• International Journal of Computer Science & Network Security
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• v.22 no.10
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• pp.31-36
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• 2022

In modern socio-cultural conditions, the requirements for the quality of professional training of graduates of higher educational institutions are increasing. This issue has become especially acute with the advent of pandemic conditions. The ability to apply the existing competencies in the situation of challenges of the 21st century to solve complex social and professional problems is an important criterion for the quality of higher education. Modern professional art education is undergoing many reforms and transformations. Particular attention is paid to innovative teaching methods, thanks to which future specialists experience the breath of innovative education. This issue is especially relevant during the spread of the COVID-19 pandemic. Since students of creative specialties must also have certain competencies, within the framework of the educational process, the competence-based approach to teaching plays a key role, is the methodological basis in the system of modernization of higher professional art education. Thus, the main task of the study is to analyze the process of formation of professional competence among students of art institutions of higher education in the context of COVID-19. As a result of the study, the main aspects of the process of formation of professional competence among students of art institutions of higher education in the context of COVID-19 were investigated.

• Journal of the Korean Home Economics Association
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• v.40 no.8
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• pp.137-152
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• 2002

The purpose of this study is to analyse the discourses about modem motherhood in Western und Korean society in order to find a new basis for the family policy. The general view that motherhood is merely natural ceased to be valid since the early 1980ties. Nowadays one is rather inclined to define motherhood as a social, cultural and historical fact which goes far beyond the biological dimensions. The concept of motherhood which has been useful to fulfil the industralisation in the modem times cannot be applied to the changed world of our times. The family policy which is closely connected with women must not start from the modem motherhood ideology but from the context of the changed life of woman in our times. I hope that this study could contribute to stimulating the discourse about the family policy which takes into consideration the changed living conditions.

• Korean journal of communication and information
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• v.81
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• pp.40-74
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• 2017

Drawn upon the analysis of Seoul community media, this study make six points. The generation of community is not essentially determined but has singularity and differences. Historical context, social conditionality, cultural orientation, and the subjects' will and anticipation bring out certain forms of community. Various power relations and desires are engaged in the formation of community. The process of the construction of community is necessarily and simultaneously mediated with collective acts of communication and sharing. Community is not so much cultivated within society as articulated with precariousness, negativity and limit. Community is able to create its own cultural sensibility and language to express it. Thereby community is a dynamics between articulation and disarticulation, convergency and divergency, similitude and difference living in our actual society.

• English & American cultural studies
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• v.13 no.1
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• pp.83-103
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• 2013

This paper focuses on the function of suicidal images in the history of art including literature. Death has been romanticized or repoliticized into an existential act of defiance and rebellion in literary works, so questions remain about the correlation between literary suicide and the essence of suicide. Although Jacques Ranciere insists that the order of art contrasts with the order of common people whose acts and gestures can express either their specific purposes nor the rationalities of their frustration, literary suicide reflects the outside life of readers. In fact, images of suicide produces the order of things about the real world. William Shakespeare's Hamlet handled two oppositional self-murder significantly. As Ron M. Brown pointed out, Hamlet, by choosing confrontation, seeks out an end which is voluntary, thus he avoids self-destruction and feels triumph of heroic fashion. Ophelia's self-chosen death stems from loss, frailty and the disintegration of reason, which demeans the act and diminishes her from the tragic to the pathetic(16). In the $19^{th}$ century, the resurrection of Ophelia acted as the context for later periods where life itself is fictionalized from the differing periods of network of signifier and texts. Finally, in Ophelia's case, fiction became life(Brown 285). Her suicidal image was fixed in the Victorian Culture whose visual discourse was strikingly similar to that of the men. Likewise, the ambiguities of the suicide became intertwined with the social, cultural issues of a certain period, and the paradigm of suicide was conformed to the changing needs of successive generations. However, if literary art understands that a European culture grappled with the almost impossible task and coming to terms with this strangest and most persistent of phenomena, it will be able to focus on of the multi-layered suicide by recognizing the inherent instability of the verbal sign which cannot reveal the design and grammar of truth.

• The Southeast Asian review
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• v.21 no.2
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• pp.77-123
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• 2011

Recently, Southeast Asian people, its food, natural sceneries and so on have been increasingly exposed to Korean people through mass media and multi-cultural events. At the same time, Koreans can frequently encounter Southeast Asians in their everyday lives. Thus, specific images and discourses of Southeast Asia has been established in our society, which creates a new social trend called 'Southeast Asia phenomena'. In short, 'Southeast Asia phenomena' means a totality of Korean people's experience of Southeast Asian and their perception on the region. On the one hand, 'Southeast Asia phenomena' is a result of inflow of Southeast Asians and their culture into Korea. On the other hand, it is also a consequence of Korean people's understanding of Southeast Asia from their trip to Southeast Asia or from their interactions with Southeast Asian people. This article aims to analyze the origin and diffusion of 'Southeast Asian Phenomena' in Korea in the context of Southeast Asia focusing on 4 topics, that is, migrant workers, overseas investments, retirement migration, study-abroad categorized as human movement. This article is also about a country-by-country comparative analysis both at the macro level and the micro level. At the macro level, overseas investments and trade, human exchanges, positive perception to Koreans which considered to be the structural causes become a strong mechanism playing a important bridge role between Korea and Southeast Asia. So these create the high probability of the emergence of 'Southeast Asian Phenomena' At the micro level which is more direct causes of 'Southeast Asian Phenomena', the economic cause is the most important common cause for 4 Southeast Asian Phenomena. Additionally, Korean wave is also remarkable common cause creating 'Southeast Asian Phenomena' even it is not the origin in the context of Southeast Asia. The diffusion of 'Southeast Asian Phenomena' is different by the topics and the elements contributing to create the favorable situation for the diffusion are not only overseas investments and trade, human exchanges at the macro level but also policy elements at the micro level. The relative differences of the causes of 'Southeast Asian Phenomena' in the country-by-country analysis are found. Regarding overseas investments in Vietnam and Cambodia, the economic degree of freedom in Cambodia is higher than in Vietnam. Even Korean Wave has had the longer history in Vietnam, but the favorable perspectives on Korean Wave are stronger in Cambodia. For migrant workers from Vietnam and Indonesia, the economic causes in Vietnam are more significant than in Indonesia. The impact of Korean Wave is stronger in Vietnam than in Indonesia. In case of study-abroad, the social-cultural elements and policy elements are more diverse in Malaysia than in Korea. For the Korean retirees who immigrate to the Philippines and Malaysia, the economic causes in the Philippines is more significant in Malaysia.

• English & American cultural studies
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• v.10 no.2
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• pp.231-266
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• 2010

This paper explores hybridity and hybridized relations that see mixings and crossings as the first moment of multicultural society. References to hybridity often assume that the definition and orientation of the term are located within biology; that is, hybridity constitutes a mixing of two formally discrete objects. In this regard, there seems to be a dialectical preoccupation with purity that goes hand in hand with discussions of hybridity. This dialectical reference to hybridity privileges whole, complete entities as the original instance before mixing, and in this way purity becomes reified. My analysis of hybridity foregrounds mixings that occur at the level of the social, not exclusively at the level of the biological. Hybridity contexts the myth of monoculturalism in the United States and foregrounds multiculturalism as the initial context around which difference has begun to be conceived. In destabilizing the myth of racial origins, this paper attempts to establish a retroactive construction of purity, which is historically, ideologically, and ethnically examined in Gloria Anzaldua's Borderlands/ La Frontera: The New Mestiza. Through this work composed of disparate narratives discourses, Anzaldua employs physical differences to ward off the colonial desire that has defined others as objects which are to be controlled. In this regard, this paper pursues the way that physical differences could be repositioned in terms of 'hybridity' that has been related to the cultural, historical, economical significations of borderlands. The space of borderlands is also a place marked psychologically; it will turn differences mobilized in the borderland into an acute consciousness that makes us recognize 'otherness' within ourselves. In sum, this paper attempts to elaborate the productive and creative interactions among disparate languages, classes, genders, and ideas, which will draw attention to their own interlocking nature.

• The Journal of Art Theory & Practice
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• no.3
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• pp.51-66
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• 2005

With the advent of the time when the competitiveness of a nation or a city can be evaluated by the extent of cultural reception, the art exhibitions, like other genres of art, are actively held in various ways by different institutions. The spaces of exhibition offered not only by public museums and galleries but also by private galleries, alternative spaces and open-air exhibition spots are being increased. Likewise, the number of exhibitions organized on a large scale by Biennales and local governments is on the increase. In accordance with actual tendency, the Ministry of Culture and Tourism has planned to increase the number of museums and galleries up to 500 by the year of 2011. Under these circumstances, the actual situation shows that the central and local governments are adopting beneficial measures to support the private galleries such as permission of construction on green belt areas and tax deduction. That is, our society has come to realize that the necessity and importance of public as well as private galleries to play their roles as cultural and educational institution. Now, the number of galleries is growing. Exhibitions are held everywhere. Therefore, spectators have more chance to visit them than before. With these conditions and the growing number of amateurs, social interest in curator organizing exhibitions is getting popular. Because of the rise of curatorial popularity on the social level, the influence of curators which is exercised within the gallery seems to become gradually enlarged. In reality, it is true that the curatorial influence cannot be ignored more than ever for appear in various fields their new features made from their professional cometence. The function of gallery is more strengthened and its position is more heightened than those in 80s. For these reasons, the curators whose playground is the gallery, they may be regarded as invisible power to the artists. Futhermore, their influence as such seems to be more likely because our world of art does not still have any reliable system of art criticism. Nevertheless, considering the actual situation in which national and public galleries as cultural institution would rather exist on the local sentiments or political dynamics than on autonomy, there must be some restrictions for the galleries and the curators to obtain the power. In this context, the actual moment is looked upon as transitional period to make the curatorship settled down. Before discussing the power relevant to curatorship, we are going to examine first the role and function of curator and then the new curatorial role and function at the age of information. Finally, we will see in sequence the development and problems of curatorship, the power and dilemmas of curator.

• Archives of design research
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• v.18 no.2 s.60
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• pp.27-36
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• 2005

Illustrations in advertisement uses various social and cultural codes to stimulate the desire to buy in consumers in the first place, since this is an economic phenomenon orchestrated to sell a product. Hence, factors outside the product per se, such as tradition, social issues and class consciousness are introduced. Especially, in modern advertisement a strategy is adopted to differentiate standard products produced by mass production. In order to do so, such factors as mentioned above become as important as physical characteristics of the product per se and its usage value. As a result, phrases or images used for advertisement can have independent influences on the society irrespective of the sales effects on the product. In this respect, it is fair to state that advertisement reflects the phases and consciousness of a given period as a cultural phenomenon. Therefore, based on the premise of characteristics and roles attributed to the advertisement, this thesis proposes to make a comparative study on the images of women in commercial advertisement in Korea during Japanese Imperialism and China during Cultural Colonial period dating from 1900 to 1945. The starting point of this research will cover the period of foreign trade and Japanese Imperialism in Korea and interference of Western Power in China. It will also investigate on the birth of Korean advertisement by Japanese Imperialists and Chinese modern advertisement along with the modernization of Shanghai. Then, I propose to present the illustrations of women in advertisements based on comparative study of their characteristics and expressions as observed in several case studies both in Korea and China. Connotative meanings in such advertisement will be investigated in the context of political, economic and cultural dominance.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.69-78
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• 2013

A Korean MP3player also has become complex multimedia device which can provide various functions such as DMB, image playback, radio, electronic dictionary, storage device, and Internet. However, these functions are not provided through one-time mediation. Therefore, studying which changes were made for obtaining or installing these functions and what made such changes possible will be a basis to approach the change factors of medium through medium. Ultimately, by enabling to access the factors of cultural and social changes through MP3player, the main point of this study, it will be a methodological attempt to study a social aspect through medium. This study approached re-mediation according to the genealogical change of MP3player. This study researched the change of media through mediation of MP3player, and approached the change in social contextuality through this. The factors for which a medium is changed are various, but in the change of MP3 player there is re-mediation of each medium in addition to technical change. That is, it is deemed that there are 're-mediation among devices' and 'socially contextual re-mediation' in the change through re-mediation of MP3player.

• Korean Journal of Heritage: History & Science
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• v.56 no.4
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• pp.288-318
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• 2023

This work began with the aim of examining the history of the concept "cultural property" that is expected to disappear, and the main subject of research was the history that preceded the spread of this notion throughout society. The phrase "cultural property" first appeared in the 1920s, and was used in various fields such as literature, history, music, and philosophy in the context of cultural resources. Until immediately following liberation from the Japanese colonial era, the meaning of cultural assets was widely applied in the range of "cultural resources," and during this period, it was often used to help supplant the reality and history of Japanese occupation. Immediately after the Korean War, it was also employed for the purpose of 'restoration of cultural resources through war'. Recognition of cultural property directly influenced by Japan's Cultural Heritage Protection Act has occurred since 1950s. In the early 1960s, the enactment of various laws related to cultural properties and the establishment of the Cultural Heritage Administration caused the meaning of cultural property to be limited to 'cultural heritage'. In this way, the definition of state-led cultural property has continued to apply to this day. It has not been clearly confirmed whether the concept of cultural properties was imported from Japan through means such as the Cultural Heritage Protection Act. Cases in which several Japanese students endorsed the concept of cultural property within Korea serve to increase the likelihood that the concept was indeed imported from Japan. However, "coined language using multiple Chinese characters," "the phenomenon of cultural complex words in the 1920s,", and "cases of non-Japanese international students using the concept of cultural property" also open up the possibility of their own occurrence. Apart from the general importance of the concept of cultural property, intellectuals at the time used this concept to promote internal development and the overcoming of colonial Joseon. In this research, it was confirmed that the conceptual word cultural property was older and had a wider history than the general perception had indicated previously. The history of the conceptual term "cultural property" may appear to be more than 60 years old based on the enactment of the Cultural Heritage Protection Act, but in fact it is nearly 100 years old when traced back to on 1925, as established here. In general, the creation and disappearance of terms may proceed naturally with social change, but such terms may alternatively be created or erased through national policy. Identifying the origins of a phrase that is about to disappear represents a significant task for purposes of establishing its historical meaning.