한국어교육에서 K-컬처 교육 :‘K-일상 문화교육’을 위한 제언

이성희 돈암어문학회 2022 돈암어문학 Vol.42 No.-

In this article, I discussed the necessity and presentation direction of K-everyday culture teaching for advanced learners of Korean language. K-everyday culture is the culture of Koreans who live ‘here and now’. K-everyday culture can contribute to the improvement of communication skills in Korean. We studied ‘K-everyday culture that we want to know’ with 18 advanced learners of the Korean language course at the C University Language Education Center in Seoul. They had a ‘third place’ where they could recognize their own culture and discover other cultures. The ‘K-everyday culture we want to know’ raised by them can make it possible for Koreans to introspect on parts that they do not see. The issues raised by them were related to Koreans' daily lives, such as drinking culture, brushing teeth, collectivistic interests, and hair rolls. For teaching K-everyday culture, it is necessary to recognize the use of research results in Korean studies, the objectification of Korean culture, and the hybrid aspects of traditional·modern and unique·foreign contents. In addition, what is required is a humble research attitude as well as collaboration between researchers on the complex and multifaceted phenomena of K-everyday culture. 본고에서는 한국어 고급 학습자들의 요구에 부합하는 K-일상 문화 교수의 필요성 및 제시 방향에 대해 논의했다. K-일상 문화는 ‘지금·여기’를 살아가는 한국인들이 향유하는 문화이다. 따라서 이에 대한 학습은 한국어 의사소통 능력 신장에 기여할 수 있다. 서울 소재 C대학 언어교육원 한국어 최고 과정 18명을 대상으로 ‘알고 싶은 K-일상 문화’에 대해 알아보았다. 이들은 자문화 인식과 타문화 발견이 가능한 ‘제 3의 공간’을 가지고 있었다. 이들이 제기한 ‘알고 싶은 K-일상 문화’는 한국인이 미처 보지 못하는 부분에 대한 성찰을 가능하게 할 수 있다. 이들이 제기한 문제는 술 문화, 양치 문화, 집단주의적 관심, 헤어롤 하기 등 한국인들의 일상에 관한 것이었다. K-일상 문화 교수를 위해서는 한국학 연구 성과의 활용, 한국 문화의 객관화, 전통·현대/고유 콘텐츠·외래 콘텐츠의 혼종 양상에 대한 인지가 필요하다. 또한 K-일상 문화의 복잡다단한 현상에 대한 겸허한 연구 자세와 연구자 간 협업이 요구된다.

우리나라 다목적 공연장의 탄생배경에 관한 소고

김경아 한국공연문화학회 2020 공연문화연구 Vol.0 No.41

The current state of performance halls in South Korea is closely related to the performance art and culture of the nation as the culture of putting on and enjoying a performance is deeply rooted in public culture and arts halls representing each area at the local government level. Today, public culture and arts halls have multiple management purposes, and the subjects of their management are in the public domain including the central and local governments or investment and donation foundations in overwhelming cases. Public culture and arts halls thus have close correlations with the institutional aspect of cultural policies as the objects of culture and art policies at the central and local government level. The full-blown era of public culture and arts halls opened up in the 1980s〜1990s, during which multi-purpose performance halls of a similar structure became universal around the nation. Public culture and arts halls of the uniform shape were distributed around the nation with no premise of genre characteristics or local environments for arts, and this was attributed to the cultural policies of the military regime. The Park Chung-hee regime proclaimed Yusin that was beyond the Constitution and enacted the Culture and Arts Promotion Act(September, 1972), which was the first culture and arts act in the nation. Based on the act, a five-year plan for the promotion of culture and arts(1973) was made and led to the construction of cultural facilities. “Public culture and arts” halls or “culture” halls were built to serve multiple purposes around the nation because the Culture and Arts Promotion Act, which is called the starting point of the nation's legal system for culture and arts, defined “culture and arts” as “matters regarding literature, art, music, entertainment, and publications.” The definition became a ground for the current “multi-purpose” concept. The organization of Ministry of Culture and Public Information set up a culture and administration system to state its supervision of “culture and arts” and distinguish popular culture from the promotion of arts. During the period, former President Park exhibited his perception of “culture=arts=culture and arts” in his speeches. Arts belonged to the category of culture, but it was considered as “culture and arts.” There was no department devoted to arts policies when the act was enacted with a broad scope of culture accepted. This ambiguity worked as a mechanism to mobilize arts in ideological utilizations as a policy. Against this backdrop, the Sejong Center for the Performing Arts, a multi-purpose performance hall, was established in 1978 based on the Culture and Arts Promotion Act under the supervision of Ministry of Culture and Public Information. There were, however, conflicts of value over the issue of accepting the popular music among the “culture and arts = multiple purposes” of the system, “culture ≠ arts” of the cultural organization that pushed forward its establishment, and “culture and arts = arts” perceived by the powerful class. The new military regime seized power after Coup d'état of December 12, 1979 and failed at its culture policy of bringing the resistance force within the system. It tried to differentiate itself from the Park regime by converting the perception into “expansion of opportunities for the people to enjoy culture” to gain people's supports both from the side of resistance and that of support. For the Chun Doo-hwan regime, differentiating itself from the previous regime was to secure legitimacy. Expansion of opportunities to enjoy culture was pushed forward at the level of national distribution. This approach thus failed to settle down as a long-term policy of arts development, and the military regime tried to secure its legitimacy through the symbolism of hardware. During the period, the institutional ground for public culture and arts halls was based on the definition of “cultu... 이 연구는 군사정권의 권력 전개양상에서 드러나는 문화정책이념이 ‘다목적 공연장’의 개념형성으로 발현되는 과정을 살펴보는데 있다. 한국의 공연장 현황은 우리나라 공연문화와 깊은 관계가 있다. 각 지방자치단체마다 그 지역을 대표하는 문화예술회관(문예회관)을 중심으로 한국의 공연문화와 향유문화가 깊이 자리 잡고 있기 때문이다. 오늘날 문예회관들은 다목적홀로 운영되고 있으며 운영주체는 절대다수 정부와 지방정부 또는 출자출연기관의 재단법인 등 공공영역에서 운영한다. 따라서 정부와 지방정부의 문화예술정책의 대상이며 제도적 측면과 긴밀한 상관관계를 가지게 된다. 박정희 정권은 초헌법적인 유신을 공포하고 우리나라 문화예술법의 시초라고 할 수 있는 「문화예술진흥법」(1972.9)을 제정한다. 이법을 근거로 「문예중흥5개년계획」(1973)을 수립하고 문화시설들을 짓기 시작했다. 전국의 ‘문화예술’회관, 또는 ‘문화’회관이 다목적홀로 지어진 데에는 문화예술진흥법의 “문화예술”에 대한 정의를 “문학, 미술, 음악, 연예 및 출판에 관한 사항”으로 명시함으로써 지금의 ‘다목적’개념의 근거가 된다. 한편, 문화공보부의 조직직제는 “문화와 예술”을 관장함을 명시하고 대중문화와 예술진흥을 구분 짓는 문화행정체계를 갖춘다. 그러나 이시기 대통령의 연설에 나타난 박정희의 화법은 ‘문화예술=예술’로 인식하고 있다. 예술은 문화에 포함되는 개념이지만 문화예술=예술로 인식함으로써 정치적 시국이나 시행부서에 따라 그 해석을 달리하였고, 이러한 모호성은 예술이 이데올로기적 활용에 정책적으로 동원되는 기제가 된다. 이러한 배경에서 문화예술진흥법에 근거하고 문화공보부의 관장 하에 1978년 다목적 공연장인 세종문화회관이 개관한다. 그러나 제도상의 문화예술=다목적과 설립을 추진했던 정부조직의 문화≠예술, 권력이 인식했던 문화예술=예술은 대중음악의 대관문제를 두고 가치충돌로 표출된다. 1979년 12·12사태로 정권을 장악한 신군부는 민족문화를 앞세운 국풍81을 통해 저항세력을 체제 안으로 끌어들이고자 했다. 정권의 의도는 실패하였고, 저항과 지지의 양축에서 국민적 지지를 확보하는 방안으로 국민의 문화향유 기회확대 정책에 방점을 둔다. 이는 앞 정권의 문화예술에 관한 인식의 전환이며 박정희 정권과의 차별화를 추구한 것이다. 전두환 정권에 있어 앞 정권과의 차별성은 곧 정권의 정당성 확보를 의미하는 것이었고 향유기회의 확대는 문화영역의 분배 차원에서 추진되었다. 따라서 장기적인 안목의 예술발전으로 자리매김 되지 못했고 하드웨어의 상징성으로 정권의 정당성 확보를 실현하려고 하였다. 오늘날 다목적 공연장의 개념은 유신체제하에 만들어진 법체계의“문화예술”의 정의에 기인한 것이며 이를 근거하여 공공 공연장의 운영목적으로 ‘다목적’의 개념이 탄생한다. 군사정권을 이은 전두환 정권은 프로시니엄 구조의 다목적 공연장을 정권의 정당성 확보의 수단으로 표출하였고, 전국적으로 재생산 되어 오늘날 한국의 공연문화에 중요한 비중을 차지하고 있다.

한국 언어문화 속의 의사소통방식에 대한 고찰

정경조 한국사상문화학회 2019 韓國思想과 文化 Vol.100 No.-

Cultural anthropologist Edward Hall divided cultures into high context and low context according to the way they communicated. Low context culture is straightforward and clear in communication and articulates its intentions in words and letters. Communication in high context, on the other hand, is ambiguous and implicit, and takes into account the relationship with the other. The greater the part that communication of meaning depends on words or letters, the lower context culture, and the less expressive, the higher context culture. In other words, a culture not to need to speak is a high context culture, and a culture to need words is a low context culture. In the high-context culture, communication aims to promote harmony and ties between the speaker and the listener, so the politeness or the expression of the overall emotion is emphasized rather than the meaning or truth of the sentence. Hence, the low-context communication style can be disrespectful or embarrassing to Koreans. Applying this distinction, Korean language belongs to the high context culture. Koreans prefer to use indirect methods that allow listeners to understand them on the premise of common cultural background rather than to accept them directly. Therefore, rather than telling a story clearly, they speak it in a roundabout way. Evidence that Korea is a high context culture is everywhere. In Korean language, subjects are often omitted, or euphemism or ironic expressions have been developed. Also, the fact that Koreans are not good at expressing apology, gratitude, and love is also attributable to this high context. This is because the situational emotions and the feelings between the listener and the speaker are more important than words. In Korean language culture, it is very important to read the context with Nunchi and judge the will of the person no matter what the other person's superficial words are. 의사소통의 목표가 화자와 청자 사이의 관계를 보다 조화롭게 유지시키는 것이기에 고맥락 문화권에는 발화시점의 상황에 맞는 화자의 감성과 공손함이 문맥의 진실성이나 내용보다는 중시된다. 그래서 있는 그대로의 솔직한 감정을 날것으로 표현하는 저맥락 문화권의 커뮤니케이션 방식이 ‘말이 필요 없는 문화'에 익숙한 한국인들에게는 이기적이고 무례하게 받아들여지거나 당황스러운 것이 당연할지 모른다. 이러한 구분을 적용하면 한국 언어는 고맥락 문화에 속한다. 한국인의 의사소통 방식은 듣는 사람이 정확하게 받아들이게 하기 보다는 공통적인 문화배경을 전제로 눈치껏 알아들을 수 있도록 하게하는 간접적인 방식을 선호한다. 우리나라가 고맥락 문화권이라는 증거들은 곳곳에 있다. 우리말에는 주어를 생략하는 경우가 많다든가 직접 말하지 않고 돌려 말하는 완곡어법이나 반어적인 표현이 발달했다는 것 등이다. 또한 한국인이 사과나 감사, 그리고 사랑의 표현을 잘 안 한다고 하는 것은 이러한 고맥락적인 특징에도 원인이 있다. 말보다는 상황적인 정서나 청자와 화자사이의 느낌을 중요하게 생각하기 때문이다. 한국 언어문화 속에서는 상대방의 표면적인 말이 어떠하든지 간에 눈치로 상황을 읽어 내고 그 내면의 의미를 판단하는 것이 매우 중요하다.

한국(韓國)의 문화(文化) : 여가문화와 농촌문화관광의 민속학적 고찰

박환영 ( Hwan Young Park ) 한국사상문화학회 2011 韓國思想과 文化 Vol.56 No.-

본고는 여가문화와 농촌문화관광에 대한 민속학적인 시각에 대한 연구이다. 한국의 농촌문화 속에는 전통적인 생활문화가 많이 남아 있는 경우가 많다. 따라서 이러한 생활문화를 소재로 하는 농촌문화관광은 현대인들의 여가문화로 중요한 가치를 발휘할 수 있다. 특히 친환경과 전원적인 농촌생활을 소재로 하는 생태문화관광이라든지 전통문화에 대한 체험 프로그램 등은 농촌문화관광이 가지고 있는 매력이라고 할 수 있다. 한편 문화의 시대에 있어서 민속은 가장 핵심적인 문화콘텐츠로 자리매김하고 있는데, 본 논문에서는 오늘날 여가문화 속에서 문화관광자원이 될 수 있는 농촌문화에 대하여 집중적으로 살펴보고자 한다. 현대인의 삶은 새로운 여가문화를 필요로 하고 있으며 이러한 여가문화 속에는 농촌문화관광자원이 중요하게 다루어질 수 있다. 농촌이 가지고 있는 이러한 문화관광자원이 현대의 여가문화로 충분한 가치를 발휘할 수 있도록 많은 노력이 경주되고 있는 시점에서 농촌이 가지고 있는 잠재적인 문화관광자원에 대한 집중적인 논의가 필요한 실정이다. 더욱이 문화의 가치를 중요시 하는 현대인들에게 좋은 길잡이가 될 수 있는 여가문화의 핵심적인 소재로서 가치를 가지고 있는 농촌문화관광자원의 몇 가지 가능성은 친환경적인 생태문화를 비롯하여 농촌의 일상적인 생활문화 속에서 찾을 수 있다. 여가문화가 가질 수 있는 이러한 농촌문화와의 연관성을 좀 더 확대하고 현대인의 생활공간인 도시생활 속에서 여가문화를 전통적인 농촌문화와 연계하기 위해서 여가문화와 관련한 농촌문화관광자원을 지속적으로 찾아내려는 노력이 필요하다. 이러한 의미에서 농촌문화관광자원의 구체적인 사례와 농촌문화 속에 내재되어 있는 지속가능한 현대 여가문화의 가능성에 대한 체계적인 분석과 방안모색이 요구된다. In contemporary society traditional culture is closely linked with cultural tourism as well as leisure culture. Cultural tourism based on traditional culture is probably an important resource for leisure culture. In addition, folk culture usually reflects people`s living customs and daily practices, therefore folkloric contents in cultural tourism are surely to rise in interest for leisure culture today. In this respect, this paper looks into the relationship between leisure culture and possible resources for folk cultural tourism, particularly some possibilities found in agricultural villages. A variety of perspectives on cultural tourism in traditional agricultural villages are given, such as ecological environment, traditional living culture and sustainable resources for cultural tourism. From these arguments some possible resources for folk cultural tourism as a possible newly emerging leisure culture today are derived. As I have presented, in the case of the Chahang village in the Pyongchang county, the regional tradition as well as every day living culture are good examples for cultural touristic resources. Also not only ecological environment but also occupational environment in agricultural villages have to be considered to be developed as sustainable cultural touristic resources.

문화인식과 문화교육 - 한국 문화 교육을 위한 제언-

이선이 ( Lee Sun-yi ) 한국언어문화교육학회 2007 언어와 문화 Vol.3 No.1

The purpose of this study is to developing propose for Korean Culture Education. Especially, this study focus on how to have the right viewpoint of the Korean Culture Education. First of all, the major premise of this discussion is a reflection on the Modernism, Progressivism and Nationalism in the recognition about culture. Secondly, we deal with the meaning and problems of the recognition method about the existing cross-culture which are ethnocentrism, cultural relativism, multiculturalism, and education for international understanding in the Era of Globalization. Finally, this study considers the analysis method of the culture difference and the actual strategy of culture education. In conclusion, we need to change our mind about Korean culture education from just contents of culture education itself to ‘how to teach the culture’

중국의 문화굴기와 소수민족문화의 세계화전략

공봉진 21세기정치학회 2019 21세기 정치학회보 Vol.29 No.3

The purpose of this paper is to investigate and study what the political, economic, diplomatic and cultural implications of China's ‘Cultural Ascension’ and its strategy for globalization of ethnic minority culture. In this paper, I look at the specific forms of ‘Cultural Ascension’ related to minorities. I am in revealing the substance contained in the Chinese ‘Cultural Ascension’ by looking at the internal and external strategies and methods of the Chinese government for the globalization of ethnic minority culture. The Chinese government is trying to integrate Chinese Culture into the economy and promote Chinese Culture to the world through its ‘Cultural Ascension’. In order to globalize Chinese Culture, the Chinese government is expanding its cultural business and cultural industry internally, and externally, it is expanding the performance and exhibition of ethnic minority culture through exchanges with various countries around the world. In particular, the Chinese government wants to eliminate prejudice against China's national policies and ethnic issues through the ‘Overseas Expansion’ of ethnic minority culture. The Chinese government aims to promote Chinese culture to the world through cultural exchange, but also to solve ethnic problems in China. Xi Jinping is emphasizing soft power by revealing ‘Chinese Culture'. And he emphasizes that Chinese Culture, whether it's Han Chinese culture or ethnic minority culture, is all Chinese Culture. In particular, China regards the historical culture of Chaoxian ethnic minority, which has the same identity as the Korea's history culture, as China's, and distorts Korea's history culture. For this reason, Korea should pay attention to the ‘Cultural Ascension’ and globalization of ethnic minorities in China, and be wary of Chinese nationalism.

문화국가 구현을 위한 문화분권의 과제

김창규 한국공법학회 2014 공법연구 Vol.42 No.4

현대국가는 헌법의 기본원리의 하나로 문화국가를 표방하고 있다. 이러한 문화국가의 구현을 위해서는 “문화예술의 진흥과 지역문화의 균형발전”이 중요하다. 이 가운데 ‘지역문화의 균형발전’은 ‘지역문화의 진흥’의 문제이며, ‘문화분권’(Cultural Decentralization)의 문제이다. 이러한 문화분권은 노무현 정부 출범이후 지금까지 문화민주화(Democratization of Culture)의 관점에서 문화적 지역분산, 행정적 지역분산, 재정적 지역분산을 통하여 달성되어 왔다. 그러나 2006년 5월 문화가치의 확산과 문화적 권리에 대한 선언을 담은 ‘문화헌장’이 제정ㆍ공포되고, 박근혜 정부의 출범 이후 문화헌장이 제시하는 문화적 권리를 실행에 옮기기 위한 법제도적 근거로서 2013년 12월 30일 제정되어 2014년 3월 31일부터 시행되고 있는 「문화기본법」이 문화 전반의 최상위 기본법으로서 문화의 개념을 삶의 총체적 방식으로 규정함과 동시에 ‘문화융성’(Culture Flourishing)의 바탕을 이루는 문화민주주의(Cultural Democracy)를 지향하는 방향으로 전환되고, 더 나아가 문화분권의 실현을 위한 「지역문화진흥법」이 2014년 1월 28일 제정되어 2014년 7월 29일부터 시행되게 되었다. 이러한 변화는 종전 한국 문화법정책의 이론과 실무에 있어서 대폭적인 전환을 요구하고 있다. 따라서 지금의 문화분권은 주민의 참여를 강화하고 자치를 강화하여 주민의 창의성과 적극성을 발휘하며 지역주민이 주체가 되는 사회를 추구하는 것을 의미하게 되었다. 다시 말해서, 문화분권은 문화생산ㆍ소비ㆍ분배에 있어서 탈중앙화와 문화다양성(Cultural Diversity)을 강조하며 지방자치단체와 주민이 주체적으로 문화활동에 참여하고 스스로의 의미와 가치를 느껴 주인이 되는 그러한 사회를 추구하는 것으로 의미가 전환되었다. 이것은 지역문화자치이며, 지역문화주권의 회복을 의미한다. 이러한 문화분권은 실제적으로 ‘문화의 균점’과 ‘지역문화의 자율성 확립’이라는 의미를 포함한다. 여기에서 ‘문화의 균점’은 지역 간에 있어서의 문화격차를 해소하고 평균적 수준의 문화를 지역에서 균점하며 국가의 균현발전을 보장하는 것이고, ‘지역문화의 자율성 확립’은 지역별 특색 있는 고유의 문화를 발전시키며 국가의 문화다양성을 실현하는 것을 말한다. 이 경우 ‘문화의 균점’을 강조할 때에는 문화민주화의 실현으로, ‘지역문화의 자율성 확립’을 강조할 때에는 문화민주주의의 실현으로 나타난다. 이러한 문화분권의 실현은 다음과 같은 가치적 함의를 가진다. 첫째, 문화법정책의 결정구조를 다원화한다는 의의가 있다. 둘째, 중앙에 집중된 문화시설ㆍ문화행사ㆍ문화정보를 지역에 분산한다는 의의가 있다. 셋째, 문화관련 권한을 지역에 이양함과 동시에 지역의 문화재정을 강화한다는 의의가 있다. 넷째, 지역주민의 참여를 확대ㆍ심화하고 문화다양성을 실현한다는 의의가 있다. 우리나라 문화분권의 실현여건을 살펴볼 때에 「지역문화진흥법」의 제정과 시행을 통해 지역문화자치(문화분권), 즉 주민의 자주적 참여와 주민자치의 원칙에 따라 지역문화를 진흥시킬 수 있는 법적 근거는 마련되었으나, 지역문화의 현실은 지방자치단체와 지역민의 자율성에만 맡겨 두기에는 지역의 문화기반이 매우 취약하며 지역 간의 문화격차도 매우 크다. 이러한 측면에서 「지역문화진흥법」의 제정 이전부터 지금까지 「 ... The principle of the cultural state is one of the constitutional fundamental contents in a modern state. For the realization of the cultural state, ‘promotion of culture and arts’ and ‘balanced development of local culture’ are important. Balanced development of local culture is the problem of both promotion of local culture and the cultural decentralization. Cultural decentralization has been achieved through cultural, administrative, and financial regional dispersion from the viewpoint of democratization of culture since the inauguration of Roh Moo-hyun administration. However, ‘the Culture Charter’ was enacted in May 2006, ‘the Framework Act on Culture’ was enforced from March 31, 2014., and ‘the Local Culture Promotion Act’ is going to enforce from July 29, 2014. These changes require the extensive alteration in culture legal policy theory and practice. For this reason, today’s cultural decentralization means pursuing the society that encourage participation and strengthen self-government so that people can exhibit their creativity and activeness and they can be agents for the culture with emphasizing decentralization and cultural diversity in production, consumption and distribution of culture. It is the local culture self-government and it means a recovery of sovereignty over the local culture. Cultural decentralization includes ‘equal allotment of culture’ and ‘autonomy of local culture’; ‘equal allotment of culture’ is to bridge cultural divide between regions and to ensure national balanced development with equal allotment at the level of local; ‘autonomy of local culture’ is to realize cultural diversity as developing distinctive and unique culture in the different regions. In this case, democratization of culture would be realized by emphasizing ‘equal allotment of culture’ and cultural democracy would be realized by emphasizing ‘autonomy of local culture’. The realization of cultural decentralization has meaning of; the pluralization of decision structure in culture legal policy; the dispersion of centralized cultural facilities, events and information; the strengthening of the local cultural public finance with transferring the central authority; the expansion of local resident’s participation and the realization of cultural diversity. The legal grounds of the local culture self-government(cultural decentralization) has been established by enactment and enforcement of ‘the Local Culture Promotion Act’, but practically, the basis of local culture is too weak and the culture divide between regions is too huge to leave to autonomy of a local government and residents. In this regard, a diversity of culture and arts promotion policy which has been implemented by central government under ‘the Culture and Arts Promotion Act’ remains the problem of how to distribute the authority and the implement system relating to promotion of local culture to central government and local government. Therefore, it needs for the state to lead to settle ‘the Local Culture Promotion Act’ and then complete cultural decentralization could be achieved for the realization of cultural decentralization through local culture promotion. For this, the local projects transferred of jurisdiction that have been implemented by the central government need to be turned into local devolution projects, and the division of roles between the central government and the local governments needs to be turned into horizontal governance system. Further, the central government and the local governments should have consolidated duties to support life-culture and to expand life-culture facilities provided in ‘the Local Culture Promotion Act’. For this, it should systematically carry forward projects to create cultural-complex community center in local community, expand life-culture facilities and support culture and arts community and clubs in local community.

K-culture에 관한 20·30대 중국인의 주관적 인식 연구

강삼,추승우,유형숙 한국호텔관광학회 2023 호텔관광연구 Vol.25 No.11

K-culture, a contemporary manifestation of the Korean Wave, encompasses three pivotal elements: Korean popular culture, culture and arts, and traditional culture. Historically, the Korean Wave was primarily characterized by star-centric popular culture within Asia. However, recent trends indicate its broadening scope, extending to regions such as the United States, Europe, and Latin America. This expansion transcends K-pop, incorporating Korean dramas, cuisine, and language, and reflects an increasing global interest in traditional Korean culture. Such a transition highlights the importance of in-depth research on K-culture, given its strong connection to national culture and economic development. Previous studies on K-culture have predominantly utilized objective, quantitative research methods. The current study, however, recognizes the necessity for a shift toward qualitative and subjective research methodologies. This approach is vital for acquiring more profound insights into K-culture. Accordingly, this study applies the Q methodology to analyze and interpret the overall perception of K-culture among Chinese individuals in their 20s and 30s, a demographic with a pronounced interest in Korean tourism. The Q methodology is particularly apt for this study as it focuses on understanding individual attitudes and thoughts from an internal perspective rather than an external one. Employing this methodology has resulted in the identification of five distinct categories of K-culture enthusiasts: 'K-beauty pursuers,' 'K-drama pursuers,' 'K-pop pursuers,' 'K-content pursuers,' and 'K-traditional culture pursuers.' The research reveals that perceptions of K-culture among Chinese individuals in their 20s and 30s differ based on these categories. It underscores the need to develop distinct marketing strategies for each category, especially when formulating marketing plans for Chinese visitors to Korea. This nuanced comprehension of K-culture perceptions among young Chinese adults is crucial for devising effective, targeted marketing strategies that cater to their varied interests and enhance the attractiveness of Korean tourism.

Geo-cultural Foundation for the Formation of Northeast Asian Film Culture

Wen Caiyun 인하대학교 다문화융합연구소 2018 다문화와 교육 Vol.3 No.1

Geographic effect is an extremely important factor that affects the formation and development of a civilization. Northeast Asia, including China, Japan, South Korea, North Korea, Russia (the Far East and Siberia) and Mongolia, is a cultural concept formed by geopolitics. As an important part of spiritual culture, the films in Northeast Asian countries originate from the unique geographical features, economic systems and values of Northeast Asia. They have a long history of film culture communication and exchange and jointly form a film culture community in Northeast Asia. Geographic effect is an extremely important factor that affects the formation and development of a civilization. Northeast Asia, including China, Japan, South Korea, North Korea, Russia (the Far East and Siberia) and Mongolia, is a cultural concept formed by geographic relations. As an important part of spiritual culture, the movies in Northeast Asian countries originate from the unique geographical features, economic systems and values of Northeast Asia, and had a long history of film culture communication and exchange, forming a cultural community of Northeast Asian film together. The author believes that from the economic structure point of view, countries in Northeast Asia have the idea of economic integration and specific implementation policies. Northeast Asian regional economic integration has taken shape and constitutes the economic basis of northeast Asian film culture. From the perspective of film policy, countries in Northeast Asia have formulated effective policies on film cooperation and long-term cooperation in filmmaking to form the driving force behind the film culture in Northeast Asia. From the perspective of spiritual cultural core, the strong cohesion of the Confucian cultural circle and the historical long-term film and cultural exchanges have allowed Northeast Asian countries to form a common spiritual bond. The other culture perspective of the Western culture has also given Northeast Asian film culture a holistic image. Of course, at present, the film cooperation in various countries in Northeast Asia also lacks the deviation of policy support from other countries and the deviation of policy direction. There are also differences in culture among different countries. However, the author believes that the common oriental cultural background and the needs of market cooperation will promote the formation of a cultural community in northeast Asia.

문화관련 재화 및 서비스 중간투입이 산업 생산과 수출에 미치는 효과 분석

심승진,김태진 한국무역연구원 2013 무역연구 Vol.9 No.7

This study investigates how culture-related intermediate inputs affect industrial production and export. For this, we suggest the cultural industrialization index which we get in the Unit Structure of the input-output analysis and make an empirical test on the effect of culture-related intermediate inputs on industrial production and export using panel data. The results show that, in the period of 1995-2009, cultural industrialization index has increased and in particular, culture-related service inputs have played an important role in the interaction among industries. The intermediate input of culture-related materials was larger than that of culture-related services in 1995. However, we can find out the intermediate input of culture-related services has been larger than that of culture-related materials and the culture-related services are going to be an important factor in industrial production since 2000. The results of empirical test on the effect of culture-related intermediate inputs on production and export suggest that culture-related manufacture intermediate inputs have positive and meaningful effect on export as well as industrial production. In particular, we made certain that the effect of intermediate input of culture-related manufacture and service on production and export is differ from industry to industry. These results carry an important meaning of evidentiary material on cultural innovation-driven growth strategy.