• The Southeast Asian review
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• v.21 no.2
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• pp.77-123
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• 2011

Recently, Southeast Asian people, its food, natural sceneries and so on have been increasingly exposed to Korean people through mass media and multi-cultural events. At the same time, Koreans can frequently encounter Southeast Asians in their everyday lives. Thus, specific images and discourses of Southeast Asia has been established in our society, which creates a new social trend called 'Southeast Asia phenomena'. In short, 'Southeast Asia phenomena' means a totality of Korean people's experience of Southeast Asian and their perception on the region. On the one hand, 'Southeast Asia phenomena' is a result of inflow of Southeast Asians and their culture into Korea. On the other hand, it is also a consequence of Korean people's understanding of Southeast Asia from their trip to Southeast Asia or from their interactions with Southeast Asian people. This article aims to analyze the origin and diffusion of 'Southeast Asian Phenomena' in Korea in the context of Southeast Asia focusing on 4 topics, that is, migrant workers, overseas investments, retirement migration, study-abroad categorized as human movement. This article is also about a country-by-country comparative analysis both at the macro level and the micro level. At the macro level, overseas investments and trade, human exchanges, positive perception to Koreans which considered to be the structural causes become a strong mechanism playing a important bridge role between Korea and Southeast Asia. So these create the high probability of the emergence of 'Southeast Asian Phenomena' At the micro level which is more direct causes of 'Southeast Asian Phenomena', the economic cause is the most important common cause for 4 Southeast Asian Phenomena. Additionally, Korean wave is also remarkable common cause creating 'Southeast Asian Phenomena' even it is not the origin in the context of Southeast Asia. The diffusion of 'Southeast Asian Phenomena' is different by the topics and the elements contributing to create the favorable situation for the diffusion are not only overseas investments and trade, human exchanges at the macro level but also policy elements at the micro level. The relative differences of the causes of 'Southeast Asian Phenomena' in the country-by-country analysis are found. Regarding overseas investments in Vietnam and Cambodia, the economic degree of freedom in Cambodia is higher than in Vietnam. Even Korean Wave has had the longer history in Vietnam, but the favorable perspectives on Korean Wave are stronger in Cambodia. For migrant workers from Vietnam and Indonesia, the economic causes in Vietnam are more significant than in Indonesia. The impact of Korean Wave is stronger in Vietnam than in Indonesia. In case of study-abroad, the social-cultural elements and policy elements are more diverse in Malaysia than in Korea. For the Korean retirees who immigrate to the Philippines and Malaysia, the economic causes in the Philippines is more significant in Malaysia.

• The Journal of the Korea Contents Association
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• v.21 no.11
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• pp.156-164
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• 2021

Currently, digital restoration has s long way to go. Character restoration is only used as a one-time event to restore the shape of a specific person, and building restoration is only composed of digital modeling rather than using the restored cultural assets as content. There is a limit to restoring even the story of a building or a person with the current restoration method alone. Therefore, this study analyzed the method and process of digital restoration of a 'historical and cultural space' encompassing spaces, people, and events, focusing on relationships. In order to derive digital restoration methods, the case of 'Latelier', an indoor theme park based on Gogh, was analyzed. According to the study, the relationship of the person important for digital restoration is important. Based on Gogh's relationship, the process was formalized in four stages for digital restoration: the preparation stage, the digital archive stage, the DB advancement stage, and the demonstration stage. The restoration of the story of the character through the relationship can be expected to converge the past and the present as a true historical restoration, and through this, it is expected that the innovative development of digital restoration can be achieved.

• Journal of the Daesoon Academy of Sciences
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• v.17
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• pp.113-134
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• 2004

According to Hans Kippenberg, the foundation of an academic study of religions coincided with the beginnings of modernization. Since the second half of the nineteenth century most European countries were involved in a process of rapid social change. The repercussions that this had for daily life were momentous. Instead of working for their traditional needs, people now had to produce goods for a market. Old customs ceded to private contracts and political laws. The superior knowledge of science replaced the inherited worldview. This deep changed severed societies from their ties to the past. Many educated people in Europe believed in an imminent end of all religions. Had not the scientific progress superseded the religious worldview? Historians had to come to terms with that expectation when they directed their attention to historical religions. Friedrich Max Muller introduced a new science, so-called Religionswissenschaft through the study of the ancient Vedic sources. He thought that genuine religion was a taste for, and sense of, the infinite. From his point of view, the Indian sources confirm that nature is more than mechanical laws. Thus his interpretation sought to contradict the materialist ideology of his day. Edward Burnett Tylor described religions as a kind of natural philosophy. His notion of 'soul' functioned to explain natural events. This legacy of the past cannot be missed even in modern society. Only the concept of the soul may preserve human dignity in an age of materialism. Gerardus van der Leeuw, also tried to perform the same function of the cultural critique for the renewal of the religious imagination in modern, rationalized Europe imprisoned in the iron-cage. In this respect, we could think that the interpretations of the history of the History of Religions in the light of the intellectual history are very suggestive for the korean student of religion. It helps them to describe the early history of the study of religion in Korea. For example, Yi Neung Wha(李能和) is regarded as 'a father of korean religious studies, but no one could present a proper answer for the question of why and through which connection of his intellectual milieu he was interested in the religious history and the study of religion. We would discover its signification in his confrontation of the prevailing social thought, such as social evolutionism.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.3
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• pp.80-91
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• 2017

This study identifies factors of Hanbok-trippers - a term for people who dress in Hanbok(Korean traditional costume) while going on a trip - who converge on Gyeongbokgung Palace by determining the characteristics of class, places to visit and preferred places. This study interprets the voluntary hobby activities of Hanbok-trippers from a viewpoint of a landscape prosumer and the meaning of the urban landscape. As a result of in-depth interviews, on-site survey, and observation surveys focused on Hanbok-trippers, there were various levels of participants. They are classified into three groups - leading group, entry group, temporary-experience group - according to their cognitions, types of Hanbok use, activities, etc. The leading group and entry group are a voluntary hobbyist class due to the ongoing tendencies of their participation. There are differences in the purpose and factors of visiting Gyeongbokgung Palace as a place for a Hanbok-trip. The leading group visited Gyeongbokgung Palace for cultural activities, regular get-together, public relations, and as a gathering place to go neighboring destinations. In this case, the main factors of the visit are the traditional landscape, convenient transportation, chances for traditional culture exhibitions and events in Gyeongbokgung Palace and its neighborhood. The entry group visits Gyeongbokgung Palace because of its traditional landscape and cultural activities nearby. The traditional landscape and many Hanbok-trippers are main factors of visiting Gyeongbokgung Palace for the Temporary-experience group. This study found that Gyeongbokgung Palace has a new sense of place of 'Introductory course of Hanbok-trip', 'Hanbok Playground' because temporary-experience group visits there to experience a Hanbok-trip for the first time. Hanbok-trippers consume places and landscape in actual places offline, producing a new landscape at the same time, and has the characteristics of a 'landscape prosumer' by producing landscape images online through their own personal or social media. Their colorful and voluntary movements contribute to the dynamism of the urban landscape and can become a new cultural asset for the city. The voluntary hobbyist class can be considered a new type of participants in bottom-up planning such as urban regeneration and place marketing. This study has significance in that it conceptualized the 'landscape prosumer' through the voluntary hobbyist class of Hanbok-trippers with the concept of the 'prosumer' that has been studied only in the consumer studies and marketing fields, and has identified the significance of the urban landscape.

• Korean journal of communication and information
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• v.57
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• pp.202-226
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• 2012

The purpose of this study is to analyze how Chinese people perceive the acceptance and spread of Korean popular culture through the analysis of the Korean Wave news frame in Chinese daily newspapers. The result of analysis showed that there was a significant difference in the number of an article appearance in all three daily newspapers by year according to a specific issue including the popularity of Korean Wave-related events, Korean dramas, movies and Korean stars. This reporting trend also appeared in the article format, and all three daily newspapers mainly used an episodic frame to deliver fragmentary Korean Wave trend or personal information emotionally rather than a thematic frame to analyze and interpret the Korean Wave trend in depth. As a result of analyzing dominant news frames using the inductive approach to examine specific contents of the articles, news frames that composed the Korean Wave into the cultural interest frame as 'Interest and attention toward Korean popular culture' and gave positive evaluations were dominant, followed by the economic news frames that explained the Korean Wave from the economic perspective and the political news frames that considered the Korean Wave from the viewpoint of the Chinese Government. These news frames appeared somewhat different according to the publishing purpose of daily newspapers. ${\ll}$People's Daily${\gg}$ which is the official organ of the Chinese Communist Party often covered the political frames to report the policies of Chinese government, ${\ll}$People's Daily (Overseas edition)${\gg}$ often covered economic frames from the overseas perspective and the Jinghua Daily which is a commercial newspaper by nature often handled cultural interest frames to consider Korean Wave as new cultural phenomenon.

• Journal of Korean Classical Literature and Education
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• no.35
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• pp.153-193
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• 2017

This study explores the creation and enjoyment of Kuwoonmong (九雲夢) using a reference system called the cultural imagination, which is related to the Yin-Yang (陰陽) and Wu Xing (五行). When Kim Manjung wrote Guwoonmong, he may have composed figures and events based on this imagination. In particular, when he designed the eight seonnyeo (팔선녀), he set the order such as Gap (甲), Eul (乙), Byeong (병), Jeong (丁), etc. and characterized them according to the celestial stem (天干). Thus it was easy to avoid overlapping of characters and to construct various stories and relationships between them. The table below shows the characters of Kuwoonmong corresponding to the celestial stem. In not only the individual person but also the narrative world, Kuwoonmon demonstrates Yin-Yang and Wu Xing's imagination. In this respect, Kuwoonmon can be considered a large symbol encompassing the abstract theory of Yin-Yang and Wu Xing. Of course, the writer, Kim, Manjung would not have tried to symbolize the principle intentionally. However, he was also present in the environment of the cultural imagination that has been formed over the years. The same is true for the contemporary recipients of Guwunmong. They would have had a pleasant experience applying the cultural imagination and strengthening their familiar world view and human view.

• (The) Research of the performance art and culture
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• no.41
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• pp.353-380
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• 2020

Samul nori/Pungmul-gut is the symbol of ethnic identity for the Koreans abroad. It is the representative diaspora musical genre which is performed many cultural events held by Koreans. It is, at the same time, a global music which is appreciated by not only the Koreans but also the foreigners. Many musical communities in various countries exhibit the cultural migration through the discourse of 'tradition/variation' and 'authenticity/hybridity' in the course of the acculturation and enculturation of samul nori/pungmul-gut. The pungmul-pae 'Bichoe June' active in Toronto, Canada was organized by a foreign performer. For the foreigners pungmul-gut is easy to access as a genre of world music. As a percussion ensemble, it is easy to learn for the foreigners. The pungmul-pae 'Bichoe June' is a 'music community' consist of the Koreans and foreigners. The band tries to preserve the traditionality and authenticity of the Korean music. There is no variation or hybridity in its music since the member still learns the authentic music through various available textbooks and internet sites. Through the participation of the Koreans and foreigners, the band stimulates the globalzation of the pungmul-gut. The enculturation of the pungmul-gut is exhibited in two performances held by the band. One was host by the Canadian progressive group and the other was by the Korean conservative community. The former understood the nature of pungmul-gut as the music of the common people. The latter, however, accepted the music as the representative traditional music but was not easy to enjoy the 'noisy' music. In other words, the positive/negative acceptance of the pungmul-gut depends of the ideological nature of the listeners rather than the ethnical nature.

• (The) Research of the performance art and culture
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• no.42
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• pp.107-146
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• 2021

This article examined the current status of performance activities in the theaters in Ulsan during the Japanese colonial period, and examined the characteristics and social roles of performance culture at that time.,The cultural space during the Japanese colonial period can be divided into theater space and semi-theater space.,The theater spaces in Ulsan include Daejeonggwan, Sangbanggwan, and Ulsan Theater. The semi-theater spaces include Ulsan Youth Center, Ulsan Youth Alliance Hall, Barrack Youth Hall, Eonyang Youth Alliance Hall, Eonyang Christian Hall, Eonyang Christian Hall, Eonyang Inn, Eonyang Public Inn, Eonyang Public Normal School, Seosaeng School, Ulsan Public Aid Auditorium, Night school.,These spaces not only held events or performances for a specific purpose, but also played a role as public spaces producing local discourse. The theater was a complex cultural space where performances are performed along with movie performances, and artists and audiences meet.,Furthermore, the theater provided a special experience of producing and consuming various issues such as colonial modernization, modern city formation, and the emergence of new popular culture beyond the meaning of stage space.,The theaters in Ulsan also functioned as a space to represent the foreign culture acceptance, leisure activities, the performance and viewing of cultural contents, and the artistic skills of local artists in accordance with the purpose of establishing local theaters.,It was a base space for local discourse production and enjoyment activities by holding political rallies, meetings, lecture activities, and various conferences.,Political rallies were also concerts, enlightenment activities were also accompanied by film screenings, and music performances were associated with dance performances and charity gatherings.,In particular, Ulsan Theater, which is the first theater in Ulsan, and the role of the public hall, held a lecture, debate, and oratory for public enlightenment along with performances such as musical drama, children's song contest, fairy tale contest, small-sized play performance,, It was widely used as a large-scale rallying place, and served as a public hall, such as a place to visit outside theaters. Thus, the theater and semi-theater space in Ulsan during the Japanese colonial period improved the cultural level of the region, fulfilling the aesthetic needs of the local people and faithfully fulfilling the social role as a public sphere leading the public opinion and agenda.,And it was also positioned as an alternative public area of ​​modern society and also played a role as a public institution.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.4
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• pp.139-155
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• 2017

This paper identified the values and awareness of Koreans in 20s regarding Hanbok, the traditional clothing of Korea, and proposed an approach to promote the traditional clothing culture. The subject of the survey were male and female Koreans in their 20s who wear modern street clothes in places people frequently visit including in the metropolitan area and Chungcheong-do as well as those who wear Hanbok in Seoul and Jeonju, Jeollabuk-do. In accordance with the analysis of the survey, Koreans in their 20s rented Hanok rather than buying it. The respondents wore Hanbok for events, festivals or national holidays or while travelling. Elements to improve in Hanbok rental services were designs, materials, washing and stains. The decision factors for renting Hanbok were 'personal tendency' and 'advice from an expert.' While Koreans in their 20s had a positive awareness of Hanbok, they thought it was difficult to buy, rent and put on Hanbok and that it was not comfortable to wear. There was not sufficient opportunity and means to wear Hanbok due to insufficient accessories or shoes to match. On the basis of the analysis of the survey results, the following approach was proposed for the development of the traditional clothing culture. First of all, develop traditional clothing designers who can satisfy the personalities of Koreans in their 20s. It is necessary to develop experience-focused and participatory programs that provide systematic education regarding traditional clothing to pass down this tradition. In addition, it is necessary to create a social and cultural atmosphere that enables the Koreans in their 20s to easily wear Hanbok by popularizing Hanbok.

• Journal of the Korea Furniture Society
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• v.19 no.1
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• pp.44-54
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• 2008

The blur phenomenon, in which the boundaries of fields or roles become vague, has become an important concept of design in the 21st century. In furniture design, the physical boundary between furniture and space and that between space and furniture has been broken down and their meaning tends to be redundant. This concept was begun by a variety of furniture designers who led the trends about 30 years ago. A progressive exhibition titled ${\ulcorner}$Living Tomorrow${\lrcorner}$, which was included in the Koln International Mobelmess from 1968 to 1970, showed that the blur phenomenon in furniture design has never actually been novel. These exhibitions and the works exhibited in the events are still recognized as progressive examples that proposed an avant-garde concept of life. They are in line with the current furniture design based on spatial concepts, which has been created by the blur phenomenon. The purposes of this study are to determine the cases of furniture design that enable the so-called spatial functions beyond the simple functions of seating, use, and display, from those of furniture design and to research their characteristics. In this study, furniture based on spatial concepts means furniture that creates 3D spaces consisting of the floor, walls, and ceiling by the blur phenomenon that occurs from the spaces among these pieces of furniture. The organization of this study is as follows; In Chapter 2, a background on the generation of furniture design based on spatial concepts is described based on the research literature of this socio-cultural phenomena. In Chapter 3, the cases of relevant furniture design redescribed. In Chapter 4, the collected cases are analyzed and their characteristics described. In Chapter 5, Chapter 1 to Chapter 4 are summarized and conclusions are given. In addition, future research is proposed.