• Journal of the Korean association of regional geographers
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• v.20 no.2
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• pp.163-175
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• 2014

This study is to explain social capital characteristics of Filipino immigrant women at the level of neighborhood. This research targeted Filipino immigrant women in the metropolis, small town and rural area in Korea to find out the relevance of individual property and characteristics of the community and social capital of neighboring communities- school community, cathedral community, etc- through measurement of the participants' recognition. This study reveals that differences exist in the relationship between length of residence and social capital in the school community and the catholic church community. There is a significant positive relationship between length of residence and political factors in the catholic church community, thereby having a better relationship with longer period of stay, while length of residence and confidence show a negative trend in the school community, leading to less confidence. The catholic church community holds a dominant position in homogeneity, cohesion, and the amount of social capital. According to the findings, social capital 'relation' is more closely related to homogeneity of the community, 'norms' to cohesion. 'Relation and norms' and 'confidence and politics' factors are recognized similarly in both communities, thus resulting in the recognition that decision making within the community, the share of value, and observance of social norms approximate a friendly relationship among members, and satisfaction level, emotional support, and confidence among members approach politics that members can talk about their personal matters. It is noted in the research process that the symbolism of the cathedral community as a transnational circuit behavior occurs where collective culture and personal desires of Filipino immigrant women were combined with production of social capital. Filipino immigrant women's awareness of community and social capital appearing in the cathedral community show that not only residence, along with the cultural identity of Filipino immigrant women, but also collective social and cultural characteristics, such as 'family reunion' can not be overlooked. In particular, at this time when discussion and debate on the interculturalism over multiculturalism is heating up, communal spirit and social capital based on the ethnic identity are important in that they can be a crucial path to the cross-cultural interaction with our society, therefore, a study on the social capital of the ethnic community needs to be encouraged and extended to more diverse communities, to the space of the multilayered scale.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.39-45
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• 2012

The purpose of this research is to look into the tea-drinking pictures of the Joseon Dynasty in order to find the unique landscape traits of tea-drinking spaces of the era. A number of tea-drinking pictures were drawn during the Joseon Dynasty period and in most cases, the names of the painters are stated as well. These factors make tea-drinking pictures a seminal source that illustrates the landscape traits of the last Dynasty of Korea. For those pictures contain the main components of landscape such as the tastes of 'Yangban'(noblemen), natural characters, and space traits. Since tea was first introduced in Korea during the Three Kingdom Period, tea-drinking culture has a long history in the country. There have been various studies about tea and many study results have been presented. Few research, however, have looked into tea culture from the point of landscape. Under the premise that tea-drinking pictures of Joseon Dynasty can be a cultural code that explains Korean tea-drinking culture, this thesis looked into those pictures from various angles and analyzed them in order to elucidate the attributes of scenery components of tea-drinking spaces that Koreans have forged and developed, and following results could be found. The Landscape components illustrated in tea-drinking pictures of the Joseon Dynasty can be divided into the element of architecture, the element of water, stone and plants. First, for the element of architecture, it was found that tea-drinking took place in anywhere in Korea without specific tea-drinking buildings or gardens unlike the case of Japan. This has to do with traits of Koreans who were not bound by formality and truly loved nature. Second, for the element of water, water contributed to making harmonious landscape. Third, for the element of stone, it was clear that stone had a practical role in providing comfortable place for lying and enjoying tea-drinking and scenery. Fourth, plants made elegant figure in the landscape and were planted in accordance with their inner meaning. Tea-drinking pictures of the Joseon Dynasty elucidates that when it comes to tea-drinking, Koreans were not obsessed with a formality of tea-drinking, or a set of tea ceremony, which is profoundly different with Japanese, and Koreans did not put a limit on a place for tea-drinking because for Koreans any place they sat could be a great place for tea-drinking.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.97-110
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• 2012

This study aimed at considering the original shape of Iljiam Tea Garden at Mt. Daedun. In order to accomplish our goal, we tried to strengthen the authenticity of construction of Iljiam by comparing its space structure depicted in the poetry of Choeui(艸衣) the monk with its current restored state. According to the clues and situation in the poetry along with symbolic words like 'Choeui' and 'Ilji(一枝)', Iljiam seemed to be a tea garden with elegant and celestial beauties, and with a nice view where Choeui the famous monk searched for the highest state of enlightenment by enjoying and living in nature. When we compared the plural aspects of Iljiam like Dacheon(茶泉), Dajo, Mulhwak, Darim(茶林), Chaewon(菜園), and Yeonji(蓮池) with those of Dasan Tea Garden[茶山草堂], we could see that the basic components of tea-culture space of both gardens are the same, showing the organizational principle of the top and bottom area to stress reading and studying. When it is restored, the authenticity of Iljiam should be pursued by linking spatial, historical, and landscaping characteristics as the space of which Choeui the monk carried out Zen meditation and mastered tea. However, the recent grand scale Buddhist business like the expansion of access road and construction of Buddhist sanctuary and Seolimdang became the biggest threat to the authenticity. Especially, it was emphasized many times in various poetry that the view from Iljiam and its surroundings is extraordinary, so it is critical to get rid of obstacles to the view from Iljiam and its surroundings in order to restore Iljiam as its genuine form. The current Iljiam should be re-made because it is like a leaf-roofed garden, not like a hermitage. However, the opinion that Jawoohongryeon-sa(紫芋紅蓮社) is somewhat a Taoistic and Taoist hermit space with a special shape adopted the pattern of building of the Joseon period rather than a Buddhist building can be accepted as long as other convincing historical evidences are found out, considering the ideology of uniting Confucianism and Buddhism and the spirit of Taoist hermit found out from poetry of Choeui and his friends. In conclusion, the restoration of Iljiam in 1979 was carried out to restore the place of Iljiam rather than to restore the originality of Iljiam by combining and referring domestic cases of tea gardens. However, there is not much material for restoration even though the main frame of Iljiam was distorted. Nevertheless, the top and bottom ponds should be constructed as a rectangle shape. In addition, it can be improved much in terms of plants and trees. It is necessary to restore bamboo forest, which was razed in order to make a tea plantation around Seolimdang, to set vines of arbors above the upper limbs, to plant pine trees and willow trees inside of the garden, and to put Dajeolgu under the corner of the eaves. Especially, the bamboo forest emphasized in poetry and took care of by Choeui himself should be restored inside of the garden.

• The Korean Journal of Franchise Management
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• v.2 no.2
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• pp.45-69
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• 2011

A basic function of packaging is preservability, delivery, subdivision, aesthetic and serviceability on packaging. Originally, the function and necessity of packaging is on preservability, but today it is expending before. then packaging is focusing on sales promotion. Although it is hard to say production itself, it could does when it is made. also, it is important for product to be goods when packaging and its materials are identification on matching each other. The role of packaging design is a core factor that satisfy consumer a various of needs and wants. In the past, the role of food packaging design is just preservability and delivery on product. but then, nawaday it is asked a various role. Not only present products have to get inherency but also have added value. That is, advanced technologies, information, and richness from materials which are diversity for coming a extention of choice. currently, food packaging design shouldn't have stayed on just packaging which cover beautiful. Packaging design is a symbolic sign. It is importance for manager to do R&D, producing, and distribution, also for consumer who use and buy the product whether manager and consumer think package design is a main mediation. This day, food design pay attention to be asking consumer's a number of sensitivity. It is the reason that the package is importance and exist. This article is to examine preservability, delivery, subdivision, aesthetic, serviceability, and environmental orientation in order to develop and show a method and theories to find package design in food industry the reason that why sales promotion and its profit increase. Consequently, draw on the function of package design effects the benefit on product is distribution. Green Design on the food packages by combining recycled and biodegradable food packages for the development of practices and long life to the look of the food package design practices.

• Journal of Science of Art and Design
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• v.10
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• pp.5-50
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• 2006

The terminology "human body" simply means a physical body but also more often, as an object in art works, carries symbolic concepts incorporating the whole history of human lives. Human body has been employed as an artistic object capturing physical body, delivering artist's idea expressing life indicators from different standpoints of times and places. This point of view about human body in art works has in fact rather short history since 1960's when modern thinking paradigm focusing upon rationality and reasoning has begun declining and on the contrary when the body used to be the servant of the mind and soul for a long time has begun attracting artist's attention as a real entity from the viewpoint of dichotomy. During the 1960's, frequent performances in Pop art and of Fluxus showed that the human body has been an important media for artistic communication after importance of body performances had been raised in Action painting in 1940's. The human body became a more determined media in body art works that had got into stride after Yves Kline's conceptual works applying body and its traces. These kinds of art works have continued and consolidated into the Feminism came into blossom in 1980's and into fragmentated and disembodied body art trend in 1990's. Through development of trends in body works, human body now might well be regarded as a clue provide from individual identity with implication over the world. This thesis is to analyse in semiotic way main works of Kiki Smith who is a representative artist devoting to Feminism and proposing extended significance of human body. In the analysis process of works done by two great artists with histrorical background of art trend in order to find and open an significance horizon of human body, semiotics and bodism are therefore perceived as pertinent and applied as basic tools. The first stage of analysis is to get the significances emerged in between expression part and contextual parts, which are separated structually from the most basic level. The study deals with body works furthermore in the way of structual cohesion of the expression and the context from the view of A J. Greimas' Structural Semantics and tried to build up a basic frame for the extended significances of human body. This thesis is, on the other hand, to attempt to contribute for extension of disembodied and fragmentated body discussed in the structural semantic frame earlier by Julia Kriesteva who delivers abjection concepts and phenomenology of Maurice Merleau-Ponty who enables to overview relationship between the body and the world from the viewpoint of Bodism, further into interpretation level. The other works are Kiki smith's that showed epics about death in mid-1980's, detailed humbleness of vulnerable human body exposed to dichotomy and fragmentation in 1990's and religion and mythology incorporating wouln healing in 2000's and henceforth. Through the analysis of Kiki Smith's representative work 'Pee body', it is verified and confirmed that fragmentated body showed beyond boundary gap of the human body and ultimately tends to imply human healing owing to divine maternity. Bodily symbols in Kiki Smith's are extended to the universal world to imply human life and death on the one hand and religion and mythology of human wound and divine healing one the other hand. This thesis through these process and results of analysis is in a broad context, to emphasize that human body as objectified text has a key indicator role to understand world as well as semiotic extension in art works in late 20th century so that we might confirm bodily symbol as a cultural context constitutes a section of contemporary visual arts.

• (The) Research of the performance art and culture
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• no.18
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• pp.513-557
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• 2009

The procession depicted in Goguryeo's ancient tomb mural consists of guards, honor guards, music band, and performing artists. Since this coincides with the royal processions of Goryeo and Joseon Dynasties, the relationship of its impact can be examined. The performing arts appearing in such street procession were mostly sanakbaekhui. During the Goryeo Dynasty, the king visited Bongeunsa templ when the lotus lantern festival was celebrated. At such time, on the left and right sides of the road travelled by the king were installed mountains made of lanterns and trees made of lanterns. The procession was quite large in scale and was accompanied by colorful music and performances. In the narye ceremony of the Goryeo Dynasty, as in China, street procession and performing arts took place. The jisinbarbgi performed by a peasant band in early January is a custom of narye. A new character appears in the royal narye during the first half of the Joseon period. Therefore the features of narye transforming according to the changes of the times can be examined. In the Joseon Dynasty's procession of a king returning to the palace, the royal band in front and behind the carriage of the king played marching music, and led by a sanbung this street procession headed toward the palace. Various performances also took place during this time. The samilyuga and munhuiyeon were festivals of the yangban class(nobility). Those who passed the state examination hired musicians and performers and paraded around town in Seoul for three days to celebrate the auspicious outcome for their family and to show off their family's power. In the Joseon's dongje and eupchijeui ceremonies, street processions were carried out with a shrine deity image or symbolic flag at the head. The dongje in a Korean village, combined with jisinbarbgi, incorporated a procession with the flags ymbolizing the guardian deity of the village at the head, and this went from house to house. The procession of suyeongyaru had the publicity impact of a mask play performance, and by creating a sense of unity among the participants, heightened the celebratory atmosphere. At the core of the bukcheonggun toseongri gwanweonnori was as treet procession imitating the traveling of high government officials. The toseong gwanweonnori has the folk religion function of praying for safe human living and abundance of grains for the village, the entertainment function of having fun and joy through street processions and various performances, and the social function of creating unity and harmony among the residents. In all the aforementioned events, the street procession had a large role in creating a celebratory atmosphere, and the performance of traditional performing arts in the middle of the procession or after the procession enabled the participants to feel united. The participants of the street procession felt cultural pride and self-confidence through the various events and they were able to have the opportunity to show off and proudly display their abilities.