• Proceedings of the Korea Contents Association Conference
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• 2008.05a
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• pp.187-190
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• 2008

China has had a long preference in red. The color, symbolizing the sun, has a special significance, which stems from ancient times. The worship of the sun in the primitive society has been inherited by means of the collective unconsciousness; the sun has represented a variety of values such as nobility, purity, integrity, prosperity, success, happiness, good fortune, auspiciousness, and still much more. This research studies how the Chinese artworks visualize the color 'red', emphasizing the image of China and her culture. To do this, "Red Color" in Chinese posters from the past to the present were analyzed. While the images in red were delivered with a strong political connotation in the middle of the 20th century, as time passes by, the world trend of globalization has led the recent poster design in China to present red as the color standing for Chinese tradition, culture and spirits, which have flown throughout the 5000-year-long history.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.181-188
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• 2012

Body movements of humans have emotions and these movements have meanings of 'Living Spirits' and 'Emotions'. Also emotions of humans indicate all body movements which are made within the environment. This study aims at providing new potentials to emotional design research methods not only by understanding the characteristics of visual perception according to body movements and but by investigating correlations between sequence which arise by the visual perception and emotions through experiments. As for the scope and method of this study, the emotional space designs were analyzed through the emotional theory study, SD method was used to evaluate emotions and the movements in the modern village and traditional village with similar elements were compared and analyzed for the empirical study. As a result, first it was confirmed waling hours in the traditional village took more than the modern village and it is thought movements of humans are affected by the visual environments. Second, it was confirmed values of the emotional evaluation were higher in the traditional village than the modern village. Third, according to a result of the correlation analysis between space sequence and emotions, it was closed with negative emotions such as 'Closed', and 'Complicated' from positive emotional words such as 'Natural'. 'Open', 'Curious', etc. as spaces are experienced more through movements in the modern village. On the contrary, the emotional intensity of the positive words such as 'In Harmony', 'Beautiful' and 'Warn' through movements in the traditional village increased as spaces were experienced more. As a result of this study, it was confirmed the time, space and emotions have correlations each other.

• The Journal of the Korea Contents Association
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• v.9 no.9
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• pp.180-190
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• 2009

This study focuses on how NHK, a Japanese public broadcasting company, has promoted the public interest through the contents of its serial dramas including "morning dramas." Study results indicate that NHK has made utmost efforts to promote public interest in accordance with the programing regulations stipulated in the Japanese Broadcasting Art. The study shows that NHK has adopted policies to protect transitional cultures of the past and to promote new cultures through drama contents. NHK has shown its intention to protect traditional cultures by broadcasting completely not only the values that Japanese people have upheld but also traditional cultures and people's professional spirits of Japan. The study also shows that NHK makes efforts to contribute to community development with the drama contents. It appears that NHK attaches a great importance on its public promise with viewers by early fixing and well observing the broadcasting season, period, and time of morning dramas in an efforts to promote their public interest.

• Cross-Cultural Studies
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• v.42
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• pp.313-342
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• 2016

This paper is an attempt to look up the life of Guanyu who was a sainted warrior of Shu Han(蜀漢) and later, was revered as God, especially focusing on the Political perspective of Chinese Dynasty. People represented Guanyu as the general during the Wei Jin Southern and Northern Dynasties(魏晉南北朝), however, throughout the Su-Dang Dynasty(隋唐), Guanyu was Honored in the Wuchengwangmiao(武成王廟) then, was promoted from Hou(侯) to Gong(公), Gong(公) to King(王) in the Song-Yuan Dynasty(宋元). In the Ming-Qing Dynasty(明 淸) when the deification of Guanyu was proceeded most positively, he became a Di(帝) over a King and was endowed with the power over the Three Worlds(三界). He had an influence on nobility as well as the people in Folkbelief over Moral Spirits, and consequently rose through the ranks to become the spiritual guardian. The rulers gave him various names(封號) celebrating the life and work of Guanyu, In fact, they showed interests in the Belief of Guanyu as they attempted to establish an ideological base for the solution of the national disaster and maintenance of feudal system which came to the fore along with the reinforcement for emperor's power.

• English & American cultural studies
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• v.17 no.1
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• pp.55-79
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• 2017

Ella Hepworth Dixon's The Story of a Modern Woman is a pioneering female writer?s important work which was not deeply studied yet very influential in new women literature and its cultural global impact. Although women had been often praised for their beauties specially by romantic poets but their self-realization and innate values were not widely recognized until new women writers advocated their desires and active roles in the society at the end of the $19^{th}$ century. The new women writers including Ella Dixon gained popularity with their professional skills as the journalists or the contributors to the journals which were suddenly popular and actively circulated among Victorian women. From the 1880s to 1920s, in contrast with the traditional images of wives as ?the angel in the house?, these women new women writers broke the yoke of subjugated womanhood and instead tried to freely express their independent spirits and demanded their roles in the society. Although they were criticized sometimes as "the daughter of a new guise" "a lady of restless sex" or "the wild women," new girls? perky images in new women fiction brought into the new cultural phenomenon which led to the ?flapper? girl in the 1920s. Ella Dixon?s protagonist Mary Erle, strikingly similar to author herself, was a representative new woman who displayed a wide range of new cultural perspectives from a feminist?s viewpoint, but her untimely desire in the capitalized society was not fully accomplished, just promising the potentiality of the female solidarity which might be achieved later by her feminist posterity.

• The Journal of Korean Philosophical History
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• no.31
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• pp.173-202
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• 2011

Hierophany, according to Mircea Eliade, is a natural manifestation of the initial sacred. Through hierophany, profane objects and sites transform their qualities and then they themselves become sacred. People in traditional societies, in an attempt to reenact the initial hierophany, tried to perform consecrating rituals to replicate the first moment of the initial hierophany, at the same time and site. This article focuses on the concrete sites of hierophany. In ancient China, we can see specific sites that manifest the sacred such as Kunlun(崑崙), Jianmu(建木) and zongmiao(宗廟). Kunlun has the characteristics as the Cosmic Mountain that is the realm of the gods that tiandi(天帝) built as his center on the Earth, and it bridges Heaven and Earth. Jianmu joins Heaven, Earth, and the underworld like a Cosmic Tree or Pillar. It can be stated that zongmiao, the royal ancestral temple, functions as the Center of the World, the axis mundi, in which religious human beings express their desire to live in a sacred site, and in which they can regain their initial purity of spirits by communicating with the gods and ancestors. These three are the sites of manifestation of the sacred in China.

• Journal of English Language & Literature
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• v.60 no.2
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• pp.315-338
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• 2014

In The Great Hunger (1942) Patrick Kavanagh opens an Irish postnationalist discourse. Taking advantage of historical revisionism and postcolonialism, he not only demystifies a romantic nationalist ideology rooted in rural Ireland but also searches for an autonomous literary tradition free of the Irish Literary Revival, supposedly an outcome of a colonial influence. As a farmer-poet, Kavanagh deconstructs in two ways myths of rural areas, to which the Revivalists aspire. Contrary to Revivalism, he reveals that rural Ireland is not an idealized place where national identity arises and individual spirits are restored. It is instead a cruel place where farmer Maguire, deprived of health, wealth, and love, is tortured by hard labor in the field, moral regulations imposed by the Church, and his mother's domestic authority, all of which leave him unmarried until age sixty-five. Kavanagh also challenges the Revivalist tradition, led by W. B. Yeats commonly referred to as the poet of the nation, by indicting its reliance on former colonial authority and its lack of a sense of communal autonomy, both of which are diagnosed as "provincialism" by Kavanagh. Given that modern Irish literature has been strongly colored as nationalistic during the course of anticolonial resistance, Kavanagh's critique of the Revival in The Great Hunger, whose proponents blindly beautify the lives of farmers, runs directly against the grain of the founding ideology of the Irish nation-state. His voice, like that of a whistle-blower, disclosing the harsh realities of rural Ireland, ushers in a "post"-nationalist perspective on nation and national myths in Irish poetics.

• The Research Journal of the Costume Culture
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• v.29 no.1
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• pp.103-120
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• 2021

This study interprets Siberian shaman costumes from the perspective of Siberian shamanism's spiritual culture by combining theoretical and empirical studies. According to the natural environment and language families, the Siberian people are classified into the Altai, Tungus, Ural, and Paleo-Siberian groups. Se Yin's research classifies the spiritual culture of Siberian shamanism as cosmic, spiritual, and nature view. Eliade's research has divided Siberian shaman costumes into form, headdress, and ornament. According to the present study, shaman costume form and decoration reflect the Siberian three-tiered cosmic view, such that the shaman's head, body and feet correspond to the upperworld, middleworld and underworld. In addition, animism, totemism and ancestral worship appear in the shamanism's spiritual view. For example, the costume's form shows the totem of each tribe, while the costume accessories reflect animal worship, plant worship and ancestral worship. Finally, shamanism's nature view mainly manifests through three processes: personification, deification, and ethics. As an intermediary between man and the spirits, shaman use their clothing to reproduce the image of half man and half spirit. The shaman's costumes are deified and considered to have divine power. For example, the animals represented on the costume help the shaman travel through space. Generally, good animals help a shaman enter the upperworld, while animals that help a shaman enter the underworld are considered evil. Also, the number of hanging accessories represents the shaman's ability.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.1
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• pp.59-69
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• 2022

Vyshyvanka, the embroidered folk costume shirt of Ukraine, originated during the early reign of the Slavs, and currently, it is also called Ukrainian embroidery. In cases of Vyshyvanka embroidery expressed in apparel elements, it is necessary to research formative characteristics for expanding the visual aspect through the diversification of techniques, but also the aspect of the psychological meaning to Ukrainians. This study aims to consider Vyshyvanka as a unique embroidery technique, and also analyze the formative characteristics expressed in apparel elements. The study of Vyshyvanka embroidery expressed in apparel elements can present meaning to understanding the Ukrainian fashion. The image materials for the analysis of Vyshyvanka design, included work photos contained in literary materials and foreign online visual materials. The results of formatively analyzing the Vyshyvanka embroidery expressed in apparel are as follows. First, the Vyshyvanka embroidery expressed in apparel elements held an incantatory meaning, protecting wearers from getting easily invaded by evil spirits. Second, the Vyshyvanka patterns utilized symbolism that implied the incantatory meaning. Third, a single color was used for the embroidery. Lastly, materials like cotton, that are easy to embroider, were mostly used. The formative characteristics of Vyshyvanka embroidery expressed in apparel elements implied the community spirit, nature worship, and folk beliefs. As an attempt to understand the Ukrainian fashion, this study is significant in the aspect of expanding, widely utilizing, and expanding the range of understanding of Ukrainian fashion. Therefore, there should be more active researches on Ukrainian fashion, so Vyshyvanka can be more widely used as a design element.

• Journal of the Daesoon Academy of Sciences
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• v.22
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• pp.317-344
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• 2014

There are many modern elements in religions appeared in the early Korean modern era. From the nationalism perspective, most religions had tendencies toward anti-feudalism and anti-foreign power. Pak Eun Sik(朴殷植) emphasized the importance to explain those religions as the National Religion in his writing 《Korea Painful History(韓國痛史)》. That is, he realized those as one of Korean spirits or souls keeping Korean identities like the Jew's Judaism or the Turk's Islam. In the paper, I try to analyze religions on Kang Jeung San(姜甑山) with Daesoonjinri-hoe as the central figure from Pak's perspective. In the early Korean modern era when Kang went his own the Savior way, Korea and its society got into uncontrollable confusion because of strong demands both of a feudal-state breaking and against pillaging foreign-power especially Japan. For all countries of the world, it is difficult to change from a feudal state into the modern nation state to keep existing society order. Because the reformation under old social systems means the incomplete reformation. So in this era new religions showed the neglected class of people the vision of new society. Meanwhile Korean society try to become a modern state, and now became a recognized modern state in international society. But it is still insufficient to debate on groups and their roles for Korea modernity in that time especially new religions. Since Korea independence, new religions including Daesoonjinrihoe have not receive good reviews because of a certain religion group expansion and the government's regulation and control toward new religions. Till today, I think, Independence Movement as well as reform of modern awareness have not relatively receive reasonable reviews. So I hope to serve as a momentum that in early Korea modern era new religions receive reasonable and positive reviews.