• Cartoon and Animation Studies
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• s.36
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• pp.19-44
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• 2014

is an animation by John Halas and Joy Batchelor, based on Animal Farm by George Orwell, screened in England, 1954. by John Halas and Joy Batchelor showed true occasions in history, such begins with Bolshevik Revolution which broke out in October of 1917, through new economic policy called NEP, monopolization of power by Stalin, and Moscow Justice as a fable. in positioned real people from Bolshevik revolution as characters as in allegory, due to its fable-nature. However, descriptions in by John Halas and Joy Batchelor differs with by George Orwell from the middle of its story. In by John Halas and John Batchelor, Snowball is killed by Napoleon, unlike in by George Orwell, which Snowball is thrown out by Napoleon. showed Stalin as Napoleon, and Trotsky as Snowball in its characters. Satire description on Stalin's reign of terrorism after Bolshevik Revolution was same in both by George Orwell and by John Halas and Joy Batchelor; however, the view on Trotsky was different with each other. Therefore, this paper is written to describe allegorical factors of Bolshevik Revolution in by John Halas and Joy Batchelor, as well as to reinterpret the value of Trotsky and Russian Revolution by researching Snowball in .

• Journal of Astronomy and Space Sciences
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• v.26 no.2
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• pp.237-266
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• 2009

In 1631 A.D. Jeong Duwon, an ambassador of the Joseon dynasty was sent to the Ming dynasty. There he met $Jo\tilde{a}o$ Rodrigues, a Jesuit missionary, in Dengzhou of Shandong peninsula. The missionary gave the ambassador a number of results of latest European innovations. A detailed description on this event was written in 'Jeong's official report regarding a message from an European country'(西洋國奇別狀啓), which is an important literature work to understand the event. Since the document was written in classical Chinese, we make a comprehensive translation to Korean with detailed notes. According to the report, the items that Rodrigues presented include four books written in Chinese that describe European discoveries about the world, a report on the tribute of new cannons manufactured by Portuguese in Macao, a telescope, a flintlock, a Foliot-type mechanical clock, a world atlas drawn by Matteo Ricci, an astronomical planisphere, and a sun-dial. We discuss the meaning of each item in the Korean history of science and technology. In particular, Jeong's introduction is an important event in the history of Korean astronomy, because the telescope he brought was the first one to be introduced in Korean history. Even though king Injo and his associates of the Joseon dynasty were well aware of the value as military armaments of new technologies such as telescopes, cannons, and flintlocks, they were not able to quickly adopt such technologies to defend against the military threat of Jurchen. We revisit the reason in view of the general history of science and technology of east-Asian countries in the 17th century.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.5
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• pp.46-58
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• 2021

Parks became essential to people after the introduction of modern parks in Korea. Following mayoral elections by popular vote, issues surrounding parks, such as the creation of parks, have arisen and have been publicized by the media, allowing for the formation of discourse. Accordingly, this study conducted a topic analysis by collecting news articles from major media outlets in Korea that addressed issues related to parks since 1995, after the introduction of mayoral elections by popular vote, and analyzed changes over time in the discourse on parks through semantic network analysis. As a result of a Latent Dirichlet allocation topic modeling analysis, the following five topics were classified: urban park expansion (Topic 1), historical and cultural parks (Topic 2), use programs (Topic 3), zoo event (Topic 4), and conflicts in the park creation process (Topic 5). The park-related discourse addressed by the media is as follows. First, the creation process and conflicts regarding the quantitative expansion of parks are treated as the central discourse. Second, the names of parks appear as keywords every time a new park is created, and they are mentioned continuously from then on, thereby playing an important role in the formation of discourse. Third, 'residents' form discourse about the public nature of the park as the principal agent in park-related media. This study has significance in that it examines how parks are interpreted and how discourse is formed and changed by the media. It is expected that discourse on parks will be addressed from various perspectives in further research focusing on other media, such as regional and specialized magazines.

• Cross-Cultural Studies
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• v.42
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• pp.505-524
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• 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 the Korean Institute of Landscape Architecture
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• v.49 no.3
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• pp.40-52
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• 2021

Various peoples lived in Changbai Mountain in each era, and the peoples of each period regarded Changbai Mountain as part of their own religious culture. Existing studies on the culture of Changbai Mountain are conducted only based on the events of a specific period, but how the sacredness of Changbai Mountain has changed from time to time, how it is related to the religious culture of the people of each period, and how sacred the areas and spaces have changed. There has been no research to that extent. The purpose of this study is to examine and analyze the meaning of Changbai Mountain's sacredness that has changed from time to time. In order to examine the change of the sanctity of Changbai Mountain through synchronicity, the study focused on the hierophany occurring between the religious culture of the peoples of each period and the space of Changbai Mountain. Specifically, the activities to protect the sacred objects and sacred spaces revealed by the hierophany were considered, and the change of the sanctity of Changbai Mountain was interpreted with the derived results. The summary of the results of this study is as follows. The sacred activities of Changbai Mountain have changed from time to time. During the pre-Qing dynasty, civilians performed incarnation rites, holy god rites, mountain god ceremonies, and willow god rites for livelihood and survival, and the king of the Jin dynasty offered rituals to the Changbai Mountain gods as rituals such as Four Mountains(Yuezhen). During the Qing Dynasty, the emperor built Wangji Temple and sent a government official to make a ritual to the Changbai Mountain god as the best ritual to symbolize the country. In modern times, Bagua Temple was built on the top of Changbai Mountain and sacrifices were made to the Changbai Mountain gods, and the nature of Changbai Mountain. Humans living in Changbai Mountain area were judged through the tricks of the Bagua Mountain. In addition, during this period, civilians performed ritual activities centering on the god Shanshenlaobatou, who personified life and production. In summary, the sacred activities of Changbai Mountain were shamanistic rituals based on animistic ideology in the pre-Qing dynasty, the best imperial rites for honoring the sacred as an imperial sanctuary in the Qing dynasty, and the Taoist ideology of migrants in the modern period. It had been transformed into a ceremonial activity. And the meaning of Changbai Mountain, viewed as a sacred activity, was elevated from the mountain of livelihood in the pre-Qing dynasty to the mountain of the nation in the Qing dynasty, and then changed to the mountain of modern production.

• KIPS Transactions on Software and Data Engineering
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• v.12 no.11
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• pp.493-504
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• 2023

The Republic of Korea is located far from the boundary of the earthquake plate, and the intra-plate earthquake occurring in these areas is generally small in size and less frequent than the interplate earthquake. Nevertheless, as a result of investigating and analyzing earthquakes that occurred on the Korean Peninsula between the past two years and 1904 and earthquakes that occurred after observing recent earthquakes on the Korean Peninsula, it was found that of a magnitude of 9. In this paper, the Korean Peninsula Historical Earthquake Record (2 years to 1904) published by the National Meteorological Research Institute is used to analyze the relationship between earthquakes on the Korean Peninsula and statistical self-similarity. In addition, the problem solved through this paper was the first to investigate the relationship between earthquake data occurring on the Korean Peninsula and statistical self-similarity. As a result of measuring the degree of self-similarity of earthquakes on the Korean Peninsula using three quantitative estimation methods, the self-similarity parameter H value (0.5 < H < 1) was found to be above 0.8 on average, indicating a high degree of self-similarity. And through graph visualization, it can be easily figured out in which region earthquakes occur most often, and it is expected that it can be used in the development of a prediction system that can predict damage in the event of an earthquake in the future and minimize damage to property and people, as well as in earthquake data analysis and modeling research. Based on the findings of this study, the self-similar process is expected to help understand the patterns and statistical characteristics of seismic activities, group and classify similar seismic events, and be used for prediction of seismic activities, seismic risk assessments, and seismic engineering.

• Sijohaknonchong
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• v.30
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• pp.21-52
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• 2009

This study observed what roles and identity the Taoist Hermits have when they appear in Korean Verse, SiJo, which was preoccupied by the illustrious-officials in Choseon Dynasty. This study has found that languages of Taoist Hermit frequently appear in SiJo, through the historical study documents focusing on only the mountain wizards in terma of the genre, SiJo. Of those terms used by Taoist Hermit, most prominent was 'JeokSongJa', which was expressed as that sought by the illustrious-officials-they were using the sentence, 'I will follow JeokSongJa' to the extent that it is an idiom. This suggests that the illustrious officials in ChoSeon Dynasty meant if one was going to be entitled to become a Taoist Hermit, he should seek 'JeokSongJa' first. We can see those illustrious officials were using the words with a ideological tone, affected by then 'JangRyang' or 'BeomRyo' who were devoting themselves to finding 'JeokSongJa' with a belief that they could become a Taoist Hermit and live forever, which had been handed down as a legend or a myth. Meanwhile, Li Po is a profile who can not considered, separately in the history of Korean Literature. Li Po recited poems, as a great poet and a hard drinker, who were incited in SiJo of those illustrious officials as a intimate person. In contrast, among those who were accepted as a negative profile, were a Chinese Emperor JinSi and HanMuje. These two emperors, who were looking for a herb of eternal youth and Mt. BongRae, figures who had lost their positions in the real political circle. In addition, they couldn't make their dreams to get perennial youth and long life come true, which stimulated the illustrious officials of that time to recite those poems indicating there is no ideal Utopia so it's better be satisfied with the reality living up to the realistic idea of Confucianism. In this sense, those two emperors are negative. There are also women Taoist Hermits present in SiJo, including MaGo nymphs, SeoWangMo, MuSanShinNyo, and Hang-A. MaGo nymphs were grandmothers who superintend the longevity, often incited as a beautiful woman; SeoWangMo was a Toast Hermit who had an elixir of life; MuSanShinNyo is a beautiful woman who was representing the attachment of cloud friendship; and Hang-A is expressed as a goddess who betrayed her husband and as a result staying lonely in the moon palace. These women goddesses were characterized by their beautiful appearances, generous and delicate personalities. widely incited in romantic poems.

• Journal of the Daesoon Academy of Sciences
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• v.29
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• pp.1-36
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• 2017

The purpose of this article is to investigate the future prospects for establishing the True Donghak phase of Daesoon Thought. The True Donghak refers to 'the future prospect of having a true life, true thinking, and true living' in which enjoying the world in a state of good fortune became a true reality after the death of Suwun, according to faith in Gucheon Sangje. The correlation between "Attending to the Lord of Heaven" in Donghak, and "The Reordering Works of Heaven and Earth" in Daesoon shows the prospect of achieving the Daesoonist transformation into energy to gain true life and re-creation. The correlation between "Nourishing the Lord of Heaven" in Donghak and "Attending to Study and Attending to Law" in Daesoon show the transformation of Daesoon-reason into true thinking and renewing. The correlation between "Humanity is Divine" in Donghak and "The Salvation of Humanity is the Will of Heaven" in Daesoon show transformation into the practice of Daesoon for the true living and renewing. This investigation utilizes the literature review and the generation theory of life-philosophy to examine revelations regarding the conversation between Spirit and Mind. This is the future prospect for the establishing the True Donghak phase of Daesoon thought. It consists of a threefold connection among life, thinking, and living. The "public-centered spirituality of Daesoon Truth" which connects and mediates among people appears in three aspects. Firstly, it is thought to be the vision of the true life through the 'renewal of active, energetic power' bestowed by Gucheon Sangje. Secondly, it is thought to be the vision of true thinking through the "renewal via freedom from delusion". Thirdly, it is thought to be the vision of true living through the "renewal of true mind". To bring about the creation of true Donghak, Gucheon Sangje incarnated to the Korean peninsula instead of Suwun and the salvation of the world salvation now centers on Korea with regards to the threefold connection future prospect. Gucheon Sangje's revelation addresses and solves the postscript problem of Chosun and further establishes a Utopia. Suwun established Donghak but failed later on due to his lankiness. At last the true Donghak has been opened for the future by Gucheon Sangje and Jeongsan's fifty years of religious accomplishments. In the long run, it has been developed further by Woodang's Daesoon Jinrihoe.

• Cartoon and Animation Studies
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• s.44
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• pp.143-161
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• 2016

This study was conducted focusing on the role of auteurism animation. The purpose of auteurism animation is to criticize irregularities of a society in witty and fierce way through satires from the sharp perspectives of a animator that is not bound by tastes of people or the interests or standpoints of specific groups, and thus to induce positive changes in a society as a purifier. In the context, this study investigated satires shown in by Jan Svankmajer and by Norman Mclaren among the animators who utilize animation as a tool to produce social meaning. As a result, the following characteristics and meanings were found. First, Dimensions of Dialogue is an animation that satires absurdity and irregularities of a human society in symbolic and exceptional way through directing by segmentations of images and omnibus structures. The satire carries the lesson of improvement in the hidden part of cynical attack to history, society, and human beings. It also maximizes absolute reality and engagement of images of Jan Svankmajer through unique and grotesque images of the animator such as alienated world, confusing shapes, and amusement of irregularities. Second, the movie, is an exemplary animation that applied core concept of animation through pixilation techniques based on an event story structure by causal relationship. It satires the changing process of a good man to violent madness through confrontation and conflicts for material desires, with exaggerated slipstick movements and humors as a black comedy. The satire methods of both animation works are delivered through unique image styles and symbolic wordage of the animators who triggered ironical laughter in attacking humanism and moral insensitivity that might be felt seriously otherwise. That is, the animators try to show the positive will for changing the society to a sound one through the form of negativity in terms of moral perspective in animation rather than destruction against the target. As such, the satires in both works worked as an auteurism allegory that maximizes social functions and artistic influence of animation.

• Korean Association of Arts Management
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• no.50
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• pp.101-146
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• 2019

After the enactment of the Local Culture Promotion Act in 2014, the government has been continuously trying to find the direction of the local culture that reflects the local life and conforms to the local people's emotions. In response to these efforts, the Organizing Committee for the C Region Biennale has uniquely formed the Biennale Artistic Director as a local artist who includes the historical, ecological and emotional characteristics of the C region. Therefore, I sought to explore the perception of the identity and role of the local cultural arts director through the narratives of the research participants who were appointed as the local residents of the C region and the director of the Craft Biennale. For the study, six local cultural arts directors were selected as research participants, and their identity as a local cultural arts director and its role were explored, focusing on their narratives. In this process, various types of data such as photographs, documents, in - depth interviews, and conference materials were collected and narrative was analyzed based on deterministic events. The results of the investigation are as follows. The idea of the identity of the local cultural arts directors was found to be in three directions. First, it is the view that the symbolic role of the artistic supervisory system of the 10 persons guarantees the identity. Second, the identity of local cultural arts directors was recognized as a role to find ways to be localized by developing and debating cultural and artistic discourses in various regions. Third, the participants had a concern and affection for local cultural arts, not one-time but continuous, and recognized it as their identity. The directors who participated in the interviews showed that the discourse of cultural arts in various regions were developed and discussed, and they wanted to find ways to be localized. The roles of local cultural arts directors recognized by research participants in connection with their identity are as follows. First, it should be the subject of systematic and long-term planning that can close the year and connect with the art events of the following year. Second, it should play a role of academic / research that can derive the identity of social and cultural ecological analysis connected with the area. Third, local arts professionals are required to act as cultural brokers, ie local culture professionals, who can create a venue for international cultural exchanges. Research on the form of local government supervision as a mediator of local cultural arts is to find out the origin of the identity of local artists and to establish a methodology for the direction of culture and art as a subject of local people. In addition, there is a need for continued interest and research in providing a reflection on the communication and meaning of the desirable local culture, and suggesting the system for cultivating local cultural arts intermediaries.