A Comparison Study between Culture Based Technique and Op-site Non-Culture Based Technique for Identifying Malassezia Yeasts on Normal Skin

임상희,안규중,김유리,정재욱,한형진,이양원,최용범 대한의진균학회 2012 대한의진균학회지 Vol.17 No.4

Background: Culture based technique, a traditional method for extraction of DNA from a cultured colony, was complex in culture conditions and was associated with a lower chance of successful culture. Recently, non-culture based technique, which skipped the culture process and directly extracted fungal DNA and differentiated Malassezia species, has been introduced. Objective: Using 26S rDNA PCR-RFLP, the authors identified Malassezia yeasts and compared the yield of Malassezia DNA by the traditional culture based technique and the non-culture based technique via Op-site adhesive tape. Methods: DNA of Malassezia yeasts were extracted using the culture based technique and the non-culture based technique from normal adults. Comparison was performed in order to clarify the differences between these two techniques. Results: Use of the culture based technique resulted in a culture rate of 57.8% (78 out of 135 samples). On the other hand, using the non-culture based technique, fungal species were identified from all 135samples. Using both techniques, M. globosa was the most identified species. The identification rate of the non-culture based technique was 100%; however, 7 repeats of PCR were required to reach 100%identification. Among samples from five body sites, those from the thigh required 5.5 repeats of PCR. Conclusion: The non-culture based technique was better than the culture based technique. However,due to the low amount of DNA extracts from the body sites with low habitation of Malassezia yeasts,repeated PCR was required for differentiation of Malassezia species. Background: Culture based technique, a traditional method for extraction of DNA from a cultured colony, was complex in culture conditions and was associated with a lower chance of successful culture. Recently, non-culture based technique, which skipped the culture process and directly extracted fungal DNA and differentiated Malassezia species, has been introduced. Objective: Using 26S rDNA PCR-RFLP, the authors identified Malassezia yeasts and compared the yield of Malassezia DNA by the traditional culture based technique and the non-culture based technique via Op-site adhesive tape. Methods: DNA of Malassezia yeasts were extracted using the culture based technique and the non-culture based technique from normal adults. Comparison was performed in order to clarify the differences between these two techniques. Results: Use of the culture based technique resulted in a culture rate of 57.8% (78 out of 135 samples). On the other hand, using the non-culture based technique, fungal species were identified from all 135samples. Using both techniques, M. globosa was the most identified species. The identification rate of the non-culture based technique was 100%; however, 7 repeats of PCR were required to reach 100%identification. Among samples from five body sites, those from the thigh required 5.5 repeats of PCR. Conclusion: The non-culture based technique was better than the culture based technique. However,due to the low amount of DNA extracts from the body sites with low habitation of Malassezia yeasts,repeated PCR was required for differentiation of Malassezia species.

고조선 연구의 신지평 기원전 4세기대 요서지역의 문화변동과 그 의미 -동대장자유형과 세형동검문화의 관계를 중심으로-

이후석 ( Who Seok Yi ) 경희대학교 인문학연구원 2015 인문학연구 Vol.0 No.28

The period of 4th century BC is when the culture was transferred from mandolin-shaped bronze dagger culture to the slender bronze dagger culture. In Gojoseon in this period, Joseonhu called himself as a king and made a lot of fights severe enough to think of the possible fight with Yan to get the hegemony in the region. In addition, according to the theory on movement of central place of Gojoseon, this period was when Gojoseon assumed Liaodong as its central place and integrated with the surrounding regions to make a big growth. As such, it is highly likely that the change in the materialistic cultures in Liaoxi area happened in 4th century BC on the background of the history specified above. Particularly, it was found out from Dongdazhangzi Cultural Assemblage which represented the materialistic culture in Liaoxi Region in 4th century BC that the mandolin shipped dagger culture was transferred over to the slender bronze dagger culture and that the culture of Yan in Warring States Period was spread around the area and the active cultural exchange with Yan was made in the area. On the other hand, the cultural change in Liaoxi Region in 4th century BC contributed to the ramification of Slender Bronze Daggers Culture in the Liaoning Area and the western area of Korean peninsula. The materialistic culture in Gojoseon in 3rd century BC is considered to have had the close relationship with the cultural change in Liaoxi as the cultures of Tombs with wooden coffin filled stones, bronze weapons and pottery of Dongdazhangzi Cultural Assemblage were transferred along with Zhengjiawazi Cultural Assemblage to the culture of Slender Bronze Daggers Culture in area of Liaodong and western and northern Korean peninsula. The prior documents show that in late period of Gojoseon, Gojoseon internally grew along with the surrounding groups by either dominating them or subduing them and externally competing with Yan and making exchanges with them to a certain level. It is clearly found in Dongdazhangzi Cultural Assemblage that there were highly advanced tomb system in Liaoning in 4th century BC and that they were transferred to the Slender Bronze Daggers Culture in 3th century BC as well as that there were bronze weapons and pottery and the cultural exchanges with Yan. It is expected that the relation between Dongdazhangzi Cultural Assemblage and Slender Bronze Daggers Culture is a good clue for the understanding of the relation between Gojoseon and surrounding groups in late period of Gojoseon.

The Text-Mining of Munhwa (Culture) : The Case of a Popular Magazine in 1930s Korea

LEE JAE-YON,KIM HYUNJOO 계명대학교 한국학연구원 2019 Acta Koreana Vol.22 No.2

Culture was an always “overloaded” concept during Korea’s colonial period. Like the ideas of literature and art, it was one of the main routes through which Koreans developed a socio-political sense when they were forbidden to speak about politics. Starting in the 1920s especially, Koreans used culture to establish intellectual foundations of modernity, cultivate the masses’ aesthetic senses, and seriously engage with colonial reality. Furthermore, the idea of culture became more complicated in the late 1930s as the colonial government more aggressively employed the cultural idea to propagate a series of wars while mainlining Japan’s ascendency in East Asia. Reflecting upon such a conceptual tug of war by different socio-political actors, this article uses text-mining to explore the changing meanings of culture in a 1930s popular magazine. Run by the proponents of culture as a forefront of social movements, Samch’ŏlli (“Threethousand ri,” which figuratively refers to Korea) was a monthly magazine that lasted for more than a decade from 1929 to 1941, unlike many short-lived journals under censorship. By examining the frequency of the keywords that composed the theme of culture, and the semantic network of culture’s cooccurring words, we diachronically trace the polyphonic meanings of culture in different timeframes. These quantitative and linguistic methods suggest that culture’s semantic network drawn from a 1930s periodical was far larger, more diverse in composition, and more influential than explained in previous studies, especially in its interplay with the various socio-political actors in launching collective projects by Korean intellectuals and the colonial government.

Korean Beauty in a Global Cultural Context

( Eun Ju Ko ),( Eun Ha Chun ),( Seul Gi Lee ) 한국마케팅과학회 2011 Journal of Global Fashion Marketing Vol.2 No.4

Culture appears to be the significant factor for the competitiveness of a country, as a unique cultural heritage can function as a differentiation tool that can never be emulated by others (Kim, 2009). More and more countries are making great efforts to recognize their own values and to develop cultural contents. Korea, however, lacks a distinctive national image or cultural identity compared to neighboring countries, such as Japan and China. In particular, the Korean lifestyle and traditional values are not being introduced to the world. A cultural prototype can be utilized to render the image of a certain nation more appealing. Living in highly diversified world, it is necessary to rediscover and properly understand the true value of our traditional culture. Therefore, this study (1) identifies the intrinsic values of Korean beauty from ideological, religious, and aesthetic perspectives and backgrounds; (2) discovers the Korean beauty present in the traditional Korean lifestyle and culture, including clothing, food, housing, Korean liquor, and Korean paper; and (3) provides strategic implications for globalizing Korean beauty and improving the national brand value of Korea. To discover the value of Korean beauty, a multilateral literature review was conducted. Previous studies have explored the intrinsic Korean beauty present in traditional culture (i.e., ideology, religion and aesthetics) and in traditional lifestyles (i.e., clothing, food, housing, traditional liquor and paper). Additionally, to reexamine Korean beauty as it is perceived in a modern context, in-depth interviews with thirteen experts in Korean culture were conducted. The in-depth interview method was also applied to determine the strategic implications of globalizing Korean standards of beauty. Lastly, the Experience Grid Model by Schmitt (1999a) was utilized to analyze the globalization strategies of Korean standards of beauty. This study presents the basic characteristics of Korean beauty according to three descriptions: Sagacious harmony of man and nature, Immanence of spiritual values: Symbolism and the culture of ``Jeong (情)``, and Realistic optimism: Beauty of Pungryu (風流) and Han (恨). As Kim (2004b) emphasized the substantiality of intangible value despite the difficulty of proving such value, Korean beauty actually appears in every lifestyle component, including clothing, food, housing, traditional liquors, and Korean paper. From the in-depth interviews, experts commonly pointed out the importance of Korean people having pride in their own tradition and culture before aiming at the globalization of Korean beauty. The results of interviews regarding the requirements for advertising and globalizing Korean beauty can be summed up in three points: ``In-First-Then-Out``, ``Find and Stick to the KOREANESS (Korean Identity)``, and ``Importance of Presentation and Direct Experience``. First, ``In-First-Then-Out`` indicates that having a profound knowledge of and pride in one`s own culture is an essential prerequisite for Koreans. Second, ``Find and Stick to the KOREANESS`` stresses the development of core values and unique edges in Korean culture. Lastly, ``Importance of Presentation and Direct Experience`` suggests that the firsthand experience of the total traditional Korean culture should be further expanded. As a result, this study proposes five marketing strategies related to the Strategic Experiential Modules (SEMs) that can induce a positive perception toward Korean culture and national image. Regarding ``Sense`` marketing, developing luxurious contents with a combination of modernism and tradition is suggested. Movies and fashion shows can be effective experiential channels that can arouse either the aesthetic amusement of or pleasure in Korean beauty. In emotion marketing, related to the ``Feel``, Ko (2005) described the emotional branding strategy in terms of an experienced aspect. Expanding the experiential channel and creating emotional stimuli that compose certain moods relevant to Korean culture is necessary. From the cognition marketing aspect, which is relevant the ``Think`` perspective, associative thinking with Korean culture can be induced by a media program, joint Asian symposium and distinctive naming strategy. As to the ``Act`` module, raising the level of holistic experience and providing various options can help attract voluntary actions. Lastly, relationship marketing, corresponding to the ``Relate`` factor, can be adopted, as this factor injects Korean identity into the whole experience, which leads to a bonding relationship and sincere interaction. Additionally, excellent contents and experiences need to be provided to arouse the self-respect of the Korean people and to produce a natural word-of-mouth effect. This study is intended to rediscover cultural values in Korean tradition in a highly developed material civilization. Traditional cultures have long been transformed, recreated, and naturally selected by socio-cultural changes and are now being redefined as subjects of global materialism. The development of unique Korean values can be utilized by many actors: Korea, by improving national brand value, and Korean companies, by establishing global marketing strategies and using storytelling as a marketing tool. It is time for Korea to grapple with the means of globalizing and positioning traditional Korean culture as having a premium value in the global environment. The general aesthetic values of Korean tradition can be useful in branding with cultural-specific storytelling and differentiating a brand or product (Kim, Kim, & Ko, 2010; Ko & Lee, 2011). However, anxious expectation for short-term performance can ruin the ongoing efforts. The main contribution of this study is that it encompasses both an academic and a managerial perspective in defining Korean beauty and developing a globalization strategy by collecting comments from a variety of expert panels. Further research can implement a quantitative study on consumers` attitudes about, satisfaction with, and evaluation of Korean culture. Additionally, the application of this study to developing brands with storytelling of Korean culture and as a substantive strategy for communicating with customers is encouraged.

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’

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.

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.

도날드 닷슨의 포퓰러컬처(Popular Culture)와 매스컬처(Mass Culture) 논의를 반영한 대중사회에서의 무용 문화연구

임수진 ( Yim Sujin ),정의숙 ( Chung Euisook ) 한국무용예술학회 2015 무용예술학연구 Vol.55 No.4

The purpose of this study is to analyze Korean dance culture facing mass society based on Dodnald Dodson’s article Differentiating Popular Culture and Mass Culture. According to him, what differentiate popular from mass is the influence and power of businessman and the money. In case of popular culture, businessman stays in distance from artists and public while they conduct direct communication. In mass culture, contrastively, businessman becomes decision maker who controls all details. In this type of culture, artists hardly obtain their creative autonomy. Based on this idea, we differentiate two representative trends in Korean dance culture, ‘community dance projects’ and TV show Dancing 9 , dealing with their public audiences. Through the article, we examine how participants of each culture communicate each other in order to suggest community dance projects as popular culture and Dancing 9 as mass culture. This study could be standard idea toward popularity when choreographers and dancers seek for communication with public.

한·일 문헌설화에 나타난 문화 전수와 문화 관광

김용기 ( Kim Yong Ki ),김상원 ( Kim Sang Won ) 온지학회 2017 溫知論叢 Vol.0 No.53

필자는 고대 한국에 의한 일본으로의 문화 전래를 현대의 ‘문화 관광’개념에서 살펴보았다. 그래서 이 글은 한국과 일본 문헌설화에 나타난 문화 관광적 요소를 살펴보고, 여기에 나타난 한국인의 형상을 살펴보는데 목적을 두었다. 이를 위해 연구자는 현대의 문화 관광과 당시 문화 관광의 성격적 차이를 개괄적으로 살펴보았다. 이 차이를 통해 알 수 있었던 것은, 당시 일본인들은 그들 자신이 문화 관광의 주체가 되어 탐방 국가의 문화를 관광하는 것이 아니었다. 대신 선진 문화의 주체인 한국인들이 타자인 일본인들에게 우리의 문화를‘관광시켜 주는’방식으로 나타나고 있었다. 그래서 일본의 경우에는 우리의 선진문화를 일방적으로 받아들인 ‘반영적 문화 관광’의 성격을 띠는 것으로 주로 나타났다. 일본 문헌에서 한국이나 한국인에 대해 우호적인 태도를 취하고 있는 것은 바로 이러한 점 때문이다. 그리고 아주 간헐적으로 한국의 선진 문물을 회의적으로 받아들여 자신들에게 맞게 변형한 ‘반성적 문화 관광’의 형식으로 나타나는 경우도 있었다. 이 경우 한국인에 대한 일본인들의 태도는 비우호적이거나 ‘폄한(貶韓)’의식으로 나타날 수 있다. 후대로 갈수록 폄한 의식이 강한 것은 이러한 영향이 크다. The Writer considered the ancient Korean culture diffusion over the ancient Japan as the concept of 'Culture Tour'. Therefore this study aims to research the elements of culture tour in the Korean and Japanese literature narratives and examine the image of Korean in those works. For this, it was examined generally that there is the characteristic difference between the modern and those time's culture tour. By the difference, Japanese of the time didn't travel the other countries as the main agent of culture tour. The Korean as the main agent of advanced culture showed the tourist sites to Japanese. Therefore Japan has the characteristic of 'receptive culture tour' that they had to accept our advanced culture unilaterally. This is the reason that Japanese have a friendly attitude toward Korea and Korean in Japanese literature narratives. In intermittent case, 'reflective culture' appeared that they accepted skeptically and transformed to suit their preferences. The latter represent the unlikeable or disparaging sense toward Korean. This is the reason that the disparaging sense get stronger in later generations.

A Study on Skills of Dialogue and Compromise with Iran: Focusing on Culture and Code of Behavior

Fatemeh YOUSEFI 한국글로벌문화학회 2022 글로벌문화연구 Vol.13 No.3

이 연구는 세계적으로 상당한 영향력을 가지고 있는 이란 문화 혹은 페르시아 전통 대한 분석에 중점을 두고 있다. 이란은 중동문명의 요람 중 하나로, 중동지역 국가이지만 아랍 문화의 일부가 아니다. 이란의 문화는 강한 가족 유대와 높은 수준의 개인주의가 역설적으로 혼합되어 있다. 동시에 전통적으로 페르시아 문화는 성취와 성과에 대한 강한 지향을 가지고 있다. 이 연구는 Richard N. Frye의 ‘Greater Iran: A 20th-Century Odyssey (2005)’에서 이러한 이란 문화 수준의 역사적 영향을 확인하였다. 이 논문은 이란 문화에 대한 상징의 사례와 이란 사회에서 준수해야하는 에티켓 및 관습에 대한 규칙을 조사하였고, 타협과 상호이해의 원칙을 중심으로, 이슬람 가치가 유형별로 이란 사회에 어떻게 발현되고 있는지 분석하였다. 이란의 문화와 전통은 복잡하고 깊은 역사를 가지고 있다는 관점에서 이란에서만 이해하고 통용되는 문화의 사회적 현상에 대한 설명과 더불어, Tarof에 대한 정확한 정의를 포함하여 고유한 문화현상, 노인 존중 및 기타 독특한 에티켓 사례를 정리하였다. The study focuses on the culture of Iran or culture of Persia, which is among the most influential in the world. Iran, also known as Persia, is widely considered to be one of the cradles of civilization. The first important fact is that Iran, while a Middle Eastern country, is not part of the Arab culture. Iran’s culture is distinguished by its seemingly paradoxical mix of strong family ties and connections and a high degree of individualism. At the same time, the culture has strong orientations toward achievement and performance. Richard N. Frye, a prominent Iranologist, stresses the high level historical impact of Iranian culture in his 2005 book Greater Iran: A 20<SUP>th</SUP>-Century Odyssey: “Iran’s glory has always been its culture” This paper explores the examples of symbols about Iranian Culture and important rules for etiquette and customs tha should be observed. Researchers demonstrate how different principles and patterns of interaction are across cultures. Iranian culture and traditions are complex and have a deep history. To sum up, I have explained about culture and traditions only understand and used in Iran, such as; Ta’rof, although exact definitions for ta’rof are difficult, as are all terms that indicate cultural institutions, respecting seniors and other interesting etiquettes and information on Iran.