Teachers’ and Students’ Perceptions towards Culture and Culture-related Topics in Non-English Major Korean University English Language Classrooms

Erika Choe,Chase Karcher,Daniel Cuffey,성명희 한국영어어문교육학회 2018 영어어문교육 Vol.24 No.4

This paper aims to primarily assess two things: 1) student and teacher perceptions regarding culture and the sources of cultural content in the Korean university EFL context, and 2) the specific culture-related topics that teachers and students in this setting prefer to teach and learn, respectively. Both qualitative and quantitative data was gathered through questionnaires distributed to 607 students currently enrolled in English conversation classes offered at a Korean university and 12 professors of English at the university. The first section asked teachers and students about: 1) the importance of culture in the language classroom, 2) how they valued different sources of culture (target, international, source), and 3) how their interest in certain culture-related topics affected their motivation to study. The second section asked both groups about their preference for specific culture-related topics (including both Big “C” and little “c” topics). The results revealed that while both students and teachers agreed on the importance of culture in class, students preferred to study native English speaking (target) cultures over non-native cultures. Results also showed that both students and teachers found topics like “popular culture” and “lifestyles” interesting, yet differed on others. Discussion for application and relevance are also provided.

Realization of Culture in English Textbooks in Chinese High School Level

( Behrouz Jamalvandi ) 범태평양 응용언어학회 2012 Journal of Pan-Pacific Association of Applied Ling Vol.16 No.2

This study taking a brief look at ELT in China reflects on thepresentation of culture in the English textbooks adopted in Chinese high school level. The categorization by Ramirez and Hall (1990) shaped the basis of the analysis of the textbooks. The main objective of the inquiry was to examine the quality of representation of source, target and other cultures in the ELT textbooks and to investigate the way major and subclasses of cultural elements are treated in the textbooks. Following data collection and analysis, the results of the study pointed out that the Chinese ELT textbooks in high school level represented target culture (C2) more than source culture (C1) and other cultures. Further, among five major cultural elements, the most emphasis was given to the category of religion, arts, and humanities under which came subcategories including literature, arts, music, etc. Accordingly, the coverage of culture in Chinese English textbooks in high school level was characterized to be of an imbalanced status. Put it another way, there were some areas of culture, like personal, which were underrepresented throughout the textbooks. Therefore, relying on the findings of this survey, although some culture dimensions emerged adequate, the present status of culture representation in Chinese ELT textbooks in high school level suffers from its unfair behavior with all culture dimensions, overemphasizing some and poorly characterizing some other; consequently, it is unable to cater for students`` deepening and enriching their knowledge of culture in all respects.

음악교육학 연구의 외연 확장을 위한 시론적 고찰: 국내 교육인류학 내에서의 문화 개념 변화 과정을 중심으로

윤혜경 한국예술교육학회 2019 예술교육연구 Vol.17 No.3

The purpose of this study is to examines the possibility of expanding the scope of music education research by seeking an educational anthropological approach which has not been tried in music education. For this, it examines the cultural theories of Anthropology such as Primitive culture, cultural idealism and the change of cultural concepts in Anthropology of Education. Such as culture as content, culture as a process, culture as a form of life and culture as a form of meta-life. And also, I have examined how the scope and method of research expanded in this filed according to culture concepts. Based on this cultural concepts, I suggested the following implication for the concept of music culture. First, there is no music culture defined as one. The music culture is constantly changing, creating and disappearing. It is important to expand the concept of various musical cultures through continuous discussions in understanding various cultural concepts. Second, music culture is an area of repeated order of human life a s a process and a way of becoming a musical human being. Third, music culture has a duality. It can be a process of domesticate the musician. Conversely musician discipline to the particular music culture. Thus, music culture create an identity as a member of a musical group. But may interfere with communication with other groups of music. Finally, this study suggests that the inquiry into the process of continuous change of the concept of educational anthropological culture can expand the scope of research subject, methods, theme. And it is possible to expand the scope of research in music education. 본고는 그동안 음악교육학에서 시도되지 않았던 교육인류학적 접근을 모색하여 음악교육학 연구의 외연 확 장의 가능성을 검토한 연구이다. 먼저 우리나라 교육인류학계가 초기에 채용한 문화인류학의 문화개념을 복합 총체론과 관념론을 중심으로 개괄하고, 교육인류학계 내에서 변화해 온 문화개념을 내용으로서의 문화, 과정으 로서의 문화, 삶의 형식으로서의 문화, 메타적 삶의 형식으로서의 문화를 중심으로 살펴보면서 문화개념에 따 라 해당 분야의 연구의 외연과 방식이 어떻게 변화되었는지 확인하였다. 이러한 내용을 바탕으로 문화개념에 대한 국내 교육인류학계의 학문적 논의와 변화가 음악문화 개념에 주는 시사점을 다음과 같이 제시하였다. 첫 째, 음악문화는 하나로 규정될 수 없다는 점에서 개방성을 가진다. 둘째, 음악문화는 음악을 하는 인간으로 되 어가는 과정과 방식으로서 역동성을 가진다. 셋째, 음악문화는 음악을 할 수 있는 사람으로 길들이는 과정으 로, 이로써 한 집단의 정체성을 형성하면서도 동시에 그 집단을 특정 음악문화로 길들여 다른 음악집단과의 소 통을 방해하는 이중성을 갖는다. 마지막으로 본고에서는 위와 같은 논의에 기초하여 교육인류학적 문화개념의 지속적인 변화 과정에 대한 탐구와 음악교육과의 융합적 연구를 통해 연구의 대상, 방법, 주제의 확장을 견인 하여 음악교육학 연구의 외연을 총체적으로 확대할 수 있음을 제안하였다.

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.

D. 닷슨의 「매스컬처와 파퓰러컬처의 구별」 확장하기:대중음악을 중심으로 한 문화 지형도 파악

고규흔 한국여성커뮤니케이션학회 2012 미디어, 젠더 & 문화 Vol. No.

This study aims at reviewing the differences between mass culture and popular culture based on the essay of D. Dodson, and elaborating several hypotheses that he proposed so as to create a diagram that distinguishes the whole cultural areas into four sub-areas, in which various cultural types are located. These areas can be further categorized by intersecting the two main axes-‘artists’ attitude toward recipients’ and ‘the tendency of artwork toward reality’. Among these areas, the study aims at illuminating the conflicting, mutually controlling and cooperating relation between Area 1 (1/4) and Area 3 (3/4), explaining that such relations between the two areas are the conditions of challenge and response that had long been established not only in contemporary popular culture, but also throughout history, and therefore, examining conditions in which cultural diversity can be acquired through the interaction among these areas. Overall, the study will bring to the surface the persistent challenge of Area 1 under the continuous predominance of Area 3 and the process in which Area 1 is incorporated into main stream, and explain that this is the process in which the whole popular culture implements flexibility. 아시아권의 성공에 머무르던 케이팝(K-pop)이 2011년을 기점으로 유럽 각국에서활약상을 전해오자, 이제 자본의 기획력과 문화의 결속은 해외 속 국가 위상을 일신 하기 위한 필수 전략으로 인식되는 상황이다. 더구나 이 같은 기세는 10대들 사이의 또래문화였던 아이돌 음악을 범국민 문화로 격상시키면서, 그들이 전체 대중문화 판도의 패권을 굳히는 데 일조하고 있다. 분명 현 상황은 후기 산업시대 세계 문화상품의 각축장에서 국가 생존 전략에 부응하는 것처럼 보인다. 그러나 상업적 기획의 문화가 압도적 힘을 발휘할 때, 오히려 전체 주류 문화에 경직성을 초래할 수도 있다는 가정이 연구의 동기가 되었음을 밝힌다. 본 연구는 D. 닷슨의 에세이를 기반으로 매스컬처와 파퓰러컬처의 차이를 검토, 그가 제시한 몇 가지 가설을 정교화하여 전체 문화 영역을 4분하는 다이어그램을 작성하고, 여러 유형들을 각 구간에 배치할 것이다. 그 영역들은 ‘수용자에 대한 예술가의 태도’와 ‘현실 상황에 대한 작품의 성향’을 나타내는 양대 축을 교차시킴으로써 구획할 수 있다. 이 가운데서도 특히 1진영과 3진영 사이에서 펼쳐진 대립과 견제, 타협의 관계를 위주로 조명하고, 양측의 이 같은 관계가 현대 대중문화뿐 아니라 문화 역사상 오랜 기간 성립해왔던 도전과 응전의 양상임을 밝혀, 이로써 문화의 다양성이 확보될 수 있는 조건을 이들 진영의 상호작용을 통해 모색하고자 한다. 전체적으로 3진영의 꾸준한 우세 속에 1진영의 지속적 도전과 이들이 주류로 편입되는 경로를 표면화하고, 그 경로가 전체 대중문화 판도에 유연성을 충족시키는 과정임을 기술할 것이다.

문화와 예술의 해석 한국의 문화코드와 문화콘텐츠

김평수 ( Pyung Soo Kim ) 한국해석학회 2011 해석학연구 Vol.27 No.-

Culture code refers to distinct perception of any subjects-matters, goods, food, relations-cultivated by the culture with which they are affiliated. Owing to culture code which is spontaneously formed in cultural customs rather than deliberately structured it is also named “cultural unconscious”. If any culture of a certain period of time delivers unequivocal trend, it could be regarded as ``culture code.`` Culture code elaborately demonstrates the political, social, and economic terrains of a certain period. Furthermore, culture code is constructed under historical timeline as well as connected to synchronic space. This thesis aims to analyze Korean cultural contents with Korean culture codes, which is extracted from the observation of the characteristics of its society and Korean population`s cultural traits. Cross tabulation analysis method, comparing two different perspectives of subject Koreans and foreigners, was chosen to study Korean culture codes. And culture codes were also extracted from both observations of the documents of its nationals and expatriates having been exposed to Korean culture. With these culture codes Korean films released from 1990 to 2009 was studied. It was observed that each year three the most successful Korean films hold the following culture codes, such as sexuality, family value, and taboo. This analysis renders Korean population have fiery penchant for films bearing the culture codes in connection with epic chronicle, politics and economy as well as the trendy codes. It might be virtually impossible to analyze innate culture codes from a stranger`s point of view. Nevertheless, thanks to the most culture contents include culture codes of its society, culture codes would play a critical role in understanding cultural contents. If the dynamics of how its culture codes are associated with its cultural contents is properly understood, it can be regarded as a critical tool to take a glimpse of social consumption structure in the society. In addition, this analysis somewhat provides some cues how planers and producers of cultural contents direct their works.

A STUDY ON THE ENCOUNTER OF THE CHRISTIAN FAITH WITH KOREAN SOCIETY FROM THE PERSPECTIVE OF CULTURAL ENGAGEMENT

Sung-Bihn Yim(임성빈) 장로회신학대학교 기독교사상과 문화연구원 2012 장신논단 Vol.44 No.3

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.

유스컬처 영향에 의한 현대패션의 뉴노멀 경향

김유진,이세리 한국패션디자인학회 2018 한국패션디자인학회지 Vol.18 No.3

유스컬처는 오늘날 새로운 세대의 등장과 더불어 어느덧 주류 문화에 영향을 미치는 힘으로 부상하였다. 패션산업의 현장 역시 유스컬처가 주도하는 변화를 인식해야 할 때이다. 본 연구는 특히 기존 사회문화의 기준을 거스르는 유스컬처의 대항적 입장을 뉴노멀의 개념과 연결하여 분석의 기본 방향으로 삼았다. 이 연구는 기존의 질서와 반대 양상을 보이는 뉴노멀의 주요 개념과 특성을 통해 유스컬처 대두와의 연결점을 찾고, 최근 유스컬처에 의한 현대패션의 뉴노멀 경향을 도출하는데 목적을 두었다. 이를 위해 뉴노멀의 개념과 관점들을 파악하였고 연구의 중심 주제어로서 유스컬처의 개념과 스타일 양상을 살펴보았다. 그리고 최근 패션브랜드를 중심으로 유스컬처의 영향 사례들을 수집하고 관찰하였으며 유스컬처에 의한 현대패션의 뉴노멀 경향을 분석하였다. 연구대상은 2010년대 중반부터 유스컬처 정신으로 이슈가 된 브랜드들에 해당한다. 특히 유스컬처 감성 기반의 글로벌 매거진을 선정하고 이에 기사화된 주요 브랜드들을 중심으로 자료를 수집하였다. 본 연구의 결론은 다음과 같다. 첫째, 뉴노멀은 기존의 질서와 대항적 관계에 있을 때에 주로 인식되므로 밀레니얼 세대라고 하는 새로운 세대의 대두는 현재의 뉴노멀 현상과 관계가 깊다. 둘째, 유스컬처는 스타일을 구축하는 특성을 가지며, 이에 최근의 힙합, 보드룩, 고프닉 스타일 등에 주목할 필요가 있다. 셋째, 유스컬처의 영향으로 볼 때, 오늘날 유스컬처 관련의 패션브랜드는 유스컬처 정신을 기반으로 탄생한 브랜드와 유스컬처 정신을 도입하려는 하이엔드 브랜드 등 두 가지로 선별되었다. 넷째, 유스컬처에 의한 현대패션의 뉴노멀 경향은 디자인, 쇼케이스, 협업 등의 측면에서 고르게 보인다. 이 모든 측면에서 대항적 가치와 방법들이 새롭게 드러나고 있으며 이는 패션계가 지향하는 변화와 혁신, 다양성 등의 차원에서 그 의의를 인정받을 만하다. Nowadays, youth culture is becoming a strong force affecting mainstream culture with the advent of the new generation. The field of fashion industry also should recognize the change led by youth culture. This study has purposes as follows. First is a search for a connection between concept of new normal against the established order and the advent of youth culture. Second is an investigation into the trend of modern fashion by youth culture. For these purposes, this paper studied the concept and perspectives of new normal and reviewed the idea of youth culture as a keyword of this paper. In addition, there were collection and analysis on the cases of youth culture by those of fashion brands. The subjects of this research are various brands coming into the spotlights because of youth culture spirit since the mid-2010s. Especially, this paper selected global magazines based on youth culture emotion and collected cases of some brands introduced by these magazines. The conclusion of this research is as follows. First, the advent of the Millennial Generation has a deep connection with the phenomenon of modern new normal. Second, youth culture has a characteristic feature to create styles: noticeable hip-hop, board look, gopnik and so on. Third, there are two cases of fashion brands related to youth culture: new brands starting from youth culture spirit and traditional high-end brands accepting it. Fourth, the new normal trend of contemporary fashion appears in many points: designs, showcases, collaborations, etc. In terms of all aspects, directly-opposed values and methods are newly exposed and these phenomena deserve serious attention in respect of change, innovation and variety.

African Culture and the Gains of Cultural Inclusivity in the Age of Globalization

Abidemi Olufemi Adebayo 숙명여자대학교 아시아여성연구원 2019 OMNES: The Journal of Multicultural Society Vol.9 No.2

The paper advances the reason for an inclusive review of what constitutes African culture in view of the impact of globalization on the continent of Africa. Culture is a significant aspect of the African social system. It is the platform for asserting Africanity. The paper is motivated by George Herbert Mead’s theory of symbolic interactionism whose core concern is mutual inclusivity. African culture has undergone different stages of modification. What constituted African culture in the 19th century, for example, is not what constitutes it in the present day. The paper, therefore, argues the need for African culture to embrace and co-exist with the Western contact which globalization has occasioned. Such inclusivity is capable of making the continent of Africa affirm its Africanness and as such, its relevance on the global stage. A historical periodization of the culture’s evolution is undertaken, resulting in the emergence of such categories as primitive African culture, traditional African culture and contemporary African culture. Also, the paper laments the inherent contradiction in the present-day African cultural practices whereby Africans live by Western values in their realities but condemn the West according to the principle of nationalism. Following this, it is proposed that African culture should liberalize and permit the indispensable visiting Western worldview to co-exist with it. African spiritualism, arts and ethics are identified as the most enduring of all the elements of African culture, needed for Africa’s technology, iconic identity, and rectitude, respectively.