• Journal of the Korean Geographical Society
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• v.50 no.6
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• pp.695-715
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• 2015

The history of Korean Pungsu can be approached from two perspectives. One is through the history of its theoretical formation and evolution, and the other is through the history of its social and cultural formation and evolution. The former, i.e. Pungsu theories, was produced and developed by intellectuals as an elaborate system of cosmic knowledge and logic. The latter, i.e. Pungsu culture, was consumed and adopted by various social groups in their spatial life practices. It was Chinese intellectuals that originally initiated and carried out the production, formation, and development of the fengshui theoretical system. Intellectuals in neighboring countries adapted Chinese fengshui to their local environment, incorporating their own historical and cultural features, and practiced this transformed and indigenized form of geomancy. The evolution of Korean Pungsu can be summarized as having the following five characteristics. First, Koreans accepted fengshui from China, pragmatically adapting it to fit the Korean natural and social environment, and then used it for social discourse on space. Second, Pungsu had a comprehensive and varied influence on Korean culture throughout its different historical periods. Third, combined with social thought led by differing social classes, Korean Pungsu existed as an element of social discourse. Fourth, Koreans' theoretical preferences of fengshui were for the landform method over the liqi (理氣) method. Fifth, the Bibo philosophy was a characteristic feature of Korean Pungsu.

• Korea journal of population studies
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• v.26 no.2
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• pp.111-145
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• 2003

This paper attempts to explore recent socio-demographic changes of the ethnic Korean population in Yanbian autonomous prefecture. Due to rapid decrease in the level of fertility and population ageing, Korean minority society in China has been in a process of profound transition after the introduction of the market economy and establishment of diplomatic relations between South Korea and China. The changes in demographic behaviors and in the structure of population appear to be much faster among Koreans than Hans. Results from the 2000 population census reveal that the Korean population in Yanbian, where ethnic Koreans are most densely populated in China, has been in a decreasing trends in absolute numbers and in its proportion to the total population. The growing tendency of regional mobility for work and for marriage, rapid expansion of residential areas, serious crisis of ethnic schools of Korean community, and weakening social integration and ethnic identification of Koreans in Yanbian are discussed in this study. It is expected that socio-demographic transition of Korean society in Yanbian will be even more drastic over the coming decades. The rapid changes in demographic behaviors and in the structure of population has major consequences and implications for every sphere of human life, and will present enormous challenges for the status of Korean minority society in China. Along with various statistical data on Yanbian, micro-level data as well as published reports from the 1990 Chinese population census for Yanbian and the 2000 Chinese population census are analyzed in this study. In addition to sex ratios and age ratios, various indices are calculated to analyze the characteristics and accuracy of the data from the 1990 and 2000 population censuses of China.

• The Journal of the Korea Contents Association
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• v.19 no.11
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• pp.664-675
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• 2019

This study examined Korean sign Language of the linguistic form and the etymological forms about the origins of the Korean national sign languages. The general sign language has been shown through previous research all of place names from Chinese character except Seoul and Lmsil. And then, Sign language's form and origins which are current using in order to examine what kind of feature were analysed through interviews and publications in Korean association of the deaf people. As a result, it was analysed that was composed majority. indigenous sign language Korean place names were made and used by deaf than loan word character of Chinese characters, Hangul and loanword. When we consider that place names were correspond to a precious cultural heritage, representing the history with the culture and identity of the relevant area, we can worth of preservation and transmission to the abundant iconicity in the name of Sui. On the other hand the indigenous sign language korea place manes can worth deaf culture or korean sign language. Even lf geographical characteristics of area have been changed or local product was disappeared in this situation by The origin of sign language reach in modern time local specialty by geographical form lt continued over generation. This can be regarded as the Korean sign language of the form in the way of visual. lt will be very valuable heritage in the preservation deaf culture.

• Journal of Korean Historical Folklife
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• no.27
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• pp.267-361
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• 2008

This article traces how the modern Chinese "nation" was constructed as an "imagined community" around Huang-ti (the Yellow Emperor) in late Qing. Huang-ti was a legendary figure in ancient China and the imperial courts monopolized the worship of him. Many late Qing intellectuals appropriated this symbolic figure and, through a set of discursive strategies of "framing, voice and narrative structure," transformed him into a privileged symbol for modern Chinese national identity. What Huang-ti could offer was, however, no more than a "public face" for the imagined new national community, or in other words, a formal structure without substantial contents. No consensus appeared on whom the Chinese nation should include and where the Chinese nation should draw its boundaries. The anti-Manchu revolutionaries emphasized the primordial attachment of blood and considered modern China an exclusive community of Huang-ti's descent. The constitutional reformers sought to stretch the boundaries to include the ethnic groups other than the Han. Some minority intellectuals, particularly the Manchu ones, re-constructed the historic memory of their ethnic origin around Huang-ti. The quarrels among intellectuals of different political persuasion testify how Huang-ti as the most powerful cultural symbol became a site for contests and negotiations in the late Qing process of national construction.

• Journal of the Korean Society of Costume
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• v.60 no.1
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• pp.14-27
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• 2010

The purpose of this study is to analyze how the aesthetic characteristics of Brecht's V-Effekt is visually expressed of the costume in the Traditional Play of Korea, China and Japan. The method and the contents of the study were to refer to the antecedent studies and the related documents to peruse the characteristics of the traditional plays of the East and West, the origin and the concept of Brecht's Verfremdung and considered the relation of Brecht's V-Effekt and the Oriental plays, and then the researcher derived the aesthetic properties of Brecht's V-Effekt. This study analyzed how those qualities of the aesthetic characteristics on the V-Effekt are manifested on the stage costumes of Korean mask, Beijing opera and Kabuki. The aesthetic qualities of Brecht's V-Effekt are classified into symbolism, grotesque disposition, character of sing and dance, comicality. The symbolism in the traditional play costumes of the three nations is shown in the colors of the masks in Korean and the tone of the colors on the costumes and the make-up in Beijing opera and Kabuki. While the properties of bizarrerie and deformation coexist in masque and Beijing opera costumes in terms of grotesque disposition, Kabuki strongly displays bizarre grotesquerie. The character of sing and dance is visually expressed through the transformation of sleeves on the three nation's traditional play costumes; Masque on the Hansam and Chengsam, Beijing opera on the Water sleeves and Kabuki on Hurisode. The comic aspection is expressed in a humorous and comical way through the distortion and transformation of forms in Masque and Beijing opera but it cannot be seen in Kabuki costume. The study as above will form the aesthetic properties of the Oriental traditional play costumes and also it will contribute to establishing the identity of Korean mask costumes.

• Journal of architectural history
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• v.3 no.1
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• pp.123-142
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• 1994

This paper is a part of "A Case Study on The Dwellings and Settlement of Korean Immigrants to North-Eastern Province of China". Among various subjects from the study, this paper covers with the spaces and life style in the dwellings of Korean Immigrants. The purpose of this paper is to discribe how their dwelling culture has been moved and changed to a new environment. One rural village of Korean Immigrants named "Ch'ang-ts'ai" in Yen-pien Province was selected where we investigated more than 110 households. From the formal interview, I collect the data on the family structure, family economic state, dwelling spaces and its use, and dwelling facillities and furniture. From informal interview with key informants, I analyze how they have changed their dwelling spaces and life style since they moved here. Based on the analysis of the data, I conclude that major features of their dwelling and life style has been moved from Korean penninsula, specially from 'Hamkyong' Province where their ancestor has lived. This features are summarized as follows: a. Dwelling spaces and its functions are simillar to typical dwelling type of Hamkyong Province. b. They use "Chong-ji" for both a cooking space and a major living space. c. They have a life style of sitting on the floor. d. Bedrooms are differentiated with male and female. e. Most of their dwelling facillities and furniture arc different from those of Chinese in the same province. Since they immigrated, there has been some social changes which could influence on making their dwelling culture. But they have preserved their cultural identity on their dwellings and life style. So I suggest that the dwelling culture of a society would be seldom changed by immigration, as long as they will be given similar conditions such as the independent ethnic community, the same ecosystem, and economical autonomy.

• Journal of Korean language education
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• v.28 no.4
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• pp.181-219
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• 2017

The purpose of this study is to review the functions of {됐어} and {X了} as a discourse marker on different levels, and to examine their similarities and differences. {됐어} has not been widely recognized as a discourse marker in the field of Korean linguistics and Korean language education. Therefore, in order to establish the identity of {됐어} as a discourse marker, the reasons that {됐어} can be regarded as discourse marker were explained prior to the contrastive analysis. As to the method of contrastive analysis for {됐어} and {X了}, they were analyzed on three main dimensions: that is, the textual dimension, the interpersonal dimension, and the metalinguistic dimension in the corpus consisting of scripts of Korean and Chinese sitcoms. The results are as follows. In the textual domain, {됐어} and {X了} have the function of closing the topic in common, while {X了} can indicate a new topic and transmit a topic. In terms of functions in the interpersonal domain, {됐어} and {X了} are commonly used to refuse a partner's proposal or request and to interrupt a partner's speech or action. Furthermore, in the interactional aspect, {됐어} and {X了} performs the function of expressing a response to a preceding utterance and taking the turn of speaking. The difference between them in the interpersonal domain is that {X了} performs the function of correcting a speaker's utterance. In the metalinguistic domain, {됐어} and {X了} are common in that they perform the function of expressing the dissatisfaction of the speaker, showing generosity and making a compromise with the addressee. {X了}'s distinguishing characteristics in this domain is that it can express the attitude of consoling the hearer.

• Cartoon and Animation Studies
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• s.17
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• pp.83-95
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• 2009

As an exploratory research on China's animation, this study aims to enhance an understanding of the trends and characteristics of China's animation through examining its history and to forecast its future development trajectory. From its founding to recent period, China tried to maintain Communist political system through imbuing national identity to its people through management and supervision of media products under direct government's leadership in combination with ideological education. Such policy was also implemented in animation, major audience of which is children. With regard to the introduction of the policy and its influence, five historical phases could be identified as follows. During the first phase, from the founding of the Republic until the Cultural Revolution, national culture was introduced to China's animation. The second phase, which corresponds with the Cultural Revolution period, marks the decline of national culture. National culture was reemphasized during the third phase that follows the Cultural Revolution, which led to the nomination of the 'China school,' followed by the fourth phase, during which China's animation suffered the second decline due to the spread of TVs and foreign animation imports. Reintroduction of national culture on China's animation in the context of rapid industrialization process before and after 2000 characterizes the recent phase. It can be expected that although there could be some change in methods and forms, China's animation, which introduced national culture from its inception and maintained remarkable resilience following the period of decline, will continuously stress the its own national cultural identity.

• Korean Journal of Microbiology
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• v.35 no.3
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• pp.205-210
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• 1999

16brio cholerne is an important pathogenic organism that causes dimhea in human beings. V ciaoleroe KNIH002 was isolated from patients suffering with dian.heal disease in Korea. From Southern hybridization using the amplified PCR product of 307 bp as a probe. which was obtained from PCR reaction using primer detecting cholera toxin gene, we have found that the c b gene located in 4.5-kb fragmenl double digested with Pstl and BgllI of the chromosome. Therefore, we made mini-libraries of the isolate using PstI and Bgm restriction endonuclease and pBluescript SKU(+) vector. As a result. we cloned 4.5-kb PstI-BglII fragment containing the c a gene encoding a cholera toxin from the constructed mini-libraries of V olzolerae KNlH002 by colony hybridization using the same probes. This recombinant plasmid was named pCTX75. E. coii XL1- Blue harboring pCTX75 showed the cytotoxicity on Chinese Hamster Ovary cells. From the sequencing of he cloned recombinant plasmid, we confinned that it has virulence gene cassette consisting of ace, zot, ctx.4 and cf"~B gene. The ace and zot genes were composed of 291 hp and 1.200 bp with ATG initiation codon and TGA lennination codon, respectively. Nucleotide sequence of the ace gene exhibited 100% identity with that of V cholera E7946 El Tor Ogawa strains. But, nucleolide and amino acid sequence comparison of the zot gene exhibited 99% and 98.8% identity with that of V cholerae 395 Classical Ogawa stram, respectively. Specially. the Ala-100, Ala-272 and Ala-281 sites of Zoi polypeptide presented in V choleme 395 Classical Ogawa strain are replaced by Val in V cholerae KNIH002.

• Korean Institute of Interior Design Journal
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• v.22 no.2
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• pp.31-38
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• 2013

In this study, we selected 12 typical traditional restaurants in Korea and China and analyzed their application of traditional design approach. Through this analysis, we tried to explore similarities and differences of Korean restaurants and Chinese restaurants in order to determine the preferable way to express their own traditional design. We categorized traditional design approach as cultural elements, designing method, coloring and materials. The results are as follows: First, following a tradition and interpreting a tradition are considered as compelling design methods to express traditional culture. However, when combining a traditional and a modern design approach, it is important to either strongly emphasize traditional design elements or use small number of traditional design elements as focal points in modern design restaurants. Second, when designing a traditional restaurant using modern design elements with traditional focal points, it is more desirable to follow and/or to interpret a traditional elements, rather than experimenting an excessively unconventional design. Moreover, the design elements of exterior of a restaurant shows the identity of the restaurant. Therefore, using traditional elements in the exterior helps recognizing the traditional characteristics and culture. On the other hands, for the interior of the restaurant, it is better to use modern design method and materials for the practical reasons, such as construction cost reduction and ease of construction. We also discovered that it is more effective to use traditional elements to the pattern and color. The results of this study will set a foundation for further research of developing a design guideline for traditional restaurants.