• (The)Study of the Eastern Classic
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• no.49
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• pp.161-185
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• 2012

This thesis reorganized the life of Mrs. Yun who was a noble woman in the middle of the Joseon period with main material of Seopo, Kim, Man Joong(1637-1692)'s "Seonbijungkyungbuinhaengjang(先?貞敬夫人行狀)" and considered yeosa(女師)'s image of noble woman embodied by her son. Although women who were remarkable in premodern period nurtured their son well and they became excellent, it's easy that the life of their mother can be hidden by sons' shadow. Luckily, materials of Mrs. Yun were kept by her descendants, so people could analogize how she could endure difficulties and how she educate her children. In a word, the life of Mrs. Yun can be yeosa(女師)'s life. She was born as a only daughter of the best ancestry in the period and grown to be a considerable woman with strong will and discipline under the strict training of her grandmother, Junghye Ongju. And then, she married Gwangsan Kimmun, the best literature house of Joseon period, but her husband, Kim, Ik Kyum was died by unexampled difficulty, Byungjahoran. During the tribulation, Mrs. Yun was in charge of not only parents supporting but also two sons' education excellently. She educated not only her children but also grandchildren and nephews around her, so she had extraordinary passion and sincerity for the education. As the result, she enjoyed a glory that two sons and grandchildren became on daejehak. Mrs. Yun was living with thrift and saving continuously regardless of her circumstances. When her granddaughter became inkyungwanghoo who is a wife of sookjong, she didn't kick her common habit and trained strictly the mind of family members who could be easily in disorder. In spite of the richness, he obeyed manners and showed thrift and saving continuously and thoroughly. When there was a crisis in her family, the first son, Kim, Man Ki was died and the second son, Kim, Man Joong and grandson went into exile during the continuous political upheaval. But, she supported her house, obeyed the rules and promised the future. At that time, she continuously encouraged grandchildren and the eldest grandsons of the head family to study without any stop for themselves in spite of the difficulties. Mrs. Yun pursued truly valuable life. She considered that the life which didn't get praised by other people wasn't valid although he or she lived a pleasant life in luck and richness. Mrs. Yun was a true teacher yeosa (女師) who placed a true value on the life enduring hardship and poorness without fear and becoming an example of other people.

• Journal of the Daesoon Academy of Sciences
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• v.40
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• pp.77-114
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• 2022

The purpose of this study is to analyze the ideological background, legal composition, and separation of powers contained within the institutional devices of The Dao Constitution based on the basic principles of the legal system, which would be embodied in The Constitution of the Republic of Korea. The ideological background of The Dao Constitution is that of the religion, Daesoon Jinrihoe. In Daesoon Jinrihoe, it is held that the Supreme God, Sangje, determined that Mutual Contention, the ruling pattern of the Former World, ran contrary to His divine will and this endangered the world as nature and humans had also fallen into Mutual Contention. As an act of divine intervention, Sangje established Mutual Beneficence so that nature and humanity could follow Mutual Beneficence as a paradigm shift culminating in a Great Opening of the universe. Sangje, the agent behind the paradigm shift, revealed His divine will that humans transform into mutually beneficent humans. Therefore, The Dao Constitution was written to be a set of fundamental norms based on the 'rights and obligations of the members of Daesoon Jinrihoe' to accept and implement the will of Sangje as it applies to each member's mission. The legal composition of The Dao Constitution consists of the body and supplementary provisions. The text consists of general rules, moral rights and obligations, origins, and institutional devices. Institutional devices include the Central Council, the Institute of Propagation and Edition, the Institute of Religious Services, Works, Financial Management, and the Institute of Audit and Inspection. The legal composition of The Dao Constitution is similar to that of the Constitution. The difference is that while the Constitution applies a 'principle of maximum rights and minimum obligations,' The Dao Constitution stipulates more obligations than rights in order to complete the mission of the members. The principle of separation of powers is applied to the institutional devices in The Dao Constitution. In The Dao Constitution, the organizational form of the central headquarters has been divided into a 'before and after' scheme surrounding the death of Dojeon. The organizational form of the central headquarters prior to Dojeon's death was similar to a Constitutional Monarchy. After the death of Dojeon, the central headquarters' organizational form became similar to a parliamentary cabinet system. The separation of powers at central headquarters is divided among a legislative power (the Central Council), an executive power (the Institute of Religious Services), and a judicial power (the Institute of Audit and Inspection). The separation of powers within the functions of the central government first occurs between the Central Council and its employees, then between the Central Council and the Institute of Auditing and Inspection, and also between the Legislative Government and the Institute of Religious Services. Furthermore, the principle of a vertical separation of powers exists between the central headquarters and the local organization.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.6
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• pp.80-92
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• 2021

Mount Tai, with an elevation of 1,532 meters, has a reputation as 'The Most Revered of the Five Sacred Mountains(五嶽獨尊)', despite not being the highest mountain in China. The literati of the past dynasties created a multitude of works based on the landscape of Mount Tai. Traditional literature is a part of national culture that directly reflects the national characteristics and styles, and is an important part of humanities, which can be linked to landscapes. The purpose of this study is to investigate the landscape elements and characteristics of Mount Tai by analyzing the landscape types and elements and the Kernel Density, Mean Center and Standard Deviational Ellipse of the landscape elements appearing in the representative poems of traditional literature. The research results of this study are summarized as follows. First, Mount Tai is a scenic spot dominated by human activities, different from the natural landscape of prior research related to scenic spots. Second, among the landscape elements of Mount Tai, the importance of "sunrise", "cyan", "towering" and "majestic", "Divine Dragon" is confirmed, symbolizing the hope, brightness, vitality, national stability and prosperity represented by Mount Tai, which can explain the leadership position of Mount Tai. Third, it can be found from the poems about Mount Tai that various landscape elements were embodied in belief (the behavior of gods or emperors) in the Pre-Qin, Sui and Tang dynasties, while in modern times, landscape elements are shown by action (climbing and looking far into distance), so it can be said that the landscape elements have changed from belief landscapes to experience landscapes. Fourth, the spatial distribution of landscape elements in the past dynasties was widely distributed in the Daiding(岱頂). Approaching the modern times, the mean center moved from south outside of Mount Tai to the summit of Mount Tai, and the spatial distribution changed from a widely scattered distribution to narrow linear distribution centered on Mount Tai. The present study is of great significance to provide key factors or spaces for future landscape protection and restoration of Mount Tai.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.75-88
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• 2021

The film won the Golden Palm Award at the Cannes Film Festival, and received the Academy Award for a non-English-speaking film in February 2020, respectively. It has received a monumental evaluation in the world film history. Overall, this film is about class conflict, and critics evaluate the theme of the film as "badly twisted class gap" and "anger from class." The film expresses an intrinsic conflict embodied in culture as a "tragedy in which no bad person appears," rather than the dichotomous composition of the classical class struggle from Marxism. In other words, this can be seen as expressing the substrated class relationship of the modern society that Pierre Bourdieu had argued. This film has been focused as a controversial target under Korea society with excess of ideology. Politics used to adopt the keyword, 'parasite', for political disputes not only in culture contents world. Paradoxically socialism China did not allow to release film 'Parasite.' On the other hand, Lee O-Yong argues that the movie "Parasite" does not look at social phenomena through a dichotomous perspective, but is viewed through a "double perspective" and evaluates that it does not lose eyes looking at humans through tension. This view is based upon 'Vital Capitalism'. Lee. O-Yong looks at the movie "Parasite" from the perspective of "Vital Capitalism". The theory of Vital Capitalism does not seek to find the root of historical development in class struggle conflicts, but rather figuring out history and society pays attention onto the intrinsic characteristics of life, Topophilia, Neophilia, and Biophilia. Lee Eo-ryeong argues that the development of civilization theory evolved from the stage of Hobbes' Darwinism or predatism to the stage of host vs. parasite of Michel Serres, and onto the stage of Margulis's 'Win-Win (inter-dependence)'. In this paper, after overview of vital capital concept and preceeding research, re-interpretations were tried onto scenes based upon fields from habitus, culture capital. This exploration looks for a alternative for excess of ideology in Korea society.

• 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.1
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• pp.135-174
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• 2020

The article focuses on the student activism experience of the 1990s and 2010s and on the accumulation of everyday experiences created by the conditions of the 2010s against the backdrop of differences in how the composition of 'we' is portrayed in oral narrative. What stands out in the 90s oral narratives on student activism experiences, which were compiled in the 2010s, is the distancing of the culture of student activism at that time. In the words of speakers who experienced university life in the 1990s, the culture of student activism at the university was created through private relationships, and was, needless to say, considered 'natural'. At the same time, however, the 'natural' is said to be 'abnormal' or 'strange' in the context of the 2010s in which it is being talked about, and is meant to be an experience with a certain distance from the present speakers. This aspect is associated with the conditions under which the experience of the 90s is being described in the 2010s. The present, which explains past experiences to speakers, was explained after the 2016 candlelight protest and Gangnam Station femicide protest, and is described as a world that is qualitatively different from before, and is located as an opportunity to create a critical distance from past experiences. This qualitative change, which raises suspicions about the homogenous "we", is based on a newly acquired sense of gender sensitivity, living since the mid-2010s, when gentler issues were the biggest topic in Korean society, among others. In the 2010s, the composition of 'we' is no longer understood as a community of people who share any commonality, but as individuals who unite despite numerous differences. This reveals the experiences of those who have already embodied this in their everyday senses in the 2010s. The 'we' they formed should have nothing to do with private relationships, nor was homogeneity considered the most prominent group, so it was nothing that could explain the 'me' at the time of the demonstration and outside of the venue. It was in that context that the relevant experience was described in a cautious manner throughout. This, in turn, raises the need to ask and understand a new sense of student activism and, moreover, social movements and the sense of unity as 'we'. It should also be asked who is the main body of the movement and what is the use of asking it. Soon, the need and meaning of defining the fixed identity of 'we' in the movement should be questioned. Therefore, it should be asked what fixed positions or coordinates can really represent someone's position.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.99-118
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• 2019

This study confirmed the followings based on analysis of language messages in 718 advertisement in , AMOREPACIFIC's beauty magazine, published from 1958 to 2018 by product categories, era, in terms of purchase information, persuasive expression, word type. First, the number of pieces among 1980s to 1990s advertisement were the largest and, in terms of product categories, there were the greatest number of pieces in skincare, makeup and mens products. Second, headline and bodycopy had a different aspect in persuasive expression. "focused on image-making" was mainly used for head lines. Specifically, "situational image" was generally dominant. While the "user image" was higher before 1990's, "brand image" was as recent times. "Informal" was mostly applied for bodycopies, especially, "general information" and "differentiated information" was used the most. It is important to know what kind of information the brand established in each brand should be embodied rather than simply dividing the appeal method into "rational appeal" and "emotional appeal."Third, persuasive expression has different aspects in headlines and body copies. "focused on image-making" was mainly used as headlines. Specifically, "situational image" is dominant. Also, "user image" was high before 1990s but "brand image" got higher in recent times. "Informal" was mostly used as body copies, especially "general information" and "differentiated information" were the most frequently selected. Therefore, it is important to apprehend which information to specify established images by brands, rather than to divide "rational appeals" and "emotional appeals". Lastly, categorizing word type into brand names and headlines, foreign language was the most dominant in brand names and Chinese characters in headline. Remarkably, brand names in native language temporarily high in 70's and 80's, which could be interpreted to be resulted from the government policy promoting native language brands in those times. In addition, foreign language was frequently used in cosmetics and Chinese characters in men's product. It could be explained that colors or seasons in cosmetic products were expressed in foreign language in most case. On the other hand, the inclination of men's product consumers, where they pursue prestige or confidence in Chinese character, was actively reflected to language messages.

• Journal of the Daesoon Academy of Sciences
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• v.32
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• pp.137-173
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• 2019

Modern scientists are trying to find the basic unit of order, fractal geometry, in the complex systems of the universe. Fractal is a term often used in mathematics or physics, it is appropriate as a principle to explain why some models of ultimate reality are represented as multifaceted. Fractals are already widely used in the field of computer graphics and as a commercial principle in the world of science. In this paper, using observations from fractal geometry, I present the embodiment of ultimate reality as understood in Daesoon Thought. There are various models of ultimate reality such as Dao (道, the way), Sangje (上帝, supreme god), Sinmyeong (神明, Gods), Mugeuk (無極, limitlessness), Taegeuk (太極, the Great Ultimate), and Cheonji (天地, heaven and earth) all of which exist in Daesoon Thought, and these concepts are mutually interrelated. In other words, by revealing the fact that ultimate reality is embodied within fractal geometry, it can be shown that concordance and transformation of various models of ultimate reality are supported by modern science. But when the major religions of the world were divided along lines of personality (personal gods) and non-personality (impersonal deities), most religions came to assume that ultimate reality was either transcendental or personal, and they could not postulate a relationship between God and humanity as Yin Yang (陰陽) fractals (Holon). In addition, religions, which assume ultimate reality as an intrinsic and impersonal being, are somewhat different in terms of their degree of Holon realization - all parts and whole restitution. Daesoon Thought most directly states that gods (deities) and human beings are in a relationship of Yin Yang fractals. In essence, "deities are Yin, and humanity is Yang" and furthermore, "human beings are divine beings." Additionally, in the Daesoon Thought, these models of ultimate reality are presented through various concepts from various viewpoints, and they are revealed as mutually interrelated concepts. As such, point of view regarding the universe wherein Holarchy becomes a models in a key idea within perennial philosophy. According to a universalized view of religious phenomena, perennial philosophy was adopted by the world's great spiritual teachers, thinkers, philosophers, and scientists. From this viewpoint, when ultimate reality coincides, human beings and God are no longer different. In other words, the veracity of the theory of ultimate reality that has appeared in Daesoon Thought can find support in both modern science and perennial philosophy.

• Environmental and Resource Economics Review
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• v.32 no.1
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• pp.47-75
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• 2023

Compared to the EU, which legislates the Carbon Border Adjustment System (CBAM), the United States' carbon border adjustment policy movement is still relatively slow. Recently, however, a related bill has been proposed in the United States, and research institutes have been presenting research results on how to introduce an upstream carbon tax rather than an emission trading system and carry out carbon border adjustment based on it. Therefore, in this study, we looked at the economic and environmental effects of introducing this type of upstream carbon tax and carbon border adjustment in Korea. If an upstream carbon tax of KRW 30,000 per ton of CO₂ is applied to the net supply of domestic fossil energy, the expected carbon tax revenue is approximately KRW 22.9961 trillion, equivalent to about 5.7% of the total revenue of the Korean government of KRW 402 trillion in 2019. In addition, the carbon dioxide content of the steel sector, calculated based on the energy supply and demand status of the steel sector, which emits the most greenhouse gas emissions in Korea and has a considerable amount of overseas exports, was 106.22 million tons of CO₂. On the other hand, assuming that the upstream carbon tax of 30,000 won per ton of CO₂ embodied is directly passed on to the production cost of the steel sector, the carbon tax burden in the steel sector is estimated to reach approximately KRW 3.1865 trillion. Even after deducting KRW 1.1599 trillion in export refunds estimated by using the share of exports of steel products, the net carbon tax burden on steel products for domestic demand amounts to KRW 2.0266 trillion, which is analyzed to act as a factor in increasing the price of steel products.