• (The) Research of the performance art and culture
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• no.39
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• pp.835-861
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• 2019

Ulsan was selected as an industrial and industrial city, a leading city of Korean economic development in the 1960s, and it was rapidly changed social environment with the influx of many labor population. This change has had a great impact on the traditional customs of the region, and the traditional intangible culture has disappeared or disappeared, which requires urgent protection of intangible cultures compared to other regions. This study suggests the current situation to restore the agricultural music made up of the three-time customs recorded in the 1930s in Ulsan Dali area. The research method is literature research and field research. First, the literature analyzes the farming music in connection with the farming work performed in the Ulsan Dali area in 1936, and secondly, The field survey was based on the current situation of restoring farm music at the Nam-gu Cultural Center in Ulsan. The results of the research were observed in the Ulsan area, which has disappeared rapidly. In addition, it revealed the status of being handed down from 'Kim Dal-oh', a traditional farmer who worked at Ulsan Cultural Center, to 'Kim Se-ju', who is trying to restore the farm music.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.4
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• pp.112-128
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• 2015

To consider an identity about traditional folk village, this study analyzes color characteristic of traditional folk village by targeting Cuandixia folk village in China. For method of study, color is analyzed by KSCA(Korea Standard Color Analysis) program and images of color are drawn by I.R.I. Based on these, four results are came out. First, color distribution of Cuandixia is appeared in YR, R, Y, GY order. Furthermore, there are no affiliation of BG, and B but a lot of affiliation of YR. Second, the whole is made up of color that is applied to mist gray/low chroma in the value and chroma stakes. Especially, high chroma is extracted by only commercial old house, the rest is made up of middle and low chroma color. Third, dark color is the most by KS Color System and dark reddish gray and medium gray are occupied most part. Fourth, the whole atmosphere of village is static and hard, and the image is researched as gentle. Through the research, It applies extracted color palette for plan and preservation of traditional folk village. As using the color that is reflected in national and local distinct characteristic, preserving the color reflected in history and culture of the village, and applying color planning considered harmony with surrounding environment, it is expected that it can help to direct the color involved traditional and cultural meaning.

• 한국IT서비스학회:학술대회논문집
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• 2007.11a
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• pp.679-684
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• 2007

This paper proposes a scheme to estimate the technical efficiency of trucks in logistics as performance measure by Data Envelopment Analysis (DEA). The result of technical efficiency estimation shows that there exists a substantial opportunity for improvement in technical efficiency of trucks and also the heterogeneity in the technical efficiency among trucks.

• (The) Research of the performance art and culture
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• no.39
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• pp.393-413
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• 2019

As one of a shaman song to reveal features of the byeolsin rite, East Sea coast, Gyeongbuk, Korea is matgut have been discussed for a long time. The rite is held to greet other shamans who were invited by a village resident and the highest shaman to perform the rite. When there is no highest shaman in the village, or when the highest shaman lacks the ability to perform the exorcism, other shamans are invited if a person is required to meet the scale of the rite, which is a rite of passage to verify their abilities and to become a community, even while the byeolsingut is held. The best shaman team, or village Pungmul team, and shaman team, When the strings are between them, they play music and struggle with each other, and the strings are lifted, they greet the god of the game at the altar, and the shaman turns around and plays with the field. However, the process of greeting the shaman at the exorcism rite after 2000 and the procedure of "Paggi-bogi" in which shamans take turns singing songs are disappearing. In addition, although the village Pungmul team has participated in the rite as a welcoming party for the shaman team, the purpose of the rite, which is to greet the shaman, is also being tarnished by leaving the role of the village Pungmul team to the outside team. This is due to changes in the villagers' perception of gut and shaman. As in the old days, it was necessary to greet a shaman as a rite of worship, although it was not necessary to confirm its ability to perform the rite of the village, due to the disparity of status. However, after the shaman has been transformed from a 'mysterious' existence into an intangible cultural asset functional owner, the perception of shaman changes and the village confirms the shaman's ability through an intangible cultural asset certificate. In addition, the number of villagers who know the details of the rite is decreasing, and most of the tasks such as preparation and proceedings of the rite are delegated to the shaman to hold the byeolsingut, and the nature of the exorcism of the exorcism is changing.

• Lingua Humanitatis
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• v.1 no.1
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• pp.141-157
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• 2001

In his discussion of some desirable tuning points in comparative literary studies, Henry H. H. Remark has emphasized the importance of literary approach to other forms of art. Understanding the significance of such a method of comparative literature, the present study focusses on three contemporary Korean poets who have transferred Mark Chagall′s paintings into their poetry: Youngtae Kim, Chunsoo Kim, and Sunghun Lee. They are usually evaluated as surrealist/modernist in our literary circles. In transforming Chagall′s paintings into his poems, Youngtae Kim has incorporated a variety of surrealist mosaic techniques such as montage and collage. The resultant peculiarity of his poetry makes it hard to lay bare the correspondence or similarities between his poetic world and the world of Chagall′s artistry. It is nonetheless possible to see how Kim, as a poet and painter, had interpreted Chagall′s world with a bird′s-eye view of it. Chunsoo Kim′s "Snow Falling on the Village of Chagall" relates specially to one of Chagall′s paintings, "I and My Village." The present study has taken notice of this correlation in sorting out some basic elements of poetic transfiguration. One of the techniques employed in the poem under discussion is that of juxtaposing the Russian village of Chagall and the Korean village the poet visualizes, with the effect of putting two national traditions in contrast. A reading of the poem reveals that it is not so much the result of a detailed analysis of the painting as a revival of its lingering impression as a whole. In Sunghun Lee′s poetry, surrealist techniques are again a hallmark. But his method of transferring the images of the paintings into his poems falls somewhere between those of Youngtae Kim′s and Chunsoo Kim′s: it is akin to the ′bird′s-eye method′ of the former and shares the impressionistic touch with the latter, but at the same time Lee is analytical by disposition and opts for concrete descriptions. ′Love,′ ′farm,′ and ′time′ are the keywords that are brought under discussion in the present study. There is a growing demand in the current international comparative literary studies for broadening the area of comparative literature. This study hopes to be a small contribution to endorsing the importance of comparative approach to fine arts.

• The Journal of the Convergence on Culture Technology
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• v.6 no.1
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• pp.155-162
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• 2020

We extracted the meaning of educational experience of the parents who moved to rural village for their children's education. While moving to the cities for the childen's education is general trend, moving to the rural village for the children's education is peculiar phenomenon. For the study, in-depth interviews were conducted with six parents who moved to rural village, and the statements were analyzed by the phenomenological analysis method of Colaizzi. As a result, thirty themes, eight theme clusters, and three meaning categories were extracted. Three categories which characterize the experience of parents who moved to rural village for their children are 'longing for nature-friendly life in rural area', 'positive experience of communication and empathy with neighbors', and 'children's happiness-centered education'. Eight theme clusters are 'dislike confined environment of an apartment', 'positive experience of childhood in the countryside', 'value direct and indirect experiences of variety', 'free and stimulating environment of countryside', 'experience of communicating and empathizing with neighbors','regret private education caused by parents' greed', 'value child centered education', 'yearn for the self-directed learning around character and art-physical abilities'. Based on the result, implications were discussed and follow-up studies were suggested.

• Journal of Practical Agriculture & Fisheries Research
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• v.11 no.1
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• pp.3-19
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• 2009

The purpose of this study was to systemize the 'Eagi(理氣)' theory in Feng Shui which has been neglected in Korea because of its difficulties in the current Feng Shui theory and to make it easier to apply in the art of placement. The study also analysed the characteristics of the location of a sample village in terms of Feng Shui. Besides the placement analysis, the interpretation of the Yangtaek(陽宅) theory was analysed on the layout of the outdoor space of the building. As the initial step, various theories about Feng Shui were investigated. Based on those, the framework of the Feng Shui theory was summarized for application to the case study. Yangtaeksamyo(陽宅三要) was referred to for consideration of Feng Shui theory outside the residential buildings. At the same time, configurational analysis of the ground was carried out with the naked eye and actual measurements were taken using a specific compass(佩鐵). The results were summarized as follows : First, the 'Eagi' theory in Feng Shui, which finds a 'lucky site(穴)' selects the 'geomagnetic aspect(坐向)' by analyzing the natural forces of wind and water. In this theory, the aspect was regarded of most importance. 'Yangtaek Feng Shui (陽宅風水)' was the theory that people's ups and downs depends on the direction of the place where they live on, and was developed on the basis of 'I ching(周易)'. Second, the village and the house in the case study have been considered as lucky places from old times and this was equally verified by the 'Eagi (理氣)' theory and the "Yangtaek (陽宅)' theory.

• Korea Science and Art Forum
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• v.23
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• pp.95-109
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• 2016

The background and objective of this study are as follows. Gwangheemun, one of the 4 small gates of Seoul Castle is a space to represent ordinary people and it is a valuable cultural heritage that shows the process of technical transition of fortification technology during Chosun Dynasty. It is a place that we can expect to play a role as a field where history and culture mix and communicate together. But currently, the environment and facilities around Gwangheemun have fallen behind and become old, so they need to be reorganized as their local feature is not shown distinctly. We need to vitalize the new traditional space that shows local feature. This study has drawn out the method, contents and the result of study like as follows. This study aims to establish an identity based on the historical and cultural backgrounds and suggest the contents to vitalize the space of Gwangheemun as a traditional cultural heritage. By this, this study aims to create a historical and cultural space where people can enjoy, eat and look around. Therefore, based on the historical and cultural feature, it gives an identity as moonlight street, and it has developed and suggested 5 contents to vitalize space: Gwangheemun maintenance, plan, castle restoration plan, village inside the castle, village outside the castle and fashion art street. Contents to vitalize space has a meaning as a specific developmen method of urban restoration, and we can expect to be used as a direction to develop the area to enhance the cultural quality of life of both inhabitants and visitors by forming the brand identity of surrounding area with traditional cultural heritage.

• 지역과문화
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• v.6 no.3
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• pp.55-77
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• 2019

This study analyzed social effects of participating in living culture activities for Daejeon citizens. The social effects were set to creativity and self-esteem at the individual factor and community involvement and exchange at the social factor, this effects were tested by the method of participation in living culture activities. We used SPSS 22 to analyze this effects, factor analysis, analysis of variance, and logistic regression analysis were used. The results showed that participation in lecture programs increased the effects of community involvement and exchange at the social factor. Participation in the club activities showed a decrease in creativity, and further analysis of the club activities was necessary. Participation in cultural art events increases self-esteem. Participation in performances and exhibitions of cultural art events increased creativity. Through these analysis results, first, development of living cultural programs to improve the characteristics of local residents and community of village culture. Second, revitalization through support of various community club activity programs. Third, support for the formation of village cultural community through exchange and cooperation between local Culture and Art Activists and local residents. Fourth, development and expansion of living-oriented and generation-integrated living cultural programs for young and old generations.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.5
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• pp.676-690
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• 2013

This study explored the historical meaning and the present practices of Indonesian batik. Relevant literature was reviewed first; subsequently, interviews and observations were conducted to achieve the purpose of the study. Historically, batik was an integral part of the Javanese court art as well as a representation of each regional culture. Batik also became an important means to reveal a national identity in postcolonial Indonesia in the 1950s. There exist two types of traditional and modern type batik in present Indonesia. The traditional batik refers to batik tulis, batik cap, and the combination of tulis and cap. The modern batik is comprised of a batik print as well as the combination of the print and the traditional batik. The traditional batik was practiced at the small-sized village batik workshops and in the government batik research center. A few batik workshops often co-operate with modern screen print factories; however, the use natural dyes for the dyeing of batik cloth is rarely found. Batik was used for varied objects made from fabric materials that include clothing, small fashion items, living supplies and furniture, as well as fine art such as paintings and wooden crafts.