• Journal of the Korean Geographical Society
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• v.47 no.2
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• pp.297-309
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• 2012

This study examines how East Asia is represented in US World Geography textbooks and what kind of cultural and political epistemological frameworks are embedded in those representation focused on China and Japan. For this, four World Geography textbooks that widely used in public middle school throughout the State of Connecticut are selected as the major units of analysis and analyzed using content analysis. The results are as follows. First, The textbooks have the cultural epistemological framework that East Asia are portrayed not only as homegenous and static world but also as exotic world whose mode of life is quite different from that the West. Second, China are represented as having more traditional and negative images, whereas Japan are portrayed as receiving more modern and positive images in the textbooks. This difference is caused by the relationship between the U.S. and them and imply that the epistemological framework on East Asia of American can change according to the relationship between the U.S. and East Asia. Third, the textbooks seem to be dominated by colonialism epistemological framework that emphasize hierarchical order between the U.S. and East Asia and omit East Asian countries' contribution to global cultures and economies as political epistemological framework. These findings suggest the need to investigate the epistemological frameworks underlying World Geography textbooks used Korean classroom about neighbor Asia or non-Western societies.

• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.71-86
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• 2021

The purpose of this study is to reveal the significance of musicals and find a way to utilize them in Korean language culture classes for foreigners. Korean language education aims to improve communication skills, and cultural education is necessary to help students understand not only the language but also the social background and context of the language. Accordingly, the author of this study has put together a lesson plan for Korean culture incorporating musicals, a topic that has been heretofore disregarded in Korean language education. Musicals are an appealing art medium for Korean language learners, as they provide striking visuals centered around distinct narrative structures and music. The musical "Swag Age: Shout out Joseon!," which this study focuses on, provides particularly suitable content, as it deals with social issues that are relevant even in contemporary Korean society and includes sijo (poetry), which can be used to teach traditional Korean literature. Based on the above characteristics, the author of this study outlines a Korean culture lesson plan teaching sijo through the musical "Swag Age: Shout out Joseon!" The class will be for learners of intermediate level and above, and consists of 4 sessions: 1) Understanding the overall plot of the musical, 2) Learning about Korean sijo, 3) Writing sijo based on your own life, and 4) Presenting your own sijo. This culture class is significant in that it goes beyond simply learning about sijo and enables students to internalize the meaning of and actively enjoy sijo by writing their own versions. In addition, it is expected to be a compelling class that, on top of its educational value, introduces and allows students to experience a wider range of Korean popular culture by adding the musical genre to the common repertoire of movies, dramas, plays, and pop songs often covered in Korean culture classes.

• Cartoon and Animation Studies
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• s.51
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• pp.129-158
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• 2018

China has had many excellent Chinese-style animation since the 1950s. These animations are of distinctive Chinese national characteristics. They have won many awards both at home and abroad, such as "Feelings of Mountains and Waters", "Uproar In Heaven", "Why is the Crow Black-Coated" and so on. But nowadays, Chinese animations that mimics Japanese and American animation are very often, and there are few animation works with rich traditional Chinese culture. There are some works in the name of Chinese style, but they have not been fully accepted by the audiences. If one wants to create animated works of Chinese style, the author must have an in-depth understanding of Chinese traditional and folk art. Animation can not be designed only on the surface. This paper mainly studies the traditional five color concept in China and its application in animation. The purpose is to provide some references to differentiate Chinese animation from other countries in terms of style and color. The main content of this paper is to understand the concept and history of Chinese traditional five color views, and to know that this color system has reflected the ancestors' concept of nature and society. On the basis of five monochromatic colors, red, yellow, green, white and black, it is a kind of complex color concept that has been developed and perfected continuously after a long period of accumulation and precipitation in the practice of life. It is the theoretical basis of Chinese traditional color system and a complete set of historical, cultural, philosophical and religious theories. Finally, this paper analyzes the colors and their symbolic meanings of the main roles in "Uproar In Heaven", a color long animation produced by Shanghai Animation Film Studio, including Sun Wukong, the Jade Emperor and Na Zha. Color is the first visual language. The use of color symbols to express the inner feelings, status, good and evil of the characters will affect the audience's emotions, behaviors and opinions imperceptibly. The traditional Chinese five color concept has gone through such a long history, and its symbolic meaning has a more profound impact on Chinese people. Applying the color concept and symbolic meaning of Chinese traditional five color concept will further highlight the personalities and emotions of the roles in Chinese style animations. This paper takes the five-color view as the theoretical basis, and through the analysis of cartoons with traditional Chinese color, the author finds ways to flexibly use traditional Chinese culture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.128-136
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• 2018

This study was centered on the protested data of the issue of "History of Landscape Architecture" in the handwritten course of landscaping articles of National Qualifications Test. The purpose of this study is to examine the types of social problems in the process of correcting erroneous historical facts. The purpose of this study was to find alternatives for the development of the field of landscape and culture history that can assist in the verification of the historical facts of the landscape sciences examination questions. The main results are as follows. First, as a result of analyzing the contents of the landscape architects' subject matter, the establishment of concept of landscape style and form and the confirmation of historical facts were investigated as important types to be established for development of landscape landscape history department. It seems that the social consensus of the expert group is needed to supplement the lack of data to refer to landscape architectural theory. Second, the analysis of the problematic narrative contents resulted in a total of five types of questionnaires. The appeared in the Undefined style and form(52.94%), Unproven historical facts(25.13%), Obscurity Era classification(11.77%), Lack of specificity(6.95%), Content scope of obscurity events(3.21%) Third, it is not only the lack of information to learn the theory by comparing and analyzing the contents of the statements in the landscape architect 's question items, but also the difference of contents between books was analyzed as the main cause of the problem. As a result of examining the characteristics and examples of the issues raised in landscape architectural problems, it was related to the social phenomenon, and it was classified into cultural factors and political factors. Fourth, the resolution of problematic issues in landscape architects' landscaping articles, which are national technical qualification tests, shows positive results. The information determined in the process of solving the perceived content can be used directly in landscaping field, and it helps the accuracy of the verification process by identifying the types and characteristics of the issues.

• Journal of Conservation Science
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• v.38 no.2
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• pp.117-123
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• 2022

In this study, investigated the possibility of quantitatively and qualitatively analyzing Korean ancient glasses via Raman Spectroscopy. We subjected four categories of Korean traditional glasses, namely, lead-BaO, lead, potash, and soda glasses (3, 3, 10, and 10 pieces, respectively), to this analytical technique. The results showed significant differences between the stretching and bending Raman vibration regions corresponding to these different Korean ancient glass types. Specifically, the stretching vibration regions corresponding to lead-BaO and lead glasses showed peaks at 1040 and 1000 cm^-1, respectively; the stretching vibration region of normal glass appears at 1100 cm^-1. The bending vibration regions corresponding to potash and soda glass showed Raman peaks at 490 and 560 cm^-1, respectively. Furthermore, the Raman spectra of the lead and lead-BaO glasses showed red shifts, which depended on the amount of PbO present. Thus, our findings highlighted the possibility of quantitatively determining the amount of PbO, a major component of lead glasses, via Raman Spectroscopy.

• (The) Research of the performance art and culture
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• no.43
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• pp.47-78
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• 2021

This study was written to examine the acceptance of pansori in movies based on pansori, and to explore changes in modern society's perception and expectations of pansori. A pansori is getting the love of the upper and lower castes in the late Joseon period, but loses the status at the time of the Japanese colonial rule and Korean War. In response, the country designated pansori as an important intangible cultural asset in 1964 to protect the disappearance of pansori. Until the 1980s, however, pansori did not gain popularity by itself. After the 2000s, Pansori tried to breathe in with the contemporary public due to the socio-cultural demand to globalize our culture. And now Pansori is one of the most popular cultures in the world today, as the pop band Feel the Rhythm of KOREA shows. The changing public perception of pansori and its status in modern society can also be seen in the mass media called movies. This study explored the process of this change with six films based on pansori, from "Seopyeonje" directed by Lim Kwon-taek in 1993 to the film "The Singer" in 2020. First, the films "Seopyeonje" and "Hwimori" were produced in the 1990s. Both of these films show the reality of pansori, which has fallen out of public interest due to the crisis of transmission in the early and mid-20th century. And in the midst of that, he captured the scene of a singer struggling fiercely for the artistic completion of Pansori itself. Next, look at the film "Lineage of the Voice" in 2008 and "DURESORI: The Voice of East" in 2012. These two films depict the growth of children who perform art, featuring contemporary children who play pansori and Korean traditional music. Pansori in these films is no longer an old piece of music, nor is it a sublime art that is completed in harsh training. It is only naturally treated as one of the contemporary arts. Finally, "The Sound of a Flower" in 2015 and "The Singer" in 2020. The two films constructed a story from Pansori's history based on the time background of the film during the late Joseon Dynasty, when Pansori was loved the most by the people. This reflects the atmosphere of the times when traditions are used as the subject of cultural content, and shows the changed public perception of pansori and the status of pansori.

• Korean Journal of Environmental Biology
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• v.20 no.4
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• pp.366-377
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• 2002

This study investigated the ecological environment of Dongguneung, which royal tombs of the Joseon Dynasty aye in. The aim of this study is to do an effective preservation, management and restoration of the royal tomb and garden of the Joseon Dynasty distributed in Seoul and Kyunggi Province through using the data of Dongguneung. In general, Dongguneung contains the predominant Oak class such as Quercus serrata-Quercus mongolica community, while a flatland surrounding its control office, which is often flooded with the rainy season in summer, is mainly Alnus japonica community, Pinus densiflora community ranges around the royal tomb. The subcommunity of Quercus serrata -Quereus mongolica community is distributed into Robinia pseudo-acacia, Pinus rigida, Pinus koraiensis, Carpinus laxiflora and typical subcommunity and so on. In particular, Robinia pseudo -acacia, Pinus rigida and Pinus koraiensis subcommunity, and Alnus japonica community were forested. The soil class of Dongguneung was mainly a sandy loam and its pH was an average of 4.67 (from 4.36 to 5.68). The content of heavy metals including Cu, Pb and Zn etc. in the soil was about twice as much as the natural content in the forest soil. The content of organism and total nitrogen in the topsoil layer was the average of 4.87% and 0.21% respectively, slightly higher than those (organism； 4.55%, total nitrogen； 0.20%) of the forest soil generated from granite bedrock. Cation exchange capacity as the indicator of soil fertility was 15.0 cmol $kg^{-1}$, higher than that in the granite forest soil. However among base exchangeable cations, contents of $Ca^{2+}$ (2.07 cmol $kg^{-1}$), $Mg^{2+}$ (0.40 cmol $kg^{-1}$) and K+ (0.25 cmol $kg^{-1}$) were slightly lower than that. The above results could reflect the need of soil fertilization and liming for the improvement of nutritional status and buffer process.

• Journal of Fashion Business
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• v.6 no.2
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• pp.29-40
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• 2002

Honor guards‘ dress represented by royal carriage parade. This thesis studies the ceremonial dress worn by the ceremonial troops during the Hwa-sung Hang-hang Ban-cha drawing (華城幸行班次圖) in the Chosun dynasty of King Jung-jo. The purpose of this study is to understand the national level ceremony by closely looking into the traditional ceremonial dress and the various signs that were used at these events thereby enhancing the cultural status of the Jung-jo King period. The Hwa-sung Hang-hang Ban-cha drawing(華城幸行班次圖) has its characteristics and also has commonality between the garments worn at these ceremonies. These garments are a traditional heritage brought down from many ages before and is a reflection of the changes that have occurred within our everyday life. Among these many records the Bancha-do(班次圖) is a representation of records that show what was worn by both nobles down to the ceremonial troops. The uniforms of the ceremonial troops were not only huge in size but also very diverse according to rank and grade. They used strong true colors with colorful flags, ceremonial items and musical instruments. These all added to the grandeur of the ceremony. The ceremonial flag was itself a symbol and was the core of the whole ceremony and parade. These ceremonial flags represented the heaven, sun, moon, hill and animals as well as supernatural gods. All these showed change in shape, color and content by age and time. Also the Yongmun Gichi(Dragon flag: 龍紋旗幟) is a supernatural being representing the power and wish of the ruler. The Chunsang-mun represents the indivisible relationship between man and heaven and also a metaphor for absolute power. A close look at ceremonial instruments show a direct representation towards power such as an axe, spear and sword and integrated with other large ceremonial items not only provided a shade but was also a representation of worship. These all were a more or less representation of authority. The musical instruments expressed the absolute authority of the ruler and maintained the marching order and also added grandeur to the parade. A summary of the ceremonial troops in the As seen above, these national ceremonies were a representation of the present power of authority and the will to rule. These ideas and the philosophy of “ruled by heaven” is represented here in the uniforms and the ceremony itself. The Bicentennial anniversary of the Nung - hang of February 1795 will be an excellent opportunity to show and inherit the tradition and recreation of our heritage. In this view we must look at the color and shape of traditional dress to be able to inherit and learn from our ancestors.

• Analyses & Alternatives
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• v.1 no.2
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• pp.44-64
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• 2017

From the field survey of the main ethnic minority areas in the south China, it is found that political, economic, cultural and natural environmental changes are the main reasons leading to the change of customary law. The power mechanism of the customary law change include the three aspects, such as the promotion of country elite, the dominance of grassroots government, and the daily demands of the villagers, which promote the change of customary law alone or together. Through the application of customary law, the country elites can adjust and refine the rules of customary law in order to make out the new customary law and promote its development. In the current pattern of rural governance, grassroots self-government is actually the "official supervision of people's autonomy". The executive power of the grassroots government often intervene the practice of customary law and other informal rules. This is another mechanism of customary law change. Customary law arises from the practice of the daily life of the villagers. If the villagers think that the norms of customary law cannot meet the actual needs of daily life practice, the customary law will be promoted in the form of collective consultation. This is the most important dynamic practice mechanism of customary law change. Transformation and abandonment are the two ways to change customary law. No matter what kind of change does not lead to the demise of the customary law system, the demise of the customary law is only an outdated result, which is made by the universality, nature and objectivity of customary law. The procedure of customary law change is the process of continuation and rebirth about customary law. The result of the change is to produce the new customary law of keeping pace with the times, and the customary law will be presented with new content and form after the change. The continuation of customary law means the inheritance of traditional customary law, but it is based on the transformation of traditional customary law. The rebirth of customary law means that the traditional customary law is completely discarded. But it will produce new customary law rules and be based on the needs of social life practice. Customary law occupies a pivotal position in the normative system and the national law cannot be replaced. The purpose of customary law change will let the customary rules better adapt to the development of modern society, adjust the social relations more reasonably and better meet people's needs of production and life, which is decided by the character of customary law.

• Korean Institute of Interior Design Journal
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• v.13 no.5
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• pp.82-89
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• 2004

Today, people are bombarded with information, high-technology and multimedia. With that in mind, museum can no longer attract visitor with traditional concept, so it must find some solution or stimulation to attract their attention back. New museum is becoming a experimental space for new culture, new education, and most of all a place to fulfill one's satisfaction of life. Over the past centuries, Guggenheim Foundation has done a great job in providing place for art and place to get emotional stimulation. Out of all of their museums, Frank L. Wright's Solomon R. Guggenheim in New York and frank O. Gehry's Guggenheim Museum in Bilbao had most unique character yet share similar feature to be recognized as the architectural landmark of the 20th & 21st century Although there are close to 50 years of gap between two museums, their unique, attractive, site-specific, emotional value comes from the two most innovative architect of the past and present century. For Wright the Guggenheim was his last project but it had one of the greatest impact on his career and for Gehry the museum gave him confidence that anything is possible. This study will focus on the spatial organization as well as the architectural formation of both museum to compare and analyze. The goal of the research is to give fundamental data which will reveal emotional elements as well as concepts from each work. The content of this research will mainly focused on their architectural philosophy and it will reveal their concept on human emotion as well as the characteristics of the spatial organization. The result of the study will be a valuable reference for people designing art & cultural facilities in the future.