• Korea Science and Art Forum
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• v.37 no.1
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• pp.87-97
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• 2019

The study began in recent years with the aim of grasping the nation's medical status following the fast-growing trend of international medical tourism and attracting foreign patients, among other things, Busan, which ranks second in attracting foreign patients after the nation's capital, Seoul, has been highly active in the past eight years, with foreign patients rising by about 426 percent, and Russian patients entering the sea. In addition, Gimhae and Changwon, the Busan-based Gyeongsangnam-do region, ranked first and second in number of foreign residents, and are inhabited by a variety of foreign workers. Medical institutions, such as hospitals, should be able to find directions within hospitals. It is also a space where information in various languages, including Korean, English, Chinese, or Russian, must be delivered in a single medium. Based on this research, the purpose of this research is to provide converged information that helps foreigners who are not familiar with Korean language easily understand the proposed recognition system when visiting hospitals. Therefore, this paper is applied to a multi-language survey of six medical institutions (A, B, C, D, E, F) at the university hospital in Busan, and 10 medical institutions (R, J) in Gimhae, South Gyeongsang Province with high foreign residents. Research results and contents are as follows. First, the results of analyzing the design of the sinusoidal system show that the font uses colorless Gothic fonts, arrows, and pictograms to introduce the design of a typical hospital sign system. Second, the results of the multi-lingual situation were found to have only two languages in the system, such as Korean and English, and to have four languages, including Korean, English, Chinese, and Russian, according to their geographical location. However, it was judged that most medical institutions currently have only two languages (Korean, English) that may cause some discomfort in terms of language for foreign patients in non-English speaking countries. Based on these findings, it is necessary to propose designs that are considered by Koreans as well as foreign users in the use of multilingual hospital sign systems.

• Journal of Korea Foundry Society
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• v.41 no.2
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• pp.144-152
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• 2021

Based on the analysis of the current state of the world's foundry industry, we looked at the international competitiveness of Korea's foundry industry for the past 20 years. Korea's total foundry production is 2.52 million tons, and the production per company (so-called productivity) is 2,831 tons, which is the eighth largest in the world and down one position for the case of total foundry production, while productivity remains its position compared to three years ago. Korea is the only one of the top 10 foundry to see a decline in production. Similar to the global situation, Korean products consist of 38% of grey csat iron, 31% of ductile cast iron, 15% of aluminum, and 9% of cast steel. In order to obtain statistics on Korea's foundry industry, the survey conducted a service project for approximately nine months from April 2020. Various statistical surveys and sample in-depth surveys by the Korean standard industry class were evaluated for various contents of the domestic casting industry. We also looked at the number of companies, the distribution by region, the number of workers and the percentage of foreigners, and the distribution of each job, as well as the R&D investment status according to the size of the enterprise. Together, sales, exports, sales and various profit ratios were analyzed to measure the earning power of foundry industry. In addition, the classification by grouping the foundry industry according to the process utilized by focusing on each company, and to determine the sales, exports, and yield status for each process was also investigated on the basis. Based on these data, the domestic foundry industry has presented a variety of offers for the following issues for sustainable growth; global ranking, marginal corporate restructuring, training of domestic technical people, differentiated support policies by company size and process.

• (The) Research of the performance art and culture
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• no.34
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• pp.133-172
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• 2017

Mansuseongjeol was originally a term that referred to the birthday of Chinese emperors. In October 1897, when Emperor Gojong ascended the throne, his birthday could be called mansuseongjeol. The celebratory events for mansuseongjeol took place throughout various levels of society and regions. Various places and classes including government officials, foreigners, students, religious people, journalists, merchants, civic groups, and nation-wide open ports celebrated the birth of Emperor Gojong, and the classes celebrating the day became stronger and wider. In other words, in the sense that the celebration had the nature of being universal, national, and global in terms of classes, regions, and races, the event was distinguished. Due to such nature, celebrating culture proceeded in various ways and the imperial family provided donation. Celebration on mansuseongjeol extended to respect toward the emperor and patriotism so it contributed to strengthening the emperor's power and solidifying the unity of the people. Also, such an event was reported around the world through diplomats and reporters living in Korea, raising the national status of Korea in the world. However, after the breakout of Russo-Japanese War, Japan controlled the finance of the royal family, reduced the power of the emperor, and the celebration of mansuseongjeol was also reduced. Due to the suspension of royal family's financial support, crackdown from Japan, and the dethronement of Emperor Gojong, events for mansuseongjeol disappeared and only inside the palace, did formal celebrations continue centering on pro-Japan officials and Japanese people. The abdication of Emperor Gojong came with the collapse of Korean Empire and along with that, celebration of mansuseongjeol came to an end. In the circumstances, the culture of court banquet disintegrated, and the best performers of Korean Empire degenerated into mere entertainers. Though mansuseongjeol, the medium of expressing respect toward the emperor and patriotism, lost its status, it is significant that the cultural achievements, which were created during the process established with the support of the financial power of the royal family, serve as internal power that drove Korea's modern and contemporary cultural history.

• The Journal of Korean Philosophical History
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• no.50
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• pp.269-303
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• 2016

There are two ways of viewing the Taoism of the Joseon dynasty. One is to view it from the point of view in Joseon, another is to view it from the outside of Joseon, i.e. foreigners' point of view. Maurice Courant(maurice courant,1865~1935)'s Bibliographie Coreenne is the Korean first bibliography(書誌) recorded from the latter's point of view. This research examined the Taoist scripture in Maurice Courant's Bibliographie Coreenne. Maurice Courant classified the Taoist scripture of the Joseon into three: '1. Sacred books(經書類)', '2. Worship of Gwanseongjegun(關聖帝君), Munchangjegun(文昌帝君), Buwoojegun (孚佑帝君)', '3. Various works'. Through this category, it was determined that the belief in three gods (Gwanseongjegun Munchangjegun Buwoojegun) was widely prevalent in the Joseon dynasty in the late 19th century. In the chapter 1, he composed the books of representative Taoist scripture as Lao-tzu and Chuang-tzu, 'God(太上)', and 'King of heaven(九天上帝)'. Maurice Courant determined in chapter 2 that 1890s' Joseon Gwanwoo (關帝) belief was activated, and mentioned 'Musangdan(無相壇)', namely, Joseon's first religious organization. However, he could not determine that the scriptures relevant to three gods were recorded to be divine revelations uttered by gods. 19th century's 'Musangdan' was not introduced by being imported with Chinese Taoist scripture, but was published with the Joseon Taoist scripture through Gangpil(降筆: recording divine revelations uttered by gods). Also, through Maurice Courant's Bibliographie Coreenne, the point that 'belief in three gods' was prevalent in the social leader group during that period could be determined. The reason how such research could be possible seems, because Maurice Courant had Korean assistants who were good at Chinese classics. In chapter 3, Maurice Courant arranged the books based on Taoist ethic and the scriptures on Taoist social practical movement. Through the interpretation of Taoism bibliographies included in Maurice Courant's Bibliographie Coreenne, first, it could be determined that belief based on the three gods(三聖信仰) was prevalent during the 19th century, second, there were lots of the Taoist scriptures made in the late Joseon, third, the first Taoist religious organization and Taoist social movement form could be investigated.

• Journal of the Daesoon Academy of Sciences
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• v.44
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• pp.177-212
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• 2023

In this study, discussions of the suppression of cultural diversity in communities was conducted. First, based on the studies conducted so far and recent changes, the oppression that exists between the Chinese government and ethnic minorities was considered. The visible suppression mentioned was the expansion of Han Chinese Mandarin language education, sanctions on minority languages, and the expansion of higher education at the exclusion of minority identities. In terms of 'invisible' oppression, urbanization, urban development with modernization at the forefront, and the use of officials from minority ethnic groups educated by the central government were items that were discussed. Next, the case of Latin America was examined. In particular, attention was paid to the theory of resistance against Europeans and European culture. Based off of the worries and experiences of Latin American intellectuals who have underwent oppression as individuals from culturally diverse backgrounds, a mature theory was formulated that could be used to defend Chinese minorities in the future. There is a specificity to the problem of Chinese minority communities. However, from a large perspective, experience and self-critical exploration in Latin America serve as an opportunity to expand the specificity of Chinese minority communities. Their situation resembles previous situations in Latin America when native cultures were being culturally eroded by Europe. Thus, as Latin American scholars argue, a shift in perception is necessary. In addition to this, in the text, it is likewise necessary to reflect on diversity, freedom, and mutualistic respect. There are proposals advocating for the realization of Heyibutong (和而不同 harmony but not through sameness) based on the situation in China. In the process of this consideration, much thought was given about what the observed communities are like and what a hypothetically desirable community would be like. This extends not only to Chinese minority communities and native residents of Latin America, but also to Asians in the United States and foreigners in Korea. Through this, it is hoped that desirable communities characterized by cultural diversity can be skillfully pursued.

• Journal of Venture Innovation
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• v.4 no.1
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• pp.1-21
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• 2021

Recently, as the number of foreigners residing in Korea has increased, Korea is preparing to enter a multicultural country. This study was conducted to present a social integration model for the purpose of solving the social problem of social integration of multicultural families. The purpose of this study is as follows. First, this study examines the role of local social capital for social integration by improving the quality of life of multicultural families and increasing their intention to participate in society. Second, the purpose of this study is to examine the effects of multicultural family members on the formation of local social capital, subjective quality of life and social participation intention, focusing on the role of social enterprises. To achieve the purpose of this study, members of multicultural families living in Seoul and Gyeonggi Province were selected as samples, and responses to local social capital, subjective quality of life, social participation intention and social identity were collected through structured questionnaires. A total of 363 valid questionnaires were tested for the relationship between variables through the structural equation model. The analysis result of this study is that first, human social capital and corporate social capital of members of multicultural families have a significant positive effect on subjective quality of life. Second, it was found that the corporate social capital and community social capital of members of multicultural families had a significant positive effect on the intention to participate in society. Third, it was found that the subjective quality of life of members of multicultural families did not significantly affect their intention to participate in society. Finally, it was found that social identity plays a partly controlling role when community capital of multicultural family members affects their intention to participate in society. Through this analysis result, it is expected that it will play a meaningful role as basic data for policy proposals for social integration of multicultural families.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.