• Cross-Cultural Studies
• /
• v.50
• /
• pp.103-130
• /
• 2018

This research aims to explore the associated linguistic features and functions of Chinese as used for business trading purposes, and which is based on a discourse analysis through a case in which a Korean buyer and a Chinese supplier have exchanged Internet based e-mails. The research questions include first, the linguistic functions and characteristics of Chinese shown as identified in this trade case through e-mails, second, the use of Chinese trade specific terms, and third, the apparent and dynamic negotiation strategies that are identified as followed by the cultural value systems which are used for resolving interest conflicts and issues between the buyer and supplier in the course of negotiating business contracts between two parties. The participants of this research pertain to a Korean buyer, James and a Chinese supplier, Sonya. The associated data consists of 74 e-mails exchanged between the two parties, initiated in an effort to begin and complete a trade item, in this case namely the product of napkin holders. The research for the study is based on the discourse analysis and empirically analyses models of Chinese linguistic functions and features. The findings are the following. First, as identified, the specific Chinese functions used and sequenced in this trade case are of a procedure, request, informing, negotiation and persuasion. Second, the essential trade terms used in this business interaction involve the relevant issues of 1) ordering and price negotiating, 2) marking the origin of the products, 3) the arrangement of the product examination and customs declaration for the anticipated import items, 4) preparation of the necessary legal documents, and 5) the package and transport of the product in the final instance. Third, the impact of the similarities and differences in the cultural value systems between Korea and China on the negotiations and conflict resolution during a negotiated contract between two parties are speculated in terms of the use of culturally based techniques such as face-saving and the utilization of uncertainty-avoiding strategies as meant to prevent misunderstandings from developing between the parties. The concluding part of the study discusses the implications for a practical Chinese language education utilizing the linguistic functions and features of the Chinese culture and language strategies as useful in business associations for trading purposes, and the importance of intercultural communication styles based on similar of different identified cultural values as noted between two parties.

• Korean Journal of Heritage: History & Science
• /
• v.55 no.1
• /
• pp.133-150
• /
• 2022

Calling the 21th century the age of 'cultural competition' is not an overstatement. In an era of globalization, we try to find the 'identity of our country' in our culture. 'Culture' is the unique ethnicity of the people of each country that reflects the traces of their lives. As the world is transforming into a multi-dimensional place, traditional patterns in reference to cultural uniqueness and original formativeness are the brands that represent the people. France's luxury brand, GOYARD's Y-shaped pattern naturally made during the persistent traditional handmade process is still France's representative corporate brand and is considered prestigious even after 150 years have passed. On the other hand, in low-income countries, patterns created in the natural process of weaving fabrics are succeeded as a unique cultural aesthetic and are loved by people all over the world. Like this, people living in the global multi-dimensional world look to attain the framework 'One Planet Perspective' which is to succeed their own native culture and preserve the unique culture of others. For example, in the process of international relief organizations delivering relief supplies to Columbia's "Wayu tribe" due to the water shortage in 2013, a handmade product, "Mochila Bag" was discovered. Triggered by this incident, Europe and Korea decide to import it to support the livelihood of the "Wayu tribe." Also, the aesthetic and cultural values of the traditional culture in minority tribes that have evolved through thousands of years have been listed on UNESCO and preserved worldwide. Likewise, culture doesn't suddenly appear overnight, but rather the brand representing the company is the pattern used in the trend of the era kept for over 100 years. Moreover, patterns that reflect the country's identity are inherited as the unique aesthetic of the culture. Our country does inherit the unique aesthetic of our culture, but doesn't have a 'strong image' that displays the practical value reinterpreted creatively and aesthetically to fit the modern trend. Traditional patterns are important in perspective of study and theoretical research, but the brand's image using those patterns is a new medium from the past existence continuing to the current tradition. Furthermore, this study suggests that the image of a company that uses traditional patterns will have high economical potential as a national brand.

• Journal of Korea Entertainment Industry Association
• /
• v.15 no.2
• /
• pp.35-46
• /
• 2021

The purpose of this research is to analyze Soon Chul Jung's children's songs, who is one of the four great children's songwriters in Korea along with Geuk Young Yoon, Nan Pa Hong and Tae Jun Park. Soon Chul Jung has contributed by actively participate into children's movement at Japanese colonial period through writing self-composed children's songs. Since children's songs are made for the age group without the sense of sound, children's songs necessitate 'easy to sing-along' melody writing process. Like so, when writing the melody that are easy to be sang along, utilization of development technique using a unit called motive can be the potent way. This method has an advantage of being sang more with ease if actively implemented, and can be done by utilizing the smallest unit of the melody called motive, especially by lightly transform and repeat the unit, consequently structuring the song altogether. To investigate and analyze this motive-based development technique of Soon Chul Jung's songs, 38 out of 40 written songs considered eligible for the research were confirmed and chosen from 'Soon Chul Jung's bibliography and choreography' and each songs were analyzed based on 17 different development techniques which were standardized in the textbook 'Melody in Songwriting' adopted as a textbook of the Berklee college of Music, and also compared these song-writing pipelines with other great songwriters' representatives mentioned above. As a result, it was almost linear that the song's pitch variation in combination with thinning or extension were used frequently and repeatedly, otherwise implicating melody duplication for more than 2 bars and motive repetition were not in his favor, while these methods were often used when writing children's songs. This finding could be viewed as a character of his songwriting.

• Korean Journal of Remote Sensing
• /
• v.39 no.3
• /
• pp.325-338
• /
• 2023

Korean fir (Abies koreana Wilson) is one of the most important environmental indicator tree species for assessing climate change impacts on coniferous forests in the Korean Peninsula. However, due to the nature of alpine and subalpine regions, it is difficult to conduct regular field surveys of Korean fir, which is mainly distributed in regions with altitudes greater than 1,000 m. Therefore, this study analyzed the vegetation change trend of Korean fir using regularly observed remote sensing data. Specifically, normalized difference vegetation index (NDVI) from Moderate Resolution Imaging Spectroradiometer (MODIS), land surface temperature (LST), and precipitation data from Global Precipitation Measurement (GPM) Integrated Multi-satellitE Retrievalsfor GPM from September 2003 to 2020 for Hallasan and Jirisan were used to analyze vegetation changes and their association with environmental variables. We identified a decrease in NDVI in 2020 compared to 2003 for both sites. Based on the NDVI difference maps, areas for healthy vegetation and high mortality of Korean fir were selected. Long-term NDVI time-series analysis demonstrated that both Hallasan and Jirisan had a decrease in NDVI at the high mortality areas (Hallasan: -0.46, Jirisan: -0.43). Furthermore, when analyzing the long-term fluctuations of Korean fir vegetation through the Hodrick-Prescott filter-applied NDVI, LST, and precipitation, the NDVI difference between the Korean fir healthy vegetation and high mortality sitesincreased with the increasing LST and decreasing precipitation in Hallasan. Thissuggests that the increase in LST and the decrease in precipitation contribute to the decline of Korean fir in Hallasan. In contrast, Jirisan confirmed a long-term trend of declining NDVI in the areas of Korean fir mortality but did not find a significant correlation between the changes in NDVI and environmental variables (LST and precipitation). Further analyses of environmental factors, such as soil moisture, insolation, and wind that have been identified to be related to Korean fir habitats in previous studies should be conducted. This study demonstrated the feasibility of using satellite data for long-term monitoring of Korean fir ecosystems and investigating their changes in conjunction with environmental conditions. Thisstudy provided the potential forsatellite-based monitoring to improve our understanding of the ecology of Korean fir.

• Journal of Communication Design
• /
• v.66
• /
• pp.90-101
• /
• 2019

South Korea had a hard time creating its own image of a nation that formed its identity due to 6.25, Japanese-style rule, division of South and North Korea, and military dictatorship. Recently, Korea has been searching and spreading its identity by creating a Korean wave such as various events and K-POPs. However, since there are still no images and cultural products representing Korea's identity, it is necessary to develop design contents related to native culture and professional cultural product design. Design powers such as France and Japan focus on design projects that can add value to their national design policy projects. Traditional Korean contents also need to be specialized and continuous in image design and research. In this study, five lucky-SubokGangnYeon(long life, happiness and peace), a representative of Korean culture, studied with the most interest in the old and the modern, namely, "Living healthy long." Through the development of cultural product design and the use of design content, I would look forward to presenting the diversity and direction in producing Korea's own design products and images that fit the trend of modern 'age of 100.' Based on images based on special exhibitions related to longevity of the National Folk Museum of Korea, the museum discovers key used features and meanings, studies patterns and patterns, and analyzes design cases applied to modern cultural product design. We also want to look at the direction available through design content, which is a symbol of llong life happiness and peace. First, cultural products have limitations that lack the development of design products, lack of public relations and sales outlets, and lack of awareness of traditional culture, which should precede policy support and awareness reform at the national level. Second, we need to streamline prices that meet the needs of the market. Third, cultural product design and contents related to tradition can be settled and disseminated more easily when traditional design is utilized and distributed mainly on practical stationery and household goods. Fourth, it is necessary to develop contents of various Korean images based on research on Korean cultural history and aesthetic consciousness. Research on the Korean culture of designers should be conducted, not just in the form of figurative images. Fifth, traditional manufacturing methods and materials should be respected by modern times, but modern production products should be developed with economy and durability.

• Journal of Intelligence and Information Systems
• /
• v.25 no.1
• /
• pp.179-196
• /
• 2019

Recently, the "Smart Consumer" has been emerging. He or she is increasingly inclined to search for and purchase products by taking into account personal judgment or expert reviews rather than by relying on information delivered through manufacturers' advertising. This is especially true when purchasing cosmetics. Because cosmetics act directly on the skin, consumers respond seriously to dangerous chemical elements they contain or to skin problems they may cause. Above all, cosmetics should fit well with the purchaser's skin type. In addition, changes in global cosmetics consumer trends make it necessary to study this field. The desire to find one's own individualized cosmetics is being revealed to consumers around the world and is known as "Finding the Holy Grail." Many consumers show a deep interest in customized cosmetics with the cultural boom known as "K-Beauty" (an aspect of "Han-Ryu"), the growth of personal grooming, and the emergence of "self-culture" that includes "self-beauty" and "self-interior." These trends have led to the explosive popularity of cosmetics made in Korea in the Chinese and Southeast Asian markets. In order to meet the customized cosmetics needs of consumers, cosmetics manufacturers and related companies are responding by concentrating on delivering premium services through the convergence of ICT(Information, Communication and Technology). Despite the evolution of companies' responses regarding market trends toward customized cosmetics, there is no "Intelligent Data Platform" that deals holistically with consumers' skin condition experience and thus attaches emotions to products and services. To find the Holy Grail of customized cosmetics, it is important to acquire and analyze consumer data on what they want in order to address their experiences and emotions. The emotions consumers are addressing when purchasing cosmetics varies by their age, sex, skin type, and specific skin issues and influences what price is considered reasonable. Therefore, it is necessary to classify emotions regarding cosmetics by individual consumer. Because of its importance, consumer emotion analysis has been used for both services and products. Given the trends identified above, we judge that consumer emotion analysis can be used in our study. Therefore, we collected and indexed data on consumers' emotions regarding their cosmetics experiences focusing on consumers' language. We crawled the cosmetics emotion data from SNS (blog and Twitter) according to sales ranking ($1^{st}$ to $99^{th}$), focusing on the ample/serum category. A total of 357 emotional adjectives were collected, and we combined and abstracted similar or duplicate emotional adjectives. We conducted a "Consumer Sentiment Journey" workshop to build a "Consumer Sentiment Dictionary," and this resulted in a total of 76 emotional adjectives regarding cosmetics consumer experience. Using these 76 emotional adjectives, we performed clustering with the Self-Organizing Map (SOM) method. As a result of the analysis, we derived eight final clusters of cosmetics consumer sentiments. Using the vector values of each node for each cluster, the characteristics of each cluster were derived based on the top ten most frequently appearing consumer sentiments. Different characteristics were found in consumer sentiments in each cluster. We also developed a cosmetics experience pattern map. The study results confirmed that recommendation and classification systems that consider consumer emotions and sentiments are needed because each consumer differs in what he or she pursues and prefers. Furthermore, this study reaffirms that the application of emotion and sentiment analysis can be extended to various fields other than cosmetics, and it implies that consumer insights can be derived using these methods. They can be used not only to build a specialized sentiment dictionary using scientific processes and "Design Thinking Methodology," but we also expect that these methods can help us to understand consumers' psychological reactions and cognitive behaviors. If this study is further developed, we believe that it will be able to provide solutions based on consumer experience, and therefore that it can be developed as an aspect of marketing intelligence.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.96
• /
• pp.239-260
• /
• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.