• Cross-Cultural Studies
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• v.39
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• pp.461-484
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• 2015

Wangyun is a prominent scholar in the Qing dynasty. Shuowenshili is his masterpiece study of Shuowenjiezi. Shuowenshili discusses the difference between Fenbiewen and Leizengzi. It emphasizes that meanings to a word tends to help express more exactly. Wangyun's discussion about Gujinzi refers to the phenomenon that in order to recode a word different characters used in different periods. Wangyun's use of Gujinzi is based on the purpose to explain the relationship between characters. Fenbiewen and Leizengzi are specialized term of characters evolution. Wangyun's theory of Fenbiewen, Leizengzi and Gujinzi is the most important linguistics found. He was generous contributions to the linguistics of China. In particular, understanding the meaning and development of Chinese character.

• Journal of Wellness
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• v.6 no.3
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• pp.13-21
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• 2011

The purpose of this study was to examine the potential predictors of leisure behavior intention using the theory of planned behavior(TPB). A convenience sample of 369 participants was obtained from university students in Korea and America. For the purposes of this study, potential predictors of leisure behavior intention were selected from the following categories: attitude, subject norm, perceived behavior control, group conformity and face saving. In order to better understand the dynamics of the TPB process that influenced leisure behavior intention, this study used structural equation modeling(SEM) to test the TPB model. According to the results, attitude, subject norm, and perceived behavior control influenced to leisure behavior intention of both Korean and American university students and face saving influenced to leisure behavior intention of Korean university students. However, group conformity did not influence to leisure behavior intention of either Korean and American university students. For future study, more specific and decomposed factors are recommended to understand leisure behavior intention in theoretical way.

• The Journal of Art Theory & Practice
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• no.6
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• pp.27-50
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• 2008

This thesis examines contemporary Chinese painting after the Cultural Revolution(1966~76), focusing upon so-called "Chinese Pop art", which I termed as "Socialist Pop art". I considered the art of this period within the broader context of social changes especially after the Tienanmen incident of 1989. After the Cultural Revolution during which idolization of Chairman Mao was at its peak, one of the major changes in communist China was that an anti-Mao wave was generated in almost every social class. For example, novels that revealed the hardships during the Cultural Revolution were published. Posters that openly criticized the Maoism were also produced and displayed on the walls, and demand for democracy spurred widespread activist movements among young generations. These broad social changes were also reflected in art. A variety of art movements were introduced from the West to China, and after a period of experimentation with the new imported styles, artists began to apply the new artistic idiom to their works in order to visualize their own social and political realities they lived in. It was a shift from earlier Socialist Realism to a new expression either directly or indirectly, "Socialist Pop", an amalgam of Socialist Realism and Pop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communist government quelled with brutal measures the students, workers, and ordinary people who rose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This time coincided with the gradual emergence of art using Pop art vocabulary to satirize the social reality, the Socialist Pop art, along with many other art forms all with avant-garde spirit. One of the most frequent subjects of Chinese Pop art was visual images of Chairman Mao and his Cultural Revolution, and new China that was saturated with capitalism, which tainted the Chinese way of life with a Western way of consumerism and commercialism. The reason for the popularity of Mao's image was spurred by the "Mao Craze" in the early 1990's. People suddenly began to fall in a kind of nostalgia for the past, and once again, Mao Zedong was idolized as an entity who can heal the problems of modern China who had been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is no more an object of worship of almost religious nature but he has become an iconography symbolizing the complex nature of present Chinese society. During this process of depicting the social reality, Chinese artists are making the authority and sanctity of Maoism ineffective. Dealing with this new trend of contemporary Chinese art in view of "Socialist Pop art" two manners of re-creating Pop art can be illustrated: one that incorporates the propaganda posters of the Cultural Revolution; the other borrows from Chinese traditional popular imagery or mass media, such as photos taken during Mao era. What is worth mentioning is that these posters and photos of the Cultural Revolution can be identified as 'popular' media, as they were directed to educate the popular mass, thus combination of this ingenuous pop media with Western Pop art can be fully justified as a genre unique to China. Through this genre, we can discover a new chapter of the Chinese contemporary painting and its society, as their Pop art can be considered as self-portraits true to their present appearances.

• Journal of Digital Contents Society
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• v.9 no.4
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• pp.591-600
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• 2008

Korean traditional culture has a long history and it is rooted in the deep down our national culture. It is like bread and pride for Korean people. The tale of Cheyong is a precious cultural heritage, which has existed in the public awareness of the Korean people since the period of unified Silla. Based on its mysterious and beautiful story, the value of traditional culture can be revealed through development of digital contents. With such precious cultural resource we can digitalize the fun contents which the general public can enjoy. Ways of digitalize of cultural archetype has been suggested by analyzing the content elements of the tale of Cheyong. Also, by making scientific approach to the development process of digitalization, the possibility of digitalization has been found through 3D animation restoration process for Cheyong Dance and the process of making the tale of Cheyong into animation. Through analyzing the contents development process of cultural archetype of the tale of Chetyong, a cultural archetype sourcehas been developed which has a great value as a contents product that can be developed and used as various cultural content art works. With studies on the theory of development method for digitalization of traditional culture, scientific studies and investigation have to be continuously carried out so the digitalization of Korean cultural heritage, which will shine in the world, can be continued as well.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.159-169
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• 2023

The purpose of this study is, first, to establish a theory about the conflict between sustainable tourism development and the restoration process of modern cultural heritage. Second, a research model is established through literature research, and the difference in perception between the local government (Incheon Jung-gu Office) and the local residents is analyzed. Third, based on the results of the analysis, we will present a conflict management strategy for sustainable tourism development in the modern hotel restoration project. If a conflict management strategy is presented based on the analysis results, first, a procedure to confirm whether the goal of development for sustainable tourism development and local residents is the same before the modern cultural heritage restoration project is necessary. Second, it is necessary to coordinate opinions on priority items among sustainable tourism development indicators during the modern cultural heritage restoration project. Third, in the modern cultural heritage restoration project, priority should be given to the change of awareness of the development subject rather than the change of awareness of the local residents. Fourth, in the modern cultural heritage restoration project, the development entity should attempt continuous dialogue and compromise in an effort to find an alternative that satisfies local residents. Fifth, in the modern cultural heritage restoration project, it would be effective to pay special attention to and focus on the part of 'adjustment of opinions' where the difference of opinion between the developer and the local residents is the largest.

• The Research Journal of the Costume Culture
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• v.3 no.1
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• pp.27-40
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• 1995

This thesis, based on the semiotic theory, compared the meaning of sign which is a grounding the military uniform of the category of clothings as a cultural sign for formative relation. As for the scope of study, I made the Amy's uniforms during the last period of Korea Empire from 1895 to 1909 as an object of amy thesis and analyzed their decument and photographes. As a result of analyse of military uniform during by semiotical application, I made clear that it has role of signal by underlying signal's aspect of sign, and it si a sign which could symbolize the class, national and periodical distinction.

• Journal of Korean Society of Industrial and Systems Engineering
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• v.17 no.30
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• pp.67-71
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• 1994

Quality Control Circle activity is widely introcuced by manufacturing industries. Q.C.C. is studied not only in relation with five points of view such as corporate culture, labor union, organizational management model in Korea, the Theory W and educational revolution etc. but also in social, cultural background, and national trait's view points. The main goal of this study is to investigate sucessful role and active application in Quality Control Circle activity.

• Journal of the Korean Home Economics Association
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• v.39 no.11
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• pp.89-106
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• 2001

The purpose of this study is to critically review the related issues of marital satisfaction scale in order to develop a Korean Type Marital Satisfaction Scale. Especially definitional ambiguity, unit of analysis theory of marital satisfaction and issues about measurement and cultural implication are reviewed. Also a section deals with suggestions that could be considered to develop Korean Type Marital Satisfaction Scale.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.56-77
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• 2021

Toponyms are located not only in the site between human cognition and the physical environment but also in the name of cultural heritage. Accordingly, certain identities and ideologies for which human groups and community have sought, their holistic way of life, and all cultural symbols and cosmos, such as sense of place and genius loci, are included in their toponymic heritage. Denoting, symbolizing, integrating and representing the culture and nature belong to the human community. Based on these perceptions of the toponymic heritage, the aims of this article are to examine the values of a toponym as an Intangible Cultural Heritage (ICH) and to suggest the application methods using the toponymic functions for governing of tangible cultural heritage. This article discusses the multivocality, diversity, and non-representational theory of landscape phenomenology intrinsic to the terms of culture and cultural landscape and then the domestic and international issues on the toponymic heritage in the first chapter on the values of toponym as a part of the ICH. In particular, it analyzes the preceding research in the field of toponymy, as well as the Resolutions of UNCSGN and UNGEGN on "Geographical names as culture, heritage and identity" including indigenous, minority and regional language names since 1992, which is related to the UNESCO's Convention for the Safeguarding of the Intangible Cultural Heritage in 2003. Based on this, I suggest that the traits of toponymic cultural heritage and its five standards of selection, i.e., cultural traits of toponyms, historical traits, spatial traits, socio-economic traits and linguistic traits with some examples. In the second chapter discussing on the methods using the toponymic denoting functions for creating and governing of the tangible cultural heritage, it is underlined to maintain the systematic and unified principle regarding the ways of naming in the official cultural heritage and its governing. Lastly, I introduce the possible ways of establishing a conservative area of the historical and cultural environment while using the toponymic scale and multi-toponymic territory. Considering both the spatial and participatory turns in the field of heritage studies in addition to the multiple viewpoints and sense of cultural heritage, I suggest that the conservative area for the cultural heritage and the historical and cultural environment should be set up through choosing the certain toponymic scale and multi-toponymic territory.

• Journal of the Korean association of regional geographers
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• v.20 no.1
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• pp.49-69
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• 2014

The theory of creative city can be seen as one that reflects a relationship between recent change of economic environment and socio-spatial reconstruction in the so-called 'cultural turn' to deindustrialization. This paper considers approaching methods to knowledge-based economy or cultural economy as a context of development of theory of creative city, and suggests types of conceptualization of creative city. Then it reviews creative perspectives which can be found in recent domestic and oversea research trends on creative city, especially relating its nature with neoliberalism. Finally this paper discusses critically the concept of creative class as a social constitution of creativity or creative economy, and that of creative city as its spatial constitution. The concept of creative class can be criticized in terms of ambiguity of the concept of class, class-biased and economy-privileged idea, market valorization of culture, individualization against community, normalization of flexible labor market, and uncertainty of economic success of creative city. The concept of creative city can be criticized in terms of limitation of interests to city, ignorance of national and global dimensions, decontextual normative vision, legitimation of neoliberal city, lack of proof of causality between creative class and economic success, polarization of within and between cities.