• (The) Research of the performance art and culture
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• no.32
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• pp.7-30
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• 2016

The inter­relationship of Korea southeast region community related to a mask dramas in depth. The Folk mask dramas are, for traditional community members to live well and enjoy cultural practices in society. Even if a mask drama would be performed in the 21st century, it would be the one of traditional society. It shows the life of traditional society and proposes the issue of traditional society. The thing is handed down well with technology of a mask drama assigned as intangible cultural asset. The Korea southeast region, Kyongsang Provinces, or Yeongnam area has been handed down several kind of mask dramas. These are Byeolsingut Talnori with religious, the Ogwangdae of wandering play team, the Ogwangdae of local residents, and the Dulnorum of local residents. The mask dramas of Korea southeast region are specified as intangible cultural asset, many traditional mask play were restored. The restoring is imitation. These things are difficult to assigned as the intangible cultural asset. But though it is the imitation of the mask dramas, it is culture phenomenon. So we need to make the fostering system.

• Korean Journal of Heritage: History & Science
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• v.42 no.1
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• pp.188-209
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• 2009

Dangsan forests had been established by local residents several hundred years ago. They were disturbed in various ways, but still remain in many villages where dangsan festivals are held every year. Although the remaining Dangsan forests represent korean rural cultural landscapes, their characteristics still remain to be uncovered. The objectives of this study were to understand the three elements, Dangsan tree (Divine tree), shrine and stone tower, and to investigate the culture at inland areas and seashore areas relation to Dangsan forests. Twenty cases of Dangsan forests at inland areas and twenty at seashore areas were investigated. There were nine shrines and six stone towers found out of twenty inland Dangsan forests. Fifteen shrines were found out of twenty seashore Dangsan forests. Stone tower was not found at seashore areas. Fifteen events of dangsan festival were investigated. Dangsan festival appeared to have played an important role to preserve Dangsan forests. Based on the findings of this study, Dangsan forests are, as landscape elements at inland and seashore areas, proved to have a potential for the improvement of cultural and natural landscapes in the country.

• Korean Association of Arts Management
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• no.51
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• pp.191-219
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• 2019

Adoption of applicable law for the international trade of artworks is closely related to the results of lawsuits. Recently, starting with New York, the hub of the international artworks market, a modern, mixed-law is gradually being adopted more. It is difficult to designate an applicable law of an international trade of artworks through private laws regulations of relevant countries, and the public laws regulations must also be considered in relation to individual benefits and the public benefits to the relevant countries. With regards to the foreign relations issues, Korea's private international law embraces a so-called public order theory, and according to the Section 7 of the Act on the Private International Law and its enactment history, the compulsory provision, which seems appropriate for application to the corresponding matter, applies without regards to the selection of the applicable law. The Civil Act of Korea acknowledges bona fide acquisition of a cultural asset, in principle, if the Cultural Heritage Protection Act is not applicable. Moreover, a lost artwork is also a subject of bona fide acquisition; however, if the relevant artwork is either stolen or lost, the original owner has the right to demand the return of that artwork within 2 years of being stolen or lost according to the Section 250 of the Civil Act. Also, if the buyer purchased from a distributor specializing in the artworks, such as auction, open market or gallery, the buyer could request a compensation of the purchase price from the original owner, and if the buyer purchased through a private transaction, the buyer cannot demand a compensation of the purchase price and must return the artwork.

• The Journal of Art Theory & Practice
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• no.1
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.6
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• pp.66-80
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• 2009

This paper attempts to investigate how the cultural phenomena associated with 'Wuyi-Doga(武夷棹歌)' and 'Wuyi-Gugok (武夷九曲)' was introduced to Joseon. The icon and code of 'Gugok' cultural text which was observed in the process of transmitting the culture through repetition and imitation were examined. With regard to research methodology, an 'analysis and discussion framework' was designed based on the literature review, field survey and the seven textuality criteria proposed by Dressier. Then the textuality of 'Wuyi-Gugok' was analyzed in terms of the dependent relation of text, the relationship between the creator and user, repetition, imitation and the spread process. Since ZhouHee(朱熙)'s 'Wuyi-Doga' and 'Wuyi-Gugok' were introduced to Joseon through literature and paintings, they became a part of the cultural Phenomena with unprecedented popularity. As a result, a great number of imitations can be found. In addition, governors would even take care of political affairs in a scenic mountain valley as described in this literature. Regardless of the writer's intentiot 'Gugok' settled in Joseon as new culture in harmony with Taoism and Sung COnfucianism. In other words, Joseon's Gugok-Wonlim(九曲園林) accepted the nature-appreciation aesthetic consciousness in 'Wuyi-Doga' and 'Wuyi-Gugok' on the basis of Taoism and Sung Confucianism. In terms of the text-based dependent relation only, however, the geographical coherence was somewhat loosened while the Gugok Culture that was dependent on Taoism or elegance in life dominated the internal structure of the textuality. Meantime, the internal factors that dominated the textuality of 'Wdyi-Gugok' were interpreted as 1) 'Aesthetics of Bending, Water Whirls', 2) 'Territoriality Expression Carve letters,' 3) 'Cultural Landscape seeing through the Speculation of Meaning,' 4) 'The Pursuit of Oddness and Presentationism' and 5) 'Transcendental Landscape of Taoism and Topos.'

• Korean Journal of Child Studies
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• v.26 no.5
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• pp.39-57
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• 2005

Participants in this study of adolescents residing in differing ecological environments were 200 Korean-Chinese middle school students of Yanji, China, and 200 Korean middle school students of Gyeongbuk Province, ROK. Instruments were the Inventory of Parent and Peer Attachment(Armsden & Greenberg, 1987), Social Competence Inventory(Doh & Falbo, 1999), and Self-Perception Profile for Adolescents(Harter, 1988). For Korean-Chinese adolescents, attachment with mothers directly influenced peer relationships and school adjustment; indirect influence was mediated by self-concept. For Korean adolescents, attachment influenced peer relationships and school adjustment only indirectly by self-concepts. These findings contrast with those of Choi & Lee(2005) suggesting that the socio-emotional outcome of attachment should be understood in relation to socio-cultural context as well as developmental stage.

• Korean Institute of Interior Design Journal
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• no.21
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• pp.62-68
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• 1999

Researching behavior of users in public library is very important processing and their activities can be judged with the regard of required inner spaces and related those functions. The subject of this study is to examine the organization of inner spaces in public library and to propose the prototype of space composition in public library on the future. Not only the relation of space program of each library but also the network among public libraries are not connected efficiently. That's why the public library is not used as local cultural place. Usually, the organization of inner spaces has not been recognized and approached satisfactorily. As the result of the above researching, the function of the culture facilities should be connected to the open study-room which now using just for study. It will make users to recognize and approach public library easily.

• International Journal of Costume and Fashion
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• v.15 no.1
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• pp.19-37
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• 2015

Expanding upon Zhang and Kim's (2013) study involving Chinese consumers, this study investigated key factors that influence U.S. consumers' attitude towards purchasing luxury fashion goods and purchase intent and examined what similarities and differences exist between the two consumer groups in relation to the key factors. A total of 414 respondents completed the online survey questionnaire. Structural Equation Modeling was utilized to analyze data. Brand consciousness, materialism, fashion innovativeness, and fashion involvement were significant factors that affect U.S. consumers' attitude towards luxury fashion goods. Overall, the findings of the current study were greatly inconsistent with Zhang and Kim's Chinese study. The inconsistency provides vital implications to luxury fashion retailers by showing that one size does not fit all and one strategy does not fit all markets.

• Proceedings of the Korean Society of Computer Information Conference
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• 2013.01a
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• pp.51-52
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• 2013

본 연구는 게임이용자의 게임선택에 있어서 게임이용자와 게임캐릭터의 관계를 분석하는데 그 목적이 있다. 국내 게임시장이 게임업체간의 치열한 경쟁구도로 레드오션으로 바꿔진 현 시점에서 게임업체들은 게임이용자의 게임선택요인을 조사 분석하는 것이 매우 중요하다. 2010 대한민국 게임백서에 의하면, 게임이용자의 게임 선택 요인으로 캐릭터 선호도는 좋아하는 장르(57.3%), 지인추천(15.1%) 그리고 좋아하는 내용(13.7%)에 이어 4위를 차지하고 있을 정도로 매우 중요한 게임 선택 요인이라 할 수 있으며, 애니메이션, 게임 등 문화콘텐츠 산업에서 캐릭터와 관련된 선행연구에 의해서도 캐릭터의 중요성을 언급하고 있음을 알 수 있다. 따라서 게임 캐릭터는 게임이용자가 게임을 선택하는데 있어서 매우 중요한 변수라 할 수 있다.

• English Language & Literature Teaching
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• v.13 no.1
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• pp.261-282
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• 2007

The purpose of this study is to investigate American traditional values and American culture in English education. The understanding of American culture in English education requires the analysis of world changes in the global age. The history of American English, the formation of American society, and the background of natural environment are described in relation to the traditional American values of the earliest settlers, such as multi-culture, individual freedom, frontier heritage in the West, equality of opportunity and wealth and material abundance. Hence the case studies of students' project presentations on the American culture in English education exemplify the reflection of American traditional values in the current American life and society. It is concluded that project-based method with regard to cultural studies in English education reveals very positive learning effects by driving students' interests and active participation through the student-centered, creative, and cooperative project presentations.