• The Journal of the Korea Contents Association
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• v.12 no.3
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• pp.123-138
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• 2012

The purpose of this study is to identify how tales are accepted and embodied as a new work in dance as performing arts, which are getting attention for its rapid growth in the area of cultural industries. Major performances of recently created and performed ancient tales including Baridaegi, Chun-Hyang story, Yeonohrangseohnye are analyzed here. With acceptance of tales into dance, vitality of creation by the eternal word of mouth, rich information contained in each tale and the variety of interpretation showed the possibility of a new interpretation based on the existing perspectives. There are three kinds of acceptances: diversification of narrative techniques of the subject, adoption of the issue of moral values as a topic, and acceptance of tradition and national consciousness. To satisfy the fundamental concern about the universe and human, and to create both worldwide and Korean dance contents, the images of tales are being reinterpreted into a new dimension beyond the boundary of time.

• Journal of the Daesoon Academy of Sciences
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• v.38
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• pp.209-242
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• 2021

This manuscript started with the purpose of producing research that investigated and verified how Buddhism was understood by Seongdam (性潭) Song Hwan-gi (宋煥箕), the founder (宗匠) of Horon (湖論) who was active around the early 19 th century. Song Hwan-gi, Uam (尤菴) Song Si-yeol (宋時烈)'s fifth generation, was a scholar who had a deep sense of duty to inherit the Theory of Uam (尤菴學), and he adhered to the Confucian theory of genealogy (道統論) and Anti-Heresy Discourses. Thus, this manuscript expressed curiosity about Song Hwan-gi's understanding of Buddhism, which was the representative heresy. This manuscript examined the naming method of Buddhist clergy (僧侶), degree of pedagogical knowledge, and critical statements that were made concerning Buddhist tales (說話). Meanwhile, it is noticeable that the terms of address for Buddhist clergy were composed of four categories: general terms, honorific forms, palanquins [輿], and miscellaneous terms of address. This scheme conforms to the Buddhist-friendly aspects of Song Hwan-gi. Examples of these terms of address include Danseung (擔僧) and Yeoseung (輿僧), both of which were Buddhist clergy who carried palanquins. Naturally, Song Hwan-gi was helped by Buddhist clergy when he went sightseeing on famous mountains. In the meantime, Song Hwan-gi's pedagogical knowledge can be shown to be not especially profound based on his understanding of The Diamond Sutra, The Avatamska Sutra, and The Shurangama Sutra. Cheongnyansan Travel Records (淸凉山遊覽錄) and Dongyu Diary (東遊日記) make it clear that Song Hwan-gi had no interest in taking refuge in the three treasures of Buddhism (佛法僧 三寶). It is rather the case that he was deeply critical of Buddhism. On the other hand, Song Hwan-gi expressed profound sadness when he encountered the dilapidated remains (古蹟) of Buddhist temples and hermitages. Consequentially, it can be concluded that Song Hwan-gi's understanding of Buddhism contained examples of affirmation, acceptance, denial, and exclusion.

• Cartoon and Animation Studies
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• s.34
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• pp.293-316
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• 2014

(傳說의 故鄕) is a broadcast play as one-act play series based on Korean legends and folktales. It was first aired in 1977 from KBS and there has been borrowed from this play in a variety of genres such as books and movies as the name of this series securing its popularity and awareness of the public. In this context, this is a representative work for Korean horror genre. Recently, for example, a series webtoon <2013 Home of the Legends> is published on one of the main portal websites, NAVER from July, 2013. This webtoon is main subject of this study. The purpose of this study is to discuss how the genre characteristics of Korean horror in TV serial play transmitted and changed in series webtoon <2013 Home of the Legends>. TV serial play is a representative narrative based on Korean folktales, trying to change its narrative in the range of undestroyed folktale basic move with combining the original motifs. Serial webtoon <2013 Home of the Legends>, however, deconstructs this combination motif in folktale form and leads to new move in narrative. For Korean users accustomed to Korean folktale form as the architext, this will be expected as reversal and make catharsis. Meanwhile, the deconstruction of combination motif leads to extinction of its cause-and-effect, which consists the axis of original narrative form, with resulting powerless theme, good overcoming evil and punitive justice. The aspects of changes in <2013 Home of the Legends> represent new orientation of Korean horror.