• Journal of the Korean Geographical Society
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• v.51 no.4
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• pp.559-576
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• 2016

The concept of 'cultural diversity' has emerged as a key concept and the buzzword of the 21st century's international community in education, science and culture sectors since UNESCO's "World Declaration on Cultural Diversity"(2001). However, the appropriate and correct implementation in educational level and in a subject scale can not be pursued without special understanding of multilateral implications of UNESCO's 'cultural diversity' because the concept of cultural diversity has been distributed to various applications according to individual scholars and institutions before the "World Declaration on Cultural Diversity" was released. The ultimate orientation of 'cultural diversity', the concept presented in "World Declaration on Cultural Diversity" is 'world peace' and 'the coexistence of various cultures of mankind'. In this regard, 'cultural diversity' has special 'educational' meaning to the next generation as well as the current one. Also, it is meaningful to take educational practices on cultural diversity in case of the "World Geography" subject in view of that international society of geographical education came up with "International Declaration of Geographical Education for Cultural Diversity" in the IGU(International Geographical Union) 2000. From this point of view, the author proposes that the 'cultural diversity' concept implies four folds of meanings as an ideology, as a symbol, as a vision, and as a epistemological turn based on the analysis of literatures on 'cultural diversity' of UNESCO, then presents an educational practice centering around the examples and its usage of teaching materials of cultural diversity.

• The Journal of Art Theory & Practice
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• no.16
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• pp.225-256
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• 2013

As the great catastrophe in the modern and contemporary history of China, the Cultural Revolution(CR) is an object, which must have sutured the past of darkness. At the same time it is a continuous event and also a scar of memory. In other words, for history is "a dialog between the past and the reality"(E.H.Kar), CR intervenes in the reality and, on the contrary, the reality recomposes CR. From this point of view, CR is a historical event, which so far is not ended, and it is an object of memory, which is still being composed at the moment. As the saying: "Poetry is greater than history"(Aristoteles), artistic works more intensively reflect the past. The works related to CR can not be an exception. And CR is endlessly exposed in the contemporary Chinese fine arts and the works of the contemporary Chinese artists-Wang Guangyi, Yue Minjun, Zhang Xiaogang and others are proved to be those who suffer from the trauma of CR and who feel no liberty from CR. For example, CR probably is a symbol showing the "identity" of the Chinese artists. And the diversity of the symbol is the experience and pattern of the dialog between artistic works and CR (i.e., intervention in reality). For example, with withering of grand-narrative and appearance of micro-narrative, the CR critical works of Guan Zhoudao were the root of the Chinese fine arts in the late 70s and early 80s. In the contemporary cultural situation, the literary works about CR actively analyzed the history (CR) from the personal point of views and explained in the way of monolog and micro-method led the 1990s' works. In this way they tried to recompose the history "randomly", like looking at reality with their own eyes. In this process, CR is continuously exposing new features and the real facts are appearing before us as unfamiliar phenomena. This is a way of combination and "reappearance" of contemporary arts and reality. In conclusion, the purpose of this article is to make it possible to see a section of the contemporary Chinese fine arts through the study of the icon image of CR and to analyze the way of fine arts recomposing the history and the intervening in the reality. In this sense, the author has entitled the article "Icon and Form". It means how to reshape (the present) the typically formed icon of the CR (the past).

• English & American cultural studies
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• v.14 no.2
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• pp.251-285
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• 2014

Monsters cannot speak. They have been objectified and represented through a particular concept 'monstrosity' that renders the presence of monsters effectively simplified and nullified. In contemporary monster narratives, however, the site of monsters reveals that they could be the complex construction of society, culture, language and ideology. As going into the structure that concept is based on, therefore, meanings of monsters would be seen to be highly unstable. When symbolic language strives to match monsters with a unified concept, their meanings become only further deferred rather than valorized. This shows the language of monsters should disclose the self-contradiction inherent in 'monstrosity,' which has made others—namely beings we define as 'different' from ourselves in culture or physical appearance—embodied as abject and horrifying monsters. Unable to be understood, accepted, or called humans. I analyse Frankenstein and Dracula that firmly converge monstrous bodies into a symbolic meaning, demonstrating how this fusion causes problems in the multicultural society. I especially emphasize the undeniable affirmation of expurgated others we need to have empathetic relations with, because their difference, unfamiliarity, and slight divergences are likely to be defined as abnormalities. In the multicultural society, thus, we must learn to embrace diversity, while also having to recognize there are many others that have been thought of as monsters; ironically enabling us to think about an undeniable imperative of being responsive to other people. In this respect, the monstrous inhuman goes to the heart of the ethical undercurrent of multiculturalism, its resolute attempt to recognize and respect someone else's difference from me. A focus on empathetic relations with others, thus, can strengthen the process of creating social mechanisms that do justice to the competing claims of different cultural groups and individuals.

• Journal of Fashion Business
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• v.24 no.2
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• pp.85-99
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• 2020

The purpose of this study is to investigate the fashioning phenomenon of Muslim women's clothes and its significance for Islamic culture around Malaysia and Indonesia. The study examined the phenomenon of hijab, a cultural symbol of Muslim women, emerging as a 'fashion' rather than folk or religious costume, as well as its significance. As for methodology, the investigator reviewed research reports, previous papers, and literature studies home and abroad since 2010 and conducted an interview with seven female college students from Indonesia and Malaysia and one fashion editor from Malaysia staying in South Korea. The findings suggested that the high level of women's education and entry into society along with the Pop Islamic created an opportunity for hijab among Muslim ladies. The balance between religion and fashion leads to happiness among young Muslim women. Second, the modest fashion and global fashion retrends present a fashion culture and identify the diversity of aesthetic values around the globe. Finally, SNS and hijabista activities have promoted individual means of direction based on hijab to represent the identity of Muslims on SNS, they play an important role in the acceptance of global fashion and the fashioning and globalization of Southeast Asian Muslim clothes. The findings understanding of the consumers and markets of Muslim fashion related to global industries and contribute to the multicultural and diverse aspects of research and development in the field of apparel study.

• Journal of the Korean Geographical Society
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• v.31 no.4
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• pp.685-698
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• 1996

Southern Louisiana has one of the largest Vitnamese refrgee neighborhoods after the mid-1970s. It is impressive that one of their adaptive strategies comes from their religious lives which are centered on either Catholicism or Buddhism. The Buddhism community, especially, exhibits an exotic symbolic system of value and attitude, and thus contributes to cultural diversity in the adopted country. The landscape of the Buddhist temple is a visible symbol to them that the host socirty accepts their maintenance of their own cultural identity and that they are also an integral part of American society. Their making-place and being-in-place procedures, although their culture is being transformed in the original shape, put an emphasis on interaction with the host xociety. These procedures have been facilitated by consolidating their identity as a minority group as well as by interacting with the host society. The on-going influx of foreign immigrant groups seems not to drive them to assimilate into the melting-pot society, but to contribute to contribute to the increase in the cultural diversity of the United States.

• Journal of International Area Studies (JIAS)
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• v.14 no.4
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• pp.53-78
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• 2011

The day of the Dead, so called as 'El día de los muertos' in Mexico is the traditional festival of the mexicans. There is no doubt that the origin of the festival traces back to the times of the people of Azteca before the Invasion of the spanish soldiers into the land of the soldiers of Teotihuacán. The festival rituals of the Azteca are the same as the catholic rituals in converging the actual characteristics and the cultural structure of the Festival. Therefore the hybridity of the Festival has been considered as high value worthy to be conserved and named as a world cultural heritage by the UNESCO. This investigation has been realized through the survey of questionnaire to get some practical informations and data on how the mexicans think of the Festival and enjoy it according to the diversity of the believes, sexes, locations, ages, etc. We could reveal that the absolute majority of the mexicans consider the Festival as very positive. Even though the sexes, educations, ages can't be elements to make the differences in conforming the common think of the day of the Dead, believes and locations where the people do live are the most sensitive elements that influence upon the ways of thinking. The protestants think negatively while the catholics do reflect the average opinion of the mexicans who consider the Festival as a good and positive tradition. The people of the city participate less than the people of the provinces. Conclusively the day of the Dead can be considered as a national symbol of the people of Mexico.

• Journal of Communication Design
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• v.66
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• pp.90-101
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• 2019

South Korea had a hard time creating its own image of a nation that formed its identity due to 6.25, Japanese-style rule, division of South and North Korea, and military dictatorship. Recently, Korea has been searching and spreading its identity by creating a Korean wave such as various events and K-POPs. However, since there are still no images and cultural products representing Korea's identity, it is necessary to develop design contents related to native culture and professional cultural product design. Design powers such as France and Japan focus on design projects that can add value to their national design policy projects. Traditional Korean contents also need to be specialized and continuous in image design and research. In this study, five lucky-SubokGangnYeon(long life, happiness and peace), a representative of Korean culture, studied with the most interest in the old and the modern, namely, "Living healthy long." Through the development of cultural product design and the use of design content, I would look forward to presenting the diversity and direction in producing Korea's own design products and images that fit the trend of modern 'age of 100.' Based on images based on special exhibitions related to longevity of the National Folk Museum of Korea, the museum discovers key used features and meanings, studies patterns and patterns, and analyzes design cases applied to modern cultural product design. We also want to look at the direction available through design content, which is a symbol of llong life happiness and peace. First, cultural products have limitations that lack the development of design products, lack of public relations and sales outlets, and lack of awareness of traditional culture, which should precede policy support and awareness reform at the national level. Second, we need to streamline prices that meet the needs of the market. Third, cultural product design and contents related to tradition can be settled and disseminated more easily when traditional design is utilized and distributed mainly on practical stationery and household goods. Fourth, it is necessary to develop contents of various Korean images based on research on Korean cultural history and aesthetic consciousness. Research on the Korean culture of designers should be conducted, not just in the form of figurative images. Fifth, traditional manufacturing methods and materials should be respected by modern times, but modern production products should be developed with economy and durability.

• Journal of the Korean Society of Fashion and Beauty
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• v.6 no.1
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• pp.28-38
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• 2008

Balhae was an ancient Korean kingdom that existed almost 1,300 years ago. It was a dynamic time in the Korean history when the national strength was building up in terms of politics, economy and culture, thereby called as "Haedongseongguk, the powerhouse in the East". Balhae had dominated parts of Manchuria and the northern part of the Korean peninsula between the late 7th century and the 10th century, occupying the center stage of the northern Korean history. It serves as a window to the East Asia in the present as well as in the past. Yet, due to its geography spanning from the North Korea to Kilin Province of China to part of Heilongjiang Province and to the Littoral Province of Siberia, Balhae has been the center of historical disputes among neighboring countries that insist it is part of each of their own history. China argues that it was a prefecture of the Tang Dynasty, established by the Mohe, not a successor to Goguryeo, which is a China-oriented viewpoint of history. In addition, Russia recognizes Balhae as their first-ever medieval feudal state since the Littoral Province is now under their sovereignty. Therefore, the restoration of Balhae history is in line with the veritable establishment of the ancient Korean history. For this, it is necessary to embrace inter-disciplinary achievements and to continue efforts to adopt them rather than to blame the shortage of historical documents and the difficulty of the excavation of relics. If fashion is "a visual symbol" of our society, beauty culture serve as a mirror to reflect our civilization and culture directly or indirectly. Still, it is not easy to draw similarities by analyzing and comparing the attributes of various cultures and civilizations party because the essence of culture lies in diversity. Nevertheless, it is believed that cultural liaison as well as geographical liaison can be a medium to compensate for the limits of the foreign exchange history of Southeast Asia in proving the relationship between Goguryeo and Balhae, by examining and speculating beauty culture that reflect their period. It was confirmed by various documents regarding Goguryeo out of relics, historical sites and documents. Mural paintings showed how the people of Balhae wore and accessorized themselves. They also allowed us to speculate their way of living. As the contemporary historians can assert that Balhae is part of the Korean history thanks to the realism scholars in the late Joseon Dynasty, who rediscovered the Balhae history and conducted practical researches, it is expected that researchers who study beauty culture contribute to completing the restoration of the Balhae history by thoroughly examining our history, costume and beauty culture.

• Korean Journal of Environment and Ecology
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• v.27 no.4
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• pp.487-497
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• 2013

This study was conducted to suggest vegetation management plan for Gugok landscape maintenance and improvement by deducing the vegetation landscape factors inherent in Yongha Gugok and understanding vegetation structure through the investigate of existing vegetation and plant community structure of Yongha valley in Woraksan National Park. There were broad and flat rocks, natural layered stones, clear water, light stones, stream, valleys, waterfalls, Pinus densiflora and Acer pseudosieboldianum as a result of deducing natural factors on poetry. There were P. densiflora and A. pseudosieboldianum appeared as one of main vegetation landscape elements. The actual vegetation analysis results were as followed. The natural vegetation occupied 67.5% and it was classified as P. densiflora community, Quercus variabilis community, Q. variabilis-P. densiflora community, Q. variabilis-Q. serrata community, Q. serrata community, Q. mongolica community, Q. mongolica-P. densiflora community, Deciduous broad-leaved tree community. The artificial vegetation(18.7%) was classified as Q. serrata community-Larix kaempferi community, Q. mongolica- Castanea crenata community, L. kaempferi community, L. kaempferi-C. crenata community, fruticeta, L. kaempferi-Q. mongolica community. The grassland area(2.0%) was classified as Miscanthus sinensis community, Phragmites communis community, and other areas were classified as landscape tree planting area, farm, orchard, residential area. The representative vegetation were P. densiflora community, Q. variabilis-Q. serrata community, L. kaempferi community, Deciduous broad-leaved tree community in Yongha Gugok. The species diversity index of Shannon was 0.6274~0.9908 on the whole. Yongha Gugok, as a symbol of succession on confucianism and reverence for nature, should be preserved natural valley landscape being clean and wijungchuksa at the end of Joseon Dynasty and Japanese Colonial era. In this historical and cultural Gugok, vegetation landscape management plan is needed to landscape maintenance with P. densiflora community, density control with L. kaempferi community. And it is considered when natural disasters and artificial damages happened, P. densiflora-oriented vegetation restoration plan should be applied in order to restore.