• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.4-17
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• 2019

Both as a means of improving North-South relations, as well as a necessary component for carrying out research on the past of the Korean peninsula, interest in North Korean cultural resources has been growing in South Korean society. As a result, studies have begun to look beyond North Korean cultural resources themselves and attempt to determine how cultural resources are managed in North Korea. Such studies have tended to investigate laws related to the management of cultural heritage in North Korea, but information gleaned from laws alone is limited. To provide a more complete picture, research must also investigate how cultural resource management laws are applied and enforced and also take into consideration aspects of cultural resource management that are not directed or regulated by law. In this study, we refer to the current National Cultural Resources Protection Laws in order to investigate systems of cultural resource management in North Korea. Furthermore, we conducted interviews with a former North Korean national who had until recently worked as a director of historical sites in North Korea. Through comparisons of information relating to organization, labor power, responsibilities, budget, and other factors of cultural resource management gained through the interviews and the 'National Cultural Resources Protection Laws,' we hoped to gain a fuller understanding of the reality of cultural resource management in North Korea. As a result, we were able to gain a better understanding of the organization and tasks related to cultural resource management and, at the same time, clarify some of the provisions that were unclear in the laws. Throughout the process, we were also able to determine that the management of cultural resources in North Korea is currently inadequate. However, because this study focuses on a specific region and is limited only to historical sites, it is difficult to generalize our findings to the entirety of cultural resource management in North Korea. In order to gain an objective and more accurate understanding of the current state of cultural resource management in North Korea, information must be collected at many levels to be synthesized and compared.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.1
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• pp.69-81
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• 2015

Under the premise that parks have been a performing field of welfare ideology that benefits the citizen from the past, the present study began with a basic question on what substance a park has and how it has worked. Therefore, this study tried to find out the theoretic background that can explain the roles of a park as an instrument for welfare, of which topic is currently being discussed, and examine how the ideology in the debate regarding welfare characteristics of parks are differentiated from those of social welfare. In addition, this study divided the process of development of parks defined by Galen Cranz in an attempt to view how welfare benefits offered by parks have changed in their development and looked into the roles and types of welfare functions that parks provided to the citizens under a certain social situation by period. Furthermore, the characteristics and development of the ideology underlying a welfare park were examined by function and element in its progression. The results of this study are as follows. The functions that parks have performed so far can be classified into three categories. First, they have a remedial function. Parks have given direct services to 'the socially disadvantaged' such as relief, fostering, and rehabilitation. Second, parks have played a preventive function. They aim to reinforce the functions of individual, family, group, and community. Third, they have exerted a developmental function. They function to promote change of society in a way for it to contribute to social development. Looking into the roles and functions of parks from the perspective of their beneficiary class and benefits, the following were discovered. First, the beneficiaries of welfare characteristics in parks have expanded to the general public from the poor class, and the benefits of parks have spread into the public including the underprivileged in a real sense. Second, the significance of welfare characteristics in parks has also changed from literal benefits to caring for basic human rights. Third, the purpose of welfare characteristics in parks has changed from providing minimal conditions to optimal conditions. At its beginning, the ideology of welfare in parks remained ideal, confining itself to their idealistic characteristics; but as time went on, they created several social benefits in response to various social demands, developing into a field where welfare ideology manifests and is realized in an active manner. Furthermore, it was witnessed that the parks and welfare of the present times are standing at the point of contact for participation and universal well-being. The present study reconsidered the meaning and value of parks from perspective of them as a provider of welfare benefits as well as examined how the welfare ideology of parks is connected to practice. By doing so, this study discovered the various roles, values, and ideology that parks should bear in the future. Therefore, this study is expected to be a good example for future research related to the topic.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.31-56
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• 2014

If we define theatre as an infinite tower piled up by smoke, the strata of the organic composition of an actor's/actress' body-mind-spirit, may not only be complicatedly worked out, but it seems to belong to a non-scientific realm. However and at the same time, it is also true that the audience is eager to witness a certain kind of specific vitality from the actor/actress on stage. Of course the vitality is hard to be prescribed. Simply we call it a texture of energy, nuance of existence, or much simpler, an actor's/actress' 'aura'. That is, the existential nuance of the actor/actress. The nuance, which is surging from the actor's/actress' authentic presence, ultimately comes out of, not the circumstantial interpretation of the production but the power of its integration. We can find from the works of Meyerhold, Grotowsky and Barba the theatrical fact that the actor's aura can be obtained by a kind of artificiality rather than innate characteristics of existence. These directors commonly regard theatre as the actor's/actress' theatre. Respectively choosing his own specific methods of expression, they unexpectedly meet in a same spot in which actor's/actress' theatre can be realized by the rediscovery of the actor's/actress's body-form. In other words, their approaching methods to theatre look alike, at least in that abandoning reserving any natural, unconscious, economic body-form of an actor/actress, they rather try to discover a certain kind of 'technical' body-form. The form which is totally non/un-conscious, unfamiliar and non-economical. Their research process explores an ideal body-form, and this thesis focuses on this point. For this work, I bring the notion of 'liminality' that connotes the praxis for essential presence of the actor/actress as well as the incubating time and space nacessary for his/her rebirth. And for developing this work, I ask: Could not the actor's/actress' consciousness and the spatiotemporal dimensions (s)he meets, be possibly defined as the core of liminality, only in case that (s)he requires them in the process of, either exploring the unfamiliar body or familiarising with the unfamiliar body-form? As I mentioned above, the three frontiers' theatrical journey is similar in part. For example, three all start from the actor's/actress' consciousness and then go through the body enlarged with it. Then they continue their journey, but different from one another. Meyerhold still uses the conscious body. But now he transforms it into a kind of mobilized sculptures. In comparison with Meyerhold's use of the consciousness, Grotowsky puts his emphasis on an autonomous body which, if necessary, cast away even the innate consciousness. Likewise, to Barba, theatre always starts from the actor/actress who has already taken off all kinds of conventions. (Conventions should be re-designed!) The actor/actress therefore recreates him/herself as his/her body-mind wears a new, unfamiliar, readjusted form and vitality. And then this restructured body-mind may unceasingly aim at exploring its vitalized 'positive organism', that is the waves of self-centering energy, an existential nuance, and an authentic (or maybe behavioral) expressiveness. Now it seems clear that the liminal process for the frontiers' theatrical journey could be equalized as a profound process of self-penetration, self-transformation, and self-realization. This thesis explores the mystic realm of liminality.