• 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.

• Korean Association of Arts Management
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• no.58
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• pp.153-177
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• 2021

This study attempted to analyze language networks based on the theory of art policy in the New Normal era triggered by COVID-19 and domestic and foreign policy trends. For analysis, data containing key words of "Corona" and "Art" were collected from Google News and Web documents from March to September 2020 to extract 227 refined subject words, and the extracted subject words were analyzed as indicators of frequency and centrality of subject words through the Netminor program. In addition, visualization analysis of semantic networks has been attempted for the analysis of relationships between each topic languages. As a result of the semantic network analysis, the most frequent topic was "Corona," and "Culture and Art," "Art," "Performance," "Online" and "Support" were included in the group with the most frequencies. In the centrality analysis, "Corona" was the most popular, followed by "the era," "after," "post," "art," and "cultural arts," with high frequency, "Corona," "art," and "cultural arts" also dominated most centrality. In particular, the top-level key words in the analysis of frequency and centrality of the topic are 'online' and 'support' and 'policy'. This can be seen as indicating that the rapid rise of non-face-to-face and online content and support policies for the artistic communities are needed due to the dailyization of social distance due to COVID-19.

• Cross-Cultural Studies
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• v.45
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• pp.381-431
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• 2016

This paper deals with Slavic discourse deixis comparing Russian, Polish, Czech and Bulgarian demonstrative and personal pronouns. In general, the Slavic proximal pronouns have precedence over the distal ones. Proximal pronouns, such as Russian eto, Polish to, and Bulgarian tova, are employed more frequently and widely than their distal counterparts to, tamto and onova. The distance-neutral pronoun to in Modern Czech was also a proximal pronoun in the past. These Slavic proximal and former-proximal pronouns function as a discourse deixis marker, whereas, in most other languages, the discourse deixis is mainly a function of distal or non-proximal demonstrative pronouns. However, the Russian, Polish, Czech, and Bulgarian discourse deixis differs in distal demonstrative and personal pronouns. In general, the Polish and Czech discourse deixis does not employ the distal demonstrative pronoun tamto or the personal pronoun ono. The Russian distal demonstrative pronoun to is actively used as a discourse deixis marker, and the personal pronoun ono can also be used to refer to the preceding discourse, though it is not frequent. In Bulgarian the distal demonstrative pronoun onova is rarely used to refer to a discourse, but the personal pronoun to frequently indicates a discourse that is repeatedly referred to in a text. The discourse deixis, which is a peripheral deixis and can be both deixis and anaphora, reveals different characteristics in different Slavic languages. In Russian, where all of the proximal, distal, and personal pronouns function as a discourse deixis marker, the deixis itself plays a crucial role in distinguishing these three pronouns from each other, revealing the speaker's psychological, emotional, temporal, and cognitive proximity to or distance from a given discourse. In Bulgarian, the most analytic Slavic language, the personal pronoun is used more as a discourse deixis marker to reveal the highest givenness of a discourse, and it seems that Bulgarian discourse deixis is more anaphoric than the other Slavic discourse deixis is.

• Cross-Cultural Studies
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• v.49
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• pp.229-248
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• 2017

This paper is a study on French of Lee Sang's poems called metaphysical scandals in Korean poetry. Is poetic language he used a common poetic word or a non-poetic word in French? What kind of harmony do words and sentences composed of French have with Korean, Chinese character, and non-poetic word? Based on these questions, we analyzed a command of French, that is symbolic, geometrical, and pictorial French as well as repetitive and parallel constitution used in form of words and sentences. In Lee Sang's poems, as a result, the use of French is seen as a mixture of non-poetic word. It shows characteristics that reject traditional native language and the creation of poetry. In his poems, French is also an important factor of avant-garde poetic material and experimental creation technique. In his poems, French is used as a special tool to express internal conflicts of the poet. Lee Sang showed experimental style that could not be found in modern Korean literature by using signifier and signifed that french language has.

• The Korean Publising Journal, Monthly
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• s.121
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• pp.4-5
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• 1993

• The Korean Publising Journal, Monthly
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• s.121
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• pp.22-23
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• 1993

• The Korean Publising Journal, Monthly
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• s.325
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• pp.27-27
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• 2002

• KLA journal
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• v.19 no.6
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• pp.8-16
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• 1978

• The Korean Publising Journal, Monthly
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• s.354
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• pp.36-37
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• 2005

• The Korean Publising Journal, Monthly
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• s.364
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• pp.114-115
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• 2006