• Journal of the Daesoon Academy of Sciences
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• v.18
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• pp.123-134
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• 2004

The aim on this paper is to explain the present state and circumstance in the course of arranging historic classical books in China. In order to approach its purpose, it should make it clear to define the word of "The present"(當代). Furthermore, we need to take a deep notice on the arrangements itself of historic classical books, its influences and contributions, reflecting this process carefully with those historical, cultual and social points of view due to the meaning of "The present" in China. Starting from this considerate view, first of all, I would like to determine the accurate time of "The present" to be the period of time from October, 1949 to December, 2003. It can be described very suitably well as "bamboo sprouts grow fast after a rainfall"(雨後春荀). This tremendous works in the arrangements of Classics have gone through sweets and bitters of times during 50 and several years. However, this work in process has overcome so much troubles and exclude obstacles in doing so, gradually begun to bear tasteful fruit of many publications, about 10,000 works so far. Although it has gone far with very little amount of works in comparison with the remains that would be put in order in the incoming future, it succeed effectively to the spirit and soul in Chinese culture and people. Illuminating the development in its historical steps and analyzing elaborately flows in cultural and ideal elements, it is known that this work of arrangements not only give a very firm basis for excellent Chinese cultural tradition, but also extend high level of idea and thoughts in their thoughts so that build up the spirit in socialism on the solid foundation. This paper will give a explanation and analysis on this works and its contributions. At the same time, it examine and give a good, careful, and close look on the arrangement of historic classical books in China by various means of classifying into various types and style, searching for many methods, and showing indication and directions that might be right in "the present".

• Korean Association of Arts Management
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• no.54
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• pp.155-184
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• 2020

This study aims to examine the system for gender rights in arts and cultural industry triggered by #Metoo movement and to suggest action plans to improve gender equality. Up until now, Korean government launched 'Pan-governmental Counter Plan', 'Recommendation of the Special Center for Investigating Sexual Harassment and Sexual Violence in Arts and Cultural Industries' 'the Primary and Secondary Supplemental Measures to Eradicate Sexual Harassment and Sexual Violence in the Arts and Cultural Sector by the Ministry of Culture, Sports and Tourism in Korea', and '2030 Cultural Vision'. Korean government has designed the system to protect gender rights using these proposals. Implemented policies can be grouped into 4 different categories; protecting victims, punishing abusers, implementing preventive measures, and reforming legal system. However, despite Korean government's multilateral efforts, continuous criticism aroused as policies failed to witness actual impacts in the industry. Given the fact that 2 years have passed since the launch of gender equality policy in cultural sector, this is the right time to discuss the current status and ways to improve it. For above reasons, research was conducted on documents including, but not limited to, government publications and an analysis of interviews with 9 major stakeholders of policy planning and implementation. During the study, interviews were analyzed using the qualitative research program MAXQDA. As a result, 5~10 problems were revealed in each category of the system. Furthermore, meaningful correlation has been found in improvement areas suggested by the interviewees. This connection implies that the policy for gender rights in arts and cultural industry shall be developed organically in order for the system to work.

• 보존과학연구
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• s.35
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• pp.121-127
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• 2014

The Vietnam homecoming box that has been collected in National Museum of Korean The Vietnam homecoming box that has been collected in National Museum of Korean Contemporary History got severely damaged such as rot, attached foreign substance, fading, color, wood decay. In particular, the bottom of the box was unstable state that deteriorated by pests and the left strut was severely damaged by some deep cracks and pests. The metal bands were remained on the side and bottom of the box, and all the bands were seriously corroded. On the bottom-right of the lid, black foreign matter was adhered to the surface. In the process of conservation treatments, the cleaning, filling cracks, reinforcing the bottom of the box, attaching the metal bands were proceed in order after the investigation of the state.

• Journal of Korean Society of Rural Planning
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• v.24 no.1
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• pp.113-127
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• 2018

This study comprehends that the landscape of Ipsan Village is the accumulated output of the landscape management and social behavior by the historic personages through the reference research and field surveys. And the study sorted out the over-layered landscape characteristics of Ipsan Village by analyzing the dispersed landscape elements as follows. First, right before the start of Japanese invasions to Korea(1592-98), Tamjin(耽津) An(安) Family moved into Ipsan and started establishing the a single clan village. At a site with mountain background and facing the water(背山臨水), the village used to be a typical farming one with an organically planned road-system and housing area following the traditional order. However, the landscape has changed drastically since the 20th century with the construction of banks, roads and readjustment of arable land etc. Second, the original landscape, which can be figured out through the 'Gosanjaesibyukgyeong(高山齋十六景)' in the 18th century, shows its harmony with natural landscape: mountain & valley, stream & field, traditional trees, etc, cultural landscape: village, well, spring, etc, and momentary landscape: seasons, time, weather phenomena, sound, behavior, etc. Third, based on the second, 16 natural landscape elements: mountain & stream, planting, etc. and 25 cultural landscape elements: housing spaces, self-cultivation & ceremony spaces, community spaces and modern education & enlightenment spaces were selected and interpreted as landscaping meanings. Fourth, the over-layered landscape which stems from the compositive functions and inter-connectivity of landscape elements which consists Ipsan Village is regarded as 'Natural geographical and Fungsu landscape', 'Rural production and livelihood landscape', 'Confucian ceremony and symbolic landscape' and 'Modern education and enlightenment landscape.'

• Journal of Digital Contents Society
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• v.18 no.2
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• pp.329-338
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• 2017

This study aims to examine heterogeneous acculturation patterns of elite North Korean female defectors in South Korea. The study employed a synthetic comparative analysis. A series of in-depth interviews with 5 North Korean female defectors in South Korea were conducted. In addition, the research team implemented 20 open-ended surveys with other defectors. Through this study, we have found various types of cultural adaptation in the group of the elite North Korean women in South Korea. The study findings imply that it is imperative to establish national policies that support different types of North Korean defectors. Putting all North Koreans into one category might result in alienation and discrimination to some groups. Thus how the participants reframed their social identify in South Korea illuminates essential facets of human-right education, especially education for refugees and immigrants in different global and multi-cultural contexts.

• The Research Journal of the Costume Culture
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• v.29 no.1
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• pp.16-27
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• 2021

The purpose of this study was to identify the structure and characteristics for the reproduction of the armor in the Unified Silla period, and then reproduce and utilize it as a cultural content. In the armor reproduction project excavated from Jaemaejeong, Gyeongju. Jaemaejeong armor is consisting of Singap (身甲, body armor), Sanggap (裳甲, hip armor), and Sangbakgap (上膊甲, upper arm armor) at the time of excavation. Unlike the armor of the Three Kingdoms period, Singap and Sanggap are separated. Singap is Yangdangsik (裲襠式, side opening method) and Gyunggap (頸甲, gorget) was not unearthed, Sangbakgap was divided into a part that protects the left and right upper arms and a part that protects the chest, so that the unexcavated head and neck cover of the helmet can be protected to the shoulder. In addition, in the case of Chalgap (札甲, lamellar armor), the Oejungsik (外重式, folded from outside to inside) is mainly used, but it is peculiar that Naejungsik (內重式, folded from inside to outside) is used in Sangbakgap of Jaemaejeong armor. It is presumed that this was used as a method to ensure that the armor were closely attached to the human body. In order to design with the parade armor of Gochwidae in Gyeongju based on the reproduced Jaemaejeong armor, the designer's imagination and historical work of the times were involved due to the characteristics of performance costumes. Reproduced armor as a cultural content should be considered indispensable to simplify and lighten clothing suitable for performances based on the excavated historical armor.

• Journal of the Ergonomics Society of Korea
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• v.30 no.1
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• pp.187-193
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• 2011

Objective: The aim of this study was to investigate the association between conceptual metaphors of affect and physical dimensions. Background: The evidence that affect is unconsciously linked to physical dimensions(e.g., position and color) has been obtained in western cultures. However, in eastern cultures, especially, in Korea, it has been seldom tested. It is indispensable to examine whether or not cultural differences exist for better understanding of the conceptual metaphors. Method: 50 positive and 50 negative words were adopted from previous studies in order to determine the relationship between physical domains and abstract affect. Three hypotheses were tested in this study: (1) Good is up. (2) Good is bright. (3) Good is right(for right-handers). The automatic association between valence(positive vs. negative) and vertical position (up vs. down) was investigated in experiment 1, in which 100 words were randomly presented on either the top or the bottom of a LCD screen and the evaluation time of the presented word was recorded. The unconscious association between valence and color(white and black) was examined in experiment 2, where each word was randomly presented in either white or black. Lastly, we tested whether right-handers tend to associate rightward space with positive ideas and leftward space with negative ideas. Results: Reaction time was faster when words were presented in metaphor congruent domains(e.g., 'positive words on the top, in bright color, and on right space vs. negative words on the bottom, in dark color, and on left region) than when they were shown in metaphor incongruent domains. Conclusion: The results might give the groundwork for various directions in further understanding perception, emotion, and behavior. Application: This study may provide useful points to GUI designers and service developers if further studies enhanced in validity and reliability are followed.

• The Journal of Fisheries Business Administration
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• v.22 no.1
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• pp.1-52
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• 1991

This study deals with the evolutional history of the holding and utilization of fisheries resources in Korea. Fisheries resources have the basic characteristics of the density dependent self-regulating renewable and common property resources, Irrational utilization of fisheries resources is mainly due to the unlimited access to the resources. The holding and utilization of fisheries resources in Koryo era was opened to everyone. But it was nationalized in the early Yi Dynasty. The purpose of its nationalization was to provent the paticular powered-man with their monoplized holding and to levy fisheries tax. Eoeop-peop, the first modern fisheries law in Korea, was enacted as a part of the invasion policy of Japan in 1908. With the japanese annexation of Korea in 1910, the Japanese Government established a new institutional system of fisheries as a part of an overall reformation of the institutional for an implementation of the colonial policy. It was very the new enacted Fisheries Law (Gyogyorei). Also the Government enacted compulsorily another new Fisheries Law (Chosen Gyogyorei) with its adjunct laws and regulations revise the institutional system of fisheries on May 1, 1930. After Eoeop-peop enactment, the fisheries resources in Korea could be used only under the license, permission, and statement. After Korea was from Japan in 1945, Korea Government at last enacted the new fisheries law (Susaneop-peop) in 1953. The goal of Susaneop-peop was to achive the general usage and protection of the fisheries resources, and to attain the development and democratization of the fishery in Korea. This law was amended 13 times until 1990. The license fishery have a legal right on the fishery, called a fishery rigt. This right means a right of exclusive occupation and utilization of a unit of the inshore fishing grounds. The main evolutional issues of license fishery are as the following : 1) the foundation of the exclusive usable fishery right(1911, Gyogyorei), 2) the deletion of the settled U9space lift net and settled space sein net fishery, and the expansion of the cooperative fishery-No.1, 2, and 3 type cooperative fishery-(3rd amendment, 1963), 3) the deletion of the No.2 and 3 type cooperative fishery, and the separation of the culturing fishery in No.1 and 2 type culturing fishery (13th amendment, 1990). The effective period of the license fishery was amended as the following : 1) 1908(Eoeop-peop) : within 10 years, renovation system, 2) 1929(Chosen Gyogyorei) : within 10 years, unlimited extension system, 3) 1971. 7th amendment : 10 years, renovation system, 4) 1972. 8th amendment : 10 years, only 1 extension system, 5) 1975. 9th amendment : 5-10 years, only 1 extension system, 6) 1990.13th amendment : 10 years, within 10 years of total extensional years. The priority order of the fishery license was established in 1953 (Susaneop-peop). The amendment of it is as follows : 1) 1953. enactment \circled1 the fishing grounds that the fishery right is extablished 1st order : the existing fishery right man, unlimited renovation 2nd order : the corporate that the regional fisherfolk organized 3rd order : the rest experienced fishermen \circled2 new fishing grounds 1st order : the corporate that the regional fisherfolk organized 2nd order : the rest experienced fishermen 2) 1971. 9th amendment \circled1 the fishing grounds that the fishery right is established 1st order : the existing fishery right man, unlimited renovation 2nd order : the Eochongye that the regional fisherfolk organized 3rd order : the regional fishery cooperative that the regional fisherfolk organized 4th order : the rest experienced fishermen \circled2 new fishing grounds 1st order : the Eochongye that the regional fisherfolk organized 2nd order : the regional fishery cooperative that the regional fisherfolk organized 3rd order : the rest experienced fishermen 3) 1981. 10th amendment \circled1 the inside of No.1 type cooperative fishing grounds 1st order : the Eochongye that the regional fisherfolk organized 2nd order : the regional fishery cooperative that the regional fisherfolk organized 3rd orer : the rest experienced fishermen 4) 1990. 13th amendment \circled1 No.1 type cultural fishery 1st order : the Eochongye that the regional fisherfolk organized 2nd order : the regional fishery cooperative that the regional fisherfolk organized 3rd order : the rest experienced fishermen \circled2 No.2 type cultural and settle fisher : general priority order The effective period of the permission fishery was amended 6 timed. First, it was within 5 years and renovation system (Eoeop-peop). Now it is 5 years and renovation system. The effective period of the statement fishery was amended 4 times. First, it was within 5 years, and then was amended within 3 years(Chonsen Gyogyorei). Now it is 5 years.

• Journal of the Korean Institute of Rural Architecture
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• v.11 no.1
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• pp.25-36
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• 2009

Coastal village and Inland village was village in jeju. This study was cultural elements of stone to village in jeju. Memorial Stone and Stone Monument Street, Shrine, An altar of sarificial site for village tutelary spirits, Bangsatap(pagoda), 25 Bongsu(25 beacon fire stations) and 38 Yeondae(38 signaling sites), Hwanhaejangseong Fortress, Grave wall and Horse pasture walls were included in elements of history and culture to village in jeju. An altar of sarificial rite for village tutelary spirits was generally on the a hill near a village, built of Stone wall. Bangsatap(pagoda) was the kind and the size of stone to a location, that expresses the form and the scale. the form of grave wall was the oval or the rectangle, the latter was frequent. Thatched houses in jeju and facilities in a house, Stone wall, Tongsi(pigsty), Paeng namu and A heights of stone, Spring water and Water collected in a depression, Stone Weir, Horse mill and Dodaebul(Old Lighthouse) were included in elements of life and culture to village in jeju. Stone wall has the multiplicity of the size and the building method in the use, the function and the region. The form of Stone weir was the rectangular figure or the curvilinear figure, the section of that was the right triangle or the rectangular form.

• Journal of Conservation Science
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• v.36 no.1
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• pp.37-46
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• 2020

It is difficult to predict the kinds of damage to contemporary art because of the diversity of materials and experimental techniques used. This makes it hard to conserve. Furthermore, the artist's intention in contemporary art is emerging as one of the important issues to be handled in conservation treatment. Thus, collaboration with various stakeholders such as the artists themselves, bereaved family members, and foundations have become more important than ever from the viewpoint of planning conservation treatment. The trustworthiness of conservation treatment would be significantly enhanced if conservation treatment reflected the understanding and respect of not only the appearance of the work, but also the social/cultural context inherent in the work. This should be done, in particular, through collaboration with the artists. In this study, various case studies at home and abroad were analyzed as to explore collaboration methods with various stakeholders for objective and trustworthy conservation treatment. Along the way, the study raised the need to establish new conservation ethics for contemporary art. It is expected that the outcomes of the study could be used as basic material to preserve the originality of contemporary artwork and to set the direction for conservation practice.