한국의 대 사우디아라비아 문화공공외교 현황과 발전 방향: 문화예술행사를 중심으로

박건희 ( Park Geon-hee ),윤은경 ( Yun Eun-kyeong ) 한국외국어대학교 중동연구소 2023 중동연구 Vol.42 No.1

This study aims to analyze the status of Korea's public cultural diplomacy through the cases of cultural and artistic events in Saudi Arabia, and to suggest directions for future development. For this purpose, based on the Global Korean Wave Report, cultural and artistic events held from 2016 to 2021 were categorized into traditional and modern cultures. In terms of modern culture, Korean language and K-Pop events received the most attention from locals due to the influence of the Korean Wave today, and K-Beauty and games (e-contents) were identified as sectors to be noted in the future. In the case of traditional culture, various sectors such as Samulnori, Korean traditional music, Hanji, and pottery painting were evenly introduced, and locals who were exposed to Korean historical dramas showed great interest. In addition, the involvement with Korean food has evolved from merely tasting dishes provided at events to locals preparing the cuisine themselves using local ingredients and sharing the methods. Meanwhile, the three approaches for the development of cultural and artistic event content for the activation of Arab cultural public diplomacy were proposed: creating unique content sensitive to local cultural demand, exploring creative fusion content based on cultural commonality, and producing content considering local cultural codes. As the importance of culture in the diplomatic field grows worldwide, interest in public diplomacy utilizing culture and cultural public diplomacy is gradually increasing. In this global trend, this study is significant in that it reviews the status and activation measures of Korea's cultural public diplomacy towards the Arab region, which has been insufficiently studied in Korea.

한국 정부 문화재 정책에 관한 고찰

금성희 사단법인한국교수불자연합회 2019 한국교수불자연합학회지 Vol.25 No.1

문화 지원에 대한 정부의 개입의 정당화 근거는 헌법에 나타난 문화국가 원리를 들 수 있으며, 이러한 헌법규정을 근거로 우리나라는 문화국가 이념 을 지향하고 있다. 1960-70년대 우리나라 문화예술정책의 핵심은 민족문화예 술 재건을 위한 노력으로 특히 전통문화 보호에 역점을 두었다. 정부의 적극 적인 관심과 의지로 법 제정 및 기금마련 등이 이루어졌으며 이후 문화재정 책의 기틀과 방향을 이루었다. 현재 문화재 및 문화유산에 대한 국민적 관심 이 증대되고 있으며 특히 세계유산 지정 등 국제교류와 협력이 강화되고 있 다. 정부의 문화재정책 방향과 집행에 대해 많은 시민들이 관심이 더 높아지 고 있다. 문화재 관리 전반에 걸쳐 체계적인 보존·활용 능력이 요구되며 문화 재 활용 콘텐츠 개발 등에도 적극적인 정부의 노력이 필요하다. The legitimacy for the government's intervention in cultural support is principles of the cultural state in the constitution law based on the constitutional regulations, South Korea is pursuing the ideology of a cultural nation. In the 1960s and 1970s, the core of Korea's cultural and artistic policies efforts for the reconstruction of national culture and arts. in particular, the emphasis was placed on protecting traditional culture. The act was enacted and funded by the active interest and will of the government. The foundation and direction of the cultural heritage policy have been established. There is a growing public interest in cultural assets and cultural heritage. International exchanges and cooperation are being strengthened, including the designation of World Heritage sites. Many citizens are becoming more interested in the direction and implementation of the government's cultural heritage policy. Systematic preservation and utilization of cultural assets are required throughout cultural asset management, and active government efforts are also needed to develop contents that utilize cultural assets.

Cultural Competence and Influencing Factors of Dental Hygiene Students

( Ji-hyoung Han ),( Ki-eun Kim ) 한국치위생과학회 2017 치위생과학회지 Vol.17 No.3

The purpose of this study was to investigate the level of cultural competence and its influencing factors among 530 dental hygiene students. The analysis was performed using PASW Statistics ver. 18.0, and the following conclusions were drawn. Cultural knowledge levels showed a significant difference according to general characteristics in four components of cultural competence levels. Cultural competence and its four components were higher in subjects who have a religion (p<0.05). The differences in cultural competence levels according to culture-related characteristics are as follows. In individuals with experience of taking foreign culture-related classes, intention to work overseas, or fluency in a foreign language, cultural competence levels and its four components such as cultural comfort, knowledge, awareness, and behavior intent were higher (p<0.05). Intention of overseas employment was the factor most strongly influencing the level of cultural competence of the subjects. The more intention the subjects have to work overseas, the more they have experienced foreign culture-related lessons, the more fluently they speak a foreign language, and the higher level of cultural competency they reached (p<0.05). As the research results show, it is necessary to establish a continuing plan to understand and communicate with individuals of other cultures through foreign language and foreign culture classes in schools in order to improve the level of cultural competence. This education would reduce the fear and stress that subjects might make a mistake in meeting with people from other cultures, and it could be a preparatory process to actively carry out dental hygiene practice with foreigners.

문화시민성 개념의 탐색 :문화예술교육의 시민교육적 의의

김재근 인하대학교 교육연구소 2019 교육문화연구 Vol.25 No.5

This study tries to explore the concept of ‘cultural citizenship’ and also to understand cultural-art education from the perspective of citizenship education. For the sake of it, the study formulated the purpose of cultural-art education as ‘cultivating cultural citizen and fostering the cultural citizenship.’ Then we explored the concept of ‘cultural citizenship’ to better understand the cultural citizen as well as cultural-art education. Cultural citizenship can be divided into three categories. ‘Cultural citizenship as membership’ is the first category. Traditionally, this type of membership was cherished as a key for the social cohesion. But in the era of multicultural society, multicultural citizenship which embraces multiple identities and memberships carry higher importance. Second category is ‘Cultural citizenship as basic rights’. This includes a freedom from the oppression of art and cultural expression, a right to practice art and cultural activities, and a right to enjoy art and cultural works. Last category is ‘Cultural citizenship as virtues’. It requires cultural citizen to voluntarily as well as critically participate in an art and cultural community. Creativity, openness to the others, and ethical responsibility are also parts of the citizenship as virtues. The concepts proposed here, however, need to be challenged and revised consistently as the society changes. Researches that inquire into the contexts of cultural-art education as citizenship education, that further elaborate the concepts of cultural citizenship need to be conducted in the following researches. 본 연구에서는 ‘문화 시민성’의 개념을 탐색하고, 이를 통해 문화예술교육의 시민교육적 의의를 밝혀보고자 하였다. 문화시민성의 개념은 크게 세 가지 범주로 나누어 볼 수 있다. 먼저 지위와 자격으로서의 문화시민성(cultural citizenship as membership)이다. 전통적 의미에서 이러한 멤버십은 문화공동체의 통합과 결속을 가져올 수 있었지만, 다문화사회에서는 다양한 문화적 정체성을 포용하는 다문화적인 시민성 개념이 요구된다. 두 번째는 시민의 기본적 권리로서의문화시민성 (cultural citizenship as basic rights)이다. 소극적 의미에서 문화예술적 표현에 대한 억압으로부터 자유로울권리, 그리고 적극적 의미에서 문화예술교육을 요구할 권리, 문화예술활동을 실천할 권리, 문화예술작품을 향유할권리 등이 포함된다. 마지막으로 자질과 덕목으로서의 문화시민성 (cultural citizenship as virtues)이다. 문화시민에게는주체적이며 비판적인 문화공동체에의 참여, 문화예술적 독창성과 창의성, 그리고 타자에 대한 열린 태도와 윤리적책임 등이 요구된다. 그리고 시민교육적 맥락에서의 문화예술교육은 이와 같은 문화시민성을 담지한 문화시민을양성하는 것을 중요한 목표로 삼아야 한다. 후속연구들을 통해 문화예술교육의 시민교육적 맥락을 보다 깊이 있게탐구하려는 시도들, 그리고 문화예술교육의 목표로서 문화 시민성의 개념을 보다 정교화 시키고자 하는 연구들이 이어질 필요가 있다.

문화콘텐츠시대의 영상아카이브를 위한 영상이미지 전문인력 양성의 필요성에 대한 연구

허용무 ( Yong Moo Heo ) 한국사진학회 2015 AURA Vol.0 No.35

As cultural contents have been recognized as a strategic industry to strengthen national competitiveness, it is being actively promoted to materialize cultural resources by using the traditional culture of each country, nation or areas as a method to ensure the competitive contents. Among them, as a new concept such as ‘cultural archetype’ or ‘unique culture’ is being highlighted in cultural industries, the importance of archives has been stressed to materialize the culture. In addition, with the development of digital technology and changes in the recognition of the importance of video images, the archive is mainly dominated by video images which take the important position. It means that those who have specialty related to video images are not only involved in records of video archive as materials of cultural resources, but their opinions are also needed to examine, analyze, classify and interpret video image materials in the future. At national levels, the government has established the national archives and legislates for the archives of central and local governments with large-scale supports for cultural resources because humanity-centered performance has been considered important. It is based on the awareness in which the success of cultural content industries depends on the variety of materials. It is important to examine the needs for training professional personnel in video images for the video archives in a big flow of discovery of materials and archive of cultural resources through traditional culture and cultural archetype in the cultural content industry as a national strategic industry.

한국어교육에서의 문화교육의 방향과 학습모형 -초급학습자를 중심으로-

이미정 ( Lee Mi Jung ) 한국언어문화교육학회 2007 언어와 문화 Vol.3 No.3

This paper looked at the goal and contents of cultural education and constructed the lesson based on cultural learning model to more effectively teach them. Cultural education on the field of Korean language education was described in terms of the position that cultural education is the education of behavioral culture. The importance of achievement culture and information culture can not be overlooked but this is because what is more required of beginner’s class learners lies in everyday cultural education that can be applied to real life. The linguistic and cultural estrangement in and out of classroom can be reduced and Korean language education can be conducted more effectively through the understanding of sociocultual context. As for the angle that looks at culture, Etic and Emic analysises were referred to. Each analysis is significant but when these two analysises are balanced in cultural education, they can have a greater effect. Lastly, while looking into Morgan’s, Hoopes’ and Hanvey’s cultural models, this paper constructed cultural lesson that can be applied to Korean language education. Cultural education should more solidify its goal of cultivating proficiency in social and contextual communications by exposing Korean learners to Korea’s everyday culture and Korean language environment naturally. Especially, even a learner who has a low proficiency should enhance his or her cultural communication ability by learning by heart a sentence in its entirety and speaking it. (Hankuk University of Foreign Studies)

동아시아 문화네트워크: 산업과 정책 패러다임을 넘어서

민병원 서울대학교 국제학연구소 2008 국제지역연구 Vol.17 No.2

The fanatic boom of the han-ryu or the Korean wave during the last decade has stimulated people's attention to cultural exchanges in East Asia. This paper argues that the logic of cultural industry and cultural policy has overwhelmed the cultural paradigm in East Asia. The logic of cultural industry is based upon the neoliberal ideology so as to encourage capitalist competitiveness in terms of efficiency and commerciality. This means that we may miss the essential, endogenous values of culture. The logic of cultural policy also hampers the development of cultural assets as it accompanies hierarchical, top-down control mechanisms. This logic of hierarchical control contradicts the core aspect of culture ― creativity. Although the logic of cultural industry and cultural policy has contributed to the improvement and diffusion in the era of mass society, the paper argues for going beyond the current paradigms of cultural industry and cultural policy in order to realize a multilateral cultural paradigm in East Asia. This paper, as an alternative to the existing paradigms of cultural industry and cultural policy, suggests that we need to establish a common identity and a zone of meanings in the region. The concept of traditum introduced here represents the traditional element of legitimizing a common identity. In this sense, the paper necessitates the establishment of a zone of meanings in the East Asian region. This will be the cultural implementation of the future East Asian order, but it should be in the form of social construction rather than domination by a country. Thus, the paper emphasizes the logic of cultural networks in the region in order to overcome the ethnocentric and nationalistic biases in East Asia. The construction of cultural public sphere is also important in setting up the future direction of the East Asian order. 한류의 열기는 지난 10여 년에 걸쳐 문화에 대한 관심을 크게 불러 일으켰다. 이 논문에서는 오늘날 이러한 한류의 추세 속에서 ‘문화산업’과 ‘문화정책’의 논리가 동아시아의 문화 패러다임을 지배하고 있다는 점을 지적한다. 문화산업의 논리는 신자유주의 경제관을 기반으로 하여 자본주의적 경쟁에서 살아남을 수 있는 효율성과 상품성을 강조한다. 따라서 문화 본연의 내재적 가치에 대해 소홀해질 수밖에 없다. 나아가 문화산업의 동반자 역할을 맡고 있는 문화정책의 논리 역시 중앙집중적 메커니즘을 동원하여 하향식 통제체제를 지향하고 있다. 이러한 통제의 논리는 창의성을 생명으로 하는 문화의 본질과 배치된다. 문화산업과 문화정책이 부분적으로 대중사회 시대의 문화의 발전과 보급에 기여하는 것은 분명하지만, 오늘날 다자간 문화 패러다임이 활성화되기 위해서는 문화산업과 문화정책 논리가 지배하는 문화 패러다임을 뛰어넘을 필요가 있다는 것이 본 논문의 주장이다. 문화산업과 문화정책이 극복되어야 할 대상이라면, 본 논문에서는 공동의 정체성 확립과 의미권의 구축을 대안으로 제시하고 있다. 논문에서 제시한 ‘트라디툼’의 논리는 문화적 정체성에 정당성을 부여하는 전통적 요소를 대변한다. 이러한 기반 위에서 공동의 정체성을 확보하려는 노력이 시급하며, 아울러 이를 바탕으로 한 ‘의미권’의 구축이 미래의 과제가 되고 있다. 동아시아 질서의 문화적 구현이라고 할 수 있는 이러한 의미권의 구축은 한 나라의 지배가 아니라 사회적 구성을 통해서만 가능하다. 이러한 작업은 자국 중심주의와 민족주의의 폐해를 극복하고 서로의 존재를 인정하게끔 해주는 ‘문화네트워크’의 구축으로 이어져야 한다는 것이 이 논문의 주장이다. 특히 공동의 문화기획 프로젝트로서 의미를 공유할 수 있는 ‘문화공론장’을 마련하는 일 역시 앞으로 동아시아 미래 질서의 방향을 가늠 짓는 중요한 시금석이 될 것이다.

‘Horse’ as A Symbol Reflected from Cultural Memory in The Poem Called At (The Horse) of Faruk Nafiz Çamlıbel

Ahmet Demir,Nilgün Çelik 고려대학교 응용문화연구소 2023 에피스테메 Vol.- No.29

Culture, which can be defined as the lifestyle of a nation, is the sum and whole of social experiences and learning. Considering the connotations of the concept of memory such as storage and preservation, it is possible to say that cultural memory provides the continuity of cultural elements in an impersonal area. Cultural memory, with its dynamic structure, includes actions such as “recollection, ‘repetition’ and ‘reviving/keeping alive’ in ensuring the continuity of cultural elements. Literary texts from oral culture to written culture often include these actions by fulfilling a formant function. Therefore, considering literary texts as reflection areas of cultural memory and making analyzes on cultural elements and symbols is one of the text analysis methods. In Turkish culture, ‘horse’ is an important cultural element. As a result of the living conditions brought by the steppe culture in the Turks, the ‘horse’ has become an important part of life and has become one of the main figures of cultural memory in relation to many emotions, thoughts and dreams. Even the existence of many idioms and proverbs about horse in Turkish alone explains the place of horse in cultural memory. Also, horse is one of the cultural symbols that is repeated in many oral, written and visual texts and in various branches of art, and remains alive as it is repeated. Faruk Nafiz Çamlıbel (1898-1973) used horse allegorical in relation to the Turkish nation in his poem called At (The Horse) (1919), which he wrote during the War of Independence, one of the milestones in Turkish history. In the poem, the horse appears with a symbolism that represents the Turkish nation and the ‘independent’ character of the Turkish nation with references to the historical conditions of the First World War (1914-1918) and War of Independence (1919-1923). In this context, in this study, poem called The Horse of Faruk Nafiz Çamlıbel is considered as a cultural memory area and horse is examined as a ‘cultural symbol’. The image of horse drawn in the poem is examined in historical and socio-cultural dimensions and evaluated in the context of the place of horse in Turkish culture.

피스크의 문화적 대중주의에 대한 재고

신혜경 한국미학회 2002 美學 Vol.32 No.-

In this paper, I tried to examine the cultural populism of John Fiske, focusing on his main text Understanding Popular Culture and Television Culture. Recently, the somewhat oppositional standpoints about Fiske's cultural populism is represented among the korean left-wing theorists. Some criticize it, claiming that it falls into uncritical populism corresponding to laissez-faire conceptions of consumer sovereignty. For example, Kang Nae-Heui insists that the cultural populism approves the capitalist dominant culture and it is unconcerned about people's pursuits of the multiple ways of life. On the contrary, others defend it, suggesting that the cultural studies should reconstitute the cultural populism in order to activate people's multiple aesthetic attitudes to the utmost. Lee Dong-Yeon argues that the cultural populism could align itself with the minority's cultures inevitably. Therefore, under this circumstances the reappraisal of Fiske's cultural populism should be required. This paper consists of four chapters, as follows. Chapter 1: The historical context - Mapping the place of Fiske's theoretical status in the whole history of cultural studies. Chapter 2: The definition of the popular and the popular culture. Chapter 3: The popular pleasure and the popular discrimination. Chapter 4: The micro-politics of the popular culture. In ch.1, the birth of cultural populism is sketched in the context of new revisionism. New revisionism is characterized by the hermeneutic models of consumption, resulting in the shift from political aesthetics to popular aesthetics. This emphasis on the active consumptions of audiences rejects the main ideas derived from Althusser's theory of subject and ideology. Thus, the whole tradition of 'subject positioning theory' is called into question. Researchers turn their attention away from the ideological power of text and toward the individual pleasures and interpretive freedom of readers. Tudor identifies two different, but closely-related ways in this new direction, i. e. 'audience ethnography' and 'cultural populism'. And it is Fiske who is depicted as a Godfather of this kind of cultural study. In ch.2 & ch.3, brief introduction of Fiske's theory is offered. According to him, the popular is "a shifting set of social allegiances formed by social agents within a social terrain that is theirs only by virtue of their constant refusal to cede it to the imperialism of the powerful." Instead of the theories of subjectivity, he asserts those of the nomadic subjectivity which envision the social agent as moving among various subject positions. The activity of such agency is not that of voluntarism or free will, but is social in that it is the core experience of the subordinate in elaborated, capitalist societies. The people can turn cultural commodities to their own interests and find pleasure, in using them to make their own meanings of their social identities and social relations. For Fiske, the popular culture is to be found in its practices, its uses, its consumptions, not in its texts or their readers. Therefore he argues that all popular culture is a process of struggle or antagonism. "There can be no popular dominant culture, for popular culture is formed always in reactions to, and never as part of, the forces of domination." In ch.4, I explain the micro-politics of popular culture. Fiske distinguishes between the macro-politics and the micro-politics, between the radical political movements and the progressive popular cultures. On the one side; forces of dominances, processes of incorporation, insidious practices of dominant ideology. On the other side; tactics for coping, vitality and creativity, everyday resistance and evasion. In this respect, we can find easily Foucault's legacy in Fiske's terrain. Fiske argues that the social order, as Foucault analyzes it, depends on the control of people's bodies and behaviors. In other words, the struggle for control is waged on the material terrain of the body and its immediate context. So the culture of everyday life is a culture of concrete practices which embody and perform differences. This is the very sites of popular culture. In conclusion, I examine some assessments of Fiske's cultural populism. Thereby, I hope illuminate the present lessons from the critical insights of it. First of all, themes of audience empowerment, popular pleasure and everyday resistances in Fiske's theory play the role to correct the former 'pessimistic reductionism' of cultural studies. But Fiske's corrective is nothing but return to the opposed position against it. The same dualistic framework is remained unchanged. What is crucial is not an insistences on micro-meaning and popular pleasure against macro-structure and constraint, but an attempt to rethink the form relation between these two in non-reductive and non-dualistic terms. Moreover, Pleasure is neither innocent nor progressive in itself. Pleasure and resistance cannot be valorized per se as progressive elements of the consumption of cultural resources. Likewise, the mere valorization of difference as a mark of opposition can simply help the free market ideology in the new liberalism. Therefore, the minority-culture movement aligned this kind of cultural populism, explicitly or implicitly, is required more careful examinations.

독일 문화정책의 이상적 기대와 실제 현실에 대한 개관

김동조 중앙대학교 외국학연구소 2020 외국학연구 Vol.- No.53

Up until the 1970s, Germany's cultural policy stood primarily for "cultural care": for example, the entertainment of theaters, museums or opera houses. With the "New Cultural Policy", participation became the focus. Leading goals such as "cultural democracy", "civil rights culture" and "culture for all" rely on the participation of all citizens. Cultural policy as social policy had to get rid of the elitist - an expanded concept of culture no longer only to stand for literature and art, but also for lifestyles, values ​​and beliefs. At local and state level, cultural policy is mostly a distribution policy. No urban stage in the Federal Republic could hold its own on the "market". Accordingly, more culture means more costs. At the same time, art thrives on the ideal of being able to develop free of interests. In addition to visitor orientation, the demand today includes, among other things, a new organizational culture for public cultural companies, the consideration of the actors as "knowledge employees", the development of multidimensional cultural financing or the formation of creative alliances. That is all correct and necessary, but it also remains to be warned against pushing too hard an adaptation of market action, too harshly throwing overboard the principles of a cultural area that is also cumbersome and mortgage-laden. Cultural management and cultural policy remain related, a relationship that has to be balanced again and again. The scarcity of public funds also leads to concrete problems of cultural funding: the majority of the funds are tied up for institutions such as municipal museums; these often have too tight administrative budgets and lose innovative strength and scientific value; More and more third-party funders such as foundations, but now also the federal government, are increasingly raising expectations regarding the content of local cultural businesses, which are forcing them into a conflict between legal entities and funding backdrop.