• (The) Research of the performance art and culture
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• no.35
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• pp.373-404
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• 2017

As an art, Korean dance is a history, a tradition, and a continuing activity of consciousness. It is a present and future activity in the past that will continue the identity of Korean people. So storytelling is not just a description of the historical background, but of eternity that is being recreated. From this study, the inquiry of artistic beauty of Korean traditional dance is questioning the original essence and value of 'storytelling' through old tradition and historical art. If the study of the Korean dance among them was a study of the theorists for the aesthetic essence or the ideological system, the point of view of the storytelling of the Korean dance is that the public understanding about the core structure and reason of Korean dance and the study of the humanistic value It reminded me of a desperate attitude. The meaning of this study is to verify the usefulness of storytelling as a way to construct various contents of Korean dance in conceptual definition of storytelling. In the symbolic meaning of Korean dance, Cheoyongmu text formed the deep meaning network of the original art beyond the linguistic narrative structure and suggested the importance of storytelling development as DB of original contents.

• (The)Study of the Eastern Classic
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• no.68
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• pp.173-208
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• 2017

This study sorted out the political methods of the typical shell-and-bone inscriptions during early Western Zhou, the shapes and arrangements of Chan, Chak, and Jak, and the characteristics and description methods of shell-and-bone characters and also investigated the formation backgrounds and changing patterns of shell-and-bone inscriptions with a focus on the transmitted literature and actual shell-and-bone inscriptions. First, the transmitted literature contained records saying that Gogongdanbu told fortunes by burning tortoise shells during Proto-Zhou, but no Bokgap from those days had been excavated yet. The content of the divination focused on the periods of Kings Wen, Wu, and Cheng of Zhou, and the shell-and-bone characters of Juwon contained much content about Jugong those days. Second, there were some differences in the processing methods between Bokgap and Bokgol, but their origin could basically be found in the Joyeongjang form during middle Shang. In addition, it was found that they directly accepted the Bukchon type of Seomseo during late Shang and the divination method of the Proto-Zhou culture. Third, all of Bokgaps had a set of square Chan and rectangular Chak installed on the back, whereas all of Bokgols had a set of circular Chan and vertically thin Chak and were in the shape of a cat's eye. In terms of the Chan, Chak, and Jak arrangement, the Bokgaps were similar to those of Yinxu during late Shang, whereas the Bokgols had the characteristics of the Joyeongjang type during middle Shang. Finally, there were differences in the description methods of shell-and-bone characters according to the arrangement methods of shell-and-bone inscriptions. Some rules were found according to each of the parts. Bokgaps were placed horizontally so that Gapsu would face sideways. The middle sections of Bokgols were mostly placed horizontally with the Byeongbu and Seonbu facing downwards at Golgu to write downwards from right to left. This method was estimated to have something to do with "Sigo" in the divination process in The Rites of Zhou. It was inferred that the perceptions of divination changed in the process of arranging the rites and music institutions during early Western Zhou.

• Cartoon and Animation Studies
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• s.29
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• pp.173-207
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• 2012

The four-phased plot which consists of introduction, development, turn and conclusion in the long-story structure tends to be patterned and schematized. The behavior of characters is in line with the beginning of human beings and the plot of comic strips basically has four phases. It is, however, not a simple arrangement but a complex one which was developed by organizing patterns of human power, behavior and emotions. With the results from a survey with college students studying comic strips, this study aims to categorize four characters from the archetypal system by Carol Pearson, four phases of the hero's journey by Joseph Campbell, and the four phases of the plot based on Aristotle's theory, which is the frame of the comic strip structure through supporting evidence extracted from comic strips in an integrated way. In this study, the categorization is performed by simplifying and systemizing a character's life cycle, which is a factor of a story structure in complex comic strips. This study is to identify what comic strip writers express by using the metaphor in the complicated long-story structure of comic strips This study reveals that the structure of introduction, development, turn and conclusion based on the plot theory by Aristotle is the metaphor of human life and fate and that the phases of development in the archetypal system by Carol Pearson, a Jung researcher influenced by Jung's theory are the metaphor of human life and fate. Also, the theories of Joseph Campbell, who also was influenced by Jung, are the metaphor of human life and fate as they projected complex emotions of joy, anger, sorrow, and pleasure onto the archetype of heroes and used the metaphor of the hero's journey. Lastly, the theories are introduced with the approach of 'guide to screenwriters' by Christopher Vogler. Meanwhile, this metaphor is the objective and goal of this study. The comic strips selected for this study seem to have long complex stories which have characters leaving their homes, going through adventures and difficulties, meeting the world in another way, experiencing tension, competition, wars, and hardship and returning home with compensation. They grow mentally and psychologically through their journeys and finally become heroes. They express the meaning of our introspection in a narrative through plots and images of comic strips. This appears complex but the basic structure of long comic strips has four phases of plot. The life style of an extraordinary character traveling for adventures and growing in long comic strips can be divided into four phases symbolizing childhood, adolescence, adulthood, and senescence and it is a psychological growth process. The archetypes of the character can be divided into four phases and the growth process can be explained. The hero's journey symbolized by the character can be also divided into four phases. Through theories, the complex arrangement of four-phased plots in comic strips corresponds with the growth process of introduction, development, turn and conclusion through the stages of life. At the same time, this study found that the characters becoming heroes are the metaphor of introspection and that the characters' growth and life correspond with the four phases in life through long comic strips. Long stories in long comic strips written by comic strip writers show that characters go on their journeys and change their lives through hardship and difficulty by logical construction of plot and their growth processes are presented in archetypal images and they reach introspection as heroes. The readers share time and space through images in comic strips and realize that they had the same experience as the characters emotionally by being moved by the stories.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.193-224
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• 2016

The North Korean animation is a puppet movie that is adapted The Brother and Sister Who Became the Sun and the Moon, a traditional Korean lore. The quality of this animation is acknowledged because of not only North Korea's considerably advanced animation technology but also the animation's retention of the folklore's traditional essence rather than intention to disseminate ideological propaganda. Nevertheless, the animation reveals the trasformation of its original purpose from general educative intentions for children to the educative concept of salvation by heaven is replaced by salvation by people and cultural education insteadof salvation by heaven. The appearance of the hero Jangsoe is the key adaptation of this animation, and it suggests the main principal of salvation lies in man rather than in heaven. Such adaptation complies with the requirements of children's literature suggested by the North Korea's literary history office. Furthemore the hero Jangsoe as the examplary figure of revolutionary self-reliance ideology and as a leader. Theory of self-reliance literature stipulates that children's literature is used for ideological education that develops people to be successors of revolutionary feats and become active workers for the construction of socialism and communism, therefore it is possible to understand the purpose of the adaptation to reflect the educational aims. This study investigates the change in meaning form the original folktale through such adaptation, and highlights problems related to limiting the meaning implied in "heaven's salvation" in the original story only to the vague meaning of religious hope. This vague implied meaning is considered as "an awareness activity to examine their own existence in the universe". With regard to this, the concept of heaven's salvation that is prevalent in the classic stories can be interpreted as a positive self-belief that enables the use of rationality in any helpless situation that cannot be understood with existing empirical knowledge. It considers that heaven expresses the power that exists in the human mind through self-viability and self-belief. This creates the power of reason in the character to fight against the evil disguised as the mother, in the absence of the real mother.

• Journal of Popular Narrative
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• v.27 no.3
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• pp.95-124
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• 2021

As the symbolic images of girls besides its definition have varied according to the age and society, a posthuman girl character recently appears in the digital cinema. This study aims to analyze its cinematic representations and the social contexts in which they are created. For this purpose, the study focuses on what extent the society allows its imagined figurations as a future female body and the meanings revolving around the image of 'technologically body-enhanced female fighter'. Current digital visualization technology has developed to the extent any imaged future humans can be represented, but posthuman girls' representations have its limitation that only a human-like figuration can be allowed in accord with the traditionally idolized image of girls. It is because of the representation logic in which digital cinema is visualized based on perceptual realism that values audiences' experiences. Despite such less critical figuration which does not dare to cross the boundary between the image of human and inhuman, the posthuman girl characters create a new category of the 'dangerous girls' who are both void of sexual femininity and independent of motherhood and heterosexual romance narrative. Of course, they support the modern human-centered belief that humans can take entire control of technology with their moral behaviors and dispel the fear about the negative impact the nature of technology may have on society at large by showing their child-like figuration protecting ethical values. However, the new character of 'unruly girl' exerts her subversive act that seeks to fight against the human-centered liberal humanistic values and melancholic feeling and vulnerability that the neoliberalism and technocracy enforce. When posthuman girl characters are considered to be a marker through which we can see how different social forces are intervening and competing each other in the upcoming posthuman age, the limited figuration of the posthuman girl characters in South Korean movies illustrates the opinionated thoughts toward the instrumentalism in technology but their bloodshed struggles reveal how the corporate or state-governed techno-biopower has oppressively treated and appropriated the human body as the technology-object and also provide a meaningful opportunity to rethink its unethical violence.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.217-247
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• 2019

This research paper intends to examine the intertextuality of Klaus Mann's novel Mephisto (1936) and István Szabó's film Mephisto (1981) and how the derivative contents (i.e., film) accepted and improved the schematic aesthetics of conviction in original contents (i.e., novel). In general, the aesthetics of conviction is applied to criticize the state socialism of the artists of the Third Reich or the ideology of the artists of East Germany from a biased ethical perspective. Mephisto is also based on the aesthetics of conviction. Thus, it would be meaningful to examine the characteristic similarity and difference between Klaus Mann's real antagonist (i.e., Gustaf Gründgens) and fictional antagonist (i.e., Hendrik Höfgen) from a historical critical perspective. In this process, an aesthetic distance between the real and fictional antagonists would be secured through the internal criticism in terms of intertextuality. In this respect, the film aesthetics of István Szabó are deemed to overcome the schematic limit of the original novel. The conviction in both the novel and film of Mephisto pertains to the belief and stance of a person who compromised with the state socialism of Nazi Germany, i.e., succumbed to the irresistible history. Klaus Mann denounced Mephisto's character Höfgen (i.e., Gründgens in reality) as an "Mephisto with evil spirits" from the perspective of exile literature. For such denunciation, Klaus Mann used various means such as satire, caricature, sarcasm, parody and irony. However, his novel is devoid of introspection and "utopianism", and thus could be considered to allow personal rights to be disregarded by the freedom of art. On the contrary, István Szabó employed the two different types of evil (evil of Mephisto and evil of Faust) from a dualistic perspective (instead of a dichotomous perspective of good and evil) by expressing the character of Höfgen like both Mephisto and Hamlet (i.e., "Faust with both good and evil spirits). However, Szabó did not present the mixed character of "Mephisto and Hamlet (Faust)" only as an object of pity. Rather, Szabó called for social responsibility by showing a much more tragic end. As such, the novel Mephisto is more like the biography of an individual, and the film Mephisto is more like the biography of a generation. The aesthetics of conviction of Mephisto appears to overcome biased historical and textual perspectives through the irony of intertextuality between the novel and the film. Even if history is an irresistible "fate" to an individual, human dignity cannot be denied because it is the "value of life". The issue of conviction is not only limited to the times of Nazi Germany. It can also be raised with the ideology of the modern and contemporary history of Korea. History is so deeply rooted that it should not be criticized merely from a dichotomous perspective. When it comes to the relationship between history and individual life, a neutral point of view is required. Hopefully, this research paper will provide readers with a significant opportunity for finding out their "inner Mephisto" and "inner Hamlet."

• Proceedings of the Plant Resources Society of Korea Conference
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• 2002.11b
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• pp.76-76
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• 2002

무주나무(Lasianthus japonicus Miquel)는 일본, 대만, 중국 등에 분포하고 열대 및 아열대의 상록활엽수림에서만 자라는 것으로 알려져 있으며, 우리나라에는 제주도 남쪽계곡에만 분포하는 희귀식물이다. 무주나무는 현재 환경부 지정 보호야생식물로 보호되고 있으나 개체특성 및 자생지에 대한 정확한 조사가 이루어진 바 없다. 본 연구는 무주나무의 자생지 현황과 생육특성을 파악하고자 실시하였다. 무주나무의 자생지는 제주도 남제주군 남원읍 하례리 해발 250m의 계곡 동사면과 서귀포시 돈네코 계곡의 해발 350 m 계곡의 서사면 등 2개소로 확인되었다. 자생지별 개체수는 남원읍 하례리 4개체, 서귀포시 돈네코계곡 5개체 등 총 9개체에 불과하였다. 자생지는 계곡의 상록수림 하부에 바위 위 부엽토나, 습한 계곡 사면이었으며, 교목층에는 구실잣밤나무, 비쭈기나무, 황칠나무, 동백나무 등이 우점하고, 관목층에는 사스레피나무, 백량금, 산호수 등이 우점하는 상록활엽수림이었다. 분포 개체의 수고는 최소 0.4 m, 최대 1.55 m로 평균 1.5 m 였다. 생장특성을 조사한 결과 줄기는 어릴 때는 사각형이지만 점차 원형으로 되며, 일정한 마디가 있고 털이 없으며, 잎은 대생하고, 혁질이며, 중륵과 측맥이 뚜렷한 특성을 갖고 있었다. 열매는 장과형으로 성숙 시에는 남색이며 털이 없으며, 직경 약 6-7 mm, 4-5개의 종자가 들어 있었다. 종자는 반달형이며, 3개의 홈이 지는 특성을 갖고 있었다. 현재의 자생지는 자연적인 요인으로서 토양유실이 심하게 일어나고 있는 지역이었으며, 교목 또는 다른 관목에 의한 피압으로 무주나무의 생장에 부적절한 환경으로 판단되었다. 따라서 자생지의 적절한 식생관리와 지속적인 자생지 조사 및 자생지외 보존에 관한 연구가 이루어져야할 것으로 생각된다.$I_{NO}$ 가 죽절초를 제외한 3종에서 여름철 낮시간에 증가하였다. 겨울철의 O-J-I-P곡선은 모든 종에서 낮시간에 다소 낮아지지만 큰 변화는 없었다. 그리고, 문주란, 박달목서, 파초일엽에서 $\psi$o/(1-$\psi$o)가 낮시간에 다소 증가하였다. 이로부터 P $I_{NO}$ , SF $I_{NO}$ , $\psi$o/(1-$\psi$o)등의 변수는 식물의 활력도를 검정하는 지표로 활용될 가능성이 높다고 할 수 있다.irc}C$) 까지 동시에 냉각된 사실을 지시한다. 각섬석 편암내의 각섬석들은 복잡한 40Ar/39Ar 연대를 보여주며 일부가 평형연대를 보여주지만 특별한 의미 부여가 힘들다.해예방행동을 촉구하는 등의 효과도 높은 것으로 예방의학적인 유용성이 크다고 볼 수 있다. 미침을 알 수 있었다. 대두 단백질로 코팅된 golden delicious는 상온에서60일 동안 보관하였을 경우, 사과표피의 색도 변화를 현저히 지연시킴을 확인하였다. 또한 control과 비교하여 성공적으로 사과에 코팅하였으며, 상온에서 보관하여을 때 사과의 품질을 30일 이상 연장하는 효과를 관찰하였다. 이들 결과로부터 대두단백질 필름이 과일 등의 포장제로서 이용할 가능성을 확인하였다.로 [-wh] 겹의문사는 복수 의미를 지닐 수 없 다. 그러면 단수 의미는 어떻게 생성되는가\ulcorner 본 논문에서는 표면적 형태에도 불구하고 [-wh]의미의 겹의문사는 병렬적 관계의 합성어가 아니라 내부구조를 지니지 않은 단순한 단어(minimal $X^{0}$ elements)로 가정한다. 즉, [+wh] 의미의 겹의문사는 동일한 구성

• Journal of Korean Society of Forest Science
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• v.110 no.4
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• pp.496-503
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• 2021

Pinus densiflora is an essential tree species native to the Republic of Korea (ROK) and covers most of the total natural forest areas in the ROK. This study was conducted to understand the site characteristics and stand structure of P. densiflora forests distributed at sites where P. densiflora covered over 50% of the stand basal area during the 7th National Forest Inventory (NFI) period from 2016 to 2020. P. densiflora dominated 3,665 circular sample plots (400 m²). P. densiflora forests predominated at elevations less than 600 m above sea level (a.s.l). However, most P. densiflora forests were distributed at the slopes facing south and west over 800 m a.s.l. At altitudes below 800 m, they were distributed at all slopes but dominated at the southern and western slopes. P. densiflora grew mainly in the soils of sandy loam, loam, or silt loam with relative infertility. Dominant tree species distributed with P. densiflora were Quercus mongolica, Q. variabilis, Q. serrata, Prunus serrulata var. pubescens and Castanea crenata by the descending order. P. densiflora, P. thunbergii, and P. rigida were grown in large DBH classes, Quercus species and Fraxinus rhynchophylla in middle DBH classes, while Juniperus rigida and Styrax japonicus in small DBH classes. Dominant tree species distributed mainly at the lower layer of P. densiflora stands were Rhododendron mucronulatum, Q. serrata, Lindera obtusiloba, Fraxinus sieboldiana, Toxicodendron trichocarpum and Rhododendron schlippenbachii by the descending order.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.1
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• pp.110-119
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• 2009

Sosang Pal-Kyung(瀟湘八景), which originated in China and means eight scenes of So River and Sang River, greatly influenced the poems and the pictures in East Asia for a long time and became a cultural phenomenon leading the stereotype of the traditional landscapes in Korea and Japan. Studies on 'Kyung(a scene)' such as 'Pal-Kyung(八景)', have been made continuously until now, but there are no results of a study intensively focusing on the meaning and the form of Sosang Pal-Kyung, which is the origin of the domestic Pal-Kyung culture. The goal of this study is to investigate the typical form observed in Sosang Pal-Kyung-Ga(瀟湘八景歌) and Sosang Pal-Kyung-Do(瀟湘八景圖), as a text of a cultural landscape, and to clear up the coherence structure between a recognition system and a way of thinking that existed in the cultural phenomenon of Sosang Pal-Kyung. In this study, the symbolism of Pal(八) was summarized and the surface structure and the correlation of each Kyung of Sosang Pal-Kyung was explained in light of semiotics through segmenting and disjointing the lexeme of a landscape while the coherence structure and the meaning of Sosang Pal-Kyung-Ga and Sosang Pal-Kyung-Do as a text were investigated. Sosang Pal-Kyung is based on the view of the Sun and the Moon(or Positive and Negative) and the Eight Trigrams(八卦) for divination and is a linguistic symbol in which human life and the principle of circulation and conversion of nature are expressed as characters and picture texts. Its structure has strong coherence and cohesion, which attempt to move the abstruse truth of nature into human consciousness by developing and corresponding the grammatical structure and form of the sentences and the implicative languages emphasizing the symbolism of the words to the characteristics of similarities and contrast. In addition, Sosang Pal-Kyung expresses human life, the processes of birth and death of nature and the mutual response dialectically by putting various factors of the landscape in the frame of regular formality and structure. It is considered that the image signs in Sosang Pal-Kyung emphasize the theory of circulation of human life and nature are narrative scenery, which one looks at with a contemplative view in the circulation system of the time and the season. The cultural phenomena of Sosang Pal-Kyung in the Joseon Dynasty, which had been handed down from the Goryeo Dynasty, had become the driving force of leading aesthetics of Joseon's art and literature by adding the scenery of the point of view of Sung Confucianism. Its coherence structure was changed, but its cohesion was handed down continuously so that it became not only the basic text of the traditional and cultural landscape but also, the typical Korean-style stereotype of a landscape.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.1-9
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• 2014

This article is the results of excavation data and it aims to interpret the composition facilities of the Royal garden at the Wanggung-ri site. The base of research was prepared through excavation and study on the royal garden at the Wanggung-ri site, which was constructed in Sa-bi period of Baek-je. The elements for the royal garden at the Wanggung-ri site were divided in 3 parts. - 1) Stonework facility 2) Installation for conveyance of water : Large moat-shaped ditch and Winding waterway(1~6 and water catchment) 3) Square cornerstone building. In this article, I arrange the basic data about facilities and function of the royal garden for making recovery of original form. First of all, I reason that stonework facilities were in charge to make space for catchment and boundary. Especially the Round angel rectangular stonework facility took charge of complex roles as catchment and water conveyance, and water can be transferred to the large moat-shaped ditch through joint between them. I confirmed that the round angel rectangular stonework facility and the large moat-shaped ditch which were connected by joint are one of the facilities in the royal garden. The large moat-shaped ditch protected the eastern, the northern walls and workshop site under the inclined plane to minimize the damage. Also, the large moat-shaped ditch took several roles, especially water catchments and landscaping. The large moat-shaped ditch was continually used from the period of Baek-je to the unified Silla, as a result it was completely deposited inside. After that, the 6 winding waterway were built in the western inclined plane with similar needs with the large moat-shaped ditch, and the square cornerstone building was built in same time. I noticed that the square cornerstone building was built as a part of the royal garden in Sa-bi period of Baek-je through the remains of Baek-je tiles around the building. After that, the square cornerstone building was built in same place as reconstruction.