• 한국수학교육학회지시리즈D:수학교육연구
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• 제15권3호
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• pp.209-228
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• 2011

Many studies such as Pepin (1999a; 1999b), Kaiser (2002), and Park & Leung (2006) revealed that there is a strong dependence of mathematics teaching on cultural traditions in different countries. This study was set up as a detailed comparison between the intended curricula in Berlin and Hong Kong to explore how cultural tradition influenced the intended curriculum. In this study, the intended curriculum is what the (local, state or national) curriculum developers stipulate in the official documents. The German educational system is influenced by the curriculum tradition called Didaktik. Didaktik is a tradition about teaching and learning. Since 16th century, Didaktik has been the most important tool for planning, enacting, and thinking about teaching in most of northern and central Europe (Westbury, 1998). On the other hand, the education system in Hong Kong is influenced by both the Anglo-Saxon curriculum tradition and the Confucian heritage culture (CHC). It was found in this study that, although many studies revealed that there is a strong dependence on cultural traditions of mathematics teaching in different countries, other factors such as social factors or the education system also played an important part in shaping the intended mathematics curriculum. So a simplistic view of dependence of the curriculum on cultural traditions is not warranted. The formation of the curriculum is a much more complicated process encompassing various factors including needs of society, advancement of technology, and government policies at different levels.

• 복식
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• 제60권3호
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• pp.56-65
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• 2010

It is time to create an image of Korea that uniquely defines and represents the nation to the world, by incorporating Korean traditions with the cultural industry. To this end, it is important to see the beauty of Korean tradition from an academic perspective and further explore its utility from an industrial viewpoint. This study is intended to design uniforms for employees in Korean restaurants at hotels or docents in Korean-styled museums. In doing so, we eyed on Baeja, a Korean traditional vest as the cultural archetype, and created cultural products. As our archetype, we chose two pieces of Baeja : one excavated from the tomb of Suryun Sim (1534-1589) which is displayed in the Gyeonggi Provincial Museum, and the other from Byeon of the Jeonju Lee family (1636-1731) in Suk Joo-Sun Memorial Museum at Dankook University. We also adopted Dapho with a Korean traditional vest with long length. Based on these cultural archetypes, seven products were developed. With the traditional food and way of living in Korea being more and more recognized in the global stage, it would be continuous creation and development of cultural contents with history and story rooted in the cultural heritage of the nation that could enrich our culture by bringing traditions back to the modern days to incorporate the past into the present. It is important to restore traditions when developing cultural products. However, it is also critical to commercialize ideas with stoη and creativity in the market for cultural products.

• 한국의류학회지
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• 제34권12호
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• pp.2006-2021
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• 2010

An authentic national spirit in media (particularly films), traditional images, and color preferences is expressed through movies that are melted in local traditions. This study suggests a direction regarding the characteristics for historical costumes by examining traditional color images and cultural preference in the Chinese film (1987), a representative film that deals with Chinese history and traditions. This movie can illustrate the correlation between the temporal backgrounds and the costumes in the movie with the criteria of Eastern color systems. The results of this research are summarized as follows. First, the image of Chinese traditional colors represented in many parts of and the cultural preferences that underlies their works through the expression of traditional colors. The scenes of traditional costumes and colors express the visual embodiments of the costumes that reflect a specific status, ceremony, or ritual. Second, the traditional colors used in the movie are based on the Yin-Yang theory. Particularly, Red, Yellow, Black is mostly used for ordinary clothing. Third, there are some differences in the use of color arrangements, that change regarding the use of traditional colors according to images and situations that follow the intention of the director. Planning the color arrangements is considered an engaging connectivity between traditions and images in the movie and it is extended or reduced based on cultural preferences. Fourth, the increase and decrease of color arrangements is distinctively represented as the story of the movie proceeds.

• 영미문화
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• 제9권1호
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• pp.163-184
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• 2009

Sherman Alexie deals with reservation realism in The Lone Ranger and Tonto Fistfight in Heaven and Smoke Signals. By reservation realism he means American Indian traditions and its problems like alcoholism, violence, unemployment, depression, and poverty on the reservation. It cannot be denied that the traditional ceremonies have played significant roles in making it possible for American Indians to keep their own ethnic identities. It is, however, also true that the same traditions have prevented them from embracing modernity. Alexie believes that it is high time that Indians living on the reservation discarded the old tradition of racial exclusiveness for a gradual crossing of cultural borders. What is seriously needed on today's reservation is not the historic figure of Crazy Horse, a stoic and masculine warrior in the late 19th century, but Sacagawea, a Shoshoni Indian who helped Meriwether Lewis and William Clark to explore the American West in the early 19th century. When asked to be more specific about cross cultural examples, Alexie proposes successful Indian doctors and lawyers as role models on the reservation.

• Acta Via Serica
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• 제8권1호
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• pp.71-86
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• 2023

This article aims to reveal the history of traditional Mongolian carpeting techniques and their development and application based on archeological findings as well as related research from field researchers. Furthermore, the article highlights some of the ancient traditions in modern carpet decorative motifs and pattern designs. The paper focuses on traditional carpeting techniques, decoration motifs, pattern designs, and representations of embroidered felt carpets from Xiongnu Dynasty (209 BCE - 48 CE) elite burials. Main themes for this research are: 1. Traditional materials and techniques for making Xiongnu carpets. 2. Xiongnu embroidered felt carpet pattern designs, decoration motifs, and representations. 3. The development of modern Mongolian carpet decoration motifs and pattern designs. This research considers archeological evidence and socio-cultural factors together to hypothesize that traditional Xiongnu embroidered felt carpet techniques, main featured motifs, and pattern designs are widely used in modern Mongolian carpet design and have a significant influence on its development.

• 한국콘텐츠학회논문지
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• 제21권1호
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• pp.185-195
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• 2021

본 연구는 한국의 축제에서 발생하는 동물학대에 대한 문제제기를 통해 문화적 행위로서의 축제가 문화적 가치를 형성하는지를 살펴보는 데 있다. 동물에 대한 사회적 인식의 변화와 인간 중심의 사고에서 환경과 생명의 가치에 대해 변화된 시선은 축제에서 다뤄지고 있는 동물을 다시 한 번 돌아보는 계기가 되었다. 본 연구를 위해 동물을 이용한 축제를 살펴보고, 그 중 비판의 대상이 되고 있는 4개의 주요 동물축제 실태를 분석하였다. 더불어 동물축제에 대해 상호 대립된 관점을 지닌 문화관광과 동물권 분야 전문가의 인터뷰를 통해 의견, 평가, 대안, 반론 등을 해석적으로 분석하는 질적 연구방법을 진행했다. 주요 논제는 '동심을 이용한 상품 판매'는 이미 상품화된 문화적 가치에 대한 통렬한 비판이다. '잘못된 전통은 지킬 가치가 없다'는 말은 문화적 가치 생성이 없는 전통의 관습적 기억으로부터의 탈피이다. 문화적 행위가 일어나는 공간으로서의 축제는 인간과 동물의 행위가 긴밀하게 교차하고 상호작용하는 특별한 장소이다. 전통이라는 이름으로 동물폭력의 역사를 이어 온 지난한 세월의 악습을 끊어내는 일이야 말로 '문화적 가치'를 생성하는 것이다.

• 헤리티지:역사와 과학
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• 제53권3호
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• pp.128-141
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• 2020

이 논문은 조선총독부의 고적조사와 일련의 사업을 통해 한국에 미술공예 개념이 수용된 과정과 그 과정에서 성립된 공예의 전통과 캐논에 대해 고찰한 글이다. 「고적 및 유물 보존규칙」과 「조선보물·고적·명승·천연기념물 보존령」의 제정을 통해 법률상으로 제시된 공예는, 조형물을 만들어낸 정교하고 뛰어난 기술, 더 나아가 회화, 조각과 같은 미술의 한 장르를 의미했다. 이왕가박물관과 총독부박물관은 미술공예라는 용어를 대중에 확산시키는 역할을 했고, 여기에 전시된 공예는 과거의 전통을 시각적으로 구체화하였다. 이와 같이 공예라는 용어는 고미술을 가리킬 때 빈번히 사용되었고, 구체적으로는 법률상의 보물로 지정되거나 박물관에 전시되어 지키고 보존해야 할 전통이 되었다. 공예의 전통과 캐논이 성립되자 당대에 제작되는 공예에 큰 영향력을 행사했다. 이 일련의 과정에는 일본의 문화 정책과 제국적 취향이 절대적으로 작용했다. 일반적으로 근대기에 성립된 공예 개념은 산업으로서의 공예와 미술로서의 공예, 두 가지로 구분되어 왔으나, 미술로서의 공예라는 개념 안에도 여러 층위가 존재했다. 캐논이 된 고미술은 동시대 제작의 준거가 되었으며, 실제로는 동시대에 제작되던 공예의 양상도 모두 같지 않았다. 이제까지 일괄적으로 논의되던 미술공예 개념을 세분화하는 작업이 공예에 있어서 '만들어진 전통'과 근대기 공예계의 양상을 정확히 파악하기 위한 기초가 될 것으로 기대한다.

• 동남아시아연구
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• 제21권2호
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• pp.155-182
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• 2011

The purpose of this paper is to examine the process of Islamization in Java, focusing on religious discourse among Muslim intellectuals. How Islamic tradition and knowledge have been perceived and utilized and how they have interacted with those of non-Islamic origin will be discussed. For this, three Islam-related books written in different phases of Islamization are to be analyzed: Babad Tanah Jawi compiled by Mataram court in the 17th century, Serat Cabolek written by a court poet in the late 18th or early 19th century, and Fikih Anti-korupsi published by reformist and scriptural organization of Muhammadiyah in 2006. Babad portrays conversion to Islam as a process which does not demand a dramatic outward change in religious practice. Scriptural tradition of Islam and the dichotomy between what is Islamic and what is not were not mentioned in order to explain conversion. Spiritual and mystical enlightenment was emphasized heavily, and for this, the importance of non-Islamic traditions was fully acknowledged. Serat tells us that this period was characterized by the surge of scriptural and shariah-minded Islam, maintenance of non-Islamic traditions, clashes between scriptural Islam and old religious traditions, and Javanese efforts to harmonize these. In Fikih, non-Islamic tradition is replaced by scriptural Islam and disappears totally. Interpretations based on the Scriptures, however, do not monopolize it and are used together with mode of analysis from the West. It is too much to call this 'intellectual syncretism', in that Islamic Scriptures and Western knowledge do not mix but stand side by side. Three books under examination reveal that the process of Islamization in Java has not been uniform. It has been conditioned and shaped by local socio-cultural and historical circumstances, where active engagement and intellectual exercise of Javanese Muslims have played key roles. Even Islamization in the last few decades is not an exception. The surge of scripturalism and fundamentalism does not simply bring about a move to Arabization. Interacting with local intellectual and socio-cultural milieu, this has produced a sort of intellectual hybridity, which is unique to Muslim society of Java.

• 헤리티지:역사와 과학
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• 제36권
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• pp.87-104
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• 2003

The Chungdo-type Pottery Culture, distributed through the middle part of the Korean peninsula, is chronologically located in the very former stage of the advent of ancient states. It has two different traditions of pottery manufacturing technique which are totally different in choosing raw materials, shaping, fixing and firing. It seems that two different traditions had been selectively applied by pottery type. In order to understand this peculiar cultural aspect, the pottery typology needs to be different from those applied to cultures where pottery was made and used under the single manufacturing tradition. This study tries to find the new pottery typology which best fits for the understanding the chronology of the Chungdo-Type Pottery Culture. For this purpose, I examined existing typologies, recognized their problems, and then build a new typology. As a result, I found that the former typologies misinterpreted the relative frequencies of each pottery type as different function or region. In this article, I propose the new pottery typology as building a primary classification within each function and region, and then synthesizing all of primary classifications. This new typology eliminates the factors of function and region in understanding the chronology of the Chungdo-Type Pottery Culture, and assorts the regional distinction by comparing pottery types in each region.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2010년도 춘계 종합학술대회 논문집
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• pp.478-482
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• 2010

Considering the globalization and the development of regional culture, culture and design become more and more closely connected. It is obvious that every country, based on politics, economy, society, industry, has a different understanding to the design. With the popularity of mobile phone, it has been in close contact with our lives. Mobile phone is changing our way of life, it also has become a culture, and is reflected in a period in different countries and different ethnic's cultural traditions and lifestyle. In this paper, the study is about the impact of culture on mobile telephone design and application, especially for appearance and input for mobile telephone.