• Journal of Digital Convergence
• /
• v.19 no.5
• /
• pp.375-381
• /
• 2021

This study aimed to examine the dilemma of rural China under rapid urbanization process after economic reform, by paying attention to the problem of the order of village community and the expression of individual desires depicted in the film with a rural background. To this end, the narrative analysis, which is suitable for exploring the story structure and expression style of the text, was conducted to examine the community order and ethics, patriarchy and paternity, and the expression of desires of subject. In the film, closed space and villagers, who are disciplined by community customs, local culture, and formality of the rule of manners, are depicted. The film is covered in a form of mystery movie dealing with the deaths of members of the village community. However, the film talks about the rise of the Imaginary desire of subject against the symbolic rules of community order and ethics through the puzzle pieces story according to the perspectives of the characters. In conclusion, through the narrative analysis, it was possible to examine the implications of weakened communal discipline and paternity of the countryside by the rapid urbanization of China, and implications of the lethargy and neurosis of the subjects.

• Journal of the Daesoon Academy of Sciences
• /
• v.31
• /
• pp.131-163
• /
• 2018

The concept of pilgrimage is a phenomenon that appears in almost every major religion. It is traditionally defined as religious travel to a sacred external place for spiritual purposes and introspection. However, there are many different relationships between pilgrimages and religious customs, including excursions through abstract dimensions and regular journeys such as annual holidays. Because modern pilgrimages are taken for a variety of reasons, they are not limited to faith-based historical locations. Thus, many scholars also perceive pilgrimages as an increasing part of the general industry of tourism. These journeys are now studied in a diverse range of fields (e.g., ethnography and tourism). In this way, pilgrimages have created a new market from an industrial perspective. This economic analysis has resulted in secular interest. Pilgrimages can now be taken by gil (walkways), which have gained tremendous popularity. Thus, religiosity and humanity as they are embraced through pilgrimages are now receiving outside influences. This study therefore is aimed at generating suggestions for developing the pilgrimage routes related to Kang Jeungsan (i.e., the Supreme God of Daesoon Jinrihoe). These proposed Jeungsan routes are not simply restricted to religious activities or nostalgia, nor are they exclusively concerned with encountering holiness. To realize this idea, it is necessary to reconsider the concept of a sacred space.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.6
• /
• pp.135-142
• /
• 2019

This study explores the ways in which depaysement and its dreams function as a hallucinative allegory on the basis of the spiritual freedom of surrealism in Luis Bunuel's films: "The Discreet Charm of the Bourgeoisie" and "The Phantom of Liberty". In order to grasp the appearances of the sign in the scene of these films, it examines how he uses surrealism's dépaysement techniques such as the disposition of floating object, bipolarity, and physical contradictions of images. These emerging aesthetic views are as follows: the antipathy to reason, the critique of law and order, the aversion to ideology, and state apparatus. These finally aim at criticizing fundamental irrationality, thus paving a path for opening the possibility of liberation. He laid the foundation for a surrealist film by appropriatizing surrealist techniques to spread his claims. Therefore, this study argues that filmic scenes of dreams and hallucinations for a hallucinative allegory are closely related with the technique of depaysement network which summons the significance of surrealistic freedom in these films.

• The Journal of the Convergence on Culture Technology
• /
• v.7 no.1
• /
• pp.446-453
• /
• 2021

This paper deals with two methods regarding fact and value. One is the method of H. Putnam, which is to break the boundary between fact and value and to make a world where the two have an inherent connection. The other is the method of J. Habermas, which regards fact and value as the product of an intersubjective agreement based on argumentation. Putnam, through his position of internal realism, moves from realism to pragmatism, especially by combining the rationalist tradition of Kant and Dewey's pragmatic views. Habermas also stands in the tradition of rationalism and universalism in Kant, at the same time emphasizing the practicability of truth in Hegel's tradition of historical reason. The significance of the strategy of Putnam and Habermas is that they have attempted to revive the realm of value against the strict dichotomy of facts and values and the subsequent devaluation of rationality in the realm of value. The starting point of this attempt is that the practical foundation of rationality is laid on life and practice. This could provide the room for escaping from rationality, which prioritizes only truths that reveal facts, that is, instrument-reduced rationality, the room for the revival of practical rationality through reflection on what is the purpose of life, and, in turn, the room for resisting to pass the realm of values and norms to the logic of habitual routines or customs. However, despite such common goal, there are clear limitations to Putnam's approach due to the differences in the strategies taken on facts and values. Putnam's method can demolish the whole universal framework that is the foundation where pragmatic pluralism will be fostered, eliminating the difference between the specificity of values and the universality of norms and shaking up the status of universal ethics. Therefore, Habermas' ethical theory is proposed as an alternative to establish a basis for universal ethics by relying on communication rationality and to secure the coercion of norms and blossom cultural pluralism as a diverse lifestyle based on this coercion.

• Journal of the Korean Society of Food Culture
• /
• v.23 no.2
• /
• pp.293-300
• /
• 2008

It determines Chinese addiction to piquancy that the Chinese traditional food production laid excessively particular stress on agriculture coming into being long before in the history and the state of Chinese food living was that the people were very difficult to live. The history of Chinese addiction to piquancy could be traced back to prehistory. And in Chinese “hot” is separated from “peppery” and it refers in particular to the piquancy more than general peppery. The character of “Hot” appeared after Han Dynasty in Chinese. Capsicum was brought to China from the sea in the middle of Ming Dynasty. Then it surpassed the formers soon and became the most popular and addictive piquancy food in China. Capsicum has many names in China, such as “$F{\bar{a}}nji{\bar{a}}o$”, “$H{\bar{a}}iji{\bar{a}}o$”, “$L{\grave{a}}ji{\check{a}}o$”, “$L{\grave{a}}h{\breve{u}}$”, “$L{\grave{a}}zi$”, etc., and they indicate the geographical and humanistic character of the distribution. (eight books on preserving one’s health) is the earliest history record about capsicum in existent Chinese history record that was finished in 1591. In this article the author puts new opinion forward on the record in this book. It is because the hottest piquancy of capsicum, capsicum’s better adaptability and low cost to plant combine with Chinese piquancy addiction at large that capsicum can replace the status of pepper and other traditional peppery flavorings soon and cause worldwide attention to the Chinese piquancy addiction finally. The human common characters of unchangeable inertia, depending to fully grow addiction and aggrieved delight are the most important reasons to cause piquancy addiction that has formed a custom through long-repeated practice and this custom do not change with condition change. The unbalanced spread process of capsicum in China shows that the region is poorer and the addictive degree is deeper.

• Korean Journal of Heritage: History & Science
• /
• v.53 no.3
• /
• pp.258-277
• /
• 2020

The purpose of this paper is to examine the paintings and symbols of the Jeju Guandeokjeong murals, Treasure No. 322. Gwandeokjeong Pavilion in Jeju is one of the oldest buildings in Jeju and was built in 1448 during the reign of King Sejong (世宗) of the Joseon Dynasty to serve as a training ground for soldiers. Unlike Gwandeokjeong Pavilions in other regions, Jeju's Gwandeokjeong Pavilion has a long history and is of cultural value due to its beautiful architecture. In addition, it contains various murals which are a further source of attention. There are four murals on the front and back of the two Lintels on the left and right sides of the building. Their contents include of 『The Three Kingdoms (三國志)』 and and on the back. Towards the right, is depicted, with on the back. Based on a replica of the murals from 1976, the plan, style, and age of the Gwandeokjeong Pavilion murals have been studied, together with their meanings. The contents of the mural are broadly divided into five parts, which are identified by the tacit signatures atop the screen, which provide such details as the painting titles. The paintings on the left and right sides of the center appear to inspire the spirit of the military's commerce in order to boost soldiers' morale, protect the country, and protect the people in line with the purpose of Gwandeokjeong Pavilion. The following and figuratively depict guidelines for the behavior and mindset of officials. In particular, is a painting concerned with concepts of longevity and an auspicious (吉祥), which shows how court paintings became popular as folk paintings at that time. The paintings of tangerines and other specialties of Jeju Island, the ritual paintings of Jeokbyeokdaejeon, and the expressions of Mt. Halla (漢拏山) and Oreum (오름) indicate the existence of Jeju artists that belonged to the Jeju government office at that time. The five themes and styles of the murals also show that the murals of Gwandeokjeong Pavilion were produced in the late 19^th and early 20^th centuries.

• The Journal of Korean Philosophical History
• /
• no.32
• /
• pp.395-432
• /
• 2011

The purpose of this study is (i) to explore arguments of post-kohlbergian approach in moral psychology and; (ii) to analyze Blasi's and Lapsley's positions regarding the relationship between moral philosophy and psychology in terms of reflective reasoning and; (ⅲ) to suggest their's implication concerning the future development of moral identity theory. Moral identity theory has emerged as an alternative approach of the Kohlberg's moral development theory. Theorists of moral identity theory commonly criticize Kohlberg's theory as a philosophical psychology and insist the autonomy of moral psychology. However, one can find different positions within this trend, especially concerning he meaning and role of the reflection in moral functioning. Blasi emphasizes the importance of the reflective reasoning of moral agent, while Lapsley supports moral automacy contrary to Kohlberg's phenomenalism. Although Blasi had been negative about building moral psychology based on the moral philosophy, he has articulated the moral identity theory based on the concept of free will by Frankfurt. However, recently he criticizes intuitionist theory of Haidit and suggests the notion of the moral agent with the skill of reflective reasoning, or post-conventional thinking in Kohlberg's terms. Blasi's perspective of moral identity has two version. The one emphasizes the moral understanding which means strong evaluation, while the other refers to reasoning with weak evaluation. This leads to an inevitable inner contradiction within his theory of moral identity. Lapsley considers moral identity as a heuristic idea and suggests moral chronic as a new model of moral identity. This model is based on the social cognitive theory. His social cognitive model of moral personality provides the account for implicit, tacit, and automatic of moral functioning, while reflecting the core of moral identity. Lapsley suggests that moral function involves conscious and unconscious processes. The former occurs in normal situations of life, while the latter in rare and unusual situations. He does not highlight reasoning in moral functioning as Blasi do. In consequence, I will argue the notion of the moral agent with the skill of reflective reasoning, or post conventional thinking in Kohlberg's terms in the moral functioning like Gibbs and Turiel positions in the Journal of Moral Education' s 2008 special issue. Moral philosophy and psychology should be in complementary relations. It means we explore not only more interdisciplinary researches on the moral functioning, but also researches based on the moral philosophy.

• Cross-Cultural Studies
• /
• v.42
• /
• pp.505-524
• /
• 2016

This study examines the ways District 9, a film released in 2009, reworks the sci-fi genre to explore the human encounter with "other" alien populations. Like Avatar, released in the same year, District 9 addresses the tropes of conflict over land and human-alien hybridity and introduces non-humans and aliens, not as invaders, but as objects of human oppression and cruelty. Unlike many other science fiction films where the encounter between humans and non-humans occurs in an unidentifiable future time and location, District 9 crosses genre barriers to engage with urban realism, producing a social critique of contemporary urban population problems. The arrival of aliens in District 9 occurs as part of the recorded human past and the film's action is carried out in the present time in the specifically identified city of Johannesburg. A distinctly anti-Hollywood film that locates the action at the street level, District 9 plays out human anxieties about contact with others by referencing the divisions and conflicts historically attached to South Africa's sprawling metropolis and its current problems of urban poverty and illegal immigrants. Focusing on how this particular urban setting frames the film, the study investigates the ways Blomkamp's sci-fi film about extra-terrestrials presents a curious postcolonial mix of aliens and immigrants surviving in abject conditions in an urban slum and forces a realistic examination of the contemporary social problems faced by South Africa's largest city and by extension other major global cities. The paper also examines the film's representation of the human-alien hybrid and its potential as a force to resist human exploitation of the other. It also claims that though the setting is highly local, District 9 speaks to a wider global audience by making obvious the exploitative practices of profit-seeking multinationals. A sci-fi film that is keen on making a social commentary on urban population conflicts, District 9 resonates with the wider sense of insecurity and fear of others that form the horizon of the uncertain and potentially violent contemporary human world.

• 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.

• Cartoon and Animation Studies
• /
• s.33
• /
• pp.31-53
• /
• 2013

In the early twentieth century, history of animation began by modern artists, they produced various experimental images with the newly invented film and cameras. Artists in the field of movie, photography, paintings and others manipulated images in motion. But as some animated movies won industrial success and popularity, they became the trend but experimental style of early animation preserved by so-called non-mainstreamers or experimental animators, counteracting commercialism. Disney animation also followed the trend by applying realistic Hollywood film style, the worse critics placed a low value on the animation and it tarnished the image, although it was profitable investment from a business standpoint. To make images realistic, they opened a drawing class that animators developed skills to imitate motions and forms from subjects in real life. Also some techniques and gizmos were used to mimic and simulate three dimensional objects and spaces, multiplane camera and compositing 3D CG images with 2D drawings. Moreover, they brought animation stories from fairly tales or folk tales, and Walt's personal interest in live-action movies, they applied Hollywood-film-like narratives and realistic visual, and harsh criticism ensued. On the surface early disney animations' potential seems to be weakened, but in reality it still exists by simplifying and exaggerating forms and color as modern arts. Disney animation employs concepts of the modernism paintings such as simplified shapes and colors to a character design, when their characters are placed together in a scene, that visual elements cause mental reaction. This modification gives a new internal experience to audiences. As conceptual colors in abstract paintings make images appeared to be flat, coloring characters with no shading make them look flat and comparing to them, background images are also appeared to be flat. On top of that, multi-perspective at background images recalls modernist paintings. This essay goes in details with the animation pioneers' works and how Disney animation developed its techniques to emulate real life and analyses color schemes, forms, and spaces in Disney animation compared with modern artists' works, in that the visual language of Disney animation reminds of impression from abstract paintings in the beginning of the twentieth centuries.