• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.164-183
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• 2020

In the textile culture of the Joseon Dynasty, the historic record of Banpo is fragmentary and contains many missing details. The main reason is a lack of associated literature, and it is also significant that the actual substance used is not clear at present. Banpo is a kind of cotton, but this has not been confirmed in the traditional textiles that are currently handed down. The word Ban [斑] in Banpo means "stain", and the letter Po [布] means "fabric". At the border of white discourse, Banpo did not receive attention as a research topic. This study is an attempt to restore some of the textile culture of the Joseon Dynasty through Banpo. Banpo is not just limited to the Joseon Dynasty; it is an important material for examining the development of textile culture and exchange in East Asia. This study was broadly divided into three parts. First, the record and meaning of Banpo during the Joseon Dynasty were examined. Records of Banpo can be seen from the early Joseon period during King Sejo and Seongjong, and the production and actual use of Banpo have been confirmed. Banpo was maintained until the beginning of the 20^th century, but is no longer observed. Banpo is a woven fabric made of cotton yarn dyed in many colors and has appeared in Southeast Asia since ancient times. In East Asia, there are other fabrics similar to Banpo, such as Ho [縞], Sum [纖], and Chim [綅]. In particular, the correlation between Banpo and Ho is an important link in understanding Banpo in the Joseon Dynasty. Second, the meaning of Banpo was examined from various angles through comprehensive analysis of Chinese and Japanese literature records and cases. The appearance and development of Banpo moved in sync with the period when cotton was introduced into East Asia. In East Asia, cotton was introduced and produced in earnest from the end of the Song Dynasty to the beginning of the Yuan Dynasty, and the meaning of Banpo was diversified. In China, the name of Banpo was changed to Hwapo [花布], Gizapo [碁子布], Gizahwapo [棋子花布], etc. Japan was late to introduce cotton and developed it in acceptance of the changed meaning. In Japan, use of the name Banpo is not on record, but a Ryujo [柳條] fabric of the same type as banpo has been identified. This Ryujo is the same concept as Ho and Hwapo, and later merged into Ho. Names such as Ho, Hwapo, Banpo, etc. were used differently in each country, but the form was shared across East Asia. Third, based on the meaning of Banpo shared in East Asia, the format of Banpo in the Joseon Dynasty was classified. The format of Banpo in the Joseon Dynasty can be divided into grid and striped versions. The name Banpo disappeared over time, but the form remained and was passed down until recently. I hope that this study will help restore Banpo in the future.

• Journal of Korean Society of Archives and Records Management
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• v.23 no.1
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• pp.47-61
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• 2023

This study attempted to present the direction of the documentation strategy to lay the foundation for preserving and using the modern and contemporary publishing culture in Daegu. To this end, the authors applied the phase of the "documentation area definition and preliminary analysis" suggested in Hackman's model. In the preliminary analysis phase, the authors investigated the cases of documentation on specific topics and conducted interviews with those concerned with documenting the publishing culture of Daegu. The findings of interviews were presented by the categories, such as "the value of Daegu's modern and contemporary publishing culture," "the object and method of collection," "documentation group," and "difficulties and limitations." With these findings, the authors proposed the main elements of a documentation strategy and revised it based on the feedback from two archivists. The proposed elements consist of the purpose, temporal, geographical, and morphological ranges, roles by group, reference sources, prior work, and the consideration for collection and operation. The preliminary analysis of this study will serve as a foundation for preserving and transmitting Daegu's publishing culture.

• (The) Research of the performance art and culture
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• no.43
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• pp.405-440
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• 2021

The members of the holding group 'YangjuByeolsandae-nori' (National Important Intangible Cultural Heritage) were divided into two groups in 2010. This means that the internal groupwhich has been going on since the previous period exploded. The subject of the researchis to deal with thedisruption. The first purpose of the research is to record the cause·deployment·ending of the 'YangjuByeolsandaeTalnori'. The second purpose of the research is to reviewthe appropriateness of the administrative measures taken by the Cultural Heritage Administrationin intervention. The thirdpurpose of the research the Cultural Heritage Administration's contribution to the establishment of principles to cope with group disruption. The fourth purpose of the researchis to serve as a reference to the resolution of the disruption of other preservation groups. The result of the research suggests that the administration should recognize that the conflict of the ownership over the group must be resolved in order to boost the overall success of the project, and must establish and respond to the principles. The content is a reconstruction of the explanation. To deal with divisions is also considered to be a field of study. The research which deals directly with the main researcher's problems is put forward in hopes of contributing to the study and contributing to society.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.14-27
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• 2011

The study reviewed the content and the meaning of the present Yeoju Palkyung(eight scenery) through analyzing and interpreting the Palkyung poems, old maps and paintings, and classic materials transmitted in Yeoju area, and investigated the transmission process. Although five scenes of the Yeoju Palkyungs illustrate abstract landscapes derived from the Sosang Palkyung, there are mixed with local sceneries showing famous historical ruins in the area and local life of the Yeogang(驪江: river). Seunggyeong(勝景) of Yeoju, highlighted in old paintings, has been emphasized through duplication the object and the view point field of Yeoju Palgyeong(驪州八詠), which is usually symbolized to sailing boats along the Yeogang, forests around Cheongshimru, and the layer Jeontap and Maam above Shinreuksa(神勒寺) Dongdae(東臺). It is quite undoubtful that the Yeoju Palyong of Choi Sukjeong and Seo Geojung is the copy of the present Yeoju Palkyung, but the present version is found to be all included in the Cheonggijeongsipyoung(淸奇亭十詠) of Cho Moonsu since the 17th Century, which shows that the Cheonggijeongsipyoung is viewed that it played an important role for the transmission of the Yeoju Palkyung. Also, it. is concluded that the Yeoju Palyong recorded in Yeojidoseo(與地圖書) is the same landscape collecting with the presend Yeoju Palkyung, which would be dated back at least until the mid 18th Century. In addition, given the fact that the studied old maps show Eight scenery, Sachoneohwa, Shinreukmojong, Yeontanguibum, Paldaejangrim, Yangdonagan, Ibanchungam, Pasagwau, and Yongmoonjeukchui, recorded consistently in the same time order, the eight scenic points in the old maps had been apparently established as the typical copy of the Yeoju Palkyung in the 18th Century. Therefore, the transmission route of the Yeoju Palkyung follows two separate versions, one starting from the Yeoju Palyong(Choi Sukjeung, Seo Geojeong) to Cheonggijeongpalyong to Yeoju Palyoung(Yeojidoseo) to the present. Yeoju Palkyung, and the other from the Yeoju Palyoung Geumsa Palyong(金沙八詠) to the old map Palkyung to the Yeoju Palkyung(the late 18th C). These two transmission processes have their own cultural sceneries having the same origin, which are different only in perspective which attempts to cover the representative scenic landscapes including Yeoju and Geumsa.

• Journal of Korean Classical Literature and Education
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• no.33
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• pp.5-44
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• 2016

This study focuses on Ko woo-young (1939-2005), a Korean representative cartoonist. I analyzed his work Nolbudyeon (1988), which is a retelling of Heungbu and Nolbu, a traditional Korean story. I consider Ko woo-young a creative observer who has popularized his perspective in modern society. His work is a good example of how a traditional folktale can be made relevant in modern society. I used three methods of adaptation to differentiate Nolbudyeon from Heungbu story: construction of events, characterizing, and space-time background. First, to aid character development, Nolbudyeon includes a prologue that focuses on conflicts between brothers with different personalities. At the same time, the ambiguous ending could be a response to Heungbu story, which has a didactic theme. Second, I found that the new characters, Nolsun and Yeonsaengwon, enhanced the differences between Heungbu and Nolbu by playing the role of mediators. Also, in Nolbudyeon, both Heungbu and Nolbu had positive as well as negative elements, in contrast with the original story's traditional point of view on good and evil. Finally, by exploring the space-time of Nolbudyeon, we can see that its world is combined with the contemporary world. In other words, Nolbu and Heungbu, though outwardly traditional, have a modern outlook. Therefore, readers can recognize that Nolbudyeon is a metaphor for modern life rather than just an old story.

• (The) Research of the performance art and culture
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• no.33
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• pp.273-301
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• 2016

In this paper, it is entraining surface and the historical flow of Japanese flying acrobatic, look and lore situation up to now, as compared to this, restore our Sotte riding, trying to provide a clue of hatching in order to reproduce. In particular, the tricks to raise the rod into the body is sublimated to the big festivals of the region, focused on Akita Kanto festival was devised by one of Japan's northeastern 3 major festivals. As a typical traditional performance festival with a history of more than 200 years, the same manner as was sublimated as a professional performing arts and folk arts, actively protect the traditional performing arts, and lore, this representative of the regional festival It has a great meaning in that it was successful. That the order to act strongly cooperation of the public and private sectors to be highlighted on the whole surface of the strong act is acrobatic nature to the main content of the festival, of course the identity recovery of the region, also serves as a proud representative of the region it is also very significant. Want is greater place to suggest to researchers who want to take over the pulse of the tradition correctly restore the future Sotte ride.

• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.168-171
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• 2006

The Haenyeo of Jeju exists as a unique human resource only in Korea and Japan in the world. Especially, the anti-Japan opposition movement of the Haenyeo of Jeju, which had started to get the right to live on their own in 1931, had developed as the national liberation movement by struggling against a colonial of Japan and the official regulation association that was a plundering organization of Japan. Accordingly, there is making an effort to register Jeju's women divers as The National Treasure in UNESCO's Memory of the world. In this research, we are going to make stuff like a digital storytelling, characters, animation movies, games, and hompage to let our children understand and succeed the spirit and culture of the Haenyeo. We'll also use these contents for the education. We examine ways to recreate the culture resources related to the Haenyeo who gradually vanishes.

• The Journal of the Korea Contents Association
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• v.11 no.4
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• pp.177-185
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• 2011

Craft industry in Iran in the past to preserve the technology and production methods, or a newly developed in modern technology, techniques, and material that are intended to use in the decorative, practical characteristics, and the general public are using living water district, ornaments, symbols, products, and so on are collectively, craft industry-specific regional environmental, air velocity, ruins, etc. based on the characteristics of the region's traditional or artistic nature to produce products with the industry, the craft inherent in cultural element out of the help of stock, production, distribution and consumption of a series of process, namely the commercialization of the craft. This future-oriented State images for a unique sentiment based on the tradition of craft culture prize of Korea national image to create a decisive role in the would do. Therefore, in this study, consumers of the craft cultural products awareness and marketability to domestic craft industry status and enhance the use of the show. In addition, based on craft culture industry's efficiency and the issue is what the research and improvement.

• Proceedings of the Korea Technology Innovation Society Conference
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• 1998.05a
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• pp.7-7
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• 1998

새로운 밀레니엄을 불과 몇 년 앞둔 지금 우리는 정치.경제.사회.문화.과학기술 등 전 분야에 걸쳐 전개되고 있는 역동적인 변화를 몸소 체험하고 있다. 냉전시대의 종식 이후 세계의 정치 구도는 경제패권을 둘러싼 지역화.블럭화의 경향을 보여주고, 플랜트와 하드웨어 중심의 규모의 경제가 기술중심의 소규모화 된 현장중심의 범인의 경제로 전환되는 와중에 있다. 사회.문화적 측면에도 오늘날 우리는 국제화, 다원화, 지방화의 무드 속에서 조직구조의 변화는 물론 이에 따른 인간의 가치관과 생활양식의 변화를 때로는 능동적으로 혹은 피동적으로 체험하고 있다. 한편, 과학 기술 분야의 변화는 거대 에너지와 물자를 활용하는 ‘힘-중심적’ 방향에서 새 사고와 아이디어를 요구하는 ‘지식-중심적’ 방향으로 옮겨가고 있다는 것이다. 이는 과학과 기술에 있어서도 에너지, 재료, 기계 등 대대적으로 활용하는 거시적 과학과 기술로부터 지식, 정보, 통신을 중심에 두는 정밀과학, 정밀기술 쪽으로의 변화가 진행중이라는 것을 의미한다. 사회의 변화와 관련된 교육적 대응의 원리는 두 가지 형태로 집약될 수 있다. 교육은 본질적으로 순응(accommodation)과 적응(adaptation)이라는 서로 상반되는 두 가지 기능을 수행한다. 순응의 원리는 교육의 탄생이래 교육목적의 본질에 해당되는 것으로 기존 사회질서의 유지와 체제 존속을 위해 교육은 과거로부터 전해져 내려오는 의미 있는 문화내용을 엄선하여 미성숙한 학생들에게 전수하고 그들로 하여금 문화와 전통을 계승하도록 하는 사회화에 그 일차적인 목적이 있다는 것이다. 따라서 순응의 원리를 강조하는 교육은 과거 지향적이며 외부의 변화에 대해 수동적인 자세를 견지한다. 한편, 적응의 원리에 입각한 교육은 문화와 전통에 대한 피동적 전승을 넘어서 사회의 변화에 따라 교육체제와 내용을 바꾸는 등 적극적으로 변화에 대응하고, 이러한 변화를 주도할 인간육성에 힘을 기울이는 교육방식을 취한다. 시대적 변화의 소용돌이 속에서 교육은 이제 기왕의 많은 교육적 신화들을 타파하고 뉴 밀레니엄을 준비해야할 기로에 서 있다. 현재의 변화를 슬기롭게 대처하고 미래의 변화에 능동적으로 적응하는 인간을 육성하기 위한 오늘날 교육의 사명은 우선 미래사회를 위한 교육정책의 방향을 수립하는 일이다. 교육정책은 국가의 교육방침으로서 현실 교육문제의 해결도 중요하지만 미래의 발전을 기약할 수 있는 장기적인 비젼과 목표 속에서 정립될 필요가 있다. 이러한 의도하에 본 연구는 21세기를 대비한 교육정책의 방향을 탐색하고 그에 따른 정책적 과제를 제시하는 데 그 목적이 있다. 이러한 목적하에 본고는 \circled1 과거 우리 나라의 교육정책을 반성적으로 회고하고, \circled2 미래사회에 대한 전망과 교육적 시사점을 분석하며, \circled3 마지막으로 21세기의 변화에 적응하기 위한 교육정책의 방향과 과제를 내용으로 제시하고자 한다.

• Proceedings of the Plant Resources Society of Korea Conference
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• 2018.04a
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• pp.15-15
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• 2018

민속식물과 그 이용에 관한 전통지식이 산업화, 도시화 및 노인 세대의 퇴장과 더불어 빠르게 사라지고 있다. 이에 본 연구는 2005년부터 2017년까지 1차(2005~2013), 2차(2014~2017)에 걸쳐 남한 전역 및 함경북도 접경지역을 대상으로 각 지역에서 전통적으로 이용해왔으며 전승되어 온 민속식물 관련 전통지식을 발굴 및 수집하여 DB를 구축하고 유전자원에 대한 주권확보 및 그 연구의 토대를 마련하고자 수행하였다. 조사 결과, 민속식물은 138과 557속 975종 7아종 113변종 19품종으로 총 1,114분류군으로 확인되어 1차 조사 대비 140분류군이 추가되었으며, 이는 한반도 전체 관속식물 4,881분류군의 약 22.8%에 해당한다. 용도별로는 총 115,236건의 전통지식 중 식용(67.2%)이 가장 많고 그 다음으로 약용(17.9%), 용재용(4.9%), 유지용(2.5%), 관상용(1.3%), 섬유용(1.2%), 사료용(0.7%), 염료용(0.7%), 향신료(0.5%), 연료용(0.4%), 천렵(0.4%), 살충제(0.2%), 향료(0.1%), 기타(1.9%) 등의 순으로 나타났다. 본 연구에서는 민속식물의 이용에 대한 중요도를 알아보기 위하여 특정식물 종의 이용을 언급한 정보보유자의 수(FC: Frequency of Citations), 이용범주의 수(NC: Number of use-Categories), 특정식물을 이용하는 수(UR: number of User Reports)를 활용하여 문화적 중요도(CI: Cultural Importance), 상대적 인용빈도(RFC: Relative Frequency of Citations), 상대적 중요도(RI: Relative Importance) 및 문화적 가치(CV: Cultural Value)를 산출하여 우리나라에서 중요한 민속식물을 정량적으로 확인, 비교하였고 각 분류군별 지수가 제시되었다. 정량적 분석 결과, 상대적 인용빈도(RFC)는 참취, 문화적 중요도(CI), 상대적 중요도(RI), 문화적 가치 지수(CV)는 모두 소나무가 가장 높은 민속식물로 확인되었다.