• Journal of Christian Education in Korea
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• v.61
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• pp.9-35
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• 2020

In the second half of the previous century the composition of the teacher population - and the composition of the pupil and parent population - in the Netherlands gives rise to the name change 'age of secularisation' to 'age of pluralisation'. In previous centuries the (religious or secular) worldview identity of the parents and the educational philosophy of the school were attuned to each other, and merged into a mono-cultural perspective on the identity development of pupils. The basis for both - the upbringing by the parents and the socialisation in the family on the one hand, and the teachers' efforts to enculturate the students at the school on the other - was a similar life orientation. The school choice of the parents was predetermined by their commitment to a particular (religious) worldview, very often inspired by Christianity. The religious identity of their children developed in a clear-cut context. However, in contemporary society plurality dominates, at home and at the school, both in case of the parents and the teachers. A direct relationship with a community of like-minded believers is no longer decisive for parents with varying cultural and religious backgrounds. Instead, a good feeling upon entering the schoolyard or the school building is a convincing argument in the process of school choice. The professional identity development of teachers and the religious identity development of children takes place in a plural context. Our question is: what does this mean for the normative professionalism of the teacher? To answer this research question we make use of the resources of the Dialogical Self Theory (DST) with its core concepts of 'voice' and 'positioning'. After presenting the Dutch dual education system (with public and denominational schools) we provide a lively description of a Dutch classroom situation occurring in a public school, as viewed from the perspective of the teacher. The focus in this description is on performative dialogue as a 'disruptive moment' and on its potential for the hyphenated religious identity development of teachers, which makes up a part of their normative professionalism.

• Journal of Conservation Science
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• v.27 no.1
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• pp.61-74
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• 2011

The material characteristics of Chos$\breve{o}$n whiteware were investigated by analyzing and comparing the body and glaze compositions of whiteware shards excavated at the Kwangju royal kilns, Ch'unghyodong, and four other local-level kilns. In Korea, the rise of whiteware technology began in the early years of the Chos$\breve{o}$n dynasty, when the indigenous tradition of Kory$\breve{o}$ celadon was strongly influenced by the whiteware aesthetics of the Chinese Ming dynasty. The Kwangju royal kilns eventually made hard-textured whiteware of a quality equivalent to that of the Chinese by using type of porcelain stone that contained slightly less $Fe_2O_3$ and $TiO_2$ and slightly more $K_2O$ than that used for celadon. In contrast, the potters of Ch'unghyodong achieved the same level of quality by finding and using a totally different material: kaolinitic clay. The porcelain stone used at the Kwangju kiln was commonly found in Korea and south China, whereas kaolinitic clay (which has a high aluminum content) was typically found in north China, and was only rarely used in Korea. The flux component of the glaze compositions was mostly limestone, first in burnt form and later in crushed form, and the clay component was often glaze stone, which was a finer-grained porcelain stone with a higher proportion of feldspar. In the future, this comparative analytical study of Korean whiteware components should be extended to the $18^{th}$- and $19^{th}$-century kilns that are currently being excavated at a rapid pace.

• Archives of design research
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• v.17 no.4
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• pp.211-222
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• 2004

During the 1980s, Textile design achieved a remarkable growth in creating aesthetic effect and in establishing its standing by responding to demands of the time effectively and seeking changes proactively. This was a period when Textile design constructed its modern concept as it was attempting a qualitative improvement through advanced technology, high class, and differentiation. The advent of advanced materials through the development of textile engineering, employment of craft techniques to further cultural and artistic orientation, and restoration of decorativeness in pursuit of sensitivity, all these developments of the 1980s contributed to the rise of above characteristics. In this study, attempts are made to grasp the new trend of Textile design during the 1980s and to review diverse methods of aesthetic creation and plastic possibility which this trend presented for the Textile, and thus to recognize the role of Textile design and its importance in a new light. The new trend of Textile design during the 1980s can be summarized as follows: 1) An appreciation of the creative aspect of the Textile. As attempts are made to emphasize visual and sensitive aspects of the medium, Textile tended to become an object of art itself. 2) A new awareness of the representative and plastic capacity of the fiber material. As attempts are made to develope the creative potential of the Textile, representation of the material tended to become more diversified. 3) A recognition of the Textile as a proper means to deliver the spirit of the time. As the medium accommodates and fuses diverse cultures including traditional culture, more emphasis was place on cultural contents of the Textile. In the process of pursuing these changes, Textile design of the 1980s has also contributed to the creation of new values, laying the groundwork for its emergence as an advanced high value-added industry.

• Journal of the Korean Institute of Landscape Architecture
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• v.42 no.2
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• pp.41-51
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• 2014

A self-administered questionnaire survey and face-to-face interviews were conducted on 150 local residents belonging to seven villages, 160 visitors and 86 experts in order to analyze the attitudes of groups of local residents, visitors as well as experts toward the development plan of Sobaeksan Jarak-gil. Reliability analysis and one-way ANOVA were performed on the data collected by a questionnaire survey using IBM SPSS Statistics 20.0 after coding. The Duncan Test was conducted as a post-hoc test. Based on the analytical results, in economic terms, the expert group expected an increase in income, improvement in living standards and increase in expenditure for the maintenance of local infrastructure. In environmental terms, the visitor group was highly concerned about the disruption of the local natural environment and ecosystem, destruction of local properties and landscape, increase in water/soil/air pollution and increase in solid waste and noise. In social and cultural terms, the expert group had higher expectation for excavation of traditional cultural properties, instillation of local patriotism and pride, and the visitor group was highly concerned about a rise in crime, destruction of indigenous culture/increase in imitations, and induction of conflicts between residents. It is estimated that these results will be used as basic data for establishing the development plan of the mountainous ecological trail reflecting opinions of various groups.

• (The) Research of the performance art and culture
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• no.37
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• pp.95-125
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• 2018

While myriads of small and large festivals are being organized in many regions across the country after the successful establishment of local governments around 2000, the undeniable fact is that the identity and purpose of such events are not properly reflected in their programs. This paper carefully examines the 2017 Jeonju International Sori Festival as an exemplary case of a local performing art festival to contribute to the improvement of performing art festivals in the future. In particular, it focuses on a musical program with respect to the composition, content, meaning, and direction that can effectively reveal the identity and intention of a festival. The most significant accomplishment of the 2017 Jeonju International Sori Festival is that it presented a local cultural resource, Pansori, in various ways not only to manifest its identity but also to satisfy both the enthusiasts of such musical genre and the general audience. The achievements of the 2017 Jeonju International Sori Festival through the performing art program can be summarized as follows: first, it created a new image of traditional music; second, it realized the desire to rise above regional and generational demarcations through cultural communication; third, it provided a stage for budding and local artists; fourth, it served as a vehicle for summoning the public; and last, it was conducive to expanding the spectrum of potential audience. This paper has limitation in covering the subject of the improvement of performing art festivals because it analyzed only one event. In follow-up studies, a more objective discussion should be performed by further analyzing the 2017 Jeonju International Sori Festival in comparison with various other performing art festivals.

• Korean Association of Arts Management
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• no.58
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• pp.153-177
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• 2021

This study attempted to analyze language networks based on the theory of art policy in the New Normal era triggered by COVID-19 and domestic and foreign policy trends. For analysis, data containing key words of "Corona" and "Art" were collected from Google News and Web documents from March to September 2020 to extract 227 refined subject words, and the extracted subject words were analyzed as indicators of frequency and centrality of subject words through the Netminor program. In addition, visualization analysis of semantic networks has been attempted for the analysis of relationships between each topic languages. As a result of the semantic network analysis, the most frequent topic was "Corona," and "Culture and Art," "Art," "Performance," "Online" and "Support" were included in the group with the most frequencies. In the centrality analysis, "Corona" was the most popular, followed by "the era," "after," "post," "art," and "cultural arts," with high frequency, "Corona," "art," and "cultural arts" also dominated most centrality. In particular, the top-level key words in the analysis of frequency and centrality of the topic are 'online' and 'support' and 'policy'. This can be seen as indicating that the rapid rise of non-face-to-face and online content and support policies for the artistic communities are needed due to the dailyization of social distance due to COVID-19.

• Korean Association of Arts Management
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• no.49
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• pp.149-176
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• 2019

It is a known fact that the spread of multiplexes has contributed to movie industry flourish and extending public rights for enjoying movies. However, in terms of Urban Discourse, Multiplexes centered in new downtown have given rise to Doughnut Phenomena in old downtown. It is especially regrettable that the local theaters which have been symbolic cultural spaces storing the 'memory of life' of local communities are disappearing due to a recession of business zone in old downtown. Japan has long been worked in various activities spotlighting on movie/image contents as the major means of creative urban regeneration. Among them, the 'Community Cinema' has made a contribution to regional revitalization by improving movie screening environment of the local community through renewal of local theaters and further creating related culture and industry in the local area. In this study, I focus on 'Fukaya Cinema' which started from NPO(Non-Profit Organization) and reused a closed industrial facility to a movie theater in cooperation with local TMO(Town Management Organization). Fukaya Cinema, which operates in the form of a business community, plays important roles as the core cultural facility in the local community and is regarded as a significant case showing a possibility of urban regeneration using movie/image contents. I investigate the specific founding process and activities of Fukaya Cinema and intend to derive the implications from that. Through this, I aim to provide the basic urban regeneration data utilizing movie/media contents.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.107-115
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• 2019

The roots of modern popular music have evolved from blues and jazz music. But now, due to various multimedia developments and the expansion of the online industry, these traditional music is gradually being shunned by the public. When measuring a nation's cultural scale, it does not value only a few genres of popular music. In many advanced countries, music, which has basic artistic value, is trying to support and grow more base expansion in government and businesses, and to meet the needs of consumers. At this time, local jazz and jazz clubs are gradually losing ground, out of dance, rock and ballad music. Everyone should recognize that it is not just a genre of music that is alienated from the trend of the times, but an important part of cultural art that we should develop and nurture systematically. And it should be handled by more media and recognized by the public. Although it is a small market, this paper analyzes the development of jazz music in Korea and various factors that jazz clubs can establish as part of the music industry through analysis of Korean jazz clubs. The artistry and popularity of jazz music, the development of music education programs, the revitalization of government-led performances and the operation of concert halls differentiated from those of broadcasting media will eventually lead to the development of jazz clubs due to the rise of many jazz music lovers. It is also hoped that through the direction of development, we will be able to succeed as a major part of pop culture.

• (The) Research of the performance art and culture
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• no.18
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• pp.315-346
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• 2009

Korean 'Sin-Pa' play is a way to examine self-reliance of Korean culture and influence of Japanese culture on the Korean one in the early modern times. Although the 'Sin-Pa' play has been estimated negatively in many aspects, such an estimation can be different depending on the methodology. Therefore, I tried to explain a characteristics of the rise of 'Sin-Pa' play. While making these trials, I made efforts to reappreciate the developing process of Korean 'Sin-Pa' play and its theatrical structure and value. Particularly, I focused on structure of 'Sin-Pa' play in the context of an actual cognition of colonized Korea. Based on the 'Sin-Pa' play's repertoires I found out that one of the representative characteristics of Korean 'Sin-Pa' play is a changing process from orality to literacy. And I made attempts to uncover some ideological functions and their effects of 'Sin-Pa' play, focusing on and whose story line is usually consisted of 'provocation-pangs-defeat' while it interacted with 'provocation-pangs-penalty' of the structure of melodrama under the contemporary cultural conditions. 'Sin-Pa'' play can be considered as a performance mode to accept the Japanese value embedded in the colonized Korea since the 1910s on the one hand and to resist the overwhelming power of western culture imported through Japan on the other hand. In other words, it was closely related with the cultural-field of that period. Based on these results of this research, I tried to outline what the mode of 'Sin-Pa' was, what it reflected, and what it desired for under the influence of the contemporary cultural conditions. I analysed double qualities of 'Sin-Pa' play as a dominant narrative and/or a resistant narrative considering its relationship with the people of colonized Korea. And also I examined the place of the 'Sin-Pa' play in the history of theatre and in the history of culture.

• Korean Journal of Microbiology
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• v.21 no.2
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• pp.51-60
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• 1983

Cultural characteristics of Strptomyces griseolus isolated from the soil were investigated. This strain was disclosed to utilize D-xylose, and D-glactose in preference order as a carbon source with the formation of glucose isomerase. The addition of sweet potato starch also proved effective promoting the total enzyme activity measured at 29% higher than the control. Corn cob, one of waste agricultural resources, was hydrolyzed in 2~3% $H_2SO_4$ solution at $100^{\circ}C$, 3~5 hours to produce a xylose syrup which gave rise to the recovery of 19.9% in a batch system and 28.2% in a repeated system. By the addition of both 2% of xylose syrup(Be'28) prepared by and us 65% of corn steep liquor (total nitrogen 1.2%), enzyme induction was maximized. The enzyme activity was stimulated by the xylose and the cell growth by the C.S.L. Also, remarkable increase of enzyme activity was noticed by the addition of protein acid hydrolysate 86.2% higher than the control. $QO_2$ of the biomass cultured in 30L capacity jarfermentor recorded low oxygen requirement of 251.2 1/hr. Maximum activity of glucose isomerase was observed noted at the 9th hour after inoculation which is 2 hours faster than the stationery was observed noted at the 9th hour after inoculation which is 2 hours faster than the stationery phase of the biomass growth. Glucose isomerase from the strain was activated by adding the $Co^{++}\;and\;Mg^{++}$ with optimum temperature of $73^{\circ}C$ and pH of 7.2. Conversion ratio of 60% glucose to frutose was 42.5% after 70 hours reaction.