• Journal of International Area Studies (JIAS)
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• v.14 no.1
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• pp.277-308
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• 2010

Since the globalization, many changes are occurring in our society. Multicultural phenonmenon in the society is becoming one of our major concern in the Korean society. Thus, this study is focusing on the multicultural phenomenon that we are facing since the globalization in Korea. No doubt that immigration is a growing force influencing the demographics of Korea. Since the mid-1990s, immigrant children and children from mixed marriage have become the fastest growing and the most extraordinarily diverse segment of Korea's child population. Until the recent past, Korea's major social attention has focused on adult immigrants to the neglect of their offspring, creating a profound gap between the strategic importance of the new second generation and the knowledge about its socioeconomic circumstances. In other words, there is a significant lack of studies on children of migrant, particularly from the Muslim background living in Korea. International marriage has grown rapidly in Korea since the late 1990s, and this phenomenon is especially common in rural farming communities. Most brides come from China, followed by Vietnam and other southeast Asian countries. However, there are certain number of Muslim bride coming to Korea. There are about 100 thousand muslim peoples living in Korean society. Among them 2.92% are Muslim immigrants' intermarriage with the Koreans. As a result, there are growing number of muslim brides and bridegroom settling in Korea, which would eventually create muslim families in growing korean multicultural societies. This study specify its research on the muslim mixed family by focusing on the offsprings of the muslim background. Our research team has created the new term on such research subject by using Koslim. Koslim is a 1.5 and 2^nd generation from the Muslim back ground family living in Korea. Thus, the objective of this study is to examine the awareness and the perception of Koslim by the Korean mainstream people. By doing so, it can analyze the general attitude of Koreans towards the Koslim people. In this sense this study intends to play a groundwork to promote successful coexistence between Korean and Koslim. It is anticipated that this research can lay the basis for Koreans to have more open and tolerant attitude towards our new members of society that is increasing everyday.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.138-164
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• 2022

The Neolithic shell midden in Daejuk-ri, Seosan, is distributed on the gentle slope of a low hill close to the west coast. The bedrock of the area consists mainly of schist with various mafic minerals, but shows a partial gneiss pattern. The site consists of loamy topsoil and clay loam subsoil, and the degree of siallization is relatively low. Although the pottery excavated from the shell midden shares mostly similar features, a variety of shapes and patterns coexist. The surface colors, thickness and physical properties are slightly different. The pottery can be subdivided into three types (IA, IB and II) according to the composition of the body clay, the temper and the existence of a black core. Types IA and IB are colorless mineral pottery with a non-black or black core respectively. TypeII is colored mineral pottery with a non-black core. Type I pottery also contains non-plastic colored minerals, but type II contains a large amount of biotite, chlorite, talc, amphibole, diopside and tremolite, which include a large amount of Mg and Fe. The studied pottery contains a small amount of organic matter. Considering the grain size and relatively poor sorting and roundness of the non-plastic particles, the pottery appears to be made by adding coarse non-plastic tempers for special purposes to the untreated weathered soil around the site. The three types of pottery seem to have been incompletely fired in general. While type IB has the lowest degree of oxidation, typeII shows the highest degree of redness and oxidation. It can be interpreted that these differences depend on the firing temperature and the ratio of non-plastic particles. Through a synthesis of the minerals, geochemical data and thermal history, it can be determined that the firing temperature ranged from 600 to 700℃. The pottery types of the Daejuk-ri Shell Midden have slightly different production conditions, mineral compositions, and physical properties, but have undergone similar production processes with basically the same clay materials. The clay is almost identical to the composition of the bedrock and weathered soil distributed in the Daejuk-ri area. Currently, there is an industrial complex in the area, so it is difficult to confirm the soil and geological distribution of the site. However, it is highly probable that the area around the site was self-sufficient for the clay and tempers required for the production of the Neolithic pottery. Therefore, it can be interpreted that the group that left the shell midden in Daejuk-ri lived near the site, visited the site for the purpose of collecting and processing shellfish, and discarded the broken pottery along with shells.

• Korean Journal of Poultry Science
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• v.16 no.2
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• pp.105-127
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• 1989

Although poultry industry in Japan has been much developed in recent years, it still needs to be developed , compared with developed countries. Since the poultry market in Korea is expected to be opened in the near future it is necessary to maximize the Productivity to reduce the production costs and to develop the scientific, technologies and management organization systems for the improvement of the quality in poultry production. Followings ale the summary of poultry industry in Japan. 1. Poultry industry in Japan is almost specized and commercialized and its management system is ： integrated, cooperative and developed to industrialized intensive style. Therefore, they have competitive power in the international poultry markets. 2. Average egg weight is 48-50g per day (Max. 54g) and feed requirement is 2. 1-2. 3. 3. The management organization system is specialized and farmers in small scale form complex and farmers in large scale are integrated.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.