• Archives of design research
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• v.18 no.4 s.62
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• pp.277-286
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• 2005

The purpose of this study is to ascertain the design element in traditional palaces of Korea, China and Japan. It takes threesteps to proceed this study. Firstly, it needs to be established the analysis framework from the documents. In second step, the design elements - the form, the material, the pattern and the color - should be collected and investigated through the observation of the actual traditional palaces the Changduckung, the Forbidden City, the Nijo castle. The third step is the analysis of the results of the investigation of the design elements from step two. 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 typical features of China are symmetry, glassy surface by artificial process, the meandered curve, the magnificent pattern and the constrable color. In Japan, the mathematical asymmetry, made-up rough surface by artificial skill, decorativepattern with abbreviation and achromatic color are important feature of the design element. While the major features of Korean design element are asymmetrical balance with nature, rough surface by natural process, moderate pattern and harmonious color.

• The Southeast Asian review
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• v.26 no.3
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• pp.1-50
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• 2016

This paper aims to investigate the cultural conflicts and characteristics of anti-Korean Wave discourse taken placed among Southeast Asian countries. To do this, it takes Vietnam and Indonesia as the study cases, which have been showing a trend of anti-Korean Wave discourse as well as high popularity of Hallyu. As research methods, the paper analyzes both on-line discourses of anti-Korean Wave and the email audience interviews from both countries. The results show some significant differences between the two countries as well as the similarity that Anti-Korean Wave discourses have been actively produced and disseminated through on-line media. As for Indonesia, the Anti-Korean Wave discourse pivots on the elements clashing between Indonesia's religion and cultural values and Korean consuming culture. According to the Anti-Korean Wave discourse, K-pop contents and entertainers are criticized for damaging the society's morals and cultural identities based on Islamic rules and values. Thus, the sentiment of the Anti-Korean Wave is likely to lead to the cultural nationalism for the sake of their cultural identity. As for Vietnam, anti-Korean Wave discourse mainly consists of issues on enthusiastic K-pop fans' anti-social behaviors and generational conflicts which are presumed attributed as the chief factor of the Anti-Korean Wave. In the Vietnamese discourse, social elites and adults treat the enthusiastic K-pop fans as those who are in need of educational care or psychological therapy. Unlike the Indonesian case, anti-Korean Wave discourse in Vietnam criticized the K-pop and the performer's competence for being cheap sexy and incompetence. They also denounce Korean dramas for their trite, typical story lines, use of excessive emotion, and unrealistic nature. However, the two country's interview participants have in common both acknowledged that rather than considering the Anti-Korean Wave as an issue that needs to be resolved it should be embraced as a natural cultural phenomenon.

• Science of Emotion and Sensibility
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• v.21 no.3
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• pp.115-128
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• 2018

Tibetans who live in the Tibetan highlands, the Roof of the World, have their own unique lifestyle wherein they conform to its long history, natural environment, and their own form of clothing culture. In their costumes, the use of colors, patterns and designs express religious meaning and represent the hopes and heart of life, which respects nature. This study aims to analyze the colors used in Tibetan costumes and examine the meaning of these colors. In addition, this study intends to understand the specificity of Tibetan culture through a consideration of the symbolism of the colors of ethnic costumes. By examining the literature and conducting case studies, colors of Tibetan costumes were analyzed through the I.R.I HUE-TONE system. We analyzed 96 photographs of the costumes photographed during the Tibet ceremony costume, photographs seen at the Qinghai Tibet Culture Museum and photographs from the Internet museum. The results revealed the following: First, the most important element of the costumes is connected to the five colors of JangOsaek, which gives meaning to each color. Red, navy blue, yellow, white and green symbolize fire, the sky, earth, clouds or snow, and grasslands, respectively. Second, Tibetan costumes are characterized by bold color contrasts such as red and green, black and white, red and yellow, and yellow and purple to achieve an intense harmony of colors. Third, these fancy costumes express the unique aesthetics of the Tibetan people. The primary colors follow general emotions, but they can also include their own emotion.

• Cartoon and Animation Studies
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• s.34
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• pp.129-165
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• 2014

K-pop performances are in the center of the contemporary popular arts and cultural industry, and implicitly reveal the way that our society views the body and the time-space. This paper explores the motif of automaton in the K-pop idol group ShiNee's stage performance of 'Everybody' and the song's music video. At the same time, the paper relates the motif with the automaton of the digital era-that is, the sense of time-space in digital animations. The motif of the automaton has its origins in the mythical forms related to the animation, and is related to the human desire to create humanlike forms. Also, this motif is closely linked to the aesthetical meaning of the animation, being played in different variations since the beginning of the animation. This paper explores the tradition of automaton motif in culture and the arts, and look into the cases in which the history of the relationship between the media and body performance harboring the automaton motif has been displayed in 19th century ballet or modern body expressional arts. In addition, this paper will compare and analyze representative contemporary works that reveal digital viewpoint and the choreography of 'Everybody', and compare other works that stand in similar aesthetic tradition, investigating the influence of digital animation reflected in the K-pop idol and its aesthetic and social undertones.

• Proceedings of the Korean Society of Community Living Science Conference
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• 2009.09a
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• pp.99-99
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• 2009

지명(地名)은 그 지역의 역사와 전설, 문화, 풍속은 물론 독특한 자연환경이나 생활 모습을 담고 있어 농업농촌의 지역적 특성을 나타낸다. 본 연구는 지명유래의 활용성 증진의 한 방편으로 브랜드 및 문화관광상품 개발을 위해 서천군의 자연마을 지명유래, 이미지, 관광자원 등을 조사하였다. 서천군의 자연마을 유래 516건에 대한 자료는 국토지리정보원, 문화원자료집, 서천군홈페이지에서, 산, 강, 골, 고적, 못 등 그 외 지명자료는 한글학회 지명총람에서 2,000건을 수집하였다. 자연마을지명의 유래 516건을 8개 유형으로 구분하면 자연지리 122건, 인문지리 114건, 생태환경 51건, 산업경제 25건, 역사 34건, 유적유물 28건, 민속 37건, 종교 19건이며, 지형(80건), 생물(33건), 고사(19건)관련 유래가 많았다. 서천군 지역브랜드 개발을 위한 요구도 조사는 지역민 154명과 방문객 152명 총 306명을 조사하여 SPSS WIN 12.0 프로그램을 이용 분석하였다. 응답자의 일반적 특성은 여성이 55.6%, 대졸자 54.2%, 연령은 40대(29.1%), 1500만원-3000만원 미만의 연소득자 32.0%가 가장 많았다. 서천군의 형용사적 이미지를 기술통계량으로 살펴보면 지역민은 평화로운, 정감있는, 순수한, 전통적인, 믿을수 있는 순으로, 방문객은 순수한, 평화로운, 정감있는, 따뜻한, 친절한 순으로 평균간이 높게 나타났고, 요인분석에 의한 지역민과 방문객의 인지적 형용사 도출결과는 정열적, 평화적, 보수적인 3가지 요인이다. 또한 서천군의 대표적 상징자원은 지역민의 경우 춘장대해수욕장(32.5%), 희리산 자연휴양림(16.9%), 금강하구둑 철새도래지(16.9%)순이며, 방문객은 춘장대해수욕장(43.4%), 희리산 자연휴양림(23.0%), 한산모시축제(23.0%)순으로 높게 나타났고, 지명 호감도는 지역민의 경우 꽃뫼(29.2%), 솔리(20.8%). 소야(17.5%)순이며, 방문객은 꽃뫼(30.9%), 솔리 (19.7%), 무닛골(16.4%)순으로 높았다. 향후 본 연구에서 제시된 연구를 통하여 서천군의 지명을 활용한 브랜드개성을 측정할 수 있어 마케팅 관점에서 서천군의 브랜드를 도출하는데 기여할 수 있을 것이다.

• Korean Security Journal
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• no.31
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• pp.125-155
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• 2012

Terrorist organization has shown the trend of secret organization and it is harder to cope with terrorism because of uncertainty of terrorism. Homegrown terrorism is the one, whose preparation, execution and effect are restricted to domestic area. By the way, in the worldwide economic depression, violence and radical demonstration have shown the expansion trends as in Middle East, political revolution of Africa, anti-social resistance of Europe and Wall Street Occupation of USA. Homegrown terrorism is occurring in various countries such as UK and Spain as well as USA. Specialists warn homegrown terrorism in Korea. The purpose of this study was to prospect the possibility of homegrown terrorism that can be generated in the transfer to multi-culture society as various foreigners come to Korea rapidly and suggest the method to cope with the trend. The study analyzed environment and analysis of homegrown terrorism that Korea faces now. The methods to cope with homegrown terrorism are as follows. First, distribution of radical homegrown terrorism via internet should be prevented. Second, the connection between terrorist organization and homegrown terrorist should be prevented. Third, there should be a cooperation among government, residents and religious group. Fourth, there should be an open approach against multi-culture society. Fifth, there should be a systematic control for cause of new conflict. Finally, there should be a long-term approach to cause of new conflict. If we do not make an effort to prevent homegrown terrorism, terrorism environment may face new aspect and national and social cost for it will increase.

• Journal of Korean Philosophical Society
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• v.126
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• pp.345-376
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• 2013

Der vorliegende Beitrag zielt darauf ab, Nietzsches Einstellung zum Christentum zu $er{\ddot{o}}rtern$. Nietzsche gilt als einer der eindeutigsten Kritiker des Christentums in der $abendl{\ddot{a}}ndischen$ Geistesgeschichte. $F{\ddot{u}}r$ Nietzsche ist das Christentum nicht nur eine Religion, sondern auch eine Wertvorstellung, an der sich die $europ{\ddot{a}}ische$ Kultur orientiert hat. Nietzsche setzt sich die $vollst{\ddot{a}}ndig$ ${\ddot{U}}berwindung$ des Christentums zum Ziel, weil es der entscheidende Grund des Untergangs der $europ{\ddot{a}}ische$ Kultur ist. Ist Nietzsche Antichrist? Die Antwort auf die Frage ist sehr umstritten, denn Nietzsches Einstellung zum Christentum ist ambivalent. Freilich fokussiert Nietzsche seine Kritik nicht auf den Religionsstifter selbst, sondern auf den Apostel Paulus. In den verschiedenen Phasen seines Werkes erscheint Jesus in unterschiedlicher Weise. Er lehnt die Person Jesus nicht $grunds{\ddot{a}}tzlich$ ab, negiert aber den 'Typus' Jesus, z. B. als 'Idiot' und 'decadent'. Paulus ist der entscheidende Antipode $f{\ddot{u}}r$ Nietzsche. Der Apostel Paulus ist der wahre $Begr{\ddot{u}}nder$ des Christentums und der Sklavenmoral der Christen. Der vorliegende Aufsatz gibt Antworten auf die Fragen: Erstens, was das Christentum $f{\ddot{u}}r$ Nietzsche ist. Zweitens, wie Karl Jaspers Nietzsches $Verh{\ddot{a}}ltnis$ zu Jesus und Paulus besonders in Nietzsche und das Christentum beurteilt. Drittens, welches Problem die Interpretation von Jaspers besonders in Bezug auf seinen Begriff des 'Umgreifenden' hat.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.212-231
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• 2021

This study examines the types of gods worshiped in the homes of Utsunoya village, the places where they are enshrined, the rituals and food offered to the gods, the decorations during the rituals, and the people's beliefs. Also, by comparing the gods worshiped in houses in remote Utsunoya with those of downtown Shizuoka, the differences and changes in the gods worshiped in the two contemporary spaces were predicted. Today, the gods enshrined in Utsunoya's houses are amatelaseu oomikami (天照大神), ancestor, ebisu, daigoku, kojin, inari, the god of the toilet, the god of land, and the god of water. From December 31st to January 3rd and on January 15th, Obon (July 15th), October when there is a festival at the village shrine, and on Ebisu Day (October 19th and 20th), residents offer drinks and food to the gods. Japanese beliefs at home are polytheistic in nature. They maintain national identity through kamidana and maintain family identity through ancestor worship linked to the Buddhist altar. The Japanese beliefs at home are firmly established in the background of the home, the base of family life. Japanese houses have a strong character as a religious space where they coexist "with the gods," and the residents have a cultural tradition of living with the gods.

• Cross-Cultural Studies
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• v.50
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• pp.131-172
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• 2018

It is noted that nowadays, the bride wealth custom takes an extremely distorted form in African society. Such a phenomenon is a result that the male-dominant culture, Western religions, and capitalist economic system have been negatively combined into dynamic factors seen as bride wealth. This means that the concept of bride wealth has been incessantly reconstructed in the middle of clash and conflict of tradition and modernity. There is also little doubt that the practice is inextricably tangled with the common and current ways of livelihood, early marriage, polygyny, kinship/family structure, poverty, and migration labor. Bride wealth has become an increasingly commercialized element under a capitalist economic system. Accordingly, its traditional symbolism is seen to be subsequently weakening, whereas a tendency towards the reification of women is strengthening more in modern society that embraces modern customs bent on the protection of women's human rights. Its commercialization has produced a result, which instigates the noted violations of women's basic human rights, gender inequality, and promotion of domestic violence. The ways that people perceive bride wealth vary according to their own sex, generation, stratification, and ethnic background. Those people who negatively recognize bride wealth will increase with the deepening of its commercialization due to the influence of capitalism. Its color and effect will deepen and depend on how its agents correspond to socioeconomic changes. They will constantly reinterpret and reconstruct it within their own environments, but the basic human rights efforts are constantly under review by concerned individuals seeking to promote equality for women as a global effort.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.4-31
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• 2013

본고는 중세도시연구의 관점에서 도성 헤이안쿄(平安京)가 중세 교토(京都)로 변화하는 계기와 그 의미, 그것이 새로운 무가(武家) 정권도시(政權都市)에 어떤 영향을 미쳤는지에 대하여 논하였다. 율령제 마지막 도성인 헤이안쿄는 천황을 절대적 정점으로 한 중앙집권이 동심원구조로 구현된 '왕성(王城)의 땅'이었으나, 10세기 후반 이후 도성의 구심점이었던 내리(內裏)가 헤이안큐(平安宮) 밖으로 나오는 등의 변화가 시작되었고, 도성의 이념과 틀이 급속하게 해체 변용되었다. 또 고대왕권을 대신하여 새로운 형태로 왕권과 여러 권력을 담당한 원(院)과 롱관가(瀧關家), 대두하는 무가권력 등이 그 본거지에 권력의 개성과 시대성을 반영한 새로운 경관과 공간원리를 생성하였다. 그것은 다음과 같은 공통점을 갖는다. (1) 큰 정토정원을 갖는 御堂(사찰)과 세트를 이룬 御所(천황의 거소). (2)황통(천황가 내의 계통)과 가족의 상징으로서 조상을 모신 분묘를 중심으로 한 도시형성. (3) 내리를 기점으로 남북으로 주축을 갖는 고대도성과 달리, 어당과 어소가 동서로 배열된 동서가로를 주축으로 한 도시계획. (4) 수도와 외부를 잇는 교통의 결절점에 입지하였고, 특히 하천변을 향해 적극적으로 확장된 도시. 일본 중세는 무가정권의 시대를 맞이하여 도고쿠(東國) 초기 무가정권의 본거지 히라이즈미(平泉)와 최초의 막부가 열린 가마쿠라(鎌倉)가 모델로 한 것은 '도성 헤이안큐'가 아니라 헤이안큐 수도 밖 신도시의 경관과 공간원리였다. 특히 히라이즈미와 가마쿠라 등이 가정기관(家政機關)과 조상의 묘를 중심으로 한 '가족 원리'에 따른 정권도시를 적극적으로 수용한 것은 단순한 도시의 모방이 아니라 주종관계를 축으로 의제적인 '집(家) 원리'로 권력이 형성된 무가에는 더욱 어울리는 논리이며, 또 고대와는 다른 새로운 시대의 논리였기 때문이다. 그 한편으로 무가의 대들보로서 무사들에 의해 추대된 초기 무가정권은 도시의 논리와 경관을 도입하였을 뿐 아니라 그들과 공통의 가치관을 표현하는 것도 중요한 요소였다. 그것이 최신의 도시를 모방한 어당과, 그것과는 대조적인 도고쿠 무가의 전통적인 어소의 병립이라는 종교공간과 정치 일상공간에서의 권위표상의 의식적인 분리에 의해 표현되었다. 히라이즈미와 가마쿠라에서는 유통, 상공업 등의 도시기능과 도시적인 경관이 정비되기까지 약 50년의 시간이 경과할 필요가 있었다. 12세기 일본의 무가정권은 스스로의 거점으로서 도시를 기획, 형성하는 의식과 실현하는 능력을 얼마나 가지고 있었는가 검토가 필요하다. 명확한 동아시아모델의 도성을 실현함으로써 왕권의 존재를 드러낸 고대 율령정권과의 차이점은 매우 크다. 이후 무가가 권력의 의도를 도시구조로서 명확하게 드러낸 것은 15세기 후반의 전국시대 다이묘(大名)의 죠카마치(城下町)로부터이다. 특히 16세기 후반부터 천하통일을 실현한 오다 노부나가, 도요토미 히데요시의 연합정권에서는 구체적인 성(城)과, 그 성을 중심으로 한 계층성을 명시한 죠카마치의 공간설계가 있었다. 여기서는 다시금 '도시의 경관'이 명확한 권력의 상징으로서 기능하게 된 것이다.