• Korean Journal of Communication Studies
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• 제25권5호
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• pp.81-101
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• 2017

The purpose of this paper is two folds: Korean media contents, which has led the Korean Wave in China in 1990s will be reviewed, and the causes of the negative feelings of Korean Wave that have occurred among Chinese netizens will be factored out in order to suggest the solutions to this conflict situation. The reviews and comments on the China's major portal site, Tienya were analyzed by the key words that causes the conflict between China and Korea. Of the total 340,000 responses, politics, history and entertainment are categorized by the keywords, and the largest portion of the netizen's comments are found to be political issues with 34%, particularly the issues related to the THAAD. This means that the negative feeling toward the Korean Wave is more closely related to politics rather than the media contents. Therefore, in order to overcome the negative feelings in China and maintain the stable relationship with the two countries in the midst of the changing US-China situation, it is necessary to lead the media business with high quality contents along with the mutual understanding and cooperation of the media content producers. It is also necessary to try to approach Chinese market in a cooperative and stable way through co-production or joint venture with Chinese media. In consequence, the excellence of Korean cultural contents and the cultural ties with Chinese media market will be identified with in-depth understanding of Chinese nationalism, Sinocentrism and Chinese culture.

• Archives of design research
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• 제17권2호
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• pp.311-322
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• 2004

The purpose of this study is to ascertain pattern design element in traditional palaces among those in the neighboring three nations of East Asia, notably Korea, China and Japan. The basic assumption underlying this study is that these northeastern Asian states have been developed a unique inter-cultural ties over long periods of time in history, culminating in their respective design cultures. Undoubtly the ultimate goal to be pursued, by so doing, has to be inquiry into the identical prototype of Korean pattern design element. In the West, the pattern is appreciated by an aesthetic level, but the East Asian pattern is a symbolic alphabet deeply rooted in religious and folk beliefs. The difference of the respective country comes from the expression style of the pattern the Chinese express the magnificent pattern with various color, the Korean do the moderate pattern with harmonious color with the nature and the Japanese do the stylized pattern with the material color. To sum up similarities and dissimilarities among the design element in traditional palaces of Korea, China, and Japan is as the following : It is to be noticed that the mainly common characteristics of the artistic design are 'naturalism', 'harmonious ideas 'and 'confucianism'. But the representation style of the design element is differed from the country.

• (The) Research of the performance art and culture
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• 제41호
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• pp.353-380
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• 2020

Samul nori/Pungmul-gut is the symbol of ethnic identity for the Koreans abroad. It is the representative diaspora musical genre which is performed many cultural events held by Koreans. It is, at the same time, a global music which is appreciated by not only the Koreans but also the foreigners. Many musical communities in various countries exhibit the cultural migration through the discourse of 'tradition/variation' and 'authenticity/hybridity' in the course of the acculturation and enculturation of samul nori/pungmul-gut. The pungmul-pae 'Bichoe June' active in Toronto, Canada was organized by a foreign performer. For the foreigners pungmul-gut is easy to access as a genre of world music. As a percussion ensemble, it is easy to learn for the foreigners. The pungmul-pae 'Bichoe June' is a 'music community' consist of the Koreans and foreigners. The band tries to preserve the traditionality and authenticity of the Korean music. There is no variation or hybridity in its music since the member still learns the authentic music through various available textbooks and internet sites. Through the participation of the Koreans and foreigners, the band stimulates the globalzation of the pungmul-gut. The enculturation of the pungmul-gut is exhibited in two performances held by the band. One was host by the Canadian progressive group and the other was by the Korean conservative community. The former understood the nature of pungmul-gut as the music of the common people. The latter, however, accepted the music as the representative traditional music but was not easy to enjoy the 'noisy' music. In other words, the positive/negative acceptance of the pungmul-gut depends of the ideological nature of the listeners rather than the ethnical nature.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• 제29권3호
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• pp.1-11
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• 2011

Located in Namwon-si, Jeonlla Bukdo, Gwanghallu Garden is created around Gwanghallu, which was a government office in the period of Joseon Dynasty and shows its looks as a government office building of the times. However, Gwanghallu Garden is recognized rather as a background site of Chunhyangjeon, representing a local culture, than the features and picture as a government office garden in the period of Joseon Dynasty because Gwanghallu appeared as the background of Chunhyangjeon in its Chinese character script and, after 1930s, Chunhyang Sadang was built up and Chunhyang Festival held, and it's recognized rather as a site for arousing national consciousness and cherishing Chunhyang for its integrity in the Japanese ruling era of Korea than as a government office building in the period of Joseon Dynasty. With it being more recognized as the background of Chunhyangjeon than an ancient government office building, Gwanghallu has been managed as a private house garden or event place of folk festival as the background of Chunhyangjeon than preserved and managed as ancient government office building, and now the looks and features as a garden of government office are hardly seen because of indiscriminate trees and making of structure and spaces. Therefore, to preserve and maintain Gwanghallu Garden as the garden of government office in the period of Joseon Dynasty, it's required to survey the trees, structure and spaces created in Gwanghallu Garden and compare the true condition with its original looks by studying its literature and it's suggested that the garden area created around Gwanghallu should be repaired and managed by separation from as the background of Chunhyangjeon. Such means of management may keep the looks of Gwanghallu as the ancient office garden while Chunhyangjeon can also settle down as a local culture in the background.

• Korean Journal of Culture and Social Issue
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• 제27권3호
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• pp.259-284
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• 2021

The present study was conducted to develop and validate a psychological scale that measures individuals' attitude toward unification of Korea (ATU-K). Building on major theoretical perspectives on the structure of attitude and the attitude-behavior link, we specified two sub-components each representing the cognitive and the affective dimension of people's attitude toward unification. In a survey that involved a stratified sample of Korean adults (N = 1,500), we found strong evidence showing the construct validity of the ATU-K scale. We also found evidence for the convergent and discriminant validity of the scale. In a second survey involving another stratified sample of 1,500 Korean adults, we found the utility of the ATU-K scale in predicting people's intention to engage in unification-oriented behaviors (personal/collective). We also found that the ATU-K scale fares better in predicting the intention vis-a-vis the other measures of unification-related beliefs reported in previous research. We discuss implications of our findings and directions for future research.

• Journal of Korea Entertainment Industry Association
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• 제13권8호
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• pp.243-253
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• 2019

Geyonggi-geommu have developed based on the long history of Korean sword dance. Han Sung-joon, the great master of modern music and dance of Korea during the Japanese colonial period, collected and reconstructed folk dances that had disappeared or were cut off due to the policy to obliterate Korean culture through Chosun Music Dance Research Society. Since then, it has been passed down to Kang Sun-young and Kim Geun-hee that has designated as the Intangible Cultural Property No. 53. of Geyonggi-do in 2011. This study focuses on highlighting the uniqueness of Geyonggi-geommu for proper modeling and transmission of Geyonggi-geommu with historical significance so as to understand and preserve the Intangible Cultural Heritage. This study examines the transmission system of Geyonggi-geommu, followed by Kang Sun-young and Kim Geun-hee, originated by the master Han Sung-Joon of Geyonggi-geommu. Geyonggi-geommu has its uniqueness of using the pure Korean dance terminology established by the holder Kim Geun-hee at the time of designation of intangible cultural properties in Gyeonggi-do. The unique features of Geyonggi-geommu are performed and transmitted in two forms, Daemu(Group dance) and Holchum(Solo dance) which are not currently found in other regions. This is meaningful to passed down according to the original form of Geommu(Sword dance). In particular, the Holchum(Solo dance) is a form of artistic dance, showing the beauty of the sword dance during the Chosun Dynasty. In short, Gyeonggi-geommu can be described as an artistic dance with a soft and strong temperament considering its unique features.

• Journal of architectural history
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• 제10권4호
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• pp.77-92
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• 2001

현대의 건축시기는 다원성의 시기 또는 복합성의 시기라고 불리운다. 모더니즘과 포스트모더니즘의 시기를 거치며 다양한 형태적 실험의 과정을 겪었고 수많은 이데올로기와 이론들로 무장된 논쟁의 역사도 갖게 되었다. 이러한 현대건축의 다양성은 건축디자인이라는 전문직의 사회에 기여하는 역할을 반추(反芻)함과 동시에 다변하는 인간사고의 역동성을 반영하고 있다. 건축관련 책자나 저널 등에서 흔히 발견할 수 있는 Neo-Classicism, Deconstructivism, Minimalism, High-Tech, New Moderns 등등의 건축양식들은 스타일을 지칭하는 언어라기보다는 건축적 사고를 지칭하는 언어라고 할 수 있다. 결국 건축디자인이라는 작업은 인간을 둘러 싼 건조환경의 생성에서 출발하는 것이므로 건축적 사고방식은 그 시기의 사회현상과 밀접한 관계를 맺게 된다. 20세기 말부터 불어닥친 디지털 문화의 사회변혁은 전 세계를 하나의 채널로 엮게 되었고, 이러한 영향들은 지역과 민족, 그리고 종교적인 요소들까지도 혼합하여 국경을 초월한 미래의 새로운 이상들을 꿈꾸게 되었다. 19세기 산업혁명과 함께 급속히 벨라진 인류문명의 진보는 필수적으로 세계화를 동반하는 것이고, 세계화와 지역성사이의 괴리를 통해 나타나는 문화적 비판과 충돌은 아직도 진행상태인 것이다. 세계화라는 통염은 문명의 보편성을 기반으로 하며 전통문화의 파괴가 뒤따를 수밖에 없는데, 현재와 같이 IT혁명을 통해 급속도로 빨라진 세계문화의 교류는 한 국가가 뿌리를 내리고 있는 문화적 유산이라는 토양을 포기하여야 할 단계에 와 있다고 논평할 정도이다. 여기서 건축은 문화적 상징으로 작용하게 되는데, 그것이 심미적이든 관습적이든 또는, 경제적이든 건축가는 해답의 제시라는 임무에 직면하게 된다. 20세기에 진행된 모더니즘의 건축은 구조와 공간에 대한 고전건축의 숙원을 고덕건축이 이룬 것처럼 15세기 르네상스 시대로부터 진행된 형태와 공간, 기능, 그리고 아름다움과 기술(technology) 또는 경제성 등에 대한 건축적 의문과 탐구를 일단락지었다고 할 수 있다. 이러한 모더니즘의 한복판에 Mies van der Rohe라는 거장이 깊은 발자국을 남기며 한 시대를 이루었고 그가 남긴 시대정신의 이념과 가치를 Miesianism이라고 부른다. 실용성과 도덕성을 근본으로 하는 Miesianism은 대중에 호소하는 미적 표현주의를 부정하고 지역정서를 중시하는 문맥적 접근방식을 경시함으로써 보편화라는 현상을 불러일으킨 국제주의 양식의 한 부류로 비판을 받아왔다. 즉, Miesianism의 단순하고 강렬한 외형적 요소는 그것이 내포하는 기술적 합리성이나 공간적 완결성을 무시한 채 전 세계에 영향을 미쳤고 동시에 지역적 저항을 받게 되었다. 시카고 및 전 세계의 Miesian들, 즉 Mies van der Rohe의 제자들이나 그로부터 영향을 받은 수많은 건축가들은 이러한 저항과 비판에 직면하게 되며 새로운 사고의 시대적 요구 앞에 고뇌하게 된다. 한국에서는 1978년 Mies van der Rohe의 제자인 김종성이 미국에서 서울로 돌아와 '서울건축컨설탄트'를 설립하며 본격적으로 Miesianism의 규범적 건축론을 설파하기 시작하였다. 이른바 시카고 국제주의학파의 건축전수라고 할 수 있는데 '서울건축컨설탄트'를 통하여 배출된 김종성의 제자들은 명쾌하고도 간결한 건축해법의 경험을 토대름대로의 정체성을 갖고자 노력하였으나 결국 다원적 가치를 요구하는 시대적 흐름 속에 혼란을 겪고 있는 것 또한 사실이다. 본 연구는 Miesianism의 기원을 밝히고 그것의 실수와 오류를 밝힘과 동시에 현대의 여러 가지 건축유형들과 비교하여 봄으로써 Post-Miesianism의 실체와 그 미래에 대하여 고찰하여 보고자 한다. 미스의 유산이라고 할 수 있는 Miesianism의 요체는 첫째, Schinkel로부터 이어받은 시대정신의 사명감, 둘째, Berlage가 전해준 전문가로서의 도덕성을 바탕으로 하여 이루어진 기술적 합리성의 실현, 그리고 마지막으로 그 당시의 추상예술에 대한 이해로써 받아들인 nee-Suprematism의 아방 가르데적인 자세라고 할 수 있다. 그러나 이것들을 전파하고 수용하는 과정에서 미스적인 단순하고 명쾌한 외관이 더욱 강한 인상을 남기게 되었고 또한 미스가 현대성의 본질이라고 믿는 기술의 전수는 모든 외관을 동일하게 만드는 International Style로서의 보편적 획일성을 초래하였다. Mies van der Rohe의 강력하고 규범적인 dogma는 그의 제자들에게는 강렬한 카리스마로 각인되었고, Mies가 원한 것이 아닐지라도 그들을 하나의 틀 속에 가두는 영향력을 행사하였다. 2세대이든 3세대이든 기술적 합리성과 추상적 단순미라는 믿음을 맹목적으로 추종할 때 그들은 Miesian으로 남아있게 되며, 거기서 벗어났을 때 non-Miesian, 또는 배신자로 취급하기까지 하였다. 이것은 미스의 제자들에게 강한 족쇄가 되어 형태적 또는 개념적 변화의 시도를 어렵게 하였고 시대적 요구에 부응하지 못한다는 평가에 이르게 되었다. 문화의 다양성과 역동성을 인정함과 동시에 Miesianism에 대한 새롭고 시대에 적합한 해석을 기대하게 되는데, 이러한 기대 속에서 우리는 Post-Miesianism이라는 새로운 유형을 엿볼 수 있게 된다. Post-Miesianism의 징후를 현대의 다양한 건축유형에서 발견할 수 있는데, High-Tech의 구축적이고 정밀한 건축 기술적 해법과 Minimalism의 반복성을 통한 추상미의 표현 등에서 뿐만이 아니라 Post-Modernism의 인간성의 추구나 문맥적 고려, 또는 해체주의의 형이상학적이고 아방가르데적인 실험주의 정신까지조차 Post-Miesianism이 공유할 수 있는 부분이 있다고 보여진다. 또한, 미스의 영향이 2세대, 3세대의 건축가들에게 미치면서 여러 방향으로 변질되어 가는 것을 우리는 발견할 수 있으며 그러한 시대성에 적응하는 시도들이야말로 새로운 미래를 향한 Post-Miesianism의 실체인 것이다. Mies가 말하였듯이 한 시대의 끝은 그 시대가 완전히 이해되었을 때이며, 모더니즘의 숙제는 아직 해결되지 않았으므로 Miesianism의 탐구는 Post-Miesianism이라는 새로운 주제로 계속될 것이다. 이를 통하여 21세기 디지털 문명의 시대 속에서 현대건축이 안을 수밖에 없는 보편성과 지역성의 충돌이라는 문제의 해결에 한 발걸음 다가갈 수 있기를 기대하여 본다.

• The Journal of Korean Philosophical History
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• 제39호
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• pp.53-83
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• 2013

This paper aims to examine how issues related to the heaven-human relation (or nature-culture relation) affected Joseon intellectuals in the eighteenth century by considering Huang Yun Seok as a reference. As a significant indicator, the heaven-human relation issue has traditionally been a critical theme in the history of Confucianism. Since Huang Yun Seok accepted Western Learning based on Zhuxi Learning, he is a good example for examining this issue. Huang's ideas didn't depart too much from Confucianism, but he naturally became interested in Western Learning because of the enthusiastic admiration he had of Ancient Learning since he was a child. Principle-Number was consistent with Ancient Learning and Western Learning, and this was somewhat different from the original notion of numerology. It was used for understanding and explaining astronomical phenomenon. In understanding astronomical phenomenon, Huang used both fact-determined and value-centered approaches. Western astronomy allowed him to make an advance in terms of fact-determined approach while the value-centered approach gave him a portentological perspective on astronomical variation such as solar and lunar eclipses. This indicates one of the ways to keep Zhuxi Learning's identity itself amidst an inflow of new learnings.

• Korean Journal of Heritage: History & Science
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• 제54권4호
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• pp.232-245
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• 2021

The present study is about a brand development strategy that utilizes Korean traditional patterns. The global culturenomics phenomenon confirms the value of the cultural aspects of design when a national brand is established. People succeed with their unique aesthetic sense and reinterpret it in a modern view, and this design acts as today's national brands. In this way, people used traditional patterns and original designs, along with regional characteristics and formative style, in developing their designs. However, due to recent changes in the global environment, modern people live in an "untact" world, and consumption culture shifted toward online marketing. In this environment, where one is isolated from social activities, there needs to be a strong image that can dramatically change the mood of one's home. I would like to re-examine the Dan-Chung pattern, whose painting depends on the aesthetic characteristics of architecture to protect the wooden members of the framework in traditional architecture. The pattern and color of Dan-Chung, coated in traditional architecture, differs by the type of construction used, which includes a palace, a Buddhist temple, and a Confucianism Dan Chung. The Geummoon pattern contains aesthetic factors to add solemnity to the Main Buddhist Halls, which contain Buddha. This is a new medium that continues the current traditions instead of remaining in the past. Among different Dan Chung patterns, Geummoon has magnificent decoration consisting of the highest grade materials and unique composition; therefore, it is suitable to be reinterpreted in modern terms. The same pattern can be interpreted in different ways with different colors, so there is a great aesthetic impression in the Geummoon pattern. The value of preservation for exploration and theoretical study of the traditional pattern is important, but recreating the pattern into modern formative art can present a new angle of view and national brand, bearing pride in our cultural assets. The study used multidimensional molding methods for realistic presentation after going through the two-dimensional design process. The significant value of Korean molding beauty which hangs onto the past will play a crucial role in establishing our national brand.

• (The) Research of the performance art and culture
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• 제42호
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• pp.257-290
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• 2021

The Wonju Nongyo (agricultural work song) is geographically classified as eastern minyo (folk song) which has many distinctive, regional features such as tunes, forms and the use of a melodic line. There has been growing attention to the transmission value of the nongyo including the Wonju Eorirang of the Wonju Origol Nongyo and its region of origin. The Wonju Nongyo is of great value and worthy of preservation in the western part of Gangwon Province. For this reason, it seems fairer to say that a focus should be directed towards establishing the identity of the song and increasing the contextualisation of transmission. At the same time, the preservation association's efforts in passing the traditional song down and education activities fairly deserve equal attention. In addition to the way the folk songs are handed down, a discussion on the facilitation of their use will be required. An in-depth discussion about the restoration and use of the song will be encouraged in a multifaceted manner. Unfortunately, few of the previous literatures on nongyo has gone so far as to investigate Arirang as a separate research topic. In fact, the Wonju Origol Nongyo should be viewed as an intangible cultural asset that paved the way for performance artistry of the Korean agricultural work songs to be seen at a national folk art festival. From the perspective of regional characteristics (traditionally termed "tori"), the Wonju Eorirang represents the cultural value of the manners and customs of our locals which constitute unwritten and neglected literary property and musicality of the song. Particularly, a more attention should be paid to making a record of woodcutters and diversity of farmers' small cooperative groups. The existence of the Wonju Eorirang indicates that the melodies to which the song are sung in Nongyo are of infinite variety. A minyo-singer unfolds various journeys of life through various modes and structure of epic chants, ranging from first encounter, love to marriage, realistic problems to relationship with husband's family and death. The epic chant of the Wonju Origol Nongyo contains a rich variety of regional sentiments about life. In particular, the epic chants of the Galtteukgisor and Ssoeltteukgisori are a genius example of sexual satire and a sense of humor. In the past, the agricultural work songs were rhythmic songs served to synchronize physical movements in groups, coordinating tasks in upland farming and rice paddy with the usage of catchy, repetitive verses easy to pass down. The Wonju Origol Nongyo is a precursor of the work songs which took the farming activities a notch higher to be part of the excitement and festivals. In the context of transmission, a festival serves to demonstrate the value of history and life. The value of the Wonju Eorirang should be appreciated and a concerted effort should be made to find a way to facilitate the transmission of the folk song. A folk-singer is a traditional oral poet and a storyteller of minyo and the forms and species of melody solely depend on the signer. The combination of performance and witticism is shown by the singer freely expressing himself. The Origol Nongyo symbolizes ethnic arts cleverly combining playful effects such as tune, rhythm and old agricultural work of the region. It is to be hoped that much of the efforts is directed to designating such folk songs as the archetype of a cultural heritage. In terms of the foundation on which the folk songs are transmitted, the usage(Performance Content) of a community would be an alternative.