• Journal of the Korean Geographical Society
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• v.48 no.6
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• pp.944-966
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• 2013

This study attempts to highlight the cultural importance of urban public space by analyzing the changes Tap-Gol Park from late 1990's to early 2000's, a park located in the heart of Seoul, underwent in its meanings and uses. Public space, a product of modern urban planning, is characterized by its openness and accessibility and represents the vitality of modern city, serving as a meeting place for citizens with different social backgrounds at such occasions as gatherings and festivals. While the government or a few dominant groups try to control the public and their behavior in public space by giving a specific meaning to it and specifying its use, people constantly set their foot in it and view the space as a place differently for each individual's personal or social reasons. It is therefore not very surprising that the meaning of public space has never been successfully defined. Following the traces of attempts to define the meaning of public space and considering how public space can be efficiently used will shed light on what types of groups, especially ages and classes participated in the contest for the use of public space and expressed their own cultures in urban society through various negotiations.

• Journal of Korean Home Economics Education Association
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• v.32 no.1
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• pp.89-105
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• 2020

This study aimed at analyzing the clothing management units of technology and home economics textbooks in terms of their contents related to Education for Sustainable Development(ESD). The inquisitive tendency of the textbooks was also examined adopting the modified Romey's method, because it is known as an important factor in increasing student's class participation in sustainable clothing management and inducing practical behavior. First, the learning contents of clothing management unit were analyzed according to the social/political/cultural, environmental, and economic perspectives of ESD. As a result, ESD contents from social/political/cultural perspectives (safety, and health and food), environmental perspectives (natural resources, energy, and environmental problem), and the economic perspectives (sustainable production and consumption) were identified, with a heavy focus on environmental perspective. Secondly, Romey's inquisitive content analysis method was modified to analyze texts, pictures/charts, and learning activities of the clothing management unit. In all textbooks, facts and definitions were the dominant types of contents, which means less opportunities for development of inquiry ability. In conclusion, the ESD contents of the clothing management unit are inclined to the environmental perspective, and it is necessary that textbook development would need to be balanced between three perspectives. Also, future textbook authors will need to improve the inquisitive tendency of the textbooks to encourage student participation in class and induce practical application in real life.

• Korean Institute of Interior Design Journal
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• v.16 no.6
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• pp.152-160
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• 2007

The purpose of this study is to compare conditions of Korean Restaurants in Hong Kong with those of Thai ones, which have already succeeded in globalization, by investigating and analyzing the characteristics of the two parties in Hong Kong, a world-wide international city. For these purposes, we selected 10 Korean restaurants & 10 Thai restaurants in Hong Kong, and visited the selected restaurants during the period from 2007.7.9 to 2007.7.14, to examine indoor spaces and food-related elements were recorded in detail, photographed and analyzed. The results of study is as follows ; we have first found that Korean restaurants did not show any humane properties linked to restaurant concepts and indoor space, did link Korean images through their trade names, and showed decorative culture based on traditional house and dietary-life cultural properties based on traditional Korean Bansang table setting at large. On the other hand, 4 (22.5%) out of the entire cases in Thai restaurants showed religious characteristics with strong Buddhist colors revealed, and all cases showed traditional Thai food cultures, from which we could find out dietary-life cultural properties. Second, whereas there were one case of Korean restaurants in which tradition was main and modernity was assistant, five cases in which tradition and modernity were paralleled in value, and two cases in which modernity was main and tradition was assistant, Thai restaurants had one case where tradition was main and modernity was associative, four cases in which tradition and modernity were paralleled in value, and four cases where modernity was main and tradition was assistant. This means that the Thai restaurants did not insist only on tradition, but showed efforts to transmit luxurious and refined Thai images to people from the world. Third, whereas Korean restaurants had to do with all kinds of menu, were equipped with brazierson their tables uniformly, and showed any differences because they did not use different tableware in accordance with foods, Thai restaurants divided the dinner into the hors d'oeuvre, the main, and the dessert or systemized menu structure by categories in accordance with cooking styles, and tableware selection in accordance with menus, table setting, food materials, and food styling using flowers were consistently expressed.

• Journal of Conservation Science
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• v.31 no.1
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• pp.65-73
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• 2015

The purposes of this study are helping the understanding on the Dae-hwe kind relics, verifying the deformation rate stability during conservation treatment and enhancing the conservation treatment work by investigating the status and analyzing the material of Taejo's portrait mounting decorative knots in the National Palace Museum of Korea collection. The result of material analysis on the decorative knots was that the outer threads are silk threads, inner threads are cotton threads, the width of the metal threads was $500{\sim}600{\mu}m$ and the major component of it was 55wt% copper. The result of verification on the deformation rate during the form correction of the bell tassel was that it has been found as stable by having the deformation rate of 1 TPCM or less. The result of glue selection test to be used on the repairing of tassel cross-section with its thread cut was that wheat starch adhesive has been found most appropriate because it has the highest tensile strength at all concentrations. The conservation and treatment procedure was established based on above results of analysis and test on the relic and the conservation treatment work including packaging has been completed in accordance with the established procedure.

• Journal of Korean Philosophical Society
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• v.123
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• pp.87-110
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• 2012

The kitsch was emerged from the people's cultural desire in the conditions of the various duplicating technology, the capital economy system, and the civil revolution in the western modern mass society. But it is underestimated constantly because of the conspicious consumption and the aesthetic inadequacy. Even though some kitsches are elevated to the 'kitsch arts' in the historical description of the modern arts, still the most of kitsches are remained as 'just kitsches' and excluded from the aesthetic research according to the double standard. In this essay, I research for whether anti-kitsch theory is convincing theoretically and practically. Anti-kitsch theory criticizes the kitsch on the basis of the modernist aesthetics, in which the 'fine art' provokes the aesthetic pleasure in the disinterested contemplation. But kitsch purposes for the sensual gratification and the sentimentality. So the anti-kitish theorists conclude that the kitsch is the bad taste. In critically analyzing the argumentation of Greenberg's. Kaplan's and $C{\tilde{a}}linescu^{\prime}s$, I refute the privileged prejudice of the ideal critic. They don't justify the criteria of the classification of 'art'/ 'kitsch'. They supplement the economical and the political grounds for the evaluative theory of the kitsch. But the argumentation of the kitsch is consumed conspicuously and results in the unlettered masses is not sufficient. People produce and enjoy the kitsches in the various ways. People envelope the genres, styles and media of the kitsches and they try to suggest the new horizon of the popular aesthetics. So anti-kitsch theories cannot be accepted because they adhere to the elitism and formalism. The exclusion of the kitsch is the derogation for people's taste. Also they didn't reflect the contemporary cultural practice and the aesthetic needs in the system of post-art. The alternative aesthetics of the kitsch is the topic of my next essay.

• Journal of Information Technology Applications and Management
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• v.28 no.6
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• pp.69-85
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• 2021

In the era of the 4th Industrial Revolution, not only artificial intelligence, big data, robots, and biotechnology, but also cultural industries that require human creativity will lead. Among the cultural industries, the animation industry has high industrial utilization value due to its high connection with other industries. Among them, animation characters play the most important role as the subject leading the story of animation. In particular, the villain character not only serves as a medium for the main character to lead the story, but also captivates the audience with a different presence from the main character, adding to the fun and completeness of the animation. These characters consist of visual elements such as form and color, of which color is a tool that effectively conveys the character's personality and role to the audience, and is the first visual element to be considered in delicately describing the character's emotions and the relationship between characters. Therefore, this study attempts to analyze the color of the villain character. To this end, we will select eight Disney animations to derive the characteristics of the villain character's color by analyzing the color, value, chroma, and color association of the colors used in the Disney villain character. As a result of the analysis, the colors mainly used by Disney to convey the villain's image were red (R) and Orange (YR), and there was no difference depending on the times or animation production methods. Second, the brightness of Disney villain characters appeared to be the same medium/famous regardless of the times and production methods, and the frequency of use of high brightness was very low. In terms of saturation, the frequency of use of high and low saturation was high. Third, blackish (Bk), Strong (S), dull (Dl), and deep (Dp) tones were mainly used for tones. In particular, in recent 3D animations than previously produced 2D animations, the use of low chroma and the high black mixing rate increased. Fourth, it can be seen that Disney uses color as a visual method to more clearly express the psychology of the villain character using color association. In conclusion, the color selection of animation characters should be carefully considered as a tool to convey the character's personality, role, and emotion beyond simply using color, and the color selection of characters using color associations and symbols strengthens the narrative structure. It is hoped that this study will help analyze and select the character color of animation.

• (The) Research of the performance art and culture
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• no.37
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• pp.95-125
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• 2018

While myriads of small and large festivals are being organized in many regions across the country after the successful establishment of local governments around 2000, the undeniable fact is that the identity and purpose of such events are not properly reflected in their programs. This paper carefully examines the 2017 Jeonju International Sori Festival as an exemplary case of a local performing art festival to contribute to the improvement of performing art festivals in the future. In particular, it focuses on a musical program with respect to the composition, content, meaning, and direction that can effectively reveal the identity and intention of a festival. The most significant accomplishment of the 2017 Jeonju International Sori Festival is that it presented a local cultural resource, Pansori, in various ways not only to manifest its identity but also to satisfy both the enthusiasts of such musical genre and the general audience. The achievements of the 2017 Jeonju International Sori Festival through the performing art program can be summarized as follows: first, it created a new image of traditional music; second, it realized the desire to rise above regional and generational demarcations through cultural communication; third, it provided a stage for budding and local artists; fourth, it served as a vehicle for summoning the public; and last, it was conducive to expanding the spectrum of potential audience. This paper has limitation in covering the subject of the improvement of performing art festivals because it analyzed only one event. In follow-up studies, a more objective discussion should be performed by further analyzing the 2017 Jeonju International Sori Festival in comparison with various other performing art festivals.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.148-169
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• 2019

The purpose of this paper is to understand characteristics and trends of calligraphy styles through the analysis of handwriting. Renowned Calligraphy of Korea (海東名迹, Haedong Myeongjeok) is the first collection of famous Korean calligraphers' masterpieces and was published by Shin Gongje (申公濟, 1469-1536) in the early sixteenth century. While my previous studies have focused on analyzing the publishing backgrounds of and differences among the wood block editions and stone-carved editions of the various remaining copies of Renowned Calligraphy of Korea, this study examines the calligraphy style in the early Joseon period as represented within the collection itself. This study tries to identify the aspects of style transitions among two categories of calligraphy: (1) the calligraphy style of scribes who were in charge of documentation in the central administrative institutions (館閣) and (2) the calligraphy style passed down among the Goryeong Shin clan (高靈申氏). This study verifies that various styles which emerged based on the influence of the revivalism of the late Yuan dynasty gained acceptance in the early Joseon period while the traditional Wang Xizhi style was still in use. The most notable revelation of this study is that the calligraphy style of Kangli Naonao (康里??), a Yuan dynasty calligrapher from a remote region to the west of China, appears to have become acceptable during this period. Indeed, various Yuan dynasty styles were flowing into Korea during the late Goryeo and the early Joseon period that stand in contrast to Zhao Mengfu's "pine-snow calligraphy style." Finally, the authenticity of the Eo Sukguan (魚叔權)'s record in A Storyteller's Miscellany (稗官雜記, Paegwanjapgi) is reviewed in this study. Eo claims that writing attributed to Park Gyeong in Renowned Calligraphy of Korea was actually Shin Jageon's. However, the analysis of the relationship between Shin and Park based on their backgrounds and their political positions suggests that Eo's claim is not valid.

• Korean Journal of Heritage: History & Science
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• v.47 no.4
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• pp.178-191
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• 2014

Jin-Sang is a local specialty donation to the palace. A local specialty donation to the palace is classified Jehyang, Bangmul, Mulseon, Medicine according to characteristic, when, use. Among these, Mulseon Jin-Sang is Most foods. And King was reduced Mulseon Jin-Sang in order to obtain a good image of the king. King Suk-Jong was frequently reduced Mulseon. But frequently changes of goods did not reflect to document. So type of goods, quantity is not clear in early 18th century. In 1728, King Yeong-Jo was published a Jingsangbyeldandngrok to clear type of goods, quantity. This book is written area, timing, quantity of Mulseon. Among these, type of goods, quantity are important. This book was written 176 kinds of goods. These goods was most of the fishery. And raw materials are largely accounted. In addition to processing the various creatures become like dried, pickled. By analyzing the regional allocation features, there are many types order by Gyeongsang-do, Hamgyeong-do. Gangwon-do. This area is faced east sea, so many fisheries have become records. In Gyeongsang-do, Cholla-do, these area were occupied a large portion of the fruit. And Jeju Island was assigned oranges. Finally, it has been assigned dried, pickled foods than living thing in distant area.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.4
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• pp.28-38
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• 2018

The purpose of this study is to clarify what is the unique garden making methods of Enshu Kobori by surveying and analyzing that existing garden of Enshu Kobori is different from the existing Japanese garden that had been built up to such a period. Enshu Kobori breaks away from the conventional frame that was established with the gardens of existing Karesansui style(枯山水樣式) with the materials of rocks and sands. Enshu Kobori is produced to make harmony with the rocks by trimming the Rhododendron indicum and this type of making method of Enshu was originated from the aesthetic principle of kireisabi. Due to this type of cause, the garden of Enshu Kobori displays splendid and yet a simple beauty of gardening. With respect to the establishment of a garden unique to Enshu Kobori as such, it seemed to have the cultural background expanded with the cultural perception and official family class of the edo period where it strived for new things. Therefore, Enshu Kobori was designed as the ornament-oriented garden rather than the garden that requires direct ceremonial act. The subject sites for this study are Raikyuji, Daichiji, Shodenji, Nanzenji Hojo and Konchiin as intended by Enshu Kobori. Contents of the study contemplate the location of garden, factors to introduce the garden, structure of garden, background of garden, use of stones, plants and scenic views to clarify the uniqueness of the Enshu Kobori garden.