• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.2
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• pp.103-114
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• 2015

UNESCO and IUCN established the term of 'Sacred Natural Sites' (areas of land or water having special spiritual significance to peoples and communities) for conservation of biological and cultural diversity. Dangsan forest, a traditional village forests of rural Korea is a representative 'Sacred Natural Site' with a history of more than several hundred years of Dangsan ritual. The Chungmak village, Gyeokpo-ri, Buan-gun is a small seashore village. It is an important place that has the largest ancient maritime ritual sites in Korea. Buan-gun have been tried to register the 'Chungmak-dong Ritual Site' for the World Heritage List. However, the fact that this 'Chungmak-dong Ritual Site'(5~6 century, Baekje of the Three-kingdom period) was located in the Dangsan forest, surrounding the shrine, is not much understood. In this study, the landscape characteristics and culture of the sacred Dangsan forest at Gyeokpo-ri, including Gyeokpo-ri, Dae-ri, Naesosa temple Seokpo-ri, Buan-gun and Dongho-ri, Gochang-gun were investigated. And, the potential of registering for World Heritage, 'Protected Area of Sacred Natural Sites' by linking the four site's Dangsan forests has been investigated. The sacred Dangsan forests in the neighborhood of Gyeokpo-ri have kept their landscape characteristics and retained Dangsan ritual. As a result of SWOT analysis for sacred natural sites, WT(weakness-threat) strategy has chosen as priority strategy. The reason is that there is few management scheme. The Dangsan forests at the neighborhood of Gyeokpo-ri need to be recognized by people in Korea, for their valuable landscape characteristics. The places should be managed and protected to remain as a sacred natural sites in order to be prepared for a World Heritage.

• The Research Journal of the Costume Culture
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• v.3 no.2
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• pp.241-260
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• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.

• Journal of the Korean Society of Costume
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• v.39
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• pp.217-237
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• 1998

The present research is to study the make-up culture of Korea and its neighboring countries such as China and Japan during the period from the prehistoric age to the 19th cen-tury. The research was made by documents analysis. The results are summerised as follows : (1) A man has a basic instinct to beautify himself. There was not a significant difference between the make-up behavior of men and women in its primal stage. It was by the start of farming and the division of labor that made the make-up behavior as a feminine culture. The difference of sexual role caused the con-ceptual difference between manly beauty and womanly beauty. It was very natural for women to regard the make-up as the best way for showing their feminine beauty. In Korea, China and Japan, there were vari-ous kinds of primal actions such as tattooing, body-painting, and tooth make-up which were used in the purpose of body protection, incantation, ornament, and so on. Ass their ornamental purpose was becoming more important, these primal actions became the basis of the feminine make-up culture. Nowadays make-up, having mental and emo-tional function, is helpful to increasing self-satisfaction, promoting good personal relation-ship, and attracting attention from the other sex. It also has other functions of showing social status, wealth, age, sex, courage, power, and so on. (2) The representative make-up product used widely in the three countries was Boon (powder) which decides the overall color of face. The key point in the production of Boon was to increase its power of adsorption. The invention of Yunboon (power mixed with lead) solved this major problem of Boon. Yeonji which decides the color of cheek was the mixture of Boon and the powder of Honghwa (a kind of red-colored flower or tree). Mimook (eyebrow pencil) was developed to match up with the various and changing currencies of penciling eyebrows in each nation and times, Yeonji and Joosa (red sand) were used as Jinji (lip stick). The predominant color of Jinji was red. As miscellaneous methods of partial make-up, there were Kon-ji used in a wedding cer-emony in korea, Aek-hwang, Hwa-jeon, Sa-hong, and Myun-yup in China, and Chi-heuk, a peculial method of partial make-up in japan. (3) There were various factors which decided the characteristics of make-up culture usually reflects international atmosphere, the form of government, economic situation, re-ligious and social ideology, aesthetic sense, symbolizing meanings of colors, and so on. The up and down of an influentian country was one of the major factors which decided the characteristics of the make-up culture of its neighboring countries. When a country took a liberal form of government, it had diverse and splendid tendencies in its make-up culture. The better a nation's economic situation is, the more abandant and various its make-up culture is, and sometimes, the more eccentric and decadents it was. In the field of make-up production, the three countries had their own characteristics. But, as a whole, China was the leading nation who spread the culture and products of make-up to Korea and Japan. Though the Chinese make-up culture and products were usually spread to Japan through Korean, there was some evidence of direct exchanges between China and Japan through its dispatches of Kyun-Tang-Sa(Japanese delegation to the Tang Dynasty). While religion had a positive influence on the development of make-up culture by introducing new methods of make-up, Confucianism exercised strict control over the make-up cul-ture. The currencies in arts and changes of esthetic sense introduced new methods and booms to the make-up culture. Literature made people pay increasing attentions to the countenances of women and changed the standards of esthetic sense. We can find out that the social status of woman was also reflected in the make-up culture. As the social status of women became higher, the feminine make-up culture also developed more then ever. As mentioned above, the make-up cultures of the three countries reflected their social values, esthetic senses, and emotional feelings. Through their cultural exchanges, the three countries could develop various make-up products and methods.

• Journal of the Economic Geographical Society of Korea
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• v.14 no.3
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• pp.419-436
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• 2011

Korean farm villages are locked in vicious circle, as lots of their problems related to low income and hollow matters are geared and multiply. To get over those problems, various plans to develop Korean farm villages are being pushed ahead. In addition, since the early of 1990s, Korea has been projects to develop settlement zones and culture villages. It has been also preceeding with a comprehensive development project of farm villages and a new vitalizations project, etc. All of these projects aim to reorganize and expand life environments, industrial bases, and convenience and welfare facilities. The existing studies on a comprehensive project to develop farm villages have been focusing on evaluation indexes, problems, investment priorities, etc. But in fact, studies on a comprehensive development project of farm villages are not thoroughgoing enough in aspects of residents' attitude and their recognition on the influence on tourist development. Thus, this study aims to present strategic schemes to allow residents to actively participate in a stage of promoting a comprehensive development project of farm villages, a stage of making the plan, and a stage of the implementation. For this, this study analyzes a comprehensive development project of farm villages and attempts to figure out which influence the tourist development in farm villages has on residents' attitude and recognition resulting from changes in economic, social cultural, and environmental aspects. Especially, this study previously examines what influential factors there exists are and what influences the development of farm villages has on residents. Based on the results from the above analysis, schemes to enable residents to actively a comprehensive development project of farm villages are presented as follows. First, it is necessary to raise our recognition on tourism and tourism development of farm villages. If the main theme of a comprehensive development project of farm villages intends farm village development, it is required to educate residents and let them clearly raise their recognition on tourism, and the effect of the project is guaranteed. Second, it is highly required to make a plan so that we can feel economic effects of revenues through project promotion and positive effects including the expansion of infrastructures and welfare facilities, etc. Third, it is necessary to bring into relief the positive recognition and attitude of a comprehensive development project of farm villages. As for the negative recognition and attitude, it is very important to change negative residents' recognition to the positive direction and to allow them to participate in and to take an interest in the project, so that the project can be effectively promoted.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.8 no.2
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• pp.75-82
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• 2013

This study was carried out to contribute to the self-help and sustainability of grassroots business in Gangwon-do. To achieve this, after setting up the concept of community business, understanding the current designating status of community business and analyzing the business content and the business promotion system, I tried to analyze the continuing factors of businesses and shops, which are more than hundred years old, in Japan and seek a solution to the sustainability of community business in the province. The community business in the province, which is designated and operated, is like this; 86 preliminary social businesses, 62 town businesses, 38 social businesses. The total comes to 186. The preliminary social businesses and the social businesses are assigned more in urban area and the manufacturing sector and educational field have a lot of business contents. When it comes to the business promotion system, there are many incorporated companies and limited companies. While the town businesses are assigned more in county area, the agricultural food field and cultural world have a lot of business contents. When it comes to the main participant of business, the agricultural corporations took the first place overwhelmingly. Especially, I found out that the main participants of community business consist of 38 voluntary associations, which is 20.4 %, and we need to make up for the specialty deficiency in business management. In order to keep the continuity of community business in the province, we could achieve the results of manpower development through the case analysis research, securing good materials which can give the consumers confidence, increasing the quality of the products, maintaining high technical skills, keeping up the tradition of business and demanding forecasting. I think a successive research efforts will be required for securing good materials and increasing the quality of the products in tandem with the local community. And also we need to establish a supporting & operating system through the liaison between the business & academic world, business & administration, and business & business for securing a management specialty as an industrialist.

• Journal of Mushroom
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• v.10 no.3
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• pp.109-114
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• 2012

To develop new variety of oyster mushroom, 63 intra-specific hybrids between the strain Suhan and #Nongi201 were developed using hyphal anastomosis technique in 2004. The Po2008-275 hybrid between the dikaryon strain 04-154(Suhan x #Nongi201) and the monokaryon strain derived from ASI2487 were developed using hyphal anastomosis in 2008. The Po2008-275 was shown the best cultural characteristics, selected to be a new variety and named as 'Guseol'. The new commercial strain, 'Guseol' had dark grey pilei and grows well under spring and autumn conditions in Korea. The fruiting bodies of 'Guseol' were of an excellent quality in that not only the stipe was thick and long but also the pileus was small and hard. The optimum temperatures for mycelial growth and fruiting body development were $25{\sim}30^{\circ}C$ and $10{\sim}16^{\circ}C$, respectively. Time period required for the initiation of the first fruiting body was about 3 to 5 days depending on the temperatures. The shape of fruiting body was thin funnel shape. Fruiting body production per box($43{\times}43{\times}12cm$) was about $1545{\pm}400.9g$ which was almost 137% quantity compared to that of parental strain 04-154. Relatively low temperature incubation ($11^{\circ}C$) resulted in the development of better quality of 'Guseol' mushrooms. When two different media including potato dextrose medium and mushroom complete medium were compared, the mycelial growth of this mushroom were much faster in mushroom complete medium. Similar results were observed with other variety '#Chunchu2'. Analysis of the genetic characteristics of the new commercial strain 'Guseol' showed a major DNA profile as that of the parental 04-154 when primer URP 1, primer URP 2 and primer URP 5 were used, but different to '#Chunchu2' that was used as a control. This new variety of the dark grey oyster mushroom had smart and high quality image that corresponds well to "health food". We therefore expect that this new strain will satisfy the consumers demand for variety and excellent mushrooms.

• Journal of Science of Art and Design
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• v.10
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• pp.161-181
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• 2006

The words which appeared in my theoretical study and work are image transformation to digital painting, simulation, heterologie and transfiguration, etc. Firstly, let's look into 'digital era' or 'new media era'. Nowadays, the image world including painting within the rapid social and cultural change, which is called as digital era, is having the dramatic change. Together with the development of scientific technology, large number of events which was deemed to be impossible is happening as real in image world Moreover, these changes in image world is greatly influencing to our life. The word which compresses this change of image world and shows is 'digital'. Digit, which means fingers in Latin, indicates separately changing signal, and to be more narrow, it indicates the continual signal of '0' and ' 1' in computer. The opposite word is 'analogue'. As analogue is the word meaning 'infer' or 'similarity', it indicates the signal or form which continuously changes along the series of time when it is compared to digital. Instead of analogue, digital is embossed as a major ruler along the whole area of our current culture. In whole culture and art area, and in whole generalscience, digital is appearing as it has the modernism and importance. The prefix, 'digital', e.g. digital media, digital culture, digital design, digital philosophy, etc, is treated as the synonym of modernism and something new. This advent of digital results the innovative change to the image world, creates the new beauty experience which we could not experience before, and forecasts the formation of advanced art and expansion of creative area. Various intellectual activities using computer is developing the whole world with making the infrastructure. Computer in painting work immediately accomplishes the idea of painters, takes part in simulation work, contingency such as abrupt reversal, extraction, twisting, shaking, obscureness, overlapping, etc, and timing to stimulate the creativity of painters, and provides digital formative language which enables new visual experience to the audience. When the change of digital era, the image appeared in my work is shown in 'transfiguration' like drawing. The word, 'transfiguration' does not indicate the completed and fixed real substance but indicate endlessly moving and floating shape. Thus, this concept is opposite to the substantial consideration, so that various concepts which is able to replace this in accordance with the similar cases are also exist such as change, deterioration, mutation, deformity of appearance and morphing which is frequently used in computer as a technical word. These concepts are not clearly classified, and variably and complicatedly related. Transfiguration basically means the denial of "objectivity' and '(continual) stagnation' or deviation from those. This phenomenon is appeared through the all art schools of art ever since the realism is denied in the 19th century. It is called as 'deformation' in case of expressionism, futurism, cubism, etc, in the beginning of the century, which its former indication is mostly preserved within the process of structural deviation and which has the realistic limit which should be preserved. On the contrary, dramatic transfiguration which has been showing in the modern era through surrealism is different in the point that dramatic transfiguration tends to show the deterioration and deviation rather than the preservation of indicated object. From this point, transfiguration coming out from morphing using computer deteriorates and hides the reality and furthermore, it replaces the 'reality'. Moreover, transfiguration is closely approached to the world of fake or 'imaginary' simulation world of Baudrillard. According to Baudrillard, the image hides and deteriorates the reality, and furthermore, expresses 'not existing' to 'imaginary' under the name of transfiguration. Certain reality, that is, image which is absent from the reality is created and overflowed, so that it finally replaces the reality. This is simulation as it is said by Baudrillard. In turn, Georges Bataille discusses about the image which is produced by digital technology in terms of heterologie. Image of heterologie is the visual signal which is established with the media. Image of media is to have the continuous characteristics of produce, extinction, and transformation, and its clear boundary between images becomes meaningless. The meaning of composition, excess, violation, etc of digital image is explained to heterological study or heteologie suggested as important meaning of Georges Bataille who is a heretic philosopher. As the form and image of mutation shows the shape in accordance with mechanical production, heterologie is introduced as very low materialism (or bas materialisme), in this theory. Heterologie as low materialism which is gradually changing is developing as a different concept and analysis because of the change of time in the late 20s century beside high or low meaning. Including my image, all images non-standardizes and transforms the code. However, reappearance and non-standardization of this code does not seem to be simple. The problem of transformation caused by transfiguration which appears in my digital drawing painting, simulation, heterologie, etc, are the continual problems. Moreover, the subject such as existence of human being, distance from the real life, politics and social problems are being extended to actual research and various expressing work. Especially, individual image world is established by digital painting transfiguration technique, and its change and review start to have the durability. The consciousness of observers who look at the image is changing the subject. Together with theoretical research, researchers are to establish the first step to approach to various image change of digital era painting through transfiguration technique using our realistic and historical image.

• Korean Journal of Psychosomatic Medicine
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• v.26 no.1
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• pp.35-43
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• 2018

Objectives : Effects of multiple trauma are complex and extend beyond core PTSD symptoms. However, few psychological instruments for trauma assessment address this issue of symptom complexity. The Trauma Symptom Checklist-40 (TSC-40) is a self-report scale that assesses wide range of symptoms associated with childhood or adult traumatic experience. The purpose of the present study was to evaluate the validity of the Korean Version of the TSC-40 in a sample of psychiatric outpatients. Methods : Data of 367 treatment-seeking patients with DSM-IV diagnoses were obtained from an outpatient department of psychiatric unit at a university hospital. The diagnoses were anxiety disorder, posttraumatic stress disorder, depressive disorder, adjustment disorder and others. Included in the psychometric data were the TSC-40, the Life events checklist, the Impact of Event Scale-Revised, the Zung's Self-report Depression Scale, and the Zung's Self-report Anxiety Scale. Cronbach's ${\alpha}$ for internal consistency were calculated. Convergent and concurrent validity was approached with correlation between the TSC-40 and other scales (PTSD, anxiety and depression). Results : Exploratory factor analysis of the Korean Version of TSC-40 extracted seven-factor structure accounted for 59.55% of total variance that was contextually similar to a six-factor structure and five-factor structure of the original English version. The Korean Version of TSC-40 demonstrated a high level of internal consistency. (Cronbach's ${\alpha}=0.94$) and good concurrent and convergent validity with another PTSD scale and anxiety and depression scales. Conclusions : Excellent construct validity of The Korean Version of TSC-40 was proved in this study. And subtle difference in the factor structure may reflect the cultural issues and the sample characteristics such as heterogeneous clinical population (including non-trauma related disorders) and outpatient status. Overall, this study demonstrated that the Korean version of TSC-40 is psychometrically sound and can be used for Korean clinical population.

• Archives of design research
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• v.19 no.5 s.67
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• pp.203-212
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• 2006

With interests and participation in the costumeplay that mimics characters appeared on carton or animation in recent days, the costumeplay becomes one of cultural phenomena. Using a qualitative research method, this study identified costumeplayers' costume consumption pattern and explored its meanings from the perspective of consumption culture. Indeed, this study intended to help for understanding costumeplayer group as a consumer, and to provide basic knowledge about new market analysis related to fashion design and marketing. The results from the analyzing participant observation and in-depth interviews data are as follows: first, costumeplayers usually begin costumeplay by friends' invitations or by themselves and then continue on participating. Through the costumeplay, participants have benefits such as fun, departure from the daily life, and social interaction. Second, participants acquire costumes through purchase, rent, producing or combination of daily wear, but both purchase and rent account high. Third, the meanings of consumption culture in costumeplay include consumption behavior repeating possession and disposal. Also, costumeplayers concerns efficiency when purchasing or renting the costumes, and internet is a place where information search, comparison, and actual purchasing are occurred. Based on the results, fashion design and marketing implication, limitation of this study and further research ideas were suggested.

• Cartoon and Animation Studies
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• s.51
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• pp.129-158
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• 2018

China has had many excellent Chinese-style animation since the 1950s. These animations are of distinctive Chinese national characteristics. They have won many awards both at home and abroad, such as "Feelings of Mountains and Waters", "Uproar In Heaven", "Why is the Crow Black-Coated" and so on. But nowadays, Chinese animations that mimics Japanese and American animation are very often, and there are few animation works with rich traditional Chinese culture. There are some works in the name of Chinese style, but they have not been fully accepted by the audiences. If one wants to create animated works of Chinese style, the author must have an in-depth understanding of Chinese traditional and folk art. Animation can not be designed only on the surface. This paper mainly studies the traditional five color concept in China and its application in animation. The purpose is to provide some references to differentiate Chinese animation from other countries in terms of style and color. The main content of this paper is to understand the concept and history of Chinese traditional five color views, and to know that this color system has reflected the ancestors' concept of nature and society. On the basis of five monochromatic colors, red, yellow, green, white and black, it is a kind of complex color concept that has been developed and perfected continuously after a long period of accumulation and precipitation in the practice of life. It is the theoretical basis of Chinese traditional color system and a complete set of historical, cultural, philosophical and religious theories. Finally, this paper analyzes the colors and their symbolic meanings of the main roles in "Uproar In Heaven", a color long animation produced by Shanghai Animation Film Studio, including Sun Wukong, the Jade Emperor and Na Zha. Color is the first visual language. The use of color symbols to express the inner feelings, status, good and evil of the characters will affect the audience's emotions, behaviors and opinions imperceptibly. The traditional Chinese five color concept has gone through such a long history, and its symbolic meaning has a more profound impact on Chinese people. Applying the color concept and symbolic meaning of Chinese traditional five color concept will further highlight the personalities and emotions of the roles in Chinese style animations. This paper takes the five-color view as the theoretical basis, and through the analysis of cartoons with traditional Chinese color, the author finds ways to flexibly use traditional Chinese culture.