• Cross-Cultural Studies
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• v.25
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• pp.337-362
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• 2011

This study focused on difference of the nation's concept between Ko un's Baekdusan and Lee uk's Gohyangsaramdul, Pungungi. These works are epics restructure nation's history. A epic's story provides framework of recognition to social members. An individual and community accept their story and then stories construct pesonal identity and community's identity. So we can say a epic configurates national identity by story nation history and nation territory. The nation's concept is understood steadfast and very pure as like a blood relationship in Korea. This is aspects of Korean nationalism. But the Nation is modern, social and historical concept. That is different from ethnic identity. This way throws open the door to analyze nation identity. Ko un's Baekdusan narrates permanence and sacralization of the nation for emphasizing the unification of North Korea and South Korea. Baekdusan expresses the social desire of Korea in the 1980s. In comparison, Lee uk's Gohyangsaramdul representate ambivalent attitude. One is a position as a settler and the other is a new master of Yanbian Korean Autonomous Prefecture. So Gohyangsaramdul narrates and remembers their motherland Chosun. But Pungungi exclude recognition of Chosun as motherland. This work's narration focuses on association with struggle of classes and anti-Japanese Movement during the Japanese colonial period. Because these events are able to unity Korean and Chines. Three works deal with same history and same background, but those show defferent recognition about the Nation. Because each society has different social desire and expect different future. The present desire and future prospect construct nation identity.

• Journal of Korean Philosophical Society
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• v.144
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• pp.17-31
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• 2017

In the beginning of the 21st century, UNESCO (The United Nations Educational, Scientific and Cultural Organization) thinks the key to the battle is "morality," and thus proposes the norm of ethic, morals and values. Not only have countries all over the world responded to the proposal, but we in Taiwan are also involved in the campaign, hoping through the new movement, the deviant values are to be modified. "Doctrine of the mean" is the best essence in Confucianism when it comes to the idea of government ruling by a virtuous king, who possesses sincerity, a crucial element to inspire better character. Moral teachings nowadays emphasize the fact that a person should own ethic virtue and behave accordingly. Only via constant practice and training can people obtain sincerity and virtues in the learning process, in which Confucianists rely mostly on self-discipline while more tactics are applied to modern education.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.171-208
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• 2013

Site-specific performance is always the real on-site work taking place at the site. Hence, it deals with the reality, in other words, the time of creation and formation. And it creates value and meaning through the interaction and continuous direct communication process between the performers, audience and the local residents. In this performance, the audience's status as the passive observer changes. They become the co-agent who actively lead and complete the performance through their own experience. We have examined the The Working Methods of Site-specific Performance and Aesthetics of Effect through four Korean performances ; Marie, An aesthetic experiment of site as the storyteller; Heterotopia and Urban Movement Research or Play: We Will Move Your Sofa, as performances which have Revealed history, politics, institution engraved in the site ; A Song of Mandala and Miracle, as a ritualistic site-specific performance at the historic site. Some remarks on Site-specific performance ; First, In Site-specific performance, the habitus peculiar to the stage art and the mode of reception are changed. Second, a new mode of theatrical communication requires creator and audience to have a sharp aesthetic sensibility and to change one's perceptual habit. Third, Site-specific performance can act as a demonstration for the viewpoints of political activism through what could be called a dramatic close-up effect. Fourth, Site-specific performance also has the risk of merely becoming an unfocused and scattered performance or degenerating into a pseudo-sightseeing. To avoid this, an in-depth study of the site and its socio-cultural context, and the clear motivation with which one is trying to reveal and tell from the site must be indispensable. As the co-agent, the audience should also be aware and think about what the given performance signifies today.

• The Journal of the Convergence on Culture Technology
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• v.10 no.4
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• pp.627-637
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• 2024

This paper studies the Soundscape, a movement that seeks to break away from the traditional conventions of music culture. To this end, I will examine how social, cultural, and technological developments have influenced the paradigm shift in music culture by paying attention to the Soundscape. I understand the characteristics of the Soundscape as a change pattern and discuss the characteristics of hearing and listening experience that have been overlooked so far from a phenomenological perspective. For the above discussion, Murray Schafer's concept of Soundscape, and for a phenomenological understanding of hearing and listening experience, une spatialité de situation, point d'écoute, horizons au son, champ auditif, le premier plan et l'arrière-plan, temporal focus, space-time, and l'être-au-monde are discussed. I hope that understanding the characteristics of sound, hearing, and listening experience will contribute to presenting new ideas for creative expression in artistic creation.

• The Journal of Art Theory & Practice
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• no.1
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.2
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• pp.137-158
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• 2005

Modernization of Korea had begun with the reformation of the Kab-o Reform in 1894, which the government had designed after the protectorate treaty with Japan in 1876. It had affected drastic changes on the formation and framework of a Han-bok by government and the main changes is found in creating new style of Gae-ryang Han-bok. During 1980's, the peoples were interested in traditional cultural heritage, and 'the campaign of wearing Woo-Ri Ot' prevailed in Korea to instill the radical sprit of Korean. A Han-bok, which was made at this time, has called a Saeng-hwal Han-bok. The purposes of this study are to defue the the words that are Han-bok, Gae-ryang Han-bok and Saeng-hwal Han-bok of meaning and characteristic based on the previous studies and historical materials and present a unified and historical opinion about Han-bok to the academic world and industry of Han-bok by the consideration. Han-bok is a traditional costume with a long skirt and long breast-tie based on the later Cho-sun and is emphasized a virtue and manner on it. Gae-ryang Han-bok is an improved Han-bok that is include with a Tong-Chima and Jeogori for making a movement and function better. Saeng-hwal Han-bok is originated by the movement of wearing Woo-ri Ot in 1984, is interpreted the traditional Korean beauty from the modem view and is a practice Han-bok for popularizing intodaily life. After investigating the 33 of previous studies, the characteristics and transitions of Han-bok are followed. First, the reason of fail about the reform of dress is a loss of traditional beauty. Second, the yes or no of the establishment of law about the reform of dress, it influenced on a reforming or wearing speed of costume. Third, after 8.15, a modem girl and girl student can not impact on a system of Korean women anymore because, the number of the group that means a high educated and active woman, was growing. So, the elevation of women's education matured the system of Korean women's costume. forth, western style clothes are popularized after the Korean War and it is set down in the system of Korean women's dress.

• Cross-Cultural Studies
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• v.25
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• pp.391-420
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• 2011

Christina Rossetti's novella Maude displays Tractarian influences in terms of Holy Eucharist, Puseyism, and the doctrine of Reserve. Tractarianism is High Church revival movement of nineteenth century. In the story a teenage girl, Maude went through hard time receiving Holy Eucharist due to self-consciousness and internal guilt according to Puseyism. She felt guilty when she enjoyed worldly things and outward beauty. Due to guilt Maude refused to receive Holy Communion, which is complete connection to God. Her cousin, Agnes suggested that in refusing Holy Communion Maude is following her own will not God's will. Later Maude overcame Puseyite thought of self-hatred and reconciled with her identity as a poet and a woman. Maude oscillates between concealing and revealing, secrecy and truth, sincerity and affectation, and modesty and display. Her marvelous poetic talent makes people praise her but she withholds private feelings and attempts to divert attention from herself. Like Maude herself, the meaning of her poems is at times reserved and withheld. This tendency goes with the doctrine of Reserve in Tractarianism. The doctrine of Reserve utilizes indirect methods to reveal divine attributes because finite human being can not accept infinite God. The doctrine of Reserve sees to it that the expression will be veiled, indirect, subdued and self-effacing. Rossetti adapts a poetic method of Reserve when Maude has anxiety over 'display and poetry' and generates the reticence, secrecy, mystery, renunciation, modesty and detachment. According to Mary Arseneau, by veiling and expressing herself through symbols she can rise above the self and employ the phenomenal to suggest a noumenal reality. Thus the poetry becomes an expression of longing for the divine. The poem "Three Nuns" exemplifies Maude's maturity and gradual progress in the relationship with God. Rossetti suggests the vision full of hopes and promises of reuniting with God. In conclusion, in some sense, authoritative and conservative Tractarianism affects Rossetti both ways. On the one hand, it makes Rossetti abnegate herself and leads her to asceticism, on the other hand, it makes Rossetti express her faith in God and write amazing devotional poems such as "Three Nuns". A poem within the poem has three voices that are in perfect harmony. In the poem the first and second nun show hesitation to fully commit to God's will and the desire for the world prevents them from having heavenly joy. Third nun reveals spiritual maturity and sings new life in God where their hopes and joys begin. Rossetti expresses the procedure of spiritual growth through the poem "Three Nuns". For Rossetti, self-abnegation and self-expression both are involved in the doctrine of Reserve, Puseyism and Holy Communion.

• The Journal of the Korea Contents Association
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• v.14 no.10
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• pp.506-513
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• 2014

As a measure to overcome the limit of small city which is weak in spontaneous competitiveness and to improve the quality of environmental, cultural and economic life of dwellers, it analyzed the geographical characteristics of city, movement path, economic status and other simple problems comprehensively and produced the vague problem solutions for dwellers and the practical direction for design using the 3D simulation rendering in order to suggest the result to change the potential for urban policy into substantial alternative. Geochang-gun selected as research area is evaluated for the place with high symbolic value of bridge in terms of environment, and the new design development for this kind of public design can be the good measure to increase the competitiveness of the city. This research is to understand the direction of the bridge recreation project which provides the cultural space connecting with other areas and improves the competitiveness of small city and to suggest the appropriate bridge design in order to provide the reasonable maintenance direction related to the future development of public design and the achievement of the symbolism of the region and to suggest the examples of public design for the urban competitiveness. For this purpose, focusing on Wicheon-stream in Geochang County, Gyeongsangnam-do selected as the research and development area for bridge design, it is to design the concept design bridge newly emphasizing the symbolism of bridge-oriented city for the development of future city.

• Journal of the Korean association of regional geographers
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• v.22 no.1
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• pp.180-194
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• 2016

The local identity of a female marriage migrant is not fixed to certain boundary or location, but rather comprised flexibly according to geographical movement or new settlement to different place. This research focuses on the local identity and life change of female marriage migrants that are constituted/reconstituted according to spatial transition, or migration. The analysis was conducted to find out traits of changes in the periods of migration and settlement based on the following categorization: multiculturalism and bicultural identity, assimilation and host country identity, exclusion and origin country identity, marginalization and marginal identity. The results are as follows; while having identical experience in terms of a migration, the local identities of marriage migrant women differed according to individual/regional characteristics as well as their respective roles within those traits. In addition, most of females showed passivity in maintaining and exposing their cultural identities of original states. Moreover the life satisfaction change of female marriage migrant that is type of assililation and host country identity is appeared more than others. through this assimilation and accommodation mean adaptation to female marriage migrant lived in Korea. However the intercultural competences of both marriage migrant woman and children in multicultural families facilitate the connection among different cultures. Based on these outcomes, with the transition to multicultural society and space, this research proposes the necessity of fostering global citizenship for mutual recognition of each culture, thus enabling coexistence.

• The Journal of Korean Philosophical History
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• no.23
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• pp.349-392
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• 2008

Modern Neo-Confucianism was formed as a school by solving the modern problems in China through accepting western philosophies with Chinese basic philosophies since New Cultural Movement. Marxism, Liberalism, and Modern Neo-Confucianism are called three representatives of Chinese modern philosophies. Since the People's Republic of China was founded in 1949, Modern Neo-Confucianists have tried to keep their philosophy and cultural conservatism in Hong Kong and Taiwan. Modern Neo-Confucianism which had been prohibited before 1978 was brought again to people's attention in the middle of 1980s by their active lectures and writings. Furthermore, the study on Modern Neo-Confucianism was supported by the Chinese government in 1987. China was trying to find the way to enhance Chinese tradition and to develop China to a modern society at the same time through the study on Modern Neo-Confucianism. The purpose of Modern Neo-Confucianism is to keep Chinese tradition which was broken off, to develop China to a modern society, to control the problems caused by capitalism socially, and ultimately to strengthen socialism in China in the political aspect. The study on Modern Neo-Confucianism in the 1980s focused on introducing, organizing, and understanding Modern Neo-Confucianism as its early stage. This study was led by Marxists with their methods and viewpoints. Even though the acceptance and understanding of Modern Neo-Confucianism was limited in a short period, the study on Modern Neo-Confucianism in the 1980s propagated Modern Neo-Confucianism. Modern Neo-Confucianism also played an important role to grow the argument about the critical succession of Chinese tradition and to reconsider the fact that modernization does not mean only westernization.