• The Journal of Korean Medical History
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• v.31 no.1
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• pp.123-134
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• 2018

Today, knowledge itself has become a resource which must be protected by the pertinent community of its contributors and users, from being manipulated or distorted by third-party players. The preservation of knowledge in relationship to the cultural context of its origins, has been recognized by international organizations intent on maintaining authentic voice and perspective. Globally, the WIPO (World Intellectual Property Organization) organizes the annual IGC (Intergovernmental Committee) meeting to address various issues associated with each country's utilization of intellectual and bio source property. Korean Medicine is the official name for the traditional medicine that has been inherited from the cultures of the Korean Peninsula. It is one of the four practices of East Asian Medicine including Traditional Chinese Medicine (TCM) from China, Kampo Medicine of Japan, and Sino-Vietnamese Medicine in Vietnam. As a cultural treasure representing centuries of evolving knowledge, Korean Medicine is protected under intellectual property rights afforded by WIPO, and must be understood in relationship to, and distinct from, TCM. It is understood that China has a strong political purpose to claim all the traditional medicines of the East Asian region under the name of TCM, including Korean Medicine. In fact TCM was authorized as the representative name for all East Asian medicine by decisions made by the ISO (International Standard Organization) in 2015. This paper proposes a pilot study on how to protect the intellectual property of Korean Medicine from efforts by China to claim it under the umbrella of TCM. Using the Uibang Yuchui (醫方類聚, Classified Collection of Medical Formulas) this paper suggests establishing a Database of UBYC, which was published in 1477 by the Joseon Korea government. UBYC was the reorganized version of contemporary East Asian medical sources, and has already hundreds of year's rich indigenous and culturally specific medical history of Korea, from which Korean Medicine has been built.

• The Journal of Korean Philosophical History
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• no.52
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• pp.185-211
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• 2017

Lee Neung Hwa is a scholar of the late Joseon Dynasty, renowned for his studies of Korean studies. In this thesis, the study of Confucianism and Buddhism removed the research and teachings of Confucianism as a traditional study of Confucianism. Lee Neung Hwa criticized the social functioning of Confucian texts during the late Joseon Dynasty. His criticisms reflect the historical consciousness of the late Joseon Dynasty. Lee Neung Hwa is also known as the Buddhist religion. The History of Chosun Buddhism is his masterpiece. He pointed out the differences between the Buddhist scriptures of the Joseon Dynasty and the Japanese Buddhist scriptures. Moreover, the Joseon Dynasty felt more integrated into the Japanese Buddhist kingdom than in Japan. And ineunghwa also studied the mythology of Korea. He established a universal cultural phenomenon as a universal cultural phenomenon, which belongs to any ethnic Koreans. He insisted that the Sin Gyo of Dan Gun is the identity of Korean culture. His Founding Myth was not a matter of historical fact. His Founding Myth was a tool of ideological struggle to fight against Japanese imperialism.

• Cross-Cultural Studies
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• v.48
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• pp.67-106
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• 2017

This study focuses on two specific history of Korean literature in Chinese: the outline of The History of Joseon Literature (2010) by Li Yan and The History of Joseon Literature (1988, 2008) by Wei Xu-sheng; it was conducted to compare narrative viewpoints to the history of South and North Korean literature and therefore identify distinguishable characteristics. As a result, the following was concluded. First, The History of Korean Literature by Cho Dong-il and The History of Korean Literature in North Korea (15 volumes) include thorough discussions on division of historical eras, concept of genres as well as individual literary works and applied such discussions on writing literary history. However, Wei Xu-sheng and Li Yan's The History of Korean Literature did not illuminate theoretical discussion of South and North Korea. Li Yan's outline of The History of Joseon Literature was published in 2010 and the first edition of Wei Xu-sheng's The History of Joseon Literature was published in 1986 and later was published as revised editions in 2000 and 2008. Regarding published dates, it is a matter of course to reference Cho Dong-il's The History of Korean Literature, published in the 1980s, or The History of Korean Literature in North Korea (15 volumes), published in the 1990s; nevertheless, neither Wei Xu-sheng nor Li Yan used those texts in their works. Their works were heavily influenced by the narrative tradition of the history of national literature and therefore, entailed unsophisticated discussion on the division of historical eras or the concept of genres. Second, those two texts also emphasized external factors such as politics, society, economy and culture and explicitly mention these factors in historical overview of each chapter. Such an approach is commonly used in narratives of literary history under socialist regimes, including The History of Korean Literature in North Korea (15 volumes). Accordingly, evaluations based on 'political standards' - stress of people, nationality, practicality and so forth - in main texts are particularly accentuated, akin to narratives of literary history under socialist regimes. Finally, since those two Korean literature history works are written by Chinese scholars, they focus on correlation between Chinese literature history and Korean literature history. However, several genre-related terminologies such as Xiaopin (a kind of essay), Yuefu (a kind of popular song/poem), Yuyan (fable), Shuochang (telling of popular stories with the interspersal songs), Shizhuan (biography or/and memoirs in history) were adopted directly from Chinese literature. In analyzing Korean literature using terminologies introduced from Chinese literature, differences between original and alternative definitions were not examined in detail. While some terminologies and concepts were adopted directly without further consideration as to state of the two nations, it is also interesting to note that dichotomy, mainly used in Korean literature history, was used to discuss the genre of Cheonki (romance tale), relevant to Suyichon and Keumosinhua, rather than follow traditions of Chinese literature history.

• Journal of the Korean earth science society
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• v.26 no.5
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• pp.376-386
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• 2005

This study investigated to describe how the nature of science is revealed in the four natural history museums in Korea. Natural history museums are well considered as informal settings of education, and the nature of science has been one of major topics stressed in science education. Therefore, the revelation of this topic is supposedly reflected in developing museum exhibitions. In each of the four target natural history museum or natural history exhibition, the representative exhibits subtitled by scientific inquiry and cases dealing with history of science were selected for the study. The analyzing exhibits focused on whether exhibitions were labeled with emphasis on declarative description or interpretative one. In analyzing the contents, the focus was on the concerns of scientists, scientific community, social and cultural aspects, uncertainty of scientific knowledge, and providing sufficient evidences. All things considered, it was hard to conclude that every target exhibit clearly considered the nature of science as an essential element, in designing and developing their exhibitions. More deliberate input of nature of science is suggested for worldly renowned natural history museums, because previous researches keep insisting that the nature of science would be more efficiently achieved in an informal educational setting rather than in classrooms.

• Cross-Cultural Studies
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• v.23
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• pp.33-55
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• 2011

In the late Japanese colonial period, from the Sino-Japanese War until the Pacific War, critical discourses on the modern were prevalent in Japan and the Joseon. Despite the absence of a consensus about the specific definition of the modern, most thinkers agreed that the modern was something to be overcome. While some regarded naturalism and capitalism of the West as the essence of the modern, some others named scientism and humanism as the nature of the western modernity. Additionally, some criticized the temporal concept of historicism and brought new meanings of 'tradition' into relief, and some others advocated overcoming 'the West inherent in us'. This study is to consider the temporality of the theory of overcoming the modern focusing on the following three notions-world history, tradition, and emergency-, and examines the antinomy of them. The first notion to consider is 'world history'. The theorists of overcoming the modern, including the Kyoto school, discarded the progressive ideology that had led the Western modern history, and instead introduced 'world history' as a new notion. Although this resulted from the imperialistic embracement of the theories of Ranke, a major positivist historian from Germany, it contained antinomy of remaining in 'history' which was the modern temporal view. The second notion is 'tradition'. While the critical mind of 'world history' brought 'time of world' into question in the context of temporal realization, the notion of 'tradition' was to understand 'time of history' itself as the modern and overcome it. The critical mind of the notion involves the attempts to criticize regarding history as a 'progressive' process and to discover tradition as 'the present past' or 'the eternal present'. However, it also contained antinomy; the 'tradition' here was a notion that was created in the modern times, not passed down from ancient times. The third notion to consider is 'emergency', which was a method to define the present time as a transition period toward a new era, relating to states of war. However, the theorists of overcoming the modern did not regard 'emergency' as a particular time that strayed from normal states, instead they thought is as 'a regularized exceptional state', namely 'a state in which exceptions have become regulations'. However, the notion also contained antinomy since the word 'emergency' connotes abnormality.

• (The) Research of the performance art and culture
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• no.18
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• pp.283-314
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• 2009

This paper is an attempt to examine historical drama which change rapidly in the manner of seeing history. Historical records are treated differently unlike in the field of modern history. Now the distinction between historical facts and fictions becomes no longer important. This change is affected by micro history, new cultural history, or post-modern history. History and narrative become interactive each other. In this respect they are no more historical drama. by Han Areum (director Suh Jae-hyung) represents this new trends. Of course, it doesn't suddenly pop up in 2005. It began in by Lee Yoon-Taek, was reinforced in by Kim Tae-Woong, and bloomed in . I intended to search important features of by following three. First is the interest about unimportant persons such as a maid of honor, an eunuch. In , they are the main characters. The author described much about those trivial people revealing the truth in different way of the existence. Second is the way of calling a past. In this piece, the past is not continuous. The past always appears at the stage by the present in the form of split which is imagination, recollection, revival. Third is a mixing genre. Comics, melodrama, and thrillers are all together in . This is a similar phenomenon to historical novel and movie of new trend. Strictly speaking, this piece isn't a history thriller. The accident of lost prince doesn't be treated importantly and the result isn't clear either. In this piece, detective genre is used for a symbol showing that writer pursuits the history, not the event. This represents well the characters of new historical drama because how historical facts are carefully recreated and constructed are important. It's enough to show the possibility to mix genre through comics and melodrama.

• Cartoon and Animation Studies
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• s.27
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• pp.153-176
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• 2012

In the midst of the fusion era in digital contents, securing a variety of traditional cultural sources is important. Out of its long history, Korea has extensive spectrum of cultural contents in combination with conventional religions. Buddhist art has been a pillar of the traditional culture for a long time in Korea, by which we could secure new sources for cultural contents and classify them. This is aimed that we could bring the future brands into reality based on the traditional culture through Buddhist cultural contents. This study hired the original cultural forms in the viewpoints of traditional culture. Study on the implication through the symbols of Avalokitesvara (觀音菩薩) and Buddhist child (童子) in Buddhist art might allow to secure a foothold to create own characters. Thus, focusing on Avalokitesvara (觀音菩薩) and Buddhist child (童子) in the Buddhist sacred images as registered in Cultural Heritage Administration for national treasures, those traditional characters were reviewed through their own system of symbol. During the course, Buddhist characters were available to be classified into DB by their roles and materials지물. This study could help to exploit the complicated Buddhist culture of its symbolic meanings and to shape them into original forms of the culture. Also, through the meanings of the Buddhist sacred images, it could provide the digital contents pool with Korean traditional characters.

• Journal of Digital Contents Society
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• v.9 no.4
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• pp.591-600
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• 2008

Korean traditional culture has a long history and it is rooted in the deep down our national culture. It is like bread and pride for Korean people. The tale of Cheyong is a precious cultural heritage, which has existed in the public awareness of the Korean people since the period of unified Silla. Based on its mysterious and beautiful story, the value of traditional culture can be revealed through development of digital contents. With such precious cultural resource we can digitalize the fun contents which the general public can enjoy. Ways of digitalize of cultural archetype has been suggested by analyzing the content elements of the tale of Cheyong. Also, by making scientific approach to the development process of digitalization, the possibility of digitalization has been found through 3D animation restoration process for Cheyong Dance and the process of making the tale of Cheyong into animation. Through analyzing the contents development process of cultural archetype of the tale of Chetyong, a cultural archetype sourcehas been developed which has a great value as a contents product that can be developed and used as various cultural content art works. With studies on the theory of development method for digitalization of traditional culture, scientific studies and investigation have to be continuously carried out so the digitalization of Korean cultural heritage, which will shine in the world, can be continued as well.

• Journal of the Korean Geographical Society
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• v.43 no.4
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• pp.599-619
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• 2008

Korean peninsula has a long history and a geopolitical location as a buffer tone, which has provided the conditions for cultural dynamism and diversity across space and time. The changing processes of place names in Korea is considered to be better suited to the study on cultural politics that is interested in the culture wars over the meaning of culture among different social subjects. In order to ensure the legitimacy of cultural politics for the study of place names in Korea, this study attempts to make a theoretical construction based on the concepts of place identity, territorial contestation, and the politics of scale. Cultural and linguistic theories to be best applied to the study of place names in Korea are the theories on Angehm's and Castells' identity, $P{\hat{e}}cheux's$ identification, Hall's decoding, and Voloshinov's ideological sign. Power relations involved in the inclusion and exclusion are necessarily concerned with the process of constructing a place identity or territorial identity by means of a place name, which represents identity and ideology of a social subject. In the examination of this process, it is necessary to take the elements of identity, ideology and power relations into consideration. In this study, therefore, the politics of scale is experimented for its applicability in the study of place name in Korea, which is expected to accommodate concepts of boundary, territory, territoriality and territorialization. In the end, it is suggested in this study that a series of basic and interdisciplinary studies on the cultural politics of place names in a range of area should be undertaken along with the enough theoretical knowledge of cultural politics.

• Journal of Fashion Business
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• v.19 no.2
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• pp.53-68
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• 2015

The Beijing Opera is one of the leading representatives of Chinese culture, which includes literature, music, dance, martial arts, and a type of performance that stems from the Chinese cultural history that is still relevant today. The purpose of this study is to develop fashion-cultural products from the Lian Pu of the Beijing Opera, a Chinese cultural tradition that receives abundant positive feedback from around the world, showing its value in both academic and practical fields. This study was carried out first as a theoretical study of the literature, definition and types of facial make up used in the Opera, as a way of examining the formative aspect. Secondly, an analysis was conducted on the main characters, 'Guan Yu' and 'Zhang Fei' of "The Romance of the Three Kingdoms", 'Li Kiu' and 'Lu Zhishen' of "All Men are Brothers" and 'Monkey King' of "Journey to West", employing the collection belonging to 'Yongqi Zhao' who is an expert on the Chinese Beijing Opera. Thirdly, two concepts were categorized, based on the analytic results of the abovementioned characters, each of which were then further categorized into three sub concepts. In regard to cultural development designs, the results of an analysis on the facial make-up color, form, and texture of the four main characters were utilized to construct the themes, "Modern Chic" and "Traditional Splendor". The simplest form that has been represented in the four figures has been applied to "Modern Chic" to show a modern image in which black, white and light blue has been used alongside the vivid red, which is a Chinese favorite, to highlight the characters. In "Traditional Splendor", which is focused on the stage art of the Opera, we see more artistic traditions and colors, to further appeal to our emotions. Traditional motifs have been applied using traditional Chinese arts, in order to develop strong and brilliant colors. The two styles of cultural products were developed in the form of women's scarves and men's ties; a total of 24 designs were expressed, using Illustrator CS6. In the final step, 4 scarves and 6 ties were produced as a sample, using high quality silk. The development of these cultural fashion products will bring an opportunity to show how Chinese traditional culture can be widely utilized in commercial market design.