• Cross-Cultural Studies
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• v.39
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• pp.83-95
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• 2015

Every country has a dark history in the process of transition to a modern state. Many countries have until the 21st century, especially in East Asia, colonialism, has experienced conflict influenced, racial discrimination, the trauma of such massacre. Such a dark history in many countries are also still in progress. Dark History of China, which maintains the proletarian dictatorship is the 'Cultural Revolution(Wenhua da Geming)'. 'Cultural Revolution' is neither the outer aspect of the ideological struggle, but in fact it was not even class struggle ideology and class struggle. Put an end to the feudal intellectuals in China in the course of the tragedy stood and lead to build a new China suffered the humiliation of being betrayed from state power. Chinese writers after the 'Cultural Revolution' ended, was created in the process of creation reflects the tragedy of the 'Cultural Revolution' in the country(national memory) is suffering from the pain and suffering the same growth process as it saw this novel growth experienced in the personal growth process. "Road leaving at 18 years" of WiHua has ruled out the pain of growing national attention wholly to personal growth and pain. Such "Road leaving at 18 years" in the sense suggests the possibility of a typical growth story in China Contemporary Literature.

• Journal of Korean Library and Information Science Society
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• v.31 no.1
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• pp.115-141
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• 2000

What is the concept ad reality of so-called 'Knowledge Revolution'\ulcorner Wat is the philosophy ad logic of the people who advocate the necessity and urgency of knowledge Revolution in Korean society\ulcorner Are their arguments rational an desirable for the healthy development of Korean society\ulcorner This article deals with such issues from the socio-cultural point of view. The author argues that the 'real' purpose of knowledge Revolution should be on the recovery of socio-cultural competitive edge rather than the temporary improvement of this economic competence, and that public library revolution should be a prerequisite for the success of Knowledge Revolution. Also suggested are the macro and micro strategies and methods for the realization of the public library revolution.

• The Journal of Art Theory & Practice
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• no.6
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• pp.27-50
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• 2008

This thesis examines contemporary Chinese painting after the Cultural Revolution(1966~76), focusing upon so-called "Chinese Pop art", which I termed as "Socialist Pop art". I considered the art of this period within the broader context of social changes especially after the Tienanmen incident of 1989. After the Cultural Revolution during which idolization of Chairman Mao was at its peak, one of the major changes in communist China was that an anti-Mao wave was generated in almost every social class. For example, novels that revealed the hardships during the Cultural Revolution were published. Posters that openly criticized the Maoism were also produced and displayed on the walls, and demand for democracy spurred widespread activist movements among young generations. These broad social changes were also reflected in art. A variety of art movements were introduced from the West to China, and after a period of experimentation with the new imported styles, artists began to apply the new artistic idiom to their works in order to visualize their own social and political realities they lived in. It was a shift from earlier Socialist Realism to a new expression either directly or indirectly, "Socialist Pop", an amalgam of Socialist Realism and Pop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communist government quelled with brutal measures the students, workers, and ordinary people who rose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This time coincided with the gradual emergence of art using Pop art vocabulary to satirize the social reality, the Socialist Pop art, along with many other art forms all with avant-garde spirit. One of the most frequent subjects of Chinese Pop art was visual images of Chairman Mao and his Cultural Revolution, and new China that was saturated with capitalism, which tainted the Chinese way of life with a Western way of consumerism and commercialism. The reason for the popularity of Mao's image was spurred by the "Mao Craze" in the early 1990's. People suddenly began to fall in a kind of nostalgia for the past, and once again, Mao Zedong was idolized as an entity who can heal the problems of modern China who had been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is no more an object of worship of almost religious nature but he has become an iconography symbolizing the complex nature of present Chinese society. During this process of depicting the social reality, Chinese artists are making the authority and sanctity of Maoism ineffective. Dealing with this new trend of contemporary Chinese art in view of "Socialist Pop art" two manners of re-creating Pop art can be illustrated: one that incorporates the propaganda posters of the Cultural Revolution; the other borrows from Chinese traditional popular imagery or mass media, such as photos taken during Mao era. What is worth mentioning is that these posters and photos of the Cultural Revolution can be identified as 'popular' media, as they were directed to educate the popular mass, thus combination of this ingenuous pop media with Western Pop art can be fully justified as a genre unique to China. Through this genre, we can discover a new chapter of the Chinese contemporary painting and its society, as their Pop art can be considered as self-portraits true to their present appearances.

• Korean Institute of Interior Design Journal
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• v.21 no.3
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• pp.76-86
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• 2012

21st century has different characters from 20th century which was an era of machine and rationality based on the industrial revolution. With the advent of the digital revolution, it became an era of pluralism, culture, and emotion. The digital technology made it possible to connect the whole world together in real time and brought about the entirely new notion of time and space. It also dramatically altered the world view. Now we have a different set of social and cultural values from the past. This paper researched the influences of these social and cultural changes on public designs. The leading trends of public designs were analyzed and the successful cases were studied. The main research methodologies were the document review and the instrumental case study. The major social & cultural paradigms of a present era were classified as 'pluralism', 'digital & information revolution', 'human-centered value (against machine-centered value of 20th century)', and 'organic world view'. Each of the classified paradigms was analyzed more to find out the influences on the various trends of public designs. 'Pluralism' has influence on 'experiential public design', 'community art', and 'public design of local values'. 'Digital & information revolution' has influence on 'content-centered public design', 'smart public design', 'immaterial public design', and 'performance in public design'. 'Human-centered value' has influence on 'universal design approach in public design', and 'emotional public design'. 'Organic world view' has influence on 'sustainable public design', and 'ecological public design'.

• Cartoon and Animation Studies
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• s.39
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• pp.215-231
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• 2015

The Cultural Revolution in the history of Chinese animation hinder the development of the initial animation, and after a negative assessment instrument provided the cause is to become sluggish growth of the Chinese animation. So this time animation are things that are the subject of academic research studies or analysis has been depreciating almost uniformly without evaluation. However, of all the cultural and artistic creation it is developing in its own specific historical conditions and has the aesthetic results. This paper puts the primary purpose is to hold in consideration the aesthetic principles that led to cultural and artistic creativity and objective perspective the achievements the Chinese animation of the time period of the Cultural Revolution. Cultural Revolution is avoided to the previous period in accordance with the socialist ideology of Mao Ze-dong(毛澤東) sikindaneun highlight the culture of the proletariat and placed our goal to create a new class culture. Therefore, cultural and artistic creation of this period is often inconsistent with this part of our aesthetic principles generally accepted character has a non- elitist and anti properties. Best drama is a creative one hand as a model to implement the principles of aesthetics, art and culture Cultural Revolution period kkophimyeo reference for understanding the aesthetic principles that animated the Chinese Cultural Revolution period of orientation. This paper has San Tu Chu(三突出), Hong Guang Liang(紅光亮), and Gao Da Quan(高大全) at the time of the Cultural Revolution aesthetic principles are reflected in how the concrete work, the Cultural Revolution when the animation is how to accommodate these aesthetic principles and placed emphasis on comparative studies on best pole and correlation of the Cultural Revolution when the Chinese animation to ensure that adaptation in own way. First, after analyzing whether the aesthetic principles of focusing on the similarities of the best pole time of the Cultural Revolution and China, and how to implement animation in the works, these aesthetic principles according to the analysis of positive and negative influence on the creation of Chinese animation It was described as neutral. The detailed analysis and comparative study courses were trying to access in two significant aspects of the characters and scenes directing. In terms of character animation of the Cultural Revolution in China when a young boy or girl, emphasis should emphasize the health tinged with red lips and cheek blush to highlight the desired Gong Nong Bing(工農兵) shape as the main character and smooth texture and sophisticated highlights the glittering feeling to the touch, it was confirmed focused hayeoteum to implement the principle of 'Hong Guang Liang', highlighting the brilliant colors with a clean, bright colors. Highlighting a number of protagoniste compared to the antagonist in the animated scene of the Cultural Revolution a few times in terms of production and, among a number of protagoniste also emphasizes the outstanding hero figure, "yet three outstanding heroes heroic figures also emphasize the leading figures among the the director of the extrusion step-by-step approach "('San Tu Chu')was used. In addition, the hero figure is generally high and low angle by directing a large and perfect aesthetic appearance was to faithfully implement the principle of 'high-charged'('Gao Da Quan').

• Journal of the Korean association of regional geographers
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• v.8 no.1
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• pp.1-19
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• 2002

The Cultural Revolution(wenhuadageming) is one of the most important political movement in the modem China. The studies on the movement done in recent years concentrated on the political conspiracy or the struggle over political line, so they did not pay attention to the political geographical dimension of the movement. This paper proposes that the Cultural Revolution practised in the area of minority nationalities at least is well understood through the political geographical perspective. Through the discussion on the Cultural Revolution practised in the Inner Mongolia autonomous district and the Oroqen minority nationality autonomous banner, this paper suggest that the socialist Chinese leader group considers the frontier area(bianjiang) or the minority nationality regions(xiaoshuminzudiqu) important as 'region' or 'space' not as 'the area of minority nationalities (minzu)'. Especially, in the period of the movement, the leader group of the revolution manipulated the space by using the index of nationality or manipulated the nationality by using the index of space. Therefore this paper assert that the Cultural Revolution in the area of minority nationality autonomous region was a integration process of the people and national territory through the reorganization of the nationalities into classes and of autonomous region into region in general meaning.

• The Journal of Art Theory & Practice
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• no.5
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• pp.197-215
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• 2007

Yangbanxi("model plays") symbolize the Cultural Revolution(1966~1976) in China. The Eight Model Revolutionary Works include five Chinese Modern Peking Operas, namely, Taking Tiger Mountain by Strategy(智取威虎山), Harbor(海港), Shaijabang(沙家浜), The Red Lantern(紅燈記), and Raid on the White Tiger Regiment ; (奇襲白虎團), ballets such as The Red Detachment of Women(紅色娘子軍) and The White-Haired Girl(白毛女) ; and a symphony: Shajiabang(沙家浜). On April 24, 1967, Chinese leaders, including Mao Zedong, saw a performance of The White-Haired Girl. Yanbanxi was performed in Beijing between May 24 and June 15 the same year. The Red Lantern was designated as a work for the proletarian classes by Jiang Qing(Mao Zedong's third wife and the most influential woman in China) and spread nationwide. It was also made into a film to be enjoyed by many people. The modern Chinese operas went a long way in their creation of visual images of revolutionary heroes. The Red Lantern, in particular, came to be regarded as the most representative revolutionary opera. In the course of such a process, Jiang Qing used Yangbanxi as a political tool for compelling the people to worship and pledge their allegiance to Mao in an effort to turn the Cultural Revolution into a class struggle on behalf of her husband. During the Cultural Revolution period, artists were made to associate with workers, farmers and soldiers based on the idea of advocating revolutionary arts for the proletarian classes. The characters in The Rend Lantern were portrayed as heroes from the proletarian classes according to the demands of the era. Chinese leaders set forth the principles of artistic expression, stressing three important factors: politics, heroes, and heroic acts, which were to be applied to all the visual arts, including Yangbanxi. This paper attempts to present a new view of fine arts during the Cultural Revolution in China by focusing on the productive significance of a leading style of a specific era in the past. To that end, this paper sheds light on products made in conformance with political instructions, stressing the importance of revolutionary heroes in The Red Lantern.

• Journal of the Korean Society of Costume
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• v.61 no.1
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• pp.58-68
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• 2011

With Expo 2012 Yeosu to be held in 2012, this study intends to propose designs for fashion cultural products into which the characteristics of local cultures of Yeosu are fused. Using symbols of Expo 2012 Yeosu and cultural symbols of Yeosu City as motifs, this study will develop patterns and then, apply them to neckties, handkerchiefs, and T-shirts. Adobe Illustrator CS2 and Adobe Photoshop CS2 will be used. This study developed basic motifs so that cultural resources using camellia, Odong Island, and the Turtle Ship, which represent Yeosu City, could be well harmonized with the topic of Expo 2012 Yeosu. This paper set three basic motifs of new formative images, using graphic images that were made by omission of forms, simplification, overlap, repetition, and calligraphy of the name of Yeosu holding the event. Each set motif was expanded to three motifs again through change, conversion, and mixture of colors, and three types of repetitive applied patterns were developed through revolution, symmetry, repetition, and reversal of each motif. The modern and refined image for neckties, to which the developed motif was applied, was made by directly applying the repetitive pattern of each motif or by making $45^{\circ}$ revolution. For handkerchiefs, revolution, enlargement, reduction, and gradation were applied to the motif so the pattern could be highlighted to the maximum and finally, a colorful image was developed. For T-shirts, three designs-a half-sleeved box type, a sleeveless round neckline type, and a sleeveless V-neckline tight type-were developed, through which availability of the design was increased. Through enlargement, reduction, revolution, and repetition of each motif, this paper layout the pattern on the whole part of a T-shirt, pursuing a decorative and casual image.

• Korean Journal of Heritage: History & Science
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• v.56 no.3
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• pp.254-273
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• 2023

In 2023, the Cultural Heritage Administration of Korea is transforming a system that has been in existence for the past 60 years. In these circumstances, an increasing recognition of the need for such changes is intended to start the study of the historical context in the conceptual development of cultural heritage. The employment of imported concepts of heritage created the demand for understanding at least the original contexts. Many European concepts have been introduced. In this study, the French Revolution is selected as the starting point for historical research on conceptual development. France opened a new horizon to national heritage since the establishment of the Republic at the end of the 18th century. The French Revolution placed monuments denied by the collapse of the Ancien Regime back into the boundaries of protection. In this process, the Commission des Monuments and the Commission Temporaire des Arts were created. There were limits to conservation activities in the context of the revolution and war. However, it is meaningful in that they established conservation principles with instructions and created new value for looking at monuments. It was pioneering in that it demonstrated the perspective of national heritage. This is significant because the top flow of conceptual development has led to a monument historique, bien culturel, and patrimoine culturel in France. This history provides a universal essence and has great implications for Korea as a divided country

• Journal of Engineering Education Research
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• v.22 no.3
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• pp.11-17
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• 2019

With technology rapidly changing our economic, cultural and social realities, the question of how to educate the generation for the fourth industrial revolution has been a pressing issue. The purpose of this study is to review teachers' perception regarding the educational change in the fourth industrial revolution. For this purpose, we surveyed 420 school teachers and administrators. Most teachers highly understand The Fourth Industrial Revolution and they think AI(Artificial Intelligence) is a core technology. They recognize The Fourth Industrial Revolution is very important and great influence in the education field. For this, they need educational innovation in the education field. Elementary school teacher perceive understanding Elementary school teachers think that understand The Fourth Industrial Revolution and change of curriculum is highly important. And, Secondary school teachers perceive that the change of education system and class is very necessary. Lastly, STEAM education is the most appropriate to prepare for a changing society.