• 복식
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• 제52권6호
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• pp.165-179
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• 2002

This paper begins with the thesis that the so-called 'Be Slow' Movement has not only affected the contemporary life style but also the current fashion trend in the West as well as in Korea. The influence of the 'Be Slow' Movement on the everyday life of Western and Korean society can be documented by recent books, news reports, and many articles from various kinds of mass media and fashion magazines since the year 2000. The results of this study can be summarized as follows. First. the 'Be Slow' Movement is a new cultural phenomenon and very different from that of the past century. It has emerged very recently and it could affect the life style o( its followers for a long period of time. Second, the influence of 'Be Slow' Movement on everyday life can be witnessed in many behavioral choices. such as the preference of organic food and natural cooking for food and the preference of rural life and a green patch of land for housing. Some aspects of the way of rearing the children and long-term planning of one's life are also under the influence of 'Be Slow' Movement. In a way. the life style Proposed by the 'Be Slow' Movement is somewhat similar to that of 'Bobos'. Third, the influence of 'Be Slow' Movement on the current fashion trend can be observed in the appreciation of time-consuming labour and increased usage of D.I.Y. clothing. The higher value of fashion goods with handcrafted part or scarce luxury item are good examples of the influence by the 'Be Slow' Movement. One can say that the 'Be Slow' Movement is not retrogression, but a re-creation of time and space to be grateful for one's life. Thus, it is not anti-technology but a commercialism with technology in order to enhance the quality of life and to place people in the center of production and consumption. Consequently, one may say that the 'Be Slow' Movement is a appropriate and affluent way of living.

• 한국지역지리학회지
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• 제11권1호
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• pp.1-18
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• 2005

지리학은 고대 그리스시대 이래 여행이나 답사를 지표에 관한 주요한 지식 획득 또는 사실 발굴의 수단으로 간주하는 경험과학으로 규정되고 있다. 현대 지리학에서 이러한 경험주의는 엄격한 법칙을 추구하는 논리실증주의로 환원되면서, 현장 경험에 내포된 다양한 방법론적 함의들(특히 신화적 상상력)이 무시되었다. 반면 최근 우리나라에서는 다양한 답사서들이 발간되고 있으며 지역발전을 위한 주요 방법으로 장소마케팅이 많은 관심을 끌고 있다. 본 논문은 지리학적 답사와 이의 수단으로서 경험에 내포된 다양한 방법론적 함의를 경험주의적 지리학과 인간주의적 지리학의 입장에서 고찰하고, 나아가 장소마케팅을 통한 지역발전의 의의를 방법론적으로 살펴보고자 한다. 결론적으로 지역문화환경의 진정한 발굴을 위하여 이러한 방법론들이 통합적으로 적용되어야 하며, 지역발전을 위한 장소마케팅은 정체성 운동으로 이해되어야 한다는 점을 강조한다.

• 한국조경학회지
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• 제30권6호
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• pp.1-16
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• 2003

This study seeks to find new strategies for the development of Tapgol Park and to identify Programs to promote this development. In addition, the study specifies the purpose and meaning of these efforts by revealing social aspects not apparent in the physical form of the site, and reading how these aspects influenced the development of Tapgol Park Because the focus of the study lies in reading cultural aspects of the site which have to be understood within the context of their social circumstances, the study drew materials from mass media such as newspapers and literary magazines, which best reflect these social aspects. Interpreting the over 100 you history of Tapgol Park in a cultural context, the study found a meaningful suggestion that such a small urban place located in a city forms a cultural identity in the course of communicating with its surrounding social situations. The change in the identity of Tapgol Park has been sensitive to changing social circumstances rather than the physical structure of the space. The original function of Tapgol Park as a traditional city park has gradually changed towards strengthening social functions, much like the character of an urban plaza. In the process of change the park developed a unique culture. This park culture, however, came not from the original design but from its close interactions with social circumstances changing over time. At the same time, the change in identity seen in Tapgol Park has not been fresh formed. It can be said that the inertia came into light with the potential powers under the place over the long history having been combined into the then social circumstances. In early 2002, the park re-opened, refurbished as one of the relics of the March 1st Movement. Investigating how cultural inertias that have been developing in various forms to date will change and be maintained in this new paradigm is an important assignment for researchers.

• 비교문화연구
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• 제20권
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• pp.241-274
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• 2010

Due to the remarkable changes in the early twentieth century, the new invention and technology impacted peoples' everyday lives and people started to use the word, modern, to apply specifically to what pertained to present times and to designate a movement in what was new and not old-fashioned-a condition of newness. In the present day, however, the fantastic cultural changes of a century ago have now become commonplace, and what was once considered radically new is no longer a reason to marvel. This paper considers what it mean to be modern, once the new is no longer new. This question seems to remain as complicated and inappropriate to ponder because the consideration and impact of modernity cannot simply end with the end of an era. This paper investigates how the interconnected nature of popular culture provides apt illustrations to reveal the ambivalent nature of modernity and postmodernity. In doing so, first of all, this paper pays attentions to the notion of modernity and popular culture which emerged together in the early twentieth century when technology and mass consumer culture were promoted over the world. Also, it examines how popular culture represents a complex of mutually-interdependent perspectives and values that influence society and its institutions in various ways as the image of modernity continues to build in a postmodern era. That is, popular culture is identified as a large amount of intertextuality or collective experiences due to its intermingling of complementary distribution sources and techonology. Thus, this paper explores that popular culture devotes itself other images or narratives instead of referring to the real world and its output revisits the contemporary or past times in other places, being a means to produce and reproduce the accumulated images of the modern which shapes ceaseless simulacra of modernity over complexities of modernity. In order to find a critical juncture of the complex networks of modernity and popular culture, this paper considers two places, Chicago and Gyeongsung in the 1920s and 1930s in which the rapid modern experience took place and the modern movement forced the two societies to join the mass consumer culture whether willingly or not. Next, this paper considers two movies released in 2002 and 2008 that exemplify the complexities of modernity in Chicago and Gyeongung of the 1920s and 30s: Chicago and Modern Boy. Both films have common themes of the 1920s and 30s such as violence, adultery, femme fatal, and criminal themes with the forms of musical, dance, drama, and romance. Through the textual analysis of both Chicago and Modern Boy, two films are compared in observing the similar and different ways in which two films deal with the theme of modernity when they are represented from the contemporary perspectives. More specifically, this paper questions how modernity is present in contemporary cultural forms such as commercial and hybrid genre films; and how these movies create a new image of modern by embodying the double coding. Ultimately, this paper aims at realizing the paradox of double edged modernity and its ongoing discourse that controls people's consciousness through the medium of popular culture.

• 수완나부미
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• 제15권1호
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• pp.149-180
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• 2023

This article explores religious responses to significant cultural and social change in a northern Vietnamese delta village from 1996 to 2008-the second decade after de-collectivization. Drawing upon extensive fieldwork in both the village and surrounding religious networks, the article teases out the meanings of the new religious movements for northern rural people in the new era of market economy; the symbols, language, and metaphoric resources people used in response to their uncertainty and mistrust of the new social landscape; and the unintended consequences of rapid societal development such as marginalization, tensions, and social disintegration. The article argues that as in milleniarism elsewhere, new religious movements in northern rural Vietnam embody unorthodox syncretism between world religious and local traditions, thus linking past, present, and future. However, when drawing upon a common reservoir of memories and experiences to cope with risks and challenges of the new market world, local people not only drew on the power and imperial metaphor of deities in their traditional religion and belief, but became more creative to recuperate meanings, standards, and symbols from revolutionary discourse to reorient themselves, and overcome alienation and marginalization.

• 미술이론과 현장
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• 제5호
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• pp.217-229
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• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

• 비교문화연구
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• 제49권
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• pp.249-274
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• 2017

1980년대 이후로 가장 주목할 만한 사회 운동으로 평가되던 에콰도르 원주민 운동은 2000년대 들어 침체기에 들어선다. 특히 코레아 정권의 등장과 함께 원주민 운동이 급격하게 약화된 사실은 에콰도르 원주민 운동의 성격과 밀접한 관련을 갖는다. 이 글에서는 에콰도르 원주민 운동이 2000년대 들어 정치적 역량이 약화되고, 코레아(Correa) 정권이 들어서면서 위기를 겪게 된 과정을 파차쿠틱의 사례를 통해서 살펴보고자 한다. 2000년대 초반까지 에콰도르 원주민 운동은 CONAIE를 통해 상당한 정치적 영향력을 행사해왔다. CONAIE는 선거를 통해 자신들의 요구를 제도권 정치 속에서 해결하기 위해 파차쿠틱이라는 독립적인 정치 조직을 결성했다. 그러나 1990년대의 의미 있는 성과에도 불구하고, 2000년대 들어 선거참여 전략은 원주민 운동의 지속적인 성장에 기여를 하지 못했다. 따라서 원주민 운동의 성장과 침체과정을 파차쿠틱 및 '정치의 종족화'와 '상호문화적 딜레마'를 통해 살펴보는 작업은 향후 원주민 운동의 방향성과 관련해 일정한 시사점을 줄 것이다. 원주민 운동은 변화된 상황에 대응하기 위해 지금까지의 선거 전략과 원주민 담론에서 벗어나, 상호 문화적인 담론과 전략을 통해 운동을 확장하는 것이 필요하다.

• 반도체디스플레이기술학회지
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• 제21권1호
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• pp.56-61
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• 2022

The purpose of this study is to provide a cultural and artistic content guide service that can provide customized guides according to the disability status of the disabled who consume cultural and artistic contents. It is designed to provide a more individualized service through user input of disability information including the type and degree of disability of the disabled, the type of cultural and artistic content desired by the disabled, and information on the cultural and artistic level of the disabled. In addition, it is not limited by time and place, and it has the distinction of providing appreciation of cultural and artistic contents and commentary information of the corresponding cultural and artistic contents in various ways on the application. In particular, to provide cultural and artistic contents differently by identifying the type or degree of disability of the user, or to provide cultural and artistic contents with different expertise in consideration of the user's cultural level and taste, and to improve the cultural level. The most special feature is that it provides recommended content in consideration of the difficulty of art content. User analysis was conducted through in-depth interviews and persona techniques. As a result of the analysis, the needs for the enjoyment of culture and arts are also increasing among the disabled, while the services that reflect those needs are very insufficient. Therefore, all interviewees stated that they are willing to actively utilize these services if they are released. In the future, it is necessary to increase the accessibility of the disabled to culture and arts by developing various services using new ICT technologies.

• 대순사상과 동아시아종교
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• 제2권1호
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• pp.85-109
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• 2022

Yiguandao missions arrived in Korea no later than 1947. Despite many obstacles, including war and internal dissension, the movement has flourished in South Korea. Today there are three active major lineages and another seven smaller networks. This article relates the movement's overall development in Korea. We begin by discussing key missions dispatched to Korea by Yiguandao's founder Zhang Tianran. The northern port city of Tianjin was key to this effort, in particular a single temple, the Hall of Morality. In Korea the leaders found an unfamiliar cultural landscape that was soon engulfed in war. The Yiguandao missions tended to develop independently, without coordination. In an effort to unify the movement, the Morality Foundation was established in Busan in 1952. The article shows how Yiguandao's subsequent success in Korea is connected to the development of indigenous leadership. Local Korean leadership ousted Chinese members from the Morality Foundation in 1954, and this branch has continued under Korean leadership to this day. The ousted Chinese leaders continued to develop their own lineages. Two major leaders, Zhang Ruiquan and Kim Bokdang, were able to establish enduring legacies. A final section looks at organizational traits that will determine the movement's future prospects in modern Korean society.

• 대순사상과 동아시아종교
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• 제1권2호
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• pp.13-39
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• 2022

The author examines three new religious movements in South Korea: Jehovah's Witnesses, the Unification Church, and the Daesoon Jinrihoe, and aims to identify the factors that are conducive to the growth of each. All three organisations believe in a coming paradise, and the article explores their respective attempts to interest the populace in their appeal. Discussion is given to membership statistics and the problems of measuring allegiance and moves on to consider methods of propagation. Most obviously, evangelisation strategy is important: Jehovah's Witnesses and Unificationists have tended to engage the interest of strangers, while followers of Daesoon Jinrihoe are more inclined to evangelise family and friends. Additionally, there are other factors that determine an organisation's progress: cultural appropriateness, engagement in social and educational work, and attitudes to conflict and peace, the latter being particularly important in a society that has experienced war and occupation. Reference is made to the ways in which these three organisations finance themselves, and it is argued that financial resources merit greater attention in the scholarly study of religion, since monetary assets are needed to secure a spiritual movement's existence. Of the three organisations under discussion, the Daesoon Jinrihoe has been the most successful, being South Korea's largest new religion, while Jehovah's Witnesses are in steady state, and the Unification movement is experiencing slight decline.