• The Journal of the Korea Contents Association
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• v.14 no.8
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• pp.494-504
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• 2014

This is a study of Hick's self-described Christological 'Copernican revolution.' Since Hick as a former Christian theologian did not want to reject one of the core Christian doctrines(incarnation), he presented his copernican revolution in terms of Agape Christology, an inspiration Christology and myth Christology through his Christological reinterpretation. Thus Hick's Christologies that are developed gradually are discussed and evaluated chronologically. First, agape Christology understands that the incarnation is taking place all the time in different degrees everywhere. As a result agape Christology makes Jesus as a mere human being. Second, an paradox of grace or inspiration Christology views the incarnation as the Spirit of God enabling people to fulfill the will of God by their free responses. This Christology assumes that divine incarnation can occur anywhere and anytime in any person. Thus, according to this, Jesus is not literally God incarnate as Christian claims. Third, myth Christology views that the incarnation is not literal but mythological. Though he prefers to use metaphor in his later writings because it has a more positive connotation than myth, myth and metaphor have one thing in common: they are neither literal nor historical. Hick's mythological Christology implies the denial of Jesus Christ as God incarnate. Accordingly, the researcher must conclude that Hick's Christology as copernican revolution cannot said to be a perfect solution for today's religious situation, even though it was a sincere try to communicate with pluralistic world.

• Cartoon and Animation Studies
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• s.49
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• pp.25-52
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• 2017

As the expansion of the cultural industry expands, various competitive structures are formed and the methodologies for producing commercial success are being discussed. Among them, Hollywood studios use political relationships and apply ideologies that can produce the best interests. Also, they use a structure that can convey this ideology, which is a mythology. The myth has satisfied the public for a ling time. Campbell suggested that strategies come from the myth, and the ideology emerged as a result of what mythology has to do with existing powers. Disney and Dream Works use the mythology and combine their own values into ideology. Disney and Dream Works choose conflicting ideologies in a different growth background. If Disney is recognized as an educational animation by the ruling class, Dream Works are supported by the public for their actions against Disney. Disney has conservative and patriotic personality, Dream Works is more liberal and progressive. Disney's structure came out first, and Dream Works parodied it. So we can compare Disney and Dream Works with similar myths to create a storytelling structure that embodies ideology. As a result, Disney and Dream Works have been choosing the 9 stages the key of Ideology form the 17 stages of the mythology and reduced them to the introduction, growth and completion. In the first units of the introduction, Disney dealt with the subject of social leaders who sacrificed to the ruling class and Dream Works hinted at the overthrow of the ruling class through the irony. If Disney had deployed colored races in the main characters, Dream Works used a variety of races from the main characters to others. In the second units of growth, Disney organized the process of accepting the value of the ruling class, and Dream Works showed the individual values, not the values of society. In the third units completion, Disney showed the main character who live in the world of the ruling class rebuilded, and Dream Works removed the ruling class and went back to the Individual life. Through the structure of Disney and DreamWorks, we learned how to utilize the mythical structures that transform according to ideologies. The right way to organize works will require the strategic approach to storytelling.

• 기호학연구
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• no.57
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• pp.7-26
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• 2018

The purpose of this paper is to interpret the discourse on design thinking through the perspective of Roland Barthes' Mythologies. To this end, this paper will explore the mythologization process of design thinking using the methodological framework of Barthes, which structurally interprets the connotations produced using semiosis. Design thinking originally refers to a method which is used in the process of planning ideas about designs in order to create the final products for professional designs. However, design thinking has recently attracted more interest from the public because it has become known as a tool for solving various problems which exist outside of the field of design, such as social issues, management, and marketing strategies. Barthes points out that myths are used as a tool to deliver ideologies. He also emphasizes the importance of 'structural thinking'. It interprets the inherent connotative meanings more than the denotative meanings, which are explicitly shown. One of the most powerful ideologies which our society embraces today is creativity. Design thinking realizes the manifestation of creativity through a schematized process. This can be explained by considering design thinking as an icon that is specifically turned into a figuration to realize its objectness, in which a discourse for solving issues and social codes meet together and form a mythology. The mythologies that Barthes cites in his book refer to mythical values created by the cultural codes which humans have produced in our modern and contemporary age. The symbolic value of design thinking has become more important than the signifier which design thinking itself presents. This means that design thinking has become a sign that has mythical properties. In other words, the ideology of creativity embodied by design thinking has attained a mythological status, as it produces a new cultural code through innovation. The process of interpreting a phenomenon using the perspective of semiotics is an important tool that allows us to examine the concept of an object and its surroundings thoroughly. This paper attempts to expand the external scope of critical analysis about social phenomena by using the signs which continuously reveal themselves in common ideologies, such as design thinking, which has been gaining more popularity recently.

• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.903-908
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• 2009

In this research, is take the foundation at deity appearing in China ancient mythology symbolic, the ideology of kindhearted and vicious to them is classified, and take the kindhearted and vicious role of the game at present compares. Pass such analysis, combine deity appearing in the mythology symbolic with tales of marvels, apply to role's design current situation of the present game, hope to find out the key element of succeed in designing the game role with culture intension.

• 산림경영
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• s.132
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• pp.22-25
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• 1998

• 발명특허
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• v.28 no.10 s.328
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• pp.38-40
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• 2003

• Vending industry
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• v.6 no.1 s.16
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• pp.78-81
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• 2006

'국내는 안중에 없다. 오직 해외시장만이 살 길이다.' 나코엔터테인먼트가 벌이는 어뮤즈먼트 자판기 사업은 철저히 해외시장을 겨냥하고 있다는 점이 이채롭다. 적어도 어뮤즈먼트자판기에 있어서는 국내시장보다 해외시장이 경쟁력이 크다고 판단, 전사적인 수출 지향정책을 펼쳐오고 있다. 대표기종인 '고호의 작업실'은 전 세계적으로 2,000여대 이상 수출을 진행했으며, 후속모델은 '메달마스터', '사이킥 사라'등도 좋은 반응을 얻고 있다. 최근에는 신모델로 렌트큘러자판기까지 개발하여 수출시장 공략을 강화할 계획이다. 어뮤즈먼트자판기 분야에 있어서는 대표적인 수출기업으로 성장을 해온 나코엔터테먼트. 그들이 펼치는 수출 신화 도전기를 따라가 봤다.

• Digital Contents
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• no.8 s.135
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• pp.94-96
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• 2004

어릴 적부터 소꼽 친구였던 소드맨 로안과 어콜라이트 유파는 목적 없는 여행을 하고 있었다. 그런데 마법사 타키우스를 만나고 다른 여러 사람들과 조우하면서 생각도 못한 일들에 말려들어가게 되고 죽은 걸로 알고 있었던 유파의 친오빠인 나이트 키오의 행방이 나타나게 되는데…. 귀여운 캐릭터로 한국, 일본 등 아시아 지역에서 큰 인기를 얻고 있는 그라비티의 MMORPG라그나로크의 애니메이션 줄거리다. 온라인게임에서의 신화를 애니메이션까지 이어간다는 복안으로 기획된 라그나로크 애니메이션은 이 게임의 일본내 서비스를 맡고 있는 겅호 온라인 엔터테인먼트와 그라비티가 함께 TV시리즈로 제작했다. 현재 일본에서 상영중이며 높은 시청률을 기록하며 많은 관심을 모으고 있다. 순조로운 출발로 고공행진을 하고 있는‘라그나로크’애니메이션을 만나본다.

• Proceedings of the Korea Contents Association Conference
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• 2018.05a
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• pp.109-110
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• 2018

중국인들이 동지나 춘절(설)에 교자를 먹는 풍습은 중국 고대의 의학인물인 장중경(張仲景)과 관련이 있다. 동한말(東漢末)의 혼란기를 살면서 중국 의학사상 중요한 영향력을 행사했던 장중경(張仲景)은 죽을 치료에 응용하기도 했으니 그의 저서 속에 다양하게 투영되어 있다. 본고는 그의 죽과 교자에 관한 역사와 신화를 저서와 설화를 통해 재구성했다.

• Nuclear industry
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• v.30 no.2
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• pp.34-38
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• 2010