• Journal of Christian Education in Korea
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• v.70
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• pp.37-74
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• 2022

COVID-19, which occurred in Wuhan, China, made it difficult for Korean churches to face to face worship, therefore metaverse emerged as an alternative to solving these problems. metaverse is forming various platforms through technology expressed in 3I(Immersion, Interactive, virtual Image). The purpose of this study is to analyze the application plan of Christian education by applying metaverse technologies to Christian education. In order to achieve the purpose of this study, first, the definition, type, platform, and technology of the metaverse are presented to examine the key of the metaverse, second, in order to analyze the church from the theological educational aspect, the essence of the church, the mission of the church, and the metaverse church are examined, third in order to apply the metaverse to Christian education, it is classified into worship through the metaverse, education through the metaverse, service through the metaverse, the christian relationship through the metaverse, and missions through the metaverse. The application plan of the metaverse for Christian education is that first, worship can be held through metaverse. Second, education can be performed through the metaverse. Third, the metaverse can be used to fulfill the mission of service. Fourth, through the metaverse, christian can fellowship through the metaverse. Fifth, the missionary mission can be carried out through the metaverse. In conclusion, metaverse is still in the development stage, but various programs should be developed to achieve the purpose of Christian education by utilizing various platforms developed so far and utilizing the advantages of the platform. In particular, the Korean church will be able to utilize various programs such as Sunday worship, Sunday school, youth retreat, QT, Bible school, and pilgrimage through the metaverse to make good use of the characteristics of the metaverse. In addition, metaverse is an extended reality(XR) that integrates VR, AR, and MR, and its strength is an engagement in creative Christian educational activities out of the original Christian education. In the future, metaverse technology can be applied to Christian education in various ways as the fourth industrial technology is developing.

• Journal of the Daesoon Academy of Sciences
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• v.27
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• pp.245-282
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• 2016

Currently, the whole world is being swept away by spiritual movements seeking divinity in oneself. Yet there are terror attacks, religious disputes and other conflicts continuously taking place on larger and larger scales as well as expanding further and further throughout the world. Interreligious harmony seems like a distant ideal. What is the ultimate cause of religious conflicts? Is interreligious communication truly that difficult? Even among different cultures, said cultures' varieties of ritual expressions, and various religious doctrines, there are points of general common to be appreciated if a deep perspective is adopted. When we find the common ground and understand each other's difference, it will be easier to communicate since everyone will be learning from each other. What could serve as common ground for different religions? Many scholars speak about the state of 'oneness' that is claimed by mysticism throughout a large array of religions. This state of oneness is typically not achieved overnight, but it serves as a prospective state which is pluralistically inclusive. This "religion of enlightenment" emphasizes the process of reaching comprehensive interreligious agreement would be characterized by a deep religious perspective. If superficial religious perspectives focuses only on faith to attain blessings and engage in blind belief, then, by contrast, deep religious perspectives emphasize inner divinity, the true self, orthe higher self. The words, 'superficial religious perspective' and 'deep religious perspective' were defined for personal convenience by O Gang-nam, a scholar of comparative religion. Consequently, this classification is a relative binary concept lacking hard and fast rules with regards to distinctions. But the concept of superficial religious perspectives and deep religious perspectives has its advantage in allowing clearer and easier discussion about religions because it could embrace all aspects of religious life and the development of various religious sentiment. In this way, the terms surface religious perspectives and deep religious perspectives will be used in limited framework. I both borrow this concept and reconsider it by referring to other scholars' methods of classification. From that point, I explore and these views in relation to religious experience. How does religiosity develop, maturity of religious faith take place, deep awareness of truth reveal itself, or an attitude of open-mindedness arise? After these states are realized, is interreligious agreement possible? Most religious studies scholars point out 'religious experience.' They say people could develop their faith from superficial religious beliefs into a more mature and deeper faith through religious experience while continuously aspiring towards enlightenment and practicing their religion in daily life. This study will try to examine aspects of superficial religious perspectives and deep religious perspectives represented in each religion and also explore criticism of each religion. With this view of superficial religious perspectives and deep religious perspectives, some cases documenting the religious experience of Daesoonjinrihoe disciples will be analyzed to see how their religiosity develops from superficial religious perspectives into deep religious perspectives through certain religious experiences. The characteristics of those experiences will also be investigated.

• (The) Research of the performance art and culture
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• no.40
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• pp.71-109
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• 2020

Nihonbuyo(日本舞踊), a typical traditional Japanese dance, began with kabuki dancing and formed many schools, and was managed by Iemoto system. Iemoto(家元) is the head family of a school of a traditional Japanese art. Iemoto(家元) existed after the establishment of the ancient family system, and it was established as a system during the modern feudal period. Especially in Nihon Buyo, the Iemoto system has developed greatly since the modern era. Iemoto System has has contributed greatly to the succession of traditional arts and has been considered one of the characteristics of Japanese society. Basically, Iemoto system considers it the best authority to pass on the skills of excellent teachers without any distortion. It has various forms depending on the field and the school, but it is an organization with a family structure similar to that of a family with Iemoto at the top. In this article, I examined the establishment and background of the Nihonbuyo and considered the succession of the fame and authority of Iemoto through the system of succession. There are so many schools in the Nihonbuyo world that it is said to be a school kingdom. These schools were divided into kabuki actors, choreographers, female entertainers, ChiutaMai dance(地唄舞) and new dance styles, and the aspect of the Iemoto system was examined through the background and characteristics of each school. While Iemoto system has a positive aspect of inheriting the tradition, there are also many negative criticisms in the art world, such as rigid organizational management, the products of feudal society, the power of Iemoto, and the stalemate of arts. Nevertheless, in a Japanese society that places importance on tradition, the landlady system will not disappear easily. In fact, today, when there are many different art genres in common, young dancers are starting to challenge themselves along with self-examination of Iemoto in order to make the best use of traditional art. We hope that through consideration of the Japanese housekeeping system, it will become a place where intangible cultural properties will be re-acknowledged.

• (The) Research of the performance art and culture
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• no.43
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• pp.293-322
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• 2021

The present study examined the scientific awareness appearing in Korean tokusatsu series by focusing on Vectorman: Warriors of the Earth. As a work representing Korean tokusatsu series, Vectorman: Warriors of the Earth achieved the greatest success among tokusatsu series. This work was released thanks to the continued popularity of Japanese tokusatsu since the mid-1980s and the trend of robot animations. Due to the chronic problems regarding Korean children's programs-the oversupply of imported programs and repeated reruns-the need for domestically produced children's programs has continued to come to the fore. However, as the popularity of Korean animation waned beginning in the mid-1990s, inevitably the burden fr producing animation increased. As a result, Vectorman: Warriors of the Earth was produced as a tokusatsu rather than an animation, and because this was a time when an environment for using special effects technology was being fostered in broadcasting stations, computer visual effects were actively used for the series. The response to the new domestically produced tokusatsu series Vectorman: Warriors of the Earth was explosive. The Vectorman series explained the abilities of cosmic beings by using specific scientific terms such as DNA synthesis, brain cell transformation, and special psychological control device instead of ambiguous words like the scientific technology of space. Although the series is unable to describe in detail about the process and cause, the way it defines technology using concrete terms rather than science fiction shows how scientific imagination is manifesting in specific forms in Korean society. Furthermore, the equal relationship between Vectorman and the aliens shows how the science of space, explained with the scientific terms of earth, is an expression of confidence regarding the advancement of Korean scientific technology which represents earth. However, the female characters fail to gain entry into the domain of science and are portrayed as unscientific beings, revealing limitations in terms of scientific awareness.

• Journal of the Daesoon Academy of Sciences
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• v.42
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• pp.109-141
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• 2022

As many perhaps already know, in East Asian thought there are two aspects of all things such as light and darkness coexist and are called Yin-Yang (陰陽). The initial concept of Yin-Yang was just a simple expression meant to depict natural phenomena, but it gradually became the central concept in explanations of creation and the changes that undergo all things in the universe. The study of the ordering principle of nature that was known as Myeongli (命理) also examined the interrelation between the sky and the earth and divided the two into Ten Celestial Stems (天干 cheongan) and the Twelve Earth Branches (地支 jiji) based on Yin-Yang theory. This thesis analyzed contents of the relationship between Ten Celestial Stems and the Twelve Earth Branches in terms of the patterns of Mutual Aid (相助 sangjo) and Mutual Contention (相剋 sanggeuk) through a literature review and exploration of their common features and differences. Different categorized phenomena under the pattern of Mutual Aid include Tonggeun (通根 root downward) and Tugan (透干 appearance of the upward). Tonggeun means that signs in the Celestial Stems took root in their counterparts of the Earthly Branches. In the Celestial Stems, there is also Tonggeuncheo (通根處 a place to root downward) which in relation to the Earthly Branches show that the same five phases become Samhap (三合 combined three ways to gain power) and Banghap (方合 gathering in the same season). The methods of seeing Tonggeunryeok (通根力 power of a downward root) are as follows: First, it is seen by the places where Tonggeun takes hold. Ilgan (日干 the Celestial Stem of a birthday) is ordered as month (月 wol) > day (日 il) > hour (時 shi) > year (年 nyeon), and other Celestial Stems appear ordered as month > sitting > close place. Second, it can be seen by the characteristics of Earthly Branches that Tonggeun has taken hold. The Earthly Branches are ordered as Rokwangji (祿旺支 vigorous land) and Jangsaengji (長生支 newborn land) > Yeogi (餘氣 remaining energy) > Myogo (墓庫 storage and burial grounds). Tugan is the concept that the main agent was changed to Tonggeun, which means that the spirit of the Earthly Branches is manifested in the Celestial Stems. And the five phases hidden in the Earthly Branches will be able to play their roles as they are revealed. There are also the phenomena of Gaedu (蓋頭 the heavenly destroying the earthly) and Jeolgak (截脚 the earthly destroying the heavenly) which are concepts that convey that the Heavenly Stems and Earthly Branches can mutually destroy one another. There are different opinions on Gaedu because some adopt viewpoints of just focusing on the Celestial Stems and considering it only in terms the Celestial Stems destroying the Earthly Branches. But, the vast majority of scholars think that the Celestial Stems weakens the role of the roots by destroying the Earthly Branches. Jeolgak, the reverse concept of Gaedu, weakens the spirit of the Celestial Stems as the Earthly Branches destroy them, and this is associated with the strong possibility that one is fated to experience disharmony.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.196-209
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• 2022

This study compared and analyzed the spatial division function and role of partitions by comparing the entire space and the spatial changes before and after the installation of partitions in <Donggwoldo>, which was manufactured in the late Joseon Dynasty. As a research method, a set standard was prepared to decompose the space of <Donggwoldo> into a unit space, and the standard was set according to the role and height of the space by classifying it into a main space, sub space, and transition space. Two convex maps were prepared according to before and after the installation of the Panjang, and the values of connectivity, control, and integration, which are spatial syntax variables, were calculated and analyzed. The results of the study are as follows. First, the partition in <Donggwoldo(東闕圖)> did not affect the overall spatial arrangement and control or connection of Donggwol, but the movement and access of space is limited to specific areas. Second, the partition was a facility intensively distributed in Naejeon(內殿) and Donggung(東宮) to be used actively in the way of space utilization. It shows that the unit space increased rapidly due to the installation of the partition. Since the partition was installed in the spaces that were open and under high control in the case of Naejeon(內殿), it helped to secure private spaces as closed ones under low control. On the other hand, for Donggung(東宮), the spaces were compartmented and divided with the partition to guide the movement path through narrow gates of the partition and increase the depth of the space. This helped to create spaces that are free and can be hidden as it increased the number of spaces coming through. Third, In addition to the functions of "eye blocking, space division, and movement path control" revealed in prior research, the partition has created a "space that is easy to control" within a specific area. The installation of the partition reduced the scale through the separation of spaces, but it occurred the expansion of the movement path and space. Also, the partition functioned to strengthen hiding and closure or increase openness as well through space division. This study is significant in that it revealed the value of the spatial control function of panjang through the analysis of spatial control and depth by analyzing the function of the partition with a mathematical model in addition to the analysis and study of the function and role of panjang. In addition, it is valuable in that it has prepared a framework for analysis tools that can be applied to traditional residential complexes similar to palaces by applying space syntax to <Donggungdo> to create convex spaces according to unit space division and connection types of palace architecture and landscape elements.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.45-71
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• 2019

Through the expansion of platforms in the media era, this paper notes the phenomenon in which 'high-teen romance drama,' a genre which had been marginalized in the past, began to re-emerge. It analyzes the 'high-teen romance drama,' which is moving from TV to the Web and being produced in various ways, while successfully returning to the TV drama format. This study sums up the latest trends in TV and web-based high-teen romance dramas, and as a case study, this paper examines the characteristics of the 'high-teen romance drama' in relation to the platform's environment through the web drama A-Teen, TV drama 18 Moment. Due to the restriction of ratings, high-teen romance dramas have been one of the largely marginalized genres on television. But in the web space, high-teen romance dramas are no longer non-mainstream. The high-teen romance drama has been solidifying its position through the Web, with absolute support from young viewers. Web dramas are gradually expanding their influence on the genre and subject of TV dramas. The high-teen romance drama is one of the most prominent examples of this trend. The popular interest and success of the high-teen romance web drama has brought the forgotten high-teen romance drama back to TV. The web drama A-Teen is a high-teen romance drama about everyday life and love of high school students, and became one of the most popular and popular web dramas, leading to a Season 2. A-Teen actively utilizes teenage culture and expression, and a strategy that leads to empathy among teenage viewers. In A-Teen, love is recreated in a way that relieves the depth of overconsumption emotions. Instead of dealing in depth with the inner conflict over love, it takes an approach ofpresenting the emotional change of love in real time and forming a consensus with the acceptor. The TV drama 18 Moment is one of the programs that has helped refocus attention to TV-hitting romance dramas. 18 Moment underlines the growth of the characters, with the main characters reaching maturity through love as fresh and innocent teenagers. The TV drama 18 Moment is a high-teen romance drama that has been transformed into a way to apply the web-fadding high-times grammar while retaining the typicality of existing TV hagwons to suit the TV broadcasting environment. As the Internet becomes more ubiquitous, video content is changing based on the newly emerging platforms. Dramas no longer mean just traditional television media. While considering the limitations of TV, this paper analyzed the background of the rebirth of the high-teen romance drama, which had been marginalized, through the web platform. This is meaningful in that it identifies and considers the increasing popularity of this genre of drama.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.80-98
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• 2023

In the late Joseon Dynasty, when the bride would ride a palanquin when she went to live with her in-laws, it was a custom to cover the palanquin with tiger skin to ward off misfortunes that may come her way. The higher classes used tiger skin or leopard skin for this purpose, but the common people had to substitute this expensive item with a tiger pattern painted on a blanket. Such blankets were called hotanja, hogu, hoguyok and the like. The term "hotanja" is a pure Korean word. It is not known when the cover for the bridal palanquin was first used, but it was popular from the end of the 19^th century and then gradually disappeared. This is due to the introduction of new Western style weddings that eliminated the need for a bridal palanquin. The tiger print blanket was used not only to cover the bride's palanquin but also to cover a table or floor during the wedding ceremony. This study ran a material analysis on nine pieces of tiger print blankets. All of the blanket artifacts examined in this study had an outer cover and a lining made of fabric that used cotton thread for the warp and wool thread for the weft. Two kinds of wool were found in the weft thread in the outer covers: fat-tailed sheep hair from China and goat hair for carpets from the Hebei province, China. Records show that "blankets with painted tiger patterns" were imported from Russia, and the imported blankets were from Russia and China. The outer cover can be categorized into six types, and the lining into three types depending on the weave and direction of the thread twist. The hem facing can be divided into four types. The lining and outer cover use the full width of the fabric, which was woven in wide widths of 135 cm or wider. The tiger pattern on the blanket was made by stenciling. The stencil design of the body and tail of the tiger were placed on a red blanket to be painted in white, and then the background color of the tiger, which is yellow, would be painted over the white, and then black stripes would be added. The pattern of the tiger varies, which shows that the blankets were made by various craftspeople. The pattern of the tiger print blanket is usually of a tiger lying down, but there were tiger print blankets with a tiger standing up. The pattern of the tiger grew smaller over time, and flower patterns were added in the background. Decorative elements were gradually added to the tiger print blanket patterns, but its function as a palanquin cover became lost. By taking the features of tiger print blankets into consideration, it can be assumed that there are imported pieces among the remaining pieces, and were produced in various places because it was popular at that time.

• Journal of the Korean Society of Marine Environment & Safety
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• v.29 no.4
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• pp.363-371
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• 2023

To construct a ship, blocks of various sizes must be moved and erected . In this process, lugs are used such that they match the block fastening method and various functions suitable for the characteristics of each shipyard facility. The sizes and shapes of the lugs vary depending on the weight and shape of the block structures. The structure is reinforced by welding the doubling pads to compensate for insufficient rigidity around the holes where the shackle is fastened. As for the method of designing lugs according to lifting loading conditions, a simple calculation based on the beam theory and structural analysis using numerical modeling are performed. In the case of the analytical method, a standardized evaluation method must be established because results may differ depending on the type of element and modeling method. The application of this ambiguous methodology may cause serious safety problems during the process of moving and turning-over blocks. In this study , the effects of various parameters are compared and analyzed through numerical structural analysis to determine the modeling conditions and evaluation method that can evaluate the actual structural response of the lug. The modeling technique that represents the plate part and weld bead around the lug hole provides the most realistic behavior results. The modeling results with the same conditions as those of the actual lug where only the weld bead is connected to the main body of the lug, showed a lower ulimated strength compared with the results obtained by applying the MPC load. The two-dimensional shell element is applied to reduce the modeling and analysis time, and a safety working load was verified to be predicted by reducing the thickness of the doubling pad by 85%. The results of the effects of various parameters reviewed in the study are expected to be used as good reference data for the lug design and safe working load prediction.

• (The) Research of the performance art and culture
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• no.22
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• pp.123-155
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• 2011

This study aims to closely read Kim Jong-il's "About Stage Drama Arts" and disclose the new reality as evaluated by him. The study took the method by which to compare Kim Jong-il's theory on drama and North Korea's drama theory in the 1950s, and the findings of this study revealed that it was irrational to grant the adjective "new" to Kim Jong-il's drama theory. This is because tradition inheritance and newness cross each other. First, his tradition inheritance aspect was found in his playwriting method. In playwriting method, Kim Jong-il's argument about characters and language is an extension of the 1950s drama theory, and his theory on JongZa(seeds) is the transformation of the concept proposed in the 1950s. Also, the expression means of dramas and drama arts is dialogue, and his guideline to focus on the art of conversation rather than on acting is interpreted to be a reduced concept of drama arts, compared with the 1950s drama theory. On the other hand, his newness aspect can be clearly discovered in the materialization of stage. The fixed stage background, without dark change, shifts to another situation as it is, and this stage setting is clearly distinguished from the previous stage setting. The attempt is worth highly evaluating to allow the stage to reflect actors' emotional flows and let them act. Also, the attempt is distinctively distinguished from previous drama theories to allow the chorus' positive involvement in dramas so as to directly deliver characters' emotions to the audience and to trigger the audience' response as intended by creators. From the perspectives of drama evaluation, Kim Jong-il's theory and practice regarding stage and music is understood to maximize the audio-visual effects. Therefore, Kim Jeong-il's drama theory, as he argues, is not a completely new theory, but a transformational inheritance of existing drama theories, and a creation theory with focus on expansion of spectacles.