• The Journal of Korean Philosophical History
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• no.39
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• pp.85-114
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• 2013

Traditional values refer to one's attitudes or perspectives developed by negotiating with oneself, others, society, world, nature and universe, which include thoughts on what is right, desirable, and what is dos and don'ts. The purpose of this study was to investigate values which Korean people traditionally emphasized, and their changes by epochal situation focused on the Choson Era. Also, this study intended to assist in finding values and meaning which should be passed down and manifested in contemporary society based on the study results. In this context, I select some positive values in the background of the Joseon dynasty. As traditional values or ethics in Korea destroyed and distorted going through the period of Japanese colonialism, all the existing social culture and traditional culture were denied, which resulted in vanishing common value which led community for several hundred years. The loss of common value caused community destruction and collapse, and made Korean people seek to survival, success and advancement in life as suffering from severe conflict of values. Experience of hollow state of mind caused by historical and cultural severance left distorted and degenerated values to Korea people, which made them pursue false values without realizing true meaning of traditional values. The true meaning of traditional values should be universal no matter how society changes, and could be milestone to contemporary people wandering aimlessly. Realizing and reconsidering the meaning of traditional values to found comtemporary values of Korean people by reflecting on history can produce significant results beyond age-old debate about East or West, and tradition or modernity.

• The Journal of Korean Philosophical History
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• no.50
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• pp.171-200
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• 2016

The full-scaled study of Joseon conducted by Japan in the 1910s was part of its colonial policy, while the native Joseon studies against it contained political aspiration to recover the national rights and independence. Accordingly, the conceptual meaning of 'Joseon' varied according to its subject of speech. The establishment of modern nation-state failed along with the extinction of Korean Empire, but 'Joseon' was newly discovered within national ideology. It became a historical concept in which the experience of the past and the expectation toward the future could be united. The so-called 'Joseon Studies' was only limited to intellectuals in the academic circle, but 'Joseon' embraced the articulations from more various social agents. Furthermore, it is only natural that 'Joseon Studies' should be interpreted within the historical semantics of 'Joseon', considering the connection between concept and discourse. In his The History of Joseon Civilization, An Hwak encompassed the history from the times of ancient mythology to the contemporary times under the banner of 'Joseon'. Opposing Japanese distortion of history carried out in the name of historical positivism, he idealized Joseon history as comparable to that of the Western democracy. He extended the study of 'Joseon' into culture at large, foreshadowing a kind of Joseon philosophy. In his An Overview of Joseon Philosophical Ideas, the first description of 'Joseon philosophy' as an independent field, he proposed philosophy as one of three sources of pride in Joseon and asserted its uniqueness and originality compared to the West. It was an attempt to grasp the peculiarity of Joseon ideas from a perspective of the history of universal human civilization. He considered 'Jong'(倧) as an ideological foundation held from the ancient to the modern times, and the acceptance of Buddhism and Confucianism as beneficial to 'Joseon philosophy'. The birth of 'Joseon philosophy', the modern transformation of the traditional knowledge system, was an intellectual experiment to apply traditional knowledge to the modern disciplinary classification system.

• Korean Journal of Plant Resources
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• v.34 no.2
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• pp.156-165
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• 2021

The in vitro regeneration was established, and the genetic stability among the mother plants (control) and the micropropagated green plants was evaluated using ISSR markers in Imperata cylindrica 'Rubra', Poaceae which containing important bioenergy plants. Green shoots were multiply induced from growing point culture via callus on MS medium supplemented with 0.01 mg/L NAA and 2 mg/L BA, and the shoots were proliferated on the MS medium with rooting. Rooted plantlets were transplanted to the pot with 100% survival rate. Using ISSR markers, somaclonal variation was analyzed in eight mother plants (control), ten green-regenerant cultivated at culture room (ReR) and ten green-regenerant cultivated at field condition (ReF). All ISSRs produced a total of 97 bands, and the scorable bands varied from one to seven with an average of 4.4 bands per primer. The polymorphism rate of ReRs and ReFs was 4.1% and 3.1% respectively, showing higher rate than that of control (0%). The genetic similarity matrix (GSM) among all accessions ranged from 0.919 to 1.0 with a mean of 0.972. According to the clustering analysis, ReFs and mother plants were divided into two independent groups. The results indicate that no clear genetic diversity was detected among regenerated plants, and ISSR markers were useful tool for identification of somaclonal variation of regenerants.

• (The) Research of the performance art and culture
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• no.40
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• pp.37-69
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• 2020

This study was designed to investigate the characteristics, aesthetics, similarities and differences through the flow of Korean female movies. In order to carry out this study, four movies with representations of each age had to be selected. These four films are respectively Sweet Dream produced during the Japanese colonial period, Madame Freedom which prompted the debate on feminism in the 1950s, The Silver Stallion Will Never Come which combines the devastated lives of women in the 1990s with anti-malevolent views, and A Good Lawyer's Wife which presents a futuristic selection of Korean feminist films. Especially, these works are noteworthy in that they guarantee the typicality and representative of Korean films in each period. Based on this, two common motifs appearing in these works have been intensively studied. One is a 'cage' motif that symbolizes women's detention and the other is a 'mirror' motif that women need to be aware of their situation and check the current situation. Korean women's films have not only shared some of the motifs of 'Cage' and 'Mirror', but also have focused on conveying the author's message that ultimately aimed at linking these motifs.

• (The) Research of the performance art and culture
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• no.19
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• pp.317-346
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• 2009

Soongeuimyo is a shrine which has Liu Bei 劉備 as the main ceremonial figure and also Guan Yu 關羽 and Zhang Fai 張飛 as ceremonial figures as well as 8 others such as Zhege Liang, Zhao Yun, Ma Chao, Huang Zhong, Uang Bo, Zhou Zhang, Zhao Ru, and Guan Ping. Since one of the ceremonial figures is Guan Yu, it has been considered and discussed as a Guanwangmyo 關王廟. It is also witnessed by the terms called the East, South, or North tomb that were the existing Guanwangmyo, or even 'West' tomb 西廟. Of course, the relationship between Guanwangmyo and Soongeuimyo cannot be excluded because they both have Guan Yu. However, Soongeuimyo is different from Guanwangmyo in some aspects. Soongeuimyo was of a higher grade than Guanwangmyo in the quality of the ceremonial figures, and it had a completely different music and dances 악무, in which it included court music(雅樂), orchestra for court music(雅樂樂懸), and Yugilmu 六佾舞. Since the first enshrinement ritual in April 27, 1904, the period of Soongeuimyo Jerye was performed for only 4 years until the close in July, 1908, which made it less known. Furthermore, because Japanese Governor General used Soongeuimyo land as orphanages and schools for the blind and the dumb, the tomb areas were completely destroyed and the space to recall memories of Soongeuimyo was lost. However, Soongeuimyo Jerye was one of the country's important ceremonies conducted as Joong Sa 中祀 with complete assessment of traditional music and dance for Jerye. Also, as a Jerye that Go Jong 高宗 designed as a strong soldier policy after his coronation as an emperor to enhance Dae Han empire's military power, it has much significance as Dae Han empire's last national ceremony newly created besides Hwangu Jerye 圜丘祭 after his coronation.

• Journal of the Korean Society of Food Culture
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• v.24 no.6
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• pp.607-612
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• 2009

Sundubu, Pork-Bulgogi, Kimchi-pork, Pork rib, Samgyetang, Stir-fried squid, Stir-fried chicken, Braised potato, Braised tofu and Jabchae were selected as takeout-style Korean food items. Sensory evaluation using a 9-point hedonic scale was conducted with residents in Honolulu, Hawaii during a 2 month market test. Among the respondents in the sensory evaluation, Japanese and Americans constituted 32.8% and 25.3%, respectively, of total respondents, which reflect the residential races in the state of Hawaii. The sensory scores of each attribute were judged as follows : aroma 7.2~8.2, color 7.0~8.2, flavor 7.2~8.2, overall preference; pork rib 8.2, pork Bulgogi=braised potato 8.1, stir-fried chicken 8.0, kimchi pork 7.9, Sundubu 7.6, Jabchae and braised tofu 7.5, stir-fried squid 7.2, Samgyetang 7.0. In a satisfaction survey using a 5 point scale after a 2 month market test, the scores of each satisfaction attribute such as quality, price, convenience, difference, etc. were shown to range from 4.1-4.6, indicating that 10 take out-style Korean food items were very popular with Hawaiian consumers. These results suggest that Korean food items are competitive with other ethnic foods in the Hawaii market.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.6
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• pp.347-359
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• 2016

People are destined to live according to the time and fate after they are born. Man is connected with the idea that is called the Chinese zodiac sign related to one out of 12 animals, regardless of one's thought. This paper was written with the expectation that it will be a new turning point understanding the mutual influence and its changing process by catching the ethnic belief and emotion as well as its cultural background in the Asian Zone by investigating the meaning of the 12 Chinese zodiac shown in the folk painting from the viewpoint of folk lore including "Chinese zodiac sign" culture rooted in our daily lives. The animal 'Rat' has been lived well human beings accompanied by the fable or the nature, while the animal 'Ox' has been living together with human history. The 'Tiger' has been considered the 'Power retreating disease or a devil' to humans, which is the most frightening but near at hand. The 'Rabbit' in the fable is inculcating hope and ideals to humans. The imaginary 'Dragon' is rooted in the deep national belief, which is seated as 'Guardian god' of farming culture and mankind, while the 'Snake' is playing a role in protecting humans as the 'Sea God' in Tsushima and Jeju Island, and has been believed and followed in the deep mind of humans. The 'Horse' in the nomad culture has been adorned as the basic creature of nomadic society in the character of a psychic medium between the human and god or their 'Guardian god'. The ancient Japanese regarded 'Monkey' as holy, being connected with treasure. It infers a human's desire to borrow wisdom from 'Monkey'. 'Chicken' includes the meaning of a lucky sign connecting the sky and the human world by arranging together with humans. The 'Dog' is believed and followed as performing the function of a messenger connecting this world with the afterlife in the next world tale of shamanism. The 'Pig' also lives well with humans, being interpreted as fecundity. Although the meaning of the 12 Chinese Zodiac animals has ethnic differences, all of them have been shared with humans, rooted in the human mind, being believed, and followed in human lives.

• (The) Research of the performance art and culture
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• no.32
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• pp.209-241
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• 2016

"Women's Nong-ak (農樂, Traditional Korean music performed by farmers)" was born together with "Maiden group." This study focuses on the reason why women appeared as principal agents of Nong-ak which was almost exclusive to men previously and especially, on the appearance of women Nong-ak Artists who was previously worked in Traditional Drama Troupe. This study empirically deals with details of activities of Maiden's (娘子) Nong-ak troupes and Girls' (少女) Nong-ak troupes through newspaper articles. Women Nong-ak Artists enjoyed popularity with their peculiar attractions. Participating in Nong-ak contests and collecting money for their performances, women Nong-ak Artists learned their skills form masters of Woodo Nong-ak and attracted attention with their colorful costumes. Women of Nong-ak circle especially saw through the trend of the time, expanded their arena of activities and exercised flexibility and ability to react quickly to changing situations while mixing with various genres. In particular, young girls were mobilized to show value and marketability of Korean culture as cultural medium who decorated "Pure Nong-ak art stage." They were no different from "Pretty dolls dancing like angels" who could not purse their interest and economic benefit or incite political cause and their patrons were domestic and overseas political figures. Women artists, who put Nong-ak on the stage in the name of Maiden's (娘子) Nong-ak troupes and Girls' (少女) Nong-ak after the liberation from Japanese colonial rule, contributed to expansion of market base. Women Nong-ak artists, who dominated a century in such troupes as Sadangpae, Hyuprulsa, Maiden's (娘子) Nong-ak troupes, Girls' (少女) Nong-ak troupes and Women Nong-ak troupes, were the very heroines who overturned the conventions of "male predominance (男尊女卑)" which filled Nong-ak arena and cultivated a new tradition of Nong-ak culture.

• Journal of Communication Design
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• v.66
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• pp.90-101
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• 2019

South Korea had a hard time creating its own image of a nation that formed its identity due to 6.25, Japanese-style rule, division of South and North Korea, and military dictatorship. Recently, Korea has been searching and spreading its identity by creating a Korean wave such as various events and K-POPs. However, since there are still no images and cultural products representing Korea's identity, it is necessary to develop design contents related to native culture and professional cultural product design. Design powers such as France and Japan focus on design projects that can add value to their national design policy projects. Traditional Korean contents also need to be specialized and continuous in image design and research. In this study, five lucky-SubokGangnYeon(long life, happiness and peace), a representative of Korean culture, studied with the most interest in the old and the modern, namely, "Living healthy long." Through the development of cultural product design and the use of design content, I would look forward to presenting the diversity and direction in producing Korea's own design products and images that fit the trend of modern 'age of 100.' Based on images based on special exhibitions related to longevity of the National Folk Museum of Korea, the museum discovers key used features and meanings, studies patterns and patterns, and analyzes design cases applied to modern cultural product design. We also want to look at the direction available through design content, which is a symbol of llong life happiness and peace. First, cultural products have limitations that lack the development of design products, lack of public relations and sales outlets, and lack of awareness of traditional culture, which should precede policy support and awareness reform at the national level. Second, we need to streamline prices that meet the needs of the market. Third, cultural product design and contents related to tradition can be settled and disseminated more easily when traditional design is utilized and distributed mainly on practical stationery and household goods. Fourth, it is necessary to develop contents of various Korean images based on research on Korean cultural history and aesthetic consciousness. Research on the Korean culture of designers should be conducted, not just in the form of figurative images. Fifth, traditional manufacturing methods and materials should be respected by modern times, but modern production products should be developed with economy and durability.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.164-183
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• 2020

In the textile culture of the Joseon Dynasty, the historic record of Banpo is fragmentary and contains many missing details. The main reason is a lack of associated literature, and it is also significant that the actual substance used is not clear at present. Banpo is a kind of cotton, but this has not been confirmed in the traditional textiles that are currently handed down. The word Ban [斑] in Banpo means "stain", and the letter Po [布] means "fabric". At the border of white discourse, Banpo did not receive attention as a research topic. This study is an attempt to restore some of the textile culture of the Joseon Dynasty through Banpo. Banpo is not just limited to the Joseon Dynasty; it is an important material for examining the development of textile culture and exchange in East Asia. This study was broadly divided into three parts. First, the record and meaning of Banpo during the Joseon Dynasty were examined. Records of Banpo can be seen from the early Joseon period during King Sejo and Seongjong, and the production and actual use of Banpo have been confirmed. Banpo was maintained until the beginning of the 20^th century, but is no longer observed. Banpo is a woven fabric made of cotton yarn dyed in many colors and has appeared in Southeast Asia since ancient times. In East Asia, there are other fabrics similar to Banpo, such as Ho [縞], Sum [纖], and Chim [綅]. In particular, the correlation between Banpo and Ho is an important link in understanding Banpo in the Joseon Dynasty. Second, the meaning of Banpo was examined from various angles through comprehensive analysis of Chinese and Japanese literature records and cases. The appearance and development of Banpo moved in sync with the period when cotton was introduced into East Asia. In East Asia, cotton was introduced and produced in earnest from the end of the Song Dynasty to the beginning of the Yuan Dynasty, and the meaning of Banpo was diversified. In China, the name of Banpo was changed to Hwapo [花布], Gizapo [碁子布], Gizahwapo [棋子花布], etc. Japan was late to introduce cotton and developed it in acceptance of the changed meaning. In Japan, use of the name Banpo is not on record, but a Ryujo [柳條] fabric of the same type as banpo has been identified. This Ryujo is the same concept as Ho and Hwapo, and later merged into Ho. Names such as Ho, Hwapo, Banpo, etc. were used differently in each country, but the form was shared across East Asia. Third, based on the meaning of Banpo shared in East Asia, the format of Banpo in the Joseon Dynasty was classified. The format of Banpo in the Joseon Dynasty can be divided into grid and striped versions. The name Banpo disappeared over time, but the form remained and was passed down until recently. I hope that this study will help restore Banpo in the future.