• Korea journal of population studies
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• v.17 no.1
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• pp.87-114
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• 1994

1950년대부터 많은 개발도상국가들은 가족계획을 위주로 하는 인구제어정책을 추진하여 왔다. 특히 가부장제도를 중심으로하는 동아시아 국가들에 있어서는 남아선호관이 출산력 저하나 피임 실천율이 증대에 지대한 유해요인으로 일관해 왔다. Sheps(1963)는 실증적으로 2명의 아들을 갖기 위해서는 약 3.9명 정도의 자녀를 두어야 한다는 연구결과를 제시한바 있다. 이와 같은 남아선호관의 여파에도 불구하고 한국과 홍콩은 1980년대 증반에 이미 1.6명 수준의 저출산율을 이룩하였으며, 1970년대에 인구억제 정책을 시작한 중국도 2명 수준으로 저하되어 가족계획사업의 성공사례로 평가되어 왔다. 그러나 이들 국가들의 출산율은 지난 20-30년이라는 짧은 기간에 너무나 급진적으로 감소된 반면에 남아선호관의 상존으로 인한 성비(여자 100명당 남자수)의 불균형을 초래하게 되였다. 한 예로 한국의 경우 1960년도만 해도 6명 이상의 자녀를 출산하는 과정에서 1-2명의 아들을 둘 수 있는 확률은 매우 높았으나, 최근에는 출산율이 2명 이하로 저하되어 아들을 둘 수 있는 확률은 과거보다 3-4배 어려워졌기 때문에 인위적인 방법으로 아들을 두는 부모의 수가 증가하고 있다. 중국은 1970년대 중반기부터 강력히 추진되어온 소위 "한자녀 갖기 운동"으로 인하여 여아출산인 경우 영아살해 또는 출생의 미신고등 많은 사회적 물의를 야기하였고, 최근에는 초음파검사를통한 선택적 인공임신중절(태아가 여아인 경우)으 경우가 급격히 증가하고 있다. 우리 나라의 성비는 출산율이 급격히 감소된 1980년대 증반기부터 급격히 증가되었다. 즉 인구전체에 대한 성비는 1980년의 103.9명에서 1985년에 110명으로 증가하였고ㅡ 1990년 116.9명으로 증가되었다. 성비는 자녀의 수가 적을수록 높아지는 추세이다. 1991년 조사에서 출산을 종료한 부인의 경우 1자녀의 성비는 무려 206명이나 되고 있다. 이와 같은 결과는 한자녀를 원하는 부인이 아들을 둔 경우 1자녀에서 조산을 결심하기 때문인 것이다. 통계청 자료에 의하면 성비는 무엇보다도 자녀의 출산순위와 밀접하다. 1991년 출생신고자료의 경우 첫아이의 출생시 성비는 106.1명이고, 둘째아이가 112.8명이나, 셋째아이는 184.7명으로 크게 증가하고 넷째 이상의 경우는 212.3명이나 된다. 동일한 출산순위라도 이미 두고 있는 자녀의 성에 따라서 많은 차이를 보인다. 1991년도 3번째 출산의 경우 딸만 2명을 두고 있는 자녀의 성에 아들만 2명 또는 아들과 딸을 각각 1명씩 두고 있는 경우에 비해 높은 성비를 보이고 있다. 자녀를 출산하는데 있어서 처음에는 아들ㅇ르 기다리지만 딸의 수가 증가함에 따라 적극적으로 아들을 낳고자 하는 노력을 지속하게 됨을 알 수 있다. 이는 즉 임신한 자녀의 성이 딸로 판명되면 인공임신중절을 통해 임신을 종결시키고 있음을 의미한다. 최근 한국보건사회연구원에서 수행한 연구결과에 의하면 이미 출생한 자녀의 성구성은 임신결과를 결정하는 가장 중요한 변수로 부각되고 있다. 즉 임신이 인공임신중절로 귀착되는 확률은 부모가 이미 아들을 두고 있는 경우에 일관성 있게 증가되고 있음을 보이고 있다. 따라서 남아선호관은 임신결과를 결정할뿐 아니라 선택절 인공임신중절에 의한 성비의 불균형을 초래하는 주요 변수로써 할거되었다. 특히 피임실천이 보편화되고 선택적 인공임신중절의 이용이 손쉬운 현대사회에 있어서는 남아선호관이 출산력 저하에 저해요인으로서가 아니라, 인위적이던 자연적이던 간에 아들만 두면 단산하는 현행의 출산풍토하에서는 남아선호관이 오히려 출산력저하에 결정적으로 작용하고 있다고 하겠다. 태아의 성 판별을 통한 선택적 인공임신중절의 건수는 1990년 한해에 약 20,000건 정도가 되고, 1986-1990년 사이에 총 80,000건으로 추정된다. 이 수치는 출생한 여아수의 5%에 해당한다. 현재 출생시 성비의 불균형은 연간 총출생수의 10% 미만에 불과한 3번째 이상의 출산에서 발생되고 있기 때문에 인구학적인 측면에서는 큰 문제가 아니다. 그러나 앞으로 출산율의 감소와 더불어 선택적 인공임신중절이 년간 출생수의 90% 이상을 차지하고 있는 둘째, 첫째출산순위로 확산된다면 성비의 불균형은 급진적으로 가속화되어 전통적 결혼관습의 재연등 인간의 생태계를 파괴하는 새로운 차원에서의 사회인구학적인 문제가 야기될 것이다. 결론적으로 성비의 불균형을 초래하는 근본적인 원인은 우리 나라으 전통적인 의식구조인 남아선호관의 상종과 최신의 의료기술에 의한 선택적 인공임신중절에 기인된 것이기 때문에 이를 시정하기 위한 제반 사회제도적 극복정책은 지속적으로 강화되어야 할 것이다.되어야 할 것이다.

• Sijohaknonchong
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• v.42
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• pp.213-238
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• 2015

Jeongun(丁芸) Lee, Young-do (李永道), who is deemed a representative female poet of Korea, began her literary career in May, 1946 when she published in a publication called "Bamboo Sprout, (죽순)". Her Korean identity, which was formed through her Confucius upbringing as well as traditional value system of her family, had a strong presence in her work, and she remained a quintessential figure in Korea's female sijo poet circle for 30 years until her passing in 1976. Despite the highly acclaimed talent and her noble aspirations, it is undeniable that her works did not receive fair assessment due to her private life. Against this backdrop, it is necessary to deeply inquire the literary values and beauty of Young-do Lee's sijo. As mentioned, Young-do Lee is a solidly established figure in Korea's modern poetry. The following illustrates the spirit and the world of her poetry. First, Young-do Lee lived through turbulent times and it was her country that served as the source of her sijo work. Assessing the multitude of dramatic historical events such as Japanese colonization, 8.15 Liberation of Korea, division of the nation, 6.25 Korean war, 4.19 Revolution, 5.16 military coup, it is natural that patriotism was strongly present in her work who was one of the intellectuals at the time. Second, Young-do Lee is a poet who had experienced more pain than others in terms of the turbulence of the time. Her Korean identity, which was formed through her Confucius upbringing as well as traditional value system of her family, had a strong presence in her work. Third, Jeongun Lee, Young-do is a poet of longing. The abundance and richness of her emotions were fortified through the relationship with another poet, Chihwan Yu. Fourth, Young-do Lee is a poet opened up new horizons for the modennization. The transparency of image reflected in her work and the elaborate nature of her language are outstanding. In summary, Young-do Lee was a true artist, who has a strong presence in Korea's modern poetry society, and who was a poet of patriotism, poet who suffered the turbulence of the times, and a poet of longing.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.2
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• pp.14-30
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• 2020

This study focuses on the fact that pictorial maps in the late Joseon Dynasty were conceptual diagrams with the place names perceived by the people at the time of their production. In this regard, targeting on five pictorial maps, the humanistic landscape characteristics of Pyongyang, which had cultural identities such as a historically old, commercial, and Pungnyu(appreciation for the arts) city, were derived as follows. First, the historic legitimacy of Pyongyang Castle was represented by ritual and religious facilities. They include 'Dangunjeon' and 'Gijagung' related to the nation founder, 'Munmujeong': the remains of Goguryeo, 'Sajikdan' & 'Pyongyanggangdan': the place of the national rites, Hyanggyo and Seowon: education & rite functions, Buddhism and Taoist facilities, 'Yongsindang', 'Sanshindang', and 'Jesindan': folk religion facilities. Gija-related facilities, which became symbols of Pyongyang due to the importance of Small-Sinocentrism and Gija dignity tendency, were distributed throughout Pyongyang Castle though, the facilities related to King Dongmyeong of Goguryeo and the spaces of religion praying for blessings are spread in Bukseong and on the riverside of Daedonggang each. Second, as a Pyongando Province's economic center, Pyongyang's commercial landscape was represented by logistics and transportation facilities. The Daedonggang River, which was in charge of transportation functions, had many decks such as 'Yangmyeongpo', 'Cheongryongpo' and 'Waeseongjin' and bridges, such as 'Yeongjegyo' and 'Gangdonggyo', which connected major transportation routes. The road network was created in Oeseong area to facilitate logistics transportation and management, and many warehouses named after the jurisdiction of Pyongyangbu were distributed near the roads and Provincial Offices of the main gates. In addition, it was characterized by the urban area systematically divided with hierarchical roads, 'Bukjangnim' of willow trees planted on the main entrance roads of Pyongyang Castle, a linear landscape created by 'Simnijangnim' consisting of mixed forests with elm trees. Third, Pungnyu City is realized by the distribution of amusement facilities. The riverside of Daedonggang adjacent to Naeseong exhibits characteristics of artificial landscape such as a canal leading to the inside of the castle, a docking facility with embankments, and a port with cargo ships anchored. However, Bukseong of the natural surroundings had numerous pavilions and platforms such as 'Bubyeongnu', 'Eulmildae', 'Choeseungdae', 'Jebyeokjeong' and engraved letters such as 'Cheongnyubyeok', 'Jangbangho'. 'Osunjeong', 'Byeogwolji', 'Banwolji' near 'Sachang', and 'Aeryeondang', built on the island of a square pond, created waterscape in Naeseong invisible from the Daedonggang, and for practical purposes, ponds and repeated willow vegetation landscape related to Gija were placed in the western rampart of Jungseong. In addition, 'Seonyeondong', a cemetery of Gisaeng, located near by Chilseongmun, was used as poem titles and themes by literary people, contributing to the creation of the Pungnyu image of Pyongyang.

• Korean Journal of Heritage: History & Science
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• v.44 no.1
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• pp.30-51
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• 2011

During the process of modernization, many rural villages in Korea have experienced degeneration and breakdown, losing sustainability. However, Oeam village in Asan City, South Chungcheong Province (State-designated cultural heritage, Important Folk Material No. 236) has established itself as a unique folk village, which evolves with sustainability, pursuing the revival of Neo-traditionalism. Oeam village is a tribal village of the Yis from the Yean region and has maintained environmental, economic, and social sustainability and soundness for over five centuries. Thus, the village has sustained itself well enough to be a cultural asset with 'Outstanding Universal Value', in terms of its value as world cultural heritage. The village maintains its own identity, filled with a variety of traditional and scenic cultural assets that symbolize a gentry village. Those assets include Confucian sceneries (head family houses, ancestral shrines, tombs, gravestones, commemorative monuments, and pavilions), various assets of folk religion (totem poles, protective trees at the entrance of a village, shrines for mountain spirits, village forests), tangible and intangible cultural assets related to daily lives (vigorous family activities, rigorous ancestral rituals, family rituals, collective agriculture and protection of ecosystem), which have all been well preserved and inherited. In particular, this village is an example of a well-being community with a well-preserved folksy atmosphere, which is based on environmentally sound settlements (nature + economy + environment + community) in a village established according to geomancy, East Asia's unique principle of environmental design. In addition, the village has kept the sustainability and authenticity for more than 500 years, combining restraint towards the environment and the view of the environment which respects the natural order and cultural values (capacity + healthy + sustainability). Therefore, the Oeam folk village can be a representative example of a folksy and scenic Korean community which falls into the category of IV (to exemplify an outstanding type of building, architectural or technological ensemble, or landscape which illustrates significant stages in human history) and V (to exemplify an outstanding traditional human settlement, land-use, or sea-use which is representative of cultures, or human interaction with the environment especially when it has become vulnerable under the impact of irreversible change) of Unesco's World Cultural Heritage.

• Archives of design research
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• v.17 no.2
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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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• no.36
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• pp.751-781
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• 2018

Task of circling the pagoda of Waljeongsa(Woljeongsa Tabdori) is the major intangible cultural heritage with representativeness and historical meaning as a Buddhism culture, one of the Buddhism folk plays, which was firstly played after the liberation. Woljeongsa Tabdori holds significant designation importance in terms of Buddhism folklore heritage with Korean unique tradition and identity of Gangwon-do province. Temples are demonstrating Tabdori nationwide but Woljeongsa Tabdori is the unique case that systematically inherits the culture based on the designation of being intangible cultural heritage. That is why it is needed to focus on the cultural and internal value of Woljeongsa Tabdori. Tabdori is the integrated symbol of Buddhism respect and worship to the Buddha and pagoda. It is hard to presume the originality of Woljeongsa Tabdori: given the history of Woljeonsa temple, it lies into Goguryeo traditional play and Bokhui(Pagoda circling folk play) in Silla era. It fits into the courtesy of Circumambulating Stupa considering Moon in Goguryo mural, background of Odaesan Hwaeom thought/tripitaka and essence of Octagonal 9-story stone pagoda. At the first stage of Tabdori, Buddhist musical instruments such as Buddhism temple bell, singing bowl, cloud-shaped gong and wooden-fish. However, later, Samhyeon Yukgak has been added and then, Boyeom and Bakpaljeongjinga were singing: it could be interpreted that it was a pure Buddhist ceremony but it has become to have traditional aspect and been spread to the public. The origin of Woljeongsa Tabdori is related to the explanation of Circumambulating Stupa that experiences the glory of the ending ceremony. When a temple has a rite, the Buddhists make an offering to the Buddha. At that time, Buddhist prayer, sermon and chant are followed. After the rite, the Buddhists are circling the pagoda with the monks while praying for Buddhist charity and making their own wishes. It prays not only going after death to Nirvana of the one but also national prosperity and the welfare of the people for peaceful reign. As the temple holds bigger rites, many Buddhists gather and the Tabdori was a success. The scene of circling the pagoda and making own wishes in line with the Buddhist sermon was solemn. The idea on changes and convergence of Woljeongsa Tabdori requires strategic inheritance to promote the transmission while maintaining the paragon and purpose of designating the cultural heritage and reviving its identity. Korean Tabdori was held in Buddha's birthday in April and the mid-autumn day. Tabdori is a memorial service type Buddhist ceremony that once the monk holds the Buddhist rosary, circles the pagoda and sings the great mind and charity of the Buddha, Buddhists follow the step, lighting the lantern, circling the pagoda and praying for the gentle and easy death. Transmission education of the successor, diversified approach of the expert's advice and discourse on the revival of the origin should be reinforced in phases.

• Sim-seong Yeon-gu
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• v.31 no.2
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• pp.113-150
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• 2016

Chobun refers to a temporary grave covered with straw thatch that contains a corpse until its flesh is gone. When all the flesh has rotted away, the straw grave is disassembled and only the bones are retrieved. Therefore, Chobun is an example of a secondary burial custom (German : Doppel Bestattung) that is composed of a first temporary funeral for processing the corpse's flesh, and a second permanent burial of the final remains (bones or ashes). The duration of the temporary burial is determined by the time needed for decomposing the flesh of the deceased. Building a Chobun progresses putrefaction and reduction to bone. In the literature of alchemy, putrefaction and new life occur simultaneously. The purpose of rotting is to make the flesh disappear, leaving only its essence. It is making the physical body enter a spiritual state, so that the dead can enter into a different world. One must endure the unstable rotting process until the smell of flesh has faded. The rotting process is the attitude of accepting the terrible, polluted aspect of the corpse, while maintaining a helpless, passive posture, in order to allow new possibilities. When we try to approach an archetypal aspect of the unconscious, it is often experienced in threatening, aggressive ways. In the individuation process, the unconscious offers us the blessing of a new spiritual awakening and renewed sense of life, only when we have the courage to see this terrifying and contaminated side of our psyche. This is exactly what putrefaction means. Bone and skeleton symbolize the indestructible, imperishable, and essential elements of life. Bone is the minimum unit and foundation for regeneration, where new life can grow. Reduction to bone is moving back to the origin of life, to the womb. Psychologically, it means discarding one's ego-centeredness and allowing the Self to lead the entire process of individuation. Going through the painful process of reduction to a skeleton for the purpose of further development is a declaration of the death of the ego, aiming at the liberation from perishable flesh and acquisition of the spiritual, regenerative, and immortal elements of life. Chobun also denotes the yearly decay and revival of life, especially of vegetal life. In Chobun, this symbolic meaning of the vegetal cycle of life is emphasized to represent the part of life that survives even after death. Vegetation related to Chobun deals with the continuity of life and psychologically with the Self. Images of vegetation are closely related to the existence of life beyond death, which is the existence of the Self, the source of energy that constantly renews and rejuvenates the consciousness.

• Archives of design research
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• v.18 no.4 s.62
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• pp.105-118
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• 2005

Housing environment for human beings has been diversified and more convenient due to the development of high technology and civilization brought by industrialization in the 20th century. In the 21st century, how to overcome the ecological limit of biased development-centered advancement, that is, how to preserve and hand over a clean and healthy 'sustainable environment' to our next generations has been one of the most-talked about issues. Environmental symbiosis means a wider range of environmental harmony from micro-dimensional perspective to macro one. The three goals of a environmentally friendly house are to preserve global environment, to harmonize with the environment around, and to offer a healthy and comfortable living environment. From the point of view of environmental symbiosis, houses should be designed to save energy and natural resources for preservation of global environment, to collect such natural energy resources as solar heat and wind force, to recycle waste water, and recycle and reduce the amount of the waste matter. Now, the environmentally-friendly house became a new social mission that is difficult to not only challenge but also realize without conversion to a new paradigm, ecologism.

• Korean Journal of Heritage: History & Science
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• v.53 no.2
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• pp.254-269
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• 2020

The purpose of this study is to propose guidance for wall renewal that is appropriate for an ancient city wall through application of advanced research and theories in wall design. It is a streetscape improvement project which forms part of the "Ancient City Image Finding Project". Study methods consist of advanced research classification, wall design theory contemplation, and analysis of the significance of designated ancient city areas and the "Ancient City Image Finding Project" status. Based on these methods, case study candidates were selected, case status and problems were identified, and improvement proposals were analyzed by comparing various features. Advanced wall research was classified into six categories including analysis of wall characteristics; wall design principle applications; wall structure, color, shape, and application; modern reinterpretation; palace walls; and house, temple, and village walls. The wall is an element of the streetscape improvement component of the "Ancient City Image Finding Project", with the characteristic of providing preceding experience in visual and cognitive awareness than interior structure. Case candidates for ancient city wall improvement are based on the composition distribution of the special conservation district in each ancient city as well as the conservation promotion district. Ultimately, the surrounding village of Gongju-si Geumseong-Dong Songsanri-gil, adjacent to the Royal Tomb of King Muryeong, was selected as the candidate. The "Ancient City Image Finding Project" of the surrounding village of Gongju-si Geumseong-Dong Songsanri-gil began with new Hanok construction. However, wall maintenance did not begin concurrently with that new Hanok construction. Support and maintenance took place afterwards as an exterior maintenance project for roadside structures. If the Hanok and wall were evaluated and constructed at the same time, the wall would have been built in unison with the size and design of the Hanok. The layout of the main building and wall of the Hanok is deemed to be a structure that is closed tightly because of its spatial proximity and tall height. Songsan-ri-gil's wall design should create a calm, subtle, and peaceful atmosphere with shapes, colors, and materials that express ancient city characteristics, but it is in an awkward position due to its sharpness and narrowness. The cause of the problem at Gongju-si Geumseong-dong Songsanri-gil, the case candidate, is that it is lacking significantly in terms of the aesthetic factors that traditional walls should possess. First, aesthetic consciousness seems to have disappeared during the selection and application process of the wall's natural materials. Second, the level of completion in design and harmony is absent. Maintenance guidance after analyzing the cause of problems in ancient city wall maintenance at Gongju-si Geumseong-dong Songsanri-gil, the subject area of research, is as follows: First, the Hanok design and layout of the wall and main gate should be reviewed simultaneously. Second, the one-sided use of natural stone wall in the Hanok wall design should be reexamined. Third, a permanent system to coordinate the opinions of citizens and experts during the planning and design phases should be employed. Fourth and finally, the Hanok's individuality shall be collectivized and its value as a cultural asset representing the identity of the community shall be increased.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.190-217
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• 2012

This research has studied the building awareness of Nu-Jeong that a view of nature and aesthetic consciousness to unite the nature are inherent by considering Nu-Jeong of scholars who left fame and wealth behind and retired to hermitage in the backwoods in the 16~18 Century. This is to clarify correlation with leaving nature as it is, namely, an ideal state that scholars at the time would enjoy, through landscape awareness accepted into Nu-Jeong literature. In addition, this research has tracked the ideologic flow that acts on space formation by clarifying Korean unique meanings inherent to Nu-Jeong's cultural landscape. As a suggestion for this, the interpretation through 'Pungsu location Nu-Jeong name's analysis Nu-Jeong literature analysis', etc. was tried, so its integrated conclusion is as follows. It is not a chance that scholars of Joseon have left numerous literature works singing the nature. They already had huge interest and knowledge on the nature, and achieved active poetic exchange by sublimating the praise of nature as literature. Nu-Jeong, which was a place of exchange like this, had cleanliness of the nature and ideological purity as an oppositional space on turbid political realities. The Nu-Jeong literature drew the nature into a literature space as it is, without doing abstraction or ideation on the nature. The owner of Nu-Jeong exclusively possessed such natural landscape in grim and independent postures, so it provided a clue of Nu-Jeong cultural landscape that this research aimed to discuss. Scholars who aimed to raise wide and large vigor filled in between the sky and earth got to convince that people are born from the nature, grow in the nature and finally return to the nature. What people are born from the nature and finally return to the nature is just consistent with Taoistic and Zhua-ngzi thoughts denying human work, and leaving nature as it is or nature itself remained intact which is an ideal state. The construction at the time is a vessel containing the spirit of the times of the era. This thesis has proved that the Nu-Jeong culture of scholars located on the central line of Korean landscape was the flower of Joseon's scholar culture by interpreting it semantically.