• Title/Summary/Keyword: Christian cultural area

Search Result 6, Processing Time 0.02 seconds

An analysis of symbols of animal patterns in oriental and occidental clothing - focusing on comparison of Buddhism- Confucianism and Christian cultural area - (동.서양의 복식에 표현된 동물문양의 상징성에 관한 비교 연구 - 유교적 불교문화권과 그리스도교 문화권과의 비교를 중심으로 -)

  • Lee, Yun-Jung
    • Korean Journal of Human Ecology
    • /
    • v.15 no.3
    • /
    • pp.469-480
    • /
    • 2006
  • Patterns in clothing symbolize some specific meaning that differs across cultures and religions, although patterns have been mostly used to realize human desires to overcome natural hazards in every culture or religion. This research aims to compare animal patterns of Korea (Confucian/Buddhism culture) with those of Byzantine (Christian culture), based upon a research method of literature survey. It is found through the research that both cultures used common patterns, such as dragon, butterfly, bat, honeybee, peacock, fish, and chicken. In the case of dragon patterns, Korea used it to symbolize emperor, dignity, or authority, while Byzantine used it for devil. Bat patterns had different symbolic meanings in both cultures: they mean happiness, longevity, prosperity or many off-springs in Korea while they mean misfortune or unhappiness in Byzantine. On the other hand, the rest of animal patterns, including butterfly, honeybee, peacock, chicken, had quite a similar symbolic meaning. Butterfly means change of life or beginning of new life in Korea, whereas it means resurrection in Byzantine. Honeybee symbolizes diligence, order, and cooperation. Many animal patterns were used in both cultures at the same time. Another difference can be found in terms of the kind of animals; for example, Korea used wild goose, pheasant, giraffe, deer, mandarin duck & turtle, while Byzantine used eagle, snake, pigeon. Of course, each and every animal has its own meaning, mostly positive. Except dragons and bats, both cultures have a similar meaning in most of animal patterns. Generally speaking, Korea used imaginary animals to pray for human happiness, but Byzantine used real animals to pray for resurrections.

  • PDF

Types of Educational Ministry for The Post Digital Generation (포스트 디지털 세대에 대한 교육목회 유형)

  • Lee, Wonil
    • Journal of Christian Education in Korea
    • /
    • v.70
    • /
    • pp.11-35
    • /
    • 2022
  • The purpose of this article is to suggest nine types of educational ministry based on the practical theology in Christian Education. For the purpose this article emphasizes an individual dimension including church, society dimensions. An individual dimension is based on the spirit of post digital era within sociocultural area in different with personal-existential area of the philosophical and theological perspective and life cycle theology area of the developmental psychological perspective. Post digital era means the humanization of digital, digital friendly, and emotional digital cultural characteristics. Post digital generation means child, youth, young adults those who are accustomed with post digital cultural of the post digital era. The educational ministry for the post digital generations categorized into nine types according to correlation with individual, church, and society as a field of ministry and critical scientific method, critical confessional method, and critical correlational method as an interdisciplinary which are composed of Christian tradition and contemporary science. Representative key competencies of nine types in the educational ministry are media literacy, relational identity, communication, high touch, discipleship, making and using media, integrative vocation, collaboration abilities, and home, school, and social resilience in relation with multicultural generations.

An analysis of botanical patterns식 religious symbol in clothing - focusing on comparison of Korea and Byzantine - (동서양 복식에 나타난 식물문양의 종교적 상징성 연구 -한국과 비잔틴의 비교를 중심으로-)

  • 이윤정
    • Journal of the Korea Fashion and Costume Design Association
    • /
    • v.5 no.3
    • /
    • pp.37-48
    • /
    • 2003
  • 'Pattern' is of very unique nature in each and every country around the world, and its aesthetic feeling of 'pattern' has been handed down according to its nationality and cultural development process. That is, 'pattern' is ornament to symbolize each country's aesthetic standard or choice through some shape, reflecting social consciousness or religion philosophy. Mostly based upon literature survey and case study, this survey paper analytically compares oriental botanical pattern with occidental botanical figure, which has been influenced by Buddhism-Confucianism and Christian religion respectively. The results show that some patterns are commonly used in both area, while meaning differently in some cases: lotus (life), pomegranate (wealth and prosperity in orient, resurrection in occident), grape (fecundity in orient, wealth in occident), dangcho (fecundity in orient, victory in occident). And the other patterns look uniquely used either just in orient or only in occident. For instance, oriental area had its own patterns such as peony (meaning wealth and honour), peach (longevity), ume flower (happiness), orchid (fecundity); while occidental area used lily (purity), olive (peace), palm (victory), and so on. Interestingly, the botanical patterns were used as main patterns in orient whereas as minor in occident.

  • PDF

An Analysis of the Family/Kinship Rites in Urban Area (도시지역의 가조/친족의례 실태 분석)

  • 박혜인;조은숙
    • Journal of Families and Better Life
    • /
    • v.19 no.4
    • /
    • pp.167-184
    • /
    • 2001
  • The purpose of this study is to investigate actual conditions of family/kin ritual transition and to find out relationships to socio-economic variables. For this purpose, 716 subjects of urban family were interviewed with questionnaires. The results of this study may be summarized as follows: 1. It was discovered the pervasive themes of family/kin ritual transition: westernization, commercialization, socialization, and cultural anomie. 2. In contemporary family/kin rites, traditional structure coexists with external westernized aspects under the influnce of industrialization and commercialization. The rites were continued to provide a place where participants reproduce the ideology of patriarchal family group, especially the strong parent-child ties and narrow kin relationships. 3. Respondents who support traditional ritual style are old, lower class, and Buddhist. 4. Respondents who support westernization and socialization of family/kin rites are young, higher class, and Christian. But family/kin rites are not affected by sex relatively.

  • PDF

The evaluation of effectiveness in the family volunteer management system (가족자원봉사 관리체계의 효과성 연구)

  • Kang, Ki-Jung;Chung, Chun-Seok
    • Journal of Family Resource Management and Policy Review
    • /
    • v.10 no.4
    • /
    • pp.145-161
    • /
    • 2006
  • This research paper represents family volunteer management system for the purpose of activating family volunteer activities. This family volunteer management system is based on the family volunteer activity cases by healthy family support center in Cheon-An City. The following data is the evaluation of effectiveness in the family volunteer management system. 9 families (32 people) among family volunteers who are participated in activities worked for twelve to eighteen hours per a month; one to six times per a month; at the more than two different social welfare facilities. They volunteered in the areas of cultural experience programs for the immigrant's families, baby cares, help for the handicaps and hospice. Family volunteers showed high satisfaction levels; average 4.37 out of 5; in the Family volunteer's management system. They checked in the area of volunteer's training, activity period, activity places, teamwork, healthy family support center, and supervisor of volunteer center.

  • PDF

Performance Activities and Social Role of the Theater in Ulsan during the Japanese Colonial Period (일제강점기 울산지역 극장의 공연활동과 사회적 역할)

  • Kim, Joung-Ho
    • (The) Research of the performance art and culture
    • /
    • no.42
    • /
    • pp.107-146
    • /
    • 2021
  • This article examined the current status of performance activities in the theaters in Ulsan during the Japanese colonial period, and examined the characteristics and social roles of performance culture at that time.,The cultural space during the Japanese colonial period can be divided into theater space and semi-theater space.,The theater spaces in Ulsan include Daejeonggwan, Sangbanggwan, and Ulsan Theater. The semi-theater spaces include Ulsan Youth Center, Ulsan Youth Alliance Hall, Barrack Youth Hall, Eonyang Youth Alliance Hall, Eonyang Christian Hall, Eonyang Christian Hall, Eonyang Inn, Eonyang Public Inn, Eonyang Public Normal School, Seosaeng School, Ulsan Public Aid Auditorium, Night school.,These spaces not only held events or performances for a specific purpose, but also played a role as public spaces producing local discourse. The theater was a complex cultural space where performances are performed along with movie performances, and artists and audiences meet.,Furthermore, the theater provided a special experience of producing and consuming various issues such as colonial modernization, modern city formation, and the emergence of new popular culture beyond the meaning of stage space.,The theaters in Ulsan also functioned as a space to represent the foreign culture acceptance, leisure activities, the performance and viewing of cultural contents, and the artistic skills of local artists in accordance with the purpose of establishing local theaters.,It was a base space for local discourse production and enjoyment activities by holding political rallies, meetings, lecture activities, and various conferences.,Political rallies were also concerts, enlightenment activities were also accompanied by film screenings, and music performances were associated with dance performances and charity gatherings.,In particular, Ulsan Theater, which is the first theater in Ulsan, and the role of the public hall, held a lecture, debate, and oratory for public enlightenment along with performances such as musical drama, children's song contest, fairy tale contest, small-sized play performance,, It was widely used as a large-scale rallying place, and served as a public hall, such as a place to visit outside theaters. Thus, the theater and semi-theater space in Ulsan during the Japanese colonial period improved the cultural level of the region, fulfilling the aesthetic needs of the local people and faithfully fulfilling the social role as a public sphere leading the public opinion and agenda.,And it was also positioned as an alternative public area of ​​modern society and also played a role as a public institution.