• Korean Journal of Heritage: History & Science
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• v.37
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• pp.371-405
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• 2004

International circulation of cultural assets involves numerous countries thereby making an approach based on international law essential to resolving this problem. Since the end of the $2^{nd}$ World War, as the value of cultural assets evolved from material value to moral and ethical values, with emphasis on establishing national identities, newly independent nations and former colonial states took issue with ownership of cultural assets which led to the need for international cooperation and statutory provisions for the return of cultural assets. UNESCO's 1954 "Convention for the Protection of Cultural Property in the Event of Armed Conflict" as preparatory measures for the protection of cultural assets, the 1970 "Convention on the Means of Prohibiting and Preventing the Illicit Import and Transfer of Ownership of Cultural Property" to regulate transfer of cultural assets, and the 1995 "Unidroit Convention on Stolen or Illegally Exported Cultural Objects" which required the return of illegally acquired cultural property are examples of international agreements established on illegal transfers of cultural assets. In addition, the UN agency UNESCO established the Division of Cultural Heritage to oversee cultural assets related matters, and the UN since its 1973 resolution 3187, has continued to demonstrate interest in protection of cultural assets. The resolution 3187 affirms the return of cultural assets to the country of origin, advises on preventing illegal transfers of works of art and cultural assets, advises cataloguing cultural assets within the respective countries and, conclusively, recommends becoming a member of UNESCO, composing a forum for international cooperation. Differences in defining cultural assets pose a limitation on international agreements. While the 1954 Convention states that cultural assets are not limited to movable property and includes immovable property, the 1970 Convention's objective of 'Prohibiting and preventing the illicit import, export and transfer of ownership of cultural property' effectively limits the subject to tangible movable cultural property. The 1995 Convention also has tangible movable cultural property as its subject. On this point, the two conventions demonstrate distinction from the 1954 Convention and the 1972 Convention that focuses on immovable cultural property and natural property. The disparity in defining cultural property is due to the object and purpose of the convention and does not reflect an inherent divergence. In the case of Korea, beginning with the 1866 French invasion, 36 years of Japanese colonial rule, military rule and period of economic development caused outflow of numerous cultural assets to foreign countries. Of course, it is neither possible nor necessary to have all of these cultural properties returned, but among those that have significant value in establishing cultural and historical identity or those that have been taken symbolically as a demonstration of occupational rule can cause issues in their return. In these cases, the 1954 Convention and the ratification of the first legislation must be actively considered. In the return of cultural property, if the illicit acquisition is the core issue, it is a simple matter of following the international accords, while if it rises to the level of diplomatic discussions, it will become a political issue. In that case, the country requesting the return must convince the counterpart country. Realizing a response to the earnest need for preventing illicit trading of cultural assets will require extensive national and civic societal efforts in the East Asian area to overcome its current deficiencies. The most effective way to prevent illicit trading of cultural property is rapid circulation of information between Interpol member countries, which will require development of an internet based communication system as well as more effective deployment of legislation to prevent trading of illicitly acquired cultural property, subscription to international conventions and cataloguing collections.

• (The) Research of the performance art and culture
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• no.19
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• pp.347-378
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• 2009

Those who were from Jaeincheon and Jaein line entertainers played great roles during transition period from traditional society to modern society, and even at present the dances of them are the representative traditional dances of Korea and the matrix of Korean originality. Nevertheless, Korea dance field has given little importance to these dances, but too much importance to Gibang dance in studying traditional dances, which causes the studies on Jaein line danced to be superficial or separate. Therefore, the aims of this article are to analyze the dances of Jaein line by Han Seong-jun, who was representative for the dances, and to appraise the historical value of them. Han Seong-jun(1874-1942) was the most influential dummer and dancer of his day in Japanese colonial times, and has been recognized as one of the masters of traditional dances. He established autonomy of traditional dances by reorganizing, collecting and stage-formalizing the dances, and systemized transmitting ways for various folk dances including a Buddhist dance, which made it possiblefor those dances to be traditional dances of Korea and the bases for creative dances. The values of Jaein line dances, which were transmitted through Han, are the following: First, the dances have been designated as national or regional intangible cultural assets, and, as the representative traditional arts, we proudly show them to the world. Second, the dances, as one of the genres of Korean dances, are the subjects of younger scholars' studies. Third, the dances become one of the representative examples of revivals of traditional dances, which tend to be extinct during modernization times, and contribute to establishing national identity and subjectivity. In addition, they contribute to discovering and transmitting other traditional dances. Fourth, the dances enable many dancers to make association, that is, Association for Preservation of Traditional Dances,for the transmitting the dances, and to distribute the dances and get many dancers to transmit the dances. Furthermore, as new performance repertories, they give another pleasure to the audience. In addition to the above, as a base for expansion of Korean creative dances, Han's dances have other values such as the following: First, in searching for a new methodology for creation, he played an important role in rediscovering the foundation in the tradition, and tried to discover nationalidentity by employing the traditional dances for expression of theme. Second, he contributed to drastically dissolving the genres by expanding the gesture language from motion factors of traditional dances, which can be compared to the modern dance. Third, he tried new challenging approaches to re-create the tradition, and contributed to pursuing the simple elements of our traditional dances as traditional aesthetics. While the dances of Jaein line have such values as the above, there are also some problems around the dances, such as the confusion in the process of transmission resulted from different transmission forms and transmitters, which we must no longer leave as it is. Furthermore, it is urgent that the rest of Jaein line dances be recovered and designated as intangible cultural assets for the sound transmission of the traditional dances.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.2
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• pp.108-121
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• 2016

The purpose of this study is to explore the issues and implications for landscape design education in Korean landscape architecture by analyzing the National Exhibition of Korean Landscape Architecture(NEKLA). This study analyzed the suggested topics and selected site as well as the commentary that appeared in the NEKLA's award-winning book published from 2004 to 2014. Results of the study are as follows: First, topics of NEKLA are not only competition guidelines but related to exploring new area and role of Korean landscape architecture. Second, most dealing with site is 'industrial heritage and regeneration space' and 'green infrastructure'. In more recent years, a larger variety of sites were addressed. Third, site locations are concentrated in metropolitan areas, and awards and participation of the non-metropolitan universities was very low. Fourth, seven criteria can be applied in a general landscape design competition such as 'newness of the concept(idea)', 'logicality of the design process', 'selection of site fidelity of analysis(interpretation)', 'presentation and completion of the master plan', 'consistency with the theme', 'linkage of concepts and results' and 'feasibility'. The evaluation criteria are increasing the sophistication of the design language to provide useful suggestions on how to find design education methods. Its implications are as follows: First, training is essential to derive innovative ideas, but it should avoid excessive concept-oriented education. Second, design education may include instruction on how to define the problems related with the site. Third, more emphasis on design logic is essential to transform the innovative concept to actual results. Fourth, 'slick images' unrelated to design should be suppressed. Fifth, practice is needed to solve the topics addressed in the design process of education. Sixth, 'feasibility' and 'creative thinking' are necessary to recognize a reciprocal relationship that is helpful to one another. This study uses direct quote commentary to minimize the subjectivity of the researcher and to trace issues of the contemporary landscape architecture more directly and vividly. This study is a record waiting for another review as meta-criticism. In this regard this study, the landscape architect of the next times will have a mean that historical records to review the current thinking of the landscape theory and design.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.4
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• pp.52-64
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• 2015

This study was carried out investigation of characteristics palace gardens representing historical background, political and cultural identity in Korea, China, and Japan. It had been done a comparative analysis in formation, location and site layout, site composition, landscape elements and planning, landscape technique and vista for palace gardens in East asia's three countries. In order to process this study, Changdeokgung Palace in Korea, Summer Palace in China and Sento Imperial Palace in Japan were selected based on similar status. therefore it provide theoretical foundation to investigate the identity of palace gardens in three countries. Furthermore the study determined homogeneity(similarity) and heterogeneity(differentiation) of the characteristics between palace gardens in three countries through the in-depth comparative analysis in order to investigate identity of palace gardens in three countries and to present the value of Korean palace garden. Homogeneity and heterogeneity between palace gardens in three countries deducted from the study were summarized as follows; First, it shows indigenous style of Korean garden throughout adapting natural terrain without natural destruction. Second, various symbolic elements which ie reflected East asian ideologies present in the gardens. Chinese thoughts and technique were influenced in the development of palace garden in Korea and implemented in similar ways of China. Homogeneity of utilizing waterscape could be found in three countries. Lastly, Palace garden in Changdeokgung had played a role as cultural place with taste for the arts rather than representing authority of the throne. It appears to be similar in China and Japan. The reason how Korea, China and Japan established their own independent style is that each palace garden had been developed to embrace indigenous culture with introduced elements even though they were closely bound up with culture.

• Archives of design research
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• v.16 no.3
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• pp.201-210
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• 2003

The world is preparing another unseen war, that is, the cultural war of digital economy which will dominate the new millenium. As the “contents”, which are composed of various ingredients of media, gain vitality, the developed nations are in preparation of the war with the “cultural industry” weapons. The digital economic experts say that the left out nations will become economic colony in the new millenium age. The most important characteristics of cultural industry is the unity of creativity and culture which is all the more improved on the basis of the culture created upon knowledge. This leads to competition between nations or regions, and to survive one has to develop the industrial structure through cognition of its own cultural value. Furthermore, it is not a short-term development and investment of cultural products but a study on the method to graft the cultural value to the industry itself. The multi-media period does not accept an independent medium, and the contents products are becoming the leading industry since il is proved that they last semi-permanently in the digital world. The victory lies in the quality and quantity of the contents as the high ability and variety of the technology of media advance in accordance to the market principles. Since the culture, science and economy are becoming one complex structure, all nations of the world are trying the evolve a unique design of their on culture on the basis of the global universality. In consequence, we should excavate a uniqueness from our cultural heritage and develop into a korean design which will be recognized in the world market. The value of our cultural property should not only be used as academic and research purposes but should be re-evaluated with modem view, recognized as the core element that decides the quality of life and developed into exclusive designs. The korean designs represent the mould concept of our people which evolves from the mould or shape alphabet of Korea To meet the requirements of the changing world and in preparation of the cultural competitive age, it is never too early to make a data on the korean designs through their analysis and evaluation.

• Journal of Christian Education in Korea
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• v.63
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• pp.221-253
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• 2020

The purpose of this study is to define the key competency as Christian(in another word: Christian key competency) and to interpret the six key competencies of the 2015 revised curriculum in a Christian educational way. Also as an alternative to the key competencies model of the 2015 revised curriculum, this study aims to materialize the formation of a Christian key competencies model based on Christian faith. This study derived 'faith' from the key competencies as Christian throughout preceding research analysis. The 'faith' of the key competencies as Christian means the ability to know oneself, and to know the world and God within the knowledge of the Bible (knowledge of God) in the personal relationship with God, and also it is the ability to think, judge, and act with biblical values, Christian world view, and Christian self-identity. The key competency 'faith' could be the basis (standard) of motivation, attitude and the value of all competencies in cultivation and exercise. The model of Christian key competencies has the structure in which each six key competencies become to be cultivated based on the Christian key competency called "faith." Based on the structure, the six key competencies of the 2015 revised curriculum were interpreted and explained from the perspective of Christian education. In the self-management competency, self-identity can be correctly formed in relations with transcendent God. In aesthetic emotional competency, the empathic understanding of human beings comes from the understanding of the image of God, the supreme beauty, the source of beauty. About the community competency, human community is the source of God who created the universe, human and all of things. It is because a Christian community is a community within the relationship of Trinity God, Nature and others. Therefore regions, countries, and the world become one community. Communication competency first stem from good attitudes toward yourself and others with respectful mind. It comes from an understanding of Christian human beings. Also, there is a need of having a common language for communications. The common language is the Bible that given to us for our communicative companionship. Through the language of the Bible, God made us to know about God, human being and the creative world, and also made us to continue to communicate with God, others and the world. For having the knowledge-information processing competency, a standard of value for the processing and utilization of knowledge and information is required. The standard should be the basis of moral and ethical values for human respect. About creative thinking competency, the source of creativity is God who created the world. Human beings who have the image of God own creative potential. As well as, creativity has different expression forms depending on individual preferences and interests, and different approaches will be made depending on each individual's importance and achievement. Individual creativity can be found through education, and it can be embodied by converging knowledge, skills and experience.

• 한국사회복지학회:학술대회논문집
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• 2003.05a
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• pp.282-309
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• 2003

This exploratory qualitative study investigates the effects of experiencing domestic violence on male adolescent offenders' masculinities. Empirical and theoretical literature suggests that negative male role models in violent families result in male adolescents' experiencing conflict in constructing gender identities, especially masculinities. Moreover. criminologists argue that masculinities are often connected with crimes as a way to prove masculine competence. This study compares male adolescent offenders who have experienced domestic violence with those who have not experienced domestic violence and explores how domestic violence experiences influence the construction of gender identities among male adolescent offenders. The study used a secondary qualitative data analysis method. The data consisted of ethnographic in-depth interview transcripts, observational field notes, and formal facility records collected at a juvenile correctional facility in Minnesota. The process of data analysis was a "constant comparative method" that sought to understand differences and similarities in the expressed gender narratives and identity patterns between the two groups of offenders. This process also examined differences within each group. The qualitative data analysis revealed that domestic violence experiences in childhood may be related to the construction of gender identities during adolescence. The findings of this study showed that male adolescent offenders who had experienced domestic violence tended to attach themselves to oppressed mothers more readily than those who had not experienced domestic violence. Next, their attachment to mothers related to the construction of more relational gender identities although most participants, regardless of domestic violence experiences, had much in common regarding gender expression. Finally, despite these relational gender identities, male adolescent offenders who had experienced domestic violence tended to depend upon violence and crimes to show masculine competence, as did male adolescent offenders who had not experienced domestic violence. The study findings suggest a need for research to understand the construction of gender identities in the context of particular experiences and the importance of building theories that advance a comprehensive understanding of the construction of masculinities and youth crime. This study also discusses the development of social work programs that protect young men from adherence to exaggerated masculinity, which is often associated with crimes.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.6
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• pp.158-170
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• 2013

With the recent 'Creative economy' and 'Cultural prosperity' coming to the fore as a new code to build up a city or a region, it is necessary to focus on strengthening the regional creative capacity as well as developing spontaneous regional culture. In such trend this research aims to explore the Kyunglidan-gil, Seoul, Korea in which creative-class are appearing autogenously in clusters and forming new cultural landscape, to identify the factors of their accumulation and changing aspect of cultural landscape. This study has the following purposes: First, Investigating the historical context of the Kyunglidan-gil's landscape. Second, considering the process of the creative-class being flowed into the Kyunglidan-gil as the subject leading to the modification of the region. Third, their activity was analyzed to consider the unique aspect of forming the cultural landscape at the Kyunglidan-gil. Regarding why the creative-class should flow in, results of the study drew five factors including region in issue compared to inexpensive rents, coexistence with nature, quiet atmosphere seeming isolated from the urban confusion, location possible to test and share individual materials one likes, and a site with synergy effect of activity through the network with acquaintances. Also, five characteristics of cultural landscape forming by the people's activity were drawn - space of communication for increasing creativity, temporary and flexible spatial use, expression of one's identity and taste, distinguishing, and positive use of the existing facilities. Like this, by exposing the 'creative-class', a subject of the leader in changing process of the Kyunglidan-gil, this research identified the aspect of forming cultural landscape.

• Sijohaknonchong
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• v.30
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• pp.21-52
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• 2009

This study observed what roles and identity the Taoist Hermits have when they appear in Korean Verse, SiJo, which was preoccupied by the illustrious-officials in Choseon Dynasty. This study has found that languages of Taoist Hermit frequently appear in SiJo, through the historical study documents focusing on only the mountain wizards in terma of the genre, SiJo. Of those terms used by Taoist Hermit, most prominent was 'JeokSongJa', which was expressed as that sought by the illustrious-officials-they were using the sentence, 'I will follow JeokSongJa' to the extent that it is an idiom. This suggests that the illustrious officials in ChoSeon Dynasty meant if one was going to be entitled to become a Taoist Hermit, he should seek 'JeokSongJa' first. We can see those illustrious officials were using the words with a ideological tone, affected by then 'JangRyang' or 'BeomRyo' who were devoting themselves to finding 'JeokSongJa' with a belief that they could become a Taoist Hermit and live forever, which had been handed down as a legend or a myth. Meanwhile, Li Po is a profile who can not considered, separately in the history of Korean Literature. Li Po recited poems, as a great poet and a hard drinker, who were incited in SiJo of those illustrious officials as a intimate person. In contrast, among those who were accepted as a negative profile, were a Chinese Emperor JinSi and HanMuje. These two emperors, who were looking for a herb of eternal youth and Mt. BongRae, figures who had lost their positions in the real political circle. In addition, they couldn't make their dreams to get perennial youth and long life come true, which stimulated the illustrious officials of that time to recite those poems indicating there is no ideal Utopia so it's better be satisfied with the reality living up to the realistic idea of Confucianism. In this sense, those two emperors are negative. There are also women Taoist Hermits present in SiJo, including MaGo nymphs, SeoWangMo, MuSanShinNyo, and Hang-A. MaGo nymphs were grandmothers who superintend the longevity, often incited as a beautiful woman; SeoWangMo was a Toast Hermit who had an elixir of life; MuSanShinNyo is a beautiful woman who was representing the attachment of cloud friendship; and Hang-A is expressed as a goddess who betrayed her husband and as a result staying lonely in the moon palace. These women goddesses were characterized by their beautiful appearances, generous and delicate personalities. widely incited in romantic poems.

• Cartoon and Animation Studies
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• s.28
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• pp.27-53
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• 2012

American superhero comics are being produced in numerous different forms for multiple, and cross-platform media. In cinema, films based on superhero comics top the list of all time box office records. The same phenomenon of the 'Invasion of Superhero' is duplicated in Korean box office 2012, however, the korean fans are not familiar with the superheroes from the publication which provides the original source of characters and stories for other superhero related media products. Based on observing the multiple and vastness of world building characteristics of superhero comic, this paper attempts to associate the continuous creative nature and the infinite repetition of superheroes and comic texts with the identity of superhero on ontological level. First, chapter 2 examines how one superhero exists in multiple and different worlds individually by utilizing the concept of 'multi-universe' or 'multiverse' in comic texts. Initially, duplicating a superhero on multiple settings and series destroyed continuity and allowed contradiction and paradox confused narrative as a whole, but it also gave chances for comics to be more vibrant and experimental with their stories and characters. Chapter 3 analyzes the superhero comic texts in the light of repetition, concept developed by french philosopher Gilles Deleuze, and make the argument that the superheroes and texts are not repeated to generate surplus of source for economic utilitarian purposes, but it is, first and foremost, a repetition of creativeness and capability. Many concepts introduced by Deleuze in his early masterpiece, $\acute{e}$rence et R$\acute{e}$p$\acute{e}$tition> are taken to support this argument. Mainly, his critical views on generality of the identity and his effort to replace the Plato's system of representation with vibrant creative, and renewal energy of r$\acute{e}$p$\acute{e}$tition. According to Deleuze, repetition is similar concept, if not identical, to what Nietzsche called the 'eternal return' which allows the return of the Overhuman or the Superhuman, and he extends his idea that the returning Overhuman is the singular simulacre which opposes the generalization of identity, in the likes of Plato's Idea. Thus, the superhero's identity is ever changing, ever returning, and ever renewing Overhuman. The superhero must be repeated to fully actualize his/her existence. Also, based on Deleuze's reading of Bergson's texts on the Virtual, the superhero, for example Superman, is actualization of his/her multiplisit$\acute{e}$, the internally multiple, and differentiated variations from itself. These every Supermans' multiplisit$\acute{e}$ shares common memory, past, and duration, thus the Virtual of Superman. Superman becomes himself only by actualizing the movement and differentiation from these multiplisit$\acute{e}$ in his virtual on the surface of reality. On chapter 4, a popular Korean comic book character Oh, Hae-Sung's r$\acute{e}$p$\acute{e}$tition and multiplist$\acute{e}$ are analyzed, and makes comparison to that of Superman to distinguish the repetition from r$\acute{e}$p$\acute{e}$tition, and multiplicit$\acute{e}$ from diversity.