• Cross-Cultural Studies
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• v.24
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• pp.46-61
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• 2011

This paper considers how Koreans found their positions in the complex, overlapping, disjunctive, and interconnected "Oriental" repertoires in the early Cold War years. When we use the term, Oriental, it should require careful translation from context to context because it may be subject to very different sets of contextual circumstances. Klein views Cold War Orientalism in the complex of various regions including East Asian and Southeast Asian countries; however, when Koreans are contextualized at the center of the discussion the Orientalism produces another discursive meaning. Even though many great researches have been done on Korean immigrations, Korean American literatures, and US-Korea economic, political, and foreign relations, not many discussions about Korean American popular cultures have been discussed in the basis of the Oriental discourse in the United States.For this argument, this paper investigates the performative trajectory of a girl group "Kim Sisters" who began to sing at the US military show stages in South Korea in 1952 during the Korean War. They moved to Las Vegas show stages in 1959 and later appeared in Ed Sullivan Show more than thirty times during the 1960s and 70s. Meanwhile, they not only returned to South Korea often times to perform at the stages for Korean audiences in South Korea but also played at the shows for Korean immigrants in the United States. Korean American immigration to the United States has followed a different route from the majority of Asian American population such as Chinese or Japanese Americans, which means that efforts to compare this particular group to the others may be unnecessary. Rather doing comparative studies, this paper, therefore, focuses on the formation of the intersecting and multiple identities of Korean female entertainers who were forced or forced themselves to be incorporated into the American popular "Oriental" imagination, which I would call "embedded" identities. This embeddedness has been continuously maintained in the configuration of Korean characters in the United States. This will help not only to observe the discursive aspect of Asian American identity politics but also to claim a space for comparatively invisible Korean characters in the United States which has been often times neglected and not brought into a major Asian American or Oriental historical discourse. This paper starts with American scenes at the beginning of the twentieth century to trace Americans Oriental imagination which was observable in the various American cultural landscape and popular music soundscape. It will help us more clearly understand the production and consumption of the Korean "Oriental" performances during the early Cold War period and especially the Korean performance in the American venue, silently overshadowed into the political, social, and cultural framework.

• Cross-Cultural Studies
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• v.41
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• pp.85-112
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• 2015

This article studies The Complete Story of JinTai(金臺全傳), a Korean and Chinese xylographic book, and wishes to makes a case for the value of this work. The Complete Story of JinTai, is an anonymous Xia-Yi (俠義) novel from the late Qing Dynasty. The oldest edition is at Nanjing Rare Book Library. This work was published in 1881 when Emperor Guangxu (光緖) ruled China. Currently, a copy of this book is at the Kookmin University Rare Book Library, however, it is somewhat different in form from that in the Nanjing Library. But it is almost the same story. The Complete Story of JinTai narratives the life story of the hero, Jintai (金臺). Jintai's appearance, alliance, ordeal, contribution, and return proceed sequentially, thus, the story gradually explicates Jintai's heroic aspects. Jintai is a young hero. Exceptionally, he married an official dancing girl. He values honor, hangs out with friends, slays a wicked villain, to the defense of the country, and eventually becomes a king. The hero of more than 500 is categorized as conductor, strategist, activist, intuitive type. They are from Geumsan Mountain, took a pledge of brotherhood, and try to resolve a national crisis. The remarkable Jintai fights wicked enemies and does battle with the villains in many conflicts.

• Korean Journal of Breeding Science
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• v.43 no.6
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• pp.559-563
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• 2011

Cymbidium 'Purple Star' (Miake 'Pieta' ${\times}$ 'Allstar Mariane') was developed from a cross between hybrids at the National Institute of Horticultural & Herbal Science (NIHHS), Rural Development Administration (RDA) in 2008. A cross was made between purple colored flower C. Miake 'Pieta' as maternal line and dark pink colored flower, C. 'Allstar Mariane' as paternal line in 1995. The seed germination, cultivation, selection, and characteristic trials were conducted from 1996 to 2002. The line was named as Wongyo 'F1-21' and phenotype was characterized in 2007 as a new cultivar. The 'Purple Star' has dark purple basal color (RHS, GP186A) on both of sepal and petal with red lip (RHS, RP59A). 'Purple Star' has about 10.7 flowers per flower stalk and flower size of 7.6 cm. General appearance of petals and sepals is slightly incurved shape. The plant size is intermediate having erect peduncle. Blooming is started from the late of January (mid-winter) under optimal culture condition. Leaf attitude and twisting is erect and weak respectively. This hybrid has attractive floral arrangement, long flower stalk (78.4 cm) and vigorous growth. 'Purple Star' has a great potential for exporting to Chinese market.

• Cross-Cultural Studies
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• v.53
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• pp.1-24
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• 2018

This following research is a study on the use of French and de-locality in the modern Korean poet Lee Sang's poetry (1910-1937). His hometown was Kyung Sung, Seoul. He mainly wrote his works in Korean, Chinese character, and Japanese, using the language of education and his native language at that time. So then, what was the spirit that he wanted to embody through use of French words? By using words like "ESQUISSE", "AMOUREUSE", Sang's French was not a one-time use of foreign words intended to amuse, but to him the words were as meticulously woven as his intentions. French words were harmonized with other non-poetic symbols such as "${\Box}$, ${\triangle}$, ${\nabla}$", and described as a type of typographical hieroglyphics. Instead of his mother-tongue language, French was applied as a surrealistic vocabulary that implemented the moral of infinite freedom and imagination, and expressed something new or extrasensory. Subsequently, the de-localized French (words) in his poetry can be seen as poetic words to implement a "new spirit", proposed by western avant-garde artists. Analysis of French in his poetry, showed a sense of yearning for the scientific civilization, calling for his sense of defeat and escape from the colonized inferior native land. Most of all, comparing his pursuit of western civilization and avant-garde art to French used in his poetry, is regarded as world-oriented poetry intended to implement the new tendency of the "the locomotive of modernity," transcending the territory of the native country.

• Cross-Cultural Studies
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• v.46
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• pp.355-377
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• 2017

Compared with other Altaic languages, Japanese and Korean languages are much closer to each other in grammar, and also to Ryukyuan language. According to the literature, Korean people are the first foreigners to record Ryukyuan language in a written form. In the passage "pronunciation interpreting the Ryukyuan Kingdom" from A Journey to the Eastern Countries (1512), Korean people perfectly preserved the pronunciation and meanings of words and sentences in Ryukyuan language in both Korean and Chinese languages, which is an extremely valuable material. Unfortunately, the later time period witnessed stagnation after a prominent beginning. In order to clarify the language family to which Korean belongs to, it is necessary to thoroughly compare Korean language with Japanese and Ryukyuan languages. Different from lexis, grammar underwent a slow and gradual process of variation. A comparative study of the three languages can provide strong evidence for defining the language family of Korean. Based on this rationale, this paper starts from the comparison of grammar elements of these three languages, aiming at case markers including the nominative case markers and the accusative case markers, and observes the procedures and functions diachronically. Based on the examples from the medieval data, it is found that the nominative case markers and the accusative case markers of these three languages vary from each other in forms and origins. Although they show some similarities in functions, it can be conjectured that there is no cognate for the three languages in the history.

• The Journal of the Korea Contents Association
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• v.18 no.12
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• pp.92-101
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• 2018

It is important to inherit and develop the unique cultural characteristics of each country and region in the trend of globalization. The traditional lighting fixtures in China are the main artifacts that can be used to extract the cultural aesthetics and practicality of the people, and are a major relic of the people's cultural sensitivities and practicalities. The purpose of this study is to understand the background of the time and the meaning of national culture through the lighting equipment of the most revived Tang Dynasty in Chinese history. The purpose of this paper is to examine the development trend of lighting equipment in the Tang Dynasty through the recognition of the social background, religious thought, cultural characteristics, and characteristics of lighting fixtures in the Tang Dynasty. In this paper, we analyzed seven factors (function, molding, fuel, usage space, usage method, religious thought, and living environment) of the Tang dynasty lighting fixtures through multiple factor analysis method. In addition, the Tang Dynasty period lighting fixtures had four trends: "popularization of lighting, universal simplification of molding, diversification of use, and spread of Buddhist influence." This tendency has a meaning to provide a new motive for modern lighting design in the context of cultural uniqueness and perspectives.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.170-191
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• 2018

Until now, the Korean archeological community has only been able to introduce the findings of classical archaeology developed in the West, and it also suffers from a lack of concepts and academic achievements. The domestic archeological community also started to develop later than that of the West, when it began to analyze ancient history and relics through the classic works of history titled Samguk sagi (三國史記) and Samguk yusa (三國遺事). Furthermore, it is actively utilizing the Chinese classics, such as the Samgukji (三國志) and Huhanseo (後漢書), as well as certain Japanese classics such as Ilbonsegi (日本書紀). Due to the total lack of domestic classics, however, there are few details about the formation of ancient polities, national changes, and inter-country negotiations and exchanges, as well as numerous other unresolved issues. This study raises the need to revamp classical archaeology in order to solve these problems. The concept of classical means 'all records made in the past' in the shallow sense, while the meaning of the historiography means "historical records according to the taxonomy of the old book." Classical archaeology is a field in which the classics are analyzed and interpreted so as to study the culture of the past. This section has set up a wide range of classical categories, and has found that the classics can be used in a meaningful way in classical archaeology through the use of the Gongjagae (孔子家語). The use of the classics in classical archaeology could produce significant results if the relevant DB is managed by various institutions and organizations using proper techniques of analysis including big data analysis.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.4
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• pp.18-27
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• 2018

This study is a basic one analyzing the scenic characteristics that are created in Royal Garden in China while taking into consideration that Royal Garden in China is a fruit compiling all of the Chinese classical gardens. In case of Summer Palace in China, it adopted various kinds of landscape displaying techniques for fulfilling the desires of an Emperor who wanted to appreciate beautiful landscapes all the time. Accordingly, the scenic characteristics can be summarized as follows. First, Summer Garden creates various kinds of garden landscapes through various kinds of landscape creation techniques, such as, Borrowed Landscape, Central One, Background One, Symmetrical One, Axial One, Dividing One, Framed One, Window One and Complementing One, etc. Second, it was created in order for visitors to focus on appreciation of landscapes by allocating hard points while considering the symmetric structure, Structure of Long Corridor and Visual Physiology of a building on the basis of the South-North Pivotal Line. Third, it utilized the scenic spot transferring technique that introduces the landscapes of scenic spots in various regions of China to Summer Palace to be matched to the unique geological characteristics of Summer Garden. It was found that Summer Palace adopted the common landscaping techniques in Jiangnan Region of Ancient China since the landscape of Jichang Garden in Hangzhou and that of Shan Tang Jie in Suzhou are reproduced and transferred. It was found that 3 methods mentioned above have the effects that attract sightseers' eyes naturally and make their interests concentrated as well as reviving the feeling of space in a garden and creating abundant scenic beauty.

• Cross-Cultural Studies
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• v.49
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• pp.229-248
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• 2017

This paper is a study on French of Lee Sang's poems called metaphysical scandals in Korean poetry. Is poetic language he used a common poetic word or a non-poetic word in French? What kind of harmony do words and sentences composed of French have with Korean, Chinese character, and non-poetic word? Based on these questions, we analyzed a command of French, that is symbolic, geometrical, and pictorial French as well as repetitive and parallel constitution used in form of words and sentences. In Lee Sang's poems, as a result, the use of French is seen as a mixture of non-poetic word. It shows characteristics that reject traditional native language and the creation of poetry. In his poems, French is also an important factor of avant-garde poetic material and experimental creation technique. In his poems, French is used as a special tool to express internal conflicts of the poet. Lee Sang showed experimental style that could not be found in modern Korean literature by using signifier and signifed that french language has.

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.90-105
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• 2021

The shape of the roof is very important, as it determines the beauty of the exterior of Korean wooden architecture. In particular, the curve of the eaves is the most representative of the characteristics of Korean wooden architecture. Rafters and buyeon (浮椽), flying rafters, create curves for the eaves, and buyeon in particular makes the roof lighter and more dynamic. Although the function and role of buyeon are already known, nothing is yet clear about the beginning of its use in Korean ancient architecture. Accordingly, the purpose of this study is to determine when buyeon was first used in Korean architecture. To this end, I examined various records, buildings, remains, and artifacts that have architectural shapes in Korea, China, and Japan. The results are summarized as follows. First, the use of buyeon in China appears during the Northern Qi Dynasty (北齊) in the mid-6th century, but became common in the 7th century during the Tang (唐) Dynasty. Second, the use buyeon in Japan appears in the mid-8th century, when the capital was relocated from Asuka (飛鳥) to Nara (奈良). It corresponds with the time that Japan began importing Chinese culture directly. Third, the use of buyeon in Korea may have been introduced to Baekje from China in the mid-6th century, but it was not common. It is believed that it became common after active exchanges with the Tang Dynasty during the Unified Silla Period in the mid-7th century.