaining in his argument that the process of Simulation proceeds among various areas of the contemporary society being manipulated by mass media. While Simulation is the process of producing the hyperreality characterized by the excess of images that seems more real than the original reality, Simulation brought about Simulacra as excess reality or consequently exploding reality. Christian educators in the post-Covid 19 must know how to deal with critical theory by considering positive ways of avoiding questioning of how to articulate what the norm of universal consensus is in the specific situation. In other words, it should be noted that the nature of the ruling ideology and the ideology of consumption has been influenced or manipulated by mass media. Christian educators especially have to help young people in seeing the messages from the images of the screens, television, soap-opera, and commercial advertising making reality as Simulacre which is more real than the original reality. When the medium becomes the message, the power of medium makes the consumer not reach communication with it. This is the main reason in the controversy about the images on television drama, Penthouse and the impact of images on people's mind. As an exponent of McLuhan's belief that "the medium is the message", Baudrillard argues although the message and a subject of Simulacra(excessive reality) is unexpectedly disappearing, the medium itself is vanished through the silence of image. However, the task of Christian education has to fuel how we teach, learn, share and pass on the Word of God as the Message. Furthermore, it is worth noting that the Message of God cannot be vanished or burst with the impulsion of it, but exists forever. With Baudrillard's ideas of Simulation and Simulacra in mind, the work of Christian education as an observation platform can better engage the reflection on a consumer society of consumerism that makes Church community and a consumer irresistible against the Fake world.

• Journal of Popular Narrative
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• v.27 no.3
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• pp.95-124
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• 2021

As the symbolic images of girls besides its definition have varied according to the age and society, a posthuman girl character recently appears in the digital cinema. This study aims to analyze its cinematic representations and the social contexts in which they are created. For this purpose, the study focuses on what extent the society allows its imagined figurations as a future female body and the meanings revolving around the image of 'technologically body-enhanced female fighter'. Current digital visualization technology has developed to the extent any imaged future humans can be represented, but posthuman girls' representations have its limitation that only a human-like figuration can be allowed in accord with the traditionally idolized image of girls. It is because of the representation logic in which digital cinema is visualized based on perceptual realism that values audiences' experiences. Despite such less critical figuration which does not dare to cross the boundary between the image of human and inhuman, the posthuman girl characters create a new category of the 'dangerous girls' who are both void of sexual femininity and independent of motherhood and heterosexual romance narrative. Of course, they support the modern human-centered belief that humans can take entire control of technology with their moral behaviors and dispel the fear about the negative impact the nature of technology may have on society at large by showing their child-like figuration protecting ethical values. However, the new character of 'unruly girl' exerts her subversive act that seeks to fight against the human-centered liberal humanistic values and melancholic feeling and vulnerability that the neoliberalism and technocracy enforce. When posthuman girl characters are considered to be a marker through which we can see how different social forces are intervening and competing each other in the upcoming posthuman age, the limited figuration of the posthuman girl characters in South Korean movies illustrates the opinionated thoughts toward the instrumentalism in technology but their bloodshed struggles reveal how the corporate or state-governed techno-biopower has oppressively treated and appropriated the human body as the technology-object and also provide a meaningful opportunity to rethink its unethical violence.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.251-276
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• 2020

The purpose of this article is to critically read Globalizing Borderlands Studies in Europe and North America to examine trends in border studies conducted so far in Europe and North America and to discuss the expandability and limitations of the narrative. It introduces a variety of case studies covering the borderlands of Europe and North America from ancient to modern times. It consists of a total of 10 chapters, in addition to the introduction chapter to clarify the purpose and definition of the collaboration and the short conclusion chapter on the prospects for the future of borderlands studies. This volume has some important implications for current borderland research in two main respects. First, it can introduce us we the areas and targets that the leading researchers from European and North American academia (usually the United States') have paid attention to. It also examines the current status of borderland research and predicts whether it will be possible to study various border areas where exist in other regions (especially in Asia) based on accumulating academic achievements, as well as the possibility of expansion of so-called 'globalization'. Second, it introduces the borderland as a conceptual space, beyond the border area as a physical space that is commonly thought of when it comes to 'border'. Cases of "conceptual borderlands" can be applied to a number of topics ranging from an individual's identities to the methods of governance, religions, economies, social institutions, families, labor issues, public health services and gender issues. There are, however, also some questions to be noted in the volume: the lack of consistent use of terminology, which can be considered general problems of collaboration studies; the fact that the authors still tend to understand borderlands within the imperialist discourse, perhaps because of their academic background is situated mainly in Europe and North America; the borderlands cases described here as the areas of conflict and struggle only. Nevertheless, the book is of significance in that it suggests a possibility of various borderlands studies and helps us to have better understanding of the current geopolitical situation imposed on the Korean Peninsula, which is located on the borderland between the continental and maritime powers.

• Korean Association of Arts Management
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• no.53
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• pp.127-151
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• 2020

In this study, the announced in 2010 was used to identify the flow of social value expansion on the culture and art education and to provide the future direction. In the context of culture and art education, cultural diversity is an important agenda, and thus the case of cultural diversity program by the National Museum of Contemporary Art was analyzed to discuss the social role of culture and art education. To summarize the findings, it is a program of promoting understanding on the diversity of art in the same period and various identifies of the members of our society through the exhibition of «Artist of the Year», and it is a program on cultural diversity of understanding the diversity and identity of various members in our society through the contemporary artwork. Through theme-based approach, education on cultural diversity and cooperative learning were applied to develop the sense of community. Based on the core values of education on cultural diversity, the contents of the education program on performed total of 80 times on 14 programs in 2017-2019 were analyzed. As a result, the analysis showed 9 core values, and the core values of education on cultural diversity derived through the content analysis of the education program on were ① Engagement, ② Conversation, ③ Citizenship, ④ Coexistence, ⑤ Human Rights, ⑥ Difference, ⑦ Equality, ⑧ Cooperation, ⑨ Solidarity. As the space enhancing the cultural engagement, the art museum is a place for realizing the value on cultural diversity, so it has significance as the space that embraces both cultural diversity and culture and art education. In this sense, it was identified that the discussion on the cultural diversity and culture and art education was being expanded into the perspective of various groups and communities in our society through the core values of engagement, conversation, citizenship, coexistence, human rights, difference, equality, cooperation, solidarity and direction, which were provided by the analysis of the contents on the art museum education program on cultural diversity in the National Museum of Contemporary Art.