• Journal of Korea Entertainment Industry Association
• /
• v.15 no.3
• /
• pp.75-88
• /
• 2021

The film won the Golden Palm Award at the Cannes Film Festival, and received the Academy Award for a non-English-speaking film in February 2020, respectively. It has received a monumental evaluation in the world film history. Overall, this film is about class conflict, and critics evaluate the theme of the film as "badly twisted class gap" and "anger from class." The film expresses an intrinsic conflict embodied in culture as a "tragedy in which no bad person appears," rather than the dichotomous composition of the classical class struggle from Marxism. In other words, this can be seen as expressing the substrated class relationship of the modern society that Pierre Bourdieu had argued. This film has been focused as a controversial target under Korea society with excess of ideology. Politics used to adopt the keyword, 'parasite', for political disputes not only in culture contents world. Paradoxically socialism China did not allow to release film 'Parasite.' On the other hand, Lee O-Yong argues that the movie "Parasite" does not look at social phenomena through a dichotomous perspective, but is viewed through a "double perspective" and evaluates that it does not lose eyes looking at humans through tension. This view is based upon 'Vital Capitalism'. Lee. O-Yong looks at the movie "Parasite" from the perspective of "Vital Capitalism". The theory of Vital Capitalism does not seek to find the root of historical development in class struggle conflicts, but rather figuring out history and society pays attention onto the intrinsic characteristics of life, Topophilia, Neophilia, and Biophilia. Lee Eo-ryeong argues that the development of civilization theory evolved from the stage of Hobbes' Darwinism or predatism to the stage of host vs. parasite of Michel Serres, and onto the stage of Margulis's 'Win-Win (inter-dependence)'. In this paper, after overview of vital capital concept and preceeding research, re-interpretations were tried onto scenes based upon fields from habitus, culture capital. This exploration looks for a alternative for excess of ideology in Korea society.

• Journal of the Korean Society of Food Culture
• /
• v.27 no.6
• /
• pp.666-676
• /
• 2012

The purpose of this study was to propose effective marketing communication strategies for overseas Korean restaurants through a multilateral comparison analysis of American, Chinese, and Japanese consumers' attitudes towards communication media and Korean restaurants. The survey was written in English, Chinese, and Japanese, with guideline for surveyors, and conducted using both online and offline methods. Samples were collected from five major cities - Los Angeles, New York, Tokyo, Beijing and Shanghai, which are the foothold for the globalization of Korean food. When it comes to attitudes towards communication media, word-of-mouth showed a high mean value, indicating it as the most useful and reliable media recognized by consumers who visited Korean restaurants. Furthermore, the necessity of recognizing the importance of visual communication in the physical environment of Korean restaurants and specialized websites, featuring restaurants and gourmet food, was observed. Consumers in all three nations chose word-of-mouth as the most useful and reliable media for learning about Korean restaurants. In addition, American consumers highly depended on signage and restaurant exteriors. Chinese consumers highly recognized the usefulness and reliability of offline media, such as newspapers, magazines, and events, while Japanese consumers considered online media, such as gourmet websites, blogs and social networks, as useful and reliable sources. A significantly positive attitude and high value was observed in all who had visited Korean restaurants. American and Japanese consumers had a significantly higher rate of intention to visit Korean restaurants in the future and to tell others about their satisfaction with Korean restaurants. Meanwhile, the average rate of prior preference for Korean restaurants (when choosing restaurants) was the lowest in all three countries. This study is useful for both the Korean government and food enterprises abroad to plan and develop marketing communication strategies properly for overseas Korean restaurants.

• Sijohaknonchong
• /
• v.30
• /
• pp.53-90
• /
• 2009

This study discusses the aspects of Korean-American Sjjo writers' consciousness of sijo and its significance, focusing primarily on the Sijo-Anthologies of Korean-American authors, "The Moon of the Desert" (1989), "The Dandelion of the Desert" (1994), and The Stars of the Desert" (1996) published by the Sijo Society of America. For this purpose, I thoroughly examined "Notes of Writing Sijo' attached to the authors' works and some other sijos added at the end of the paper. They started writing sijos quite early. Sijo has been recognized as a typical traditional genre of literature, and even foreigners came to write them in English. The following is the summary of the view on sijo propounded by Korean-American authors. Firstly, they follow traditional view on the theory of sijo in terms of its nature and utility, and at the same time they emphasize the utility of katharsis through self expressions. Secondly, their recognition of the value of sijo boils down to its formal patterns. Lastly, they develop the idea of national literature through their significance of writing sijos. They think that they can contribute to the development of national literature as well as the expression of patriotism through writing sijos. Therefore, they recognize themselves as spreaders of Korean culture to the local residents, and as the main stream enhancing the status of Korean culture through the competition with other nations.

• Journal of the Korean association of regional geographers
• /
• v.3 no.1
• /
• pp.155-163
• /
• 1997

The Mongolian ger is ideally suited to the mongol's steppe climate and the nomadic way of life. This is a multipurpose dwelling which can be easily collapsed, transported to another place and put up again fully preserving its original shape. The pastoral nomadic ger has two key components: the wooden framework and the felt cover. The wooden parts are the walls(khana), the long poles(un), the smoke escape(toono) and its supports(bagana). One wall consists of 10-15 branches of willow tree. each about 1.5m high bound together in a way making it possible to fold it for transportation and then unfold it like an accordion. The unfolded walls are connected to form a circle. The long poles(un) are fastened to the upper part of the walls, with the other end passed through the toono hole, the only sky window and smoke escape through it from the ger. The toono is propped up by two posts, called bagana. All this forms the wooden framework of the ger, which is covered with felt. When the herders fire up their metal stoves, the temperature inside the ger becomes quite comfortable. Because the nomads live in a climate where there is only one growing season in a year, they do not make long migrations to new pastures. Livestock subsist on standing vegetation for eight months of the year. The basic pasture migration strategy is to leave enough standing vegetation at the end of the growing season in September to suffice until the new growth appears the following May. Mongolians use a type of compressed tea leaf that is called "brick" tea in English because it is rock solid and roughly the shape of a brick. And they consume a larger percent(88%) of fat from animal products such as meat, milk, butter, and cheese than any other people in the world. Milk products made from the milk of sheep, yak, and goats are major foods in the nomad's diet, but they are produced mainly in summer when all the animals are lactating. Mongolians made their special nomadic food culture on the steppe.

• (The)Study of the Eastern Classic
• /
• no.62
• /
• pp.209-229
• /
• 2016

This thesis is to discover the meanings of boundary through East Asian thought so as to make rooms for discoursing on it. First of all people have their own boundaries of 'Me', and they make others as persons or objects in their thoughts. Originally boundary has represented nation's frontier, and it indicated the worlds of space in Buddhism of East Asian culture. It is represented by loka or visaya in Sanskrit and region, dominion, boundary, border in English, which means the worlds that people would fancy in their minds over domains of politics, societies, culture, arts ect, not to be simple. Accordingly we must not approach to its meaning simply like 'beyond border'. There are many boundaries, which are similar to the sublime, for us to arrive in our lives. Spiritually there are also many boundaries(regions) that are made by our desires, wills and concepts. In a while there are limit or problem in our recognizing things, for example, of human's five senses that would be, to an extent connected with Buddhistic understanding of boundaries. Boundaries resulted from partiality in understanding of objects must be got rid of eventually. In regard of these matters, this thesis discusses the meanings of boundary, those that are inevitably made by human's consciousness, and negative ones to be got over from recognition systems of person or any groups.

• Cross-Cultural Studies
• /
• v.42
• /
• pp.107-129
• /
• 2016

In modern history, there have been several kinds of continental unions or supranational politico-economic unions in the world, such as the United Nations, the European Union, the Union of South American Nations, the African Union, etc. Modern thinkers proposed many pan-isms on their continental base, for example, Pan-Arabism, Pan-Latin Americanism, Pan-Asianism, Pan-Celtism, etc. What is the most common in these pan-isms is that a continental union would be a politico-economic system to overcome the limits of the modern state-nation and to realize a long and happy relationship between member nations and continents. However, the concept of a supranational union differs from that of cosmopolitanism, in that the former presupposes the common cultural and historical heritage in the concerned region or continent. Ngugi wa Thinog'o' Pan-Africanism implies two keywords that are connected to his concepts such as 'decentralization' and 'African languages.' Pan-Africanism supposes that Africa may gain benefits from the union of African nations under the umbrella of anti-colonial efforts to down size the Euro-American influences. Moreover, using African languages enhances self-reliance and self-imagination among the African people. For in the former colonial regimes, the European colonial languages, such as English, French, or Portuguese, were central to the dissemination of European culture and modernity. Ngugi asserts that the African peripheralized languages could reinstate the African cultural heritage and propose an alternative to the Western modernity.

• The Journal of the Convergence on Culture Technology
• /
• v.5 no.3
• /
• pp.125-130
• /
• 2019

This research is about alternative measure of main components for sprinkler system like automatic wet pipe sprinkler system, dry pipe sprinkler system, pre-action sprinkler system, vacuum sprinkler system, deluge sprinkler system, and so on. By replacing the alarm check valve, dry valve, pre-operated valve, and deluge open valve with a solenoid valve, it be can be simplifed the various processes of the manufacturing process into one process, it creates an environment in which one standardized product can be produced simultaneously on a single machine. Therefore, it could improve the price competitiveness of products, reduce the maintenance cost, and help the adaptability of new sprinkler systems in the future. There is a benefit when it comes to apply to sprinkler system. Only replace the valve which is used to control primary and secondary valve such as wet, dry, pre operated, vacuum, deluge system valve. Other components such as retarding chambers, automatic air compressors, accelerators or adjusters, supervisory panels, vacuum pumps, and manual starters can be used as they are, so they can be easily applied to existing sprinkler system. It is needed to legal and institutional study for solenoid valve applied sprinkler system to commercialize.

• (The) Research of the performance art and culture
• /
• no.35
• /
• pp.175-202
• /
• 2017

In this article, I focused on the identity of the Japanese magician, Tenkatsu(天勝), who appeared in Exhibition of Joseon, 1915, and the social gaze and reverberation of them. I would like to see how Tenkatsu group appeared, how it was active, and how it was utilized. Because It was a big stimulus for traditional performing artists. 'Ma-sul' was a new word, taking the place of 'Hwan-sul(幻術)' or 'Hwan-hee'(幻?) for a term of english 'Magic'. In the various articles published during the Japanese colonial period, we can find the performers of the contemporary magic and the Korean artists who tried to make them nationalized. In the mid-1920s, a magician of Korean origin appeared. Kim Mun-phil(김문필), Park Chang-sun(박창순), Kim Wan-shil(김완실) were them. They had experience of studying abroad, such as Russia, and were also helped by religion, the Chondo-kyo. They attracted popularity while touring around the country. Incidents of social problems often arise by linking magic to a form of fraud, though. But the appearance of a Korean magician confirms the existence of a performer who actively engages in new performances.

• The Journal of the Convergence on Culture Technology
• /
• v.7 no.1
• /
• pp.469-486
• /
• 2021

Vietnam is a country where the largest number of Korean companies have branched out, and calibers who can speak Vietnamese are on great demands. In the multicultural classroom, students of Vietnamese background occupy the first or second largest composition among students with multicultural backgrounds; therefore, if teachers can teach in Vietnamese, the positive effects can be promising. This study presents and evaluates a Vietnamese language class developed and operated for the first time in Korea by a university to raise prospective teachers' global-multicultural competences. Two series of the classes were conducted during two vacations of 2018, and 20 students participated. As a results, the groups showed a significant increase in the global-multicultural competences; About 95 percent of the participants demonstrated improvement in the competences. The participants stated opinions: the classes should expand to offer opportunities for many other students who may want to acquire Vietnamese; the participants had better understandings of the Vietnamese cultures, envisioned their role as a Vietnamese speaker and suggested extended opportunities for contacts with Vietnamese cultures. The study hopes that other universities apply the educational model and the case study and that, as a result, teachers can contribute to building harmonious Korean-Vietnamese relations using Vietnamese.

• International Journal of Advanced Culture Technology
• /
• v.10 no.3
• /
• pp.174-183
• /
• 2022

The abstract should summarize the contents of the paper and written below the author information. Use the word "Abstract" as the title, in 12-point Times New Roman, boldface type, italicized, centered relative to the column, initially capitalized, fixed-spacing at 13 pt., 12 pt. spacing before the text and 6 pt. after. The abstract content is to be in 11-point, italicized, single spaced type. Leave one blank line after the abstract, and then begin the keywords. All manuscripts must be in English. When it comes to the issue of "virtual and real" in traditional Chinese painting, the first impression is to describe the problems of painting strokes and ink, layout of pictures, etc., but it runs through the initial conception of the work, creation in the middle and aesthetic appreciation of the work. It exists in the whole process of artistic creation and appreciation. In essence, it is a problem of aesthetic thinking and philosophical thinking. Because the traditional Chinese painting theory is influenced by Taoism, when the concept of "virtual and real" is implemented in the specific picture of Chinese painting, it is contained in the specific shape of "physics", that is, the painting theory research of "blank space" in the picture. Based on the traditional Taoist philosophy of China, this paper takes the "virtual and real" view in Lao Zhuang's thought as the research object, deeply analyzes and compares its relationship with the "virtual and real" in Chinese landscape painting, and finds out their artistic spirit, essential characteristics and how to present them. This paper mainly discusses the internal relationship between Taoist philosophy and "virtual and real" in Chinese landscape painting from the following aspects. The introduction expounds the origin, purpose, significance, innovation and research methods of the topic. This paper analyzes the philosophical thoughts about landscape in the philosophical thoughts represented by Lao Tzu and Zhuangzi. The development of Chinese traditional aesthetics theory is closely related to Taoist philosophy, which has laid the foundation and pointed out the direction for the development of Chinese painting theory since ancient times. It also discusses the influence of the Taoist philosophy of "the combination of the virtual and real" on the emergence and development of the artistic conception of landscape painting. Firstly, through the analysis of the artistic conception of landscape painting and its constituent factors, it is pointed out that the artistic conception is affected by the personality and the painting artistic conception. Secondly, through the Taoist thought of "the combination of the virtual and real" in landscape painting, so as to reflect that it is the source of the artistic conception of Chinese landscape painting. It is the unique spiritual concept of "Yin and Yang" and "virtual and real" that creates the unique "blank space" aesthetic realm of Chinese painting in the composition of the picture. Finally, it focuses on the "nothingness" in Taoist philosophy and the "blank space" in Chinese landscape painting. The connotation of the "blank space" in Chinese painting exceeds its own expressive significance, which makes the picture form the aesthetic principle of emotional blending, virtual and real combination and dynamic and static integration. Through the "blank space", it deepens the artistic characteristics of the picture and sublimates the expression of "form" in Chinese painting.