• Korean Institute of Interior Design Journal
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• v.18 no.1
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• pp.54-63
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• 2009

The present study is a basic research for promoting the globalization of Korean food, aiming to analyze Japanese restaurants in Hong Kong, an international city successful in globalization, focused on their spatial characteristics and food related characteristics and to use the results as basic materials. The results of this study are as follows. As to the characteristics of indoor spaces and food of Japanese restaurants in Hong Kong, first, the locations of Japanese restaurants were mostly easily accessible luxury hotels, office buildings or shopping malls. They displayed Japanese styles well and used conspicuous signs. Their trade names were given after traditional place names, food names, greetings, etc. Second, the spaces of Japanese restaurants expressed contemporary and, at the same time, traditional styles moderately and elegantly by applying emphatic articles such as traditional furniture, tools and folk paintings to contemporary spaces with traditional air, and by doing so, they showed various possibilities. Third, as to the characteristics of food culture, menus were diversified from traditional menus such as kaiseki to everyday menus such as vinegared rice, ramen, skewered roast meat and fusion dish, and at the same time, differentiated by concept. In addition, some restaurants succeeded in globalization and modernization with chains throughout the world. Furthermore, while table setting, food dishing and tableware image were harmonized with the concept of the restaurant space, if tradition needed to be displayed it was used at a minimum, showing the Japanese aesthetic sense through the restaurant space and food. In globalizing Korean restaurants based on the results of this study, we need to link trade name, facade, sign, menu and space with served food, and to plan a consistent story so that Korean culture and images are expressed. In addition, if a manual is made by benchmarking the Japanese government's support policies and relevant businesses' efforts and ideas and provided to Korean restaurants, it will be helpful for Korean restaurants, which spread Korean food culture, to be more competitive and graceful.

• Journal of Physiology & Pathology in Korean Medicine
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• v.24 no.3
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• pp.380-384
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• 2010

The present paper attempts to investigate the factors which may affect the attitude toward Oriental Medicine among the university students in Korea and China. The research on determining factors that may influence the attitude toward the Oriental Medicine can provide the answers for the question how the traditional things can acquire their present position and make a development in modern society. The East Asian countries such as Korea and China have promoted the western-style changes and development, thinking that modernization means the westernization. Given this, the research on the attitude toward Oriental Medicine can be a good case study that shows how tradition sustains its place and develops. The present study makes two hypotheses in order to analyze the factors which make the influence on the attitude toward the Oriental Medicine: Hypothesis there will be no significant difference between the socio-demographic variables and attitude toward Oriental Medicine. Hypothesis there will be significant differences between traditionalism, modernity, nationalism, and attitude toward Oriental Medicine. The statistical results show that hypothesis 1 was confirmed in the case of the gender of the participants, whereas it was not confirmed in the case of the birthplace, economic status, and nationality. And hypothesis 2 was not confirmed in the relations between nationalism and modernity and the attitude toward Oriental Medicine, whereas it was confirmed in the relations between traditionalism and the traditional medical concept and attitude toward Oriental Medicine.

• Journal of the Korean association of regional geographers
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• v.7 no.4
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• pp.48-64
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• 2001

In the dissertation, Bibos are discussed as landscape features in the geographical context of Youngnam Region. The bibo tradition in Youngnam Region began with the incorporation of temple structures in Shilla and Kaya kingdoms, and spread throughout the country during the period of Unified Shilla. In Korea Dynasty, the diffusion of temple Bibo gained momentum, because Buddhism was worshipped as national religion. Then came a sea change in the Bibo repertoire with the replacement of Buddhism by Confucianism as an ideological prop for Chason Korea. The retreat of Buddhism led to the popularization of feng-shui motifs in Bibo strategy. The centers of the diffusion of the logic of bibo were major towns such as Kyongju, Ahndong, Sangju, and Chinju. The diffusion process continued top-down to mid-sized towns, and to the bottom of small villages. What sustained the hierarchical diffusion of Bibo attributes was myriad of transportation lines. The main artery of the diffusion in Korea Dynasty was that connecting Kaegyong to Kyongju. That same function was performed by the royal road running from Seoul through Sangju, Milyang, and to Tongrae. In the age of modernization, the feng-shui and Bibo landscapes have lost their original aura. They have suffered from the ruthless attacks of the Enlightenment logic of science. However, the elan vital of feng-shui and Bibo are still visible and strongly felt in the countryside. From field experiences, one can notice that the Bibo landscapes are tightly integrated into the rural way of life. The durability of the traditional geomancy shows us the beauty of the harmonious interplay between Youngnam people and the nature.

• Journal of the Korean Home Economics Association
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• v.33 no.1
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• pp.1-18
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• 1995

This study examined the confronting problems in home economics and its historical and philosophical causing background, and suggested the future direction for home economics and home economics education. This study, hoped to help home economics overcoming its chaotic situation, and to establish academic characteristics through a philosophical consistency: 1. What are the significant problems which home economics has confronted, and the consequences of those problems\ulcorner 2. What are the fundamental caues of the problem\ulcorner 3.What should be the nature of home econimics to be able to overcome the confronting problems and what can be proposed for the future of home economic\ulcorner Each research question was addressed by analyzing Journal articles, theses, philosophical studies in the field. The results were as follows; 1. such problems as the ambiguity in research focus and the nature of academic charateristcs, and the limitation of research method have resulted fragmentation and specialization in the field, and the lack of philosophical research. Also they led home and family. Moreover each problem brought chaos into curriculum of home economics and that of home economics deucation. 2. The philosophical causing backgrounds of present problems are western ideas such as pragmatism, positivism, Social Darwnism and Korean ideas such as Confucian tradition, Practical Science movement in the 19th century, and modernization and industrialization from the middle of 20th century. Along with influencing historical situation these backgrounds have distorted home economics to be technical science oriented. 3. To solve these problems academic characteristics of home economics must be reestablished as practical science and as profession. This study proposed following for the future of home economics and home economics education: (1) For the future of home economics, first, it needs to recover the unity as one academic field with its focus on family by overcoming fragmentation and specialization trend in the field. Secondly, philosophical and historical studies must be carried o for the unity of all specialized field in home economics. Thirdly, home economics must try to reestablish and reflect in pratice its acadimic characteristics as practical science and as profession. (2) For home economic eduation, first, it should not be the instrument for idelogies of powerful social systems. And teacher education for home economics teachers must inclued principles of home economics and philosophy and history of home economics enabling teachers to achieve purposes of home economics. Secondly, its curriculum contents should be composed of practical ones beyond technical ones.

• Archives of design research
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• v.15 no.4
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• pp.189-200
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• 2002

Human beings at the beginning of the world have tried to gain mental and physical satisfaction from nature. However, as it became difficult to find such satisfaction in nature, an advanced civilization was created that confronted nature by developing a unique environment. In this process of confrontation, an ecological crisis occurred. As an alternative to solve this problem, there began interest in the ecological paradigm of many fields, and the domain of space design for living became the center of attention. Korean traditional architecture has ecological characteristics suitable for Koreas nature and climate. When discussing Korean traditional architecture from the viewpoint of an ecological paradigm, studies have been based on the understanding that it is the entire combination of structures existing with and as a part of a natural ecosystem rather than the use of independent and individual structures like that of Western architecture. In particular, Korean traditional windows and doors are examples of maintaining an ecological essence by accepting natural surroundings and have important meaning in the subject of ecological space design, but its unfortunate that theyre not utilized in contemporary Korean architecture. Focusing on these discrepancies, this study aims to make traditional windows and doors native to Korea the subject of discussion and to expand the area of study in Korean traditional architecture.

• Archives of design research
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• v.18 no.2 s.60
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• pp.27-36
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• 2005

Illustrations in advertisement uses various social and cultural codes to stimulate the desire to buy in consumers in the first place, since this is an economic phenomenon orchestrated to sell a product. Hence, factors outside the product per se, such as tradition, social issues and class consciousness are introduced. Especially, in modern advertisement a strategy is adopted to differentiate standard products produced by mass production. In order to do so, such factors as mentioned above become as important as physical characteristics of the product per se and its usage value. As a result, phrases or images used for advertisement can have independent influences on the society irrespective of the sales effects on the product. In this respect, it is fair to state that advertisement reflects the phases and consciousness of a given period as a cultural phenomenon. Therefore, based on the premise of characteristics and roles attributed to the advertisement, this thesis proposes to make a comparative study on the images of women in commercial advertisement in Korea during Japanese Imperialism and China during Cultural Colonial period dating from 1900 to 1945. The starting point of this research will cover the period of foreign trade and Japanese Imperialism in Korea and interference of Western Power in China. It will also investigate on the birth of Korean advertisement by Japanese Imperialists and Chinese modern advertisement along with the modernization of Shanghai. Then, I propose to present the illustrations of women in advertisements based on comparative study of their characteristics and expressions as observed in several case studies both in Korea and China. Connotative meanings in such advertisement will be investigated in the context of political, economic and cultural dominance.

• (The) Research of the performance art and culture
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• no.33
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• pp.223-242
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• 2016

The Korean $taeg{\breve{u}}m$, a horizontal bamboo flute, is considered a representative wind instrument of Korean traditional music. Symbolized by its unique timbre and diverse techniques, this instrument transmits the beauty of Korea, and has become acknowledged even in international music scenes. Being a $taeg{\breve{u}}m$ player, composer, and ethnomusicology researcher, I have developed creative collaborations with musicians from Asian, electro-acoustic, jazz, and Western art music traditions developed outside my country of origin and tried to overcome musical boundaries through the 'intercultural performances' (after Turner 1988). Zooming in one collaboration, I detail the process of music creation and performance, collaborating with prominent Korean composer Kim $Taes{\breve{o}}ng$ (b.1967), who was commissioned by myself to write two compositions for the $taeg{\breve{u}}m$ and Western art music. The purpose is twofold: firstly, the modernization and appropriation of the Korean flute is briefly tracked down within the context of Western Art music. Secondly, a performance project is illustrated with the support of technical apparatuses such as DVD and CD recordings and delves further into the question of the 'cultural relativism' (Michael Tenzer, 2006: 7) through the interactive process. The performance-as-research, as a tool 'actualizing' (Richard Schechner 2003: 32) the hybridity, touches on critical domains in Ethnomusicology. The corresponding two parts discover, as Alan Merriam's(1964) 'tripartite model' suggests, the 'context' of Korean and Western cultures, the 'behaviour' of collaborating and performing and the 'sound' of improvised and composed productions in the course of music making.

• (The) Research of the performance art and culture
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• no.37
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• pp.249-293
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• 2018

The Musical Theatre was a popular art genre that originated from the western musical tradition represented by the European opera. In the twentieth century, it bloomed around Broadway in the United States. It is also one of the commercial arts which is popularly loved by the public in the field of performing arts all over the world at present. Due to the nature of this genre, the development of dramas and the expression of characters use music, not words or gestures, as the main medium. And the style of music reacts sensitively to the taste of the public, not to a particular class. When Japan colonized Korea, the empire strongly believed modernization equaled westernization and Japan was the one who could awaken Korean. The Japanese colonial music education was intended to bring cooperation and obedience to Japan by forcibly injecting Japanese ideology and culture into Joseon people. The music education of colonialism with the textbook of the "Songs for public education(보통교육 창가집)" compiled by the Japanese government was a sparkstone for the conversion of the Korean musical identity to Japanese and Western music. In addition to the capitalistic economical mechanism for establishing a South Korean government friendly with the United States during the Cold War after liberation, and the rush of American Pop culture represented by 'the show stage in 8th US Arm' and 'movies' which are to be the influence of invisible 'new cultural imperialism', our traditional music was confined to the meaning of 'Korean music', meaning 'past music'. In Korea, after the liberation, the musical was introduced by the influx of American popular culture. In accordance with the cultural policy of Park Jeong-hee regime, which aimed to spread the 'healthy culture' through the modernization of traditional arts, 'The Yegreen(예그린악단)' was founded. However, the plan to create a contemporary performing art based on Korean national arts showed the possibility of success in 1966 with the success of , but soon after, they have been destined to fall into an institution that has lost their ability to operate on their own due to the suspension of the sponsorship of the regime. Due to the cultural imperialist strategy of the influence of Japanese imperialism's colonial music education and influx of American popular culture after liberation, in the early days of Korean musicals, our traditional aesthetic style brought about the situation of the 1960 's, which did not become an independent ethnic art through the exchange and expansion with Western music. This is the background of the western licensed musicals led by the Korean musical market in the 21st century as well as the main cause of musical creation based on western music.

• (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.

• Journal of Korea Entertainment Industry Association
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• v.14 no.6
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• pp.53-60
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• 2020

The study is based on the assumption that the trend of phenomena and trends in research are contextually consistent. Therefore the purpose of this study is to explore the trend of dance through the subject analysis of the Korean creative dance study by utilizing text mining. Thus, 1,291 words were analyzed in the 616 journal title, which were established on the paper search website. The collection, refining and analysis of the data were all R 3.6.0 SW. According to the study, keywords representing the times were frequently used before the 2000s, but Korean creative dance research types were also found in terms of education and physical training. Second, the frequency of keywords related to the dance troupe's performance was high after the 2000s, but it was confirmed that Choi Seung-hee was still in an important position in the study of Korean creative dance. Third, an analysis of the overall research subjects of the Korean creative dance study showed that the research on 'Art of Choi Seung-hee in the modern era' was the highest proportion. Fourth, the Hot Topics, which are rising as of 2000, appeared as 'the performance activities of the National Dance Company' and 'the choreography expression and utilization of traditional dance'. However, since the recent trend of the National Dance Company's performance is advocating 'modernization based on tradition', it has been confirmed that the trend of Korean creative dance since the 2000s has been focused on the use of traditional dance motifs. Fifth, the Cold Topic, which has been falling as of 2000, has been shown to be a study of 'dancing expressions by age'. It was judged that interest in research also decreased due to the tendency to mix various dance styles after the establishment of the genre of Korean creative dance.