• Journal of Korean Philosophical Society
• /
• v.142
• /
• pp.165-192
• /
• 2017

The purpose of this thesis is to explain the difference between Heidegger's hermeneutical philosophy and Gadamer's philosophical hermeneutics. The difference is to say that Heidegger's philosophy begins with Aristotle's theory of category and transcendental philosophy. On the other hand, the beginning of Gadamer's philosophical research is Plato's dialog, philosophy and Hegels dialectic. 2. Heidegger regards humanism as a variant of the modern ideal of human beings. On the contrary, Gadamer understands humanism as a place where romantism leads to the ideals of human education. 3. Heidegger says that the hermeneutical circle is still a logical and existential structure of the circle. On the contrary, Gadamer understands the circle as a circle between the whole and the part. This circle is the law of traditional hermeneutics derived from the tradition of rhetoric. 4. Heidegger says Plato's philosophy is the first beginning of the substance metaphysic, Hegel's philosophy the end of the subject metaphysic. On the contrary, Gadamer says the hermeneutical understanding and the hermeneutical interpretation is endless. 5. Heidegger's ontology is as Sein zum Tode a future oriented and eschatological. On the contrary, Gadamer's hermeneutic is as Sein zum Text always the way to a past, the infinite openness.

• Journal of the Daesoon Academy of Sciences
• /
• v.35
• /
• pp.73-107
• /
• 2020

Daesoon Jinrihoe tends to be perceived as a 'nationalistic religion' by both internal members of the religious body and outside scholars of religious studies. However, the character of this particular nationalistic religion is rather complex. On top of emphasizing the special status of the Korean ethnic group while focusing on nationalism as a nationalistic religion, Daesoon Jinrihoe futrther asserts an implication of the universality of world religion aiming to bring relief to humankind and the world. This dynamic is one of the specificity of nationalistic religion and also the universality of world religion. However, this dual logic of specificity and universality is not characteristic of only Daesoon Jinrihoe. Many religions in the world have also exhibited duplicity as nationalistic religions and world religions. And this thesis pays attention to Sectarian Shinto as it formed in modern Japan. Kyoha Shinto formed when the modern Japanese government established the national Shinto system which had a total of 13 sects. Most of them do not only call themselves a nationalistic religion, inheriting the ethnic tradition of Japanese people, but also jump into overseas missionary work. This started during the Sino-Japanese and Russo-Japanese Wars. With that in mind, how did the overseas missionary work of Sectarian Shinto aspire for status as a world religion while maintaining their identities as nationalistic religions? Furthermore, how did their movements fare in their efforts to become world religions? Thus, this thesis aims to examine the possibility Daesoon Jinrihoe becoming a world religion through some cases of Sectarian Shinto that showed the duplicity as nationalistic religions and world religions. Also, this thesis makes suggestions regarding the future direction of Daesoon Jinrihoe. As such, this paper aims to review the new direction of Daesoon Jinrihoe as it stands on the borderline between being a nationalistic religion and a world religion. This is done by examining the historical flow of theory regarding 'nationalistic religion' or 'minjung religion' which have long been discussed in Korean society. Also examined is the case of Won Buddhism which likewise aims to simultaneosuly be both a nationalistic religion in Korea and a world religion abroad.

• Korean Institute of Interior Design Journal
• /
• no.16
• /
• pp.135-141
• /
• 1998

The objective of this study is to examine the specific progress in modern architecture with a premise that structure-oriented paradigm, as a primary factor, exerts a strong impacts on 18th and 19th centuries architecture. For this purpose, the concept and meaning backgrounds of structure-oriented paradigm have been checked also intrinsic thought s and critical aspects of modern architecture with the light of structure-oriented paradigm have been studied, This study summarized as follows: 1) The concept of structure-oriented paradigm in accordance with ideologies and technologies is framework of through which is shared as collective consciousness. 2) The backdrops of this consciousness are scientific methodologies stemmed from Renaissance and Enlightenment spiritual absoluteness claimed by German Idealists developed structural engineering with newly introduced material like iron steel and reinforced concrete. 3) The intrinsic through in architectural theories are rational and technological idelolgies which is derived from the backdrops of structure-oriented paradigm. 4)The critical sapects of modern architecture in structure-oriented paradigm point of view are $\circled1$ material alteration and directive imitation of vocabularies in classical architecture with simply using newly introduced building material and structure systems $\circled2$ morphological substitution with abstractly interpreted materials and structure systems $\circled3$ revolutionary conversion into engineering architecture through maximum consideration in compliance with tectonics capabilities

• 한국학연구
• /
• no.49
• /
• pp.123-154
• /
• 2018

이 글은 해방 이후 강화문화관을 시작으로 전국에 걸쳐 등장한 문화원의 사회사적 성격을 문화냉전의 맥락에서 규명한 것이다. 문화원은 미국의 해외 공보 업무를 담당한 미국 공보원(United States Information Service, Korea)의 적극적인 지원으로 개관했으며 한국전쟁을 계기로 급격히 증가하였다. 문화원은 미국 공보원이 지향한 '자유 동아시아' 국가 형성을 목표로 미국적 가치와 문화를 전파했지만, 해당 지역 공동체의 현실적인 이해관계를 반영하면서 문화원 사업의 방점에 차이를 두었다. 1962년 설립된 한국문화원연합회는 전국적인 연결망을 형성하고 미국식 민주주의와 공산주의 이념의 강화 그리고 박정희 주도의 산업화와 근대화의 선전과 홍보에 앞장섰다. 1960년대 중후반 대전문화원의 활동에 관한 사례 분석을 통해 확인한 바와 같이, 문화원은 지역의 행정과 경찰 및 교육 그리고 흥행업자와 긴밀한 관계를 형성하면서 지역의 모든 문화 관련 활동을 수렴하는 기관으로서 위상을 지녔다. 또한, 냉전 시기 후방 군사도시이자 대규모 노동자 집결 도시인 대전의 문화원은 미군의 주둔과 연관된 사업을 수행하는 한편으로 베트남전쟁 참전과 관련된 정치적 긴장에 적극적으로 대응하는 모습을 보였다. 대전문화원 강당에서의 상설 영화 상영을 비롯해 대전 시내와 충남 일대 지역에서 조직적으로 전개한 이동영화 상영은 이를 보여준다. 따라서 1947년 한국사회 최초로 등장한 강화문화관이 과거 일본 제국과의 단절을 강조했다면, 1960년대 중후반 대전문화원은 동아시아 지역의 문화냉전 벨트의 형성을 위하여 '새로운 일본'을 소개하는 데 적극적이었다. 이는 일국 차원에서 전개된 대전문화원 활동이 동아시아 국가의 문화냉전의 형성과 중첩되었음을 증명하였다.

• Korean Journal of Heritage: History & Science
• /
• v.42 no.1
• /
• pp.100-121
• /
• 2009

This study is subjected to those gardens of the Korean Folk Village 'Oeam-Ri' designed in 1920s. - transitional period of traditional gardens - and define socio-cultural change's influences and through documents on garden design, descendant's testimony and measured drawings, to understand that period's garden culture's characteristics according to garden design elements. This study applied following analysis methods and procedures to derive out characteristics of transitional garden culture. Analysis on socio-cultural characteristics in 1920s. Analysis on actual condition of transitional garden's design. In this point Outline of the Garden, Space formation, Garden designing elements are (1) water landscape, (2) plant, (3) structures, (4) paving, to derive out characteristics of the transitional garden. The results follow as below; First, during the transitional period 1920s, the economical development, fueled by opening nation's door to foreign countries and indication of collapse of statue systems together with idea of practical science and Enlightenment Thought, was element of changes in garden style. Second, Garden Designers of transitional gardens in 'Oeam-Ri' were limited to upper class of the society. They were wealthy enough to maintain their high social statue in rapidly changing society. As results, tendency of returning to nature developed gardens located in a site of scenic beauty and development of geographical features arranging techniques, and also showed copying foreign styles. Third, arrangement of garden and space composition, in most cases, composed of buildings and yards. Changes in water landscape features and garden spaces are centered to main-yard. Major changes of the garden spaces are water landscapes and plants that showing foreign influences. Fifth, scenic appearance techniques appears with dense garden space and emphasizing visual scenic view. Sixth, the characteristics of transitional garden design techniques are development of geographical feature arranging techniques, changes and mixture of the materials and garden types, emphasizing garden's decorative beauty, change of concept of yard within house into garden, changes from 'borrowing of landscapes' to 'selecting landscapes', changes of front garden from emptiness to fullness, changes of attitudes of enjoying gardens from 'staying calm in the garden' to 'moving or walking in the garden', changes to inner-oriented view, and changes from 'just watching and enjoying the nature' to 'enjoying specific objects'. This study is one of the efforts to restore the identity of Korean Traditional Garden by approaching and observing modern era which function as bridge between tradition and present day, and we observed transitional aspects of changes of traditional garden into modern garden. Hereafter, more studies will be needed to Modern Garden Design be recognized as part of Korean Garden Design History and these would be author's next assignment.

• The Journal of the Convergence on Culture Technology
• /
• v.9 no.5
• /
• pp.255-262
• /
• 2023

In the early 20th century, Yeomjae Song Tae-hoe (念齋 宋泰會, 1872-1941), a disciple and onetime adopted son of teacher Song Su-myeon(宋修勉, 1847-1916), moved to Gochang and laid the foundation for Gochang calligraphy and painting, and it can be seen that a full-fledged flow began. Yeomjae Song Tae-hoe was a scholar and calligrapher of the late Joseon Dynasty and modern period from Hwasun, Jeollanam-do. He is a person who created the foundation of Gochang calligraphy and painting while working as an educator in Chinese literature, calligraphy, and painting, mainly in his hometown of Hwasun and Gochang, while engaging in creative activities. He was intelligent from a young age and showed an extraordinary talent for calligraphy. At the age of 16, he passed the Jinsa exam (童蒙進士) and became the youngest student to study at Sungkyunkwan. He was active by holding exhibitions nationwide based in Gochang and Jeonju, and was also an educator who fostered younger students by establishing Gochang High School (currently, Gochang Middle and High School) to cultivate national spirit and history. Yeomjae drew strong and healthy landscape paintings under the absolute influence of the painting style of Saho Song Su-myeon, and dealt with various materials of southern school literati paintings such as flowers and birds and four plants. In particular, he is a representative calligrapher who encompasses the early modern era and the modern era in that he expressed his interest in new cultural artifacts as well as the realization of a modern-oriented realistic landscape based on Korean natural beauty. He laid the foundation for modern and contemporary calligraphy and painting. Goam Lee Eung-no (顧菴 李應魯, 1904-1989), a world-renowned painter, learned the basics of ink painting from Yeomjae in his late teens.However, compared to his various artistic and social activities, it is regrettable that he is limited and evaluated as a local writer.

• Sijohaknonchong
• /
• v.42
• /
• pp.151-185
• /
• 2015

The purpose of this study is to reveal the aspects of "Children" in Saseolsijo and its historical implication in Korean Classical Poetry. What was discussed can be summarized as follows: There are two types of children in Saseolsijo, one is silent, and the other is speaking. The silent child characteristics are such as being called and addressed by the poetic narrator, customary audience, passive attitude, etc. The speaking child characteristics are speaking subject, active attitude as sign of modernity. These phenomenon simply expose the differences of aesthetic order. The silent children is mainly to be utilized as a device to maximize the lyricism of the text as an ideologically product by the inner request of the poetic narrator and show identification discourse. The speaking child, gives the dynamics in text by heterogeneous discourse and informs aesthetic distance between "the reader and the text" as well and show distance discourse. These fragments from Saseolsijo's children are also found in previous genres. In the case of Hyangga, 'children' speak for solving others' desire but are targeted by poetic narrator as well. In the case of Goryosokyo, 'children' show activity and efforts to break forced silence by the poetic narrator through voluntary speaking. In Sijo's case, unlike other genres, some literary works show contents about disciplining children and the growth of children. However mostly targeted children by the poetic narrator are predominantly appeared from the discourse perspective. These aspects of children in previous genres including some of works in Saseolsijo are mainly associated with the appearance of medieval children. Unlike these, the new aspects of Saseolsijo's children show the cross-section of the signs of transition contemporary, from medieval to modern. Even if there are few literary works in these, speaking children with activity reveals novelty over medieval-imposed 'child-ness' by showing 'self', 'individual desire' strongly. This novelty is far from infants of the modern concept as naive and innocent children but these children are noted in that they show a part of modernity through various voices in the text, the comic(laughter), multiple point views, etc.

• Journal of the Daesoon Academy of Sciences
• /
• v.47
• /
• pp.1-37
• /
• 2023

This essay seeks to answer the question of how best to understand Korean new religious movements (KNRMs). KNRMs have the characteristics of folk religion, ethno-religion, or popular religion. KNRMs are products of the national consciousness promoted by Korean society during the Late Joseon Dynasty at the turning point of modern Yi-Jing Studies. From the perspective of social evolutionary theory of developmental history, during that period, Joseon (Korea), like China, was faced with a double-edged sword consisting of the strength of tradition and the upheaval of modernity. If the strength of tradition depended on the Yi-Jing Studies to promote national enlightenment toward anti-imperialist aims, then it was equally the case that modernity depended on the sense of urgency to guide the people to secure livelihoods and edification regarding anti-feudalism. In this essay, the KNRMs that appeared during this transition period of Yi-Jing Studies will be a significant focus, and the worldview of Daesoon Thought will be the main focus. As one of the central topics, intensive discussion will be dedicated to the issue of the nature of pre-experientialism (先驗主義) which characterized the Great Opening (開闢). The principles of Daesoon Thought have a religious dimension of realistic awareness that guides the people's lives and edifies them. The process of the Great Opening aims to secure an ontological clock that tracks the Great Itineration of the world toward Daesoon Truth. This in turn as a process establishes the epistemological world of the Reordering Works of Heaven and Earth (天地公事) and reaches the axiological boundary of the future world. The links among the Three Realms is characterized by a pre-experientialist line that experiences the space-time nature of the universe as the Great Opening of the Later World (後天) within the framework of Heaven and Earth. Throughout this course, humans look to enjoy the infinite vitality of the universe from within their own finite vitality. Therefore, Daesoon Thought can overcome perceived reality through pre-experientialist channels such as the Great Opening of the Later World and aim for a state of self-awareness such as the Earthly Paradise. This is an attempt to participate and practice in the actual world rather than pursuing a world of transcendental ideas, and therefore, it tends to be proactive in the world rather than exhibit a passive tendency to be worldliness. In conclusion, the truth of Daesoon Thought, which is characterized by the Great Opening of the Later World, contains a future-oriented outlook that longs for a Nextopia full of hope and promise rather than idealistic fancy towards a Utopia or well-founded dread and disdain towards Dystopia.

• 한국HCI학회:학술대회논문집
• /
• 2009.02a
• /
• pp.855-861
• /
• 2009

This paper presents the concept of dynamically reconfigurable space by introducing smart building components. Thanks to the advances in ubiquitous computing and ITC technology, we are able to expect, in the near future, the aspects of future buildings which may transform their appearance and states to perform specific functions. In other words, it is certain that the building space will actively reconfigure itself to accommodate user's needs once we acquire proper technologies. Based on the assumption that building components may not be transformed through the magical process, but change its physical states (e.g. transparency, illumination, display contents, etc.) and functions of embedded devices (e.g. audio, actuators, sensors, etc.), we can envision a dynamically reconfigurable smart space. In order to conceptualize such spaces, critical surveys have been conducted on current works of leading architects. When the room needs to be used as a specific function room, the components need to change theirs states or to behave in a certain manner to create an optimum environment. Our model defines the relationships and elements to describe the mechanism of reconfigurable space. We expect this model provides a conceptual guideline for developing a smart building components based on spatial service scenarios. Therefore, a future smart spaces implemented by integrating various technologies are not designed in deterministic manner, so that spatial functions are expanded without constrained by physical existence.

• Journal of Korean Classical Literature and Education
• /
• no.39
• /
• pp.137-180
• /
• 2018

This article examines the constitutional characteristics of the works in the "Shinbi Apartment" (Mysterious Apartment) series produced by Tooniverse, a domestic animation channel, and considers the meaning of the contents of the ghoststory (鬼神談). The "Shinbi Apartment" series is a horror animation for children. It was produced for the first time in Korea and recorded high ratings. Additionally, it is different from Japanese horror animations that were dubbed and broadcast in Korea in terms of composition and narrative direction, and it succeeds in the form and direction of the traditional Korean ghost story. "Shinbi Apartment - The Secret of Ghost Ball" enriches narrative stories by embracing the structure of the "female ghost story" in traditional ghost stories while following the form of ghosts that suddenly pop up in the daily routines of contemporary ghost stories. The ghost's shape, which has a bizarre and unpredictable aspect, embodies the ghost as the object of fear that modern horror stories intend. However, it does not stop there, but puts the attention on the hero who focuses on the emerging ghost and listens and communicates with it, placing the emphasis of the story on communication, understanding, forgiveness, and reconciliation. The structure and contents of the unique story of "The Secret of Ghost Ball" contribute to the transformation of the ghost into a subject of friendliness and entertainment, not merely as one of shock, fear, and anxiety. Additionally, as the concept of "child" is being created, the custom of modernity, which deals with the story of ghosts in the dimension of teaching and edification, is also manifested in "The Secret of Ghost Ball." In other words, through the figure of the devil, it is to continue the lesson of the story by revealing the adventure, the courage necessary for the "child," and the boundaries for substance and appearance. The "Shinbi Apartment" series has also contributed to the success of ghosts as commercial contents. The structure of the story and its characters have been actively used as educational tools and toys for children. It can be said that ghost culture contributed to this popularization by establishing a base for enjoying ghosts for amusement and entertainment.