• The Journal of the Korea Contents Association
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• v.20 no.11
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• pp.368-377
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• 2020

In this paper, the transmission and the phases of the memories in the novels dealing with Vietnam War have been studied. As a research method, Aleida Assmann's memory theory which plays a role in culturoloy theory is utilized. This study shows firstly that the others' voices excluded from the official memories of Vietnam War have emerged. Vietnam War novels released after 1990s actively reflecting the others' voices transmitted fresh the cultural memories. As the stories of civilian massacre, defoliant victims, and children of mixed bloods, Lai Daihan excluded from the official memories have emerged as a main them in the Vietnam War novels, they have become resistant memories. Existence and Formality, a Vietnam War novel by Bang Hyeonsuk brings up how to remember Vietnam War. His another novel, Time to Eat Lobster shows that without the fundamental retrospect and introspection of Vietnam War, Korea can't help but have the identity of America. Secondly, this paper shows that the tragedy of Vietnam War remains as a trauma that human bodies remember. White War by Ahn Jeonghyo shows that the memory moves back to the past in the process of struggle. In the novel, Slow Bullet by Lee Daehwan the phases of demage from defoliants lead to the family's tragedy. The Red Ao Dai by O Hyeonmi shows how a Korean-Vietnamese overcomes negation of his father and win his identity. In A Sad Song in Saigon shows that a mixed blood, Sairang who suffered from the confusion of his identity and his story fell down to a romance novel because of the weakness of narrative.

• (The) Research of the performance art and culture
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• no.42
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• pp.257-290
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• 2021

The Wonju Nongyo (agricultural work song) is geographically classified as eastern minyo (folk song) which has many distinctive, regional features such as tunes, forms and the use of a melodic line. There has been growing attention to the transmission value of the nongyo including the Wonju Eorirang of the Wonju Origol Nongyo and its region of origin. The Wonju Nongyo is of great value and worthy of preservation in the western part of Gangwon Province. For this reason, it seems fairer to say that a focus should be directed towards establishing the identity of the song and increasing the contextualisation of transmission. At the same time, the preservation association's efforts in passing the traditional song down and education activities fairly deserve equal attention. In addition to the way the folk songs are handed down, a discussion on the facilitation of their use will be required. An in-depth discussion about the restoration and use of the song will be encouraged in a multifaceted manner. Unfortunately, few of the previous literatures on nongyo has gone so far as to investigate Arirang as a separate research topic. In fact, the Wonju Origol Nongyo should be viewed as an intangible cultural asset that paved the way for performance artistry of the Korean agricultural work songs to be seen at a national folk art festival. From the perspective of regional characteristics (traditionally termed "tori"), the Wonju Eorirang represents the cultural value of the manners and customs of our locals which constitute unwritten and neglected literary property and musicality of the song. Particularly, a more attention should be paid to making a record of woodcutters and diversity of farmers' small cooperative groups. The existence of the Wonju Eorirang indicates that the melodies to which the song are sung in Nongyo are of infinite variety. A minyo-singer unfolds various journeys of life through various modes and structure of epic chants, ranging from first encounter, love to marriage, realistic problems to relationship with husband's family and death. The epic chant of the Wonju Origol Nongyo contains a rich variety of regional sentiments about life. In particular, the epic chants of the Galtteukgisor and Ssoeltteukgisori are a genius example of sexual satire and a sense of humor. In the past, the agricultural work songs were rhythmic songs served to synchronize physical movements in groups, coordinating tasks in upland farming and rice paddy with the usage of catchy, repetitive verses easy to pass down. The Wonju Origol Nongyo is a precursor of the work songs which took the farming activities a notch higher to be part of the excitement and festivals. In the context of transmission, a festival serves to demonstrate the value of history and life. The value of the Wonju Eorirang should be appreciated and a concerted effort should be made to find a way to facilitate the transmission of the folk song. A folk-singer is a traditional oral poet and a storyteller of minyo and the forms and species of melody solely depend on the signer. The combination of performance and witticism is shown by the singer freely expressing himself. The Origol Nongyo symbolizes ethnic arts cleverly combining playful effects such as tune, rhythm and old agricultural work of the region. It is to be hoped that much of the efforts is directed to designating such folk songs as the archetype of a cultural heritage. In terms of the foundation on which the folk songs are transmitted, the usage(Performance Content) of a community would be an alternative.

• Journal of the Korean Society of Food Culture
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• v.25 no.5
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• pp.558-567
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• 2010

Changes in social, economical, and cultural environments affect the meal practices of children. The transmission of traditional Korean food culture is very important because it presents not only a well-balanced diet but also contributes to shaping identity. The purpose of this study was to investigate elementary school students' present meal practices and views, as well as demands on traditional food culture education to reflect future educational plans. Half of the students ate breakfast everyday and 72% ate a traditional Korean style breakfast. About 38% of the students participated 2-4 times per week in meal preparation and 34% participated in clean-up after the meal once a day. Although 6th graders had greater skills in basic cooking, they tended to be more passive upon applying their skills in daily meal practice. For traditional food culture education, 89% of the experienced and 86.2% of the inexperienced groups agreed on the necessity of traditional food culture education. Students attained traditional food culture knowledge through Silgwa, practical coursework within the curriculum, and by teachers leading classes. They were also educated by parents, mass media, and books outside of school. The preferred methods of class teaching were lecture and experiential learning. The preferred subjects to learn were 'cooking classes based on taste development', 'learning food ingredients through vegetable growing', 'traditional Korean food manners', and 'traditional Korean food culture and seasonal foods' as well as nutritional education. Fifth graders had more positive attitudes towards meal practices and traditional food culture education. Traditional Korean food culture and nutrition education should be integrated and developed into regular subject curricula to improve children's meal practice and inheritance of traditional food culture.

• (The) Research of the performance art and culture
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• no.19
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• pp.347-378
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• 2009

Those who were from Jaeincheon and Jaein line entertainers played great roles during transition period from traditional society to modern society, and even at present the dances of them are the representative traditional dances of Korea and the matrix of Korean originality. Nevertheless, Korea dance field has given little importance to these dances, but too much importance to Gibang dance in studying traditional dances, which causes the studies on Jaein line danced to be superficial or separate. Therefore, the aims of this article are to analyze the dances of Jaein line by Han Seong-jun, who was representative for the dances, and to appraise the historical value of them. Han Seong-jun(1874-1942) was the most influential dummer and dancer of his day in Japanese colonial times, and has been recognized as one of the masters of traditional dances. He established autonomy of traditional dances by reorganizing, collecting and stage-formalizing the dances, and systemized transmitting ways for various folk dances including a Buddhist dance, which made it possiblefor those dances to be traditional dances of Korea and the bases for creative dances. The values of Jaein line dances, which were transmitted through Han, are the following: First, the dances have been designated as national or regional intangible cultural assets, and, as the representative traditional arts, we proudly show them to the world. Second, the dances, as one of the genres of Korean dances, are the subjects of younger scholars' studies. Third, the dances become one of the representative examples of revivals of traditional dances, which tend to be extinct during modernization times, and contribute to establishing national identity and subjectivity. In addition, they contribute to discovering and transmitting other traditional dances. Fourth, the dances enable many dancers to make association, that is, Association for Preservation of Traditional Dances,for the transmitting the dances, and to distribute the dances and get many dancers to transmit the dances. Furthermore, as new performance repertories, they give another pleasure to the audience. In addition to the above, as a base for expansion of Korean creative dances, Han's dances have other values such as the following: First, in searching for a new methodology for creation, he played an important role in rediscovering the foundation in the tradition, and tried to discover nationalidentity by employing the traditional dances for expression of theme. Second, he contributed to drastically dissolving the genres by expanding the gesture language from motion factors of traditional dances, which can be compared to the modern dance. Third, he tried new challenging approaches to re-create the tradition, and contributed to pursuing the simple elements of our traditional dances as traditional aesthetics. While the dances of Jaein line have such values as the above, there are also some problems around the dances, such as the confusion in the process of transmission resulted from different transmission forms and transmitters, which we must no longer leave as it is. Furthermore, it is urgent that the rest of Jaein line dances be recovered and designated as intangible cultural assets for the sound transmission of the traditional dances.

• The Journal of the Korea Contents Association
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• v.19 no.11
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• pp.664-675
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• 2019

This study examined Korean sign Language of the linguistic form and the etymological forms about the origins of the Korean national sign languages. The general sign language has been shown through previous research all of place names from Chinese character except Seoul and Lmsil. And then, Sign language's form and origins which are current using in order to examine what kind of feature were analysed through interviews and publications in Korean association of the deaf people. As a result, it was analysed that was composed majority. indigenous sign language Korean place names were made and used by deaf than loan word character of Chinese characters, Hangul and loanword. When we consider that place names were correspond to a precious cultural heritage, representing the history with the culture and identity of the relevant area, we can worth of preservation and transmission to the abundant iconicity in the name of Sui. On the other hand the indigenous sign language korea place manes can worth deaf culture or korean sign language. Even lf geographical characteristics of area have been changed or local product was disappeared in this situation by The origin of sign language reach in modern time local specialty by geographical form lt continued over generation. This can be regarded as the Korean sign language of the form in the way of visual. lt will be very valuable heritage in the preservation deaf culture.

• 기호학연구
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• no.54
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• pp.119-145
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• 2018

This paper attempts to divide the narrative into three levels and review the approach methodology to understand Princess Bari as a narrative. If the stratification of the narrative, the analysis of each levels, and the integrated approach to them are made, this can contribute to suggesting new directions and ways to understand and study Princess Bari. The story level of Princess Bari, the surface structure, is shaped by the space movement and the chronological sequential structure of the life task that started from the birth of the main character. This story shows how a woman who was denied her existence by her father as soon as she was born finds an ontological transformation and identities through a process. Especially, the journey of finding identity is mainly formed through the events that occur through the relationship with family members. This structure, which can be found in the narrative level, forms a deep structure with the oppositional paradigm of family members' conflict and reconciliation, life and death. The thought structure revealed in this story is the problem of life is the problem of family composition, and the problem of death is also the same. In response to how to look at the unified world of coexistence of life and death, this tradition group of myths makes a relationship with man and God. This story is mainly communicated in the Korean shamanistic ritual(Gut) that sent the dead to the afterlife. Although the shaman is the sender and the participants in the ritual are the receivers, the story is well known a message that does not have new information repeated in certain situations. In gut, the patrons and participants do not simply accept the narrative as a message, but accept themselves as codes for reconstructing their lives and behavior through autocommunication. By accepting the characters and events of as a homeomorphism relationship with their lives, people accept the everyday life as an integrated view of life and death, disjunction and communication, conflict and reconciliation, and the present viewpoint. It can not change the real world, but it changes the attitude of 'I' about life. And it is a change and transformation that can be achieved through personal communication like the transformation of Princess Bari into god in myth. Thus, Princess Bari shows that each meaning and function in the story level, composition level, and communication level is related to each other. In addition, the structure revealed by this narrative on three levels is also effective in revealing the collective consciousness and cultural system of the transmission group.