• English Language & Literature Teaching
• /
• v.13 no.2
• /
• pp.177-200
• /
• 2007

The language socialization approach states that novices are socialized into cultural norms through participating in routine, repeated interactional acts and sequences (e.g., Ochs & Schieffelin, 1984; Ochs, 1988; Schieffelin & Ochs, 1986a; 1986b; Watson-Gegeo & Gegeo, 1986). One of the cultural norms or dominant epistemological orientations in American culture is the tendency to avoid the overt display of power asymmetry in novice-expert relationship (Ochs & Schieffelin, 1984). This study examines how this cultural preference is reflected and encoded in ESL teachers' use of routine discourse patterns in corrective sequences. Eight hours of ESL classes taught by three Caucasian teachers born and educated in the U.S. were analyzed for the study. The analysis showed that the cultural tendency in question is keyed and indexed in the teacher's routine corrective discourse patterns in the form of various questioning, elicitation, and mitigation practices. Findings support that teachers' routine classroom discourse practices represent their cultural ideologies and transfer these cultural predispositions to second language learners and that they possibly socialize the learners into the target language-oriented beliefs.

• Journal of Fashion Business
• /
• v.19 no.2
• /
• pp.53-68
• /
• 2015

The Beijing Opera is one of the leading representatives of Chinese culture, which includes literature, music, dance, martial arts, and a type of performance that stems from the Chinese cultural history that is still relevant today. The purpose of this study is to develop fashion-cultural products from the Lian Pu of the Beijing Opera, a Chinese cultural tradition that receives abundant positive feedback from around the world, showing its value in both academic and practical fields. This study was carried out first as a theoretical study of the literature, definition and types of facial make up used in the Opera, as a way of examining the formative aspect. Secondly, an analysis was conducted on the main characters, 'Guan Yu' and 'Zhang Fei' of "The Romance of the Three Kingdoms", 'Li Kiu' and 'Lu Zhishen' of "All Men are Brothers" and 'Monkey King' of "Journey to West", employing the collection belonging to 'Yongqi Zhao' who is an expert on the Chinese Beijing Opera. Thirdly, two concepts were categorized, based on the analytic results of the abovementioned characters, each of which were then further categorized into three sub concepts. In regard to cultural development designs, the results of an analysis on the facial make-up color, form, and texture of the four main characters were utilized to construct the themes, "Modern Chic" and "Traditional Splendor". The simplest form that has been represented in the four figures has been applied to "Modern Chic" to show a modern image in which black, white and light blue has been used alongside the vivid red, which is a Chinese favorite, to highlight the characters. In "Traditional Splendor", which is focused on the stage art of the Opera, we see more artistic traditions and colors, to further appeal to our emotions. Traditional motifs have been applied using traditional Chinese arts, in order to develop strong and brilliant colors. The two styles of cultural products were developed in the form of women's scarves and men's ties; a total of 24 designs were expressed, using Illustrator CS6. In the final step, 4 scarves and 6 ties were produced as a sample, using high quality silk. The development of these cultural fashion products will bring an opportunity to show how Chinese traditional culture can be widely utilized in commercial market design.

• 보존과학연구
• /
• s.31
• /
• pp.17-30
• /
• 2010

There were excavated many relics about 200 pieces including gilt-bronze cap, gilt-bronze shoes, bronze mirror and armor, etc. in Ahndong tumulus, Gildu-ri, Goheung. The National Research Institute of Cultural Heritage was undertaking excavation of major damaged relics that were corroded by several environment and were destroyed by a lump of earth. Shoes are consolidated with soils in order to stop destroy during excavation. And these are relocated in order to treat for conservation. Before treatment, X-ray radiography and CT(Computed Tomography) are used in order to examine the original surface and the shape of shoes. As a result, we confirm the condition of shoes. If soils are removed, gilt-bronze shoes are crumbling into little pieces because gilt-bronze shoes are damaged by corrosion and deformation. So, shoes are consolidating with inner soils and are removing outer soils. Throughout conservation treatment, shoes recovered original form and inner soils are consolidated in order to keep the shape of shoes.

• The Journal of Asian Finance, Economics and Business
• /
• v.9 no.3
• /
• pp.123-133
• /
• 2022

Cultural tourism is a form of tourism based on national cultural identity with the participation of the community to preserve and promote traditional cultural values. Cultural tourism is a trend of many countries in the world, it is suitable for the context in the Mekong Delta, Vietnam. Cultural tourism is very good for poverty reduction activities, so it is considered a direction of socio-economic development. The study's goal is to look at the factors that influence the development of cultural tourism in Vietnam's Mekong Delta. Survey findings from 1275 survey samples in the Mekong Delta, Vietnam, were used to compile the research data. Cronbach's Alpha reliability coefficient; exploratory factor analysis EFA; CFA confirmatory factor; SEM linear regression analysis are used to analyze and assess scales using SPSS 20, AMOS 24 software. According to the findings of the SEM model study, there are six factors that influence the development of cultural tourism in the Mekong Delta of Vietnam, including policy development tourism, infrastructure for tourism, human resources for tourism, tourism resources, geographic location, tourism products, and services. A discussion on administration is proposed to the development of cultural tourism in the Mekong Delta, Vietnam, based on the research findings.

• Iberoamérica
• /
• v.12 no.1
• /
• pp.407-439
• /
• 2010

Growth of researches addressing cross-culture in international business is exponential. This article reviews the extant researches around the national culture and describes the various conceptualization of culture through discussion of some of popular models of national culture. This article presented some of the most important issues in international business surrounding globalization, especially convergence and divergence of cultures and cultural changes. Global rapid changes in international business environment request the reconsideration of the assumption of cultural stability and the simple view of culture, which tends to examine the static influence of a few cultural factors in isolation form other cultural factors and contextual elements. This paper identifies a valid cultural grouping and proposes the following typology of the possible methodologies in international business; Ethnological description, Use of proxies, Direct values inference, and Indirect values inference. Rather than selecting a single methodology, it appears to be more appropriate to use multi-method in the cross-cultural international business research. It has been shown that cultural change is intertwined with socioeconomic-institutional variables, and that these variables may also add to determine culture contemporarily. This paper also explained the dynamics of culture as multi-level, multi-layer constructs. According to this model, we may understand how the dynamic nature of culture conveys the top-down-bottom-up processes where one cultural level affects changes in other level of culture.

• International Journal of Advanced Culture Technology
• /
• v.11 no.4
• /
• pp.48-55
• /
• 2023

China's intangible cultural heritage at the national level amounts to more than 1,500 species, and it is also the country with the largest number of items on UNESCO's intangible cultural heritage list, so the intangible cultural heritage of the country and mankind is very much treasured and cared for. However, with the development of the times, many intangible cultural heritages are facing a dilemma due to the problem of a single form of communication. However, at the same time, the efficient and convenient way of information visualization provides innovative ideas and new opportunities for the visual communication of Chinese intangible cultural heritage. This paper examines the formal characteristics of infographic visual expression on the theoretical basis of books and related papers and analyzes the application cases and advantages of infographics in the communication of Chinese intangible cultural heritage in the context of the present era. It aims to explore a fast and novel visual presentation method for the communication of Chinese intangible cultural heritage through infographic design methods, to promote the inheritance and development of Chinese intangible cultural heritage in the new era.

• Journal of Fashion Business
• /
• v.28 no.3
• /
• pp.69-89
• /
• 2024

In the era of globalization, cultural appropriation, stemming from the interaction and clash of diverse cultures, remains inadequately defined, leading to controversy in many designs. This study aims to provide a theoretical basis for understanding cultural appropriation by comparing similar concepts and examining specific cases. It proposes methods for the rational use of traditional cultures in apparel to minimize controversy. Firstly, the study investigates the concept of cultural appropriation by exploring differences among related terms. Secondly, it examines instances of cultural appropriation in fashion through form, color, pattern, and material, drawing from papers and Google searches over the past decade. Thirdly, it categorizes representative cases by domestic and foreign fashion brands, analyzing the underlying reasons. The goal is to establish a theoretical foundation for developing culturally sensitive clothing products. Based on the findings, several measures are proposed: understanding and respecting cultural backgrounds through in-depth research on the history and significance of elements; collaborating with cultural groups and consulting experts for feedback; explaining the source of design inspiration to help consumers understand the cultural elements' meanings; avoiding the reinforcement of stereotypes and respecting cultural diversity and complexity; respecting intellectual property and ensuring moral and legal appropriateness; and learning from case studies of other designers' and brands' successes and failures.

• Korean Journal of Heritage: History & Science
• /
• v.49 no.1
• /
• pp.146-165
• /
• 2016

With the introduction of the system of recognizing masters of craft and performance skills in 1970, the principle of "preserving the original form," which was already in general use, was adopted as a legal principle in the Cultural Heritage Protection Act. While the concept "original form" can be related to tangible elements of heritage through the Act, the intangibility of craft and performance skills does not allow their pinpointing at a particular temporal period or the identification of a particular master from the past as the basis of an original form. Therefore, those craft or performance skills that are available at the point of recognition of relevant masters must serve as the basis of the original form for the intangible heritage concerned. This means that the principle of preserving the original form of intangible heritage has been implemented not based on a fundamental form of materiality, but rather on the craft or performance skills that may be held by a master at the time of his/her recognition as a "temporary original form." This principle has been observed through intangible heritage transmission and education policies for recognized masters and their trainees, contributing to establish an elitist transmission environment in which public were denied to join the education on intangible heritage. Even with policies guided by the principle of preserving the original form, designated craft and performance skills have been transformed contingent upon given social and environmental conditions, thus hindering the preservation of the original form. Despite the intrinsic limitations of the principle of preserving the original form when applied to intangible heritage, this principle has served as a practical guideline for protecting traditional Korean culture from external influences such as modernization and Westernization, and also as an ultimate goal for the safeguarding of intangible heritage, engendering actual policy effects. The Act on the Safeguarding and Promotion of Intangible Cultural Heritage that comes into effect in March 2016 takes the constantly evolving nature of intangible heritage into consideration and resultantly adopts a concept of "essential form" (jeonhyeong) in place of "original form" (wonhyeong). This new concept allows for any transformations that may take place in the environment surrounding the intangible heritage concerned, and is intended to mitigate the rigidity of the concept of "original form." However, it should be noted that "essential form," which is manifested as the unique significance, knowledge, and skills delivered by the intangible heritage concerned, should be maintained according to the guidelines and principles related to heritage conservation. Therefore, the new concept can be understood not as a rupture, but more as a continuum of the concept of "original form."

• Korean Journal of Heritage: History & Science
• /
• v.42 no.4
• /
• pp.50-73
• /
• 2009

Recently old stone walls were designated as registered cultural properties that meant an extension of categories about cultural properties from a spot area to whole area. Moreover given the changing situation of residential pattern, which is due to rapid social change, this designation can be seen as a significant measure to keep as intact as possible traditional landscapes in agricultural and fishing villages. In this paper, I analyze the symbol system and meaning of old stone walls and attempt to pick out the cultural elements which are related to them. These days we have made efforts to various aspects for which make traditional cultural resources into cultural contents. But many studies had done before emphasized aspects for beauty only. Especially existing studies about an old stone wall was mainly focused on architectural interpretation and tourist route. So we need to build a plot around oral research and need a creative approach for sharing with tourists. Cultural contents combine the original form, potential and capabilities with media by detecting original form of culture and finding out the worth and meaning. In this paper examined the probability of using by investigating a stone wall in Sang-hak Village that is related with recovering of places to live in contemporary society and finding cultural contents. I suggest more creative ways to make cultural properties into tourist resources by considering the possibilities of place marketing using storytelling, based on an analysis of data gathered.

• Korean Journal of Heritage: History & Science
• /
• v.47 no.3
• /
• pp.208-223
• /
• 2014

Since the recent restoration of the Sungnyemun gate (South gate of Seoul) which was burnt down in 2008, there were dispute about the application of traditional technique for the conservation of cultural heritage. In this research, the definition of traditional technique for cultural heritage conservation is thought and mentioned. In general, the understanding of traditional technique is based on the idea of 'tradition'. Tradition is not defined as a 'eternal doctrine existence', but a 'development of succession' and a 'living existence'. Thus 'traditional performance and craft as intangible cultural heritage' is defined as 'intangible' which also makes it difficult to define the 'original form/state' from 'the conservation of the original form' which is a major principle of cultural heritage. In case of Korea, if the 'traditional technique as intangible cultural heritage' is put into application to cultural heritage conservation, the unclear definition will cause many problems in the restoration/conservation site. This is because the site will apply this technique without any discussion of the range and limitation of 'traditional technique'. This means there will be the lack of discussion for the conservation of the cultural heritage which will not have a strict criteria for the allowable range of usage for the 'traditional material' using the vaguely defined 'traditional technique'. In this study, these application issues of the traditional technique were also considerecl, comparing the development of international wnservation principles. As a result, the conservation of 'traditional technique as intangible cultural heritage' is important, but the 'technique left inside the tangible cultural heritage' which is the 'material which is carrying the technique when it was firstly built' has more importance to preserve and need to be in the major considerations.