• The Journal of Korean Philosophical History
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• no.31
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• pp.375-406
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• 2011

The paper investigates the ideal image and the ideological tendency of the traditional intellectuals in the East Asian Societies by analyzing the religious thoughts of Donghak, Tenrikyo and the Society of God Worshippers, which were the representative religious bodies in Korea, Japan and China. In particular, this paper focuses on the founders' thoughts of the religious organizations, such as Choi Jewoo(崔濟愚, 1824-1864) of Donghak, Nakayama Miki(中山みき, 1798-1887) of Tenrikyo and Hong xiuquan(洪秀全, 1814-1864) of the Society of God Worshippers. The results obtained from the study are as follows:Choi Jewoo's father was a teacher in a rural village, and so Choi Jewoo also wanted to be a teacher. Afterward when he had religious experiences, in the trance state, he became a teacher. Consequently, his religious thoughts were based on the ideal teacher's stance. Nakayama Miki respected her father, who was a low-ranking warrior or bushi(武士). And when she experienced strange experiences, she became a high-ranking warrior or shogun(將軍). On this account, many of her religious thoughts were based on the ideal bushi's position. Hong xiuquan's father was a low-ranking local official, therefore Hong xiuquan wanted to be a high-ranking official since childhood. Later, he took the civil service examinations only to failed. And so when he had religious experiences, he became an official appointed by God. And his religious thoughts, in many cases, depended on the ideal official's stance.

• Journal of the Daesoon Academy of Sciences
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• v.35
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• pp.255-293
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• 2020

This study examines the God, Jiutian Yingyuan Leisheng Puhua Tianzun (九天應元雷聲普化天尊, 'The Supreme God of the Ninth Heaven, Celestial Worthy of Universal Creation through His Thunderbolt, the Originator with Whom All Beings Resonate' in Daesoon Jinrihoe), in terms of narrative imagination, by investigating the narrative of Wen Zhong (聞仲) in Investiture of the Gods (Fengshenyanyi 封神演義) and the narrative of Kang Jeungsan (姜甑山) in The Canonical Scripture (Jeongyeong 典經). This examination occurs along three dimensions: Firstly, I look into the cultural contexts of the image of the Thunder God (雷神) in Gojoseon (古朝鮮) mythology and the Korean seondo (仙道) tradition both of which are reflected in the narrative of Wen Zhong. At the same time, I also argue that the cultural contexts examined above are able to be found in the narrative of Kang Jeungsan. Secondly, I consider the essential meaning of the concept of "deifying" (封神) in the narrative of Wen Zhong and its connection to "the resolution of grievances" (haewon 解冤) in the narrative of Kang Jeungsan. Thirdly, I consider the traits of embracing heterogeneous things (異類) in the religious group "Jiejiao" (截敎) that Wen Zhong belonged to in relation to the values of "mutual beneficence" (sangsaeng 相生) that Kang Jeungsan pursued. In this study's conclusion, I posit that the "mentalité" of Dong-yi (東夷) culture and tales including Yin (殷) is identifiable in narrative imagination applied to the God, Jiutian Yingyuan Leisheng Puhua Tianzun. This means that the nature of Jiutian Yingyuan Leisheng Puhua Tianzun is closely related to the tradition of Korean seondo and Korean Daoism.

• Korean Association of Arts Management
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• no.58
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• pp.49-88
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• 2021

Contemporary literary writers engage in multiple jobs and activities in the changing industrial and institutional environments to manage careers and produce literary value. The notion of art entrepreneurship envisages writers as the actors pursuing optimal rewards at both literary and economic levels by applying creative knowledge and skills to the management of career. In contrast, the notion of creative labor argues that writers go through career insecurity as they pursue self-fulfillment through work. This paper critically reviews two notions and suggests the notion of cultural intermediaries to better understand their production of literary value within the variety of relational contexts where they are situated. This paper analyzes the structures and characteristics of a wide range of intermediary practices by literary writers. Based on the analysis, I argue that the autonomy of literary value the writers construct and their status of entrepreneur-labourer are contingent upon the relational contexts within which they practice the intermediary work. I also suggest that literary writers by utilizing a variety of tactics cope with the changes that shape the autonomy of literature and invent new roles and identities as cultural intermediaries. Furthermore, literary writers develop not only self-management skills to adapt to the changing environments but also the collective capacity to cope with the constraints derived from the structural change of literary production and circulation. Finally, I argue that the art management discipline can reflect upon and support the creative endeavors of literary writers by embracing the critical understanding of structural changes suggested by the disciplines of humanities and social sciences.

• Journal of the Korean Society of Floral Art and Design
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• no.41
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• pp.115-132
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• 2019

Today, the expansion of the possibility of new expressions of plastic arts is largely due to emergence and application of new materials. In the field of flower design, it is found that there is a tendency to seek a new expression by utilizing various new materials instead of natural material that used in the past. This study is an attempt of applying methodological approach in the creation of floral art works utilizing the characteristics of contemporary materials in such context. The researcher gathered cases of specific effect and sensation in the expression of art works using various contemporary materials and extracted the characteristics using descriptive sentences applying behavior setting analysis technique. Reporting detailed result of the research total 100 guidelines under 41 sub-categories, 24 mid-categories, and 6 top categories such as transparency, lighting, combination of objects, combination of materials, reflection, shape construction. The researcher tested the effectiveness of the theories by applying deducted theories as the guidelines in creation process of her own floral art works. The significance of this study lies at experimenting the possibilities of applying methodological approach which could supplement intuitive approach in pursuit of expression for artists in the field of floral art and design.

• Korea Science and Art Forum
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• v.24
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• pp.321-332
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• 2016

As functions of public library has become diversified, proper environment color plan enhancing a supporting environment of user based on a function of public library should be achieved by utilizing space chromatics which is a psychological environmental factor. Therefore, public library's color environment of each space functions should be understood and the foundation of color plan enhancing supporting environment of user should also be established under the premise that public library color environment which supports integrated functions to every local residents by meeting functional roles of library. As functions of public library expands, this study has its purpose to analyze color environment characteristics by mainly focusing on library of Busan region to study color environment supporting function of each space. Through a literature research, function and role of color, environment color have considered, and through a preceding research analysis on public library's present condition analysis and tendency of library color preference, theoretical background on library color environment has deducted. By researching present condition of environment color application at 9 public libraries located at Busan, the environment color characteristics of library has deducted through an image adjective analysis using color system, coloration analysis, IRI(Image Research Institute) color image scale. This study can be provided as a reference data for environment color plan based on spatial function to enhance supporting environment of public library user, and it is expected to utilize in the library facility plan which has been diversified.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.3
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• pp.85-95
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• 2008

The City of Seoul enforces the 'Median reserved bus lane', a revised public transportation system, in order to achieve both a faster and more convenient transit system. This study examines the visual image and preference of the median bus stops in accordance with the operation of the median reserved bus lanes. In order to evaluate and clarify the distinct landscape of each bus stop in a different environment, our team selected 3 representative bus stops with different environments on main roads and conducted landscape simulations so as to evaluate visual preference. The sites were on a narrow range road, wide width road in the downtown area and wide width road on the outskirts of the city. The preference degree for each selected bus-stop environment was compared. The comparison conditions were a median bus stop with preexisting landscape, a median bus stop with planted trees, and a landscape without a median bus stop. The results of the study can be Summarized as follows: First, the visual influence on median bus stops depends on the visual complexity of the environment where they are located. People had an affinity for the median bus stop in which the visual complexity was low, while the preference degree of median bus stop was low in a highly complex area. Secondly, regardless of regional environment where median bus stops are located, research showed that it is more "impressive" to have a median bus-stop with planted trees than landscape without a median bus stop. Thirdly, the median bus stop with plants highly preferred over one without moreover, the landscape with planted trees would provide a comfortable mind for people. This study reveals that planting-oriented design concepts in median bus stops exhibit significant differences in the preference assessment factors. Thus, for further median bus stop construction, planting is desirable to create an impressive streetscape and better scenic quality.

• Cartoon and Animation Studies
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• s.49
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• pp.633-649
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• 2017

The purpose of this study is to conceptualize the changing aspects of human freedom of observation and viewing as the visual media evolves from film to 3D stereoscopic film and VR. The purpose of this study is to conceptualize the aspect of freedom and viewing aspect from the viewpoint of genealogy. In addition, I will identify the media aesthetic characteristics of VR and identify the identity and ontology of VR. Media has evolved around the most artificial sense of human being. There is a third visual space called screen at the center of all the reproduction devices centering on visual media such as painting, film, television, and computer. In particular, movies, television, and video screens, which are media that reproduce moving images, pursue perfect fantasy and visual satisfaction while controlling the movement of the audience. A mobilized virtual gaze was secured on the assumption of the floating nature of the so-called viewers. The audience sees a cinematic illusion with a view while seated in a fixed seat in a floating posture. They accept passive, passive, and passively without a doubt the fantasy world beyond the screen. But with the advent of digital paradigm, the evolution of visual media creates a big change in the tradition of reproduction media. 3D stereoscopic film predicted the extinction of the fourth wall, the fourth wall. The audience is no longer sitting in a fixed seat and only staring at the front. The Z-axis appearance of the 3D stereoscopic image reorganizes the space of the story. The viewer's gaze also extends from 'front' to 'top, bottom, left, right' and even 'front and back'. It also transforms the passive audience into an active, interactive, and experiential subject by placing viewers between images. Going one step further, the visual media, which entered the VR era, give freedom to the body of the captive audience. VR secures the possibility of movement of visitors and simultaneously coexists with virtual space and physical space. Therefore, the audience of the VR contents acquires an integrated identity on the premise of participation and movement. It is not a so-called representation but a perfection of the aesthetic system by reconstructing the space of fantasy while inheriting the simulation tradition of the screen.

• 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.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.23-36
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• 2010

The purpose of this study is to infer the aspects and significance of Musa basjoo of latter part of Chosun Dynasty by analyzing the planting tendency and planting location of Musa basjoos drawn in total 77 old paintings and the characteristics of the paintings where Musa basjoos appeared, while trying to understand symbolic meanings of floral languages as well as the images and significance of Musa basjoos which appeared in the prose and poetry of Chosun Dynasty, and the results are as follows; With its floral languages of 'waiting', 'parting' and 'beauty', Musa basjoo represented the wealth and resuscitation and it aroused the elegance of hermits in its Taoistic sense. And it also represented 'the unworldliness to get out of transient human affairs' in its Buddhistic sense. Musa basjoos which appeared in 'Garden Custom Painting(庭園雅集圖)', 'Gosa Figure Painting(故事人物圖)' and 'Gyehoe Painting(契會圖)' is considered a device to increase the unworldly atmosphere of gardens and to dignify the elegant meetings of scholars, reflected by the high appearance frequencies of cranes and deer. And it seems that the meaning of Musa basjoo in certain paintings like 'Life-time Paintings(平生圖)', 'Castle City Painting(盛市圖), and 'Cultivating and Weaving Painting(耕織圖)' is an aspiration for wealth and prosperity, and the Musa basjoos planted in temples are considered to have symbolic meanings of aspiration for 'Salvation through Belief' as well as a unworldly meaning which reminds the transiency of human affairs. In addition, the expected effect of experiencing 'the sound of rain falling on the leaves of Musa basjoo' has been pursued, which can be confirmed by the fact that Firmiana simlex with wide leaves similar to Musa basjoo can be frequently spotted near the houses. Meanwhile, Musa basjoos seem to have been planted mainly in front garden or side garden around detached house and Musa basjoos inside the houses seem to have been planted mainly in right side when viewed from the entrance, in relation with the location of bedrooms where it is easier to hear the sounds from the right side of the environment. And the paintings where Musa basjoos appear with strange rocks and bizarre stones among other things have greater part of all the paintings, which is considered a kind of intentional landscaping and a product of mixed materials for elegant appreciation. And the major characters of the painting were involved in the activities of scholars such as arts, and the activities of minor characters were greatly related to their everyday lives. Musa basjoo of Chosun Dynasty in $17^{th}$ and $18^{th}$ century was one of the symbols necessary for description of gardens. And it provided the images of rainy scenes together with scholar culture which had a meaning of self-discipline, and it is assumed that the planting of Musa basjoo with the spirit of cease lessen deavor of a new leaf pushing up the tree and the spirit of resuscitation had the same trace of wheels in the city space of our country as the decline of scholar culture of Chosun Dynasty.

• The Korean Journal of Franchise Management
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• v.5 no.1
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• pp.27-47
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• 2014

This research was conducted on the purpose of seeking the measures of how to cope with the changing industry of Topokki franchises. Despite of the fact the number of Kukdae Topokki's stores is quite smaller than that of its competitors, such as Jaws Topokki and Addal Topokki, Kukdae Topokki is recognized as one of the front-runners in the industry. But the competition in the topokki industry has become fiercer, as the market became saturated. To find a desirable solutions, this study analyzes past-to-current status of the Topokki industry by dividing it into 4 stages and provides few strategies that Kukdae Topokki can apply to the 4th stage where 'brand awareness' is very important. To this end, few drawbacks of Kukdae Topokki are proposed as the following. First, the brand image that Kukdae Topokki pursue does not correspondent with the image in consumer's mind. Second, Kukdae Topokki has selected the wrong targeting group. It aims for the image of 'retro' to target people in their 30-40s. However, most of the consumers are people in their 20-30s. Third, the taste of Kukdae Topokki is not uniform among franchises. Fourth, the awareness and accessability are low. To provide a proactive actions for the next stages, several solutions are proposed as following. First, By managing consistent Kukdae Topokki's Brand Touch point, consumers may have a strong image on the brand by communicating with consumers consistently at all touch points. Second, instead of the existing guide from the head office(franchiser), a standardized criteria for the usage of materials and periodical education for franchisee are needed. Third, to raise the awareness of Kukdae Topokki, open many branches in the area where the main consumers(20-30s women) are mostly spread out.