• 한국심리학회지 : 문화 및 사회문제
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• 제21권3호
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• pp.339-353
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• 2015

본 연구는 소수집단에 대한 편견에 내재하는 편집증적 심리 특성을 검증하는 것을 목적으로 하였다. 이를 위하여 대학생들을 대상으로 소수집단에 대한 편견이 편집성향과 갖는 관계성을 검토하고 이와 더불어 편집증의 인지적 특성으로 밝혀진 변인들의 작용을 평가하였다. 편집성향을 측정하기 위해 MMPI-2의 편집척도 Pa 및 Harris -Lingoes 순박성 소척도 Pa3를 사용하였고, 인지적 특성으로는 편집증의 핵심변인인 이분법적 사고와 귀인양식을 측정하였다. 소수집단은 이주노동자, 동성애자, 노숙인으로 선정하였으며 이들에 대한 편견은 인지·정서·행동적 측면을 통합하여 산정하였다. 557명의 질문지를 분석한 결과, Pa3가 높은 집단이 낮은 집단보다 소수집단에 대한 편견이 약하고 이분법적 사고가 높은 집단이 소수집단에 대한 편견이 강한 것으로 나타나 본 연구의 가설이 지지되었다. 반면 귀인양식에 있어서는 소수집단에 대한 편견에 있어 유의미한 차이가 나타나지 않았다. 마지막으로 본 연구의 제한점과 향후 연구과제를 논의하였다.

• 여성건강간호학회지
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• 제28권1호
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• pp.65-73
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• 2022

Purpose: This study investigated Korean healthcare providers' attitudes toward sexual and gender minority (SGM) persons and their knowledge and behavior concerning the collection of data on sexual orientation and gender identity (SO/GI). Methods: In this cross-sectional, descriptive study, 137 Korean healthcare providers were recruited through convenience sampling from internet communities for medical professionals. A structured questionnaire was created using Google Surveys. The Mann-Whitney U-test, Kruskal-Wallis test, and Spearman correlation analysis were performed. Results: The sample was mostly women (80.3%) and nurses (83.9%), who had overall negative attitudes toward SGM persons and low levels of knowledge and behavior with regard to the collection of patients' SO/GI data. Participants in their 20s, who were religious, and had clinical experiences in treating or providing nursing care for SGM persons had higher levels of knowledge about the collection of SO/GI data. The level of engagement in collecting SO/GI data was higher among women and in their 20s and 30s, unreligious participants, nurses, and those with less than 10 years of clinical experience. Positive attitudes toward SGM persons were associated with higher levels of knowledge, but lower levels of behavior, regarding the collection of SO/GI data. Conclusion: It is important to recognize the diversity of patients' SO/GI and to collect the corresponding information. To this end, it is necessary to develop and use a standardized SO/GI form. Healthcare providers should also receive education and training related to the health of SGM persons to resolve health problems that disproportionately affect SGM persons and related health disparities.

• 동북아문화연구
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• 제33권
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• pp.23-49
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• 2012

In this paper, I examined the history of Baizu that the Brief History presented. PRC created Baizu as one the 55 ethnic minority nations, as it "nationalized" all the people living within its territorial boundary. And it constructed the narrative of the "ethnic history" of Baizu, while it constructed the grand narrative of the history of the unified, multinational "zhonghua minzu." There are two major problems in the historical narrative of Baizu, thus constructed. First, the genealogy of the ancestors of Baizu constructed by PRC lacks sufficient historical evidence to prove it. Second, the politically-driven ethnic classification project by PRC produced ethnic minority nation, which does not have their own territory and Baizu was one of them. Because of this, the history of Baizu, who historically lived mixed with other ethnic groups together in Yunnan, cannot help but becoming a part of the larger Yunnan history, rather than constituting a history of an ethnic group. Then, what would be a historically sensible way to write a history of ethnic minorities in Yunnan, who have not transformed themselves into a modern nation? What I would like to suggest is, first, to abandon the construction of the history of Baizu as an ethnic group. I also suggest to distinguish Yunnan from China (zhongguo) as a unit of historical writing, and thus to cut the relationship between the Baizu history and the larger history of the unified, multitethnic "zhonghua minzu." The narrative of the Chinese history (history of Zhongguo), which takes the PRC's current territorial boundary as the unit of historical narrative, lacks historical objectivity. Names for historical communities survive, because they have been used by those who have lived in the communities as well as by other historical communities. Members of a certain historical community occupy distinctive historical space and share common historical experience. And their historical experience is mainly informed by political changes that affected the space that the historical community occupies. If one constructs the history of "Yunnan" as a distinctive historical space and community, which could be distinguished from the historical "China" (zhongguo), one may be able to construct the history of the people of Yunnan in its fullest sense.

• 수완나부미
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• 제2권2호
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• pp.1-28
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• 2010

This paper offers a brief introduction to Vietnamese folk paintings. The discussion compares Vietnamese folk paintings with the Korean folk painting tradition. Among the main purposes of this paper is the exploration of directions for future research on Vietnamese folk paintings. Vietnamese folk paintings, although extensively influenced by their Chinese tradition of minjian nianhua (folk New Year pictures), form an independent tradition, reflecting the local lifestyle and religious practices of Vietnam. However, compared to Korea or Japan, China remains the dominant source of influence for Vietnamese folk paintings. They were either created using a combination of painting and woodblock printing techniques, which was also the case with minjian nianhua, or using multicolor woodblock printing techniques. In cities like Hang Chong, the combination of painting and woodblock printing techniques was used mainly, following the customary practice in Yangliuqing in Tianjin, China, in which colors were added to the drawing printed from the woodblock. Meanwhile, folk paintings produced in rural areas such as Dong Ho are wholly color woodblock prints, similar to minjian nianhua from Yangjiabu in Weifang. In Lang Sinh, simple drawings, intended for casual purposes, were also created using the combination of woodblock printing and painting techniques. Folk paintings produced in cities and rural areas were distinct from each other, not just in techniques, but also in terms of style and theme. Vietnamese folk paintings show a certain degree of thematic similarity with Joseon folk paintings. This is mainly due to the fact that the two countries' folk paintings developed and evolved in parallel with their Chinese counterparts, minjian nianhua. Also noteworthy is the fact that Vietnamese folk paintings, while they share the simplicity and candidness of Joseon folk paintings, are at the same time somewhat more decorative than the latter. For best results, future research on Vietnamese folk paintings should be conducted together with research on minjian nianhua. Traditional pigments constitute an important area of research in this field. Attention should be also paid to the religious paintings of ethnic minorities in Vietnam, as they are discovered in the future.

• 동남아시아연구
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• 제19권2호
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• pp.173-218
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• 2009

Bring this analysis down to people-centered development perspective and looking through democratization in the Philippines, Thailand and Indonesia, we find similarities and differences among them related with the intensity of conflicts between development and human rights in the process of democratization in line with global transformation. Civil society in the Philippines criticized the developmental path in the Philippines which failed to implement land reform and eradication of poverty under the transition from 'patrimonial oligarchy' to democracy. In Thailand the coalition of military and the royalists had consolidated its power since Sarit military regime, which later paved the way 'hybrid oligarchy' era. Most Thai civil society organizations has regarded their developmental experience rather as 'maldevelopment' which disregarded economic and social rights. It has been especially believed by Thai localists that the stimulation of local markets and the building of autonomic community society will form the alternative economy without going against the conservative banner of nation, religion and king. Thaksin as a populist successfully took advantage of Thai localist ethos in favour of taking the seat of power. He projected himself as a modernizer focused on economic growth and cleaner politics. However Thaksin's procedural legitimacy was overthrown by counterattacking from military-royalist alliance, pretexting that Thaksin caused internal conflicts and lacked morality. Soeharto's New Order regime which can be called 'administrative oligarchy' had an antipathy towards notions of economic and social rights as well as civil and political rights. In spite of the fact that the fall of Soeharto opened the political space for democratic civil society organizations which had long struggled with development aggression and human rights abuses, there have been continuously a strong political and military reaction against human rights activists, NGOs and ethnic minorities such as Aceh and Papua. Nevertheless, Indonesian democracy is more promising than Philippine's and Thai democracy in terms of comparatively less pre-modern legacies.

• 한국심리학회지 : 문화 및 사회문제
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• 제18권3호
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• pp.349-366
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• 2012

본 연구는 배려지향적 도덕성에 해당하는 공감과 정의지향적 도덕성에 해당하는 공정성이 도움행동의도에 어떠한 영향을 미치는지 검증하였다. 이를 위해 156명의 학생에게 불공정지각을 달리하는 대상(외국인근로자/일반인)에 대한 시나리오를 각각 제시하고, 도움행동의도를 측정한 후에 개인특질 변인인 공감과 공정성을 측정하였다. 공감, 공정성, 대상이 전체 도움행동의도에 어떤 영향을 미치는지 확인한 결과, 개인특질인 공감과 공정성 두 변인 모두 전체 도움행동의도에 정적인 영향을 미쳤고 공감과 대상에서 상호작용효과가 나타났다. 불공정지각 수준이 다른 대상에 따라 도움행동의도에 공감과 공정성이 어떠한 영향을 미치는지 확인한 결과, 일반인(불공정지각 저) 대상에서는 공감이 도움행동의도에 유의미한 영향을 미치는 변인이었고, 외국인근로자(불공정지각 고) 대상에서는 공정성이 도움행동의도와 정적인 상관을 가지는 것으로 나타났다. 본 연구를 통해 도움행동을 결정하는데 있어 공감과 공정성이 상호보완적 역할을 하는 것이 확인되었다.

• 복식문화연구
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• 제31권6호
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• pp.776-792
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• 2023

This study aims to analyze the traditional attire of four ethnic minority groups in Northeastern China: Daur, Ewenki, Oroqen, and Hezhen, considering their natural environment, lifestyles, and cultural influences. A literature review of academic papers, books, and online resources was conducted, along with indirect investigations through artifacts. The Daur people, being equestrian, have garments with deep slits, vibrant colors, and elaborate decorations. The Ewenki people wear clothes made of fabric in the summer and primarily deer skin in the winter, and their clothing is simple and not flashy. The Oroqen people's clothing typically has slits at the front, back, or on both sides, and they wear a waist belt. The Hezhen people, an ethnic group that primarily hunts and fishes, wear two-piece clothing with a hip-length top and pants or other fur-trimmed garments. All groups incorporate symbolic patterns influenced by Shamanism, along with animal headgear and leather shoes. We observed that the traditional costumes of ethnic minority groups in Northeastern China share many commonalities in form, but there are detailed differences in material, shape, color, and decoration due to unique geographical and climatic characteristics as well as differences in livelihood. Additionally, the structure of clothing varies depending on each tribe's shamanistic practices and lifestyle.

• 문화기술의 융합
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• 제9권5호
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• pp.99-104
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• 2023

본 연구는 아프로퓨처리즘에 대한 1) 이론적 고찰을 통해 지금까지 논의된 정의를 정리하여 보고, 2) 탐색적 사례연구를 통해, 3) 미래 기술 발전의 지향점과 관련해서 갖는 의의를 도출하고자 했다. 이를 위해, 먼저 아프로퓨처리즘에 관한 이론적 배경 및 개념적 논의를 살펴보고, SF문학·음악·미술 분야의 작품을 분석했다. 옥타비아 버틀러(Octavia Butler)의 SF문학은 노예제도의 과거를 들추어 세상과 마주하게 함으로써 타자화된 억압으로부터 흑인 자신들을 해방해야 한다는 사상을 확인케 한다. 자넬모네(Janelle Monae)의 음악은 기술을 통해 소수자가 외부와 관계맺을 수 있는 해방된 유토피아를 제시한다. 또한, 장 미셸 바스키아(Jean-Michel Basquiat)의 미술 작품은 흑인 예술인으로서 지금까지 배제되었던 흑인의 정체성을 재해석하고 나아가 확장된 공동체적 논의를 모색한다. 이와 같은 그들의 작업에 비추어, 본 논문은 아프리카 휴머니즘의 내재된 가치들이 기하급수적으로 발전하는 기술의 발전 속 타자와 타자의 관계 맺음으로 생성되는 공진화(共進化)의 실마리를 제공할 수 있다고 제안한다.

• 패션비즈니스
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• 제3권1호
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• pp.65-80
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• 1999

In this study, the researcher studied the historical background and the traditional culture about dress and ornament of Yunnan Province of China. The Results of the study are as follows. 1. In the Past, Derung's dress was very simple due to the influence of various factors, such as geography and history. Men wore shorts and covered diagonally a piece of cloth from left shoulders to right armpits and tied up the two ends on chests. Women covered crisscross two pieces of cloth from both shoulders to knee. 2. Achang people's dress and adornment has its own unique characteristic. Generally, men wear Jackets with buttons down the front and black trousers. Unmarried men like to wear white turbans, while most of married men usually wear dark blue ones. Women usually wear tight-sleeve blouses with buttons down the front and skirts. Unmarried women wear the hair in braids coil them on the top of their heads. They wear short blouses and trousers. Married women wear their hair Into buns and like to entwine black or blue cloth into high trubans. They wear short blouses and knee-length straight skirts. Achang knife enjoys high reputation and has a long history and an exquisite workmanship. All the men like to wear it. 3. The dress and adornment of the Lahu nationality has both the characteristic of farming culture and the style of nomadic culture of early times. Men usually wear short shirts with round necks and buttons down the front, loose-legged trousers, turbans or dark blue cloth caps Women's dress and adornment can be categorized into two styles. One is black cloth gown with buttons diagonally on the right front and waist-length slits on both sides. The edges of fronts and cuffs are edged with Silver ornaments and lace. They also wear trousers. The other is short blouse with round neck and short opening on th right front, straight skirt and colourful leggings with embroidered patterns. 4. The Hani people, men and women, old and young, like black colour and are fond of wearing black clothes. Men usually wear shirts with buttons down the front and trousers, entwining their heads with black or white cloth. The elderly people wear calottes. Women wear cloth blouses, skirts and trousers or shorts. Slight differences exist in the clothing and adornments according to region, branch and age 5. Blang people's dyeing technique with an exquisite method has a long history. Men wear dark blue long sleeve shirts with round necks and buttons down the front or arranged diagonally on the front and loose-legged trousers. Elderly men wear big turbans wdress and adornment varies greatly in different regions. 6. The Lisu people culture of dress and adornment has some unique characteristics. The styles and colours of their dress and adornment differ slightly from place to place. In the Nujiang area, Women wear black velvet Jackets over blouses with buttons arranged diagonally on the right front and long pleated ramie skirts. Men usually wear wraparound ramie gowns, with center vent, made of fabrics alternated with white and black cross stripes. They also wear cloth waistbands and trohile youngsters keep their hair short. Women's users. In the Lushui area, the dress and adornment is similar to that in the Nujing region, but women wear aprons and trousers instead of skirts. 7. The Nu people dress and adornment is simple but elegant Women are proficient in ramie-weaving. Men usually wear gowns With overlapping necks, knee-length trousers and leggings. They like to wear their hair long and entwine dark blue or white turbans. Women wear black and red vests over blouses with buttons arranged diagonally on the right front and ankle-length skirts. They also wear their hair long, make it into braids, and entwine dark blue or colourful cloth turbans. 8. Pumi men usually wear ramie shirts With buttons arranged diagonally on the right front, loose trousers and white sheepskin vests. Some also wear overcoats made of "pulu". Women's dress and adornment varies in different areas. In the Lanping and Weixi regions, women wear white short blouses with buttons arranged diagonally on the front and dark brown embroidered vests. They also wear trousers and blue or black cloth turbans. In the Ninglang and Yongsheng regions, women wear hemmed blouses With buttons arranged diagonally on the right front and drape sheepskin capes. They also wear white pleated skirts and use broad colourful cloth as their waistbands.

• 패션비즈니스
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• 제2권3호
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• pp.137-156
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• 1998

In this study, the researcher studied the historical background, and the traditional culture about dress and ornament of Yunnan Province of China, The results of the study are as follows. 1. Dress and personal ornaments of the Va peoples vary with the locality. Their traditional dress and adornment is characterized by those in the Ximeng area. Men usually wear black or dark blue collarless jackets and black and dark blue loose and short bagged trousers with folding waist. Women usually wear close-fitting sleeveless pullover blouses with V-shaped necks and straight skirts with patterns of red and black cross stripes. 2. Jingpo men have changed to wear shirts with button down the front and trousers. They also entwine white turbans with red bobbles on both ends, and carry diagonally long knives, firelocks and red woolen figured satchels on their shoulders. Women usually wear black velvet blouses with silver bowl-shaped ornaments and chains around collars and on the fronts. They also wear red straight skirts with overlapped slit on the right, waistbands and waist hoops made of rattan and bamboo. 3. The Naxi nationality has a long history and excellent traditional culture. In modern times, women like to wear red, blue or purple laced blouses, long double-layered pleated skirts, waistbands and embroidered shoes. They wear their hair in buns with either hats or kerchiefs over them. While working or going out, they put on their "seven-star" capes made of sheepskin and embroidered with two big circles and seven small ones, while is a symbol of their frog totem. 4. The dress and adorment of the Jinuo people is simple, elegant and has its own unique characteristics. Men usually wear white buttonless shirts with round necks and an opening on the front, knee-length bagged trousers and legging. They wear cloth turbans, earrings and also put small bamboo or silver pipes in the holes of their earlobes. Women wear short buttonless blouses with round necks and seven coloured stripes and thin tight-fitting or embroidered triangular underwear. 5. The dress and ardorment of the Benglong (De' ang) nationality has its own strong national colour. Most of the men wear jackets with buttons arranged diagonally on the front, loose, short trousers and black or white turbans. Some young men like to wear eardrops and silver necklaces. Women's dress and adornment differs according to various branches. For example, the women of the Bielie and Liang branches have their hair shaved and wear black turbans. They use large square silver tablets as buttons and wear blue or black blouses with buttons down the front. 6. Oai men usually wear trousers, white or blue cloth turbans and round-necked shirts with buttons down the front or arranged diagonally on the front. Women usually wear long straight skirt and blouses. But dress and adornment varies in regions. 7. The Bai nationality dress and adornment has unique national style. The dress fabrics are mainly cotton cloth, silk and velvet. Men usually wear red velvet vests over white shirts with buttons down the front or black velvet vests over light blue shirts. They also wear white of blue turbans and carry satchels with beautiful embroidered designs over their shoulders. Women usually wear red velvet vests over white blouses, or black vests over light-coloured blouses.