• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.7
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• pp.1014-1024
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• 2009

The cultural content industry can be stimulated by the production of content based on Korean traditional culture such as Korean court culture. At present, the use of royal costumes of various Korean dynasties for content creation is rare. Less than ten government-supported projects managed by the Korea Culture & Content Agency (KOCCA) are related with Korean royal costumes. Only a handful of tourism-related cultural products (e.g., souvenirs and theme parks) are related to this subject. Fortunately, there are many events that demonstrate traditional court ceremonies; however, there is a need for more investment in academic research to ensure accurate reproduction. There are a number of issue in utilizing traditional royal costumes to produce cultural content that include: a lack of understanding the importance of Korean royal costumes, discrepancies of the content produced based on the historical context, a lack of public knowledge or support, and the lack of the historical accuracy of reproduced content. In order to benefit the most from royal costumes, this article suggests recreating the costumes as a source for further content creation, the development of a database to store information by design features and itemized topics, along with the active support of the government.

• Proceedings of the Korean Institute of Navigation and Port Research Conference
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• 2000.06a
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• pp.171-183
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• 2000

Regarding the ancient Sino-Kroea sea communication as the main theme, the propagation of the China-culture in Koran Peninsula and he influence of Chinese ancient shipbuilding technique for Korea are described in the paper. Frequent sea trade resulted in the flourishing of Chinese and Korean harbours on both side of Yellow Sea. Sino-Koran sea communication is of long-standing. Korean Peninsula (KP) is just as the large arm extended to the great sea from the North-east China. It is the Chinese mainland plate-lump's extended part in the Yellow Sea. In the ancient time, the land communication between China and Korea was often not unimpeded, the contact between China and KP, such as the South-Korea, depended on the sea communication mainly, Although the friendly relationship between China and Korea rose one after another in the various historical period, but considering from the great background of people's historical development, just as the modern people benefited fro the Europe-American culture, the people of ancient time also benefited from the China-culture. All China, KP and Japan obtained the development by propagating the ancient China-culture. The seagoing ships which carried out the Sino-Korea sea communication and trade, as the friendly envoys, finished the mission linked u and developed the Sino-Korea culture contact.

• The Research Journal of the Costume Culture
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• v.17 no.4
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• pp.583-599
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• 2009

The purpose of this study is to analyze movie costume of main character and find design characteristic and historical spirit focusing on the movie, in which Ishioka Eiko, Japanese movie costume designer constructing unique design world, participated. The study captured images of three movies such as , and with Digital Multimedia Converting System and analyzed them by focusing on the pictures showing designer's intention and design characteristic well among acquired 319 pictures. The costumes addressing movie costume designer's sense of values are recreated as future-oriented new works and are expressed as creative costumes by acquiring inspiration from past factors, dissolving them and applying up-to-date technology. Movie costume shall reflect historical spirit of our age as movie shows social cultural trend including fashion trend of manufactured age. Ishioka Eiko has searched for the design, which is proper for three principles such as 'be unique', 'be eternal' and 'be innovative' and from the result of analyzing movie costume, it is found that she showed characteristics of symbolism(transmission of the sensitivity), ornamentalism(effective representation as a decorative effect attention) and multiculturalism(harmony of time and culture) as well as uniqueness. The movie costume are different mutually and create new hybrid culture, in which different costume cultures are mixed with current costumes without the restriction to other culture. It is proper for the age of globalization and localization so it is expected that the multiculturalism will be enlarged more.

• The Research Journal of the Costume Culture
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• v.17 no.6
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• pp.1112-1128
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• 2009

The purpose of this study was to develop royal costume design with contemporary taste depending on the character of hero, Lee San, and time flow of TV historical drama and research design discrimination and creative expression. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The design concept of costume was modern & chic & clean. The costume was designed through straight silhouette, clean & bright colors excluding prime colors, style transformed to permanent straight pleats on the basis of chulik, 100% silk material focusing on high quality and pattern & decoration of the age of Three Kingdoms. As results, the designs of princess' official rob, day dress and chulik, and emperor's official robe, chulik, military dress and chun-dam-bok were developed. The design discrimination depending on social status change. In the period of princess, black, white, silver and blue were used but in the period of emperor, red, gold and black were used. It was expressed through dragon pattern and extended length used in cloth. The design discrimination depending on character change was visualized through color. Although it is not consistent with historical investigation, contemporary fashion design elements were added to royal costume through color contrast of black & white, permanent straight pleats, velcore, wristlet, extended length and layered-look.

• Spatial Information Research
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• v.17 no.3
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• pp.329-339
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• 2009

A historical and cultural map needs an overall reflection of the links based on time and space among the various composite factors, instead of requiring a simple collection of the respective relics in a particular region. The study of history, culture and living environment of river system area, a place that is known to as a cradle of civilization, will be able to undertake a role in the research and comparison with other cultural regions, reaching beyond the regional units until now and moreover investigation the international and intercontinental history of civilization. In this context, this research focuses on the establishment of a cultural information system for the public use and the insight to the regional identity and materialization of culture based on Korea's peculiar history and culture. Thus, the information system for Youngsan River area aims to create a form of electronic map that contains various cultural and historical information on river system area, which is a integrated information system based on Web GIS that is open to public use through the internet. The above mentioned system is a combined product from the basic research data on various fields of study, including archaeology, architecture, arts, ecological environment, history, folk customs, literature, and food, while it aims for not only its utilization in interdisciplinary studies but also creating new value as a public database. As a result, the expected effects due to the establishment of historical and cultural information system based on Web GIS of Youngsan River area are as follows: First, the study can contribute to verify a road map of the study on Youngsan River area. Second, it will take a role to stimulate the academical research on the dynamic structure and characteristics of the Youngsan River area. Third, we can also expect an effect of gaining a full foothold in providing an electronic academic source specialized for the study of the historical and cultural map.

• Journal of the Korean Geographical Society
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• v.1
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• pp.50-66
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• 1963

• The Critical Review of Religion and Culture
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• no.14
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• pp.186-220
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• 2008

• Cross-Cultural Studies
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• v.26
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• pp.145-171
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• 2012

The background of historical Jing-Ju is a history, but the history Chinese wants to watch on the stage is the history dramatized by talented actors/actresses, not the history they want to learn. This thesis intends to examine traditional repertories whose background is historical people or accidents, among the lots of Jing-Ju repertories by each period, grasp periods, accidents, people, etc. preferred by Chinese and examine how they were dramatized. The general characteristics of historical Jing-Ju, grasped by each period, are as follows. The first, for the reason that there are lots of historical Jing-Ju in opera repertories, it can be mentioned by Chinese descriptive tradition and historical tradition. As lots of Chinese novels and drama works were written by history, basic models are suggested and clear development is shown, so there is an aspect which is advantageous for dramatization. Also, there are lots of works whose material is history for not only opera but also drama, TV drama because of the characteristics of China where historical books such as "史記", "戰國策", etc. The second, the period which is the background of historical Jing-Ju focuses on 漢 period, 三國 period, 隋唐 period, 宋 period and 明 period. It seems to be reflected by Chinese superiority to some degree if considering Jing-Ju was extremely popular during the 民國 period. The third, there are many characters who have patriotism loyalty among the historical Jing-Ju. It seems to be the result of discovering lots of materials for appealing patriotism in the situation they were dominated by Japan and the West during the 民國 period. The forth, the most single material is "三國志" among the historical Jing-Ju. This material has the factors of traditional idea, loyalty, fidelity, etc, but there are the most interesting characters and they were popularized by novels, etc. The fifth, in the historical Jing-Ju, the contents and character forms can be sometimes changed by character's skill because character's artistic achievement can play a great role for the completion of Jing-Ju.

• Journal of English Language & Literature
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• v.58 no.5
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• pp.903-941
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• 2012

This essay examines Edward Said's Culture and Imperialism focusing on the concepts of 'culture,' 'empire,' and 'nation'. The approach is critical, theoretical, and historical rather than explicatory. Consequently, the range of the essay is not limited to Said's own explanation and argument about Western imperialism and its culture presented in the book. In doing this, this essay finally purposes to be a discursive resistance to the current global empire, the United States, via a critical reading of Said's work. Said's notion of culture is set upon to disclose the function of culture as an apparatus of ideological consent of the dominated to the dominant. When applied to imperial practice, Western culture functions to subject the colonized to the colonizer. Said's geographical approach to imperialism complements the historical understanding of imperialism. Imperialism is not only the practice of Western-centered historicism but also the spatially mutual interaction between the West and the rest of the world. Along with European imperialism, Said poses the current global empire of the United States as his main target of criticism. Said's problem is that he takes the United States as a nation-state. When examined, the United States is not a nation-state, but today's empire. The empire in the appearance of the nation-state United States does not work for the interest of the American nation, that is, the American people. The empire is the transnational and postnational political and economic institution that works for the interest of global capital. In order to resist the current global empire, this essay suggests that the building or restoration of nation-states with its basic principle of people's sovereignty is in need.

• Proceedings of the Costume Culture Conference
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• 2000.09a
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• pp.13-25
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• 2000

The nature of internationalisation is explored and the historical stages in the process described. A series of profiles of fashion companies, which have pursued policies of internationalisation, is presented. The challenges faced by fashion producers and retailers, as they enter the twenty-first century, are identified and the changing context of fashion consumption is recognised.