• Proceedings of the Korea Society of Costume Conference
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• 2001.08a
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• pp.81-81
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• 2001

R.O.C. has experienced successively the development of previous dynasties that creates out the unique traditional culture of each stage. The Chinese nation is not a one-fold race; each dynasty absorbs the culture of the outside race. It is Tang Dynasty blends mutually however yield unusually brilliant results. The Tang Dynasty's national strength is forceful and the economy is prosperous. Above all, social custom and current of thought both break the constraint of previous dynasties' conservative thinking and keep positive and aggressive. While in the contact with extraterritorial culture, not only changes the feminine social status, but also produces unprecedented innovation and reform on the feminine dress. The Tang Dynasty's varied feminine suit is affected by the western regions of China culture, such as expose of chest, low collar, short top garment and skirt with narrow sleeves or wide sleeves, sleeve gown with plate collar or turndown collar, man's wear, and military dress, etc. An epoch can be known by Tang Dynasty feminine dress's special features, for example, the make-up of Tang-Shien-lon's Uan-Ho period presents dress style of late Tang days. However, the Chinese people compete mutually pursuing the strange costume, and accepting different cultural incitement This reveals that the changes of popular culture would result in the big transform of the Tang's dress style. This paper studies inherit of Tang Dynasty's culture and east-spread of the western regions of China culture. While understanding the Tang's favor in the western regions of China customs, all follow the western regions of China without exception, such as dance music, painting, dress, food, amusement, etc. Because of emperor's progressive race policy and forgiveness attitude to the foreign tribe that makes Tang Dynasty's feminine dress much easier to accept and blend the special features of the foreign tribe culture. While joined with west culture, and pick the dress's essence of the western regions of China, the original possessed of culture consciousness and esthetic sense improve and create their own dress, as well as enrich more inner part of dress art and the spirit.

• Journal of the Korean Society of Food Culture
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• v.12 no.2
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• pp.155-172
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• 1997

In the age of the three Kingdoms, Silla, Kokuryu and Baekjae were built Confucian Shrine (Kukhak or Taehak) after BC 2-4 century Confucism propagated from China. It means 1600years' history of Saugc-Zeuhn Rites of an Imperial ceremony to honor Confucius in Korean peninsula. For Chosen dynasty age passed by Koryo dynasty carried out mainly Confucian policy, in Sungkyunhwan of Mun-Hyo (Confucian Shrine) traditional rites in memory of Confucius are observed twice a year in spring and autumn for 600 years of the 112 memories Tablets to Confucius and the other famous Confucius scholars. (his disciples and Korean Confucian scholars) Wine, food, and silk are offered, and incense burnt before the tablets of confucius and the other scholars while traditional music is played and ceremonial dances performed. Traditional rites are observed primarily for the purpose of reminding students and other attendats of the teaching of Confucius. It is to have got it firmly into young Korean head that humanim, family, courtesy, order modesty and practical morality are more important than any thing else. And also now we need to reappraise, fundermently recognize rehabilitute and transmission the traditional foods Korean sacrifical rituals culture by Korean characteristics culture, Through the historical background we can recognize how much the Confucius thought and education effect deeply Korean sociaty even upto now to Korean popular life. At the same time confucism became fixed to Korean traditional thought and culture. Specially Sauge-Zeuhm Rites is based on Korean sacrificial rituals culture and Korean dietary life generally through this study we can see and presume the changes and transmmision of foods and cookey methods from BC ages.

• The Journal of the Korea Contents Association
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• v.12 no.6
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• pp.201-210
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• 2012

This study examines the structure of taste repertoires for cultural arts. The major results are as follows: firstly, the numbers of taste repertoires were 1.66 for type 1 and 4.27 for type 2. More specifically, respondents tended to have movie taste. Secondly, there were socio-demographic differences for taste repertoires for cultural arts. In other words. female respondents to have more taste repertoires than that of male respondents. Also, younger respondents to have more taste repertoires than that of older respondent. Thirdly, blog users tended to have more taste repertoires than that of non-users. It can be argued that blog use may be a determinant of the number of taste repertoires for cultural arts. In addition, although the number of taste repertoires type 1 was determined by tastes for theatre, movie, popular music, musical and photo, the number of taste repertoires type 2 was determined by tastes for theatre, movie, musical and classic contents.

• Journal of Digital Convergence
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• v.18 no.3
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• pp.311-316
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• 2020

is a mobile application based SNS video platform that launched its service in China in 2016. At the beginning of the service, TikTok is a music video content platform, and later, it evolved into a social platform that provides a wide variety of contents, and the process of creating, producing, and editing videos was easily provided. Since started its service, it has analyzed various social phenomena that have appeared to young people and the types and characteristics of video content popular in this app. The demand for vertical video content in the form of short clip is on the rise rapidly, which can be expected to improve the quality of video content in accordance with the development of mobile-based imaging technology. Useful for mobile based on the creative video producers through this study data are to be used to.

• Journal of Korean Medicine Rehabilitation
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• v.25 no.1
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• pp.63-70
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• 2015

Objectives The purpose of this study is to understand the research trend of reports on forest therapy so far and analyze the Korean medicine therapy being applied in forest therapy programs. Methods We ran a keyword search on domestic databases with the following keyword 'forest therapy, forest healing, forest treatment, recreational forest, forest bath, forest experience'. The search took place in December 2014 and there was no limit to search time. A total of 334 forest therapy articles have been selected. Results The number of research on forest therapy continued to rise from 1985, with 334 articles being published from 84 journals. When those 188 articles were sorted by their contents and methods, except 146 articles of survey on simple satisfaction, recognition and visting, 94 were clinical studies, 79 were literature studies, 15 were experimental studies. Of the 94 clinical researches, there were 52 CCTs (Controled Clinical Trials), 39 ODs (efficacy studies with either a controlled or an Other than controlled Design) and 3 RCTs (Randomized Clinical Trials). Among the clinical researches, there were a total of 21 studies that used Korean Medicine programs, and meditation was the most popular, being used in 18 studies. Herbal food and tea therapy and Qigong were used in 3 studies each, and Korean medicine music programs were used in 2 studies. Conclusions A systematic and standardized Korean medicine forest therapy program must be developed, and based on the program, more research treating diseases should be conducted.

• Journal of Intelligence and Information Systems
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• v.21 no.3
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• pp.19-36
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• 2015

Social media is an emerging issue in content services and in current business environment. YouTube is the most representative social media service in the world. YouTube is different from other conventional content services in its open user participation and contents creation methods. To promote a content in YouTube, it is important to understand the diffusion phenomena of contents and the network structural characteristics. Most previous studies analyzed impact factors of contents diffusion from the view point of general behavioral factors. Currently some researchers use network structure factors. However, these two approaches have been used separately. However this study tries to analyze the general impact factors on the view count and content based network structures all together. In addition, when building a content based network, this study forms the network structure by analyzing user comments on 22,370 contents of YouTube not based on the individual user based network. From this study, we re-proved statistically the causal relations between view count and not only general factors but also network factors. Moreover by analyzing this integrated research model, we found that these factors affect the view count of YouTube according to the following order; Uploader Followers, Video Age, Betweenness Centrality, Comments, Closeness Centrality, Clustering Coefficient and Rating. However Degree Centrality and Eigenvector Centrality affect the view count negatively. From this research some strategic points for the utilizing of contents diffusion are as followings. First, it is needed to manage general factors such as the number of uploader followers or subscribers, the video age, the number of comments, average rating points, and etc. The impact of average rating points is not so much important as we thought before. However, it is needed to increase the number of uploader followers strategically and sustain the contents in the service as long as possible. Second, we need to pay attention to the impacts of betweenness centrality and closeness centrality among other network factors. Users seems to search the related subject or similar contents after watching a content. It is needed to shorten the distance between other popular contents in the service. Namely, this study showed that it is beneficial for increasing view counts by decreasing the number of search attempts and increasing similarity with many other contents. This is consistent with the result of the clustering coefficient impact analysis. Third, it is important to notice the negative impact of degree centrality and eigenvector centrality on the view count. If the number of connections with other contents is too much increased it means there are many similar contents and eventually it might distribute the view counts. Moreover, too high eigenvector centrality means that there are connections with popular contents around the content, and it might lose the view count because of the impact of the popular contents. It would be better to avoid connections with too powerful popular contents. From this study we analyzed the phenomenon and verified diffusion factors of Youtube contents by using an integrated model consisting of general factors and network structure factors. From the viewpoints of social contribution, this study might provide useful information to music or movie industry or other contents vendors for their effective contents services. This research provides basic schemes that can be applied strategically in online contents marketing. One of the limitations of this study is that this study formed a contents based network for the network structure analysis. It might be an indirect method to see the content network structure. We can use more various methods to establish direct content network. Further researches include more detailed researches like an analysis according to the types of contents or domains or characteristics of the contents or users, and etc.

• Survey Research
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• v.13 no.1
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• pp.61-87
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• 2012

This research is a part of a fundamental research to form the topographic map of the South Korean society's cultural capital, based on large scale research data. Its purpose is to suggest suitable questions for today's Korean society as well as to compare with previous data accumulated from other nations. For this, this research is to establish theoretical background through critical study on the extensive literature on domestic and foreign cultural capital and collect measures, questionnaires, and data used in important literature and surveys. Based on this, the major domains and levels that should be dealt in the questionnaire were chosen, literature review was conducted for each field; experts were investigated in order to develop questions more suitable for the Korean society considering each domain and level, and qualitative research on the subjects were conducted. This research as seen through the above processes, music genres and culture activities were chosen as major domains, "high/popular" level and "consumption/production" level were chosen as items, and specific items were composed considering Korea's distinct characteristics. Each of these items combine and complement the three aspects of measuring cultural capital(preference, participation, perception), which have been used incoherently in previous researches in measuring the level of possession in cultural capital. This led to developing questions such as the level of liking each item(preference), the level of participating in each item(participation), the level of luxuriousness in each item(perception), and the level of stylishness in each item(perception). This research holds significance in that it critically examines the vast amount of questionnaires used in the past for cultural capital research, provides a large framework to find Korean cultural capital by adding items considering Korea's distinct characteristics, and provides groundwork to fill in the non-Western gap in the discussion of cultural capital, which has been based on the West.

• (The) Research of the performance art and culture
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• no.37
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• pp.187-221
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• 2018

The style of performance to contemporary nongak is not fixed in a specific period of time, but in conjunction with the total change in society that has occurred during its long time from traditional society to the modern times. It is important to recognize that the traditional performance art forms that we see and feel today, including nongak, are constantly interacting with the times and are a change in the design that has been shaped in the past. Now, we must get rid of the negative idea that there is some fixed prototype in Nongak. Also, the value and the need for preservation of current Nongak should not be evaluated according to the ' pure genealogy of village descent, ' which was possible only in villages with small population movements long ago. If can get rid of the stereotypes, can greatly expand the view that we read the values of a certain Nongak. Looking away from a few of these traditional fixed perceptions can significantly broaden the view of reading the winning values of some farmers ' songs. In this regard, this report determined the performing style and nature of Changwon's Toichon-noangak through a structural analysis of the Toichon-noangak in contemporary, and discussed the significance of the transmittion of Toichon-noangak. Changwon Toichon Nongak started out as an even-present ritual performance based on the religious nature of the village community and actively exchanged with the economic, social and cultural foundations of the Republic of Korea, which began to accumulate in the modern changes. Generally, the performance style of village Nongak has a combination of characteristics according to the ritual, Dure(collective labor), entertainment, and these three functions. Toichon Nongak is also a village Nongak style and in which of ritual nongak and village entertainment nongak are connected in parallel as one in the big total structure. The origin, background, purpose, and style of towing of Toichon noangak demonstrates that the Toichon noangak is originally ceremonial noangak derived from a prayer style of Dongje. Then, various factors influences are interacting with Toichon noangak within the orbit of modern society, such a style of playing, popular nongak, is believed to have undergone an extended change. Overall, Toichon nongak performance style can be called nongak, which maintains traditional customs and it also has the changed characteristics according to the times of village society.

• (The) Research of the performance art and culture
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• no.41
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• pp.5-38
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• 2020

The current state of performance halls in South Korea is closely related to the performance art and culture of the nation as the culture of putting on and enjoying a performance is deeply rooted in public culture and arts halls representing each area at the local government level. Today, public culture and arts halls have multiple management purposes, and the subjects of their management are in the public domain including the central and local governments or investment and donation foundations in overwhelming cases. Public culture and arts halls thus have close correlations with the institutional aspect of cultural policies as the objects of culture and art policies at the central and local government level. The full-blown era of public culture and arts halls opened up in the 1980s~1990s, during which multi-purpose performance halls of a similar structure became universal around the nation. Public culture and arts halls of the uniform shape were distributed around the nation with no premise of genre characteristics or local environments for arts, and this was attributed to the cultural policies of the military regime. The Park Chung-hee regime proclaimed Yusin that was beyond the Constitution and enacted the Culture and Arts Promotion Act(September, 1972), which was the first culture and arts act in the nation. Based on the act, a five-year plan for the promotion of culture and arts(1973) was made and led to the construction of cultural facilities. "Public culture and arts" halls or "culture" halls were built to serve multiple purposes around the nation because the Culture and Arts Promotion Act, which is called the starting point of the nation's legal system for culture and arts, defined "culture and arts" as "matters regarding literature, art, music, entertainment, and publications." The definition became a ground for the current "multi-purpose" concept. The organization of Ministry of Culture and Public Information set up a culture and administration system to state its supervision of "culture and arts" and distinguish popular culture from the promotion of arts. During the period, former President Park exhibited his perception of "culture=arts=culture and arts" in his speeches. Arts belonged to the category of culture, but it was considered as "culture and arts." There was no department devoted to arts policies when the act was enacted with a broad scope of culture accepted. This ambiguity worked as a mechanism to mobilize arts in ideological utilizations as a policy. Against this backdrop, the Sejong Center for the Performing Arts, a multi-purpose performance hall, was established in 1978 based on the Culture and Arts Promotion Act under the supervision of Ministry of Culture and Public Information. There were, however, conflicts of value over the issue of accepting the popular music among the "culture and arts = multiple purposes" of the system, "culture ≠ arts" of the cultural organization that pushed forward its establishment, and "culture and arts = arts" perceived by the powerful class. The new military regime seized power after Coup d'état of December 12, 1979 and failed at its culture policy of bringing the resistance force within the system. It tried to differentiate itself from the Park regime by converting the perception into "expansion of opportunities for the people to enjoy culture" to gain people's supports both from the side of resistance and that of support. For the Chun Doo-hwan regime, differentiating itself from the previous regime was to secure legitimacy. Expansion of opportunities to enjoy culture was pushed forward at the level of national distribution. This approach thus failed to settle down as a long-term policy of arts development, and the military regime tried to secure its legitimacy through the symbolism of hardware. During the period, the institutional ground for public culture and arts halls was based on the definition of "culture and arts" in the Culture and Arts Promotion Act enacted under the Yusin system of the Park regime. The "multi-purpose" concept, which was the management goal of public performance halls, was born based on this. In this context of the times, proscenium performance halls of a similar structure and public culture and arts halls with a similar management goal were established around the nation, leading to today's performance art and culture in the nation.

• (The) Research of the performance art and culture
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• no.43
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• pp.47-78
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• 2021

This study was written to examine the acceptance of pansori in movies based on pansori, and to explore changes in modern society's perception and expectations of pansori. A pansori is getting the love of the upper and lower castes in the late Joseon period, but loses the status at the time of the Japanese colonial rule and Korean War. In response, the country designated pansori as an important intangible cultural asset in 1964 to protect the disappearance of pansori. Until the 1980s, however, pansori did not gain popularity by itself. After the 2000s, Pansori tried to breathe in with the contemporary public due to the socio-cultural demand to globalize our culture. And now Pansori is one of the most popular cultures in the world today, as the pop band Feel the Rhythm of KOREA shows. The changing public perception of pansori and its status in modern society can also be seen in the mass media called movies. This study explored the process of this change with six films based on pansori, from "Seopyeonje" directed by Lim Kwon-taek in 1993 to the film "The Singer" in 2020. First, the films "Seopyeonje" and "Hwimori" were produced in the 1990s. Both of these films show the reality of pansori, which has fallen out of public interest due to the crisis of transmission in the early and mid-20th century. And in the midst of that, he captured the scene of a singer struggling fiercely for the artistic completion of Pansori itself. Next, look at the film "Lineage of the Voice" in 2008 and "DURESORI: The Voice of East" in 2012. These two films depict the growth of children who perform art, featuring contemporary children who play pansori and Korean traditional music. Pansori in these films is no longer an old piece of music, nor is it a sublime art that is completed in harsh training. It is only naturally treated as one of the contemporary arts. Finally, "The Sound of a Flower" in 2015 and "The Singer" in 2020. The two films constructed a story from Pansori's history based on the time background of the film during the late Joseon Dynasty, when Pansori was loved the most by the people. This reflects the atmosphere of the times when traditions are used as the subject of cultural content, and shows the changed public perception of pansori and the status of pansori.