• Animal Systematics, Evolution and Diversity
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• v.10 no.1
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• pp.97-123
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• 1994

The author devided th period of 1876-1945 into three epochs ; the Opening of Ports in 1876 -before the Political Reform in 1894 , the Political Reform- the Japanese annexation of Korea in 1910 , and the Epoch of Japanese Colony during 1910-1945. As civilization through including educational reform rised. The modern school system began to be introduced nongovernmentally and governmentally to Korea in the 1880's without any school laws. Were chronologycally established school regulation by Korea Government in 1895-1893, school laws by Korean Government under the supervision of the Japanese Residency-General of Korea in 1906-1910, and the educational laws of Korea by the Japanese Government-General of Korea in 1911-1943. In these epochs, the numbers of elementary , secondary and higher educational institutions and the numbers of pupils and students had increased slowly. Japanese had developed sonwhat primary education and secondary technical education, but it had checked extremely the Korean peoples to receive secondary liberal education and higher education, On the epoch of Japanese colony, Japanese occupied nearly half of elementary school teachers, almost of public secondary school teachers educated in Japan, and nearly all of professor educated in Japan in public and national colleges which were technical, and in one imperial university . Forty or more Korean teachers taught natural history chief at private secondary schools for Koreans , more than half of them being graduates of colleges of agriculture and forestry in Korea and Japan. The author mentioned curricula , and subjects and textbooks connected with biology of elementary, secondary and higher educational institutions. The pup8ls and students received biological knowledge through learning sciences at primary schools ; natural history (plants, animals and minerals ) at secondary schools including normal schools ; botany, zoology, genetics and major subjects related with biology such as anatomy, physiology, bacteriology, pland breeding at medical colleges and colleges of agriculture and forestry. There were no departments of biology , botany or zoology in Korea. Only seven Koreas graduated from departments of biology, botany or zoology at imperial universities in Japan. Some of them played the leading parts to develop education and researches of biology in the universities after 1945 Liberation.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.12
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• pp.1897-1909
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• 2009

This large-scale research project contributes to the theory development in the importance of clothing to the self and in the way that older persons might age successfully by fulfilling the need for self-actualization by incorporating a primary resource environment, such as clothing into their self-system. This paper presents one research objective from a lager project that explores the correlations among the Proximity of Clothing to Self (PCS), age identity (subjective or perceived age), and self-actualization (the highest level of human needs). A mail survey design was applied to this study. In November 2004, two questionnaires, Clothing: A Resource for Successful Aging? (to measure PCS, age identity, and demographic variables) and Personal Orientation Inventory (to measure self-actualization), were sent to 1,700 older persons in the U.S. and 195 completed usable questionnaires were returned (12% response rate). This research discovered that the age identity of older persons did not relate with PCS except for those 85 years and over. There were negative correlations among subscales of PCS and self-actualization. This result can be interpreted as that an older person who has not met the highest level of needs yet, can use clothing as a facilitator or need satisfier to meet a higher level of Self-Actualization (SA). Correlation analyses also revealed that older persons in the age category of 75 to 84 years were different from those in the category of 65 to 74 years and 85 years and over. This result implies that older persons in this age category are undergoing more psychological transitions than those in other categories. Further research is necessary to explore the relationship of several SA subscales with various clothing variables such as clothing interest, clothing involvement, or clothing satisfaction.

• Journal of Agricultural Extension & Community Development
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• v.6 no.2
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• pp.75-84
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• 1999

Minnesota state law requires County Extension Committees (CECs). The County Board of Commissioners appoints committee members. Extension Educators are responsible for using CECs to assure the value of Extension work in the County. This paper will explore underlying values, principles and practices that can effect the utilization of CECs in ways that benefit the work of Extension and make the process a good experience for CEC members and Extension Educator. The paper is based primarily on readings in the Journal of Extension, interviews with two Extension Educator, and information provided by the University of Minnesota Extension Service for CEC members.

• Journal of the Daesoon Academy of Sciences
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• v.37
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• pp.191-227
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• 2021

In this study, values of truth and good are expressed in the form of beauty, and truth and good are analyzed from an aesthetic point of view. This enables an assessment of how truth is expressed and presented as an "aesthetic" in Daesoon Thought. Therefore, an approach to faith in Daesoon Jinrihoe (大巡眞理會) can be presented via traditional aesthetics or theological aesthetics that reflect on sense experience, feelings, and beauty. The concept of beauty in Daesoon Thought which focuses on The Canonical Scripture appears in keywords used in Daesoon Thought such as divine nature (神性), the pattern of Dao (道理), the singularly-focused mind (一心), and relationships (關係). Therein, one can find sublimation, symmetry, moderation, and harmony. The aesthetic features of Daesoon Thought, when considered as an aesthetic system can formulate thinking regarding the aesthetics of 'Reordering Works of Heaven and Earth' (天地公事), the aesthetics of Mutual Beneficence (相生), and the aesthetics of healing. The Reordering Works of Heaven and Earth contain a record of the Supreme God visiting the world as a human being. The realization that the human figure, Kang Jeungsan (1871-1909), is the Supreme God, Sangje (上帝), is the shocking aesthetic motif and theological starting point of the Reordering Works of Heaven and Earth. Mutual Beneficence can be seen aesthetically as indicating the sociality of mutual relations, and there is an aesthetic structure of Mutual Beneficence in the harmony and unification of those relations. Healing can be said to contain the sacred sublimation of Sangje, and moderation is a form of beauty that makes humans move toward Quieting the mind and Quieting the body (安心·安身), the Dharma of Presiding over Cures (醫統), and the ultimate value of healing, which is the end point of the Cultivation (修道) wherein one realizes that the ideals of humankind and the aesthetics of healing bestow the spiritual pleasures of a beautiful and valuable life. The aesthetic characteristics of Daesoon Thought demonstrate an aesthetic attitude that leads to healing through Sangje's Holy Works and the practice of Mutual Beneficence (相生) which were performed when He stayed with us to vastly save all beings throughout the Three Realms that teetered on the brink of extinction. It is not uncommon to see a beautiful woman and remark she is like a goddess (女神) or female immortal (仙女). Likewise, beautiful music is often praised as "the sound of heaven." That which fills us with joy is spoken of as "divine beings (神明)" of God. God is a symbol of beauty, and the world of God can be said to be the archetype of beauty. Experience of beauty guides our souls to God. The aesthetic experience of Daesoon Thought is a religious experience that culminates in emotional, intellectual, and spiritual joy, and it is an aesthetic experience that recognizes transcendent beauty.

• Journal of the Daesoon Academy of Sciences
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• v.37
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• pp.53-105
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• 2021

The purpose of this study is to clarify the meaning of Gwonji (權智, Authority and Foreknowledge) through the phrases contained in the section, Gwonji of the Jeon-gyeong (known in English as The Canonical Scripture), and to compare the changes that each verse from Gwonji underwent by juxtaposing it against the sixth edition of Daesoon Jeong-gyeong (which was published prior to the Jeon-gyeong) to explore the term's literary meaning. In order to save the world, Sangje descended to human world and performed the Cheonjigongsa (Reordering Works of the Universe) for nine years with the power he exercises over the Three Realms of Heaven, Earth, and Humanity. Based on the plan set by the Cheonjigongsa, Sangje's teachings were spread to humanity and provided as the basis for building the earthly paradise. From this perspective, this study demonstrates its significance by providing a comprehensive approach to the Jeon-gyeong by highlighting the subject of Sangje's authority and wisdom as recorded in the section titled Gwonji. There is also value in the variant verses from Gwonji that the study discovered by comparing and analyzing the phrases from chapters one and two of Gwonji as they appear in the Jeon-gyeong with their equivalents from the sixth edition of Daesoon Jeong-gyeong, which was published in 1965, nearly a decade before Daesoon Jinrihoe's publication of the Jeon-gyeong in 1974. The results of this comparative study of parallel passages related to Gwonji are as follows: First, Gwonji can be understood as the authority and wisdom of Sangje, and this is the core element in realizing the Earthly Paradise through His Cheonjigongsa. Second, phrases related to Sangje's authority and wisdom are spread out in the seven sections of the Jeon-gyeong, and they were written to emphasize the main purpose suggested in each section or chapter. Third, in sections other than Gwonji, the great power of Sangje is exercised to treat matters related to deities and social problems, whereas in Gwonji part, it is dedicated to the performance of Cheonjigongsa. Fourth, there are five sections of the Jeon-gyeong which are organized into chapters. All of these sections and their chapters indicate the year when key events transpired. Fifth, when passages from chapter one of Gwonji is compared to parallel passages from Daesoon Jeon-gyeong, there are several verses that vary in terms of their wording and also sentences that indicate a different dates or times for certain events.

• Journal of the Daesoon Academy of Sciences
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• v.41
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• pp.63-131
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• 2022

In the context of Daesoon Jinrihoe's The Canonical Scripture, 'Saving Lives' consists of one 44 verse-long chapter. The content covers Kang Jeungsan's authority and foreknowledge, and most of the passages are about the treatment of diseases. Other passages are about relief from natural disasters, the resolution of conflicts in personnel affairs, and wisdom as applied to saving lives. The treatment of diseases focuses on solving the ailments faced by lower classes during that time period. Kang Jeungsan relieved the damage suffered by the people from natural phenomena as caused by the three disasters which resulted from water, fire, and wind. He also worked to solve other difficulties experienced in human society. In addition, the definition of 'wisdom' here is one of being high-seeing and far-thinking in Saving Lives. That is the foundation upon which wisdom can save oneself and others. After comparing each chapter of The Canonical Scripture with the parallel verses from the 6th edition of Daesoon Jeongyeong, the results of this study can be summarized as follows: first, saving lives as performed by Kang Jeungsan became an unprecedented and absolute act of relieving the common people during a time when they were suffering from great harms, hardships, and difficulties in their daily lives during the late Joseon Dynasty. Second, the verses were distributed into seven parts to achieve the purpose indicated by the titles of each section which related to specific powers exhibited by Kang Jeungsan in his interactions with Heaven, Earth and Humanity. Third, the second chapter of 'Saving Lives' includes not only treatment of disease, natural disasters, and hardships, but also relief meant to lessen the burdens people experienced in their daily lives while living within the boundaries of society. This is different from the respective section from the 6th edition of Daesoon Jeongyeong which, by way of contrast, only contained verses concerning the treatment of disease. The contents of 'Saving Lives' in The Canonical Scripture deals with the relief in a wide range of applications and is thereby different from the chapter on healing from the Daesoon Jeongyeong, which merely dealt with the healing of diseases. Therefore, this broader range of meanings can be taken to be a unique feature of The Canonical Scripture.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.361-395
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• 2019

This paper take a media archaeological approach to cinema transformed into a narrative medium during its transitional period, 1903-1915. To accomplish this, I will explore the question of as which narrative medium cinema was imagined and also how it was institutionalized as a narrative medium with authorship. I will explain that the imaginary and real ideas and changes on cinema resonated with each other on the foundation of its technological aspects such as indexicality, 23 frames/sec. and montage. It was during the transitional period that cinema was transformed from a medium representing spectacle to a medium of narration. The establishment of the American film copyright law in 1912 was an institutional, real outcome from the contemporary understanding of cinema as a narrative medium. At the same time, various ideas emerged that led to imagining of cinema as a complete narrative medium, incomparable to any other. From a media archaeological perspective, the imaginary ideas of media resonate with their actual course of development. These imaginary ideas are not just imaginary, but rather reflect the contemporary desire for the medium. This paper looks into the transitional period based on this media archaeological point of view. To this end, this paper will briefly introduce the notion of media archaeology as a media theory and then discuss Eric Kluitenberg's concept of 'an archaeology of imaginary media' and its methodologies. Second, it will explore literary and cinematic imagining of cinema as a powerful medium of storytelling, while discussing the ways in which cinema's technological characteristics played a decisive role in these imaginings. Also to show the techno-deterministic role of cinema in the real world, this paper will explore how its technological characteristics were considered as an important element in the processes through which America's first motion picture copyright was institutionalized in 1912 after two historical copyright cases: one is Edison v. Lubin in 1903 and Kalem v. Harper Brothers in 1909. Ultimately, this paper will lead us to an understanding of the history of cinema as a medium and its developments in more multi-layed way, as communication between the real and imaginary, and give us perspectives toward what cinema is.

• Journal of the Daesoon Academy of Sciences
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• v.47
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• pp.203-239
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• 2023

Jo Jeongsan's religious activity undertaken to benefit society can be organized into two categories. First, attention can be paid to Jo Jeongsan's religious activity of establishing religious order by enshrining Kang Jeungsan as the God of Ninth Heaven and making the Great Dao of Heaven and Earth the basic idea inspiring the social activity of his order. This was completed through the 50 years of propagation work carried out by Jo Joengsan in accordance with Kang Jeungsa's purpose of saving the world and its inhabitants. Second, his practice of social work in the field of people's lives based on the idea of the Dao can also be observed. This religious activity of Jo Jeongsan which began in 1909 was the sacred manifestation of his will to realize Kang Jeungsan's purpose of saving the world and people, and it was also a practice of spreading virtue throughout the world. In addition, Park Wudang carried out Sihak and Sibeop Gongbu (two varieties of holy work) for the cultivation of Dao trainees, and those methods came from the systematic cultivation practice established by Jo Jeongsan. Regarding this, we can refer to Kang Jeungsan's saying, "As the Dao shall dwell in the 12,000 peaks of Geumgang Mountain, the same number of sages who were enlightened to the Dao will be born into the world." The perfected state of human maturity or the emergence of people who are enlightened to the Dao would be the completion of the idea of saving the world and its inhabitants. Therefore, the holy works of Sihak and Sibeop that are now being carried out can be seen as the continuance of the pursuit of saving the world and humankind, as it was continually upheld by Park Wudang's predecessors, Jo Jeongsan and Kang Jeungsan.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.