• Journal of the Korean Society of Costume
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• v.24
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• pp.121-142
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• 1995

The Expressionism took shape in the early twentieth century, so called as the time of change and innovation which intermediated between the time of extreme prosperity and peace and the time of disruption. This study is based on the wide sense of Expressionism out of various concepts of Expressionism. The afore-mentioned phenomenon was emphasized all the more in the French Expressionism and it is the most important and substantial object in the Art to make a direct transference of emotion , feeling and thought and it could be regarded as one of characteristics of the French Expressionism . In Addition, the Expressionism produced " Aesthetics on Ugliness "Aesthetics des H lichen )" in creating work of art. It was an expression of the Existentialism based on Humanism for modern people who lived at time of nihility and such artistic movement accepted polarity and ambivalance concepts claimed by Nietzsche into three specific fields in accordance with thought and technique in the work of art and those are the Intuitional Expressionism. Cubistic Expressionism and Fantastic Expressionism. This study makes a close analysis of costume style trends on the basis of the categorized Expressionism enumerated as above. The characteristics of Intuitional Expressionism is that poverty and a sense of alienation dominated all society and thus the social reality brought a trend of social participation . This social reality effected significantly modern costume style and a reformative costume turned up at last . This reformative costume was classified into Gar onne look, Military look and Lingerie look by characteristics of style in order to make a close examination for the relationship between social reality and the reformative structure. Cubistic Expressionism effected costume forming and changed costume style through " Deformation " and " Distortion" in forming technique , and also it has developed geometrical style of costume, which could be symbolized by mechanism. And on the other hand, this Cubistic Expressionism has emphasized exaggerated expression ability to produce rigid and stiff style of costume. Fantastic Expression pursued basic artistic worth from the primitive and ethnic customs and accepted fantastic oriental Exoticism . This Fantastic Expressionism effected costume style of twentieh century and such designers as Lon Bakst, Paul Poiret, Elsa Schiapareli adopted intentive primary color. It also applied " Depaysment" to modern costume style , which introduced avant-garde design to give an impact through destruction of the existing traditional concept. This study also analized seven major representative costume designers of the early twentieth century. They are L on Bakst, Paul Poiret, Madeline Vionnet, JeanPatou, Gabriel Chanel and Elsa Schiaparelli. These designers deployed creative costume design work with peculiar expression technique based on the French expressionism. The costume study related to art history was so far made mostly to approach costume forming but only a few study is found to have approached idealistic background of art history in connection with creating costume. From that point of view, it is profoundly significant for this study to analize idealistic background and characteristics of Expressionism and relationship between costume and expressionism and to examine modern costume of twntieth century in conjunction with technical characteristics and spiritual sense of Expresionism.eristics and spiritual sense of Expresionism.

• Journal of Korea Port Economic Association
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• v.25 no.1
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• pp.191-222
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• 2009

The third party logistics is a new developing industry in China and is still in infancy stage. China's third party logistics market only represents 3.39% of the Logistics market in 2006. As international multinational corporations have taken part in China market, they use their current 3PL providers to assist them to deal with the substantial logistics issues that exist in expanding their business activities in China. Traditional 3PL services such as transportation, warehousing and customs clearance are main in China's 3PL market. A variety of domestic laws and regulations on logistics in China prevent 3PL Providers from supplying value-added additional services to their users. Chinese firms have not yet supply high value-added services in China's 3PL logistics market. The purpose of this paper is to contribute the activation of third party logistics in China by analyzing the present situations, and presenting the solutions to problems of Third-Party Logistics in China.

• Cross-Cultural Studies
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• v.50
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• pp.131-172
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• 2018

It is noted that nowadays, the bride wealth custom takes an extremely distorted form in African society. Such a phenomenon is a result that the male-dominant culture, Western religions, and capitalist economic system have been negatively combined into dynamic factors seen as bride wealth. This means that the concept of bride wealth has been incessantly reconstructed in the middle of clash and conflict of tradition and modernity. There is also little doubt that the practice is inextricably tangled with the common and current ways of livelihood, early marriage, polygyny, kinship/family structure, poverty, and migration labor. Bride wealth has become an increasingly commercialized element under a capitalist economic system. Accordingly, its traditional symbolism is seen to be subsequently weakening, whereas a tendency towards the reification of women is strengthening more in modern society that embraces modern customs bent on the protection of women's human rights. Its commercialization has produced a result, which instigates the noted violations of women's basic human rights, gender inequality, and promotion of domestic violence. The ways that people perceive bride wealth vary according to their own sex, generation, stratification, and ethnic background. Those people who negatively recognize bride wealth will increase with the deepening of its commercialization due to the influence of capitalism. Its color and effect will deepen and depend on how its agents correspond to socioeconomic changes. They will constantly reinterpret and reconstruct it within their own environments, but the basic human rights efforts are constantly under review by concerned individuals seeking to promote equality for women as a global effort.

• Cross-Cultural Studies
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• v.49
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• pp.303-330
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• 2017

This paper examines the origin of the current Nigerian Yoruba artistic and cultural tradition through ancient artifacts and creation myths centered on $Il{\acute{e}}-If{\acute{e}}$ (or $If{\acute{e}}$) located in the southwestern part of Nigeria and recognition of cultural relativity. In the oral tradition, kingdoms of Ijebu, Oyo, and Benin all have their origins in the ancient city of $Il{\acute{e}}-If{\acute{e}}$, the cradle of Yoruba culture. Their founders were sons of Oduduwa, the god of Yoruba. In this way, kingdoms built around $Il{\acute{e}}-Ife$ were closely connected with culture, religion, and society. In order to understand the Yoruba culture, research on $Il{\acute{e}}-Ife$, the source of their artistic and cultural traditions, is very important. The Yoruba are deeply rooted in $Il{\acute{e}}-Ife$. They have been steadily preserving their artistry since the beginning. They have been using it in their lives to this day for centuries. Their evidences are mythology and Ifa divination system. They are cultural heritages that represent the art of Yoruba and the spiritual culture. Ifa devination system is one of Yoruba traditions associated with Yoruba gods 'Eshu' and 'Ifa'. It has been conducted among the Yoruba until now. If the culture and civilization of Africa, including these Yoruba traditional customs, are deemed illogical and superstitious, it would mislead their efforts to preserve the origin in its original form. If so, one should understand the relativity of other cultures and civilizations and the need for diversity and flexibility of value standards to judge their cultures and civilizations.

• Journal of People, Plants, and Environment
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• v.23 no.5
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• pp.577-587
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• 2020

Background and objective: Plants in temples are the results of cultural symbolization that embraces the experience and enlightenment of humans about life. As a way to improve the acceptance of the foreign religion, China gave cultural symbolization to plants in temple gardens through integration with traditional cultures and the understanding of the nature of plants themselves. This study aimed to identify cultural symbolism and signs of acculturation associated with Buddhist plants, targeting Bolisu, the most essential and symbolic plant in temple garden forests in China and Korea. Methods: The morphological and ecological characteristics of plants, functions, the texts that contained the history of Buddhism and literary works were examined through literature review, and the relation of Ficus religiosa with its planting conditions and nature, and Buddhist culture was explored. In addition, the cultural value of Buddhist plants themselves in establishing temples and the reason why Bolisu was planted in temples were reviewed through time series analysis. The obtained results were interpreted using an inductive method to identify substitutes for F. religiosa, cultural symbolism and signs of acculturation. Results: F. religiosa as one of the three holy trees and the five trees and six flowers in Buddhism is known as the original Bolisu. Since it grows well and is widely distributed in regions that accepted Indian Buddhism, it became the most representative holy tree in Buddhism. From the perspective of tree shape and nature, F. religiosa is in line with the Buddhist spirit of saving those in need with mercy and redeeming mankind, and figuratively shows that perfection can be attained like the fruit of Bolisu. Chines Buddhism had adopted highly symbolic plants for a long period of time as a means to spread the same belief and doctrines as Indian Buddhism. In China, however, there were only limited areas suitable for the growth of F. religiosa, and for this reason, borrowed Bolisu trees including Tilia. miqueliana, T. mandshurica and T. amurensis and other plants such as F. virens Ait. var. sublanceolata, G. biloba and M. alba were planted as a substitute in most regions, having been given with symbolism and belief as Bolisu. Conclusion: Chinese Buddhism planted the same plants as Indian Buddhism in order to enhance symbolism and also similar substitutes to express the same symbolism. This is a kind of acculturation and its influence and customs were not limited to China, but were introduced to Korea, The difference between China and Korea was that G. biloba was excluded from the substitute for Bolisu in Korea.

• Journal of the Daesoon Academy of Sciences
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• v.17
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• pp.113-134
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• 2004

According to Hans Kippenberg, the foundation of an academic study of religions coincided with the beginnings of modernization. Since the second half of the nineteenth century most European countries were involved in a process of rapid social change. The repercussions that this had for daily life were momentous. Instead of working for their traditional needs, people now had to produce goods for a market. Old customs ceded to private contracts and political laws. The superior knowledge of science replaced the inherited worldview. This deep changed severed societies from their ties to the past. Many educated people in Europe believed in an imminent end of all religions. Had not the scientific progress superseded the religious worldview? Historians had to come to terms with that expectation when they directed their attention to historical religions. Friedrich Max Muller introduced a new science, so-called Religionswissenschaft through the study of the ancient Vedic sources. He thought that genuine religion was a taste for, and sense of, the infinite. From his point of view, the Indian sources confirm that nature is more than mechanical laws. Thus his interpretation sought to contradict the materialist ideology of his day. Edward Burnett Tylor described religions as a kind of natural philosophy. His notion of 'soul' functioned to explain natural events. This legacy of the past cannot be missed even in modern society. Only the concept of the soul may preserve human dignity in an age of materialism. Gerardus van der Leeuw, also tried to perform the same function of the cultural critique for the renewal of the religious imagination in modern, rationalized Europe imprisoned in the iron-cage. In this respect, we could think that the interpretations of the history of the History of Religions in the light of the intellectual history are very suggestive for the korean student of religion. It helps them to describe the early history of the study of religion in Korea. For example, Yi Neung Wha(李能和) is regarded as 'a father of korean religious studies, but no one could present a proper answer for the question of why and through which connection of his intellectual milieu he was interested in the religious history and the study of religion. We would discover its signification in his confrontation of the prevailing social thought, such as social evolutionism.

• Journal of the Korean Society of Costume
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• v.16
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• pp.15-42
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• 1991

A nation's culture isn't consisted by the characteristics of the nation only, but it is greatly affected by the geographical features and natural conditions, and it could be also dominated by the continual effect through mutual contact on economic exchange or social problem and political interests with neighboring countries. It is a well known fact that the contact of culture between Korea and Mongolia established under the special political situation that Corea was invaded by Won. But more basically, the Nomad including Mongolia had influenced upon neighboring countries, therefore, our country was also greatly influenced on consisting of our own culture by them. Moreover. the fact that our language belongs to their language's category(mostly Tweigru and Mongolian language) proves that the origin of our culture was deeply related with Mongolia. Accordingly, we could not limit the cultural relation between Korea and Mongolia within a special era. But especially, since unification of China by Mongolia, Won which appeared as a new great nation had dominated Corea for one hundred years, and the Corea's costume culture had a point of conversion to the mongolian. Therefore, this study expects to comment upon the relations of costume between Corea and Mongolia from a view point of Corea's tribute and royal gifts gifts by Mongolia written on the reference literatures. 1) From the ancient times, between our country and Mongolia there has been a direct or indirect exchange caused by the people's movement or invasion due to very closed neighboring. The relations between Corea and Mongolia have started from the mongolia's requests of tribute for the reason why they helped Corea against the Keoran's invasion, and these relation had continued by King Kongmin's age. 2) Mongolia had plundered a tribute such as dress, cereals, horses, military supplies, soldiers, maiden and little girls etc. from Corea, and therefore, a great confusion occurred on political, economic and social fields. And since King Chungyoul of Corea got married with a Princess of Won, the Corea's position was placed as the Buma nation(nation of son in law) and then high class people of Corea preferred to follow the mongolian costume such as Byunbal (pigtail), Ho dress (mongolian dress), Rouges, Chockturi (a kind of formal cap) and Doturak pigtail ribbon, and some have been applied up to date. On the other hand, the custom of Corea had transmitted to the Mongolian nobility, they called it "Corea Yang(style)". 3) The costume of Corea could be divided into three different periods, the first is the period influenced by Tang and Song's regime, the second is affected by the Won's costume and the third is applying the Myung's regime in the end of Corea. The Mongolian dress was based on the Ho dress form and it has been developed through compounding artistic traditional fields and foreign customs in long history. And Mongolia is composed of various tribes, therefore, they have their own dress for each tribe. Our country and Mongolia had a similar dress form based on Ho dress and both used the Chacksukunggo (jacket with small sleeves and slacks) and Seon(line). And the ornaments of costume such as Chockturi, Doturak pigtail ribbon and Rouges had transmitted and fixed down as a traditional wedding garment, but the Rouges has been used by noble women from the ancient times in our country. Since a member of the Society of Korean Costume has visited Mongolia in August 1990 for the first time, I really recognized the neccesity of more detailed study on the costume relation between Korea and Mongolia, and I will proceed with the study on various fields of costume under cooperation of Institute of Oriental Academy of Mongolia.

• (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 Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• Journal of the East Asian Society of Dietary Life
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• v.14 no.1
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• pp.1-10
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• 2004

This study was conducted to investigate the dietary behavior and image and preference of Japanese foods. The Subjects were consisted of 570 university students(243 males and 327 females) in Daegu and Kyungbuk area, Korea. The students responses to the 10 questions about image of Japanese foods were also measured on 5 point Likert scale. Data were presented by using frequency, percentage, chi-square test and T-test. The results of this study were as follows: (1) On the eating habits, 'the whole family has breakfast together with same foods everyday'scored high as 42.3％ and 'foods put in a big platter by gathering everyday'as 35.8％. (2) About the eating customs, 53.5％ of the subjects responded that the seat was fixed at meal time, 56.4％ didn't start to eat before the patriarch started a meal and 30.9％ responded that the head of a family had more foods in number and quantity. (3) On the table manners, 13.4％ of the subjects were scolded about 'watching TV on eating', 11.5％ about 'making left-over foods', 8.0％ about 'misuse of spoon and chopsticks'. (4) The preferred ethnic foods by University students was in other of Korean, Chinese, Italian, Japanese and French foods. (5) Among subjects, 93.8％ had no experience of visiting Japan and 92.6％ wanted to visit Japan. Images on the Japanese foods were 'the price is too expensive' (mean 4.15) and 'the decoration is wonderful'(mean 4.05). But the subjects did not think Japanese foods as 'hot'(mean 2.21) and 'greasy'(mean 2.51). (6) The favorite Japanese food of subjects was Udon(mean 3.98), Sushi(mean 3.85) and Tempura(mean 3.69). So Udon turned out to be the most popular Japanese foods by university students in Daegu and Kyungbuk area, Korea. But they did not prefer Natto(mean 2.68), Ochazuke(mean 2.76), Okonomiyaki(mean 2.87) and Misosiru and did not eat. From the above results, Korean university students preferred Udon to Natto among Japanese traditional foods, and they estimated Japanese foods as 'too expensive'. Therefore, lowering the price and developing the cooking method for Korean taste were needed to increase the intake of Japanese traditional foods by Korean university students and.