• Journal of the Korean Society of Costume
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• v.27
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• pp.41-52
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• 1996

This thesis is a rearch on ritual dresses and ideology of new Korean religions primarily cen-tering on the way how religions ideology has been expressed into them. THe results are as follows" 1. The representative ideology in new Korean religions is the beginning of the world after the end religional union anthropocentrism ethno-centrism and social reform. 2 The creator of Mirukbulgyo hinm-self made the ritual dress for Mirukbulgyo Therefore his thought and the thought new religions are expressed variously on literatiure and ritual dress Ritual dress which has been wearing to all the believers show the thought of social reform also it is not connected with the social position and sex distinction. That ritual dresses are used the part of boue color appears the thought of beginning of the world after the end and ethnocentrism The organization of all the dresses contains the ideol-ogy of religional joined-one. Each dress embodies the ideology of religional union and anthropocentrism in its Inhwagwan, Chungbok contains the ideology of religional union which Taosim prefominanates and ethnocentrism P'oui contains the ideology of beginning of the world after the end and the ideology of social reform.form.

• Korean Journal of Human Ecology
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• v.1 no.1
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• pp.27-43
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• 1998

The purposes of this study were to find the general trends of marriage-ideology reflected on the view of marriage of unmarried men and women, to estimate the differences according to related variables and to investigate relation of variables and marriage-ideology. The samples were selected from the unmarried 164 men and 235 women living in Kwang-ju. The major findings were as follows; 1. Unmarried men and women didn't reveal high level of marriage-ideology but men's marriage-ideology scores were higher than women. The overall tendencies were that women's achievement of vicarious status was more imporant than that of personal status, marriage was the male-leading union and men's conditions of mate-selection must be superior than woman. Unmarried men and women usually did not accept equality between sex and they have strong gender-stereotype. In the view of sexuality, premarital viriginity and extramarital intercourse were more rigid with woman and they took a serious view of man-centered kinship. 2. Marriage-ideology were significantly different according to mother's age, necessity of marriage, motive of marriage, marriage taboo according to family origin, the eldest son's parent care-giving, a notion of preferring a son. 3. Men and women's marriage-ideology was positively related to variables. Especially, women's marriage-ideology had high relation to motive of marriage and a notion of preferring a son. But women's marriage-ideology was negatively related to educational level. (Korean J Human Ecology 1(1) : 27∼43, 1998)

• Journal of Agricultural Extension & Community Development
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• v.11 no.1
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• pp.1-19
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• 2004

The objective of this study was to find a linkage of ideological background between agricultural extension education and lifelong education. This study was conducted by analyzing the studies related to agricultural extension and lifelong education. Review of literature and documents was main methods of this study. The study reviewed and analyzed the concepts, characteristics and ideology of lifelong education, and presented some general characteristics of lifelong education in the context of educational ideology. As a result of the study, the following five characteristics of lifelong education in the context of educational ideology were presented; 1) lifelong education is the supreme concept of education and includes all kinds of education, 2) lifelong education is the future direction of educational ideology and philosophy rather than a kind of educational practice, 3) lifelong education means the security for a right of learning through the entire life-span of an individual, 4) lifelong education has the innovative function of the existing situation of education; viewpoint, contents, and methodology of learning, 5) Lifelong education runs ultimately towards a 'learning society'. Agricultural extension and lifelong education shared the similar ideological background in general, and have the similar basic philosophy. The ideology and philosophy of lifelong education should be reflected into the ideology of agricultural extension to broaden the perspectives of agricultural extension in the future.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.3_4
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• pp.454-463
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• 2002

The purpose of this thesis is to understand the role and meaning of costumes in feudal dynasties through Ideology, Content, and Consequence of Costume Policy of Qing. And this is to investigate the Ideology of Costume Policy as the first strep. The ideology of the costume policy of Qing dynasty stemmed from the ethnic identity. Huang-tai-ji(황태극) was not only the emperor, but the Qing's principle costume policymaker. He thought that the Man people's horse-riding and archery was the basis of their nation and their costume was vital to these abilities. Therefore if thar changed to the large sleeve costume of the Han people, they would lose their ethnicity. Hurting-tai-ju succeeding emperors continued the ideolo효 of retaining ethnicity.

• The Korean Journal of Archival Studies
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• no.40
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• pp.95-130
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• 2014

Three frequently used documents by researchers on the Japanese colonial period-Classified Police Records of the Japanese Government-General of korea on the Anti-Japanese Movement 舊 朝鮮總督府 警務局 抗日獨立運 動關係 秘密記錄, Trial Records of Gyeongseong District Court 京城地方法院 裁判記錄 and Filed Documents of Gyeongseong District Court 京城地方法院 編綴文書(while the latter two were collected by the National Institute of Korean History, the former was collected by Asiatic Research Institute of Korea University)-are among the same records group that the Prosecutor's Office of Gyeongseong District Court produced through registration and compilation. As contents related to ideology suppression and thought control were numerous, it could be assumed that most of the materials were produced by the 'Department of Ideology' of the Prosecutor's Office. By examining the administrative records of the 1920's within this group, the process of how the 'Department of Ideology' was formed is clearly shown. As ideological movements for Korea's independence and revolution grew, execution of regulations was further expanded by the Prosecutor's Office. Since the mid-1920's, information on ideology had been separated from general information, was routinely collected heavily, and was considered more valuable than the general information. By the end of the 1920's, the term Ideology Prosecutor 思想係 檢事(meaning a prosecutor who specializes in ideology verification) and the named 'Department of Ideology'(思想部) emerged on the records.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.1
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• pp.175-191
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• 2012

It is said that the mainstream of the oriental culture is Confucian culture, but not be the unique culture of Korea. The religious object in Taoist ideology of immortality reflecting the awareness of cultural community and Korean identity was three spirits. Three spirits are one spirit in terms of main subject. Three spirits were named because they rule the heaven, the earth and human beings each in the reality. The custom performing the religious service to the heaven and the earth is not based on the Taoist ideology of immortality but only the superstition which we can't understand. However, we can clearly understand the reason why the ideology has been transmitted up to now in our awareness and culture when we understand the basis of that ideology. The theory on the origin based on the birthplace of Taoist ideology would be based on the shamanism of Eastern barbarianism and their cultural features. Accordingly, this paper aimed to identify the formative features of phoenix pattern and background of the formation of phoenix pattern based on the unique culture of Korea. Furthermore, the traditional craft works of Korea with the phoenix pattern which secured its position as the representative pattern of Korea will be investigated.

• (The) Research of the performance art and culture
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• no.42
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• pp.23-45
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• 2021

In the 1980's, Lee Geun-sam wrote critiques that analyzed North Korea's performing arts and ideology. In the critiques, he posits the following characteristics of North Korea's performing arts. First, the works are designed in such a way to befit the purpose of the authorities' policy. Second, the works embrace political ideology whose purpose concerns class struggle. During the critique process, Lee Geun-sam compares the "freedom" of the performing arts activities in South Korea and the "regulatory" aspect of North Korea's performing arts activities and reveals implicitly the superiority of South Korea's system. In addition, Lee Geun-sam criticizes the political ideology of North Korea's performing arts and objects to viewing the concept of ideology from a Marxist viewpoint. According to Lee Geun-sam, an ideology is explained as an idea system representing an artist's conscious/unconscious worldview. Also, he contends that arts should distance itself from political ideology.

• Cartoon and Animation Studies
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• s.15
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• pp.109-122
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• 2009

Cultural policy, a part of ideological policy has affected remarkable changes in movie and animation. Korean animation was called cartoon movie and popular only among children, but works dealing with anti-communism ideology have been introduced in Korea since before/after 1970s. Animation focusing on ideology is not unique in Korea, but division of two Koreas after Korean War made great influence on social, cultural and educational aspects of the nation. Moreover, modification in movie-related laws and regulations made in 1960s - 1970s affected movie and animation significantly and is a means of strengthening anti-communism. In particular, Director Cheong-gi Kim's released in 1978 is meaningful in that it is the first long piece of animation movie. In this study, I clarify anticommunistic ideology reflected on the anticommunistic animations and the imageable expression of ideology reflected on . Most of all, I emphasize on clarifying how the cultural policies and social & cultural background influence on the advent of anticommunistic animation in 1960${\sim}$1970. Also, to communicate anticommunistic ideology reflected on produced under the social & cultural background, I clarify the expressive characteristic which the image of animation has.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.85-125
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• 2012

Geun Hyung Park is one of the playwrights who consistently pursues his unique world of play. One of the characteristics that is constantly discovered in Park's plays is the motif of 'family.' Park chooses family as the motif in most of his work. Park particularly emphasizes 'family life' rather than 'individual life' to focus on the internal problems of families. Therefore, the motif of family in Park's plays takes a very important position in the content and theme. The Korean society imposes unique value on families and possesses a strictly obstinate family ideology. Park observes distorted family relations or individuals who cannot be happy within their families to identify the problems related to the family ideology that is deeply rooted in the Korean society. This is one of the important backgrounds for which Park is constantly dealing with 'family life.' This study selected five of Park's most famous plays to specifically examine Park's critical understanding of family ideology. First, his criticizes extreme family egoism by depicting a family that cannibalizes people to keep the family full. Park chooses 'absurd time and space' and the extreme subject of 'human flesh' to warn his audiences about the awful consequences of family egoism. His , which is the only piece that deals with family history among the five pieces selected, criticizes Korea's unique family-centered ideology by humorously depicting the history of the Cho family that is all about maintaining and worshipping the its clan. He reveals the unethical and hypocritical attitudes of the Cho family for the audiences to reconsider the family-centered ideology of the Korean society. In , he talks about the son and the father who lose his ethical authority and fail to perform his paternal responsibilities to criticize the traditional family ideology of patriarchism and suggests the pessimistic future of patriarchism. contrasts a blood-related family with an irresponsible father and a quasi-family to criticize the identity of blood-related families. In , Park depicts a 'smelly house' of a family in agonizing relations to deny the family myth and the maternal myth. He clearly shows how the ideals of family myth and maternal myth are distant from the reality. In result of this study, Park's criticism of family ideology appears in various forms. He comprehensively criticizes both the general family problems and the unique family issues of Korea. The family ideology of Korea is currently undergoing a radical change. It has been long since the traditional family ideologies have exposed problems to show the signs of crisis. Also, there have emerged various forms of families, including single-parent families, one-person families, adoption families, and multi-cultural families. In this respect, Park's critical understanding of family ideologies allows you to see the obvious family forms from a new perspective and greatly contributes to awakening the essential questions about families. Park's work is noticeable among the various artistic and literature pieces that deal with family issues because of his extraordinary skills to capture the key issues inherent in the problems of family ideologies.

• Cartoon and Animation Studies
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• s.47
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• pp.149-170
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• 2017

which was first shown as TV series in 1995 has been highly praised until now successful animation that reflected human psychology and ideology. first gained popularity in Japan and spreaded into global animation market. Characteristics of can be summarized as mechanical design, realistic military mise-en-scene, and philosophical view of the world based on the bible. All works reflect the philosophy and ideology of the writer/creator, but reflects various form of ideology. Furthermore, 's ambiguous and vague plot made the fans to discuss and analyze about the work, which brought secondary marketing effect. In this report, the ideology reflected in will be analyzed and understand how these ideologies were reflected in the work. By analyzing religious, psychological and philosophy ideologies in , ideology can be proved as success factor of animation films.