• Journal of the Korean BIBLIA Society for library and Information Science
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• v.25 no.1
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• pp.397-420
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• 2014

This study investigates the importance of records management for local festivals by focusing on the Chunhyang Festival, one of Korea's oldest regional festival still in existence. This study analyzes the current conditions of records management to indicate problems and offer measures of importance. The results of this study showed the following problems. First, the absence of public-private partnerships and the lack of a stable commission. Second, the absence of ordinances for festival public records management. Third, the absence of systematic document management. Finally, absence of an expert records researcher and the absence of a records archive. Therefore, the study floated for an overall management method for the Chunhyang Festival records.

• Journal of the Korean Society for information Management
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• v.33 no.3
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• pp.31-61
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• 2016

This study aims to implement the electronic record management systems that can preserve and utilize local festival records and archives. To accomplish the goal, this study used open source software for Namwon chunhyang festival as a case. This paper revealed the fact that there is no constructive system for preserving local festival records. To solve this problem, this study implemented electonic records management system based on Open Source Softwares, which are called AtoM(Access to Memory) and OMEKA. Also, both OSSs were compared and evaluated according to Characteristics of Local festival records. As a result, ERMS for Festival based on AtoM was appropriate comparatively.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.1-11
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• 2011

Located in Namwon-si, Jeonlla Bukdo, Gwanghallu Garden is created around Gwanghallu, which was a government office in the period of Joseon Dynasty and shows its looks as a government office building of the times. However, Gwanghallu Garden is recognized rather as a background site of Chunhyangjeon, representing a local culture, than the features and picture as a government office garden in the period of Joseon Dynasty because Gwanghallu appeared as the background of Chunhyangjeon in its Chinese character script and, after 1930s, Chunhyang Sadang was built up and Chunhyang Festival held, and it's recognized rather as a site for arousing national consciousness and cherishing Chunhyang for its integrity in the Japanese ruling era of Korea than as a government office building in the period of Joseon Dynasty. With it being more recognized as the background of Chunhyangjeon than an ancient government office building, Gwanghallu has been managed as a private house garden or event place of folk festival as the background of Chunhyangjeon than preserved and managed as ancient government office building, and now the looks and features as a garden of government office are hardly seen because of indiscriminate trees and making of structure and spaces. Therefore, to preserve and maintain Gwanghallu Garden as the garden of government office in the period of Joseon Dynasty, it's required to survey the trees, structure and spaces created in Gwanghallu Garden and compare the true condition with its original looks by studying its literature and it's suggested that the garden area created around Gwanghallu should be repaired and managed by separation from as the background of Chunhyangjeon. Such means of management may keep the looks of Gwanghallu as the ancient office garden while Chunhyangjeon can also settle down as a local culture in the background.

• (The) Research of the performance art and culture
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• no.36
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• pp.75-102
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• 2018

Manjungpan Chunhyangga is established by Manjung Kim Sohee. She selectively chose and arranged the songs by Jung Jungryeol, Song Mangap, Jung Eungmin, Kim Yeonsoo, Park Dongsil, and Jung Kwangsil. Kim Sohee once stated that while a major section of Chunhyangga is based on the songs by Jung Jungryeol, Song Mangap, Jung Eungmin, and Kim Yeonsoo, the whole part of Okjungga is derived from Park Dongsil. However, there is not much material that will provide enough information with regard to what musical characteristics Park Dongsilje Chunhyangga possessed. Under the circumstances, the voice of Park Dongsilje, left by Kim Sohee, triggers curiosity on Park Dongsilje Chunhyangga. It can also be construed that there must be a good reason for choosing Park Dongsilje for Okjungga, unlike other parts. Therefore, this paper attempted to find out what the unique features of Par Dongsilje are and what the reasons behind Kim Sohee's musical choice were through comparison and analysis of Kim Sohee's musical features in Okjungga. The following are the results. Firstly, Okjungga is a created verse by its nature and it does not possess specific features to a school. Therefore, the reason for choosing Park Dongsilje could have been based on musical reason rather than verse. Secondly, the lyrics of Park Dongsilje Okjungga is closer to that of Song Mangap rather than that of Jung Jungryeolje. It can be argued that it falls between the two of them. Thirdly, the tone and melody of Park Dongsilje Okjungga falls in the middle section of Dongpyenje and Supyenje. Fourthly, the analysis of Jinyangjo rhythm out of the whole Manjungpan Chunhyangga shows that there are slight differences among Song Mangapje, Jung Jungryeolje, and Jung Eungminje. Park Dongsilje is very unique in the sense that it does not use utbutim in gyemyeonjo part in Manjungpan Chunhyangga. Park Dongsilje Okjungga is a song to which the tone, melody, and sigimsae of Supyeonje is added to lyric butimsae of Dongpyeonje. It can be seemed as simple and less sophisticated because, with its simple lyric butimsae, it shows a less complicated tone utilization rather than Jung Jungryeol. With lighter decoration of music, feelings can be conveyed more directly. That is probably why Kim Sohee commented on Park Dongsilje Chunhyangga that it is the most mournful song for Chunhyang and it is the song that moves anyone who listens to the song. Consequently, Kim Sohee accepted Park Dongsilje Okjungga and she created different feelings to Manjungpan Chunhyangga which has repeatedly displayed the color of Jung Jungryeol. Combining the lyric addition of Dongpyeon style and the melody of Supyeon style can crated a different language.

• Cross-Cultural Studies
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• v.42
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• pp.343-369
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• 2016

This is an attempt to analyze original films of ChunHyang Jun that Shin Sang-Ok filmed in North and South Korea, focusing on the character of MongYong. These films were made during political transition periods of North and South Korea. Sung ChunHyang was made during the second republic of South Korea, which was established after the collapse of Rhee SyngMan government; and Love, Love, My Love was made in North Korea during the period of power transfer from Kim Il-Sung to Kim Jong-Un. Considering these political changes, the character of MongYong seems to represent the figure of authority North and South Korean society of the time had in mind. First, MongYong in Sung ChunHyang has a strong image of a lover who repays ChunHyang's devotion and sacrifice with romantic affection. As an authoritative figure, he has the aspect of a democratic leader or mediator. On the other hand, MongYong's image in Love, Love, My Love is a heroic authority figure of the revolutionary class. He is a subversive reformer who shows love for the people and treats them favorably, gaining public desire. This research is expected to inspire more studies on the meanings of hit movies based on classic literature under synchronic terms.

• Venture DIGEST
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• s.54
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• pp.24-25
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• 2004

협회와 전자신문이 공동주최하는‘제9차 벤처CEO포럼’이 지난 8일 코엑스인터컨티넨탈호텔에서‘북미진출, 효과적인 마케팅 전략과 전술’이라는 주제로 열렸다. 기업컨설팅 전문기업인 론치패드 레드사의 미카 리 대표가‘춘향이 마돈나 만들기’라는 주제로, 미국 팩터링 기업인 하나파이낸셜의 앤드류 조 상무는‘미국 수출금융 활용법’이라는 주제로 발표했다. 또 주한 미국상공회의소 사모펀드∙벤처캐피탈 상임위원회 이정호 위원장은‘투자유치를 위한 기업가치 백배 올리기’로 주제로 발표했다.

• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.119-120
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• 2014

본 연구에서는 광한루원 일대의 지적자료 분석을 통해 각 권역별 변화과정을 지리적으로 살펴보고자 하였다. 연구결과, 기존 광한루 권역을 제외한 공간은 1930년대 이후 춘향각의 조성, 상업지구의 대규모 화재, 행정구역의 변경, 광한루원 확장 정비사업 등의 요인에 의한 지목의 변경, 지적의 합필 등을 통해 영역이 확장되는 양상을 보이고 있으며, 오늘날의 광한루원 영역을 규정하게 되었다.

• Journal of the Korean association of regional geographers
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• v.7 no.1
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• pp.67-82
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• 2001

Recently, local traditions and cultural assets have been rediscovered and developed as resources in local societies of Korea and a great deal of effort has been made to develop event tourism. Based on this renewed interest, this study chose as a case the Wang In Cultural Festival in Kurim-ri, Yongam, and examined the background of the early Wang In Cultural Festival and its evolution up to the present focusing on. the festival program. In Cultural Festival first began as the Wang In Cherry Blossom Festival in 1993 with a budget of 50 million won, and has been developed into a large-scale festival with a budget of 340 million won, attracting 500,000 visitors in 2000. Together with such evolution, there has been a great change in the organization and content of the Festival program. The most important change began in the 1997 which included a religious service for Confucian scholars called 'Chunhyang Grand Festival for Dr. Wang In' as a core program. Since then, festival programs related to Dr. Wang In have greatly increased in number. A decisive change became prominent when the festival promotion system was transferred from the Kunseo Young Men's Association during the early period(1993-1996) to Youngam-gun in 1997. It is true that the Wang In Cultural Festival, which began as a purely regional festival initiated by a non-governmental organization, changed a lot in terms of its scale and program when Youngam-gun emerged as a strong leading group in 1997. However, not enough consideration has been given to institutional devices and procedures that are required for the local culture to take a firm root in the community through the festival. Therefore, in order to solve such fundamental problems, a permanent non-governmental organization is required for festival preparation. In addition, in order to promote overall progress of the community and an increase in the quality of the cultural environment of the local society through the festival, it is necessary to discover and promote recognition of cultural groups in the community.