• (The) Research of the performance art and culture
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• no.22
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• pp.253-285
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• 2011

The number of "Performing Arts Festivals" is growing increasingly in South Korea. This trend is mainly held in large cities which are difficult to communicate closely among residents. South Korea, while the pace of city life and speed of development are very fast, increasing number of "Performing Arts Festivals" with communal characteristics is in the natural process of festival evolution in large cities. In the evolution of the contemporary festival, it is natural to see some increase of modern festival after the development of traditional and folk festivals. It is important that the "Performing Arts Festivals" express the two elements, artistic character and festivity, not only in distinctively but also in harmony. The "Performing Arts Festivals" should consider the process of the organization, human resources, networking systems of the human communication process, resource use, etc. For the success of the festival, we must obtain the complementary effects between two attributes:festival characteristics and artistic senses. Therefore, we chose the 'Festival d'Avignon' as the reference of the total representation of artistic characteristics and festivity. From the case of the Festival d'Avignon, we get the implications of the development of performing arts festival in South Korea. To explain the festival value and artistic significance of the Festival d'Avignon, we explained the spontaneity and openness to public participation, the relationship between spectators and works, the representation of memory and communicative image, etc. To explain the artistic attributes of the 'Festival d'Avignon', we explained the mission to reconcile the artistic and the popular, to promote the artistic know-how, understanding how to communicate with the public, to consider more artistic quality than commercial benefits. Essentially, this study shows the meaning and the vision to forecast the future as well as the recent proliferation in various fields of Performing Arts Festivals. This study may help to improve analytical precision of Performing Arts Festivals.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.349-392
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• 2019

In the 1960s of Korea, the normalization of diplomatic relations between Korea and Japan led to a sense of a vigorous anxiety and fear that "Japan will once again come to the Korean peninsula". As a reaction to this, the discourse on the criticism of 'Japanese Style' strongly emerged. If the prior discourse of criticism was to express the national antipathy toward the colonial remnants that had not yet been disposed of, the critical discourse of the 1960s was the wariness of the newly created 'Japanese Style' in popular culture, and to grasp it as a symptomatic phenomenon that 'evil-minded Japan' was revealed. Thus, this new logic of criticism of the 'Japanese Style' had a qualitative difference from the existing ones. It was accompanied by a willingness to inspect and censor the 'masses' that grew up as consumers of transnational 'mass culture' that flowed and chained in the geopolitical order under the Cold War system. Therefore, the topology of 'popular things=Japanese things=consuming things' reveals the paradox of moral demands that existed within Korean society in the 1960s. This was to solidify the divisive circulation structure that caused them to avoid direct contact with the other called 'Japan', but at the same time, get as close to it as ever. It is a repetitive obsession that pushes the other to another side through the moral segregation that strictly draws a line of demarcation between oneself and the other, but on the other hand is attracted to the object and pulls it back to its side. This paper intends to listen to the different voices that have arisen in the repetitive obsession to understand the significance of the dissonance that has been repeated in the contemporary era. This will be an examination of the paradoxical object of Japan that has been repeatedly asked to build the internal control principle of Korean society, or to hide the oppressive and violent side of the power, and that can neither be accepted nor destroyed completely as part of oneself.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.172-203
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• 2023

<Cheongdamdo>(true-view landscape painting) was identified in this study to be a folding screen painting painted by Jeong Seon(a.k.a. Gyeomjae, 1676~1759) in the 32nd year of King Yeongjo(1756) while exploring the Cheongdam area located in Mt. Bukhansan near Seoul. Cheongdam Byeol-eop(Korean villa), consisting of Waunru Pavilion and Nongwolru Pavilion, was a cultural and artistic base at that time, where Nakron(Confucian political party) education took place and the Baegak Poetry Society met. <Cheongdamdo> is a painting that recalls a period of autumn rainfall in 1756 when Jeong Seon arrived in the Cheongdam valley with his disciple Kim Hee-sung(a.k.a. Bulyeomjae, 1723~1769) and met Hong Sang-han(1701~1769). It focuses on the valley flowing from Insubong peak to the village entrance. The title has a dual meaning, emphasizing "Cheongdam", a landscape feature that originated from the name of the area, while also referring to the whole scenery of the Cheongdam area. The technique of drastically brushing down(刷擦) wet pimajoon(hanging linen), the expression of soft horizontal points(米點), and the use of fine brush strokes reveal Jeong Seon's mature age. In particular, considering the contrast between the rock peak and the earthy mountain and symmetry of the numbers, the attempt to harmonize yin and yang sees it regarded as a unique Jingyeong painting(眞境術) that Jeong Seon, who was proficient in 『The Book of Changes』, presented at the final stage of his excursion. 「Cheongdamdongbugi」(Personal Anthology) of Eo Yu-bong(1673~1744) was referenced when Jeong Seon sought to understand and express the true scenery of Cheongdam and the physical properties of the main landscape features in the villa garden. The characteristics of this garden, which Jeong Seon clearly differentiated from the field, suppressed the view of water with transformed and exaggerated rocks(水口막이), elaborately creating a rain forest to cover the villa(裨補林), and adding new elements to help other landscape objects function. In addition, two trees were tilted to effectively close the garden like a gate, and an artificial mountain belt(造山帶), the boundary between the outer garden and the inner garden, was built solidly like a long fence connecting an interior azure dragon(內靑龍) and interior white tiger(內白虎). This is the Bibo-Yeomseung painting(裨補厭勝術) that Jeong Seon used to turn the poor location of the Cheongdam Byeol-eop into an auspicious site(明堂). It is interpreted as being devised to be a pungsu(feng shui) trick, and considered an iconographic embodiment of ideal traditional landscape architecture that was difficult to achieve in reality but which was possible through painting.

• (The) Research of the performance art and culture
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• no.23
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• pp.63-103
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• 2011

This paper inquires closely into the background of pansori gosu(drummer) and his social position based on documents and oral materials and the performance features of gosu in the entire process of pansori performance, 'preparation', 'performance' and 'aftermath', focused on the relationship between the changja(singer)-gosu. In the past, some gosus were ex-tightrope performers. Their social position and working conditions were better than that of the ex-tightrope performers but were worse than that of the pansori singer. After 1910's, people formed some special sense about the gosu due to the change of the space for pansori performances and the technological advances on the media, and gosu's conditions improved. The theory of pansori drum gradually began to be established well. The function and the role of gosu in the whole process of pansori performance may be summarized as follows. To begin with, the training with various and a lot of singers is required in the 'preparation'. Rehearsals are divided into individual practices and joint practices, and the latter can be controlled by the level of the capacity of gosu and the degree of the experience between chanja-gosu. Next, bobiwi(flattering drumming) and chuimsae(encouraging remarks) are important in tbe 'process'. The gosu has to share the speed of one jangdan(rhythmic patterns) and the accent of the sori and adjust his enery. Besides, he has to acknowledge the naedeureum(beginning sign) and reply with changja's singing. In formal performances, working in harmony with changja and gosu and their joint experiences are necessary for the gosu; in pansori contests, giving chanja a stability; in contests for gosu, drumming skill, position, chuimsae; in small performances and new adaptation of pansori, cheap fees and positive response of the transformational play or ad-lib; in lecturer concerts, reacting quickly to rapidly changing situations. Chuimsae is way which gosus and audiences express their feeling together, however, its context and sound are different. Finally, 'aftermath' is a process the pair of chamgja and gosu mutually evaluates about performance or audiences estimate that.

• 지역과문화
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• v.6 no.3
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• pp.79-105
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• 2019

In the Geumseongsan Tumulus of the Uiseong area where the Jomunguk was existed in the Three Han Period, many relics such as metal craft ornaments and Uiseong-style earthernware were excavated. However, it is hard to find cases where the excavated relics were used to develop cultural products. In this study, symbolic relics which can express the culture of Uiseong Jomunguk were selected from excavated relics. Then, the basic design that can be applied to various cultural products were derived from symbolic relics. In order to select symbolic relics, the formative characteristics of the metal craft relics excavated from the Tablili Tumulus and the Dali Tumulus were examined. As a result, a gilt-bronze crown excavated from the Tablili Tumulus was selected as a symbolic relics. And then the basic desin was derived from the gilt-bronze crown. The basic design is expressed in the form of birds based on the bird's feather shape at the edge of the standing ornaments and the record of the Bongdae(鳳臺), the phoenix's habitat. And the application design that changed the expression of the birds' face was presented. The earthenware excavated from the Uiseong area was designed as a soil pot and applied various indoor air purification plants. The result of this study, which reinterprets and reconstructs the historical and cultural resources of the region in accordance with the modern sense, can be used as useful data for the development of cultural products of Jomunguk. Furthermore, if the design derived from the Jomunguk relics is used as a representative symbol of the area, it will be possible to derive an image of a differentiated region from other regions. Finally, it is expected that the result of this study will be a chance to re-evaluate the value of the historical and cultural resources in the region.

• Journal of the Korean Recycled Construction Resources Institute
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• v.11 no.3
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• pp.282-288
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• 2023

In this study, we analyzed the amount of roadside fine dust generated from newly constructed specially modified asphalt pavement and general asphalt pavement from existing roads. We collected the 1,000 g (100 g/day) of dust samples from the roadside of the express bus terminal and commercial facility area in Chungcheongnam-do's C site at three-day intervals during the summer of 2022 and 2023. The collected samples were separated from fine dust according to size in the 75-150 ㎛ range and, were separated only from Tire and Road Wear Particles through density separation. No.1-3 are general asphalt pavement section as an existing road. Fine dust and Tire and Road Wear Particles in No.1-3 were 24.27 g, 24.36 g, 0.53 g, and 0.53 g, respectively, and the quantitative results for 2022 and 2023 were similar. On the other hand, No.4-6 are newly constructed specially modified asphalt pavement section. Fine dust decreased by 14.8 % and tire and road wear particles decreased by 29.6 % in 2023 compared to 2022 in No.4-6. In addition, according to the results of thermogravimetric analysis, Tire and road wear particles in No.1-3 are tire and road components at 30 % and 70 %, respectively. And Tire and road wear particles in No.4-6 are tire and road components at 35 % and 65 % in 2023, respectively. From these results, it was confirmed that the newly constructed specially modified asphalt pavement can be effective in reducing roadside fine dust and Tire and Road Wear Particles. However, there may be some shortcomings in conclusive research results due to limited space and sample collection period. In the future, we plan to conduct various case studies.

• Korean Journal of Culture and Social Issue
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• v.11 no.1
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• pp.109-142
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• 2005

This paper examines the changes in family values in Korea by examining values of children, socialization values, and social support of elderly parents with young and olders mothers. A total of 314 mothers of infants (young mothers) and 395 mothers of adolescents (older mothers) completed a questionnaire compiled by Schwarz, Chakkarath, Trommsdorff, Schwenk and Nauck(2001) comprising of values of children, cultural values, socialization values, interpersonal relationship, social support, stress, and life-satisfaction. In terms of values of children, the older mothers are more likely to emphasize social values, such as continuing the family line. Young mothers are more likely to emphasize psychological values, such as the pleasure of seeing a child grow. As for reasons for net wanting to have children, young mothers are more likely to point out personal constraints than older mothers, such as restriction of freedom. Second, older mothers are more likely than young mothers to express willingness to provide support for their children and even when their children become adults. Older mothers had a more lenient expectation of their children in terms developmental timetable and to expect support from their children when compared with young mothers. Young mothers are more likely to socialize their children with greater warmth and at the same time have higher child-rearing stress when compared to older mothers. Third, when compared with older mothers, young mothers are more likely to receive practical and emotional support from their parents. On the other hand, older mothers are more likely to provide greater practical and emotional support to their parents than the young mothers. Overall, compared to young mothers, older mothers are more likely to hold traditional and conservative values of children and socialization values. These contrasting values reflect the changes in family structure and social change that have been progressing rapidly in recent years.

• Korean Journal of Heritage: History & Science
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• v.57 no.2
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• pp.102-115
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• 2024

Painted Cultural heritage uses various materials such as paper, silk, wood, soil, and lime as a base layer to draw on using ink sticks and express lines or colors using various colorants. The importance of underdrawings is emphasized when it comes to replication and preservation, as they can reveal the original drawing. Investigations using infrared have been extensively conducted to detect underdrawings. However, there has been a paucity of research on the influence of underdrawing detection according to the base layer. In this study, the effect of the base layer materials on underdrawing detection in painted cultural heritage was confirmed using an infrared camera and hyperspectral camera (900 to 1700 nm). The study samples marked '檢' with ink below the color layer (cinnabar, orpiment, malachite, azurite, white lead, and red lead) by the base layer materials: Paper (Dakji, indigo/Dakji), silk (silk, silk/white lead), wood (celadonite/wood), soil (celadonite/soil), and lime. The difference in the effect on underdrawing detection was minimal for paper and silk, and no significant differences were found between Dakji and indigo/Dakji, or between silk and silk/white lead. However, we found that celadonite/wood, celadonite/soil, and lime have a significant impact on underdrawing detection. In particular, for wood and soil painted with celadonite, underdrawings were not detected for all six color layers. In the case of lime, it was found that all color layers except malachite had a more positive effect on underdrawing detection. The findings of this study will aid in selecting the appropriate method for underdrawing analysis in the restoration of painted cultural heritage.

• Journal of the Korean Institute of Landscape Architecture
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• v.52 no.2
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• pp.64-78
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• 2024

Storytelling is a communication technique to express and convey the story using various media, where the audience accepts the story, reinterprets the topic and interacts with the storyteller. It was assumed that the user's significance and awareness about the storytelling technique applied to historical theme parks would have an impact on the satisfaction of using the theme park and intention to revisit. In this study, it was purposed to derive the structural factors of spatial storytelling in historical theme parks, and to understand the impact of user's awareness and constituent factors on user responses. Based on previous researches, the structural factors of spatial storytelling in historical theme parks were derived related to theme, experientiality, unusualness, educationalness, unity, expressiveness, interactivity, and interest, and for which the users' awareness was surveyed. The survey was conducted targeting the users of Samguk Yusa Theme Park located in Gunwi-gun, Gyeongsangbuk-do, where the collected data was analyzed using EXCEL2020 and SPSS 21.0 statistical programs, and the results are as follows: First, the spatial storytelling technique applied as a conveying method of the theme of Samguk Yusa Theme Park affects users' satisfaction and intention to revisit, and most respondents responded that the storytelling was significant. Second, it showed that the significance of unusualness and educationalness among the awareness of significance of the spatial storytelling constituent factors of Samguk Yusa Theme Park has a significant impact on user's satisfaction, and the significance of unusualness, interactivity, educationalness, and interest has a significant impact on intention to revisit. Third, it showed that the awareness of interest, theme, and unity has a significant impact on user's satisfaction depending on the user's awareness of spatial storytelling constituent factors of Samguk Yusa Theme Park, and the awareness of interactivity and experientiality has a significant impact on intention to revisit. This study is meaningful in quantitative analysis and interpretation of the influence of storytelling on user's response to historical theme parks by the exploratory analysis of characteristic factors and spatial storytelling constituent factors on historical theme parks and deriving the structural factors of spatial storytelling in historical theme parks.

• Journal of the Korean Institute of Landscape Architecture
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• v.52 no.2
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• pp.51-63
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• 2024

While the government policy to fully adopt BIM in the construction sector is being implemented, the construction and utilization of landscape BIM models are facing challenges due to problems such as limitations in BIM authoring tools, difficulties in modeling natural materials, and a shortage in BIM content including libraries. In particular, plants, fundamental design elements in the field of landscape architecture, must be included in BIM models, yet they are often omitted during the modeling process, or necessary information is not included, which further compromises the quality of the BIM data. This study aimed to contribute to the construction and utilization of landscape BIM models by developing a plant library that complies with BIM standards and is applicable to the landscape industry. The plant library of trees and shrubs was developed in Revit by modeling 3D shapes and collecting attribute items. The geometric information is simplified to express the unique characteristics of each plant species at LOD200, LOD300, and LOD350 levels. The attribute information includes properties on plant species identification, such as species name, specifications, and quantity estimation, as well as ecological attributes and environmental performance information, totaling 24 items. The names of the files were given so that the hierarchy of an object in the landscape field could be revealed and the object name could classify the plant itself. Its usability was examined by building a landscape BIM model of an apartment complex. The result showed that the plant library facilitated the construction process of the landscape BIM model. It was also confirmed that the library was properly operated in the basic utilization of the BIM model, such as 2D documentation, quantity takeoff, and design review. However, the library lacked ground cover, and had limitations in those variables such as the environmental performance of plants because various databases for some materials have not yet been established. Further efforts are needed to develop BIM modeling tools, techniques, and various databases for natural materials. Moreover, entities and systems responsible for creating, managing, distributing, and disseminating BIM libraries must be established.