• KSII Transactions on Internet and Information Systems (TIIS)
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• v.18 no.6
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• pp.1675-1691
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• 2024

The metaverse is an emerging interactive domain that enables people to participate in an array of activities utilizing cutting-edge technologies. Generation Z perceives no substantial distinction between their virtual and actual identities, regarding the virtual world as an extension of reality. As an attempt to apply Bourdieu's theory of cultural taste and cultural capital to the area of the metaverse avatar, investigates the impact of users' cultural tastes on the avatars they create and experience in the metaverse. The research employed both focus group interviews and individual in-depth interviews with users of Generation Z. The study demonstrated that Generation Z users exhibit unrestricted engagement in the metaverse, although their behavior is significantly affected by their economic situation. One's cultural tastes, influenced by diverse interactions with their parents, greatly impact how they engage in cultural activities in the metaverse. Three categories were identified from the perception of avatars: Idealized Self-Representation Avatars, Atypical Self-Representation Avatars, and Integrated Self-Representation Avatars. Perceiving avatars as an extension of the self was associated with higher cultural capital. Participants held divergent perspectives on the metaverse, with certain individuals regarding it as a realm of imagination or a limitless arena for activities.

• 기호학연구
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• no.54
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• pp.37-63
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• 2018

In this study, we tried to represent representative animals in traditional dance and study about cultural symbolic representations that symbolize them, thus meaning Korean worship of animal worship and philosophy of life and discuss the identity of Korean traditional art. This is to ask fundamental questions about Korean culture and art, and to express the cultural philosophical reason for the representation of animal imitation. Therefore, Korean animal imitation dance was able to get a glimpse of Koreans' recognition of artistic value which is reflected in dance beyond simple cultural code. In other words, it was found that not only magic and sexual metaphors but also the adaptive attitude through natural friendly life and the ethical practice in reality were inspired by artistic aesthetics.

• Journal of the Korean Geographical Society
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• v.48 no.4
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• pp.557-574
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• 2013

The paper examines the recent criticism from various viewpoints on landscape research in 'New cultural geography' focusing on the representation and duplicity of landscape as one of the key theoretical basis of the landscape school. The paper argues that landscape theories in new cultural geography should be considered as what is constantly changing over time and composed of various theoretical and genealogical elements rather than internally homogeneous, fixed, and closed system of knowledge. Through the recent 'phenomenological turn' of geography, landscape researchers explores a possibility of alternative approach to the existing theories and methods, which is so called NRT(Non-representational theory). The research objectives of the paper is to examine the theoretical and practical implications of such significant criticisms, which put emphasis on the idea of landscape as performance and practice rather than landscape as representation in cultural geography.

• Conservation Science in Museum
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• v.31
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• pp.55-70
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• 2024

Style transfer algorithms are currently undergoing active research and are used, for example, to convert ordinary images into classical painting styles. However, such algorithms have yet to produce appropriate results when applied to Korean cultural heritage images, while the number of cases for such applications also remains insufficient. Accordingly, this study attempts to develop a style transfer algorithm that can be applied to styles found among Korean cultural heritage. The algorithm was produced by improving data comprehension by enabling it to learn meaningful characteristics of the styles through representation learning and to separate the cultural heritage from the background in the target images, allowing it to extract the style-relevant areas with the desired color and texture from the style images. This study confirmed that, by doing so, a new image can be created by effectively transferring the characteristics of the style image while maintaining the form of the target image, which thereby enables the transfer of a variety of cultural heritage styles.

• International journal of advanced smart convergence
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• v.13 no.2
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• pp.172-186
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• 2024

With the globalization of the film industry, ethnic minority films have been developed and studied by many scholars for their special ethnic representation. The film "Tharlo" directed by Pema Tseden carefully explores the identity anxiety of a Tibetan shepherd. Through the connection and separation between the protagonist and traditional culture, it shows a complexity of modern ethnic identity for minority people. This study explores what kind of cinematic techniques and symbolic elements the director uses to shape ordinary characters, build a narrative space, and show ethnic representation. This paper puts forward a theoretical framework combining cinematic quantitative methods with qualitative narrative and semiotic analysis, aiming to deepen our understanding of cinematic techniques and ethnic representation, and provides a new perspective and profound insights for discussing the complexity faced by ethnic minorities in contemporary films. This study finds that Tseden's "Tharlo" successfully portrays the complex transformation of Tibetan cultural identity in the context of globalization and modernization through cinematic techniques such as fixed camera positions, long take and black-and-white cinematography, combined with the use of symbolic elements like mirrors, lambs and identity cards.

• Journal of English Language & Literature
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• v.57 no.2
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• pp.217-235
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• 2011

On recognizing the significance of Walter Benjamin's "The Task of a Translator" in recent discourses of postcolonial cultural translation, this essay examines the creative postcolonialist appropriations of Benjamin's theory of translation and their political implications. In an effort to dismantle the imperialist political hierarchy between the West and the non-West, modernity and its "primitive" others, which has been the operative premise of the traditional translation studies and anthropology, newly emergent discourses of cultural translation actively adopts Benjamin's notion of translation that does not prioritize the original text's claim on authenticity. Benjamin theorizes each text-translation as well as the original-as an incomplete representation of the pure language. Eschewing formalistic views propounded by deconstructionist critics like Paul de Man, who tend to regard Benjamin's notion of the untranslatable purely in terms of the failure inherent in the language system per se, such postcolonialist critics as Tejaswini Niranjana, Rey Chow, and Homi Bhabha, each in his/her unique way, recuperate the significatory potential of historicity embedded in Benjamin's text. Their further appropriation of the concept of the "untranslatable" depends on a radically political turn that, instead of focusing on the failure of translation, salvages historical as well as cultural potentiality that lies between disparate cultural entities, signifying differences, or disjunctures, that do not easily render themselves to existing systems of representation. It may therefore be concluded that postcolonial discourses on cultural translation of Niranhana, Chow, and Bhabha, inspired by Benjamin, each translate the latter's theory into highly politicized understandings of translation, and this leads to an extensive rethinking of the act of translation itself to include all forms of cultural exchange and communicative activities between cultures. The disjunctures between these discourses and Benjamin's text, in that sense, enable them to form a sort of theoretical constellation, which aspires to an impossible yet necessary utopian ideal of critical thinking.

• Cross-Cultural Studies
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• v.20
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• pp.275-294
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• 2010

This article examines Bong Joon-ho's science fiction/horror film, The Host (2006) and interrogates its depiction of a contemporary South Korean family in crisis. The writer considers the film as a resonant cultural artefact and a manifestation of particularly new-millennial anxieties concerned with the continued involvement of the United States in South Korean affairs, fears of an erosion of traditional family values and mistrust of officious, state endorsed bureaucracy. The Host emerges as a profoundly visceral depiction of an ordinary family set against everyone with no one to turn to except each other.

• Journal of Korean Classical Literature and Education
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• no.16
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• pp.207-235
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• 2008

This study investigated the formation of communication education which is based on the contemporary language education. Concretely I watched chronologically the proportion of culture element and behavior element, its change, and the contents of writing education. To achieve this, I took the ancient Greek language education as the main materials. The sophists are right if we think only the empirical world, because of the changeability of external world and the relativity of sense. On the other hand, Platon emphasized the ability of abstract thought which is inherent in the human inside. But today's education only emphasizes the 'expression' which came from the Platonic thought. So students fills their devastated inside with arbitrary idea in this history-forgotten social circumstance. It is very beneficial to make subject have some cultural studies and to enhance the sensation on the world through the writing of representation because these can be good to the growth of subject. It is our-not as educator but as a predecessor of human being-duty to set the catalogue of cultural studies of this age and to make students feel the fundamental harmony and the beauty of the world.

• English & American cultural studies
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• v.10 no.2
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• pp.99-125
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• 2010

This paper explores the political significance of a literary work, the hidden side beneath the ideology of founding America in Lydia Maria Child's Hobomok which reconstructs the history of the colonial period. The ideological strategy of founding America on racial discrimination is given a repeated representation in 19th-century American novels. Most works shed a negative light on Native Americans, whereas Hobomok stands out by presenting a positive picture of a miscegenation between a Native American man and a white woman, the acculturation of a half Indian into the white society. Furthermore, Child undoes distorted stereotypes about native Americans, exposing the Puritans' intolerant and exclusive attitudes and criticizing men who forced women to be obedient for the cause of nation and religion. However, Child also shows that she could not be free from the ideology of founding America which insisted on the superiority of the white's racial identity and excluded the Native Americans as beings who were destined to vanish gradually but eventually. Although Hobomok revises stereotypical representation of Native Americans as the other, it also serves for a political purpose, showing a politically inseparable relationship between literary works and the ideology of founding America.

• English & American cultural studies
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• v.14 no.1
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• pp.269-286
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• 2014

The Pre-Raphaelite oeuvre abounds in the image of women, which indicates the impact of gender question on contemporary visual culture. The representation of women in their art tends to evince the entrenched myth of womanhood, marked by a stereotyped dichotomy in the apprehension of femininity. Yet there are a significant number of pictures which attest to the point that their iconography of womanhood cannot be fully elucidated by exploring the dichotomy alone. They falsify the dyadic model, defying the attempt to accommodate them in a clean-cut category. The curious blend of the mystical, the sensual, and the domestic that characterizes these images suggests that they are open to multiple interpretations. In sum, the Pre-Raphaelite representation of women both endorses and challenges the ideal of femininity, indicating that it was shaped by and shaped contemporary perceptions of women at a time when gender relations were shifting and the traditional institution of patriarchy revealed a sign of strain.