• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.101-109
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• 2012

Traditional village forests in Jeju Island represent unique cultural landscape with a history of more than several hundred years as a national cultural asset in Korea. In this paper, the characteristics and meaning of traditional village forests in Jeju Island was compared with the Dangsan and Bibo forests at inland. There are 368 Oreums, parasitic volcano, and 391 shrines of Dang(Divine place) in Jeju. Life, culture and tradition of rural villages are all connected with the Dang and Oreum in Jeju. It has been found from this study that the village in Jeju were established as a cultural landscape on the surface of natural landscape. The features of traditional villages focused on the Dang and Oreum in Jeju Island were similar to the Dangsan and Bibo forestsat inland villages. The Oreum represents mountain and the Pojedan forest is newly found in Sangmyung-ri. The seashore areas are covered by vaocanic rocks in Jeju and large scale windbreaks are hardly found. The stone tower at Sinheung-ri built for blocking sand movement represents Bibo forest. The special attribute of the Dang in Jeju is that it is close to real life and believers are still remain. In 2009, the Jeju Chilmeoridang Yeongdeunggut ritual was nominated as an Intangible Cultural Heritage of Humanity by UNESCO. The shrine of Dang, however, has been degraded fast by construction of seashore road and Jeju Olle trail path. As for the world cultural heritage discussed at international conferences, it is important that there is sustainability on the right to enjoy cultural heritage. Integrated efforts from local residents, local governments and national government are needed to set up a management scheme for the Dang culture. Rural villages in Jeju with the Dang and Oreum are expected to get an international attention as to have traditional cultural landscapes of Korea.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.42 no.1
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• pp.1-13
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• 2024

This study requires a strict distinction between the sculptures we call 'Jangseung' because their origins, history, or functions are different from each other. Therefore, a theoretical consideration was made through the origin and history of Jangseung. Currently, Jangseung is widely distributed throughout the country, but the Honam region shows the largest distribution, and 73 out of 167 locations nationwide remain in the Chungcheongnam-do region. Among these, there are 54 stone jangseungs in Jeollanam-do, 37 in Jeollabuk-do, and 19 in Jeollabuk-do. In particular, the original shape of the stone jangseungs in the Honam region is well preserved, and as a center of the agricultural economy, the jangseung culture is active in this region. It was popular, and many stone jangseungs were built in the Daejeon area amid social changes in the late Joseon Dynasty. However, in the South Chungcheong region, there is not much culture about stone jangseungs, but there is a village meaning and consciousness that stone jangseungs have, but it is true that research on stone jangseungs is insufficient in various aspects. Among them, the form of the stone jangseung built between the 17th and 19th centuries is a sculpture that contrasts with the wooden pillar-type jangseung that is common in the central region, and shows the simple mentality of the people of the Daejeon region without any embellishment. Through Jangseung, we were able to discover the unconscious and potential creativity of national aesthetic consciousness. Therefore, the purpose is to trace the change process of the stone jangseung in the Daejeon area, investigate the functional aspects of this structure, and based on this, examine the various current status and locational characteristics of the so-called stone jangseung. In addition, the wooden figures and stone statues that are now commonly known as Jangseung were each erected in different times and for different reasons. Centering around Daejeon, the study attempted to research and identify representative stone monuments or 'stone jangseungs' that appear as stone statues, and even suggest their form through locational characteristics and suggestions. As a result, traditional jangseungs have changed in various forms as times change, reaching their present form, and the religious elements of modern jangseungs made and erected today are weakened or disappeared, and are used as symbolic symbols or sculptures of tradition. Although it has lost its traditional function as an object of village faith, it functions as a milestone or sign at the entrance to a village or event site, or as an exhibition in special places. It was found that the modern jangseung is a representative symbol of Korean traditional culture and is being re-created as an artistic sculpture that expresses common, simple, natural beauty and humor. Therefore, through this study, based on more specific and systematic investigation and research on the jangseung, it was materialized into a more developed form considering its utilization plan to prevent miscellaneous spirits from entering the village through the currently existing stone jangseung and to improve the spatial space accordingly. It is believed that what is located at the entrance can greatly convey its meaning. Therefore, it is judged necessary to maintain the strong characteristics of folk religion without the sophistication of foreign religions for various deities.

• 지역과문화
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• v.8 no.3
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• pp.1-25
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• 2021

Nosong-dong is used to be center of the administration, education and transportation in Jeonju. It has ironically been the location of the city's prostitution quarter 'called Seonmichon'. This place is recently selected as an area of urban regeneration by Jeonju. The project has involved numerous programs which gradually transfer this place for the women's rights and arts. This paper focuses on exploring the socio-cultural meanings of a community museum, an archive for gender equality, and an exhibition site for local artists. The Seonmichon quarter has long been stigmatized as an area of ill repute and regarded with contempt by the surrounding neighborhood. It is space where polarized interests are entangled. City authority has tried to reflect this by presenting a variety of perspectives on the Seonmichon district. An initiative of the community museum has been its hosting of several exhibitions around the themes of women's rights and community arts. The most remarkable aspect of the exhibitions that have taken place in the heart of the Seonmichon district has been the active participation of local community residents as a catalyst for progressive social change. The paper's overall purpose is to provide an introduction and analyze the process of development of the exhibition initiative, and further examine the social role and meaning of the community museum in Nosong-dong, as well as its future tasks and directions.

• Journal of Navigation and Port Research
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• v.40 no.6
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• pp.431-440
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• 2016

This paper suggests facility planning ideas for recreational fishing complexes suitable for family anglers. Existing recreational fishing parks are only equipped with facilities for angling. There are many needs for recreational fishing complexes in coastal fishing villages that include not only angling facilities but also various marine leisure and sports facilities. In this paper we suggest concepts for recreational fishing complexes and define four types of complexes in terms of facilities planning. These four types of complexes are: 1) suburban leisure sports, 2) suburban healing and relaxation, 3) penturban experience and activities, and 4) penturban culture and recreation. Then we propose facility composition in detail for each type. Also we suggest site selection criteria for the village complex, facility infrastructure planning ideas, and leisure facilities (elementary and specialized) for recreational fishing complexes.

• Journal of English Language & Literature
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• v.54 no.4
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• pp.531-560
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• 2008

I hope to demonstrate in this paper the degree to which the works of Leonard and Virginia Woolf, mainly The Wise Virgins, The Village in the Jungle, and The Voyage Out, are contained within the politics of home. In doing so, I aim to challenge some mainstream criticism that affirms their resistance to British imperial desire. Although their statuses as outsiders in the British Empire, being a Jew and being a woman respectively, allowed Leonard and Virginia Woolf to criticize British imperialism and a male-dominated culture as well as racial and cultural hierarchies to a degree, their works inevitably unveil their prioritization of the British white-oriented space. In some ways their authorial positions in relation to their texts uphold the imperial center as an invisible regime of truth in their narratives, supporting the patriarchal and imperial binary oppositional structure and its hierarchical order imposed not only on the British subject but also on the foreign, colonial others. Leonard's and Virginia's inconsistencies and ambiguities betray their racial distantiation and notions of British white superiority, as disclosed in their racially stereotyped descriptions and the absence of real communication between the British characters and the colonial, foreign others. The work of self-repetition, the major mechanism in the politics of home, dies hard in Leonard's and Virginia's 'antiimperial' works. Leonard's and Virginia's struggle to stand against the imperial desire needs a genuine ethical position in order to embrace the Other, which would allow us to explore further and guard against the pitfall of postcolonial criticism's being easily degenerated into a neo-colonial criticism, another politics of home.

• (The) Research of the performance art and culture
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• no.38
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• pp.349-383
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• 2019

This discussion is focused on Donghaeanbyulsingut's 'gutchum-pan to pray'. 'Gutchum-pan to pray' is repeated in almost all of the geori in Byulsingut, so it is a crucial chum-pan that can never be disregarded in understanding Byulsingutchum. Meanwhile, it supposes that Donghaeanbyulsingut is grounded on the activity of producing 'praying (words) and dance (motions)' within its relationship with the structure of capitalistic society along with the context of traditional rituals. The motion that is newly generated as a response to the concrete expression of 'praying' conducted by a mudang (a shaman), that is, the expression coming from the inside associated with the praying is seen as gutchum. This dance is bound to be in competition and interest among shaman groups, and they tend to influence one another. If praying leads to dance, a mudang can gain profits from capital as well as the value of labor. When the mudang succeeds in forming a bigger bond of sympathy with her praying, the object of praying gets more eager to select byulbi and dances a heoteunchum (impromptu dance) more vigorously. This means that a mudang's ability to perform a ritual is associated with the object of praying's consumption. With his impromptu motions, the object of praying comes to go into 'the field of consumption' within the structure of capitalistic competition before he is aware of it. Behind the communication that praying leads to dance, a lot of things are associated with one another organically. 'Gutchum-pan to pray' is generated by the continuous movement of diversity and unity that the time has within the ritual of the mudang and the object of praying. It continues to create the future 'self' that is different from the present 'self', and it means that he expects variability from the present 'self' through 'gutchum-pan to pray'. The mudang also prays for him arranging the variability of the other (the object of praying) inside her labor. In a big picture, of course, the mudang expects the variability of herself, too, which is connected to the value of her labor. The variability that they expect forms a crucial axis that determines where the flow of time and space that the 'gutchum-pan to pray' has is directed to. The contents of praying are directly related with the villagers' lives, and what leads to dance is mostly related with their jobs. This implies that what the mudang experiences in her everyday consuming activity is directly associated with the villagers' activity for earning money. In other words, the contents of that praying change constantly according to the flow of capitalistic economy. Also, those striving to respond to it before anyone else also expect better life for them by substituting their self to the 'gutchum-pan to pray' eagerly. If so, who are the ones that generate 'gutchum-pan to pray'? This can be understood through relationship among mudangs, relationship between the mudang and villagers, and also relationship among villagers. Their relationships can never be free from the concepts like labor in capitalistic society, consumption and expenditure, or time; therefore, they come to compete with the other, the present self, or the better self within the diverse relationships. This gets to be expressed in any ways, words or motions. And the range that covers the creation of either group or individual 'gutchum-pan to pray' in the village is the village community. Outside the range, it is upsized to the competition of the village unit, so individual praying may become diminished more easily. Although mudangs pray in each geori, it does not mean all praying leads to dance. Within various relationships between mudangs and villagers, 'gutchum-pan to pray' comes to be generated, repeated, and extinct. As it is mitigated to more positive competition, it does not lead to gutchum any longer. In other words, repeating 'gutchum-pan to pray' previously created has turned the object of praying into the state different from the former. Also, the two groups both have experienced the last step of Byulsingut, and at that point, praying does no longer lead to dance. In other words, from the position of the shaman group, it is the finish of their labor time and ritual performance, and from the perspective of the villagers, it means the finish of consuming activity and participation in a ritual. The characteristics of 'gutchum-pan to pray' can be summarized as follows. First, it goes through the following process: competition in the village group → competition in the group → competition among individuals. Second, repeated praying does not lead to 'gutchum'. Third, in the cases of praying for each of the occupation groups, the mudang can induce a bond of sympathy from the objects of praying directly, and this lead to dance. Fourth, the group that fails in being included in the category of praying gets to be alienated from 'gutchum-pan to pray' repeatedly.

• The Journal of the Korea Contents Association
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• v.15 no.12
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• pp.234-246
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• 2015

When the Information age led by media comes, The literature yielded its prominence to visual media, and the Korean literature also faced a crisis, prompted by decreased demand for it. In this reality, literature festivals which have increased rapidly since 1995 and currently number at least 110, when the local government system was launched, played an important role in promoting literature to the society. This thesis has selected Manhae Festival, one of the most vibrant and successful, as the case study to analyze its present status and accomplishments to derive ways for improvement which can be used to promote policies on literature. Manhae Festival which celebrates Manhae Han Yongun, a poet and an independence activist, also became one of the top literature festivals through Manhae Grand Awards and various cultural, art and academic events, despite being held in Inje County, Gangwon Province, a remote location. Based on this study, in the near future, Manhae Village, as a complex cultural venue, as a If we can make the place into complex cultural space and with additional policy support by gaining political supports like designation as Slowcity and special zone of culture and tourism, and pursuing glocalization by making Manhae into a star brand, Manhae Festival will cement its current position as a successful literary festival. It has very meaningful since most of literature festivals operate in small scale. Now, we need to develop literature festivals into local ones by attracting larger popularity. Meanwhile, a more comprehensive study, in the future, is needed with special emphasis on successful literary policies and their precedents in other countries.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.2
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• pp.15-25
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• 2017

The objective of this study is to investigate the value of rock Korean chessboards as a corroborative evidence that go, the play culture naturalized from the past, was also performed under the pavilion of the mountain stream, and the old tree. This study executes analysis on the location and form of rock Korean chessboards, physical environment such as the position of surrounding space, the origin of the nomination, surrounding landscape, and historical significance through the research analysis of comprehensive present conditions, and highlights the position types, landscape significance, and preservation value of the rock Korean chessboards of Korea from diverse angles. The result is as follows. 1. The styles of Korean chess (將棋), which identically propagated in the representative countries of Eastern culture, Korea, China, and Japan, and modified in accordance with each country's idea and native tendency, were organized, and confirmed the Korean Go as a naturalized native culture. 2. Out of 15 rock Korean chessboards confirmed through this study, 9 (60%) were categorized as rock Korean chessboards, and 6 (40%) were categorized as stone Korean chessboards. Also, the average size of the go boards were $51cm{\times}46.6cm$, which demonstrated not much difference with present day universal go boards. The Pearson correlation coefficient between bed rock and go boards were 0.647, demonstrating a relatively high correlation; the research subject of rock go boards have been constructed in consideration of rationality, convenience, and the value of promotion of public welfare. 3. The results of analysis of location patterns of rock Korean chessboard showed that villages (87%), mooring (73%), plains (60%) and mountains (47%). The most frequent location pattern is mooring and village, and these two factors played the most important role in determining the location of the rock Korean chessboard.

• Korean Journal of Heritage: History & Science
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• v.36
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• pp.347-377
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• 2003

China is a country with large agricultural areas and subject to frequent calamities. Drought is the top of them. It has been a key problem for development of agriculture in the country. In the long struggle against drought, Chinese have accumulated many rational and irrational experiences. The Dragon Kings Belief, which is popular in North China and discussed in a thesis, is one of their irrational experiences. The belief was passed together with Buddhism from India to China in the Tang Dynasty. After it settled down, it was incorporated with the local five dragons belief and a set of beliefs in dragon kings came into existence. The emergence of the dragon kings belief ended the history that the title of rain got was not clear in China and Dragon kings finally got the status. Irrigation is the lifeblood of agriculture in China. In a Chinese mind, Dragon kings are the most important gods who take charge of rain and thus offer the lifeblood. In understanding the nature and characteristics of Chinese traditional culture, it is important for us to make clear the origin and evolution of the belief, find out its nature, function and operation. In the every year beginning of February of the Fanzhuang calendar in the people of Hebeisheng Zhaoxian, would all hold a festival to offer sacrifices to the $^{{\circ}TM}^{\prime}longpai$. Longpai was regarded as the core of the temple fair, thus the native sons came to call this festival; "longpaihui". In this region the'Fanzhuang longpaihui'developed into a well knownand grand temple fair. It was able to attract numerous pilgrims with its special magic power, occupying a place in $China^{{\circ}TM}$ 'eryueer'festival with festive dragon activities. The dragon is a common totem among Chinese nationals. The belief worship of the dragon dates from the start time of primitive societies. Dragon oneself the ancients worship's thunder lightning. In the worship of the great universe, at first afterwards this belief with the tribe's totem worships to combine to become the animal spirit. In ancient myths legends, along with folk religion and beliefs all hold a very important position. The longpaihui is a temple fair without a temple; this characteristic is a distinction between longpaihui and other temple fairs. As for longpaihui must of the early historical records are unclear. The originator of a huitou system has a kind of organized form of the special features rather, originator of a huitou not fix constant, everything follows voluntarily principle, can become member with the freedom, also can back at any time the meeting. There is a longpaihui for 'dangjiaren', is total representative director in the originator of a huitou will. 'banghui' scope particularly for extensive, come apparently every kind of buildup that help can return into the banghui, where is the person of this village or outside village of, the general cent in banghui work is clear and definite, for longpaihui would various businesses open smoothly the exhibition provides to guarantees powerfully. Fanzhuang longpaihui from the beginning of February to beginning six proceed six days totally. The longpai is used as the ancestry absolute being to exsits with the community absolute being at the same time in fanzhuang first took civil faith, in reality is a kind of method to support social machine in native folks realize together that local community that important function, it provided a space, a kind of a view to take with a relation, rising contact, communication, solidify the community contents small village, formation with fanzhuang. The fanzhuang is used as supplies for gathering town, by luck too is this local community trade exchanges center at the same time therefore can say the faith of the longpai, in addition to its people's custom, religious meaning, still have got the important and social function. Moreover matter worthy of mentioning, Longpai would in organize process, from prepare and plan the producing of meeting every kind of meeting a longpeng of the matter do, all letting person feeling is to adjust the popular support of, get the mass approbation with positive participate. Apart from the originator of a huitou excluding, those although not originator of a huitou, however enthusiasm participate the banghui of its business, also is too much for the number.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.307-319
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• 2019

This study aims to provide the basic materials for the development of leisure and tourism contents in connection with Osaek cableway for the revitalization of Osaek District. For such a purpose, the following policy directions were presented through the analysis of the present situation and conditions of Osaek District, the direction of development of leisure and tourism contents of Osaek District, etc. The first is increasing the participation of local residents and reinforcing their capabilities. The suggested promotion plans are ① establishing organizational system and strengthening support, ② reinforcing the capabilities of local residents and ③ constructing networks with external human resources. The second is setting the guidelines for contents development. It was proposed to prepare contents for leisure experience using the natural environment of Osaek District in response to the trend of increase of people who enjoy "contents using culture and arts" and leisure. The third is typological approach to contents. It was proposed to develop cultural contents with the theme of Osaek such as "Osaek Light Festival", "Osaek Concert", "Osaek Photo Exhibition" and "Osaek Good Men and Women Contest" for the promotion of the brand of the place name of Osaek and the creation of the "Picture Book Village" for the compilation of the history and culture of Osaek District with pictures. The fourth is securing marketing channels. For this, it was proposed to produce the website of Yangyang County or a website tentatively named as "Osaek-ri with Beautiful Osaek" and introduce an integrated travel product (transportation + lodging + foods + experience (hot spring, mineral water therapy, leisure experience, etc.) + purchasing local specialty products, etc.) composed of the leisure and tourism contents, transportation, lodging, foods, etc. of Osaek District through travel agencies. The final policy direction presented was phased implementation of the development and operation of the contents. Proposed policies include support of a consulting project to upgrade the organization of local residents; implementation of "Tourism Dure (Cooperative)" project for the solution of the problem of tourism in Osaek District by the residents themselves together using the space of culture and arts made by remodeling idle public and private facilities after benchmarking exemplary places; system improvement for the introduction of leisure and tourism contents appropriate for local conditions; and the establishment of a master plan for the introduction of various leisure and tourism contents in Osaek District.