• Korean journal of communication and information
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• v.77
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• pp.164-199
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• 2016

This study analyzes the socio-economical contexts of Japan's Karaoke inflow in Busan of the 1980s, and examines the relationship between Karaoke culture of the 1980s and 'Noraebang' culture of the early 1990s in Busan from the perspective of the SCOT(social construction of technology) theory. By the end of 1970s, Japan's Karaoke was introduced under the contexts of structural transformations of a geisha tourism in the East Asian regions. Karaoke culture in Busan of the 1970s and 1980s has formulated social recognitions of the novelty of Noraebang culture in the 1990s, although it has done so through the ways of misunderstandings and Nationalism.

• Cross-Cultural Studies
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• v.42
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• pp.205-240
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• 2016

The combination of animals has been developed in each of the cultural spheres as a method of metaphor and symbolism of the cultural code. However, its symbolism is not a fixed constant, but a variable and relative constant. This work focused on its features in comparison with East Asian cultural spheres comedic stories and proverbs. Consequently, several features were identified. First, the combinations of animals in similar comedic stories and proverbs among Korea, Japan and China show a difference in point of view. Korean focuses on the difference of the two animals, but Chinese and Japanese focus on the differences in value and level. Second, the method of anthropomorphization is relatively more developed in China and Japan than Korea. The combinations of animals of Chinese comedic stories and proverbs particularly in the field of anthropomorphization, are most focused on age and sex of the animal. The animal's age or sex remains mostly undetermined in Korean animal's proverbs, unlike Chinese proverbs. On the other hand, two animals in Japanese comedic stories and proverbs are usually of the male and female gender from. Third, the combinations of animals of Chinese and Japanese focus on the animal's body and its characteristics of action. Chinese and Japanese combine the characteristics of the two animal's bodies and actions. This feature apparently caused the resultant combinations of the animal's body parts, for example, the Dragon. Understanding of the combinations of two animals is a good portal into the features of East Asian culture sphere.

• Korean Association of Arts Management
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• no.51
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• pp.135-166
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• 2019

Recently, the Japan Cultural Agency announced a plan for revitalizing the art market represented by reading museums (advanced art museums) to promote industry through strengthening the sustainability and economics of art museums. Along with these policy announcements, the Japanese cultural system and Bypyeongje are divided into pros and cons, and there has been a heightened opposition, which is now in a state where policy promotion has been temporarily suspended. The opposite reason is that it does not meet the museum's inherent purpose of preservation and lore, and the reason for favoring that commercialism can ruin the art world is that the Japanese art society is other than art museums and museums Also, it consists of non-profit organizations, art festival administration organizations, support staff, volunteers, etc., but because of the high subsidy bias, no real labor costs are paid, which means that it is virtually neglected. Also, there is a vigilance that the art society itself, which reduces its reliance on subsidies in response to social changes, can survive. Seeing that the situation is not much different from Japan, Korea is also actively discussing new establishments of the National Art Bank, performing art appraisal and evaluation functions for revitalizing art works, art loan, art trust, etc. There is. As it is difficult to solve realistic problems with subsidies from the future situation, it is difficult for us to expand investment in culture, and culture and economy are united and linked. You will find a plan to make it operational. In this regard, it is thought that the examination of the cultural and economic agency's strategy, represented by the Japanese advanced art museums, gives us a meaningful suggestion.

• Cross-Cultural Studies
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• v.46
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• pp.435-463
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• 2017

This paper aims to identify the structural characteristics of Okawa Syumei(大川周明), Wakamiya Unosuke(若宮卯之助) and Okakura Tensin(岡倉天心). In fact, after Okawa Syumei studied the Principles of Wakamiya Unosuke and Okakura Tensin, he derived a conclusion and wrote a book named "yeolseongjeon". This book talks about the emperor dynasty. Based on this, the theory presented by Wakamiya Unosuke and Okakura Tensin described the characteristics of the East European culture. Okakura Tensin crossed the western part and discovered that western culture is only western culture and not a universal culture. Western culture has developed from its own experience. Wakamiya Unosuke translated a book by William Knox, The spirt of the orient. They have the same point of view, but they have a different culture and they must follow their own culture. Okakura Tensin insisted that culture is dynamic and it improves by adapting different cultures of different countries. Wakamiya appealed and he opposed Tensin's studies about culture. Wakamiya's definition of culture has not changed or is fixed from the past, which still exists in the modern times. Culture must be cultivated and it must be introduced to people who have forgotten their own culture. Despite such methodological differences, the commonality between Okakura and Wakamiya is that Western civilization is nothing more than a regional culture, as the West is not a universal civilization, but as a whole, it is a regional culture. Okawa Syumei learned the Okakura and Wakamiya's theory about culture and derived a conclusion. He stated that both opinions are correct as culture can be adapted as explained by Okakura. For example, Japanese people are now adapting and embracing the culture of Chinese people and Indian people. On the other hand, he also learned Wakamiya Unosuke's theory that culture does not change. Japanese have their own culture that was created in the past or it was developed by their ancestors; for example, the emperor dynasty. Okawa Syumei learned different cultures of different countries and Japanese people are adapting those cultures, and Wakamiya stated that the emperor dynasty must be instilled and it must be universal. Japanese emperors have different cultures, especially the Meiji emperor who is willing to accept different cultures of different countries. Finally, he claimed that the emperor dynasty created a new Japanese civilization and they are now embracing the new adapted culture.

• 프린팅코리아
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• v.10 no.10
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• pp.100-103
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• 2011

IGAS2011(International Graphic Arts Show)이 지난 9월 16일부터 21일까지 일본 도쿄 빅사이트 전시장에서 열렸다. 이번 전시회를 주최한 일본인쇄기재단체협의회는 이번 전시회는 최신 인쇄 디지털 그래픽 관련 장비와 기술을 한자리에 모인 국제 종합 인쇄기재전으로 현재 인쇄업계가 직면한 다양한 과제에 대한 솔루션 제안 인쇄 산업의 장래와 최신 기술 동향을 제공하는 동시에 인쇄인들의 국제적 교류를 도모하고, 관련 업계의 활성화와 교류에 기여했다고 밝혔다. 이번 전시회는 경제산업성, 도쿄도, 일본무역진흥기구(JETRO) 사단법인 일본인쇄산업연합회 등이 후원했으며 전시장의 면적은 51,380$m^2$, 전시 면적은 약 41,000$m^2$였다.

• Proceedings of the Costume Culture Conference
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• 2004.04a
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• pp.11-15
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• 2004

오늘날 전 세계는 과학의 진보, 컴퓨터 통신의 눈부신 발달에 따른 인터넷 등 모든 분야에 있어서 너무나 빠른 가속도의 변화의 시대에 살고 있다. 이에 따른 섬유산업의 발전과 더불어 패션산업은 21C에 접어들면서 실용성에 예술성향이 복합된 효과를 대중과 함께 호흡할 수 있게 되었으며 중국이 급부상하면서 여러 분야에 걸쳐 세계는 아시아권에 관심과 주목을 받게 되는 즈음, 중국을 배경으로 한국과 일본의 득과 실에 대해 특히 섬유소재분야와 패션분야에 대한 교육과 산업의 냉철한 판단을 비교 분석하여 보기로 한다. (중략)

• 식품문화 한맛한얼
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• v.1 no.4
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• pp.5-16
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• 2008

여러 품종의 고추에 대한 자료를 통하여 생물학적으로 고추의 품종과 다양성(원산지의 다양성)을 확인하고 고문헌 상에서도 고추의 종류가 다양함을 확인하였다. 즉 우리가 사용하고 있는 고추는 생물학적으로 볼 때 남아메리카의 고추인 아히(Aji)가 될 수 없음이 분명해진다. 또한 우리나라에는 고추를 나타내는 '초(椒)' 가 예부터 있었으며 음식재료로 사용되고 있었음을 알 수 있다. 일본으로부터 들어왔다는 번초의 종류를 분석한 결과 임진왜란 때 일본으로부터 왜개자(또 다른 개자일 가능성도 있음)가 들어온 것은 사실임이 틀림없고 그 번초(왜개자)는 우리나라에 이미 존재하는 초(椒)(고추)와는 분명히 다른 종류의 고추 또는 초(椒)임이 확인되었다. 더군다나 번초를 남번초, 남만초, 당초, 당개자로 부르는 것으로 보아 이성우가 주장하는 남아메리카의 아히가 아님은 문헌적으로도 분명하다. 아울러 우리나라 고추도 임진왜란 때 일본으로 건너갔다는 일본문헌 역시 사실에 근거한 기록으로 보인다. 고추 품종의 다양성과 생물학적인 다양성을 인정하고 모든 고문헌에 나오는 기록을 보면 중국, 일본, 우리나라 문헌에 서로 상위되는 것이 없이 아무런 문제점이 없음을 보여주고 있다.

• Archives of design research
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• v.18 no.1 s.59
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• pp.27-38
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• 2005

The purpose of this study is to find the unique image characteristics of Korea and identify the Korea culture by comparing the image characteristics of traditional palaces of Korea, China and Japan. This study identifies the unique image characteristics of Korea through a comparative analysis the image of three nations. Literature research, free association measurement, survey were conducted to select study objects and descriptive words. 5 outside-pictures and 2 inside-pictures of the Changduckung, the Forbidden City, the Nijo castle representing each country's traditional palaces were chosen as study objects. A questionnaire was made with 47 descriptive words and 5-scale measurement. The results of analysis are as follows. The representative words to express the image characteristics of Korea, China and Japan traditional palaces are adornment, stability, openness, lines, unfamiliarity, feminine. This study researched the common and different factors between the image characteristics in traditional palaces of Korea, China and Japan. The common image is the image of lines. The distinctive characteristics of Korea are stability, curved lines and femininity. The characteristics of China are adornment and straight lines. And, the characteristics of Japan are simplicity, unfamiliarity, and openness. Based on the research, it was found out that stability and curved lines are the main characteristics of Korea. This study researches the characteristics of images of Korea, China and Japan. This study shows the common and different factors of image characteristics of in the neighboring three nations of East Asia. Due to the geographical and cultural effect over a long time, the Korea was evaluated as the middle cultural between China and Japan. However, this study found unique characteristics of Korea's image.

• Proceedings of the Korea Institute of Fire Science and Engineering Conference
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• 2013.04a
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• pp.138-139
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• 2013

본 연구는 우리나라와 국외(미국, 일본, 영국, 프랑스)의 문화재 안전관리 현황에 대하여 비교 검토하였다. 또한 문화재 안전관리 선진사례 집중분석을 통하여 국내 문화재 안전관리 수용성 및 발전방안을 제시하고자 한다.

• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.235-238
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• 2009

The character design is part of a culture. That is, it is not just an object but it reflects the cultural tendency and context where it is visualized. It's potential as a cultural medium of communication become pervasive in the field. One of good sources of characters is the classics which represent the nation's culture and history. The topic of this presentation is to show how a character in the Buddhist story, the Monkey King, designed differently in different context. For the purpose, the animation on the Monkey King in China, Japan and Korea are reviewed and analyzed. The result shows that the same animation character has been designed in different way in different context and it reflects the cultural tendency of the country. For example, Koreans tend to emphasize the global feature of the character. In case of Chinese, however, the character designer emphasizes traditional value. Finally, the designer in Japan tries to put their cultural element in detailed part of the character that makes it appeal to the public.