• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.2
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• pp.54-60
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• 2018

The purpose of this study is to analyze the garden details of Carla Scarpa in order to understand his selection and composition of materials, detailing style and symbolism of the spaces. Literature review and a field trip were conducted for the study and the results are as follows. First, Scarpa used vernacular materials such as Murano glass and Istrian limestone, and juxtaposed various materials using contrast of color and texture. His mixed uses of traditional and modern materials shows the passage of time. Second, he create his own detail style such as ziggurat and geometric motif, which make the garden space to look more interesting and rich. Scarpa respected local craftsmanship like glass design and used textile design style such as overlaying. Third, symbolic uses of water features help make narrative and poetic gardens. Scarpa's unique detail style and respects for traditional craftsmanship provide lessons on how to interpretate traditional design style in modern garden.

• The Southeast Asian review
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• v.21 no.1
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• pp.137-184
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• 2011

This article is aimed at understanding the political narratives represented in the National Museum of Indonesia. Starting initially as a colonial museum, the National Museum of Indonesia functioned as a useful tool for the Dutch colonial force to fuel its imaginations of the colonial territory and the people within it. The Dutch used the cultural display to advertize its benevolent colonial rule. All the while, the museum also inevitably reflected orientalism on the people and the culture of the colony. The republic of Indonesia inherited the colonial museum's practices and its display patterns. The business surrounding the museum also played a key role in the newly-born nation-state laying out a future for its redefined territory and people. Thus, what the colonial force imagined for the colonial territory through the study of museum displays was rather directly transferred to the republic without serious consideration of the decolonization process. Four main characteristics have been seen in the museum displays. The first is an emphasis on the glorious Hindu-Buddha history, from which numerous temples, statues, and jewelry have been found. Secondly, the Islamic period, which spanned between the Hindu-Buddha times to the colonial era, has almost completely been eliminated from the display. Third, the colonial era has been depicted as the time of Europe's exportation of scientific tools and adaption of sophisticated living patterns. Fourth, the images of ethnic groups were represented as being stagnant without reflecting any challenges and responses that these groups had faced throughout history. Looking at these display patterns, it can be concluded that all the dynamic internal developments and anti-colonial resistance that took place during the Islamic and Colonial Era have simply not been represented in the museum display. These display patterns do not reflect the real history or culture of the archipelago. Two considerations are thought to have influenced the neglecting of social realities in the display. The first of which is the Dutch's and Republic's apprehension over the possible political upheaval by the Islamic forces. Yet, more fundamentally, cultural displays themselves are distinct from historical education in that the former pays more attention to business ideas with an aim to attract tourists rather than to project objective historical knowledge. Thus, in cultural displays, objects which work to stimulate fantasies and spur curiosity on archipelagic culture tend to be selected and emphasized. In this process, historical objectivity is sometimes considered less vital. Cultural displays are set up to create more appealing narratives for viewers. Therefore, if a narrative loses its luster, it will be replaced by another flashy and newly-resurrected memory. This fact reveals that museums, as transmitters of historical knowledge, have a certain degree of limitation in playing their role.

• Journal of Digital Convergence
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• v.19 no.9
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• pp.289-297
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• 2021

Animation is a media reflecting social ideas, not only conveying information but also creating a new discourse. The purpose of this paper is to examine the social issues and gender discourse reflected in the media by analyzing the gender discourse inherent in the protagonist and surrounding characters, narrative characteristics, and background of the Ghibli animation "The Tale of the Princess Kaguya". As a research method for this purpose, figure out social problems related to gender performance, and analyze prior researches to derive a connection with the gender discourse in the animation. Grandfather is symbolic of a father who forces his daughter to follow his chosen happiness, and grandmother represents a mother who can not stop her husband. Stemaru is the character not in the original, posing a question of the problem of gender performance while failing to get married due to lack of sufficient wealth and honor. Princess Kaguya had been self-reliant and active like a modern woman at the beginning of the story. However, after being suppressed by society and people around her, the stereotyped gender performance forced Kaguya, who longed for the earth, to wish to return to the moon. Such social pressure happens in modern society. Gender performance is a systemic problem to be solved with systemic change. For this reason, constant consideration such as this paper is needed.

• Cross-Cultural Studies
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• v.41
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• pp.57-84
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• 2015

During the Japanese rule, there was an abundance of Japanese writers using colonial Taiwan as the backdrop for their work. However, after Japan's surrender and Taiwan's independence, such writers became nearly invisible. With recent relations between Taiwan and Japan drawing closer, novels and films tracing the modern relationship of the two nations are continually being introduced. Tsushima Yuko's 2008 novel Too Savage and Yoshida Shuichi's 2009 work Road also sprout from the shift in the two countries' and East Asia's historic and political atmosphere. The two books are similar in the sense that they both use countries as the backdrop and recall colonial times. However, the perspectives of the two greatly differ. This paper will compare the meaning behind the narrative strategies that the two authors take in remembering colonial Taiwan and the relationship of the two countries. It will be quite meaningful for Koreans to research the recent works of Japanese writers depicting Taiwan, as Korea also shares a similar modern history. It will also be a good opportunity to ruminate on the entangled modern history of the East Asian region and review relevant literature and culture.

• The Korean Journal of Archival Studies
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• no.39
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• pp.229-280
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• 2014

This essay focused on the critical review of Korean National Archives System(KNAS) since 1999. We think that KNAS could establish the backbone with basic records law on 1999. It's right. But it is not enough for explaining the full historical growth. there are some factors below the growth. This essay tried to the basic three factors below. That means the the demonstration discourse, archival system practices, and archiving technologies in the contexts of the unique standard by the basic records law. These three factors have been the powerful engine for the take-off of KNAS since 1999. However, the powerful history has shadows of growth. This essay narrated the shadows by the frame of 'counter-destiny'. The most dangerous shadow is the loss of archival cultures because the KNAS has been composed of efficiency mentality. That means that KNAS has no unique archival culture for citizenship. So, this essay tried to talk about 'Post1999' to Archives Community.

• (The)Korea Educational Review
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• v.23 no.1
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• pp.231-260
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• 2017

The Fourth Industrial Revolution foreshadows radical changes in our lives. In the era of the fourth industrial revolution called the digital revolution, individualized learning based on ubiquitous learning is emphasized. The contents of learning will be centered on procedural knowledge rather than narrative knowledge, and fusion education in which boundaries between learning domains are broken down will be achieved. First of all, learners in the fourth industrial revolution era should have critical thinking and problem solving abilities. Metacognition based on self-control and cognitive flexibility is important for effective self-directed and active learning. Creativity-based collaborative activities, social vision skills, and social and emotional skills are also important competencies. Therefore, in order to provide individualized learning contents to learners in the fourth industrial revolution era, they should be transformed into learning paradigm based on personal characteristics such as learners' self-efficacy, interest, curiosity and creativity. In addition to this, evaluation forms should be diversified according to changing teaching and learning methods. In order to cultivate teachers to lead such educational innovation, it is necessary to reconsider the teaching capacity. Teachers should be able to construct creative lessons by skillfully exploiting technology in future learning environments. In addition to this, it should also have the ability to collaborate and cognitive flexibility to converge with other academic disciplines. Along with these discussions, we proposed the need for policy intervention along with changes in education.

• The Journal of the Korea Contents Association
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• v.21 no.12
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• pp.748-756
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• 2021

In this study, as the first attempt to develop an experiential game tourism program using Korean classical literature, the primary research was conducted on Kim Soo-Jang and his anthology "Hae Dong Ga Yo". To this end, a theoretical review of the value of hands-on games and Korean classical literature as tourism content was conducted first. Afterwards, the consumers for the program were set up into three categories: family unit, MZ generation including lovers, and foreigners. A survey was conducted to confirm the program preference of each group. According to the analysis framework, the main value of each historical and cultural resource in "Hae Dong Ga Yo" and seven sijo pieces created by Kim Soo-Jang was discovered and, based on the survey, the preferences of the consumer related to the target were analyzed. Accordingly, the narrative structures were organized differently for each group. An adventure plot was designed for the family unit, a love plot for MZ generation and lovers, and a mixture of adventure and love for foreigners. Utilizing stories from Kim Soo-Jang and his works, which are rarely used despite their value, this study attempted to develop them into hands-on game tourism programs to create new outlets in terms of both Korean classical literature and the tourism area. In the future, if various Joseon literati are discovered and their storytelling is continued, we can expect the vitalization of the travel product line with the concept of classical literature travel.

• Women's Studies Review
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• v.29 no.2
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• pp.3-35
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• 2012

This paper attempts to examine complicated relations which the nineteenth-century English novel of female development has with the Bildungsroman genre, and to discuss that the story of female development effectively realizes the potential dynamics of the genre. It looks into the history of discussions on the Bildungsroman which began at the end of the nineteenth-century in Germany and developed among twentieth-century Anglo-American critics, and those on the female development which didn't start until feminist criticism ventured out at the end of 1970s, and have developed into various perspectives ever since in accordance to the progress of feminist criticism. In general, Bildungsroman criticism considers that it portrays the process how the protagonist develops self and achieves an accommodation with society. However, this paper points out that the Bildungsroman is the narrative form which represents conflicts between self and society caused by idealizing the infinitive possibility of self-determination while simultaneously presenting the limited goal of social integration. It argues that the subversive dynamics of the genre can give full play to its potential when it reveals contradictions and tensions between individual subjectivity and integration into society and connects them with criticism of political and social structures. It is the stories of female Bildungshelds depicted by nineteenth-century female writers that exquisitely embody the subversive potential of the Bildungsroman. They acutely experience alienation from society where independency or autonomy is fundamentally impossible because the ideology of separate spheres does not allow them to live a meaningful life economically and sociologically outside the marriage. An example of a female Bildungsheld whose conflicts between development of self and integration with society are doubled by gender is Jane Eyre. Jane Eyre is a representative Bildungsroman with subversive dynamics, which tells the story of female development but splits itself through various techniques inserting contradictory and opposite meanings, thus resignifying female development and questioning social and political structures.

• Journal of Physiology & Pathology in Korean Medicine
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• v.38 no.1
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• pp.1-9
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• 2024

Cognitive reserve (CR) is a concept that can explain the discrepancies between the pathologic burden of the disease and clinical manifestations. It refers to the individual susceptibility to age-related brain changes and pathologies related to Alzheimer's disease, thus recognized as a factor affecting the trajectories of the disease. The purpose of this study was to explore the current states of clinical studies on neural substrates of CR in Alzheimer's disease using functional magnetic resonance imaging. We searched for clinical studies on CR using fMRI in the Pubmed, Cochrane library, RISS, KISS and ScienceON on August 14, 2023. Once the online search was finished, studies were selected manually by the inclusion criteria. Finally, we analyzed the characteristics of selected articles and reviewed the neural substrates of CR. Total thirty-four studies were included in this study. As surrogate markers of CR, not only education and occupational complexity, but also composite score and questionnaire-based method, which cover various areas of life, were mainly used. The most utilized methods in resting-state fMRI were independent component analysis, seed-based analysis, and graph theory analysis. Through the analysis, we demonstrated that neuroimaging techniques could capture the neural substrates associated with cognitive reserve. Moreover, functional connectivity of brain regions centered on prefrontal and parietal cortex and network areas such as default mode network showed a significant correlation with CR, which indicated a significant association with cognitive performance. CR may induce differential effects according to the disease status. We hope that this perspective on cognitive reserve would be helpful when conducting clinical researches on the mechanisms of traditional Korean medicine for Alzheimer's disease in the future.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.45-86
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• 2020

In this article, the "modernization of the tradition" constructed on the cultural politics and the way in which it appropriated in the korean theatre in the 1970s were analyzed. It is trying to reveal its implications. It is also a work to critically review the aspects of self-censorship in the korean theatre in the 70s. To that end, we looked at the theatre company Minye Theatre, which preoccupied the traditional discussions in the 1970s by creating national dramas. Until now, the evaluation of the theatre company Minye Theatre in the 1970s has focused on the achievement on the directing of Heo Gyu, who promoted the succession and transformation of tradition. However, the traditional ideology constructed in the state-led cultural politics in the 70s and the way in which it was operated cannot be evaluated only in terms of artistic achievement. The ideology of tradition is selected according to the selective criteria of the subject to appropriate tradition. What's important is that certain objects are excluded, discarded, re-elected, re-interpreted and re-recognized in the selection process of selected traditional ideology. This is the situation in the '70s, when tradition was constantly re-recognized amid differences between the decadent and the disorder that were then designated as non-cultural, and led to a new way of appropriate. The nation-led traditional discussion of the '70s legalized the tradition with stable values, one of the its way was the national literary and artistic support. Under the banner of modernization of tradition, theatre company Minye preoccupied the discussions on the tradition and presented folk drama as a new theatre. As an alternative to the crisis of korean theatre at the time, the Minye chose the method of inheriting and transforming tradition. It is noteworthy that Heo Gyu, the representative director of the theatre company Minye, recognized the succession and transformation of traditional performance as both a calling and an experiment. For Heo Gyu, tradition was accepted as an irresistible stable value and an unquestionable calling, and as a result, his performance, filled with excessive traditional practices, became overambitious, especially when it failed to reflect the present-here reality, the repeated use of traditional expression tools resulted in skilled craftsmanship, not artistic creation. The traditional ideology of the 70s unfolds in a new aspect of appropriation in the 80s. In 1986, Son Jin-Cheok, Kim Seong-nyeo, and Yoon Mun-sik, who were key members of the theatre company Minye Theatre, left the theatre to create the theatre company Michu, and secured popularity through Madangnori(popular folk yard theatre). Son Jin-Cheok's Madangnori is overbearing through satire and humor. It gained popularity by criticizing and mocking state power. On the other hand, not only the form of traditional performance, but also the university-centered Madanggeuk movement, which appropriated on the spirit of resistance from the people to its traditional values, has rapidly grown. In the field of traditional discussions of the 70s, Madanggeuk was self-born through appropriation in which the spirit of resistance of the people is used as a traditional value. Madanggeuk as well as Michu that achieved the popularization of Madangnori cannot be discussed solely by the artistic achievement of the modernization of tradition. Critics of korean theatre in response to state-led traditional discussions in the 70s was focused only on the qualitative achievement of performing arts based on artistry. I am very sorry for that. As a result, the popular resistance of the Madanggeuk and the Madangnori were established in the 'difference' with the traditions of the theatre company Minye Theatre. Theatre company Minye Theatre was an opportunity for the modernization of tradition, but the fact that it did not continuously produce significant differences. This is the meaning and limitation of the "tradition" of the theatre company Minye Theatre in the history of korean theatre in the 1970s.