• Korean journal of communication and information
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• v.78
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• pp.79-115
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• 2016

This study, by proposing a case study of community radio, attempts to expand the horizon of academic and social discussion on the medium that has been disproportionately skewed towards discourses on alternative media, technology, and programming content. As residents of local community actively participate in the production process, they reconstruct their cultural identities. In that sense, community radio is a medium that makes it possible the re-negotiation and reconfiguration of cultural identities of local residents. That is to say, a case study on the specific ways in which community residents appropriate community radio in reconstructing their identities offers us some entry points where we may come up with a new perspective on the identity of community radio. The results of fieldwork show that community radio, as it is closely intertwined with the residents' participatory cultural practices, is a medium of 'lived culture' -i.e., a medium that contributes to the making of civility, communitarianism, and social network. Community radio, then, may be redefined as an interactive medium that contributes to the formation of social rapport and solidarity.

• Journal of Digital Contents Society
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• v.11 no.2
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• pp.195-201
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• 2010

Globalization, conversions, and OSMU (One Source Multi Use) in modern cultural industry is expanding fast, and global competition is soaring with a changing environment today. In fact, the development of one nation depends on its cultural creativity. Yet, there is an increasing need for a connection between space and culture since globalization homogenizes a nation's unique cultural identity and provides low level of utilization in digital cultural contents in terms of saving, conserving and maintaining data. In order to invigorate the cultural industry, there must be some information that provides public culture contents, which they can be freely searched, displayed, and re-produced. Ultimately, these public culture contents should be able to provide Culture Space. This text discusses how individuals produce the Culture Space, which provides digital information of time and space, from a relationship between culture and space. It also introduces the public Culture Contents service framework in order to provide culture information and combined Culture Contents.

• Journal of the Korean Society of Costume
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• v.59 no.3
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• pp.145-156
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• 2009

This study proposes the product development through an organic link with multi-faceted analysis on the archetype of traditional costumes culture. In order to find ways to develop cultural products, Jogakbo was selected, and the research result is as following. 1. Analysis on the types of Jogakbo products sold in the market shows that there are not only living, stationary, and fashion items, but also DIY packages. In terms of materials used, most of these Jogakbo products were made of fabric or mixture of different materials. These products displayed similar tendency by reflecting formative characteristics of Jogakbo. 2. This study analyzed the color, surface composition, material, manufacturing, and usage of Jogakbo. The rotor of Jogakbo is mostly composed of mono tone colors or Obangsac(five-element colors). The mono tone colors carries environmentally friendly meaning as it is using the natural color and Obangsac means harmony. Moreover, the surface composition of Jogakbo represents the expansion through connection and its material is also meaningful in that it is recycling. Manufacturing of Jogakbo has educational significance, fortune-wishing characteristics, decorative function, it also gives a gratification of handcraft. The usage of Jogakbo is a multi-(unctional article whose form is determined by an item that is held inside it. 3. Through the analysis on Jogakbo, this study presents the baby wear in relation to the ere-friendliness of colors, brooch sets using the surface composition, dresses using recycling fabric, children's educational instruments with educational significance, as well as multi-functional packages in regards to usage of Jogakbo.

• Archives of design research
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• v.19 no.5 s.67
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• pp.139-150
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• 2006

Over the past half the 20th century, Korea has been through the period of three dictatorial regimes. In each regime the orthodox problem was raised due to its undemocratic ruling. Nationalism in particular was perverted by the authoritarian regimes' exploitation of it as a form of cultural policy to control their people effectively. To emphasize it's ideology the government sought, selected and devised cultural heritage and defined it as the 'Korean cultural identity' or 'Koreaness'. Artists have produced works in the 'Korean style' focused on 'Koreaness' which had been prescribed by the government. These works were sewed as a propaganda and contributed to the reproduction of ideology. In addition to the 'Korean-style design' formed in this period, this case includes a wide range of environmental design, public construction, graphic design, public design, films, etc. The Korean-style design has been developed in accordance with each government's cultural policy with a little difference in content and form.

• Journal of the Korean Society of Costume
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• v.63 no.7
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• pp.49-64
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• 2013

Mugunghwa, one of the most prominent national symbols of Korea, is a significant design source for producing cultural products. However, there has been a limitation to reflecting the identity of Korea using the design due to a lack of study and analysis of characteristics of Mugunghwa in history. Therefore, the researchers analyzed the design characteristics of Mugunghwa in cultural artifacts such as costumes, money, and stamps. Based on this, the study puts forward the following suggestions. First, the patterns of Mugunghwa should be categorized as a solo figure, a flower with pastels and the stem and a group of flowers as a unit. Second, there are two ways of expressing the flower: using realism and abstraction. Mugunghwa comprises of five pastels with elongated depth in the middle. The pastels spread out like the spokes of a wheel from the center; leaving a feeling of unevenness and the rims of the pastels are shaped in waves. The study puts forward the following suggestion: First, find the prototypes for different design characteristics. Second, develop motifs and patterns that reflect the given prototypes. Finally, apply the design to most popular cultural items such as T-shirts, neckties and bags. The ultimate purpose of the study lies with the hope that it will contribute to promoting the Korean beauty throughout the world.

• Journal of the Korean Society of Costume
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• v.57 no.6 s.115
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• pp.101-111
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• 2007

The purpose of this study is to examine the features of the conversational patterns presented on the fashion in the early 2000's and analyze it from cultural view. The expression of the patterns is a result of a creative aesthetic activity, mental activity, and the reflection of the common cognition. And the fashion is a part of the life environment. So the patterns presented on the fashion provides a clue to figure out the common unconscious sense for explaining the culture. The patterns have been expressed with different methods belonging to each culture such as weaving and prints. And those of the each cultural group have been communicating each other. The silk came to the Europe in the 6th century. The textile industry which flourished since 15th century. And they shows the chinoiserie or indian prints, not only the european culture. We can observe that the exchange of the techniques and cultures between cultural groups like the east and the west, and the presentation of the patterns is a way to express their own desires. The patterns presented after 2,000 can be classified by the form and the contents. But, more specifically, the patterns classified by the contents, which is Conversational design, can be categorized as followed according to the origin; reflecting cultural identity, Popular culture, Lohas lifestyle, and art movements. Which can be summarized as that the people have more interest on the different cultural group, diversity, retrospectiveness, and exoticism, which the patterns originally belonged to than on the form itself.

• Journal of Fashion Business
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• v.10 no.3
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• pp.117-128
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• 2006

The purpose of this study was to understand changes of the current young generation's lifestyle, aesthetic attitude for an appearance, and way of thinking by making a close investigation into metrosexual, the recent mode, and find out its cultural and social implications. As a method of the study, the literature and the Internet data were reviewed. Articles from newspapers, magazines and the Internet were chosen roughly from the year 2000 to now because metrosexual mode remarkably boomed before and after 2000. Books related to the theory on the mode in a costume culture were referred. Also, articles in daily newspapers which dealt with cultural and social issues were reviewed, fashion magazines for men such as Esquire and GQ showing the new trend in men's lifestyle and fashion were examined, and the Internet providing us the latest news from cultural and social topics to fashion trends were investigated. The backgrounds of the rise of metrosexual mode were a collapse of stereotypes in various fields, spread of lookism in a visual image period, extension of commercialism, and expansion of men's character casual trend. Metrosexual was defined as an urban male with a strong aesthetic sense who spends a great deal of time and money on his appearance and lifestyle. His fashion style was characterized by slim and flowing silhouette, feminine and luxurious materials such as transparent chiffon, silk and cotton with a light and soft touch, and a knitted wear with a flowing line, a wide variety of vivid and pastel colors, floral and geometric patterns, and the decorative details like lace, beads, embroidery, and fur. From spread of this mode, two cultural and social implications were extracted. Firstly, the current young generation's aesthetic standards for the perfect man changed from macho man to considerate man who had a good appearance and this suggested that a conventional sex role broke down. Secondly, men began to explore for their own identity escaping from traditionally standardized masculinity that they had been forced to follow.

• The Journal of Art Theory & Practice
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• no.5
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• pp.25-41
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• 2007

Despite continuous efforts to redraw the boundaries between art and culture, the conventional concept of originality has persisted in approaches to the practice of contemporary art. In the discourse of originality, various forms of lesser arts that employ the method of replication have been referred to as kitsch, or "rear-guard," the opposite of avant-garde. This categorization points to the contested issue regarding the oppositional relation between modernism and mass culture. With its easily accessible content and financial affordability, mass culture has become both an irresistible attraction and a most powerful threat to modernism. This threat has instigated a discursive system that has situated mass culture as a cultural other of modernism. Taking the marginalized category of kitsch as the area of contention, this paper examines a discursive repression of kitsch. It analyzes the conceptual framework that defends originality and autonomy in art and, conversely, degrades kitsch as an inferior and dangerous cultural category. Greenberg'S concept of kitsch as a by-product of industrialization evolved into the criticism that advocates the autonomy of art. The Frankfurt School scholars, particularly Theodor Adorno and Max Horkheimer, practiced comparable cultural critiques. Focusing on mass culture such as film, radio, and television, instead of art works, they critically analyzed the system of mass culture and theorized the negative implications of the ubiquitous presence of kitsch. Some critics, on the other hand, perceived the growth of mass culture as opening possibilities in cultural development. Walter Benjamin and Harold Rosenberg asserted the socio-cultural dynamics of mass culture underlining the potential for continual transformation in reality and in the subject. They acknowledged that technological advances changed the condition of creation and enabled unmediated interactions between media. By scrutinizing conflicting views on kitsch, this paper intends to reassess arts that draw "the forces of the outside."

• Cross-Cultural Studies
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• v.43
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• pp.139-170
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• 2016

Through the process, it is possible to understand the meanings of specific numerical symbols that are present in our daily lives, rather than regarding them as abstract symbols. The symbols can be efficiently utilized for cultural communication between Korean teachers and foreign learners, and between learners with different cultural backgrounds. A symbol that intensively shows Korean culture can be applied efficiently to cultural education. This is because Korean identity can be understood by means of symbols that represent Korean thoughts and emotions. Therefore, this study intends to examine the contents of symbol education applicable to Korean culture education, centering on numerical symbols amid far-reaching symbol systems. For this purpose, this study analyzed how the application of numerical symbols is presented in Korean textbooks, with the intent to organize the symbols into 4 categories of myth, folklore, taboo, and idiomatic expressions, which might be actually helpful for understanding Korean culture.

• The Korean Journal of Archival Studies
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• no.3
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• pp.115-137
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• 2001

The Museum of Chosen General Government(MCGG) was a supreme organ to take charge of business affairs of historical remains Japanese imperial rule. The MCGG was established in Kyongbok Palace in 1915. The MCGG was changed the reorganization of the Chosen General Government(CGG) setups, the MCGG was to maintain the cultural assets, to excavate the ruins and to put on display the remains. However, the Japanese colonist took advantage of the MCGG for political purposes. They didn't use the MCGG to promote the research of Korea culture. Therefore, the MCGG was an organization to belong to the Department of Education of the CGG. In this reason, the MCGG produced the amount of public document to business affairs. Now, This document left in the Museum of Korea. We have seen the document to study the cultural policies and the cultural assets of the CGG. This document includes the abundant information for the historical remains and ruins at that time. Accordingly, this document will help to survey the archaeological research and historical research. In addition, this document will help to manage the cultural assets. What then is the advantage of this document? The first is to see the cultural policies of the CGG through this document. The Japanese colonist took advantage of Korea history, which was low-grade culture, to justify rule of the colony. Therefore, they needed collect Korean assets to verity their theory. The second is to see the administration system of the MCGG. Indeed, this document includes information of organization of the MCGG, the policies and the process of the MCGG. In substance, we can see the systemic proceedings of the MCGG. The third is to provide historical materials to the historian. This document has the persons to plan the colonial culture policy of the MCGG, and events to rule the Korea culture. Moreover, the document of the MCGG would help to inquire into the truthfulness of history and to get the national identity.