• The Journal of the Convergence on Culture Technology
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• v.10 no.2
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• pp.323-331
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• 2024

The concept of 'Han' is a psychological characteristic formed by Koreans through long-lasting national hardships. It has deeply influenced every Korean as a form of collective unconscious and has merged with various forms of art over time. Director Bong Joon-ho's works, rich in social consciousness, symbolically visualize sensitive issues like social class, presenting harsh satire on class oppression. His movies continuously emphasize human desires, the homogeneity of good and evil, insurmountable class barriers, and moral decay caused by desires. They produce a wealth of symbols filled with layers and power dynamics. Bong Joon-ho dramatically portrays and directs various forms of symbols. The metaphorical symbols in his movies provide a unique research value for delving into the deeper meanings of the films.This study examines the theme of 'class Han' in six of Bong Joon-ho's films, exploring the 'Han culture' of Korea. It applies semiotic concepts by categorizing into character and non-character symbols for an in-depth analysis of the films. The representative works from the late 1990s to the late 2010s articulate the class layers of the 'visible' and the 'invisible' through a blend of realism and surrealism. The study analyzes Bong Joon-ho's films in the sequence of 'satire-exposure-hope', examining the culturally critical nature of 'Han culture' on class and its psychological and cultural impact on the general public.

• Journal of Ginseng Culture
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• v.6
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• pp.51-79
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• 2024

In the 1970s and 1980s, during the nascent phase of ginseng disease research, efforts concentrated on isolating and identifying pathogens. Subsequently, their physiological ecology and pathogenesis characteristics were scrutinized. This led to the establishment of a comprehensive control approach for safeguarding major aerial part diseases like Alternaria blight, anthracnose, and Phytophthora blight, along with underground part diseases such as Rhizoctonia seedling damping-off, Pythium seedling damping-off, and Sclerotinia white rot. In the 1980s, the sunshade was changed from traditional rice straw to polyethylene (PE) net. From 1987 to 1989, focused research aimed at enhancing disease control methods. Notably, the introduction of a four-layer woven P.E. light-shading net minimized rainwater leakage, curbing Alternaria blight occurrence. Since 1990, identification of the bacterial soft stem rot pathogen facilitated the establishment of a flower stem removal method to mitigate outbreaks. Concurrently, efforts were directed towards identifying root rot pathogens causing continuous crop failure, employing soil fumigation and filling methods for sustainable crop land use. In 2000, adapting to rapid climate changes became imperative, prompting modifications and supplements to control methods. New approaches were devised, including a crop protection agent method for Alternaria stem blight triggered by excessive rainfall during sprouting and a control method for gray mold disease. A comprehensive plan to enhance control methods for Rhizoctonia seedling damping-off and Rhizoctonia damping-off was also devised. Over the past 50 years, the initial emphasis was on understanding the causes and control of ginseng diseases, followed by refining established control methods. Drawing on these findings, future ginseng cultivation and disease control methods should be innovatively developed to proactively address evolving factors such as climate fluctuations, diminishing cultivation areas, escalating labor costs, and heightened consumer safety awareness.

• Korean Journal of Heritage: History & Science
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• v.57 no.1
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• pp.180-195
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• 2024

Community beliefs of the coastal villages in Gochang are cultural activities and rituals manifesting the hopes and spiritual worlds of the locals who live off the sea and tidal mud. Along with their societal functions wishing for peace, maritime safety, and good catches, the values of the Jwajeongdam (How god came to be), Yuraedam (History of worshipping), and Yeongheomdam (Stories of miracles), as living heritage need to be reexamined according to the recent Convention for the Safeguarding of the Intangible Cultural Heritage. The community beliefs of the coastal villages in Gochang, where outstanding universal intangible and tangible values coexist, have been perpetually transmitted in interactions with tidal mud and the ecological environments of the sea. They reinforce the "Outstanding Universal Value" UNESCO mentions and sustainability that connects the past, present, and future. Furthermore, a coastal area is endowed with international accessibility over regionality. Hence the community beliefs are charged with eco-cultural values, which its preservation and promotion should also focus on to provide policies and protection activities. In short, the tidal mud and community beliefs of coastal villages in Gochang, which according to the concept of UNESCO's "mixed heritage," meet the values for natural, cultural, and intangible heritage at the same time, and so must be approached not in the scope of points or lines, but also in surfaces when arranging protection initiatives.

• Journal of Christian Education in Korea
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• v.75
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• pp.127-152
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• 2023

Purpose of study: This study aims to explore 'labyrinth walking,' a lesser-known Christian spiritual practice within the Korean church. Additionally, it intends to propose ways for implementing labyrinth walking through literature reviews encompassing theory and practice. Research content and method: The article begins with its exploration by defining labyrinth walking from a historical perspective. It was a spiritual practice that existed in the Middle Ages, involving the traversal of a labyrinthine shape, typically a single path on the floor, often accompanied by prayer or contemplation. The contemporary spiritual practice of labyrinth walking was recovered and reinterpreted by Christian scholars and spiritual directors during the mid and late twentieth century. Additionally, within Christianity, labyrinth walking, rich with symbolism representing Jesus' suffering and salvation, baptism, pilgrimage, and purification, comprises five essential steps: preparing, walking with prayer or contemplation, remaining in the center, returning, and journaling and sharing. By merging pilgrimage, walking, prayer, and meditation, the practice of walking the labyrinth can enable people to have an opportunity for retreat, to encounter and be accompanied by God, to experience moments of serenity and healing, to reflect on themselves, to create life-transforming resolutions, and to build a sense of community. As a result, many Korean churches should acknowledge the value of and utilize labyrinth walking to nurture faith and spirituality. Conclusions and Suggestions: Accordingly, this paper suggests some practical ways to employ labyrinth walking as a form of prayer, part of a ritual or religious activity, an embodiment of pilgrimage, and a tranquil and nonverbal experience. Furthermore, the study recommends that Korean churches establish proper goals, consider essential principles for labyrinth design and installation, and follow specific guidelines while conducting labyrinth walks.

• Journal of Christian Education in Korea
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• v.75
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• pp.103-125
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• 2023

This study aims to explore the direction and tasks of Christian unification education as peace education. To this end, after examining the historical trend of peace education and unification education in Korea, the tasks of peaceful unification education are reviewed. Peace education has expanded with the activation of peace movements and educational discourse starting from civil society, while unification education has been planned in accordance with the government's unification and North Korea policy and is moving toward the field of education practice. However, due to the nature of unification education that aspires for peace, the combination of the two fields has continued steadily, and research on peace unification education has been continuously conducted. The direction and tasks of Christian unification education as peace education were proposed based on the tasks of peace unification education derived through prior research analysis and the trend of the times in the two areas to carry out the research purpose. For the sustainability of peace on the Korean Peninsula, Christian unification education as a peace education should aim to foster peaceful citizens who take the lead in transitioning from a culture of violence to a culture of peace. To this end, first, it is necessary to seek the direction of Christian education for the dissolution of the antagonist image. Second, activities that guarantee learners' subjectivity and autonomy should be carried out away from the top-down method in teaching and learning. Third, a curriculum connected to daily life should be formed.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.1
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• pp.38-47
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• 2013

This study was performed in order to preserve and protect the scenic sites and surrounding environment is located in the Urban Residential Area. After classifying the type of area surrounding parcels of Seongbuk-dong is located in Seongragwon, Satisfaction Survey, scenic sites designated areas for residents living near the analyzed. Research methods, Cadastral research, literature survey, field survey, and the survey was conducted. Cultural heritage awareness about the collected questionnaires of frequency analysis, and reliability analysis for cultural heritages around satisfaction, satisfaction analysis by parcel area, parcel area for the verification of specific differences regression analysis for the full-on relationship satisfaction, one-way ANOVA was conducted for each. Overall Cultural awareness analysis results, the residence is located close to the Seoul Seonjamdanji, Seongragwon, Simujang, Sanghoe Lee Tae-Joon's houses, Seoul Hanyang castle showed that cultural heritage were know unfulfilled cultural heritage. The purpose of cultural heritage visit was to break/walks. Preservation was usually level and there is no inconvenience caused as a cultural heritage. Regulatory intensity level was usually level and showed a positive reaction to the impact of cultural heritage in Seongbuk-dong image mostly. cultural heritage have a positive impact on the image of the town. but access to cultural heritage is not easy and doesn't affect the life is expected. Overall satisfaction for cultural heritages in the surrounding space, the larger the size of the lot, and higher satisfaction. Seongbuk-dong most of the residents satisfaction was higher. Small lots of residents showed low satisfaction for safety when walking at night, heritage value rise, private ownership of heritage use, harmony with surrounding environment, Building exterior, non-physical uniqueness like culture art mental. It can be interpreted that small lots of residential environment quality is low compared to the large lots, influx of residents in other regions due to the redevelopment of one of Seongbuk-dong, private ownership of heritage use. And generally lower satisfaction on the harmonization of the facility(street lights, signs, etc.). Therefore cultural heritage signs for facility expansion, cultural educational programs, will be needed to maintain the uniqueness village when scenic sites in the city center around the area of management strategy.

• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.184-203
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• 2020

The Confucian ruling class of the Joseon Dynasty regarded Buddhist rituals as "dangerous festivals." However, these Buddhist ceremonies facilitated transitions between phases of life from birth till death and strengthened communal unity through their joint practice of the rites. Ritual spaces were decorated with various utensils and objects that transformed them into wondrous arenas. Of these ornaments, Buddhist paintings served as the most effective visual medium for educating the common people. As an example, a painting of the Ten Kings of the Underworld (siwangdo) could be hung as a means to illustrate the Buddhist view of the afterlife, embedded in images not only inside a Buddhist temple hall, but in any space where a Buddhist ritual was being held. Demand for Buddhist paintings rose considerably with their use in ritual spaces. Nectar ritual paintings (gamnodo), including scenes of appeasement rites for the souls of the deceased, emphasized depictions of royal family members and their royal relatives. In Chinese paintings of the water and land ceremony (suryukjae), these figures referred to one of several sacred groups who invited deities to a ritual. However, in Korean paintings of a nectar ritual, the iconography symbolized the patronage of the royal court and underlined the historicity and tradition of nationally conducted water and land ceremonies. This royal patronage implied the social and governmental sanction of Buddhist rituals. By including depictions of royal family members and their royal relatives, Joseon Buddhist paintings highlighted this approval. The Joseon ruling class outwardly feared that Buddhist rituals might undermine observance of Confucian proprieties and lead to a corruption of public morals, since monks and laymen, men and women, and people of all ranks mingled within the ritual spaces. The concern of the ruling class was also closely related to the nature of festivals, which involved deviation from the routines of daily life and violation of taboos. Since visual media such as paintings were considered to hold a special power, some members of the ruling class attempted to exploit this power, while others were apprehensive of the risks they entailed. According to Joseon wangjo sillok (The Annals of the Joseon Dynasty), the Joseon royal court burned Buddhist paintings and ordered the arrest of those who created them, while emphasizing their dangers. It further announced that so many citizens were gathering in Buddhist ritual spaces that the capital city was being left vacant. However, this record also paradoxically suggests that Buddhist rituals were widely considered festivals that people should participate in. Buddhist rituals could not be easily suppressed since they performed important religious functions reflecting the phases of the human life cycle, and had no available Confucian replacements. Their festive nature, unifying communities, expanded significantly at the time. The nectar ritual paintings of the late Joseon period realistically delineated nectar rituals and depicted the troops of traveling actors and performers that began to emerge during the seventeenth century. Such Buddhist rituals for consoling souls who encountered an unfortunate death were held annually and evolved into festivals during which the Joseon people relieved their everyday fatigue and refreshed themselves. The process of adopting Buddhist rituals-regarded as "dangerous festivals" due to political suppression of Buddhism in the Confucian nation-as seasonal customs and communal feasts is well reflected in the changes made in Buddhist paintings.

• Journal of Korean Ophthalmic Optics Society
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• v.7 no.1
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• pp.45-50
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• 2002

The 'hands-on' craftsmanship of the 20th century has came and gone. Today, we are dealing with whole new, 'cerebral approach,' to concept and design with this new approach, design and function are very much dependant upon planning, sales, promotion, and the formative technique of the design industry. The innovative process of design constantly change as it reflects the needs and wants of society. It is and industry that constantly change as it reflects the needs and wants of society. It is and industry that constantly remakes and reshapes itself to suit current trend and outlook. The current idea being that consumers are looking for quality over quantity. Due to the 20th centuries dominant philosophy of functionalism, production intended to standardize the individual's purchasing choice. Aesthetic, or philosophic qualities played a second fiddle to the functional bias of a product, With production, Marketing, and research and development are integrated into the management process. This translates as good which include efficiency, quality, durability, and credibility an trademark and style. There is a definite 'post-modernist' movement and style in 21st century. Every possibility is available as the old boundaries of the 20th century are laid aside. There is a new, transformative quality to the current paradigm of design. The old "should" and "should not" of design no longerapplies. The integrated rative of design solves the usual disparity between aesthetic qualities and production. Design and profirability need not be stranger to one another. It can differentiate the image perceived of both enterprises and consumers by making use of integrated goods services. With an integrated system. both producers and designers win. While design gets full access to design in turn. All consumers make decisions based upon the evaluation of quality, service, and image ; even though it may not be a conscious decision to do so. Consumers are fully integrated human beings ; therefore producers who apply the new, integrated paradigmatic approach to concept, design, and production will reap the harvest of making a true relationship with individual buyer.

• (The) Research of the performance art and culture
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• no.37
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• pp.127-155
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• 2018

This paper considers the structure and meaning of the folktale accompaniment of the sound of UlsanSoeburisoree. The review process examined the meaning of each structure of the UlsanSoeburisoree in the preparation process while preparing the main elements of the structural features along with the historical background of the structure. UlsanSoeburisoree is Poongcheol ritual ceremony which means prayer ceremony for the production of iron. The sound of UlsanSoeburisoree is 1-Gilnori 2-Gosa 3-The sound of blowing smelting process 4-The sound of process of iron smelting 5-The sound of tabooline 6-The sound of blowing smelting process 7-The sound of blowing matches 8-The After-party. This structure is in line with the structure of folk play called Gilnory-Gosa-Performance-After-party. This is similar to the basic structure of folk beliefs Cheongsin(請神)-Osin(娛神)-Songsin(送神). Thus, the sound of UlsanSoeburisoree was formulated in a sequential parallel structure. The sound of UlsanSoeburisoree resemble the sacrifice of heaven ceremony since the time of the SamHan dynasty. The sound of the birth of life by physical sacrifice also plays the role of the song of creation of new life. The sound of UlsanSoeburisoree can be seen not only in Korea 's folk culture but also in folk culture of GyeongnamDo area. There are many festivals to pray for the abundance of life for UlsanSoeburisoree. Soil plays an absolute role in the process of producing iron. For those who soak it, the earth is a religious object. Among the folk tales handed down in the Yeongnam area, there are a lot of performances that are passed down through the blending of the people 's affection to overcome the harshness of life. In the case of the sound of UlsanSoeburisoree, it can be said that it was made and mixed with the wind that wanted to go beyond the harshness of life and the spirit of art.

• The Korean Journal of Archival Studies
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• no.21
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• pp.247-281
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• 2009

Local governments in Korea, sixteen in total, shall establish local government archives to and manage preserve their permanent archives to comply with the Public Records Management Act amended in October 2006. National Archives of Korea(NAK) directed the local governments to recruit legally qualified archivists by the end 0f 2006 and to plan on the establishment and operation of the local government archives by the end 2007. However, none of the government archives was established by far. Government officials in NAK and the local governments raised the limits of the budget and human resources. What is more serious is that they don't concern why the archives are necessary and what missions and functions the archives should have. In this paper, I summarized the present situation and problems in establishing the local archives, and what we will do to establish normal government archives. First, local governments should establish "local government records commissions" and employ qualified archivists. The local government records commission should comprise concerned and qualified members. The records commission, as a policy and decision-making body, should make plans and implement the plans to establish the local archives, establish professional training programs to produce qualified archivists, promote local archives community activities, determine operational issues, and make a long-term development plan satisfying local demands. Second, the local government archives share existing repositories of NAK. Third, after the establishment of the archives, the local archives should perform normal records and archives management of the local governments as records acts mandate, do general records surveys and appraise the records created in the local governments. The local government archives should collect valuable local archives including private archives, and arrange and make usable them to provide access. They also promote and coordinate various cultural heritage community activities related to the local archives.