• The Research Journal of the Costume Culture
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• v.28 no.6
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• pp.858-874
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• 2020

This study attempts to analyze the social and cultural meanings of the ethnic groups to which different types of shamans belong in Siberia from the appearance characteristics in terms of clothing through Roland Barthes's semiotic theory. The research method here is to analyze three types of shaman costume classified by Holmberg, which are bird-type, deer-type, and bear-type, through theoretical research and to investigate the analysis process of Roland Barthes's semiotics theory. Roland Barthes's approach to semiotics presents an analysis model that can explore the sociocultural meaning of the Siberian shaman costume. The research results are as follows. In the first type, to be closer to the god of the upperworld, shamans transform themselves into birds by decorating their costumes with the characteristic elements of birds such as feathers and wings. In the second type, the shamans' costumes are made of deerskin, and the headdress is shown in the shape of antlers to make it easier to receive messages from the upperworld and run fast in the underworld. In the third type, the shaman's costume is made of bearskin, the head is covered with bearskin, and the body is decorated with bear pendants. Through the power of the bear, the shaman is sent to the underworld to defeat evil gods and remove diseases. Shamans can show their particularity of being a demigod and non-binary gender through clothing. They use this to reflect their authority as a medium of communication between man and god.

• Journal of Korean Society of Rural Planning
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• v.28 no.3
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• pp.111-125
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• 2022

Korea's rapid urbanization caused problems, such as destruction of the rural environment, loss of traditional culture and dissolution of communities, as the continuous outflow of the population from rural areas, aging and consequent labor shortages and deterioration of the living environment were connected like a vicious cycle. In order to solve the problems of rural areas and overcome their vulnerabilities, the ultimate goal is to find a way to reintroduce the population to the rural areas. In order to be reborn as a space with rural characteristics and pluralistic functions and various potentials in a space under threat of underdevelopment and extinction, the pushing factor from rural areas is improved, and the population inflow factor to the rural areas is improved to enhance rural attractiveness, focusing on creativity among the 4Cs of New Ruralism: Conservation, Cultivation, Community, Creativity. A case study of 'Creative space in rural areas' was studied and considered. In-depth interviews were conducted with four key stakeholders, and the research results were analyzed focusing on the grounded theory method to draw implications from the background of Gurye Natural Dream Park, characteristics that can be viewed as creative spaces, and examples of creative space creation in rural areas. The 'Creative space in rural areas' is a space that can solve the current issues and problems of rural areas. In the case of Gurye Natural Dream Park, the young population of Gurye is increasing through job creation, provision of living and cultural service facilities, and improvement of the education and medical environment. In this study, the existing rural problem-solving process in this process was viewed as creativity in rural areas.

• Korean Journal of Community Nutrition
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• v.28 no.6
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• pp.495-508
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• 2023

Objectives: This study aimed to develop a campus-based intervention program to enhance food literacy (FL) among university students. Methods: In the initial phase, we conducted a literature review of FL intervention studies and held in-depth interviews with university students to identify facilitators and barriers to improving and practicing FL. Expert counseling sessions were conducted with nutrition education, marketing, and service design professionals. The results of this phase led to the creation of an initial curriculum draft. In the second phase, a follow-up survey was conducted with young adults to assess the acceptability of the developed curriculum. After the follow-up survey, additional meetings were conducted with the aforementioned experts, and the curriculum was further refined based on their input. Results: An 11-week FL intervention program was devised using constructs from the Social Cognitive Theory. The weekly curriculum consisted of 90-min theory-based and 90-min hands-on experience sessions. Three primary aspects of FL were covered: nutrition and food safety, cultural and relational dimensions, and socio-ecological aspects. Program highlights included cooking sessions for crafting traditional Korean desserts, lectures on animal welfare, insights into zero-waste practices, and communal eating experiences. Based on the study team's previous research, the program also addressed mindful eating, helping participants understand the relationship with their eating habits, and providing strategies to manage negative emotions without resorting to food. Yoga sessions and local farm visits were incorporated into the curriculum to promote holistic well-being. Conclusions: This study elucidated the comprehensive process of creating a campus-based curriculum to enhance FL among university students, a group particularly susceptible to problematic eating behaviors and low FL levels. The developed program can serve as a blueprint for adaptation to other campuses seeking to bolster students' FL.

• Asia-Pacific Journal of Business
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• v.14 no.4
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• pp.49-65
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• 2023

Purpose - In the Korean and Chinese social landscape, it is vital to appreciate the significance of the Japanese history problem. The current study investigated whether the perception of the Japanese history problem affects decisions regarding technology adoption in organizations by comparing South Korea and China. Design/methodology/approach - The study involved 305 Korean and 379 Chinese participants who responded to scenarios and surveys regarding the adoption of workplace surveillance cameras supplied by a Japanese company. Findings - Using a moderated mediation model based on protection motivation theory (PMT), we found that past experiences of privacy invasion significantly reduced trust in the adoption of surveillance cameras at work. This relationship was mediated by respondents' perceptions of security vulnerability. The current study, however, did not confirm any significant moderating effect of the Japanese history problem priming on trust in the adoption of workplace surveillance cameras. Research implications - This suggests that the Japanese history problem may have a limited impact on organizational technology adoption decisions, different from the political consumerism behavior driven by public anti-Japanese affectivity. The current study reaffirms the validity and applicability of PMT and provides both theoretical insights and practical recommendations.

• MISULJARYO - National Museum of Korea Art Journal
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• v.100
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• pp.50-80
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• 2021

This paper critically examines the history of the theories connected to the Wongaksa Temple Pagoda that have developed over the last 100 years focusing on the original number of stories the pagoda would have reached. Part II of this paper retraces the dynamic process of the rediscovery of the Wongaksa Temple Pagoda by Westerners who traveled to Korea during the port-opening period. Koreans at the time viewed the Wongaksa Temple Pagoda as an object of no particular appeal or even as an eyesore. However, Westerners appreciated it as a wonder or magnificent sight. Since these Westerners had almost no prior knowledge of Buddhist pagodas, they were able to write objective travelogues. At the time, these visitors generally accepted the theory common among Joseon intellectuals that Wongaksa Temple Pagoda once had thirteen stories. Part III focuses on Japanese government-affiliated scholars' academic research on the Wongaksa Temple Pagoda after the proclamation of the Korean Empire and the Japanese Government-General of Korea's subsequent management of the pagoda as a cultural property during the colonial era. It also discusses issues with Japanese academic research and management. In particular, this portion sheds light on the shift in theories about the original number of stories of the Wongaksa Temple Pagoda from the ten-story theory supported by Sekino Tadashi (關野 貞), whose ideas have held a great influence on this issue over the last 100 years, to the thirteen-story theory and then to the idea that it had more than thirteen. Finally, Part IV addresses the change from the multi-story theory to the ten-story theory in the years after Korea's liberation from Japan until 1962. Moreover, it highlights how Korean intellectuals of the Japanese colonial era predominantly accepted the thirteen-story theory. Since 1962, a considerable quantity of significant research on the Wongaksa Temple Pagoda has been published. However, since most of these studies have applied the ten-story theory suggested in 1962, they are not individually discussed in this paper. This retracing of the history of theories about the Wongaksa Temple Pagoda has verified that although there are reasonable grounds for supporting the thirteen-story theory, it has not been proved in the last 100 years. Moreover, the number of pagoda stories has not been fully discussed in academia. The common theory that both Wongaksa Temple Pagoda and Gyeongcheonsa Temple Pagoda were ten-story pagodas was first formulated by Sekino Tadashi 100 years ago. Since the abrasion of the Wongaksa Temple Stele was so severe the inscriptions on the stele were almost illegible, Sekino argued that the Wongaksa Temple Pagoda was a ten-story pagoda based on an architectural analysis of the then-current condition of the pagoda. Immediately after Sekino presented his argument, a woodblock-printed version of the inscriptions on the Wongaksa Temple Stele was found. This version included a phrase that a thirteen-story pagoda had been erected. In a similar vein, the Dongguk yeoji seungnam (Geographic Encyclopedia of Korea) published by the orders of King Seongjong in the late fifteenth century documented that Gyeongcheonsa Temple Pagoda, the model for the Wongaksa Temple Pagoda, was also a thirteen-story pagoda. The Wongaksa Temple Stele erected on the orders of King Sejo after the establishment of the Wongaksa Temple Pagoda evidently shows that Sekino's ten-story premise is flawed. Sekino himself wrote that "as [the pagoda] consists of a three-story stereobate and a ten-story body, people call it a thirteen-story pagoda," although he viewed the number of stories of the pagoda body as that of the entire pagoda. The inscriptions on the Wongaksa Temple Stele also clearly indicate that the king ordered the construction of the Wongaksa Temple Pagoda as a thirteen-story pagoda. Although unprecedented, this thirteen-story pagoda comprised a ten-story pagoda body over a three-story stereobate. Why would King Sejo have built a thirteen-story pagoda in an unusual form consisting of a ten-story body on top of a three-story stereobate? In order to fully understand King Sejo's intention in building a thirteen-story pagoda, analyzing the Wongaksa Temple Pagoda is necessary. This begins with the restoration of its original name. I disprove Sekino's ten-story theory built upon flawed premises and an eclectic over-thirteen-story theory and urge applying the thirteen-story theory, as the inscriptions on the Wongaksa Temple Stele stated that the pagoda was originally built as a thirteen-story pagoda.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.172-195
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• 2019

Among the paintings of Goam Lee Ungno (1904-1989), his works of the 1960s in Paris have been evaluated as his most avant-garde works of experimenting with and innovating objects as an artist. At that time, his works, such as Papier Colle and Abstract Letter, were influenced by abstract expressionism and Western Art Informel, illustrating his transformation from a traditional artist into a contemporary artist. An exhibition, which was held prior to his going to Paris in March 1958, has received attention because it exhibited the painting style of his early Informel art. Taking this into consideration, this study was conducted by interpreting his work from two perspectives; first, that his works of 1958 were influenced by abstract expressionism and Art Informel, and, second, that he expressed Xieyi (寫意) as literati painting, focusing on the fact that Lee Ungno first started his career adopting this style. In this paper, I aimed to confirm Lee Ungno's recognition of Art Informel and abstract painting, which can be called abstract expressionism. To achieve this, it was necessary to study Lee's painting theory at that time, so I first considered Hae-gang Kim Gyu-jin whom Lee Ungno began studying painting under, and his paintings during his time in Japan. It was confirmed that in order to escape from stereotypical paintings, deep contemplation of nature while painting was his first important principle. This principle, also known as Xieyi (寫意), lasted until the 1950s. In addition, it is highly probable that he understood the dictionary definition of abstract painting, i.e., the meaning of extracting shapes from nature according to the ideas which became important to him after studying in Japan, rather than the theory of abstract painting realized in Western paintings. Lee Ungno himself also stated that the shape of nature was the basis of abstract painting. In other words, abstractive painting and abstract painting are different concepts and based on this, it is necessary to analyze the paintings of Lee Ungno. Finally, I questioned the view that Lee Ungno's abstract paintings of the 1950s were painted as representative of the Xieyi (寫意) mind of literary art painting. Linking traditional literary art painting theory directly to Lee Ungno, who had been active in other worlds in space and time, may minimize Lee Ungno's individuality and make the distinction between traditional paintings and contemporary paintings obscure. Lee Ungno emphasized Xieyi (寫意) in his paintings; however, this might have been an emphasis signifying a great proposition. This is actually because his works produced in the 1950s, such as Self-Portrait (1956), featured painting styles with boldly distorted forms achieved by strong ink brushwork, a style which Lee Ungno defined as 'North Painting.' This is based on the view that it is necessary to distinguish between Xieyi (寫意) and 'the way of Xieyi (寫意) painting' as an important aspect of literary art painting. Therefore, his paintings need a new interpretation in consideration of the viewpoint that he represented abstract paintings according to his own Xieyi (寫意) way, rather than the view that his paintings were representations of Xieyi (寫意), or rather a succession of traditional paintings in the literary artist's style.

• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.2
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• pp.94-102
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• 2023

The Florence Charter, established in 1981 by the ICOMOS-IFLA International Commission on Historic Gardens, considered the historic garden as a plant-dominated architectural composition, a perpetual balance between the artist and the artisan's desire to remain unaltered in perpetuity. Trees, the main component of the garden, require continuous management as they repeat their creation and calling according to the cycle of the seasons and accordingly, it is suggested that management to maintain the appearance of trees in Korean palaces was an indispensable element. Although it is an important matter to historically verify the tree management techniques of the palaces of the past, research has been difficult due to the absence of historical records and the disconnection of life due to the Japanese colonial period. In addition, according to the view that trees were not generally managed in the palace, research on palace tree management techniques has not been conducted so far. Therefore, this study aimed to examine whether or not the tree management of the palaces was performed in the past through expert interviews based on photographs taken in modern times. With the identification of tree species and pruning through in-depth interviews with experts using photographs taken in the modern period, the results are as follows. First, it was found that the shapes of trees and leaves could be identified through photographs and by observing the phenomena caused by planting and pruning, it was possible to estimate whether or not the tree management was implemented in the modern palace. Second, as a result of in-depth interviews with 8 experts in 4 fields, it was possible to determine the tree species and pruning status, purpose, and method. There was no significant difference in opinions between groups, and the evidence was clearly presented. Third, the type of management of trees in the palace was mainly found to be determination of the types of tree, removal of hazardous factors of trees, and management of lower vegetation and through the photographs of Jondeokjeong and Gwanwanjeong, it was confirmed that the trees were managed even before the Japanese colonial era, considering the time of filming. Based on the photographs taken, it was possible to estimate whether the trees were managed before the Japanese colonial period through expert interviews. However, it could not be clarified due to lack of historical materials as to whether it was carried out on its own according to the circumstances of the times or by the Japanese Empire. Still, in this study, evidence was obtained to refute the view that trees of the palace were not managed in the past through the collected data. Expert opinions supporting this view were collected to make the conclusion. In addition, based on the general theory of pruning, an empirical review of expert opinions was conducted to secure the reliability of the research results.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.9 no.1
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• pp.236-245
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• 2008

This study was attempted to analyze the current status of curriculums programs in the pet-related departments in the fifteen colleges in Korea which have operated the relevant courses of major practice since they were newly established in 2003 or later. Thus, this study aimed to suggest how to develop the curriculums for pet-related departments so that the study had the goal of creating the common gold standards between the Korean cultural industry of companion animal and the relevant curriculums. Based upon the results listed above, it is considered that pet-related curriculums should be developed and operated as follows: First, the curriculums preferred highly by both undergraduates and employees should be selected and operated. Second, liberal arts courses concerning companion animal culture required to cultivate cultural comprehension for basic abilities should be opened. Third, major courses concerning animal-assisted therapy (AAT) together with the existing major practice courses should be established so that undergraduates can grow into professionals. Fourth, to do so, appropriate machines and instruments for major practice laboratories should be introduced and maintained. fifth, some pet-related departments substituting major theory courses for major practice courses should improve their organizations. Sixth, standardized curriculums fur pet-related departments and an evaluating institute fur them should be arranged and founded. Finally, the college management should invest constantly in the suitable major practice laboratories and their facilities for companion animal industry as well as curriculum operations.

• The Journal of the Korea Contents Association
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• v.14 no.8
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• pp.122-129
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• 2014

The idea of global cities were widespread in the 20th century, but now in the 21st century the paradigm has changed into creative cities. They are trying to develop the creative contents in which economy and culture are connected to promote their global competitiveness. This thesis focuses on the three main points represented in the projects of publishing journals of Namyangju city. Firstly, the project held 'community-based lectures of humanities,' and 'literary contest' to induce participation of the citizens. The results of the events, however, were not successful because of the narrow extent of creative groups of the city and not enough campaign of the city. Secondly, there was the education of citizens to promote their participation, as they are so much the main parts of publishing journals that theory and practice of reporting on their own is essential. Thirdly, the project committee established citizen publishing committee and encouraged them to do their parts at each department. As a result, citizens succeeded in building cultural infrastructure for shaping the creative city and had the initiative to publish journals about masters, masterpieces, and attractions in Namyangju city. The city and the citizens should practice the culture contents projects in both sides' cooperation.

• Cartoon and Animation Studies
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• s.40
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• pp.261-285
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• 2015

Transmedia has become a significant theme in the media studies sector and an academic discourse itself since its wide diffusion through Henry Jenkins' seminar book Convergence Culture. The aim of this essay is to examine the authentic intention of the proposer to understand its profound meaning and value in the research discourse. Firstly, Transmedia has originated as a part of the convergence culture research context, which is an identical approach in the 'active audience' research tradition. Thus, a history of the research in terms of Birmingham Cultural Studies tradition and its implication is scrutinized. Secondly, in respect of Pierre Levy's 'collective intelligence' which made significant influence on the making of the Convergence Culture and Transmedia Storytelling, the meaing of the transmedia discourse is studied. Thirdly and finally, the implication of this concept as a critical theory or Critique in the Cultural Studies tradition, which has highlighted the importance of the revelation of the binary oppositions and structures of dominance/resistance, with the interpretation of the role of the collective intelligence idea in the transmedia discourse, is studied.