• Journal of recreation and landscape
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• v.12 no.4
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• pp.45-58
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• 2018

Place memory is a new way of seeing as a new concept of cultural landscape research. Various research works and discussions have recently spread in landscape studies. In particular, the, which is visible and material, is a medium in which collective memory is embedded in place memory. The purpose of this study is to extract places of memory from the collective memory of residents of Janghang, Korea, and to visualize it through semantic relations. For this purpose, semi-standardized interviews (34 persons) were conducted with residents, and frequency analysis and semantic network analysis were used. As a result, the interviewees recalled only 127 places in Janghang that existed between 1920 and 2010. Locals remember the city based on places of memory. This means that the city could be illustrated according to specific places that are frequently mentioned. For instance, the top 25 places (top 20%) explain 65.6% of all the places in the city, and the top 39 places (top 30.8%) could describe 78.7% of the places. Some places are referred to more frequently when they are in the city's symbolic landscape, and the city's identity is projected on them. Some places were mentioned only infrequently but were nevertheless very important places by which to understand Janghang. These places of memory have not appeared in the documentary records before, which shows the value of the collective memory of the locals and the effectiveness of the interviewing method. In the clustering of the semantic network, six groups of places appeared. The local residents remembered the modern industrial city and recalled it in connection with the sites of daily life. This shows the possibility of looking not only at public memory and famous heritage as a macro history but also at daily life and meaningful places as a micro history about locals. This study has significance as an initial research that identified and visualized places of memory from the perspective of local residents. Such an approach could be useful in the study of everyday life and the conservation of modern heritage.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.160-174
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• 2022

This research analyzed military journalist activities and key photos of Werner Bischof, the military journalist during Korean war. Werner Bischof entered Korea twice in 1951 and 1952 for military journals. Through Korean war pictures, essay, multiple letters and photobooks, I shed a light on the background of his military journals and activities, and analyzed topics and characteristics based on key photos that he took during his first and second military journalist activities. Bischof created a work centered on 'Human'. Especially, he has this consciousness of 'What happens to civilians in war-ridden area?'. Bischof took civilians in Sanyangri in his camera to announce pain of civilians and tragedy of war coming from war during his first military journalist activity. During his second military journalist activity, he critiqued ideological brainwashing, life of prisoners of war in a humanist point of view. The latter showed characteristics of clear contrast of black and white, image arrangement based on characters, and outstanding photo views. His military journal activity is in search of civilian suffering, and humanism in Korean war. This consciousness crosses through generation over generation that cannot be compared to other military journalists.

• Fashion & Textile Research Journal
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• v.9 no.6
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• pp.613-625
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• 2007

Globalizing the Japanese fashion successfully, Hanae Mori's work awoke the western fashion world's nostalgia towards the East. Analyzing the aesthetic characteristics of Hanae Mori's clothes what kinds of aesthetic characteristic that her work had and what kinds of influences that she made in the modern fashion would provide substantial contribution of the world's modern fashion. This study provided forms and remarkable features of Japanese traditional custom, revealed Hanae Mori's life and her philosophies of fashion, and defined Hanae Mori's aesthetic characteristics by analyzing her work from 1970's until the retirement, July 2004. Methods of this study are completed by documentary records of Hanae Mori, research papers and fashion magazines that are published domestically and internationally, and collected materials from internet. The results of analysis are epitomized as below. Hanae Mori was the first Japanese fashion designer who expressed the characteristics of traditional Japanese custom with modernity sprit. In the 60's and 70's, especially in the U.S. and European fashion market, she inspired western fashion designers by her original sprit of art: combining Japanese tradition which showed distinctive color and spirit of nature and the western beauty. Hanae Mori created new dress molding from the Kimono's unstructured feature. Her layered look dressing, oblique adjustment and Obi, and others all enabled Mori to express Japanese image into modern fashion. Additionally, in terms of traditional Japanese image being acknowledged world-widely, she played a major contribution in world fashion by suggesting a new vision and raised several sensations in fashion artistry and modeling. Amongst her various patterns, Hanae Mori had butterfly patterns in most of her works, which was her representative symbol. This spoke for her strong will and senses of duty that wanting to inform beauty of Japanese women who were reflected in modern and graceful butterfly patterns. Flowers were another element that symbolized Mori. Using various flower motifs that bloomed in every different four seasons, she connected two images into her fashion; beauty of the nature and enlightening image of vibrating life. The aesthetic characteristics of Hanae Mori's clothes were defined as five: Japonism, naturalism, feminism, eroticism, and modernism. Japonism which is the spirit of Japanese, Mori used the concept to connect the East and the West. Naturalism represented harmony of the nature and the human. Feminism highlighted Eastern women's beauty. Eroticism emitted feminine attraction. Modernism represented simplicity and sophistication. Such aesthetic character illustrated Mori's original emotion that was based on Japanese spirit and she combined it with values of the East and the West. From the analysis of Mori's aesthetic characteristics, it is clearly recognizable her feministic beauty is emanated by her original emotion and sensibility.

• The Journal of the Korea Contents Association
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• v.16 no.11
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• pp.510-524
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• 2016

The 4-part series of , the 6-part series of , the 7 part-series of , and the 6-part series of differ in terms of their themes, although each one of them focuses on Asia. By winning prominent prizes around the world, these documentaries produced by the 'Insight Asia' Project Team of the Korea Broadcasting System (KBS) were affirmed of their competence in producing quality material. The purpose of Insight Asia Project was to improve the quality of KBS documentaries, and to make them competitive in the world market, Europe in particular. The specific goal 'Insight Asia' Team set for itself was to produce, in 5 years' time, documentaries of equal caliber to the (pre-Murdoch) National Geographic and the BBC. Unfortunately, the "Korean Wave," which was once active in the drama genre, was in stagnation at the time the team was being launched. As a result, KBS shifted refocused on documentaries as its driving force and provided detailed minute plans of action. However, the 'Insight Asia' Project was suspended abruptly in its fourth year, after a change in management in the network, and a discussion or evaluation on 'Insight Asia' Project never occurred. This study's objective is to retrace how the project 'Insight Asia' had been developed, and to clarify its meaning with respect to the KBS's globalization project. For this study, producers who participated in the project were interviewed.

• Journal of architectural history
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• v.20 no.2
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• pp.7-22
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• 2011

This study primarily aims to illuminate the characteristics of $Meoreum$ in Korean traditional fitting system according to the respective types and its periodical changes. Using the research findings as a chronological indicator by which to estimate the construction date of the building is the secondary purpose. In this study 42 of $Byeoldang$ and pavilion architecture remaining in $Yeongnam$ district were examined through the field surveys and methods of documentary research. The research results are as follows. First, $Meoreum$, which is located below the windows or doors, provides protection against the outer wind and has the function to prevent some warm air of the room from flowing outside. Second, $Meoreum$ was recorded as $Yoeum$(了音), $Woneum$(遠音), and $Maleum$(末音) in $Yeong-geon-ui-gwe$(營建儀軌) of Joseon period. While $Yoeum$(了音) was used in $Yeong-geon-ui-gwe$(營建儀軌) of 1776 and 1856, $Woneum$(遠音) had been also used continuously since the year of 1800. The word, $Maleum$(末音) can be seen in $Lim-won-gyeong-je-ji$(林園經濟志), published in 1827. $Woneum$(遠音) and $Maleum$(末音) seem to be the $Yi-du$(吏讀) types of expression of $Meoreum$ which is being extensively used now. Third, the kinds of $Meoreum$ can be classified as $TohMeoreum$, $TongMeoreum$, $TongpanMeoreum$, and $JjaneunMeoreum$. $TongMeoreum$ and $TohMeoreum$ were mostly used at the front part of $Ondol-rooms$, the backside of main floor called $Daechung$(大廳), and at the space between $Daechung$ and rooms in the Pavilions and $Byeoldangs$(Annexes) that had been built in the early Joseon dynasty. $TohMeoreum$ was usually used at the bottom parts of windows between $Daechung$ and $Ondol-rooms$. $TongpanMeoreum$ was mainly used in the mid-Joseon period and relatively high height was the distinctive feature of $Meoreum$ at that time. $Jjaneun$ $Meoreum$, used mainly in the late Joseon dynasty, has become lower and lower gradually in height since 19th century, so people could enter the room through the windows(fittings). Such changes in $Meoreums$ types has brought about the flow of human traffic directly from $Toenmaru$, narrow wooden porch running along the outside of a room to $Ondol-rooms$.

• Journal of the Economic Geographical Society of Korea
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• v.21 no.1
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• pp.53-68
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• 2018

Community-based ecotourism (CBE), if well-developed can be a practical approach for promoting socio-economic well-being and sustaining ecological resources. The growth and its development worldwide especially in developing economies is a welcome development. The study aimed at assessing the Boabeng-Fiema Monkey Sanctuary in Ghana, as an example of traditional conservation system of management that has ensured greater community participation, equity, inclusiveness, and multi-level stakeholder partnership. In-depth interviews with key informants and documentary analysis of relevant peer reviewed and grey literature were the main qualitative data collection used. Results revealed that majority of the interviewees support and value the current system of traditional management. The enforcement of rules and regulations and other cultural and religious practices were discussed by key informants. Opportunities for multiple livelihood strategies as a result of the CBE is seen as critical for increasing local's acceptance and participation. The remarkable growth of the sanctuary, as well as the increase in human population, has created a shortage of land for domestic and other commercial purposes which is identified as posing a major challenge to the sustenance of the sanctuary. The study recommends diversification of livelihood opportunities presented by the presence of the sanctuary like the introduction of homestay concept, craft making- wood carving, painting, artisan shops.

• The Journal of Art Theory & Practice
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• no.14
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• pp.33-51
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• 2012

Joseph Mallord William Turner (1775-1851) has been widely regarded as the most original and brilliant English landscape painter in the 19th century. Admitted to the Royal Academy Schools in 1789, Turner was a precocious artist and gained the full membership of the prestigious Royal Academy in 1802 at the age of 27. Already in the 1800s he was recognised as a pioneer in taking a new and revolutionary approach to the art of landscape painting. Among his early works made in this period, The Shipwreck, painted in 1805, epitomizes the sense of sublime Romanticism in terms of its dramatic subject-matter and the masterly display of technical innovations. Of course, the subject of shipwreck has a long standing history. Ever since human beings first began seafaring, they have been fascinated as much as haunted by shipwrecks. For maritime societies, such as England, shipwreck has been the source of endless nightmares, representing a constant threat not only to individual sailors but also to the nation as a whole. Unsurprisingly, therefore, shipwreck is one of the most popular motifs in art and literature, particularly during the 18th and 19th centuries. Yet accounts, images and metaphors of shipwreck have taken diverse forms and served different purposes, varying significantly across time and between authors. As such, Turner's painting registers a panoply of diverse but interconnected contemporary discourses. First of all, since shipwreck was an everyday occurrence in this period, it is more than likely that Turner's painting depicted the actual sinking in 1805 of the East India Company's ship 'The Earl of Abergavenny' off the coast of Weymouth. 263 souls were lost and the news of the wreck made headlines in major English newspapers at the time. Turner's painting may well have been his visual response to this tragedy, eyewitness accounts of which were given in great quantity in every contemporary newspaper. But the painting is not a documentary visual record of the incident as Turner was not present at the site and newspaper reports were not detailed enough for him to pictorially reconstruct the entire scene. Rather, Turner's painting is indebted to the iconographical tradition of depicting tempest and shipwreck, bearing a strong visual resemblance to some 17th-century Dutch marine paintings with which he was familiar through gallery visits and engravings. Lastly, Turner's Shipwreck is to be located in the contexts of burgeoning contemporary travel literature, especially shipwreck narratives. The late 18th and early 19th century saw a drastic increase in the publication of shipwreck narratives and Turner's painting was inspired by the re-publication in 1804 of William Falconer's enormously successful epic poem of the same title. Thus, in the final analysis, Turner's painting is a splendid signifier leading the beholder to the heart of Romantic abyss conjoing nightmarish everyday experience, high art, and popular literature.

• Journal of Korean Society of Archives and Records Management
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• v.4 no.2
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• pp.41-75
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• 2004

This research discusses how to improve the current environment for record management in relation to the Revision of the Law of Record Management in South Korea. Three major issues are: 1) Legal status of the National Archives & Records Service of Korea as the government institution in charge of managing centrally records, 2) System for the education and training of professionals who specialize in record management, and 3) Foundation of the national museum and archives of records. Findings are as follows: First, the existing 'National Office of Records' as the government institution in charge of managing records, should be promoted to the 'National Archives & Records Service of Korea' in order to be administered by the class of a vice-minister in the Ministry of Government Administration and Home Affairs. Second, the qualification criteria which currently requires the Master's degree of Record Management, should be modified to include the Bachelor's degree in the field in order to expand the pool of professional human resources. Also, to hire the public officials for record management, either the positions of 'researcher/record manager group' should be created, or the existing positions of librarian, archivist, and record manager should be integrated into the new position of 'record culture group'. Third, the most significant task for the office of record management of local governments is to inherit and further develop the traditional culture and documentary legacy which are unique to those local communities and governments at various levels, and a priority should be given to those tasks. Therefore, when the Law of Record Management will be later revised, the establishment of the office of record management for local governments at every level should be required, and the museum and archives of records should be also established as a significant part of the institution. Unique local culture and history of particular communities should be collected and preserved in systematically specialized and differentiated ways in those institutions of record management, and the names should be uniquely given to the institutions according to the characteristics of local governments.

• Journal of Korean Medical classics
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• v.21 no.4
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• pp.41-60
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• 2008

The acupuncture and moxibustion documentary characteristics of the "Dong-insuhyeolchimgudogyeong(銅人腧穴鍼灸圖經)" can be summarized into 5 parts such as the following. 1. The Index of Books lists the author of "Dong-indogyeong" as 'Wang-yuil(王惟一)' in some and 'Wang-yudeok(王惟德)' in others. Of these 'Wang-yudeok' is the name in the printed book and 'Yuil(惟一)' was the name it was changed into in order to make it different from the emperor Jinjong(眞宗) of the Song dynasty. Also, the sequence differs greatly among the original editions and sometimes even conflicts within itself, which makes very likely the possibility that the author of this book is not just one person, and that Wangyuil is just the main editor or screener. 2. The original printed edition of the Song(宋) dynasty has 3 volumes and the Cheonsoeng Seokgak(天聖 石刻) of the Song dynasty also has 3 volumes, but 'Hyeolsudosu(穴腧都數)', 'Sumyeongdanggyeolsik(修明堂訣式)', and 'Pichimgugyeol(避鍼灸訣)' were added to the 3rd volume. Of these three 'Pichimgugyeol(避鍼灸訣)' explains the 'Chimgupigijido(鍼灸避忌之圖)' of the 2nd volume in writing, 'Sumyeongdanggyeolsik(修明堂訣式)' explains the three human drawings from the front, side and lying down views in writing and was used to make bronze figures. 'Hyeolsudosu(穴腧都數)' was possibly used to draw acupuncture points when making bronze figures. During the Daejeong(大定) era of the Keum(金) dynasty Jinssi(陳氏) from the Pyeongsuseobang(平水書坊) revised this book and carved it into 5 volumes, and of those the 1st and 2nd volumes have characters that are very different from those of the rubbed copy of the stone carvings[石刻 拓本] from the Myeong(明) dynasty, which shows that it was taken from another book and not from the original text. The 3rd volume has added content from the stone carvings about accupuncture and moxibustion contraindication(鍼灸禁忌). During the Myeong dynasty the 3 volumes of the "Dong-indogyeong(銅人圖經)" were carved on wood based on the Jungtong Sukgan(正統 石刻), and there were many reprints with the contents that are almost all the same, but the order of the original edition were not all the same. When analyzed from many angles, the original printed copy was carved after the Jungtong(正統) of the Myung dynasty. 3. The content on transport points[輸血] in "Dong-indogyeong(銅人圖經)" comes mostly from books like "Oedae(外臺)" 'Myeongdang(明堂)', "Taepyeongseonghyebang(太平聖惠方)" 'Chimgyeong(鍼經)', "Yeongchugyeong(靈樞經)", Wangbing(王冰)'s annotation of "Somun(素問)", "Cheon-geumyobang(千金要方)" 'Chimgu(鍼灸)', and does not have much new content added by Wang-yuil(王惟一). However when Wang quotes past documents, little is summarized, some are edited and most do not have their origin indicated(the titles of other books quoted in the book are to give some supplementary explanation or are copied from another book). 4. There are many mistakes Wangyuil made in using documents and doing historical research and they can be seen in two fields. One is that he did not fix the errors of past documents, and the other is that he did not know the sequence of past documents or did not understand the meaning of the text. 5. The content Wangyuil newly added can mostly be seen in the few annotations and aneo(按語) under the original 'Geumbu(今附)'('Sinbu(新附)'). In order to see Wang's scholarly ideas and achievements we must rely on this part and the meridian entry of the transport points[輸血歸經] in the first part of the book. However we must not give credit to Wang for work that was done by former generations.

• (The) Research of the performance art and culture
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• no.32
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• pp.549-594
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• 2016

This research focuses on 'dramaturgical' performance among all the acts of a director who constructs an artistic structure. This is, specifically, the dramaturgical acts that a director comes to perform in the process of dramatizing a novel. This paper aims to suggest a new kind of approach for productive interaction between drama theory and practice, not only by documenting the process of creation but also by moulding theoretical basis on acts of a director. As you all know, creative acts in practice so far have rarely been considered as subject and purpose of academic study. Even some lucky plays and directors had to settle for fragmentary review. That's mainly because Korean theatrical circles confine the way of recording the whole process of drama in practice only to a piecemeal review of performance. As a result, there have been very few cases of observing comtemporary plays under the historical background of drama. In this regard, this paper desires to raise a question, 'is productive interaction between drama theory and creative practice possible?' and to find the answer. If what is described in this paper can have worth beyond a mere record of creative acts, it may establish theoretical grounds on interpreting the play stage of this era by reading, in the contexts of drama history, a director's dramaturgical performing acts to dramatize a novel. The researcher of this paper, as a director of a theater troupe like a human and artistic community, adapted "Crime and Punishment" by Dostoevsky into four plays. They are , , , , and completed in 2009, 2011, 2012, and 2014, respectively as an independent theatric work having no connections to each other in story. Not only because the four plays share the same novel as its origin but also because an identical system is applied to dramatization of the novel, it gives an opportunity to focus on and perceive the role of the director. During the process of dramatiztion, the director, the researcher of this paper, carried all the duties, such as selecting a text, approaching the text theoretically and academically, adapting it for drama, picking out appropriate episodes. This paper defines all these acts as dramaturgical performing acts. In this sense, this paper can also be seen as a documentary of 'acts' performed during the process of dramatization.