In Korea, nation and nationalism are undeniable justice, absolute virtue andmoreover system of desire. From the late Chosun Dynasty when the Korean Peninsula hadto survive from the critical situation of being the arena of competition, and through thecolonial period under Japanese imperialism, nationalism became stronger as a logic ofsurvival. The policy of seclusion under closed and exclusive nationalism that didn’trecognize the world situation well enough, eventually gave more pain to the nation.Nationalism in colonial Korea which was as reformed nationalism and on the other hand,as intransigent, resisting nationalism. Since the purpose of this writing is not for clarifyingthe argument raised on Korean nationalism, there is no use mentioning how it went withthe change of time. But we have to focus on the fact that the word‘nation’whichappeared under the influence of popular revolution and capitalism meaning‘a group ofpeople’, was translated and understood as a racial concept for strengthening the unity of‘single-race nation with five thousand years’history. First of all, there is nationalism used to fortify the system. ‘The Charter of NationalEducation’and‘The Pledge of Allegiance’were ornaments to intensify the ruling ideologyand dictatorship to militarize entire South Korea for‘settling Korean democracy’professednationalism. Also, another ruling ideology armed with‘self-reliance’put North Korea intothe state of hypnosis called nationalism. Nationalism, claiming‘nation’outwardly, but inreality, being an illuminating, instructing ideology isolating each other was indeed a bodywith two faces. This made‘nation’in Korea mysterious and objective through work suchas. The statue commemorating patriotic forefathers’and picture of national records’inSouth Korea art. Nationalism used to strengthening the system encountered the magical‘single-race’and made‘ghost’being an extreme exclusion to other nations. We can findpedigreed pureness not allowing any mixed breeds from the attitude accepting western art-via Japan or directly- and making it vague by using the word Korean and Asia. There’s nationalism as a resistant ideology to solidify the system on the other side. Itcame out as a way of survival among the Great Power and grew with the task of nationalliberation to became as a powerful force facing against the dictatorship dominating SouthKorea after the liberation. This discussion of nationalism as a resistance ideology was activein 1980s. In 1980, democracy movement against the dictatorship of 5th Republic originatedfrom military power which came out suppressing the democratic movement in Gwangju,spread out from the intellects and the students to the labors, farmers and the civilians. It is well known that the‘Nation-People(Minjoong)’s Art Movement could come out under thissocial condition. Our attitude toward nationalism is still dual in this opening part of 21st century. Onone hand, they are opposing to the ultra-nationalism but are not able to separate it fromnationalism, and on the other, they have much confusion using it. In fact, in a single-racenation like Korea, the situation of being nationalism and jus sanguinis together can causedual nationalism. Though nationalism is included in the globalization order, it is evidence that it’seffective in Korea where there are still modern fetters like division and separation. Inparticular, in the world where Japan makes East Asia Coalition but exposed in front ofnationalism, and China not being free from Sinocentrism, and American nationalism takingthe world order, and Russia fortifying nationalism suppressing the minority race after thedissolution of socialism, Korean nationalism is at the point to find an alternative plansuperior to the ruling and resisting ideology.

The Sociolinguistic Journal of Korea 14(2). This paper explores the characteristics of feminine and masculine language use through an examination of word frequency in modern Korean novels. Through several blind tests of sample paragraphs from sixteen novels by Kong Seon-ok, Kim So-jin, Shin Kyeong-suk, and Yun Dae-nyeong, subjects were required to identify the gender of the author. The most striking result of the blind tests involved the unanimous identification of two paragraphs from the same novel as feminine. Applying the monoconc program to this novel by Shin Kyeong-suk, an analysis was conducted on word frequency. The result showed that there was a high frequency of words that functioned as hedges, mitigators, and positive back-channel cues. Taking these words that apparently led the blind test subjects to deem the author of Shin's novel to be feminine, a word search was conducted for the other fifteen novels. Though certain words in Shin's novels showed a similar rate of frequency, it was discovered that they involved different collocations. Hence, it may be speculated that this brought about a more mixed response from the blind test subjects. Such explorations show that the perception of feminine/masculine language use involves not only individual words but more importantly, their collocation within sentences.

We live in the what is called 'Age of Something Religious'. In this age, we need some virtues to read and interpret everyday life. This writing is focused on what korean folk religion retains in meaning. People used to have a notion that korean folk religion is something deficient, even not official or not modern. I can't agree that opinion. I have mind to think it such as 'Dasein' by M. Heidegger. Many people should rather think that some religions in each epoch have been taken part in important roles and positions. So I focus on korean folk belief. I think that korean folk religion have important meaning, religious meaning. So I call korean folk belief 'Gikimi Faith'. 'Gikimi Faith' means belief for keeping their 'Sitz im Leben'. And it is to be divided into faith of village and faith of house. In faith of village, people served their gods with religious ritual on the mountain or at the entrance of their village named as San-je Keori-je or Maul-je. And in faith of house, each family served house gods. They believed each house is body of god, named Sung-ju. As building house, people look upon as making body of god. Out of House, especially, Maru is very important space in two aspects. At first, Maru is sacred place on which religious rituals have been performed as house belief. Next, on Maru encounter the sacred and the profane. And we can also experience the sacred. In other words, we can encounter the sacred through the profane. The profane is our everyday life through which people experience the sacred. Because of this ways, I call the same space like Maru by inter-space. Holding their keeping faith, they understand their location for daily life as small cosmos and wish to keep it from others. According to Mircea Eliade, that is because of 'Religious Humanity'. In our secular age, 'Gykimi Faith' for keeping themselves can become a solution to find meaning of something religious. That keeping faith may appear to us as a sort of 'The old future'. 'Gikimi Faith' also says that we have to take religious searching for something meaningful and true. And also we need focus on religious ritual and inter-space for shifting every place into holiness. In the age of something religious, we need also 'Religious Human' who can read usual things religious. According to M. Eliade, Religious person lives within open world, and therefore, His existence is unclosed to the world, while Non-religious Person dwells within closed world, therefore His vision is not clear, has no dialogue-partner with, and has no keyword for our world. Now we need Religious Person who is open hermetically. This paper consists of five chapters as followings. Ch.Ⅰ. Prologue Ch.Ⅱ. Theoretical Research of Eliade's Understanding for Religion Ch.Ⅲ. Religious Thought for Korean Gikimi-faith Ch.Ⅳ. Cultural Significance for Gikimi-faith Ch.Ⅴ. Epilogue I hope that people should inquire into korean traditional faith with affection more openly.

The main objective of this study is to analyze characteristics on the somatotype of modern adult women In order to standardize of products. The sample for this work chosen from data which were collected and measured by Size Korea during two years(2003~2004). In order to analyze feature of the somatotype of modern adult women, analysis was peformed in 1,371 subjects(645 twenties women, 725 thirties women) about 21 body parts such as height(4 parts), width(3 parts), thickness(3 parts), circumference(7 parts), length(3 parts) and body weight. According to the result of analysis, it was found that the twenties group was near in slender somatotype, whereas the thirties group was near in fat somatotype compared to standard somatotype.

Many contemporary architectural avant gardes tend to use painting as a medium to create architecture which goes beyond the rationalized spatial conception of modem architecture represented by perspectivism. They produce non perspective drawings to represent spatial Ideas, and expand it through poetic imagination to create an unexpected architectural form and space. This paper attempts to analyze the historical origin and background of dominance of drawing in the production of architecture. It was with the invention of perspective that architectural representation became important tool for architectural production. Thereafter, drawing was considered prior to actual building and architecture was considered a three dimensional realization of two dimensional drawing. Modernist avant gardes such as Cubism shattered the rationalized pictorial space of perspective and found a new pictorial space. They tried to extend it to three dimensional space through parallel projection largely based on the Hildebrand's theory of pure visibility. However, due to the ambiguity of the position of the viewing subject, their attempts could not succeed in creating a new architecture. The new architectural avant garde of the 70's rediscovered the early 20th century avant gardes in their attempt to create a new architecture which can register the fragmented spatial condition of contemporary society, and used painting as a medium to create architecture. Their difference from the early avant gardes was that they used poetic imagination rather than parallel projection in the process of projecting three dimensional space and form from the painting. However, their architecture cannot escape the scopic field of perspectivism in that they rely on the picture plane and the distance between object and viewing subject. Therefore, I conclude that in order to create architecture which goes beyond the rationalized space of modern architecture, it is necessary to resort to other tradition of modern architecture than visual one.

The purpose of this study was to understand current food consumption phenomena in the context of Korea's consumption culture and economy. For this purpose, food consumption phenomena and the underlying meaning of consumption culture were investigated. The study indicated that current food consumption phenomena were characterized by increased eating habits away from home, consuming more fast food and processed foods, westernized diet, eager for taste, and overwhelming well-being products, which could result in environmental problems as well as malign physical and mental defects. It was argued that current food consumption phenomena had been mainly affected by the commercial food industry and consumers' cultural consideration. Finally, this paper discussed several approaches to motivate consumers' awareness and how to change their food consumption culture, and further government policy efforts.

This study examined food sharing characteristics revealed in the modern Korean society by both interpreting phenomena and analyzing literature. Diet was said to be the least influenced by western modernization in Korea. Concerning this matter, one of the important explanations to be considered would be a strong influence of 'the first settlement effect' in culture, as reviewed elsewhere. Sharing food means not only sharing food itself but also sharing communal solidarity. The latter was strongly emphasized in Korean food culture due to his own historical grounding. Some examples revealed in current Korea included sometimes too much generous treat when eating out, even saliva allowed food sharing, too much food provision, and too many restaurants. 'Dutch treat' observed in many occasions of food sharing in Korea was also viewed as a product of historical experience, which was related to the degree of traits of feudalism in modern societies as feudalism was based on a sort of a give and take contract. The association of the degree of traits of feudalism and communal solidarity was explored by comparing so called different meal treat manners between Koreans and Japanese, that is, more generous attitude among the former. The concept of communal solidarity was also examined with respect to Koreans' side dish sharing behaviors which sometimes accompanied seemingly insanitary saliva sharing. In addition, provision of too much food was analyzed by relating this manner to a traditional 'hand over dining table' custom. Traditionally, food on a dining table was not supposed to be only for those sitting on the table. Even though the 'hand over dining table' was no longer well preserved at present time, its cultural traits appeared to be well prevailed in the modern Korean society. Finally, an increase of restaurants as well as an increase of eating out occasions were postulated with respect to the notion that restaurants were the places for ascertaining communal solidarity while sharing foods. The above analyses suggest the importance of the influence of sharing originated from his/her own historical grounding for better understanding of modern Korean food culture.

Since the evaluation of its intellectual activities and abilities is done by curator’s capabilities, planning exhibition is very important as the final result achieved by their own knowledge, information, and research. ARPA(Advanced Research Project on Arts) is suggested as the system which enables curators responding simultaneously to the society in the times, based on its special characteristics. If this system settles well, which means that the curators at NMCA(National Museum of Contemporary Art, Korea) play their roles as the professionals in each of their fields, the goal of consolidating the status of museum as the representative national museum, and building up competent department of curators, will be achieved at the same time. To clarify above, the curators set up the various assignments of research about the types of arts such as painting, Korean painting, sculpture, installation, new-media, design, craft, photogarphy, architecture, etc. And they establish the art objects classified by the regions, such as the Northern American, Southern American, European, Asian, and other Third World countries. They elaborate art objects more on the history, the work, the artist, and the issue of contemporary art. Furthermore, when the curators devote deeper study to those research subjects, they can have the opportunities to design an exhibition upon the research.Today, the museum of art is ‘The Place for Communication and Encounter’, it is regarded important to share the aesthetical, creative values with current artists, and to understand mutually with the spectators. It is needed to improve the curator’s work, in order to meet the demands of the times and even to advance. Because the form of ‘exhibition’ is the tool that reveals the identity NMCA aiming at, the motivation, the development, and the realization should be leaded by the curators, who are the mainstream of the museum. ARPA is a system for identifying the exhibition like mentioned above . The main purpose of this system is to produce synergy effect, having the researching, collecting work in liaison with planning exhibition. ARPA will be able to improve the quality of exhibition through the way of developing the exhibition, passing through the stable process in the long run. So far, I have referred to a new paradigm of the exhibition design at NMCA via ARPA. Yet, there still remain missions in reality, such as analyzing the previous exhibition and reshuffling personnel and system, which should be done. When these matters settled, these plans would be suggested practically. At this point, it is the most significant that NMCA is attempting to let others aware of the importance of exhibition planning based on research. when the ARPA and exhibition planning is conjoined together successfully, the competent exhibition will be achieved, which can offer a meaningful exhibition to the art world, strengthen infra structure thru exchanging with public museum in the region, and eventually, establish a network with museum in foreign countries.

Contemporary Korean art in the 1960s and the 1970s reflects the social and political contexts in Korea from the 5ㆍ16 revolution through the Yoo Shin period. This paper investigates whether art has been free from power or not. It examines the power embedded in contemporary Korean art in the 1960s and the 1970s. This paper examines the historical moments of the Korean Art Exhibition, focusing on the complications between the abstract and figurative artworks of the 1960s. One of the significant art exhibitions since the 8ㆍ15 liberation of Korea, the Korean Art Exhibition witnessed conflict among Korean artists who wanted to have power in the art world of Korea. Institutional contradiction based on factionalism and conservatism prevailed in the Korean Art Exhibition was attacked by the avant-garde young artists in the 1960s. With the contact of Abstract Expressionism, young artists’ generation participated in the The Wall Exhibition. This exhibition challenged and established moral principles and visualized individual expression and creation similar to the Informal movement in the West. In the world of the traditional painting of Korea, the Mook Lim Exhibition of 1960, organized by young artists of traditional painting, advocated the modernization of Soo Mook paintings. Additionally, abstract sculptures in metal engraving were the new trends in the Korean Art Exhibition. In the 1970s, the economic development and establishment of a dictatorial government made the society stiffen. Abstract expression died out and monochrome painting was the most influential in the 1970s. After the exhibition of Five Korean Artists, Five White Colors in the Tokyo Central Art Museum in 1976, monochrome paintings were formally discussed in Korea. ‘Flatness’ ‘physicality of material’ ‘action’ ‘post-image’ ‘post-subjectivity’ and ‘oriental spirituality’ were the critical terms in mentioning the monochrome paintings of the 1970s. ‘Korean beauty’ was discussed, focusing on the beauty of white which was addressed by not only Yanagi Muneyoshi but also the policy of national rehabilitation under the Yoo Shin government. At this time, the monochrome paintings of the 1970s in Korea, addressing art for art’s sake, cutting of communication with the masses, and elitism, came to be authorized.