• Structural Engineering and Mechanics
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• v.72 no.5
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• pp.643-652
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• 2019

Protection of cultural heritage and carrying it to the future are at the top of the significant topics of research and implementation in engineering in the 21st century. There are several historical structures in the district of Ahlat located in the east of Turkey on the Lake Van Basin that has harbored many civilizations. Some of such works are the gravestones that are found in the Ahlat Seljuk Cemetery, which is the oldest and largest cemetery in the district. This study firstly provides information about the Ahlat Seljuk Cemetery and the gravestones found in it. Observation-based structural analyses were carried out on these gravestones that are found in this area that are known to have belonged to different civilizations based on their physical and constructional characteristics. These stones were built out of Ahlat stone as single pieces. Information is provided on the damages that have occurred on the gravestones in time and their causes. In general, losses of mass, abrasions, separations, collapses and calcifications due to natural conditions, as well as vegetative formations, were observed in the gravestones. To provide an example of other gravestones within the context of the study, the gravestone that is known to belong to the person named Nureddin Ebu Hasan was selected. As a result of the modeling that was carried out for this gravestone by using the finite elements method, modal analyses were carried out. With these analyses, for the gravestone, period, effective mass participation rates and stress values were calculated. The stress values that were obtained in this study were compared to the material safety stress values that were obtained in previous studies. Additionally, QR code application was created for the gravestone that was selected as an example in the study, and information on this gravestone was transferred to an electronic environment. The QR code application includes different language options, visuals of the gravestone and information on the gravestone. The QR application was also supported with a video of the cemetery where the gravestone is located. With this application, access to information about gravestones will be possible by using tablets and smartphones. With a QR code to be created for each gravestone, these gravestones will obtain identity cards.

• Archives of design research
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• v.14
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• pp.121-138
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• 1996

The purpose of this study is to develop a new architectural language and design strategies that would anticipate and incorporate new historical situations and new paradigms to understand the world. It consists of four sections as follows: First, it presents a new interpretation of space, human body, and movement that we find in modern art and tries to combine that new artistic insight with environmental design to provide a theoretical basis for performance-event architecture. Second, it conceives of architectural environment as a combination of space, movement, and probabilistic situations rather than a mere conglomeration of material. It also perceives the environment as a stage for performance and the act of designing as a performance. Third, in this context, man is conceived of as an organic system that responds to, interacts with, and adapts himself to his environment through self-regulation. By the same token, architecture should be a dynamic system that undergoes a constant transformation in its attempt to accommodate human actions and behaviors as he copes with the contemporary philosophy characterized by the principle of uncertainty, fast-changing society, and the new developments in technology. Fourth, the relativistic and organic view-point that constitutes the background for all this is radically different from the causalistic and mechanistic view that characterized the forms and functions of modernistic design. The present study places a great emphases on dematerialistic conception of environment and puts forth a disprogramming method that would accommodate interchangeability in the passage of time and the intertextuality of form and function. In the event, performance-event architecture is a strategy based on the systems world-view that would enable the recovery of man's autonomy and the reconception of his environment as an object of art.

• The Korean Journal of Archival Studies
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• no.64
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• pp.27-62
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• 2020

The article has the characteristics of a preliminary writing about how to look at the trend of new archives 'fever' and 'impulsion' emerging around the domestic and foreign art world, which have not been paid much attention yet in the 'mainstream' archive research, and how to accept it independently. Specifically, this study aims to examine how archival art is involved in history and memory with aesthetic attitudes and methods through observation of recent tendency of domestic archive art, and what implications or influence the 'archival impulse' phenomenon in the art world can have on the research trend of 'archival studies.' First, I would like to look at the meaningful movement to reinterpret and actively accept archival impulses in concrete overseas cases, that is, the archive system of a public archive in the United States. This is followed by an attempt to explore the characteristics and characteristics of creative works that are carried out through the medium of archives, that has not yet reached the level of organization of specific archive methods but are sporadically attempted in the domestic art world. It examines how so-called 'archive artists' record unrecorded in a way that is not observed in the existing archival world, and how they summon and include excluded history in aesthetic language. In conclusion, this study explores the possibility of pulling the historical records of tradition out from archival boxes and reinterpreting them as living archives within the contemporary emotional structure from this new artistic trend called 'archival art'.

• Journal of Fashion Business
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• v.2 no.3
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• pp.121-136
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• 1998

The purpose of this study was to present a new research method of stage costume by designing and making the stage costume of Yean-GaeSoMoon(淵蓋蘇文) in Peking Opera Du Mu Guan (Korean; Dog Mog Guan, 獨木關). The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera didn't have the same rank system with real history costume and didn't have demarcation according to period and history. In the stage costume of Peking Opera, the color is cultural language that can inform spectators of sex, age, personality, position of characters. The pattern of decoration also symboled the personality and characteristic of the character. Yean-GaeSoMoon in the play wore green armour (Chinese; ru ying kao 綠硬靠), red pants (Chinese; hong ku 紅褲), red mustache (Chinese; hong ran kou 紅髥口), crown (Chinese; da e zi 大額子), shoes (Chinese; hou di xue 厚底靴) and Xue RenGui wore white armour (Chinese; baikao 白靠), red pants (Chinese; hong ku 紅褲), shoes (Chinese; hou di xue 厚底靴), hat (Chinese; za jin 扎巾). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national sprit and the greatest hero of the age and a charismatic politician who combines literatural arts with military arts. Considering these reviews, defined the thema of his new costumes' image as "the flying bird which has three legs"(三足鳥), the bird which symbolized the sun and immortality in Koguryo fresco. On the basis of this image, presented three types of Yean-GaeSoMoon's stage costume. Yean-GaeSoMoon as the minister in the court wore black gown (Chinese; mang pao 蟒袍) of dargon pattern which symbolizes harisma who opening the heaven. He as the general who directs war wore red mantle (Chinese; dou peng 斗蓬) which symbolizes the blue dragon that soaring into the sky, as the officer who fights the enemy's general wore green armour (Chinese; gai liang jia 改良甲), red pants (Chinese; hong ku 紅褲) which symbolizes the flying Sward that blowing violently. By wearing these stage costumes, the image of Yean-GaeSoMoon could changed from the fierce general of minority race who likes to fight, to the Koguryo general who fights against enemy at the risk of his life for Koguryo's autonomy. Through this study once again we could realized that stage costume played very mportant part In outstnding the characteristic of actor in the Peking Opera.

• Journal of architectural history
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• v.15 no.4
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• pp.37-56
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• 2006

Introducing International Style, P. Johnson and H. R. Hitchcock gave three standards to be the Modern, volume and surface, regularity, and exclusion of applied decoration. In spite of the negation of stylistic, formal approach in the Modernist Manifestoes, one usually have understood Modernity in Architecture with its formal character, especially with no ornament and flat, abstract, white surface. Modernism as a new paradigm in architecture have emphasized that there is no representation of anything outside and only present architecture in itself. They said that Modernism only cared about the language of Architecture without figural reference. So apparently there is no way to prove to its Modernity with formal condition. Modernity is in Spirit and contents. But actually we understand well its existence by visual communication This study deals with this difficult situation how Modernity represents itself without visual media and asks the question how simultaneously it presents its thingness and materiality In order to analyse contradictory situation between representation and presentation in Modern Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. With the crisis of representation the role of ornament have seriously changed and divided. It caused the two situation in pre-Modern Architecture. Firstly, Architecture tend to be a high art and formal expression became important much more. The Use of Ornament became a kind of fashion to show the power, class, money. Secondly, Ornament lost its cultural weight and the structure and material aspect became the central in architecture. Rational Structuralism would be the essential character in Modern Architecture. Here the theory of G. Semper and A. Loos on cladding(dressing) and Ornament can help its problems and limits. In the situation without conventional ornament Modernists need to present modernity with new media that only show the thing itself and by that it does not represent any thing else as like the value, idea outside buildings. They believed that only it concerned esthetics and morality in architecture. But in reality it referred to art and machines as like ships, aircraft, and cars. By excluding Ornament and showing the process of clearing, abstract, flat, white surface 'represent' Modernity by the indirect way referring the concept of transparency, reason, sanitation, tectonics, etc. An Ideology and myth intervened architectural discourse to make the doxa about the representation in Architecture. Surface must be a different kind of media and message that can communicate in different way with compared to conventional Ornament. Decorated Shed by R. Venturi and Post-Functionalism by P. Eisenman, that are the most famous post-modern discourse, shows well difficult and contradictory condition in contemporary architecture concerning representation and form, meaning and form.

• 사회경제평론
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• v.31 no.3
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• pp.165-201
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• 2018

According to F. Nietzsche and A. N. Whitehead, the fatal error of the modern Western ontology is to mistakenly assume that the structure of reality is the same as the structure of language, and to misplace the fictional linguistic subject as a realistic subject. This fictional concept of the subject is the concept of person. This paper will analyze how this fictional concept of person forms the basis for the development of modern finance. The historical period and place of analysis of the paper is England in the late 17th century. At this time and place, the modern form of banking began, and the concept of person was developed philosophically by English intellectuals, especially by John Locke. And at the same time, joint-stock companies and the English nation state acquired their independent abstract personhood. The fictional concept of person has reduced social relations to "exclusive property rights" and "creditor-debtor relations," and this reduction forms the ontological basis of modern finance. In modern finance where property rights and creditors' rights are mixed, property owners excercise exclusive property rights but avoid responsibility for the exercise by being transformed to creditors. Furthermore, property owners' privilege were extended when the modern groups-joint-stock companies and the nation state-who are endowed with eternal and independent personhood are reduced to debtors for the property owners.

• Korean Journal of Comparative Education
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• v.28 no.3
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• pp.291-307
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• 2018

As the value of lifelong learning becomes important, states are making efforts to build a system of lifelong learning. According to this tendency, this paper intends to compare the participation rate of lifelong learning, learning outcomes, learning support infrastructure, support of learning expenses, and recognition of lifelong learning. For the comparative pedagogical approach, Bray and Thomas' cubes such as geographical / regional level, non - geographical demographic statistics, social and educational aspects were utilized. The participation rate of lifelong learning in Korea is 34.4% in 2017, which is lower than the OECD average of 46%. The competency scores of Korean adults were lower than the OECD national averages of the PIAAC survey which measured adult competence, language ability, numeracy, and computer-based problem solving ability. In order to recognize prior learning, EU countries have developed EQFs to evaluate all non-formal and informal learning outcomes, while Korea recognizes qualification as a credit banking credit under the academic credit banking system. International comparisons of lifelong learning can be used as an important tool for diagnosing the actual conditions of lifelong learning in a country and establishing future lifelong learning policies. Therefore, it is necessary to maintain that the comparative pedagogical approach of lifelong learning differs according to the historical context, socioeconomic characteristics, and population dynamics, including the formation process and characteristics of modern countries.

• Cross-Cultural Studies
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• v.44
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• pp.29-58
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• 2016

'Post-memory' is the act of remembering traumatic events in history by subsequent generations who have not had direct experiences or relations with them. For this reason, the narratives of 'post-memory' are considered as re-interpretations of the past deeply influenced by current perspectives and concerns. The Chilean film NO goes back to the Referendum of 1988 in order to examine the "NO campaign" which was opposed to another eight years of continuation of the Pinochet regime. Although this campaign contributed significantly to the Chilean democratization, the filmmaker does not just celebrate it: rather he attempts to cast a critical reflection on its strategies that eventually turned democracy into a "commodity" by deploying commercial language and marketing tools for characterizing and describing it. On the other hand, the Korean movie The Attorney sheds light on the story of an attorney who, during the military regime in the 1980's, became a human rights lawyer when he tried to advocate for university students accused of violating national security law. This film reconstitutes the meaning of democracy built upon the logic of "common-sense" that privileges freedom and fundamental human rights over Statism. Despite the different historical contexts between Chile and South Korea, these two movies retell the history of a dictatorship that ended a couple of decades ago. In doing so, they raise questions about history, memory and democracy in order to deepen the understanding of current social and political circumstances while placing an emphasis on the roles and responsibilities of intellectuals during the transition to democracy and democratic consolidation.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.9 no.4
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• pp.325-336
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• 2019

There are many bamboo weir (Juk-Bang-Ryeum) with the highest preservation value as a fisheries heritage from Sacheon to Namhae area in the Korea Hanrye National Marine Park. It was designated as a Korea National Cultural Property Sightseeing No. 71, and also as an important fishery asset listed in the Korea National Important Fisheries Heritage No. 3. It is an important cultural heritage that should be preserved for the future as a community asset to the local residents, and should be preserved as it's original form because of unique traditional fishery style in the world as well as natural environment oriented fishing system. The purpose of this study is to review the value of Juk-Bang-Ryeum in the South Sea as well as to preserve the tradition of it. This paper will make a contribution to the registration of it on the list of World Important Agricultural and Fishery Heritage (GIAHS), which is recognized by the United Nations Food and Agriculture Organization (FAO). To make basic data for listing on it, we will analyze the characteristics and structure of Juk-Bang-Ryeum, and also research the value of it from the historical literature review as well state of arts. We also develop a scheme for listing on FAO GIAHS through checking necessary items step by step. Finally, we suggest some idea to preserve it more effectively.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.65-73
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• 2021

This research analyzes the characteristics of Chinese tragic films with Chinese traditional ethical ideology as the core, analyzes its specific performance in the plot and ending setting of the film , and analyzes the director's tragic narrative strategy of cultural reconciliation in the face of political environment to understand the characteristics of Chinese contemporary tragic films.The film is a Chinese contemporary tragic film with The Great Cultural Revolution as its historical background. This film is a representative film of Chinese contemporary tragic films. The classic plot has played a certain role in the expression of Chinese traditional ethical ideology such as fatalism and optimistic attitude to life. The male lead's thought changes interpret the Chinese-style tragedy characteristics containing Chinese traditional ethical ideology. In the setting of the ending, the film broke through the "happy ending" model of Chinese traditional tragedies, and chose the open ending of "one tragedy to the end", further showing the time feature of Chinese contemporary tragic film. The euphemism and tenderness of the film as a tragic film is not only due to the compromise with the political culture of power, but also the result of the director's in-depth understanding of the aesthetics of Chinese tragedy. Through the use of symbolic signs in the film language, it has formed the implicit characteristics of the film narrative in the tragic aesthetic experience. In this paper, the author conducts text analysis for the film and discusses presentation of Director Yimou Zhang's tragic feelings and using the tragic narrative strategy of cultural reconciliation to show his creative wisdom in pursuing artistic breakthroughs under political pressure.