• (The)Study of the Eastern Classic
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• no.73
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• pp.281-302
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• 2018

The role of mind is very important in Xunzi's thought. The way is permanent rule of politics that is under the control of mind which is recognizing organ for both thinking and acknowledging things in his thought. Nevertheless the mind in Xunzi's thought has desire as an organ of body to be controlled. On the other hand, the mind has conflicting two fold aspects in the course of its recognition of things like storage and vacancy, movement and calmness, and two kinds of recognizing opinion against one object. And there are various evils in thinking system of mind. In a sense, the mind of human is to be cleaned and cultivated. Xunzi proposed managing energy and cultivating mind as a thinking system. Mengzi proposed to enliven vast-flowing energy and to cultivate mind through shortening desire, while Xunzi did managing energy and caring about mind for controlling other body systems and publicly recognizing things. In Xunzi's idea the mind in the recognition of things is similar to the water in bowl as a mirror for looking at any things, and thus it is imperative for us to sink grounds in mind for becoming good water mirror. In this need the grounds of human mind would be to be sunk and also the cultivation of it would be to be demanded. Ultimately there should need the recognition of mind that is cleaned and cultivated for brightly discovering the great principle and recovering the unchangeable way with a view to preparing the condition for national peace. This thesis, in this context, to approach the meaning of mind, its two fold aspects, and the necessity of it.

• Journal of Korea Port Economic Association
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• v.38 no.1
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• pp.49-71
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• 2022

The purpose of this paper is to study the effect of the corporate social responsibility by port operation organization on the brand asset, reputation and relationship performance perceived by interested parties. To achieve such a purpose, literature survey on various research papers and thesis, research report is carried out and also reliability analysis, validity test and multiple regression analysis using SPSS 18.0 are used. To verify a established research model for empirical analysis and hypotheses, questionnaires are distributed to the port operation organization, terminal operators, shipping companies and NGO. Total 414 copies of questionnaires were collected and used in this analysis. The main results of the study are summarized as below. First, it was confirmed that social responsibility of the port operation organization are classified into three categories; economic, legal, and charitable and ethical responsibility. Second, economic responsibility has a positive impact on the brand awareness and reputation. Third, legal responsibility has a positive impact on the trust and commitment. Fourth, charitable and ethical responsibility has a positive impact on brand image and awareness, reputation, trust and commitment. Further additional empirical research can be extended by distributing more questionnaires including several port operation organizations in Busan and Incheon.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.231-242
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• 2019

(2014) directed by British-born second generation Iranian-American Ana Lily Amirpour, set in 'the Iranian ghost-town Bad City' attempts to make how the hybridization of multi-cultures makes interesting interpretations culture-politically, presenting a female vampire skateboarding in a striped t-shirt and a black chador. In traditional horror films, mainly male-Dracula was the center of the vampire narrative as other, but since the post-modernism era, vampire films try to shift women from the passive and dependent victim to the subjective and independent main agent. And the main character of the film, 'The Girl' who is a female Muslim vampire takes a step forward to punish men who commit gender violence. Shot in black and white, the film puts images ahead of narrative, while featuring Iranian actors, speaking Farsi. Furthermore, the film crosses over Iranian politics into American-European pop cultures with this eclectic mix of Iran's rock, British electro-pop and Ennio-Morricone-like western stylings. This study focuses on the style featured in which has successfully transformed and transplanted a vampire story into a critical contemporary discourse, mixing multiple genres and citing cultural trends while not following the traditional conventions of vampire films.

• Cartoon and Animation Studies
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• s.48
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• pp.333-358
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• 2017

Mainland China is under different conditions both socially and politically than other countries, so there is a lack of practical researches on cartoon characters. With a profound interest, the researcher has selected a character that is realistic and loved by many Chinese. The subject of the study is "Shan Mao Series." Out of 16 seasons, the most famous one is the Chronicle of Shan Mao's Wander. I analyzed the character thoroughly, dealing with the beginning of the character, the process of character development, and a reality shown in the chronicle, etc. on chapter II, and the character's image component on chapter III. Chinese modern cartoons were affected by a situational anxiety because of foreign powers and war. Thus satire cartoons went in fads among the public. The epitome of a typical cartoon was the Shan Mao Series. From 1935, when the character was first created, to now it has eaten into Chinese people's hearts. It's because the story happens during a war period and it deals with a playful, humorous main character's life and these facts show the hidden side of the unfair social system. Most of readers prefer a smart, playful, righteous, and brave character. Shan means three and mao, hair in Chinese, so Shan Mao is a child who has three hair. The character is not just a simple cartoon character; it has developed into a national figure among many Chinese. The reason why the researcher has chosen the series created by Zhang Leping, the author of the cartoon, is because a good cartoon, good animation, and even good movie stimulate the feelings that we get from our surroundings. The character which is created in China seems very unique and bizarre but there is a sense of friendliness. Also its character image and scenes make people laugh and it has become a typical symbol of a modern cartoon in China.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.4
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• pp.22-34
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• 2016

The purpose of this study was to analyze commemoration characteristics of fifty-nine Vietnam war memorials in Korea(VWMK) including monuments and national cemeteries from landscape architectural point of view such as location, spacial characteristic, landscape detail, sculpture, and interpretive text. Based on the commemoration characteristics of the analysis, the commemoration culture among Vietnam, the U.S.A., and Korea were studied and differences compared. The results are as follows. First, monuments were mainly located in public open space such as national cemeteries, parks, and plaza, and some of them were elected along with Korea war memorials to honor Vietnam war veterans at the national level. Second, because the monuments were relatively small and memorial towers were conventionally built on a square platform, the memorial style had been simply standardized to stereotype the commemoration characteristics. Third, outmoded memorial towers, stone plates, emblems, and memorial walls were used as main landscape details and standardized facilities were considered from an artistic and social point of view. Fourth, realistic soldier statues to show heroic and humanitarian image were in majority, while symbolic and abstract sculpture were small in number, they were mostly conventional and unexpressive. Fifth, the causes of participation in the Vietnam War were predominantly expressed as 'defending freedom', 'keeping world peace', and 'national economic development' based on anti-communism and patriotism, and also the collectivity of Vietnam War veterans by troop and local level was emphasized through engraving each veterans's name on towers, plates, and walls. VWMK are mostly conventional and stereotyped in style and show strongly national official memory and the collectivity of veterans from a sociopolitical perspective, and aim for anti-communistic patriotism ideologically. Further study and projects will be required to make creative and innovative memorials and to study how to rethink sublime fundamental themes like war, death, and the individual veteran's experience in VWMK.

• (The) Research of the performance art and culture
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• no.34
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• pp.111-131
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• 2017

Korean Shamanism has long been regarded as the peripheral cult or supersition by the majoriy of the society. This fact is a result by the influence of the mass media, especially the motion pictures, which intentionally reflected the negative images of the Shamanism. The documentary films, which stress the objectivity and the reality, rather disclose the neutral position toward the Shamanism. In fact, the directors of the documentary films who have more or less close relationship with the Shamanism have tried to exhibit the mental world and the traditionality of the Shamanism. In this paper, I will explore the value of Shamanism reflected in the documentary films. I focus of two films; directed by the Korean and directed by a foreigner. In this way, I can compare the attitudes of the two directors toward the Korean Shamanism. The director of confessed that he was attracted by the aspect of a musical underlied in the shaman ritual. However, the film does not show the artistic beauty of the shaman music because the director failed to understand the essential aspect of the shaman ritual, that is, the music. In this way, the director failed to show the distinct characteristics of the shamanism to the audience. The director of , a music herself, was focused on the music of the shamanism. The story flows to the adventure to seek a "master" with a long journey to enjoy diverse genres of Korean performing arts. This story resembles the epic shaman song, the Princess Bari. In this way, the audience can easily grasp the beauty of Korean culture. Music is said to be a universal language and, at the same time, a non-universal language which reflects a special trait of a cultural community. The Korean shaman ritual music is a non-universal language that is an accumulation of the Korean culture for a long time. The Korean director fails to exhibit the essential characteristics of the Shamanism since he does not have enough knowledge toward the shaman ritual music in . However, the foreign director, who is a music herself, successively disclose the underlying beauty of Korean shaman ritual music and Korean traditional culture in .

• Sijohaknonchong
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• v.30
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• pp.263-300
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• 2009

Adoration for nature constitutes one of the primary subjects that literature has tackled since the origin of human history. Nature expressed through a poet's subjective imagination is the internalized and reorganized nature. This study examines the view on nature enacted in Ch'o-Jung's three-verse poems (sijo) in light of the traditional views on nature implicated in the ancient three-verse poems (koshijo), which is in line with the long-established Oriental view on nature. To dignitaris(sadaebu) in the Chosun Dynasty, nature appeared as the idealistic subject for moral culture ($shims{\breve{o}}ngsuyang$), which also becomes the literary space where the purity and justice of the world view of Neo-Confucianism(Sungrihak) is contained in the form of the three-verse poem, the lyrical poetic space where the "I" is united with nature by way of "enjoying of wind and moon"($umpungnongw{\breve{o}}i$) and "living in quiet retiremen"($yuyuchaj{\breve{o}}k$), and the object for the poetical perception of the surrounding world. Ch'o-Jung' s three-verse odes are found in Reed pipe ($Ch'oj{\breve{o}}k$), Sixty Five Pieces of Three-Verse Odes (Samhaengshi-$yukshipopy{\breve{o}}n$), Autumn Fragrance ($Hyangginam{\check{u}}n-ga{\check{u}}l$), and The Words of Zelko va Tree ($N{\check{u}}tinamu{\check{u}}i-mal$). This study analyzes 212 pieces of Ch'o-Jung' s three-verse poems chosen from theses books. In Ch'o-Jung's poems, the traditional view on nature expressed in the ancient three-verse poems is rendered in such a way that metaphysical understanding of nature is indirectly transmitted through the objective correlatives found nature. Nature is no longer the object of straightforward utterance, but transformed, displaced, and removed: that way, nature gets objectified to form a complicated and multi-layered structure. In conclusion, the view on nature manifested in Ch'o-Jung's three-verse poems is based on traditional metaphysics. Second, nature is the object of lyrical nostalgia and adoration. Third, nature is imbued with the fundamental affection for parents. Fourth, nature is associated with organic life. Fifth, the nature in Ch'o-Jung's poems reveals the beauty of stillness endorsed in Lao-tse's and Chung-tze's philosophy. And last, nature is the agent for self-realization and meditation.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.82-101
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• 2014

The purpose of this study was to survey and analyze the origin story and the legends associated with Yongyudam(龍遊潭, Dragon Creek), its scenic and spatial description in Climbing Writings(遊山記: Yusangi Notes), its geographical and geological features, its surrounding remains and letters chiseled on the rocks through the field study and the study on literatures associated with it so to identify its significance and value and then to ensure justification on preservation of Yongyudam scenic site. Conclusions of this study are as follow. As the traditional scenic place 'Geumdae-Jiri(金臺智異)' representing Hamyang-gun(咸陽郡) depicts Mount Cheonwangbong and 'Yongyudong Village(龍遊洞)', ancient maps and literatures have positioned Yongyudam as the center of Eomcheon-river Creek as well as the representing scenic site of Yongyudong Village. Core images in the spatial awareness of Yongyudam described in our ancestors' Climbing Writings Notes on Jirisan Mount are 'geographical and scenic peculiarity associated with swimming dragons', 'potholes in various shapes and sizes scattered on rocks', 'loud sound generated by swirling from shoals' and 'the scenic metaphor from the dragon legend', which have led scenic features of Yongyudam scenic site. In addition, significant scenic metaphors from legends such as 'Nine Dragons and Ascetic Majeog' and 'Kasaya Fish' as well as 'the Holy Place of Dragon God', the rain calling magic god have descended not only as the very nature of Yongyudam scenic site but also the catalyst deepening its mystic and place nature. On the other hand, Jangguso Place(杖?所, Place of Scholars) in the vicinity of Yongyudam was the place of resting and amusement for scholars from Yeongnam Province, to name a few, Kim Il-son, Cho Sik, Jung Yeo-chang and Kang Dae-su, where they experienced and recognized Jirisan Mount as the scenic living place. Letters Carved on the rocks at Jangguso Place are memorial tributes and monumental signs. Around Yongyudam, there are 3 stairs, letters chiseled on the rocks and the water rock artificially built to collect clean water, which are traditional scenic remains detectable of territoriality as the ritual place. In addition, The letters on the rock at Yongyudong-mun(龍遊洞門) discovered for the first time by this study are the sign promoting Yongyudam as the place of splendid landscape. The laconism, 'It is the Greatest Water in Jirisan Mount(方丈第一山水)' on a rock expresses the pride of Yongyudam as the representing scenic place of Mount Jirisan. Other than those, standing rocks such as Simjindae Rock, Yeong-gwidae Rock and Ganghwadae Rock show the sign that they are used as amusement and gathering places for ancestor scholars, which add significance to Yongyudam. By this study, it was possible to verify that Yongyudam in Mount Jirisan is not simply 'the scenic place in the tangible reality' but also has seamlessly inherited as the traditional scenic attraction spiritualized by overlapped historical and cultural values. Yongyudam, as the combined heritage by itself, shows that it is the product of the place nature as well as unique ensemble of cultural scenic attraction inherited through long history based on natural scenery. It is certain that not only the place value but also geographical, geological, historical and cultural values of Yongyudam are the essence of traditional scenic attraction, which should not be disparaged or damaged by whatever political or economic interests and logics.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.4
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• pp.11-22
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• 2017

A plaza represents the identity of a city, and that reveals a plaza's importance. Gwanghwamun Plaza and Seoul Plaza are two representative plazas where the citizens can freely express their opinions. Many major plazas in the center of Seoul were built under the Japanese occupation. Among these, the plaza of Joseon Bank has different characteristics than Gwanghwamun Plaza and Seoul Plaza. Even though this plaza was built in the center of the commercial, administrational, and cultural district during the Japanese colonial period, the research on this plaza has been limited. This study was conducted to verify the features of this plaza by analyzing its construction and transformation during the Japanese colonial period. The study's results outline how the plaza was constructed by the Japanese administration. The intention of the government is shown by the fact that it purchased land parcels and held a design competition. In the 1910s, the government purchased seven parcels of land during the expansion of roads as the place for the plaza. During the late 1930s, the government accepted a traffic circle to regulate the traffic and eliminate the conflict between crossing movements. In 1939, a fountain was built in the plaza's center, and its design was selected through a design competition. It was planned as a square, but gradually turned into a rotary. Furthermore, the plaza was a landmark and symbol of the power and modernity of Japan. As the main modal point of public transportation, the plaza became surrounded with largescale Western-style buildings, commercial advertising, and neon signs. The plaza became a place where people could experience the modern city. These spectacular displays showed that Japanese imperialism was perceived as a strange and peculiar landscape to the majority of Korean citizens. This study investigates the history and characteristics of the plaza, focusing on its beginning as well as the transformation of its form. As to the limitations of the study, it does not consider political and economic contexts within the transformation of Seoul and in relation to this plaza. Instead, that research remains for a future study.

• 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.