• Journal of the Korean association of regional geographers
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• v.8 no.3
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• pp.326-346
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• 2002

This study examined how the tradition and culture based on the historical experience of the region are regenerated on the making regional identity and symbolic representation in Kurim-ri, Youngam. Kurim has represented the most typical community of the aristocratic class through Daedong-gae of 400 years. But, since 1970's Kurim has undergone a rapid change in regional identity in Kurim ; from the beginning of the spot of Wangin festival to the village of earthenware, the village of pottery culture heritage most recently. The process of history-making around Wangin in Kurim was connected with the strategy of the pottery culture village-making centering around the Youngam Pottery Culture Center. These projects ultimately were resulted in expression the regional identity, 'Kurim of Wang-in'. The regional tradition of Daedong-gae and Wangin in Kurim was linked together solidly through the Wangin festival procedures. And the excavation of a kiln site in Kurim which was going on with the process of history-making at the same time around Wangin in Kurim provided the cultural episode on related 'earthenware' with an archeological foundation. As a consequence of these, the cultural space, the Young-am Pottery Culture Center has came to establish in Kurim finally. However, recently the Kurim of Wangin and Daedong-gae which was representative of regional identity in Kurim is bringing Dosun who was distorted and estranged during the history-making focused on Wangin in Kurim. Now, there are some cultural issues in Kurim ; an authentical settlement of the Youngam Pottery Culture Center in Kurim and how Wangin and Dosun is linked together into the cultural strategy of 'the traditional village, Kurim'.

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.207-237
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• 2010

Concentrating on the birth, life, and death of the Living Theatre, almost half a century avant-garde group, the primary purpose of this study at large is to explore its counter-cultural philosophy. While taking a chronological form adapting the biological order, the paper focuses on the troupe's productions: , , , , and . Through out these productions the philosophy of the Living Theatre seemed to included communal, anti-intellectual, politically radical, generally Utopian, and proselytizers for sexual freedom. The history of the Living Theatre interestingly parallels the history of the Beck's theatre in occupation and shut down. The first New York theatre was closed by fire inspectors for instance. The second theatre was declared unsafe, and locked up by the Building Department. The third theatre was seized by the IRS, consequently shut down. In 1984, after more than 25years from the third building, the Living Theatre settled once again on East Third Street in Manhattan. The theatre was however evacuated by the New York City Fire Department in 1993 and once more took to the road. With these struggles, the Becks' profound aspiration of the counter-cultural insurgency came to harden as strong as 'iron' in some ways. With the outstanding components of counter-cultural philosophy and style, the Living Theatre, in the course of the transformation, absorbed and then reflected virtually every phase for the Living Theatre were vehicles for more than just aesthetics. The group seemed to propagandize its beliefs rather performing productions. Accordingly, both on and off-stage action of the Living Theatre caused great controversy either through political activism of individual members or through the unconventional collective life style. No avant-garde theatre company was more emblematic of the rebellious spirit of the sixties than the Living Theatre. Like the first great transformation, the Becks' encounter, their personal values and the form of theatre they created had blended 'so inextricably that the vitality of each was dependent on the other.' The Becks always urged unity and harmony at all levels of human life, but not at any price. The anticapitalist ideal inspired the Becks to promote a politically motivated campaign throughout their productions. They believed the revolution is desirable but in the state of non-violence and the expansion of human consciousness. Julian Beck's gravestone identifies his as pet, painter, actor, and anarchist. The Living Theatre was a 'small umbrella' under which the Becks and its members could breath and unfold their dream on stage or in the street.

• Cross-Cultural Studies
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• v.52
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• pp.417-446
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• 2018

The culture of memory in France regarding slavery and slave trade has slowly been expanding its horizons: from limited perspective focusing on abrogation of slavery to inclusion of discussion on real experiences and suffering of African slaves. This change has been particularly noticeable since the 150th anniversary of abrogation of slavery in France in 1998. It was the year that citizens of French overseas territories that had internalized this painful and shameful history of suffering formed a visible social movement. For the last two decades, the French government has also demonstrated consistent, proactive and prompt response to discussions of issues rooted in slavery in overseas territories, wherein slavery is the root of fundamental problems. In particular, when the Taubira Law (2001) was passed in the Senate, the Committee for the Memory of Slavery was established. This committee has since contributed to better assessment and understanding of French history of slavery and slave trade. Such was the profound as well as significant change in public perception as well as in legal and social aspects that culminated in the 2015 establishment of $M{\acute{e}}morial$ ACTe, Caribbean Centre of Expression and Memory of Slavery and the Slave Trade in Guadeloupe. Reflecting on those historic moments in recent French history, this paper examines major debates in French society regarding establishment of the $M{\acute{e}}morial$ ACTe. It assesses how Aleida Assmann's "cultural memory" was created with the establishment of $M{\acute{e}}morial$ ACTe and how it has contributed to the new cultural identity of French overseas territories.

• Journal of Conservation Science
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• v.38 no.2
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• pp.133-143
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• 2022

In this study, we analyzed the rickshaw (Owned by the Daegu Modern History Museum) by measuring each material. The purpose of the study was to identify the materials in modern cultural assets that utilize a variety of materials in a complex way, and establish basic data for preservation and management. Using portable X-ray fluorescence analyzers (P-XRF), species identification, fiber identification, paint film analysis (microscope observation, SEM-EDS, FTIR) on metal, wood, fiber and paint was carried out. Brass, an alloy of Copper, Zinc and Iron, was measured in the metal parts. Further, wooden parts, such as Oak (Quercus acutissima), Japanese Cedar (Cryptomeria japonica), Bamboo (Bambusoideae). Torreya nucifera (Torreya spp.) were identified in the body. Fiber parts consisted mainly of cotton, but some parts were also made of leather. In terms of paint, rickshaws were applied with multiple layers, using cashew (synthetic paint used in place of lacquer). In sum, the rickshaw body part appeared to overlap with layers of fiber, metal (soild), paint, and colored (black, red) layer.

• 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.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.175-198
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• 2022

With the development of technology, the methods of digitally converting various forms of analog information have become common. As a result, the concept of recording, building, and reproducing data in a virtual space, such as digital heritage and digital reconstruction, has been actively used in the preservation and research of various cultural heritages. However, there are few existing research results that suggest optimal scanners for small and medium-sized relics. In addition, scanner prices are not cheap for researchers to use, so there are not many related studies. The 3D scanner specifications have a great influence on the quality of the 3D model. In particular, since the state of light reflected on the surface of the object varies depending on the type of light source used in the scanner, using a scanner suitable for the characteristics of the object is the way to increase the efficiency of the work. Therefore, this paper conducted a study on nine small and medium-sized buried cultural properties of various materials, including earthenware and porcelain, by period, to examine the differences in quality of the four types of 3D scanners. As a result of the study, optical scanners and small and medium-sized object scanners were the most suitable digital records of the small and medium-sized relics. Optical scanners are excellent in both mesh and texture but have the disadvantage of being very expensive and not portable. The handheld method had the advantage of excellent portability and speed. When considering the results compared to the price, the small and medium-sized object scanner was the best. It was the photo room measurement that was able to obtain the 3D model at the lowest cost. 3D scanning technology can be largely used to produce digital drawings of relics, restore and duplicate cultural properties, and build databases. This study is meaningful in that it contributed to the use of scanners most suitable for buried cultural properties by material and period for the active use of 3D scanning technology in cultural heritage.

• Journal of the Korea Convergence Society
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• v.8 no.7
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• pp.183-189
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• 2017

This research aims to inquire about local festival culture contents of France which are considered a successful case of cultural contents industry and will make a diagnosis regarding the applicability and concomitant problems in our country. It reviews French local festival and culture contents, represented by Bordeaux wine Festival. This research analyses the structure of storytelling and the emotional factors as communication and experience tool of historical and cultural resources in terms of cultural semiotics. The findings are as follows: First, it is about a strategy linked with historical and cultural resources as a package touristic product made of the tradition, history, cultural heritage, arts and winery experience. Second, it is about a storytelling strategy. The status of Bordeaux wine holds a splendid story originated in long historical background and benefits of nature. Third, it is about a strategy oriented to communication and experience. Fourth, it is about a strategy inducing fun and fantasy. A festival is a form of a play, and the play is the culture itself. The revitalization of local festivals which allow the increment of one's most personal happiness index is estimated to have the most crucial values and significance. Finally, the cases of European local festivals are considered to be worth benchmarking in many different domains in the sense that they create new contents by making interesting stories adapted from the past history.

• Korean Journal of Heritage: History & Science
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• v.49 no.4
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• pp.22-37
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• 2016

This research sought to examine the strategies of cultural heritage proving the negative history to be registered as world heritage, among the World Heritages registered in UNESCO. Therefore, to comprehend "negative history"and the heritages with "instructive value," the new term of "Remembrance Heritage"was suggested, and such cases of world heritage were analyzed. Especially by analyzing the criteria of being registered by focusing on the cases of similar World Heritages with similar historical background or form as Korean DMZ, the criteria of OUV that may be applied when Korean DMZ is promoted to be registered as World Heritage. The research results may be summarized as the following. First of all, Remembrance Heritage is a place in which events of universal significance have occurred, rather than the historical, artistic, landscape, and scholastic value of the heritage itself, and was evaluated as architecture, landscape, or place in which the events or historical steps could be verified through architectural, landscape, archaeological or technical means. Secondly, Remembrance Heritage was often applied to be registered with the criterion (vi), and criterion (iii) or criterion (iv). Thirdly, in case of the Korean DMZ, application of criterion (iv) as heritage proving the age of cold war and criterion (vi) as symbolic value of peace may be possible.

• The Journal of Korean Philosophical History
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• no.30
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• pp.311-344
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• 2010

Over 100 years in Mainland China, the 'traditional' thought and culture have been transformed from 'the past must be sublated' to 'the heritage must be preserved.' Today, China hopes to deal with the negative effects of industrial development such as the gap between rich and poor, and the absence of common values etc. through the reconstruction of traditional thought and culture, especially that of Confucianism. The Chinese government superficially accepts Confucianism for the purpose of the social stabilization and ongoing economic development while they keep the Socialism as the nation's ideological system. In the private sectors, there is endeavoring move to make the Chinese traditional thought and culture global paralleled to their economic growth. There are also scholars who find the cultural unification and the spiritual comfort from the restoration of the traditional thought and culture. They, so called 'the critical successionists' or 'the cultural conservativists,' believe that the traditional thought and culture could play a role in the Chinese modernization, and the new understanding and interpretation of their tradition could provide an alternative for their future. In my view, we need a careful survey on the view of the critical successionists or the cultural conservativists who regard tradition and culture as a power (力量). With this, we are required to investigate our own problems through the new understanding of our traditional thought and culture.

• Journal of Digital Convergence
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• v.15 no.1
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• pp.443-452
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• 2017

Architectural history traces the changes in architecture through various traditions, regions, overarching stylistic trends, and dates. This study identified terminologies related to the proximity and frequency in the architectural history areas by text mining and association analysis. This study explored terminologies by investigating articles published in the "Journal of Architectural History", a sole journal for the architectural history studies. First, key terminologies that appeared frequently were extracted from paper that had titles, keywords, and abstracts. Then, we analyzed some typical and specific key terminologies that appear frequently and partially depending on the research areas. Finally, association analysis was used to find the frequent patterns in the key terminologies. This research can be used as fundamental data for understanding issues and trends in areas on the architectural history.