• Journal of the Daesoon Academy of Sciences
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• v.37
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• pp.297-328
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• 2021

This paper aims to find out from what perspective Joseon Dynasty Confucian scholars evaluated and understood Yang Xiong's guiding principles and literature at the micro level and to reveal the academic trends of Joseon Dynasty Confucian scholars. This topic is approached as follows: first, an evaluation of Yang Xiong's way of living as a 'senior state official of Wang Mang (the controversial Emperor of the short-lived Xin Dynasty)'; second, Yang Xiong's literary character and his literary works; third, Yang Xiong's writing style; and fourth, Yang Xiong's view of good and evil. These can be summarized in three main ways: One is to agree with Zhu Xi's criticism of Yang Xiong as a 'senior state official of Wang Mang' and dismiss his guiding principles, academic achievements, literature, and other accomplishments. Most of these negatives have been found in Confucian scholars who are especially enthusiastic about theology. Examples include Hong Jikpil, Wi Baekgyu, Kim Wonhaeng, and Lee Sangjeong. In the case of kings such as King Yeong-Jo, the assessment of Yang Xiong is quite similar. The following assessments of Yang Xiong are positive though. Positive assessments are presented from two different views. One is a balanced approach that covers both the positive and negative aspects of Yang Xiong. For example, Heo-Kyun's understanding. Another positive view can be analyzed from three perspectives. The first case is when the scholars assessing Yang Xiong were not deeply influenced by Zhu Xi's criticism of him. Seo Geojeong and Seong-Hyeon are examples. The second case are those that broke away from theology or adhered to Silhak [Practical Studies]. Yi-Ik is an example. Third, assessments from scholars who posited that truth was of a pluralistic nature. Jang-Yu is an example of such scholars. Regarding theories of human nature; however, there was consensus among Confucian scholars that Mengzi held that human nature is good, and thereby it was common to criticize Yang Xiong's theory that human nature was a mixture of good and evil. From an ideal micro perspective, Joseon Dynasty Confucian scholars' different assessments of Yang Xiong show that their understanding and evaluation of Yang Xiong differed in accordance with their own differing worldviews and ideas.

• Journal of the Daesoon Academy of Sciences
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• v.37
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• pp.263-295
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• 2021

Until recently, academic consensus held that Zhou Dunyi's Taijitu (Taiji Diagram) originated from Cantongqi. However, a new debate has arisen wherein some scholars question that theory and related theories. They criticize these previous theories because the books and charts used as evidence in those theories were published after the lifetime of Zhou Dunyi, and this disqualifies their influence on his thought. However, identifying certain authors as being of a slightly later period than Zhou Dunyi does not definitively answer whether or not Zhou Dunyi's diagram was based on Cantongqi. I approached this problem from a different perspective. Zhou Dunyi's Taijitu is based on the system of taiji (Taiyi), yin-yang, and the five movements. Consequently, the formation of this system should be traced back historically. In the process of tracing it back, I intended to explain that the main character of Cantongqi is closely related to the formation of the system of taiji (Taiyi), yin-yang, and the five movements. The system of taiji (Taiyi), yin-yang, and the five movements was first established as a religious theological system in the Han Dynasty. In this process, yin-yang and the five movements were combined by Dong Zhongshu, and the five movements were introduced by Han Dynasty scholars as a method of interpreting the I-ching. However, Han Dynasty scholars did not form this system. In the late Han Dynasty, Cantongqi adopted the theological system of yin-yang and the five movements to theoretically form the system of taiji (Taiyi), yin-yang, and the five movements. Cantongqi was able to form this system because of the logic that yin-yang is the essence of the I-ching. Cantongqi does not have the same schematic as Taijitu. However, the system of taiji (Taiyi), yin-yang, and the five movements appears and extracts the components that make up Taijitu. Therefore, I do not think we should hastily agree with the recent claims made by scholars.

• Journal of the Daesoon Academy of Sciences
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• v.35
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• pp.73-107
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• 2020

Daesoon Jinrihoe tends to be perceived as a 'nationalistic religion' by both internal members of the religious body and outside scholars of religious studies. However, the character of this particular nationalistic religion is rather complex. On top of emphasizing the special status of the Korean ethnic group while focusing on nationalism as a nationalistic religion, Daesoon Jinrihoe futrther asserts an implication of the universality of world religion aiming to bring relief to humankind and the world. This dynamic is one of the specificity of nationalistic religion and also the universality of world religion. However, this dual logic of specificity and universality is not characteristic of only Daesoon Jinrihoe. Many religions in the world have also exhibited duplicity as nationalistic religions and world religions. And this thesis pays attention to Sectarian Shinto as it formed in modern Japan. Kyoha Shinto formed when the modern Japanese government established the national Shinto system which had a total of 13 sects. Most of them do not only call themselves a nationalistic religion, inheriting the ethnic tradition of Japanese people, but also jump into overseas missionary work. This started during the Sino-Japanese and Russo-Japanese Wars. With that in mind, how did the overseas missionary work of Sectarian Shinto aspire for status as a world religion while maintaining their identities as nationalistic religions? Furthermore, how did their movements fare in their efforts to become world religions? Thus, this thesis aims to examine the possibility Daesoon Jinrihoe becoming a world religion through some cases of Sectarian Shinto that showed the duplicity as nationalistic religions and world religions. Also, this thesis makes suggestions regarding the future direction of Daesoon Jinrihoe. As such, this paper aims to review the new direction of Daesoon Jinrihoe as it stands on the borderline between being a nationalistic religion and a world religion. This is done by examining the historical flow of theory regarding 'nationalistic religion' or 'minjung religion' which have long been discussed in Korean society. Also examined is the case of Won Buddhism which likewise aims to simultaneosuly be both a nationalistic religion in Korea and a world religion abroad.

• Journal of the Daesoon Academy of Sciences
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• v.40
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• pp.187-242
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• 2022

This article was conducted with the purpose of finding the religious meaning of Jeongeup (井邑) by paying attention to two areas of inquiry. The first examines religious interpretations of the place names of peaks, mountains, and villages that have already existed have existed since ancient times. The second area of inquiry looks into religious narratives about Jeongeup that appear in scriptural records of the Reordering Works of Heaven and Earth (1901~1909) as performed by Kang Jeungsan. Looking at these to areas of inquiry together, the place names and topography inherent in Jeongeup and Kang Jeungsan's various Jeongeup-related Reordering Works, can be summarized as embodying characteristics of 'beginning (始)' and 'origin (本)' which can be further likened to the meaning of 'water (水)' in a 'well (井).' First, Jeongeup equates to the heavenly origin of the Gucheon Sangje (Supreme God of the Ninth Heaven) faith in Jeungsan Thought. Mangje (Emperor-awaiting) Peak is a peak that represent the wish for the Lord's descent to earth. Seonmang (Immortal-awaiting) Village is a village that was waiting for an immortal. Jeung (Steamer-on-Cauldron) Mountain (Jeungsan 甑山) is a mountain on the earth and also the honorific name later taken by Kang Il-Sun. In relation to Jeungsan, it is interpreted that Jeungsan was born and incarnated in the village as a human in response to a plea from all divine sages, buddhas, and bodhisattvas, who had existed since the dawn of time and came to wish for salvation of humankind. This is because both Mangje Peak and Seonmang Village are connected to the meaning of 'mang (望 to await).' Second, the Reordering Works of Jeungsan which related to Jeongeup show that Jeongeup has carries the meaning of 'beginning (始源)' and 'origin (本源).' The character, Jeong (井), in Jeongeup is seen as a place that contains water energy, and symbols and allusions referring to this can be found in various Reordering Works. As a symbol or allusion, the well can be seen as a new start, the lives of all people of the world, the purification of the world, and returning to the original root everything. These symbolic images can be found in the life of Kang Jeungsan from his incarnation to his passing into Heaven. This is because Jeong can allude to the origin by the Ninth Heaven, the beginning of the Later World's paradisiacal land of immortals, and the end of the Former World (Seoncheon 先天).

• Journal of Korea Entertainment Industry Association
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• v.15 no.2
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• pp.35-46
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• 2021

The purpose of this research is to analyze Soon Chul Jung's children's songs, who is one of the four great children's songwriters in Korea along with Geuk Young Yoon, Nan Pa Hong and Tae Jun Park. Soon Chul Jung has contributed by actively participate into children's movement at Japanese colonial period through writing self-composed children's songs. Since children's songs are made for the age group without the sense of sound, children's songs necessitate 'easy to sing-along' melody writing process. Like so, when writing the melody that are easy to be sang along, utilization of development technique using a unit called motive can be the potent way. This method has an advantage of being sang more with ease if actively implemented, and can be done by utilizing the smallest unit of the melody called motive, especially by lightly transform and repeat the unit, consequently structuring the song altogether. To investigate and analyze this motive-based development technique of Soon Chul Jung's songs, 38 out of 40 written songs considered eligible for the research were confirmed and chosen from 'Soon Chul Jung's bibliography and choreography' and each songs were analyzed based on 17 different development techniques which were standardized in the textbook 'Melody in Songwriting' adopted as a textbook of the Berklee college of Music, and also compared these song-writing pipelines with other great songwriters' representatives mentioned above. As a result, it was almost linear that the song's pitch variation in combination with thinning or extension were used frequently and repeatedly, otherwise implicating melody duplication for more than 2 bars and motive repetition were not in his favor, while these methods were often used when writing children's songs. This finding could be viewed as a character of his songwriting.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.273-280
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• 2021

GangAm Song Sungyong (1913~1999) was from Gimje, Jeollabuk-do. And he is a calligrapher from the last Confucian scholar of the 20th century and a writer of poetry, calligraphy, and painting. While wearing a topcoat and hanbok for the rest of his life, he approached the study, thought, and calligraphy art of Yoo Jae Song Kimyeon and Kojae Lee Byungeun from the perspective of 'GucheSinyong'. And he kept the philosophical subjectivity that tries to maintain character and a right mind. It was based on 'Guche', which is a faithful succession to the reverence of the old. When I was young, I practiced Mibul and Dong Kichang with Gu Yangsun as the center, and Hwang Jeonggyeon, Hanye, Oh Heejae, and Sojeon typefaces were grafted together during the national exhibition. Then, in 1965 (age 53), he moved to Jeonju, and learned several typefaces such as Chusa typeface on his own, creating a Gangam typeface without any obstacles. And he created 'Sinyong' with Windy Bamboo painting, which embodied strange and unconventional meanings. In addition, he re-established his identity by reexamining the fundamental spirit and natural aesthetics of calligraphy, and based on this, he greatly contributed to expanding the aesthetics of modern calligraphy and painting art by pursuing an aesthetic that explores novelty. In particular, Windy Bamboo painting has strong abstraction based on the principle of 'drawing the will'. And, in terms of discipline, the ethical aesthetic of Express Tao with pictures (畵以載道), which expresses the high level of elegance of observing small things in a big way, based on deep research on the logic of things and fulfilling human nature. By implementing it, Tao and Art become one. The Jeonbuk calligraphy group achieved the greatest prosperity in the Gangam era, and at the end of the 20th century, it entered a period of revival as it established itself as the central calligraphy group of Korean calligraphy.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.161-188
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• 2020

This paper seeks to expand the scale of literary history by restoring and analyzing the whole aspect of Kwak Hashin's works, which has so far been studied little. For this purpose, I notice the rupture of discontinuity of his works which is greatly divided into the colonial period and post Korean war period. And the characteristics of each works can be analyzed based on the three axis, local(colonial period), jobless person(post-war period), and Homo Economicus(some short stories, and popular novels in post-war period). In Chapter 2, 'Local-the world of Munjang', I evaluated that Kwak Hashin's novel, which had been published in the late 1930s in the Journal of Munjang, embodied anti-modern aesthetic consciousness, as clearly revealing the sorrow for disappearing things, the pre-modern sense of time, and the preference for local. In Chapter 3, 'Jobless Person' and Chapter 4, 'The State of All People's Struggle against All People, The Appearance of Homo Economicus', the Korean society in late 1950s, which entered underdeveloped capitalist countries after Korean war, can be characterized by two contrasting male-gender, one is the jobless, incompetent male, and the economic man on the other hand. In the late '50s, Lumpen(=Jobless Person) novels showed the problems of the Korean economy through incompetent male character. The intelligent men took the path to survival rather than morality or intimacy, projecting their own incompetence and anxiety to women/wives. In the popular novels Women's Song and The Shadow of the Fig Tree, achievement-oriented male figures who betrayed their colleagues, and exploited women's sex by using love relationships to rise to the top appeared. They can be defined as the Homo Economicus who embody the state of universal struggle against all people. These novels showed the formation of the masculinity in post Korean war period, which pursued the survival of the fittest, borrowing form of popular novel. As we have seen so far, Kwak Hashin needs to be re-evaluated as an writer who expanded the modern literary history in the outside of literature. He was the last generation writer written in Korean late colonial period, and provided the model of postwar literature by borrowing the form of journalism and popular novels.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.87-122
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• 2020

This study explores the method of representation of traumatic history in 2D horror game Detention developed by Taiwan game production company Red Candle through an analysis of its method of storytelling. Unlike conventional public media, video/digital games are based on interactivity, in which game players engage in the narratives. Thus, the relationship between players and the history in the game world may also change. This research investigates how the players build their way of remembering and recognizing the past in a different relationship. Detention, which was well received, not only in Taiwan but also around the world upon its launch in 2017, is set in a middle school during the martial law era in Taiwan in the 1960s. In the game, the main character encounters her lost memories in the process of following clues and game rules, and finally realizes she is implicated in the 1960s' event. Detention was cinematized after the success of the game. The film achieved enormous popularity both in terms of box office success and criticism. In this paper, the strategy of the game's storytelling is introduced in comparison to the film's approach in the representation of historical events. In particular, the paper explores elements such as the interactivity of the game medium, narrative fragmentation, quests, hints and cues, and the horror genre, that asks users to understand history beyond the game world differently from the point of view of other media. Though this study, it can be considered that the digital game is a medium exploring history in a serious manner. In particular, Detention invokes the matter of game-mnemonics as well as cine-mnemonics. Compared to plentiful research in cine-mnemonics, game-mnemonics has not been extensively studied to date. Therefore, through the analysis of Detention, this paper explores the relationship between digital games, history and memory.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.43-76
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• 2020

After comparing three video dramas based on Yoon Sim-duk and Kim Woo-jin, this paper intensively explores the movie Praise of Death(1991), which has the most meaningful traits in embodying the characters, focusing on the relationship with the previous works of the director or an actress. The movie Yoon Sim-duk(1969) focuses on meiodramatic narrative around the issue like love triangle or a relationship between out-of-wedlock woman and the wife of one man. The TV drama Praise of Death(2018) is pursuing ideal youth genre between attractive two lovers adorning even the suffering of the Japanese occupation with customary visual image. In comparison, the movie Praise of Death(1991) focuses on visual beauty, while overlaps the agony of two characters as pioneering artists with frustrated love narrative. In the process, this film reveals two-sided characteristics, especially the heroine, compared to the other two. She shows a rift between the passivity for the salvation of man and the activity of choosing even the fall of her own life. In order to examine this trait, we have to explore the other works which affect the movie Praise of Death. This came from the tendency director Kim Ho-sun and actress Jang Mi-hee had built in 1970s films. It also relates in the movies Jang Mi-hee had worked with director bae Chang-ho in the 1980s. The tendency to show a pursuit of classical cultures in the field of popular movies, and to overlap the problems of desire, including sexuality, with mental and intellectual issues, continues from the previous films to the movie Praise of Death for shaping a main female character. This study results in examining the movie Praise of Death in two contexts. One is the context of three video dramas having same materials, Yoon Sim-duk and Kim Woo-jin. And other is the context of the works that director Kim Ho-sun and actress Jang Mi-hee have continued together, or the works that Jang Mi-hee have continued with director Bae Chang-ho. Until now, Yoon Sim-duk and Kim Woo-jin has been used as a material for cultural contents in the various genres over and over again. Under this circumstance, by looking at this movie, one of representative case dealing with Yoon and Kim, in the complex context, it can reaffirm the effect and difficulty in fictionalisation of them as a subject matter.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.145-181
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• 2020

This study analyzes type variations of the 'stepmother' and 'sister' in the full-length novels of Park Kyong-Ni and attempted to point out their meanings. The pattern of "negative stepmother" that appeared in classical and new novels also appeared repeatedly in Park Kyong-Ni's full-length novels and this was because a change took place in later full-length novels. Novels analyzed with focus were Jaegwiyeol(1959), Eunha(1960), Kimyakgukeue Ddaldeul(1962), and Nabiwa Unggungkwi(1969). The stepmother that appears in Eunha is a type that appears often in the classic and new novels of Korea. While the stepmother newly gained the role and status of 'mother', she forms a competitive relationship with the daughter of the former wife while still refusing to be a member of the family and she puts the former wife's daughter in critical situations by committing misdeeds. However, the young stepmother in Nabiwa Unggungkwi actually becomes a victim to the malicious and morbid harassment of the former wife's daughter. This stepmother is a good-natured figure who shows a sense of guilt for failing to fulfill her responsibilities of upbringing and education and she eventually dies as a victim to a bomb during the war, leaving her young biological daughter behind. On one hand, the sisters in Jaegwiyeol and Kimyakgukeue Ddaldeul are not strongly bonded but when one is caught in a crisis, the other one claims to be of help. Unlike this, the sisters in Nabiwa Unggungkwi have a bond that cannot be broken. They are half-sisters that bind each other so severely that they hinder each other's growth and they eventually end up disintegrating. Through such analyses, it is shown that issues of human nature are dealt with more acutely by breaking the 'young stepmother' away from convention by placing her in the position of the victim to amplify the conflicting relationship between sisters, unlike in previous pieces. This study was significant in that it looked into how previously repetitive character type changes appeared in full-length novels in conditions that clearly display the writer's determination to leave behind a masterpiece.