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A Plan to Activate the Archive of Maeul Communities (마을공동체 아카이브 활성화 방안)

  • Sohn, Dong-you;Lee, Kyoung-juhn
    • The Korean Journal of Archival Studies
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    • no.35
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    • pp.161-206
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    • 2013
  • 'Maeul' is a concept connoting a community. As a place where ordinary people's lives are planned and realized, Maeul is the foundation of their daily lives as well as a place where they work, rest and enjoy pastime activities. In Korea, however, most Maeul communities are dismantled while going though the modern period representing colonization and developmental dictatorship. Growth-oriented industrialization and urbanization turned into such adverse effects as individualization, a sense of loss and a sense of alienation. Recently, through innovations from below, Maeuls are restored, and through Maeul communities restored this way, every Maeul and many researchers carry out activities to build a healthy civil society. This study was conducted on such a background. For a healthy restoration of Maeul communities and a sustainable operation of those communities, it is necessary to establish archives where record the trace of Maeul members' daily lives and relations between those members. The archive of Maeul communities is a place that contains each Maeul's local characteristics as well as human relations as well. It is because this place can be space where Maeul members can record their history, communicate with each other and make a better future. The archive of Maeul communities can be made into various different models, which can be operated by reflecting the identity of a community such as main agents and characteristics, objectives and orientation of objects recorded. Rather than when Maeul communities exist as individuals, they can display more important functions and better effect when they form a network. Therefore, it is needed to provide various and creative methodologies different from the existing government-led record management. Not only on the form of archives, but also all over their functions, such as collection, arrangement, classification, evaluation, management and utilization, Maeul and Maeul residents' norms, orientation and realistic conditions should be thoroughly reflected. Starting from a chance to look back at individuals' lives, the archive of Maeul communities will be a new chapter to restore and build a healthy community in our society and overcome social contradictions from below. Moreover, the archive of Maeul communities has a great significance that it will broaden its prospect creatively with a new paradigm, not only mechanically turning the existing public sector-centered record management into a non-governmental sector.

Seoktan Lee Shin-Ui's the Characteristic and Interpretation of Deahak(大學, The Great Learning) (석탄(石灘) 이신의(李愼儀)의 『대학(大學)』 독해(讀解)와 그 특징(特徵))

  • Shin, Chang-ho
    • The Journal of Korean Philosophical History
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    • no.35
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    • pp.223-248
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    • 2012
  • This research is to investigate his creative perspective to Deahak through Seoktan Lee Shin-Ui's Daehakcharok. Lee Shin-Ui is a scholar and politician in the middle of Joseon Dynasty. His ancestral home is Jeonui. The honor name is Gyeongchik and pen name is Seoktan. The posthumous name is MunJeong. His Daehakcharok was written in the process of taking basic foundation as the politic leader. It was a record that he usually wrote down things realized after reading Deahakjanggu. Seoktan clearly classified the meaning of Jang (chapter) and Gu (phrase) as the structure of Deahakjanggu, and created new realm about the method of classified study. In the preface of Deahakjanggu, he emphasized that the core of Deahak is in Gyeong (敬, respect or honor), and clarified that Deahak deals with Sim (心, mind) and Seong (性, human nature). In the interpretation of Daehakdeajeon, he thought that the core of Samgangnyeong (三綱領, three doctrines or essential principles) depended on Myeong (明, realizing), Shin (新, taking re-newness), and Ji (止, achieving) as the meaning of 'realizing, taking re-newness, and achieving', and interpreted the context of Tao (道, the way), Myeong (明, realizing), and Deuk (德, virtue) in detail. In addition, he interpreted various concepts and meaning of Deahak with Myeongmyeongdeuk (明明德, realizing human nature) and Sinmin (新民, renewing people) as relationship with Ji(知, realization), Haeng(行, practice), Che(體, main structure), and Yong (用, dealing with), and developed Neo-Confucianism deeply. In case of the main interpretation of Deahakjanggu, he analytically reviewed 50 phrases one by one throughout 10 total chapters. In case of chapter five which includes Zhuzi's the theory of Gyeokmul (格物, approaching things or persons), he interpreted it in three parts and classified Gyeokmulchiji (格物致知, approaching things or persons and then realizing their nature) about researching deeply of principle and each thing, and Mulgyeokjiji (物格知至, approaching things or persons and then realizing them) about all things. He arranged in order of 'principle- researching-result' as well. In final, chapter ten showing the core of politic thought emphasized the way of Hyeolgu (?矩, considering others' situation through his/her own experience) intensively and informed that it is the best virtue for a governor.

The Diaspora Narrative and Aesthetics in Handol's Tarae (한돌 타래의 디아스포라 서사와 미학)

  • Shin, Sa-Bin
    • Journal of Popular Narrative
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    • v.26 no.3
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    • pp.189-219
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    • 2020
  • This study is an analysis of Handol Heung-Gun Lee's Tarae, which is a coinage combining the Korean words for "playing an instrument" and "song", in terms of narrative and aesthetics. The components for analysis are the phenomena and nature of binary oppositions between nature and human beings, between alienation and interest, between division and unification, and between diaspora and people of the national community. Tarae in the period from the late 1970s to the early 1990s described the experience of pain and loss from non-resistance and disobedience in protest against social problems that emerged during the era of miliary dictatorship, such as industrialization, urbanization, reckless development, Westernization, university-oriented education, the gap between rich and poor, human alienation, and the conflicts arising from the division of the nation. After Handol overcame the lack of creative motivation with self-reflection and effort, Tarae took the form of a diaspora epic meta-narratives integrating the "sound of nature and his true nature" and "the awareness of diaspora and the spirit of the Korean people". The epics of the homeland, the national soil and the people, which began with "Teo", became more intense in terms of a sense of diaspora as they shifted their focus from an origin to a path with "Hanmoejulghi" as the turning point. Handol seeks inspiration in the source of narrative rather than in music. His Tarae focuses on "adding rhythm for lyrics". For this reason, the semiotic features of Tarae have a limitation in that its extrinsic phonology is simple even if its intrinsic meaning (i.e., emotion of sadness) is profound and subtle. In order to elicit sympathy from the audience and impress them, it is necessary to strike a balance between the implicit (semantic) part and the explicit (phonological) part. To share the emotion of sadness with more people, it is necessary to strengthen phonological elements. Sympathy for sadness and deep impression on the audience are more often induced by the mood of similar sentiments than by the stories of the same experience. The aesthetics of sadness in Tarae began with the narratives of past experience which were expressed in the contexts of loss, loneliness, and poverty that Handol had experienced since childhood. However, the aesthetics of sadness, deepened over the period of a long hiatus in Handol's career as a composer, formed the narratives of ultimate salvation, embodying even the diaspora experience of others (e.g., displaced people, overseas adoptees, ethnic Koreans in Russia, victims of Japanese military sexual slavery, etc.). This gave Tarae the potential to go beyond the limits of the ethnic group of Korea. Tarae, as a "dispersed sound", can benefit from the appeal of deep sadness at the point of contact with other forms of world music. It may form a global diaspora discourse because Tarae is oriented towards interculturalism rather than anti-multiculturalism. The future challenge and goal of Handol's Tarae would be to continue to find areas of sympathy and broaden the horizon of awareness as diaspora music.

A Generalized Adaptive Deep Latent Factor Recommendation Model (일반화 적응 심층 잠재요인 추천모형)

  • Kim, Jeongha;Lee, Jipyeong;Jang, Seonghyun;Cho, Yoonho
    • Journal of Intelligence and Information Systems
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    • v.29 no.1
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    • pp.249-263
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    • 2023
  • Collaborative Filtering, a representative recommendation system methodology, consists of two approaches: neighbor methods and latent factor models. Among these, the latent factor model using matrix factorization decomposes the user-item interaction matrix into two lower-dimensional rectangular matrices, predicting the item's rating through the product of these matrices. Due to the factor vectors inferred from rating patterns capturing user and item characteristics, this method is superior in scalability, accuracy, and flexibility compared to neighbor-based methods. However, it has a fundamental drawback: the need to reflect the diversity of preferences of different individuals for items with no ratings. This limitation leads to repetitive and inaccurate recommendations. The Adaptive Deep Latent Factor Model (ADLFM) was developed to address this issue. This model adaptively learns the preferences for each item by using the item description, which provides a detailed summary and explanation of the item. ADLFM takes in item description as input, calculates latent vectors of the user and item, and presents a method that can reflect personal diversity using an attention score. However, due to the requirement of a dataset that includes item descriptions, the domain that can apply ADLFM is limited, resulting in generalization limitations. This study proposes a Generalized Adaptive Deep Latent Factor Recommendation Model, G-ADLFRM, to improve the limitations of ADLFM. Firstly, we use item ID, commonly used in recommendation systems, as input instead of the item description. Additionally, we apply improved deep learning model structures such as Self-Attention, Multi-head Attention, and Multi-Conv1D. We conducted experiments on various datasets with input and model structure changes. The results showed that when only the input was changed, MAE increased slightly compared to ADLFM due to accompanying information loss, resulting in decreased recommendation performance. However, the average learning speed per epoch significantly improved as the amount of information to be processed decreased. When both the input and the model structure were changed, the best-performing Multi-Conv1d structure showed similar performance to ADLFM, sufficiently counteracting the information loss caused by the input change. We conclude that G-ADLFRM is a new, lightweight, and generalizable model that maintains the performance of the existing ADLFM while enabling fast learning and inference.

A Comparative Study on Spiritual Humanism in Daesoon Thought (대순사상의 영성인본주의 비교연구)

  • Kim Yong-hwan
    • Journal of the Daesoon Academy of Sciences
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    • v.44
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    • pp.141-175
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    • 2023
  • This comparative study combines the methodologies of comparative research and literature review to examine Daesoon Thought. Comparative religious analysis in the social sciences, does not presuppose an a priori framework of the essence of religion because it targets various aspects of religion which are revealed within a historical field. However, it does not decompose and return to psychological or social phenomena like social sciences. In addition, with the emergence of religious pluralism, the climate of focusing on similarities between religions has already been accomplished to some degree. Furthermore, it is worth noting that many spiritual movements in modern spirituality reveal mixed or amorphous characteristics without being restricted by specific religious membership. It is time to overcome instrumentation and restore the transcendence of its original appearance even in secular humanist reasoning. It can be said that this reveals the perception that the ills and crises of modern civilization should be overcome in connection with the opening of the acquired world of Daesoon Thought. It could further be said that the main culprit of evil behavior is instrumental reason or degenerated reason rather than spirituality. Religion is the intellectual crystalline body of humankind and aims at human perfection and salvation. However, extremists in previous times amplified conflicts between religions and formed ideas suitable for their specific regions through different experiences. This generated mental rifts that proved greatly influential. At the time of initial inception, each religion confronted and fought other ideologies, but when the era of religious pluralism began, the necessity for inter-spiritual communication became urgent. It could be said that happiness is the realization of human spirituality by exploring the vision of humanism. In that case, the combined methodologies of comparative research and literature review reveal that the spirituality of Daesoon Thought would enable a humanism based on human dignity. This would be a path for seeking spirituality through human life and living as a true human being. Spiritual humanism as discussed through this study aims to share the problems of modern civilization and provide a critical view of modern civilization that shows the roots of prevailing thought are stuck in a Cartesian dualistic view of humanity and the world. The type of spiritual humanism to examined here focuses on a cosmotheandric vision by considering the spiritual return to Daoism via Daesoon Thought. This would treat human beings like heaven in alignment with Donghak ideology and honor the human dignity proposed by Daesoon Thought. It would also deliver sentient beings from suffering and to bliss in accordance with the aims of faith in Maitreya Buddha, and it would implement the Resolution of Grievances for Mutual Beneficence in fulfillment of Daesoon Thought.

A Reinterpretation of the Differences between the Tales of Jinmuk shown in The Investigation of Historical Remains of Patriarch Jinmuk and The Canonical Scripture: Highlighting Differences between Literary Transmission and Oral Transmission (『진묵조사유적고』와 『전경』에 나타난 진묵 설화의 차이에 대한 재해석 -문헌 전승과 구전 전승의 차이를 중심으로-)

  • Kim Tae-soo
    • Journal of the Daesoon Academy of Sciences
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    • v.41
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    • pp.179-217
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    • 2022
  • Concerning the differences in the tales between the Investigation of Historical Remains of Patriarch Jinmuk (hereafter, IHRPJ), as well as those which appear in Jeungsanist Thought and Daesoon Thought, previous studies view such differences as Jeungsan's intentional modification of the original intent of the narratives or as indicating differences in beliefs and values. This style of interpretation seeks to reconcile both Korean Buddhism and Jeungsanist and Daesoon Thought based on the premise that the former and the latter two exhibit differences in values. This study accepts the above view of the differences in description according to values. However, the differences between the tales of Jinmuk that appears in IHRPJ versus those in The Canonical Scripture can be approached from a new perspective, i.e., the differences that exist between literary and oral traditions; rather than only stemming from potential differences in the world views espoused by Buddhism and Daesoon Thought. These refer to the IHRPJ, which was constructed first as literary narratives in the 19th century; however, there was also folklore that had been handed down from the 18th century. As a result of examining the relationship between Jinmuk and Bonggok via this interpretive horizon, the contents of the IHRPJ are found to reflect the values and intentions of the intellectual class, such those held by Master Cho-ui and Kim Ki-jong, whereas oral traditions can be seen as a reflection of the hopes of the people of the late Joseon Dynasty. Jeungsan should also be interpreted as having utilized folklore in his teachings. Meanwhile, the circumstances and intentions behind publishing the IHRPJ are analyzed in the context of the text's historical background and the relationship between Confucianism and Buddhism during the 16th through 19th centuries. In particular, through the Compilations of Wandang and the collection of writings of Buddhist monastics, I have evaluated that Confucianism needed to purify and correct materials according to the ideology of the times in order to promote a spirit of morality and courtesy. Likewise, Buddhist Master Cho-Ui also embellished records to benefit Buddhism and deleted oral records that could harm the reputation of Buddhism. On the other hand, when viewing Records of Shrine Renovation and existing oral traditions, it can be shown that some Jinmuk tales existed in the 18 th century which were not included in the IHRPJ. Thereby, Jeungsan's description of Jinmuk tales can be reappraised as accepting the oral secular tradition that conveyed the wishes of the people. In other words, compared to the IHRPJ, which reflects only the harmonious content of Confucianism and Buddhism due to political and social factors, The Canonical Scripture reflects oral traditions that were widespread during the late Joseon Dynasty. As evidence, it can be suggested that there are many narratives about the relationship between Jinmuk and Bonggok that center on Bonggok's jealousy and the murder of Jinmuk. Jeungsan aimed to encompass people of all classes according to their minds and wills rather than their political positions or statuses. Therefore, Jeungsan did not need to rewrite the narrative content that had been passed down via oral tradition. Instead he embraced those narratives as a projection of the voices of the people.

Jeonghyesa Temple reconstructed at Yesan by Mangong and the meaning of the creation of the stone standing Avalokiteśvara statue during the Japanese colonial period (일제강점기 만공(滿空)의 예산 정혜사 중창과 석조관음보살입상 조성의 의미)

  • Lee Jumin
    • Korean Journal of Heritage: History & Science
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    • v.56 no.1
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    • pp.22-43
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    • 2023
  • This paper deals with the stone standing Avalokitesvara statue in Jeonghyesa Temple that was created by Mangong in 1924. The stone standing Avalokitesvara statue of Jeonghyesa Temple is the earliest extant Buddha statue produced by Mangong, and symbolism was given to Jeonghyesa in the process of its reconstruction. So far, there has been no study that has approached ideas and beliefs through Buddhist studies led by Mangong and specific relics. In order to proceed with this study, Mangong's legal words and anecdotes and newspaper articles during the Japanese colonial era were used to trace the dynamics of Jeonghyesa and Sudeoksa during Mangong's reign, and to investigate the effects obtained from the creation of the large Bodhisattva statue and the meaning of its location. In addition, an interview was attempted with the descendants of master, who were in charge of the sculpture at the time, to confirm the exact construction period and the list of craftsmen. It is judged that the stone standing Bodhisattva statue of Gwanchoksa Temple has been influenced by the double covering and square crown seen in the standing stone statue of Avalokitesvara Bodhisattva of Jeonghyesa Temple, the large hands compared to the body, the proportion between the head and the body, and the sense of enormity felt in the body like a stone pillar. Therefore, we looked at how the standing stone Bodhisattva statue of Gwanchoksa Temple, which was produced in the early Goryeo Dynasty, could have influenced the creation of the Bodhisattva statue in the modern period. A multilateral analysis was attempted on how the image of the Gwanchoksa Bodhisattva statue, which was used as a symbol representing Chungcheongnam-do in the Chosun Exposition held in 1929 and the visit to Gwanchoksa Temple, which began with the laying of the railroad during the Japanese colonial period, was used from the viewpoint of the succession and transformation of the style. With this study as an opportunity, it is hoped that the understanding of the prehistoric Mangong representing the modern period and the horizon of Korean Buddhist sculpture research in the modern period will be broadened.

A Study Meaning Analysis and Interpretation of Body Sign, Kiki Smith - On Pee Body - (키키 스미스 작품에서 신체기호의 의미 분석과 해석 - 를 중심으로 -)

  • Kim, Sung-Hee
    • Journal of Science of Art and Design
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    • v.10
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    • pp.5-50
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    • 2006
  • The terminology "human body" simply means a physical body but also more often, as an object in art works, carries symbolic concepts incorporating the whole history of human lives. Human body has been employed as an artistic object capturing physical body, delivering artist's idea expressing life indicators from different standpoints of times and places. This point of view about human body in art works has in fact rather short history since 1960's when modern thinking paradigm focusing upon rationality and reasoning has begun declining and on the contrary when the body used to be the servant of the mind and soul for a long time has begun attracting artist's attention as a real entity from the viewpoint of dichotomy. During the 1960's, frequent performances in Pop art and of Fluxus showed that the human body has been an important media for artistic communication after importance of body performances had been raised in Action painting in 1940's. The human body became a more determined media in body art works that had got into stride after Yves Kline's conceptual works applying body and its traces. These kinds of art works have continued and consolidated into the Feminism came into blossom in 1980's and into fragmentated and disembodied body art trend in 1990's. Through development of trends in body works, human body now might well be regarded as a clue provide from individual identity with implication over the world. This thesis is to analyse in semiotic way main works of Kiki Smith who is a representative artist devoting to Feminism and proposing extended significance of human body. In the analysis process of works done by two great artists with histrorical background of art trend in order to find and open an significance horizon of human body, semiotics and bodism are therefore perceived as pertinent and applied as basic tools. The first stage of analysis is to get the significances emerged in between expression part and contextual parts, which are separated structually from the most basic level. The study deals with body works furthermore in the way of structual cohesion of the expression and the context from the view of A J. Greimas' Structural Semantics and tried to build up a basic frame for the extended significances of human body. This thesis is, on the other hand, to attempt to contribute for extension of disembodied and fragmentated body discussed in the structural semantic frame earlier by Julia Kriesteva who delivers abjection concepts and phenomenology of Maurice Merleau-Ponty who enables to overview relationship between the body and the world from the viewpoint of Bodism, further into interpretation level. The other works are Kiki smith's that showed epics about death in mid-1980's, detailed humbleness of vulnerable human body exposed to dichotomy and fragmentation in 1990's and religion and mythology incorporating wouln healing in 2000's and henceforth. Through the analysis of Kiki Smith's representative work 'Pee body', it is verified and confirmed that fragmentated body showed beyond boundary gap of the human body and ultimately tends to imply human healing owing to divine maternity. Bodily symbols in Kiki Smith's are extended to the universal world to imply human life and death on the one hand and religion and mythology of human wound and divine healing one the other hand. This thesis through these process and results of analysis is in a broad context, to emphasize that human body as objectified text has a key indicator role to understand world as well as semiotic extension in art works in late 20th century so that we might confirm bodily symbol as a cultural context constitutes a section of contemporary visual arts.

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Various Life Conditions of Actors of Joseon Periods in Unofficial Historical Stories (야담 문학에 나타난 조선 배우의 삶)

  • Choi, Nakyong
    • (The) Research of the performance art and culture
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    • no.23
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    • pp.281-312
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    • 2011
  • The aim of this study is to examine various life conditions of actors of Joseon periods in unofficial historical stories. Yadam Literature(Korean unofficial historical stories) had been collected Sadaebu(the past Korean nobility and Confucian intelligentsia) among the people that stories had been handed down orally. and they had been wrote them. So Yadam Literature was heterozygous between the folk culture and the ruling class. And it was mixed and adapted legends and folktales, adding literary imagination. had a decisive role to cultivating novel that owed much to prosaic inspiration during A. D. 18~19. Besides, set a high value on excellent novel itself. Yadam Literature had a verisimilitude because it described a contemporary reality as it was founded on freely prosaic inspiration. In those days, so called Suchok and Seunggwangdae had performed Uhee(a comic theatrical performance) in Joseon periods. Suchok was the lowest class of people and Seunggwangdae was performing Buddhist monk in that time. Uhee had performed three kinds of comedies. One satirized and insinuated kings. Other satirized corrupt officials, too. Another had mimic everything. It is famous at that time as a king knew repertoire. Confucian scholars very were fond of Uhee in those ages. Because they favored a criticism of Uhee's satire. They thought that it gave people good lesson or instruction. Heri Bergson said that comic and Humor included lesson. At that time, those thought were universal in the world whether east or west. At any rate, I classify six kinds of types Uhee in Yadam Literature. First, satirizing and accusing corrupt officials. Second, an actor who use a satire in order to appeal secure a government position of his lord to a king. Third, shamans and actors who use a satire in order to appeal sufferings themselves to a king. Forth, actors and performing Buddhist monks that skillfully mimic anything. Fifth, describing actor's extremely miserable life. Sixth, wit and humor of actors. The contents of Uhee were various. Korean traditional actors adeptly dealt with aspects comic of wit, satire, humor, etc. Sometimes they used changeable transition them. By doing that, a great number of people enjoyed fully the sense of freedom. Korean traditional actors were the lowest class of people. They had lived extremely miserable life. But they had been exist as actions, interactions, and relationship in society those days. they were not only open to people, but also might foster community to peoples.

An Interpretation of the Korean Fairy-Tale "Borrowed Fortune From Heaven" From the Perspective of Analytical Psychology (한국민담 <하늘에서 빌려온 복>에 대한 분석심리학적 이해)

  • Kihong Baek
    • Sim-seong Yeon-gu
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    • v.38 no.1
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    • pp.112-160
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    • 2023
  • This study examined the Korean folklore "Borrowed Fortune from Heaven" from the perspective of Analytical Psychology, considering it a manifestation of the human psyche, and tried to gain a deeper understanding of what happens in our mind. Through the exploration, the researcher was able to re-identify the ongoing psychological process operating in the depths of our mind, pertaining to the emergence of a new dimension of consciousness. Particularly the researcher was able to gain some insights into how the potential psychic elements for the new consciousness are prepared in the unconscious, how they get integrated into the conscious life, and what is essential for the accomplishment of the process. The tale begins with a poor woodcutter who, in order to escape from poverty, starts gathering twice as much firewood. However, the newly acquired amount disappears overnight, so the woodcutter gets perplexed and curious about where it goes and who is taking it. He seeks to find out the truth, which leads him to an unexpected journey to Heaven. There he learns the truth concerning his very tiny amount of fortune, and discovers another big fortune for an unborn person. By pleading with the ruler of Heaven, the woodcutter borrows that grand fortune, on the condition that he must return it to the owner when the time comes. After that, the woodcutter's life undergoes a series of changes, in which he finally becomes a wealthy farmer, but gradually is reminded more and more that the destined time is approaching. In the end, the fortune is completely transferred to the original owner, resulting in a dramatic twist and the creation of a new life circumstances. The overall plot can be understood as a reflection of the psychological process aiming at the evolution of consciousness through renewal. In this context, the woodcutter can be considered a psychic element that undergoes a continuous transformation in preparation for participating in the upcoming new consciousness. In other words, the changes brought about by this figure can be interpreted as a gradual and increasingly detailed foreshadowing of what the forthcoming new consciousness would be like. Interestingly, as the destined time approaches, the protagonist's anguish in conflict reaches its climax, despite his good performance in his role until then. This effectively portrays the difficulty of achieving a new dimension of consciousness, which requires moving past the last step. All the events in the story ultimately converge at this point. After all, the resolution occurs when the protagonist lets go of everything he has and follows the will of Heaven. This implies what is essential for the renewal of consciousness. Only by completely complying with the entire mind, the potential constituents of the new consciousness that should play important roles in a renewal and evolution of consciousness through experiencing, can participate in the ultimate outcome. As long as they remain trapped in any intermediate stage, the totality of the psyche would develop another detour aiming at the final destination, which means the beginning of another period of suffering carrying a purposeful meaning. The tale suggests that this truth will be applied everywhere that renewal of consciousness is directed, whether for an individual or a society.