• 한국노년학
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• 제31권1호
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• pp.157-170
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• 2011

The purpose of this article is to examine how the 'bodily culture' of older men who gather at Jongmyo Park serves to express and solidify their sense of a enduring self. The research was carried out based on the anthropological methods of participant observation and in-depth interviews at Jongmyo park and its adjacent areas. In later life, the image of a continuous self becomes harder to achieve due to the ageism prevalent in modern societies. The situation is worse at Jongmyo park since the park itself has been stigmatized as "the extraterritorial zone for the old" by the media due to the boisterous atmosphere of the park. It is dubbed as a place for those who have nowhere else to go. The singing and dancing, which used to be the dominant forms of activities at the park among older men until the 'sanctification' project propelled by the government, serves as an antidote against the ageist tendency to subjugate them. The 'bodily culture' embodies these men's image of themselves as a continuous being which has not been tarnished by the passage of time. The approach of 'body hermeneutics' is required to interpret the experiences of the body in later life.

• Korean Journal of Heritage: History & Science
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• 제55권1호
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• pp.133-150
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• 2022

Calling the 21th century the age of 'cultural competition' is not an overstatement. In an era of globalization, we try to find the 'identity of our country' in our culture. 'Culture' is the unique ethnicity of the people of each country that reflects the traces of their lives. As the world is transforming into a multi-dimensional place, traditional patterns in reference to cultural uniqueness and original formativeness are the brands that represent the people. France's luxury brand, GOYARD's Y-shaped pattern naturally made during the persistent traditional handmade process is still France's representative corporate brand and is considered prestigious even after 150 years have passed. On the other hand, in low-income countries, patterns created in the natural process of weaving fabrics are succeeded as a unique cultural aesthetic and are loved by people all over the world. Like this, people living in the global multi-dimensional world look to attain the framework 'One Planet Perspective' which is to succeed their own native culture and preserve the unique culture of others. For example, in the process of international relief organizations delivering relief supplies to Columbia's "Wayu tribe" due to the water shortage in 2013, a handmade product, "Mochila Bag" was discovered. Triggered by this incident, Europe and Korea decide to import it to support the livelihood of the "Wayu tribe." Also, the aesthetic and cultural values of the traditional culture in minority tribes that have evolved through thousands of years have been listed on UNESCO and preserved worldwide. Likewise, culture doesn't suddenly appear overnight, but rather the brand representing the company is the pattern used in the trend of the era kept for over 100 years. Moreover, patterns that reflect the country's identity are inherited as the unique aesthetic of the culture. Our country does inherit the unique aesthetic of our culture, but doesn't have a 'strong image' that displays the practical value reinterpreted creatively and aesthetically to fit the modern trend. Traditional patterns are important in perspective of study and theoretical research, but the brand's image using those patterns is a new medium from the past existence continuing to the current tradition. Furthermore, this study suggests that the image of a company that uses traditional patterns will have high economical potential as a national brand.

• The Journal of the Korea Contents Association
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• 제22권1호
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• pp.415-430
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• 2022

The purpose of this study is to explore the Canadian Film Director Sophie Deraspe's . Director Sophie Deraspe adapted a Greek Sophocles's novel to the Film in a modern way. For this study, adopt two research methodologies which are 'Author-structuralism' and 'culture studies', and explore traits of esthetics, narrative, subject and context meaning by analyzing . This study concludes that Firstly director Sophie Deraspe is a 'Quebecious writer-director' who represents cultural identity of contemporary Qubec, Secondly, express immigrants in Qubec using Greek Sophocles's novel tragedy as an allegory in narrative, Thirdly, enhances the dramatic effect in esthetics using virtual mise-en-scene as insert, fantasy, SNS, etc. And lastly, can confirm re-territorializing the cultural identity from the distinct characteristics of regional past tradition to the universal hybridity discours in subject. Therefore, Sophie Deraspe's is a work that symbolizes a new trend of 'New Quebec Cinema' in Canada.

• SUVANNABHUMI
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• 제1권1호
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• pp.1-25
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• 2009

The diversity of Southeast Asian culture and society has been made by two factors: geopolitical environment and colonialism. The geopolitical position of the region between China Seas and Indian Ocean has made it possible that diverse cultures from Northeast Asia especially China and India, Middle East and Europe have flowed into the region. The fact that Southeast Asia was colonized by various European nations has provided additional diversity. The diversity manifests itself most clearly in the culture of Southeast Asia which has various layers: On the bottom lay the indigenous one, and above it Chinese and Indian and Islamic cultures and finally European one.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• 제29권2호
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• Korean Journal of Child Education & Care
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• 제17권4호
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• pp.31-50
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• 2017

The purpose of this study developing early childhood unification education program preparing for unification using a picture story book, to cultivate right understanding toward North Korean society and rational perception of unification based on the consciousness of ethnic community and democratic citizenship and also to build the consciousness and attitude that will achieve unification in a peaceful way. For developing the program, this paper, with requested survey of teachers in the field of early childhood unification education and with study of references, consists of a purpose, objective, and education contents of early childhood unification education program preparing for reunification using a picture story book. The contents of early childhood unification education program preparing for unification using a picture story book mainly consist of having an identity as a people of Korea(historical identity, cultural identity, identity as Korean in the world), understanding of North Korea(understanding of culture, language, food, and nature of North Korea), reconciliation between South and North Korea(between individuals, groups, and nations), and peaceful unification(peace, unification).

• Korean Journal of Heritage: History & Science
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• 제48권3호
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• pp.204-219
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• 2015

International society, including the United Nations, has recently been making efforts to further promote a rapprochement of cultures in relation to alleviating military and political conflicts and other social clashes. In line with these efforts at the international level, there has been a growing interest on Central Asia and, in particular, on the Silk Road, which functioned as a trade route among ancient civilizations in the region and is also seen as a route that promoted cultural dialogue and exchanges. Given the amount of cross cultural dialogue and exchange, it is no surprise that intangible cultural heritage has historically been abundant and easily found in the region. However, this heritage was placed in considerable risk because heritage transmission critically weakened for seventy years under Soviet rule. Fortunately, since independence, there has been increasing interest in restoring community identity and reviving intangible heritage. Nevertheless, in spite of this interest, a lack of policies and cultural support in each country has made heritage safeguarding difficult. In this paper, I analyze the various phenomena that took place after the concept and international trends on ICH were introduced and speak about the experiences and outcomes obtained from collaborative network projects by ICHCAP and the Central Asian countries over the last six year. In addition, I would like take this opportunity to discuss how we can understand and develop collaboration in the intangible heritage field in Central Asia in a long-term perspective.

• (The)Study of the Eastern Classic
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• 제50호
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• pp.29-54
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• 2013

Mun Il-pyeong(1888-1939) is famous for a nationalist historian led history into popular style to enlighten the public. This paper aims to overview the characteristic of Mun Il-pyeong's history based on prior studies on Mun Il-pyeong's works. The characteristic of Mun Il-pyeong's history shows us people centric trend based on a struggle of classes. For the people, he insisted that description of history should be easy and scientific for the people who are host of history. And Mun Il-pyeong insisted the harmony of nationalist history and positive history. This was a progressive attitude in writing history at that time. Another characteristic of Mun Il-pyeong's history is that he considered cultural history as important. Mun Il-pyoeng wanted to overcome the ashamed political history by cultural history. In this intention, Korean history was again born proudful by him. Mun Il-pyoeng pursued open nationalism, not ultra-nationalism by connecting with other world. This paper focused on the essential part of Mun Il-pyoeng's history. Many scholars think Mun Il-pyeong focused on Korean modern history or history of foreign relation. But I think Mun Il-pyeong attached importance to Practical Learning, Sirhak in late Joseon dynasty. Because Sirhak contained Mun Il-pyeong's academic intention, Modernism and Culturism dreamed from his youth age. Therefore he led so-called Joseonhak Undong meaning study of Sirhak. Studying Sirhak made Mun Il-pyeong open a new direction Korean modern history have to go.

• The Journal of the Korea Contents Association
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• 제11권1호
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• pp.184-192
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• 2011

Cultural heritage is the historic symbol implying the life of people and regionality. Accordingly, the study on cultural heritage along the border between Korea and China is a very critical and urgent task for educational purposes as well as to secure historic and cultural awareness and national identity. The border area between Korea and China is classified into the areas along Aprok River and areas along Tumen River where the cultural heritage of various ethnicities is scattered. Accordingly, this study tried to find the approaches to implement and use the exhibition contents for educational purposes as well as visual applications rather than a literary study on cultural heritage in the border area between Korea and China. The results of this study will be the opportunity to enhance the practical understanding of the modern states as well as to learn the cultural awareness of the territory of a modern state and people's awareness of the importance of world heritages. Furthermore, the results of this study will be used as the resources for historic and cultural tours on the web or applications and help to understand the cultural features of Korea and China in the northeastern region as well as historic awareness in educational programs using exhibition materials in a museum.

• The Journal of the Korea institute of electronic communication sciences
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• 제7권2호
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• pp.365-373
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• 2012

Culture is the essential requisite to improve the resource of city competitiveness and the quality of life. The modern society hope to make the city, more regional and able to be expressed creativity, combining with culture industries for the purpose continuous economic growth and regeneration city. This development industry of cultural city constructed employment and the production of income due to the operations by infra-construction. And It inspired civic awareness about Cultural History. In addition, It presented the effective direction of national aspects caused by improving the identity and the value of ethnicity, culture.