• KOMUNHWA
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• no.61
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• pp.45-65
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• 2003

The Datuotou culture is a bronze age culture in the Jing and Jin region dating from the twenty-second century to the fifteenth century B.C. As an independent culture, it succeeded the last Neolithic tradition of the region and absorbed the neighboring loc

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.102-123
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• 2013

This paper is a study about the Gang Sehwang's (姜世晃 1713~1791) Ink Orchid Painting. Gang Sehwang is a representative literati gentleman who painted Four Gentlemen, for the first time, during the late Joseon Dynasty. There are 20 pieces of Ink Orchid Painting of his in Korea. His recognition of the Ink Orchid Painting can be understood through his records and analysis of his Ink Orchid Painting. He considered the sketch from the nature (寫生), practice of old paintings (古畵), and copy-training of the manual of paintings (畵譜). Particularly, Gang Sehwang focused on the copy-training of old paintings (古畵臨倣) which integrates the will and spirit of old literati gentlemen. This means that he had recognized the picture as a means of 'literature carrying morality (載道). Also, we could read self-discipline (修己的) values from his continuative copy-training of the manual of paintings (畵譜臨倣). Next, his Ink Orchid Painting were divided into the first half of the term (his 30s to 40s) and the second half of the term (his 60s to 78 years old). He had polished up on the Jieziyuanhuazhan ("芥子園畵傳") during the first half of the term and on the Shizhuzhaishuhuapu ("十竹齋書畵譜") or the Maejuknanguksabo ("梅竹蘭菊四譜") during the second half of the term. Therefore, it could be understood that he had depended on the manual of paintings (畵譜) for a long time. Nevertheless, he had completed the elegant and graceful Pyeoam Orchid (豹菴蘭)' based on his skill of the manual of paintings (畵譜) in his 70s. Finally, the 18th century Ink Orchid Painting and painters who lived (worked) at that time were investigated. He made?? the Albums of Calligraphy and Painting (書畵合壁帖) with Shim Sajeong (沈師正) and Choi Buk (崔北). They also interacted with each other by Calligraphy and Painting (書畵). Also, Yi Insang (李麟祥) and Im Heeji (林熙之) contributed to the diversification of the 18th century Ink Orchid Painting style by imitating Ink Orchid Painting with the manual of paintings (畵譜). Moreover, it is meaningful that the Ink Orchid Painting of Gang Se-hwang and the18th century Ink Orchid painters influenced the foundation of the 19th century Ink Orchid Painting fashion.

• Korean Journal of Comparative Education
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• v.27 no.3
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• pp.213-238
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• 2017

This paper aims to point out that the contemporary textbook is a common cognitive construct, and that the realistic drawings in the textbooks have played an important role in shaping the world recognition. The main subjects of this study are the racial-ethnic illustrations of elementary school geography textbooks, published by the Japanese Ministry of Education, the Japanese Government-General of Taiwan and Korea, the educational association of Manchu. By comparing the same factors in various textbooks, it examines how the temporal and spatial recognition of the world is adjusted by visual representation. The main findings of this study are three fold. First, the world was introduced to the extent of the sum that the census and the classifications of racial and ethnic groups were adopted. And the world appeared later in the year supported by the racial and ethnic minorities. Second, the expressive style of racial and ethnic groups changed from an emphasis on a heterogeneous part as an object of scientific observation in the early stage to a later one with a life culture similar to the reader. Third, racial ethnic illustrations have been used differently depending on the publishing region in the Empire, giving readers in different regions with different images of the same category. In many cases, it was possible to know the politics of representation and the use of certain racial ethnic illustrations. The textbooks of the first half of the 20th century gave great recognition to the people who could not meet with the readers by using the illustrations. A child in the mainland is aware of his position in a "viewing position" while viewing various empire people through the textbook. On the other hand, in the textbooks of the colonial children, they stood in the position of 'being seen', and showed a change in internalizing the position of the mainland along with the expansion of the empire.

• Journal of Korean Philosophical Society
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• v.142
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• pp.99-119
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• 2017

Buddhism tends to be accepted as an institutional religion. This is probably due to the historical background in which Buddhism has been accepted as a representative institutional religion along with Christianity since the mid-20th century. In particular, Buddhism is accepted as an institutional religion based on tradition. Buddhism is also accepted as philosophy. Even if the western philosophical background is embraced that defines philosophy as the pursuit of intellectual clarity and wisdom in life, Buddhism is deemed to be classified as a philosophy that allows for the possibility of philosophical criticism without unconditionally believing the truth that Gautama Buddha discovered. The possibility of Buddhism as philosophy like this is directly linked to the possibility of Buddhism for doing philosophy. Doing philosophy in Buddhism can be presented in three processes: keeping a distance from daily life, the observation and concentration based on the distance, and the formation of a new world-view. Doing philosophy is rooted in the same way as meditation in the lives of people tired from post-capitalist everyday life. Nonetheless, Buddhism clearly has the characteristics of religion, thus posing a challenge of establishing a new relationship between religion and philosophy. The tradition of a strict separation between the religion and philosophy in Christian civilization is still working as a factor that keeps Buddhism from being classified as philosophy. In cases where the pursuit of intellectual clarity and practical wisdom in life is incorporated into the purpose of philosophy, Buddhism can be categorized into having the distinctive function of religion "spiritual peace", and sharing the common function of philosophy and religion "enlightenment." In that sense, it can also be an important task to seek a new perspective on the relationship between religion and philosophy.

• Journal of the Korean Home Economics Association
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• v.37 no.5
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• pp.61-84
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• 1999

The purpose of this study is to understand the context of cosumers' lives in Korea with a narrative analysis method. The epistemological orientation of eh narrative analysis is Interpretivism, which blends the two polar philosophical perspectives, Empiricism and Rationalism, and includes Narrotology, Hermeneneutics, Semiotics, and Structural Criticism. Narrative analysis takes as its object of investigation the story itself. This study collects eleven narrative plots from four housewives, into which Labov's structural approach is applied. This study shows clearly that the socio-cultural environment in which consumers live has strong influence on their consumption behavior and also reveals that narrativization tells not only about past actions but how individuals understand those actions, that is, meaning.

• Journal of the Korean Geographical Society
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• v.47 no.4
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• pp.522-540
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• 2012

The main aim of the paper is to identify the position or status of Korean economic geography in changing global economic geography by reviewing papers published in Korean geographical journals since the mid-1950s. Since the late 20th century as economic geography has developed significantly with the introduction of new research issues, methodologies, and theory and concepts, economic geography in Korea also has gone through rapid development in terms of both quantitative and qualitative perspectives. The paper attempts to analyze trends in Korean economic geography by reviewing agricultural, industrial, commercial geographies, and others since the mid-1950s. The review of economic geography in Korea would be based on four periods classified by research issues and approaches; foundation (~1950s), positioning (1960s and 1970s), jump and rush (1980s and mid-1990s), and transitional period (late 1990s~). Agricultural geography in Korea has decreased due to increases of the interests in industrial geography since the 1980s. In particular, since the late 1990s industrial geography has undergone a significant transition in accordance with the emergence of new theories of institutional perspectives, centering around issues on value chains, innovative cluster, cooperative and competitive networks, foreign direct investment, flexible specialization and venture ecology. Along with this, there has been changes in the interest of commercial geography in Korea from researches on periodical markets, the structure of store formats, and distributions by commodity, to researches on producer services and retailer's locational behaviors and commercial supremacy according to the emergence of new store formats. Since the late 1990s, many researches and discussions associated with the new economic geography began to emerge in Korea. Various research issues are focused on analyzing changes of local, regional and global economic spaces and their processes in relation to institutional perspectives, knowledge and innovation, production chain and innovative networks, industrial clusters and RIS, and geographies of service. Although economic geography in Korea has developed significantly both in quantitative and qualitative perspectives, we pointed out that it has still limited in some specific scope and issues. Therefore, it is likely to imply that its scope and issues should be diversified with new perspectives and approaches.

• Journal of the Korea Furniture Society
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• v.21 no.6
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• pp.486-498
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• 2010

The purpose of this study was to analyze the species of 82 furniture in the late Choseon Dynasty (mainly, 19th century), which are housed in the Seoul Museum of History. Total of 22 species were found. The species shared 43% as hard pine(Diploxylon), 9% as Zelkova serrata Makino, 7% as Paulownia spp., 7% as Tilia spp., 6% as soft pine(Haploxylon), 5% as Ginkgo biloba Linn., 4% as Cedrela sinensis A. Juss., 3% as Diospyros spp., 3% as Abies spp., 2% as Alnus spp., 2% as Picea spp., 1% as bamboo, 1% as Populus spp., 1% as Betula spp., 1% as Juglans spp. The other minor ones were Torreya nucifera Sieb. et Zucc., Pyrus spp., Castanea spp., Ulmus spp. and Kalopanax oictuse (Thunb.) Nakai. Thirty seven furniture (45% in total) was made of single species, 19 (23%) of two species, 16 (20%) of three species and 10(12%) of 4 to 6 species. For frames and panels, hard and strong woods, such as hard pines, Zelkova and Cedrela, were used. For drawer, however, light woods having low shrinkage, such as Paulownia and Tilia, were used. The origin of woods could be specified by the habitats of the species identified. Both Hwanghaedo- and Parkcheon- Chests used basswood (Tilia), which grow in the cold regions, indicating the origin of woods as North Korea.

• Journal of Science of Art and Design
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• v.12
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• pp.5-41
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• 2007

As public attention on Well-being culture increases, it is now considered to be a new trend of modern society. The purpose of this study is to publicize the necessity of design products which are advanced in quality and encourage the use of it. The researcher judged that study on design of lighting product to adopt well-being trend is in preliminary level and aims to research on the tendency of well-bing trend and lighting design which the consumer of this age is demanding. As the result of changes in modern consumption trend, design is considered to be a factor of capricious cultural phenomenon. In addition to this, as high technology such as ubiquitous develops with the degitalisation and informatization, the consumer are paying attention to dynamic products rather than static products or products which respond to external stimulus. Products which adopt well-being trend pursuing nature friendly life are particularly preferred It means that not only the basic function of products but also design which satisfy the five sense is required. Modern consumers use products in various way. However, the pro-environmental and human-centered tendency is tried only in very limited area and general study on this matter is extremely rare. This study analyzes the factors which intercepts the adoption of well-being trend to lighting products and seeks for an alternative to solve the problem. Interaction design with well-being trend was adopted to lighting design and the result presented that there is a possibility to differentiate existing lighting design by adding interaction design to the existing lighting design. Therefore, the need for further study on this matter is presented.

• Korean journal of food and cookery science
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• v.30 no.4
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• pp.486-497
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• 2014

"Banchandeungsok" is recipe book written by a woman from a noble family who lived in Cheongju during the late 1900s. The book has 9 among 46 Kimchi recipes. In this study, the literatures from 1700 to 1900s, "Jeungbosanlimkyeongje", "Gyuhapchongseo", "Siuijeonseo", "Buinpilji", "Bogamrok", and "Josenmussangsinsikyorijebeob" were reviewed to examine the significance of "Banchandeungsok" Kimchi in the aspect of food culture. The results are as follows. "Banchandeungsok" Kimchies were considered as typical type of Kimchi of the late Joseon, and the main ingredients include Chinese cabbage, white radish, and cucumber. Salted-fish juice was not used for making Mukimchi, Bachujjanji, Jjanji in "Banchandeungsok", and gallic, ginger, green onion were used as main spice. Therefore, "Banchandeungsok" Kimchies belongs to Damjeo (light salting) type, which is characterized by light and clear flavor of present Cheongju Kimchi. While salted-fish juice was not used for "Banchandeungsok" Kimchies, yellow corbina was used in the most of "Banchandeungsok" Kimchies. Various forms of pepper were used in "Banchandeungsok" Kimchies - green pepper, peper leaf, minced, sliced shredded and powdered red pepper. Two kinds of Kkakdugi were introduced in "Banchandeungsok", which is the first record in the literatures. A typical type of stuffed cucumber pickles and unique type of cucumber Kimchi appeared in "Banchandeungsok".

• Sijohaknonchong
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• v.30
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• pp.263-300
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• 2009

Adoration for nature constitutes one of the primary subjects that literature has tackled since the origin of human history. Nature expressed through a poet's subjective imagination is the internalized and reorganized nature. This study examines the view on nature enacted in Ch'o-Jung's three-verse poems (sijo) in light of the traditional views on nature implicated in the ancient three-verse poems (koshijo), which is in line with the long-established Oriental view on nature. To dignitaris(sadaebu) in the Chosun Dynasty, nature appeared as the idealistic subject for moral culture ($shims{\breve{o}}ngsuyang$), which also becomes the literary space where the purity and justice of the world view of Neo-Confucianism(Sungrihak) is contained in the form of the three-verse poem, the lyrical poetic space where the "I" is united with nature by way of "enjoying of wind and moon"($umpungnongw{\breve{o}}i$) and "living in quiet retiremen"($yuyuchaj{\breve{o}}k$), and the object for the poetical perception of the surrounding world. Ch'o-Jung' s three-verse odes are found in Reed pipe ($Ch'oj{\breve{o}}k$), Sixty Five Pieces of Three-Verse Odes (Samhaengshi-$yukshipopy{\breve{o}}n$), Autumn Fragrance ($Hyangginam{\check{u}}n-ga{\check{u}}l$), and The Words of Zelko va Tree ($N{\check{u}}tinamu{\check{u}}i-mal$). This study analyzes 212 pieces of Ch'o-Jung' s three-verse poems chosen from theses books. In Ch'o-Jung's poems, the traditional view on nature expressed in the ancient three-verse poems is rendered in such a way that metaphysical understanding of nature is indirectly transmitted through the objective correlatives found nature. Nature is no longer the object of straightforward utterance, but transformed, displaced, and removed: that way, nature gets objectified to form a complicated and multi-layered structure. In conclusion, the view on nature manifested in Ch'o-Jung's three-verse poems is based on traditional metaphysics. Second, nature is the object of lyrical nostalgia and adoration. Third, nature is imbued with the fundamental affection for parents. Fourth, nature is associated with organic life. Fifth, the nature in Ch'o-Jung's poems reveals the beauty of stillness endorsed in Lao-tse's and Chung-tze's philosophy. And last, nature is the agent for self-realization and meditation.