• Proceedings of The Korean Cleft Lip And Palate Association
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• 1998.06a
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• pp.38-38
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• 1998

• The Journal of the Korea Contents Association
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• v.14 no.11
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• pp.944-954
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• 2014

This paper discusses how the traditional cuisine of Korea capitalizes on "nostalgia" for the past. While examining the (re)invention of Buddhist cuisine and Andong food, this paper contends that traditional Korean cuisine is commodified through a process of de-contexualization. This paper first discusses the possibility that the idea of traditional cuisine is an invention in the first place. The history of temple food, for instance, suggests that it was created as a vehicle for circulating and implementing the ruling ideology in the ancient societies of China. This paper then turns to the issue of the growing influence of traditional cuisine in contemporary Korean culture, which is related to the public's demand for healthy food and also tied with the South Korean society's need for promoting a national cuisine in the age of globalization. The rise of traditional cuisine is a sign that people are seeking to reform their eating habits and form a counterculture. Yet, another side of the story is that consumers end up taking part in the self-expanding capitalist market with more consumer choices rather than forming a genuine counterculture. In this respect, the reinvention of temple food is closely related to what Jean and John L. Comaroff call the "emergence of consumption as a privileged site for the fabrication of self and society, of culture and identity".

• Journal of Korean Philosophical Society
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• v.147
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• pp.77-116
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• 2018

The purpose of this paper is to elucidate the late Heidegger's thought through commonality and differences with mystical thought. Heidegger embraces poetic and mystical elements in the process of overcoming traditional metaphysics and cognitive discourse and for exploring new meaning of Being. This study of mystical elements in his thought is important to present the uniqueness of the Heidegger's philosophy. This paper will not deal with mystical experiences or religious meanings, but with philosophical mysticism that reveals the fundamental connection between human and Being through thinking of Being itself. Here in connection with traditional mysticism the following topics will be discussed as mystical elements in the later Heidegger's thought: the Abyss of Being(Ab-grund), which go beyond conceptual reasoning and representational thinking(principle of ground); Lighting of Being(Lichtung), in which human and all Beings can be opened, and the Letting-be(Gelassenheit), which is gained not by any human accomplishment.

• Journal of the Korean Geographical Society
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• v.39 no.5 s.104
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• pp.735-754
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• 2004

This paper provides an overview of political ecology, a body of theory that focuses on the links between political and economic inequality on the one hand, and environmental degradation on the other. Adopting a tripartite classification scheme that identifies three political ecology traditions -'classical', 'democratic' and 'poststructuralist'- the discussion shows the need for a move within the poststructuralist tradition away from a narrow and quasi-idealistic focus on discourse to a more robust philosophical engagement with ontological and epistemological issues grounded in Gilles Deleuze's development of Nietzschean materialism. From there. the author draws on numerous examples from Canada, and surveys the available literature on 'bioregionalism', a relatively new intellectual tradition evolved from the North American environmental social movements of the 1970s and 1980s. The so-called 'bioregional approach' stresses that administrative units need to reflect (rather than transect) eco-geographical and cultural features. Bioregionalism is described and assessed as a potential pragmatic research framework for geographers and other planners wishing to respond proactively to the call for a revamped, poststructuralist political ecology. The paper concludes that a bioregional approach to political ecology avoids the weaknesses identified by certain critics, provides scope for consideration of fundamental philosophical ideas, and as such, represents a practical development of a poststructuralist political ecology.

• 지역과문화
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• v.7 no.3
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• pp.23-48
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• 2020

Hahoebyeolsingut Talnori, which is under permanent performance, has lost its relevance to folklore and rituals of the villagers and has secured the possibility of change depending on the actor's choice. This article seeks to expand the current stuck performance of Hahoe mask play, which has great significance as a play and play for the audience. To this end, We studied the possibility of expanding the performance of Hahoe Talnori by trans-identity of the Choragi. Chorangi character derides yangban, seonbi and monk, who are representatives of the establishment. Those who have a consciousness of potential transformation, those who passively represent the masses, and those who are tacitly authorized by the audience to ridicule the ruling class. The audience feels exhilarated by the super-cool, but at the same time reduces the limits. We transformed Chorangi who is clever but cannot overcome the limits of his status, into a character with a sense of transformation by applying the method of turnning identity and changing identity of the theory of trans-identity. And I applied the method of expansion of the media conversion storytelling theory to create a new Chorangi Madang that conforms to the audience's needs and the spirit of the times. In addition to the performance of Yangban Seonbi Madang(Act of Nobleman and Scholar) which ends with an ambiguous reconciliation, we wanted to complete it in a way that even today's audiences could accept by applying the function of the Hahoebyeolsingut Talnori ambassador and the principle of implementation. And We writed it in a script. This article is meant to be an experimental study that attempted to transform traditional performing arts in the context of new creation of tradition. Preservation and transmission of traditional performing arts are important, but it is necessary to move forward according to the trend and spirit of the times.

• Journal of Technology Innovation
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• v.20 no.1
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• pp.75-114
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• 2012

Transition from imitation based catch-up to new value creation based post catch-up innovation system is becoming the main issue for Korea. The notion of post catch-up research highlights the understanding of new patterns of innovation and the interrelationship among innovating agents within systems of innovation. More specifically, it is a context specific framework which accommodates discontinuum of technological innovation from the past and a creation of new organizational arrangement and institutions. Moreover, post catch-up approach follows the tradition of development, institutional and evolutionary theories context. This paper, therefore, explores whose focus is on the possibility of new theoretical development and new research agenda.

• Archives of design research
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• v.12 no.3
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• pp.203-212
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• 1999

Requested from the Andong MBC station to do visualization work on hahoe Pyulshin-gut (Hahoe Mask Dance Drama) of Hahoe village, the traditional cultural asset of Andong Province, as a part of specialization project for local cultural asset, this study describes the work process and result for about 3 months from June 1, 1998 to August 20, 1998. In addition, this study describes the data collection at the fundamental preliminary research stage, analysis process and full-swing artwork process among the work process as well as the final visual type. This study is concluded with the summery on the problem and point of consideration when local self-governing organization do visualization work on character business or traditional asset similar to this project.

• (The) Research of the performance art and culture
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• no.32
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• pp.7-30
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• 2016

The inter­relationship of Korea southeast region community related to a mask dramas in depth. The Folk mask dramas are, for traditional community members to live well and enjoy cultural practices in society. Even if a mask drama would be performed in the 21st century, it would be the one of traditional society. It shows the life of traditional society and proposes the issue of traditional society. The thing is handed down well with technology of a mask drama assigned as intangible cultural asset. The Korea southeast region, Kyongsang Provinces, or Yeongnam area has been handed down several kind of mask dramas. These are Byeolsingut Talnori with religious, the Ogwangdae of wandering play team, the Ogwangdae of local residents, and the Dulnorum of local residents. The mask dramas of Korea southeast region are specified as intangible cultural asset, many traditional mask play were restored. The restoring is imitation. These things are difficult to assigned as the intangible cultural asset. But though it is the imitation of the mask dramas, it is culture phenomenon. So we need to make the fostering system.

• Journal of the Economic Geographical Society of Korea
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• v.20 no.1
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• pp.70-83
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• 2017

Traditionally, economic growth has been uneven over the space. It has also been true for the recovery from social and economic crisis in old industrial areas of the advanced economies. Even if many of such old industrial areas were seriously affected by de-industrialization, some areas have been showing progress, while others have not been so. While interpreting this phenomenon used to be a key issue in economics, main stream liberal economic theorists' explanation was uneven distribution of economic resources, such as raw materials, labour and money. However, some revolutionary economic theorists have brought in the concept of "history" in explaining the phenomenon. Path dependence theorists, for example, interpretate the emergence of different growth paths with the concept of historical accidents. This contrasts to the recent argument of the group of scholars suggesting the concept of "regional resilience," who argue that uneven growth and different growth paths are originated from different regional resilience. This paper introduces the backgrounds, characteristics and utilities of the two theories: path dependence theory and the concept of regional resilience.

• Journal of the Korean Society of Costume
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• v.59 no.4
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• pp.98-110
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• 2009

Performance art is an integrated genre of different art areas, and make-up is a visual art area to give lively effects to the performance art, which makes actors and actresses changed into the characters of plays. It can be said to be a kind of deliverer of idea to help effectively understand the contents of the performance. When we are in the world abundant in various cultures and innumerable styles of expression of different countries, we should rediscover the value of the beauty of our traditional masks that have represented the emotion and thought of Han nation, which we can find in play culture of our ancestors that has kept our ancestors' value system. That's the way we can get continuous life force and competitive power of our traditional culture. The Korean traditional masks haven't only been for the prevention of bad luck and the prayer of fortune, but also well expressed Korean people's looks, features and personalities according to the roles. They are excellent artistic works in themselves, and many studies have been performed on the analyses and uses of the features of the masks in various fields due to their good expression of different cultural aspects, while the studies in the light of make-up are rarely performed. Therefore, this article aims to analyze the features of the Korean traditional masks and, by using this analysis, to present effective make-up designs in outdoor performances through a stage performance. In addition, this article also tries to present the orientation of make-up as an expression of artistic image, and to expand the expression area of make-up by using the Korean traditional masks in the light of make-up. For this purpose, I examined the related literature and the precedent study materials to find the origin and kinds of the Korean traditional masks, and analyzed the features of the masks. Furthermore, I established the make-up design plan using the material features of the Korean traditional masks by analyzing the characters in actual performance works, and presented the photos of works actually performed.