• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.112-131
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• 2009

The Trikaya Banner Painting in the Suta-sa Temple at Hongcheon-gun, Gangwon-do draws attention as it was painted not on flax but on paper, and used the water color painting technique on the sketch rather than the deep color painting technique, which is most common in Buddhist paintings created during the Chosun Dynasty. Nevertheless, there is not any information on the creation of the Trikaya Banner Painting in the painting record on the painting, in Sutasasajeok(壽陀寺史蹟), or in Sutasagogirok(壽陀寺古記錄), so it is uncertain when the painting was created. Furthermore, because it was not drawn by the deep color painting technique, it has been difficult to compare it with other banner paintings. For these reasons, the Trikaya Banner Painting has been studied little except brief introduction. In recent preservation treatment that removed multiple-layered paper from the back of the painting, however, an inked inscription written on Korean paper 118cm high and 87.5cm wide was discovered on the back. It is a kind of placard notifying a number of acts prohibited in order to follow Buddha's teachings correctly, and was found to have been written on April 15, 1690. The inked inscription is a very valuable material for estimating the creation date of the Suta-sa Trikaya Banner Painting, and provides crucial clues for approaching the contents and nature of the painting more precisely. When the image, form, and style of the Suta-sa Trikaya Banner Painting were examined and its creation date was estimated based on the inked inscription, first, the painting is presumed to have been created in around 1690 as suggested by 'the placard' attached on the back instead of a painting record. Second, the painting is highly likely to be the first standing Trikaya banner painting showing the basic icons of Trikaya banner paintings in the Chosun Dynasty since the Trikaya Banner Painting in the Gap-sa Temple in Gongju (1650). Furthermore, considering the shape of the Trikaya in the painting, screen composition, background treatment, solemn and affectionate facial expression, harmonious and adequate body proportion, etc., the painting is believed to have had a considerable influence not only on Trikaya banner paintings of similar style in the 18thcentury but also on deep-color Trikaya banner paintings in the 19thcentury. Third, although the Suta-sa Trikaya Banner Painting is not acompleted work but a sketch, it exhibits the typical water color painting technique in which the strokes are clearly visible. Thus, it is considered highly valuable in understanding and analyzing stroke styles and in studying the history of Buddhist paintings. As there are not many extant banner paintings of the same style in form and expression technique as the Suta-sa Temple Trikaya Banner Painting, this study could not make thorough comparative analysis of the work, but still it is meaningful in that it laid the ground for research on standing Trikaya banner paintings in the 18thand 19thcenturies in the Chosun Dynasty.

• Korean Journal of Cognitive Science
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• v.2 no.2
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• pp.405-428
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• 1990

Language has a social function to communicate information. Linguists have gradually paid their attention to the function of language since the nineteen sixties, especially to the relationship of form, meaning and the function. The relationship could be more clearly grasped through disciyrse-based analysis than through sentence-based analysis. Many researches were centered on the discourse functional notion of topic. In the early 1970's the subject was defined as the grammatiocalized topic the topic as a discrete single constituent of the clause. In the late 1970's several lingusts including Givon suggerted that the topic was not an atomic, disctete entity, and that the clause could have more than one topic. The purpose of the present study is, following Givon, to study grammatical coding devices of topic and to measure the relative topic continuity/discontinuity of participant argu, ents in Korean narratives. By so doing, I would like to shed some light on effective ways of communicating information. The grammatical coding devices analyzed are the following eight structures: zero-anaphora, personal pronous, demonstrative pronouns, names, noun phrases following demonstratives, noun phrases following possessives, definite noun phrases and indefinite referentials. The narrative studied for the count was taken from the KoreanCIA chief's Testiomny:Revolution and Idol by Hyung Wook Kim. It was chosen because it was assumed that Kim's purpose in the novel was to tell a true story, which would not distort the natural use of language for literary effect. The measures taken in the analysis wre those of 'lookback', 'persistence', ambiguity'. The first of these, 'lookback', is a measure of the size of gap between the previous occurrence of a referent and its current occurence in the clause. The meausure of persistence, which is a measure of the speaker's topocal intent, reflects the topic's importance in the discourse. The third measure is a measure of ambiguity. This is necessary for assessing the disruptive effects that other topics within five previous clauses may have on topic identification. The more other topics are present within five previous clauses, the more difficult is the task of correct identification of a topic. The results of the present study show that the humanness of entities is the most powerful factior in topic continutiy in narrative discourse. The semantic roles of human arguments in narrative discourse tend to be agents or experiences. Since agents and experiences have high topicality in discourse, human entities clearly become clausal or discoursal topics. The results also show that the grammatical devices signal varying degrees of topic continuity discontinuity in continuous discourse. The more continuous a topic argument is, the less it is coded. For example, personal pronouns have the most continutiy and indefinite referentials have the least continutiy. The study strongly shows that topic continuity discontinutiy is controlled not only by grammatical devices available in the language but by socio-cultural factors and writer's intentions.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.6
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• pp.23-34
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• 2012

This Study is about the "Comprehensive Landscape Improvement Plan for Gu-ryoung Seaside Village that was one of most exhibited projects for developing sea villages." The formulations of the plan were supervised by the Ministry of Land, Transport, and Maritime Affairs and were executed by the Goheung Country. Rather than proposing renovations for the landscape, this study maintains the existing order and attempts to examine the plan by scrutinizing the vernacular design language of the landscape. In the study, community members had the opportunity to express their opinions and ideas about the community through workshops composed of community participation programs, and participated in the decision-making process through consultation meetings. The conclusion of this study was relevant to the activities of the committee on landscape improvement. The Comprehensive Landscape Improvement Plan has three objectives: (1) resorting and modifying the natural landscape, (2) restructuring the roadways, and (3) modifying key spaces. In the end, the role of Gu-ryong Mountain as a background of the landscape was focused on tree planting drives that were undertaken, and accessibility to the sea front was improved. Second, in restructuring the roadways, rough roads were restored and unconnected roads were connected to ensure a network of roads along the sea front, inner roads in the village, roads at the Fringes Mountains, and stone roads on the mud flat. In addition, roads were named according to the character of the landscape and signs were installed. Finally, the existing key spaces, in which community members came together, were restored and new key spaces were created for the outdoor activities of the inhabitants and the diverse experience of visitors. A guideline was also created to regulate private areas such as roofs, walls, fences of residential buildings, and private container boxes and fishing gear along the sea front. The strength of this study is that it is seeking to determine the greatest potential of the landscape and set the plan by examining the lives of community members. Some problems were found during the development of this study. Further, there were problems in the community's understanding as elaborated below. First is the gap between community members' awareness and practice. Even though they were aware of the problems with the village landscape, they hesitated to implement improvements. Second, community members have misunderstandings about the landscape the improvement plan. The local government and the residents have understood this plan as a development project; for example, new building construction or the extension of roads. Third, residents are not aware that continuous attention and improvements are required for the upkeep of the landscape in the sea village. The plan to improve the landscape should promote a balance between making the area as a tourist attraction and maintaining the lives and cultural activities, because the sea village system incorporates settlements, economy, and culture.

• Journal of the Korean Geographical Society
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• v.51 no.5
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• pp.613-632
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• 2016

The recent diagnosis of the Anthropocene challenges public understanding of nature as a pure and singular entity removed from society, as the diagnosis confirms the earth-changing force of humans. In geography, the nature-society divide has been critically interrogated long before the diagnosis of the Anthropocene, developing several ways of theorizing nature-society relations. This paper introduces a new frontier for such theoretical endeavors: more-than-human geography. Inspired by the material and performative turn in geography and the social sciences around the 2000s, more-than-human geographers have sought to re-engage with the livingness of the world in the study of nature-society relations. Drawing on actor-network theory, non-representational theory (NRT) and vitalism, they have developed innovative ways of thinking about and relating to nature through the key concepts of 'nonhuman agency' and 'affect'. While more-than-human geography has been extensively debated and developed in recent Euro-American scholarship on cultural and economic geography, it has so far received limited attention in Korean geographical studies on nature. This paper aims to address this gap by discussing the key concepts and seminal work of more-than-human geography. I first outline four theoretical strands through which nature-society relations are perceived in geography. I then offer an overview of more-than-human geography, discussing its theoretical foundations and considering ontologies, epistemologies, politics and ethics associated with nature-society relations. Then, I compare more-than-human geography with political ecology, which is the mainstream critical approach in contemporary environmental social sciences. I would argue that more-than-human geography further challenges and develops political ecology through its heightened attention to the affective capacity of nonhumans and the methodological ethos of doing a careful political ecology. I conclude by reflecting on the implications of more-than-human geography for Korean studies on nature-society relations.

• 지역과문화
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• v.7 no.2
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• pp.173-202
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• 2020

This study aims to enhance the family-friendliness of the region by examining the relationship between family relations and the community environment, and objectively comparing the local environment surrounding the family. To this end, we reviewed the areas of socio-cultural and economic sectors that affect the family relationship satisfaction, and in particular, analyzed the trend of changes in regional index by utilizing the Korean Family Happiness Composite Index (KFHCI) developed as a community indicators. This index utilizes community indicators published in the National Statistical Portal's "e-Region indicators," and these variables are related to family relationship satisfaction. Therefore, this study compared the seven areas of the Family Happiness Composite Index (Population Family, Health Culture, Education, Income Consumption, Employment Labor, Housing Transportation, Environment and Social Integration) by region, and examined the trends for 10 years. According to the study, the average score of KFHCI's entire region was rising from 2008 to 2018. Overall, the community environment that affects family relationship satisfaction is also improving. The regions belonging to the upper level were Jeonnam, Gangwon, Chungnam, Jeonbuk, and Gyeongbuk. Areas belonging to the lower level are Seoul, Busan, Daegu, Incheon, and Gwangju. In almost sectors, the lower-level regions did not have sufficient physical infrastructure compared to population density and over-density, and improved little by little, but not enough to reflect the needs of local people and improve the quality of life. In the future, we should develop more regular and complementary indicators to develop customized policies for each region that can improve the quality of family relationships. It will also be necessary to study the impact of each index field when a socioeconomic crisis occurs due to social disasters, and try to change indicators

• Journal of Science of Art and Design
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• v.10
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• pp.5-50
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• 2006

The terminology "human body" simply means a physical body but also more often, as an object in art works, carries symbolic concepts incorporating the whole history of human lives. Human body has been employed as an artistic object capturing physical body, delivering artist's idea expressing life indicators from different standpoints of times and places. This point of view about human body in art works has in fact rather short history since 1960's when modern thinking paradigm focusing upon rationality and reasoning has begun declining and on the contrary when the body used to be the servant of the mind and soul for a long time has begun attracting artist's attention as a real entity from the viewpoint of dichotomy. During the 1960's, frequent performances in Pop art and of Fluxus showed that the human body has been an important media for artistic communication after importance of body performances had been raised in Action painting in 1940's. The human body became a more determined media in body art works that had got into stride after Yves Kline's conceptual works applying body and its traces. These kinds of art works have continued and consolidated into the Feminism came into blossom in 1980's and into fragmentated and disembodied body art trend in 1990's. Through development of trends in body works, human body now might well be regarded as a clue provide from individual identity with implication over the world. This thesis is to analyse in semiotic way main works of Kiki Smith who is a representative artist devoting to Feminism and proposing extended significance of human body. In the analysis process of works done by two great artists with histrorical background of art trend in order to find and open an significance horizon of human body, semiotics and bodism are therefore perceived as pertinent and applied as basic tools. The first stage of analysis is to get the significances emerged in between expression part and contextual parts, which are separated structually from the most basic level. The study deals with body works furthermore in the way of structual cohesion of the expression and the context from the view of A J. Greimas' Structural Semantics and tried to build up a basic frame for the extended significances of human body. This thesis is, on the other hand, to attempt to contribute for extension of disembodied and fragmentated body discussed in the structural semantic frame earlier by Julia Kriesteva who delivers abjection concepts and phenomenology of Maurice Merleau-Ponty who enables to overview relationship between the body and the world from the viewpoint of Bodism, further into interpretation level. The other works are Kiki smith's that showed epics about death in mid-1980's, detailed humbleness of vulnerable human body exposed to dichotomy and fragmentation in 1990's and religion and mythology incorporating wouln healing in 2000's and henceforth. Through the analysis of Kiki Smith's representative work 'Pee body', it is verified and confirmed that fragmentated body showed beyond boundary gap of the human body and ultimately tends to imply human healing owing to divine maternity. Bodily symbols in Kiki Smith's are extended to the universal world to imply human life and death on the one hand and religion and mythology of human wound and divine healing one the other hand. This thesis through these process and results of analysis is in a broad context, to emphasize that human body as objectified text has a key indicator role to understand world as well as semiotic extension in art works in late 20th century so that we might confirm bodily symbol as a cultural context constitutes a section of contemporary visual arts.