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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2000.12
- 수록면
- 55 - 78 (28page)
이용수
초록· 키워드
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Since the 1990s, the term "globalization" became an everyday word in all sectors of our society. To globalize means to bring something, be it the legal system, business practices, or rules of trade, to the level of international standards in order to lessen conflicts and tensions among the nations involved. Global communities keep creating international organizations through which such issues are discussed and resolved.
In the sphere of traditional culture, the ultimate goal of globalization is also to avoid conflicts among different cultures and peoples, or to avoid the "clash of civilizations," to borrow Samuel Huntington's expression. Without diminishing cultural identities of world's peoples and nations, globalization of traditional cultures can be achieved by promoting mutual understanding among different cultures. Such efforts are being made through the various activities sponsored by the UNESCO.
One concern related to the globalization of a culture is the possibility of its commercialization as it is transmitted through various media, and the resultant lessening of identy. This essay examines some concrete ways of globalizing Korean traditional culture while maintaining the traditional traits as much as possible.
In Chapter Ⅱ, the boundaries of Korean traditional culture were defined. In this essay, the writer deals with Korean traditional culture in its narrow as well as extended meanings. In the narrow meaning, it is commonly understood as the high culture of the Korean people of the past; in the broader meaning, it is understood as the day to day life habits, customs and manners, etc., seen from an anthropological or sociological standpoint.
Chapter Ⅲ deals with the issue of how we should improve our social manners and customs (manners in public places, in serving Korean food, and in rest rooms) so that visitors from abroad can feel more comfortable while traveling in Korea. Tourism is one of the most effective ways of globalizing Korean culture, not to mention the means of earning much needed foreign currency. Thus it is of paramount importance to attract more people by making their visit to Korea more enjoyable. Besides, it is also desirable for Koreans to be more civil even among themselves.
Chapters Ⅳ and Ⅴ deal with possible ways of disseminating information on Korean traditional arts among foreigners residing in Korea as well as around the world through lectures, exhibitions, and other educational activities. It is currently estimated that there are about 500,000 foreigners residing in Korea. To help them understand Korean traditional arts and cultures, national and private museums need to improve the contents of their websites. They should provide more information in English or in other foreign languages.
Currently there are several organizations which offer English lecture programs to foreigners. But the number of such programs are far less than needed to meet the demand adequately. Also, there is a need to diversify the level of audience. One way of ensuring the higher level of audience would be to provide special lecture programs and guided tours at museums and galleries whenever there is a special exhibition.
Museums and historic sites throughout Korea need to upgrade the contents and the language of their information panels and objects labels. In doing so, the following four points should be considered: 1) Whether the overall contents are well organized; 2) whether the given factual information is correct; 3) whether the amount of information is adequate; and 4) whether the language used (be it English, Japanese, or Chinese) is easy to understand, and of high quality.
In Chapter Ⅴ, major museums around the world, which already have, or soon will have an independent Korean art gallery, are introduced. Needless to say, a small gallery in a large museum is not enough to introduce Korean traditional high arts to the global community. But it can serve as a window of Korean culture to let the world realize that the Koreans are a people who possessed a sophisticated level of culture. The Korea Foundation is in the center of this "Korean art gallery projects" both in providing funds and curatorial advice.
One of the most successful on-going programs is the "Curators' Workshop" it has sponsored for the past two years. The purpose of this workshop is first, to re-educate the curators in museums abroad who are Asian Art specialists of regions other than Korea, and yet who are responsible for the Korean art related programs in their respective museums. Secondly, it aims at exposing them to Korean arts by providing them with opportunities to visit cultural sites.
Over the past decades, large scale diachronic exhibitions introducing Korean arts of all media have been held many times. They contributed greatly to amending the general negative impression of Korea gained after the Korean War(1950-53). It is now time to introduce Korean culture in a more in-depth level through special exhibitions concentrating on a specific theme such as one period, one artist, or one religious aspect. This will help enhance the global community's understanding of the sophistication of Korean traditional arts, which is on a par with any other great cultures of the world.
Finally, good quality publications on Korean arts are much needed. Compared with the number of publications on either Japanese or Chinese arts, those on Korean arts fall far behind. Publications of all levels - from a simple guide to cultural sites to an in-depth scholarly publication on specific themes- are in great demand.
In conclusion, the writer stresses that the most important thing is for all of us to realize the value and the importance of the traditional arts and cultures for the present and future of our nation. And then we should try to help the global community understand them. Such a goal would be difficult to achieve without the moral and financial support of the government. The position of France in the world as a nation of culture has been maintained all these years due to the French government's will to promote and guard its cultural position. By the 1980s, the French government allocated 2.2 percent of the national budget to its ministry of culture. The same in Korea in 1998 was only 0.57 per cent. The global understanding or globalization of cultures cannot be achieved without the active support of the government.
In the sphere of traditional culture, the ultimate goal of globalization is also to avoid conflicts among different cultures and peoples, or to avoid the "clash of civilizations," to borrow Samuel Huntington's expression. Without diminishing cultural identities of world's peoples and nations, globalization of traditional cultures can be achieved by promoting mutual understanding among different cultures. Such efforts are being made through the various activities sponsored by the UNESCO.
One concern related to the globalization of a culture is the possibility of its commercialization as it is transmitted through various media, and the resultant lessening of identy. This essay examines some concrete ways of globalizing Korean traditional culture while maintaining the traditional traits as much as possible.
In Chapter Ⅱ, the boundaries of Korean traditional culture were defined. In this essay, the writer deals with Korean traditional culture in its narrow as well as extended meanings. In the narrow meaning, it is commonly understood as the high culture of the Korean people of the past; in the broader meaning, it is understood as the day to day life habits, customs and manners, etc., seen from an anthropological or sociological standpoint.
Chapter Ⅲ deals with the issue of how we should improve our social manners and customs (manners in public places, in serving Korean food, and in rest rooms) so that visitors from abroad can feel more comfortable while traveling in Korea. Tourism is one of the most effective ways of globalizing Korean culture, not to mention the means of earning much needed foreign currency. Thus it is of paramount importance to attract more people by making their visit to Korea more enjoyable. Besides, it is also desirable for Koreans to be more civil even among themselves.
Chapters Ⅳ and Ⅴ deal with possible ways of disseminating information on Korean traditional arts among foreigners residing in Korea as well as around the world through lectures, exhibitions, and other educational activities. It is currently estimated that there are about 500,000 foreigners residing in Korea. To help them understand Korean traditional arts and cultures, national and private museums need to improve the contents of their websites. They should provide more information in English or in other foreign languages.
Currently there are several organizations which offer English lecture programs to foreigners. But the number of such programs are far less than needed to meet the demand adequately. Also, there is a need to diversify the level of audience. One way of ensuring the higher level of audience would be to provide special lecture programs and guided tours at museums and galleries whenever there is a special exhibition.
Museums and historic sites throughout Korea need to upgrade the contents and the language of their information panels and objects labels. In doing so, the following four points should be considered: 1) Whether the overall contents are well organized; 2) whether the given factual information is correct; 3) whether the amount of information is adequate; and 4) whether the language used (be it English, Japanese, or Chinese) is easy to understand, and of high quality.
In Chapter Ⅴ, major museums around the world, which already have, or soon will have an independent Korean art gallery, are introduced. Needless to say, a small gallery in a large museum is not enough to introduce Korean traditional high arts to the global community. But it can serve as a window of Korean culture to let the world realize that the Koreans are a people who possessed a sophisticated level of culture. The Korea Foundation is in the center of this "Korean art gallery projects" both in providing funds and curatorial advice.
One of the most successful on-going programs is the "Curators' Workshop" it has sponsored for the past two years. The purpose of this workshop is first, to re-educate the curators in museums abroad who are Asian Art specialists of regions other than Korea, and yet who are responsible for the Korean art related programs in their respective museums. Secondly, it aims at exposing them to Korean arts by providing them with opportunities to visit cultural sites.
Over the past decades, large scale diachronic exhibitions introducing Korean arts of all media have been held many times. They contributed greatly to amending the general negative impression of Korea gained after the Korean War(1950-53). It is now time to introduce Korean culture in a more in-depth level through special exhibitions concentrating on a specific theme such as one period, one artist, or one religious aspect. This will help enhance the global community's understanding of the sophistication of Korean traditional arts, which is on a par with any other great cultures of the world.
Finally, good quality publications on Korean arts are much needed. Compared with the number of publications on either Japanese or Chinese arts, those on Korean arts fall far behind. Publications of all levels - from a simple guide to cultural sites to an in-depth scholarly publication on specific themes- are in great demand.
In conclusion, the writer stresses that the most important thing is for all of us to realize the value and the importance of the traditional arts and cultures for the present and future of our nation. And then we should try to help the global community understand them. Such a goal would be difficult to achieve without the moral and financial support of the government. The position of France in the world as a nation of culture has been maintained all these years due to the French government's will to promote and guard its cultural position. By the 1980s, the French government allocated 2.2 percent of the national budget to its ministry of culture. The same in Korea in 1998 was only 0.57 per cent. The global understanding or globalization of cultures cannot be achieved without the active support of the government.
목차
Ⅰ. 머리말
Ⅱ. ‘전통문화’란 무엇을 지칭하는가
Ⅲ. 우리나라를 찾는 외국인들에게 우리가 문화 민족임을 알리기 위해
Ⅳ. 駐韓 외국인들을 위한 전통문화 교육 및 홍보
Ⅴ. 해외에 우리 문화 유산을 효과적으로 알리는 방안
Ⅵ. 맺는 말
English Abstract
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UCI(KEPA) : I410-ECN-0101-2010-151-001722511