• Journal of the Daesoon Academy of Sciences
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• v.17
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• pp.93-112
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• 2004

This article examines the process of how Daesoon thought keeps its own identity while being practiced as a religion in Korean culture through the perspective of theological hermeneutics of E. Schillebeeckx, a representative theologian in 20th century, especially on the centering of the matter of experience. Schillebeeckx says that an experience is an occurrence of perception by encountering something different from oneself. According to him, 1) the occurrence of perception is premised on a framework or form of interpretation which prescribes experience as the experience in the perceptive dimension. 2) A framework of interpretation is subject to pre-existing system or structure which already has formed a basis to the experience. It consists of various interpretative elements such as social form, general knowledges, various experiences, theoretical models in their society, etc.. 3) The experiences take place in the reflection of contemporary situation, and it is understood by a society, thus making it a social stream. This experience is expressed historically, gains historicity in the process of being handed down from person to person, from generation to generation. In this way, an experience starts to form a tradition. 4) The tradition is a historical stream which gives rise to, admits, and integrates various experiences, religious revelation, and faith etc. In this way, the tradition as a historical stream becomes a field of religious actuality such as revelation, salvation, etc. Conclusively, a religion takes place, is formed, only when it is understood anew by the people who live in that cultural tradition through their languages. The ground Daesoon thought takes place, is formed, is in this way. Daesoon thought takes place in the core of traditional Korean culture, undergoes changes when it encounters the other stream of traditional Korean culture, and the vice versa. Because of this inevitable change, ironically enough, Daesoon thought can maintain its own identity as Daesoon thought, and Korean culture its own identity as Korean culture, avoiding falling into the tertiary which is neither Daesoon thought nor Korean culture. It is in this way that any religion can be in the faithfulness to its starting point to be enriched and transformed in its interaction with the other tradition. At here is the reason Daesoon thought has to have an openness to the changing world.

• The Journal of Art Theory & Practice
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• no.14
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• pp.125-158
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• 2012

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People's Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of 'Korean' we usually consider ambiguous, and prompts careful attention to the silence of 'some Koreans' forced to live against their will in the blurred boundaries between nation and people. This dissertation regards 'Koreans' who came to live in the border of nations, especially 'Korean-Japanese third generation women artists'who are marginalized both Japan and Korea. It questions the category of 'Korean women's art' that has so far been considered, based on the concept of territory, and presents a new perspective for viewing 'Korean women's art'. Almost no study on Korean-Japanese women's art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of 'Korean women' and 'Korean women's art'considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority's diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist's cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual's historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with postcolonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women's art.

• Journal of Christian Education in Korea
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• v.67
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• pp.45-75
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• 2021

The purpose of this study is to explore a new paradigm for Bible didactics in the context of the contemporary times and it turns its gaze to the midrash, the old tradition of Hebrew Bible interpretation. In order for the current Bible study to be meaningful and effective in today's situation, it is an effort to connect the Bible and us well, more than educational contents or materials. The word "midrash" itself means "textual interpretation", or "study", derived from the root verb darash, which means "to seek," "to seek with care," "to enquire," "to require" forms of which appear frequently in the Hebrew Bible. Midrash means an exegesis and interpretation of the Hebrew Bible (Torah) as well as a group of works that are the result of specific interpretations of the rabbis. This rabbinical tradition provides specific interpretative guidelines dealing with the Bible. These interpretive guidelines were passed down and formed an attitude of interpreting the Bible that is still relevant today. The rabbinical interpretative guidelines in midrash lead to the discovery of the following biblical didactical meanings. First, the Bible requires an attitude of listening and learning. Second, an attitude of inquiry is needed. Third, an exploration through the empty space is essential. Fourth, it leads us to recognize the importance of mutual respect and communication. Fifth, through the Words that challenge me, the meaning of biblical teaching is discovered. These interpretation guidelines have much in common with Bibliodrama, which applies midrash to the didactic of Bible. Bibliodrama is a dramatic inquiry, where the effect of in-depth inquiry and consideration that midrash aimed at can be expected. In addition, bibliodrama is a process of communal interaction that leads to a new experience and a richer understanding of the Bible through different positions and viewpoints. Exploring the "white fire" of the Bible, we listen to what God says to us, which causes us to change and form an identity. The biblical didactical meaning found in midrash's interpretation guidelines and the biblical didactical application of midrash through the bibliodrama can be presented as a new alternative to Christian education for the past, the present and the future. This will be able to present a new paradigm for biblical didactics with the word of God living and working in the present, not the Bible of the past, which is far from our present life.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.58-68
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• 2014

Christian Cay Lorenz Hirschfeld is often regarded as 'a father of landscape garden art.' He was an aesthetics professor and garden theoretician in the $18^{th}$ century. He put forth the most comprehensive garden theory book in five volumes between 1779 and 1785. His book, Theorie der Gartenkunst, was translated and widely circulated in his contemporary. The book, which dealt with diverse aspects of garden art such as history, design, material, and type, urged to promote the prevalence of landscape garden in European continents as well as in Germany. However, there have scarcely been discourses in the Hirschfeld's garden theory. This essay aims to review Hirschfeld's garden thoughts in his book critically and to reinterpret some issues in the contemporary landscape theory and practice. Hirschfeldian theory was the product of $18^{th}$ century German Enlightenment and romanticism. At that time, Nature was regarded as divine realm. There was a German affinity with natural world. The spread of reading culture and the fashion of travel literature were another background of the success of his garden literature. Several issues in Hirschfeld garden theory will discussed here. First, privileging garden art was the most significant contribution in his theory. He emphasized that garden art was the most advanced art form among all art genres. Second, garden art was grounded on the mimesis of nature. The ambiguous relationship between nature and art still existed in garden making. However, garden art can be flourished when utilizing the potency of nature in itself. Third, there was the association between the image and the idea in experiencing the garden. Some garden scenes stimulated the related emotional responses such as cheerful and merry, softly melancholic, romantic, solemn etc. Fourth, the movement was the essential aspect of garden art. Motion and emotion are come together in garden experience. To represent the landscape garden style in suitable way, the sketch or image seems to be preferable than the plans and views. Finally, garden art was composing of not only the physical space but also the spirit of place. He maintained the garden art as hortus moralis should be a social metaphor. Hirschfeldian garden theory has often been criticized as the lack of practical power and the old fashioned idea. However, his theory influenced on formulating the idea of public park in $19^{th}$ century. Moreover, there are still some visionary aspects of his theory such as the reevaluation of garden art, the emphasis of locality and the introduction of Mittelweg idea. Recently, gardening culture are prevalent in various realms of art and life. Hirschfeld's garden theory as humanistic landscape theory can provide us some insights in the contemporary practices.

• Journal of the Korean Society of Costume
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• v.56 no.3 s.102
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• pp.1-11
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• 2006

Che Guevara spearheading the Cuban Revolution was not only the icon as the revolutionary to the New-leftists of the 1960s advocating the ideology of Marxism but, as the cultural revolutionary, had a tremendous influence on the younger generation living in the digital age Che Guevara take on a figure of both the symbol of the Leftist but the romantic revolutionary because he had the external features such as black beret, red stars, military upper jackets and trousers, beard and pipe tobacco. In fact, the symbolic image of Che Guevara was made as the popular image by the avantgarde artists and political vanguard forces of the times under the necessity of Cuban government. Afterwards, the image of Che Guevara has been patronized in making people of aware of the resistant and revolutionary image to capital, power and the power of the media and symbolized as the resistant image to the American capital as well as the revolutionary guerrilla. And his image has continued to be reproduced and symbolized for the commercial and political purposes and as the enthusiastic image of youth culture. This can be seen as having been created as a new image by the popular culture formed by the development of the cyber culture and mass media in the cyberspace shaped by contemporary 'N' generations. The use of Che Guevara's symbolic image was made in the fashion field as well as in the cultural and artistic circles. The borrowing of the icon of Che Guevara represented in a fashion field is attributed to his free spirit, and it can be seen that fashion exists as the vehicle for representing both the symbol system and the sign system containing ideologies and texts as the communicator of resistance to the regime and to social issues. Therefore, this study attempted to investigate the commercial iconization of Che Guevara in the 1990s by comparing the ideology of the symbol in the 1960s and the 1990s and inquire into the borrowing of his image by the fashion domain as well as the fashion worn by him by reference to domestic books and materials on the fashion site. Thereby, this study attempted to make clear that the borrowing of Che Guevara in the realm of fashion since the 1990s not only contained the meaningful interpretation as the symbolic code in the culture of young people living in a digital era but fashion performs an intervening role in the cultural phenomenon.

• Journal of the Korean Society of Costume
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• v.51 no.5
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• pp.113-134
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• 2001

This study was carried out with an objective to prepare the framework of conformity for the 21st century modern fashion, which is interactive with mankind, based on a position that the 21st century contemporary fashion with its amalgamating trend of diversified artistic forms may not be elucidated on a standpoint centering on one certain modality. The hybrid fashion trend of historical modality which provides freedom and satisfaction in creation of an individuals expressive power in expressing true desire of mans inside through man-centered thought of the times has made multifarious motives of the past and present fragmentary. It thus extracts inner divisions and the concept of consolidation through three-dimensional form. Modern fashion is newly interpreted by the material and details of high technologies. and is harmonized by mix and match with various expressions. By having it, it is being expressed together with many types of dresses and ornaments. Modern fashion is being expressed together with many types of dresses and ornaments by new interpretations with the material and details of high technologies and by being harmonized with mix and match with various expressions. The hybrid fashion design trend of regional elements formed by stimuli and contacts of diverse local culture by globalization of network that was achieved by scientific technologies of the contemporary information society has disintegrated varied boundaries in the conventional culture by the latest communication technology-new media on the basis of newly created culture. The fact that regional elements could be expressed as if they were interrelated without each being deprived of originality may be explained with an interpretation on pluralism. The hybrid fashion design trend of cultural aspect, which manifests in the background of scientific technological culture as it transcends the societal-cultural boundaries based on the de-centralization theory of Frederic Jameson, has supplemented the imperfect meanings through conversional correlation with other forms and internal program changes. The middle stratal and polyhedral characteristics are seen as each cultural element is dismantled and reassembled by application of 'multiple-time point expression'. Design forming method is not to bring destruction from outside, but to embrace instability and chaos through radical dismantling of the inside. and to pursue diversity and openness. Thus. it is implemented by an approach that takes the role of design process. In communication of discontinuity, continuity was dismantled through forms of mixing, overlap, perversion, insertion and coincidence.

• Trans-
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• v.11
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• pp.65-95
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• 2021

Grotesque, which has often emerged as a breakthrough in Western art to protest rational and classical pure beauty, is often seen in modern art. Grotesque, along with the concept of pendulum, appears in infinitely expanded forms across cultures, arts, and society. In particular, transformed body images through deformatization and deformatization of the body are interpreted as strong rejections that seek to break away from formalized beauty. The main purpose of this study is how the body reproduced through body deformation, distortion, and bonding in Dimitris Papaioannou's work can be interpreted within the grotesque category. To this end, he examines the Grotesque discourse and modern meaning underlying the interpretation of the work and identifies how the fragmented and expanding body, which is currently actively discussed in the dance world, has an interaction with Grotesque. It selects , , , and , which are the main attributes of the grotesque, focus on conflicting familiarity, life, hatred, and beauty. Based on this, we would like to confirm that in contemporary dance, the reconstructed body reveals concealed things rather than expressing an unrealistic fictional world, and seeks new possibilities beyond boundaries as well as reconsider existing aesthetic views.

• (The)Study of the Eastern Classic
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• no.57
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• pp.67-102
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• 2014

Yeoheon is a representative recluse and philosopher in the 17th Joseon dynasty. His contemporary intellectuals considered him as a sincere nobleman, Confucius in the Joseon, and moreover a saint, a cornerstone of culture, and a model for Confucianists. As a politician, he was regarded as practicing the stabilization of the people's livelihood and education, which are the key ideas of Confucian politics, when he serviced as a local governmental office twice. In addition, his ruler thought that he was right, wise, and modest, and therefore had the dignity of the old sage. His subordinates considered that he possessed the way of the old great ministers and the eye to see the current state of affairs. His theory of the Yijing is based on Cheng-Zhou learning, but developed their interpretation of the text. In addition, he discussed that Confucianism is a practical learning. His theory of the ritual was considered to follow Zhu Xi's works, but refer the old rituals and overcome the aspect of minor customs. His contemporary scholars thought that his theory of Neo-Confucianism revealed the essence of Li-Four and Qi-Seven theory regardless of scholarly parties, which were formed after Toegye and Yulgok. However, he proposed the Li-longitude and Qi-latitude theory in order to restore the real values, but it is similar to Yulgok's theory, which was criticized by the schools of Toegye and South Faction near Seoul. However, his theories revealed the fact that Joseon Confucianism cannot be simply differentiated as two major theories of "Centering on Li" and "Centering on Qi. In addition, his ideas of the universe and concern for the old showed that Joseon Confucianism is not just a theory, but is related to our lives and therefore practical in its nature.

• The Journal of the Korea Contents Association
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• v.22 no.9
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• pp.156-168
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• 2022

This study was conducted to investigate the staging principle, the staging work and the trial performance of Shingeuk troupe Geukyesulyeonguhoe during the period of coterie system, focusing on Gogol work·Ham Daehoon translation·Hong Haeseong directing's (5Act). As a result, the first trial performance was based on a faithful full-scale description rather than an interpretive directing of play. It was a performance that focused on copying and implanting the external form of the performance stage of Shingeki troupe Tsukiji Little Theater. The general review of the time was summarized to the point that it was a relatively successful performance that exceeded expectations as a trial demonstration of amateur actors. However, in terms of the content of play and the form of performance, reservations and lack of contemporary(modern) interpretation caused the problem that the general audience was alienated. Therefore, it was difficult to achieve the effect of reflecting the reality of Chosun through , as Geukyesulyeonguhoe intended.

• Korean Institute of Interior Design Journal
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• v.22 no.4
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• pp.23-32
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• 2013

This study represents something in common and differences of organic characteristics between early modern architecture and contemporary architecture analysing F. L. Wright's Robie House and Toyo Ito's Sendai Mediatheque. A natural organic body cannot be separated from the natural environment, and each part of an architecture has each own property and forms a whole at the same time. That is a basic concept of organic architecture, and a framework for analysis is set up based on it. The followings are similarities and differences of organic concept and interpretation between Wright's Robie House and Ito's Sendai Mediatheque First, Wright' Robie house unites with the natural surrounding, using a physically close connection to the ground. In contract, Ito's Mediatheque shows characteristics of noncentural and fluidic space that are metaphorically reflecting tangible and intangible of factors in modern city, where there is an ambiguous physical boundary between architecture and urban environment. Next, floors, walls and ceilings of Wright's housing as for basic building blocks are physically separated and at the same time form formative unity from the point of view of a physical and structural organic body. And continuous flow of faces of separated walls form an organism united with the nature from a physical aspect. On the contrary to this, there is an no-boudary and floating organic architecture of integrated structure from ambiguous setting of relation between architecture and urban space in Ito's architecture. Especially, Mediatheque shows semantic integration of floating urban environmental factors through horizontal and vertical integration of horizontal slabs, vertical pipes, and skins. Last, horizontal and vertical factors of Wright' Housing is appreciated as an basic experienced structure in terms of spacial perception and fluidic inner spaces in Wright's housing is completed with a series of spatial experiences in a visual sense. On the other hand, no-boundary and floating space of Ito's architecture accept user's physical and virtual body. Especially, there is an integration transcending beyond time and space, accepting an imaginary body and events with the course of time at Ito's Mediatheque.