• Journal of the Daesoon Academy of Sciences
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• v.45
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• pp.69-102
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• 2023

There has been a growing demand for spiritual education in public education in recent years. In fact, the concept of spirituality was included in the national religious curriculum in 2022. However, compulsory spiritual education based on the national curriculum is different from individual or private organization-based spiritual education which can be characterized as voluntary. This article aims to discuss the potential problems that may arise when making spiritual education compulsory in public education. This discussion includes the expansion of spiritual discourse and the scope of spirituality, the contents and examples of spiritual education, and the implications of compulsory spiritual education. My perspective on this topic is that the religious curriculum, being a national curriculum, should be applicable to all schools and learners. The channels for expanding spiritual discourse include studies for measuring each individual's spirituality or religiosity and spiritual tourism. Both exclusive and inclusive spirituality coexist within spiritual discourse. Furthermore, spiritual educators criticize knowledge-based education for its tendency towards romanticization, while overlooking reflective education in national religious curriculum. Additionally, the normative nature inherent in the concept of spirituality is often overlooked, despite the potential recurrence of problems seen in faith-based education. This article suggested that the minimum principle for the nation's religious curriculum should be that "religious or normative knowledge is not to be injected or delivered but rather reflected upon." This principle aims to provide an opportunity for learners to reflect on their religious experiences or lives subjectively. When this principle is applied, spirituality becomes the object of reflection and selection for learners. Above all, learners with reflective thinking skills will be able to live independently, even if their experiences and lives change. We hope that this article will serve as an opportunity to continually reflect on the form of religious education found in public education.

• (The) Research of the performance art and culture
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• no.40
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• pp.111-136
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• 2020

Agricultural high schools are undergoing a change their name from the mid-1950s to the 2000s. Although it varies slightly depending on the case, it has been changed from 'rural forests' to 'agricultural farms' or 'agricultural industries' and 'life sciences high schools' in turn. In several aricultural high schools had managed Nongak Department(class), it's guarantees the continuity of Korea's traditional folk art. Examples include entertainment and farming in Honam region of Jeonju aricultural high School in North Jeolla Province, Geumsan aricultural high School in South Chungcheong Province, Gimcheon aricultural high School in North Gyeongsang Province. Therefore, the interpretation and significance of studies should follow. This method of Nongak education in modern school institutions is a new phenomenon in the history of Nongak after modern time, the emergence of a whole new pattern of professional entertainment Nongak after paving and Female-Nongak, as well as local traditional folk music. Education here was conducted in such a way that the best performers of the time were invited as guidance teachers among traditional folk artists. Thus, various local and professional music and entertainment were able to be promoted Apart from the social relations of delay, social progress, and economy, the education of farming and music, which consists of teachers and students in public schools, has provided an environment where unlimited freedom is allowed for art forms. In other words, the conditions for a new performance style experiment and creative fusion were met, and the foundation for the development of professional musical performers who had acquired individualized talents from previous generations was laid down in the context of the phenomenon of active stage music and theater performance of outstanding in the culture of Nongak. In other words, the Department of Agriculture and aricultural high school was a very free space compared to other communities' and economic community's agricultural music in social relationships bound by traditional cultural customs. This is why they have created a new style of performance through a new experiment and a different traditional performance repertoire, and their activities have led to a more stylistic expansion from traditional farming. More importantly, the figures who came across Agricultural Nongak department became the main experts of traditional Korean folk music nowdays. Thus, Nongak Department, operated by the Agriculture and Forestry High School, was a space where would give a very important meaning in terms of Nongak history.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.211-266
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• 2019

Films of the 1960s in both Korea and Egypt share many common characteristics. These include the main trend of such films' in addition to some of the political situations. This trend mainly relates to the adaptation of novels into films. In the late 1940s, Andre Bazin wrote his ideas about a similar phenomenon in Europe and the United States. Based on Bazin's thoughts and other examples for films adapted from novels in the 1940-60s, I found that the trend in both Korea and Egypt can be explained as an international phenomenon, in which film developed to a further stage due to a dialectic between content and form after the increase in the development of film techniques. The trend in Korea is believed to have led to the so-called golden era of Korean movies, while in Egypt films adapted from literature were not able to earn high profits, even though in a 1996 list of the best 100 Egyptian films, 23 had been adapted from novels. To explain the reasons behind this phenomenon, I looked into the internal demand from filmmakers themselves to further develop the industry through the articles written at that time. In addition, I explored the different situations and policies that influenced film production in both countries in the 1960s. I found that political situations and policies could have helped in the continuity of such trend, but it is difficult to consider these as the main reason for its creation, in contrast to the internal demand, which I believe is the main reason for the creation of such direction.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.45-71
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• 2019

Through the expansion of platforms in the media era, this paper notes the phenomenon in which 'high-teen romance drama,' a genre which had been marginalized in the past, began to re-emerge. It analyzes the 'high-teen romance drama,' which is moving from TV to the Web and being produced in various ways, while successfully returning to the TV drama format. This study sums up the latest trends in TV and web-based high-teen romance dramas, and as a case study, this paper examines the characteristics of the 'high-teen romance drama' in relation to the platform's environment through the web drama A-Teen, TV drama 18 Moment. Due to the restriction of ratings, high-teen romance dramas have been one of the largely marginalized genres on television. But in the web space, high-teen romance dramas are no longer non-mainstream. The high-teen romance drama has been solidifying its position through the Web, with absolute support from young viewers. Web dramas are gradually expanding their influence on the genre and subject of TV dramas. The high-teen romance drama is one of the most prominent examples of this trend. The popular interest and success of the high-teen romance web drama has brought the forgotten high-teen romance drama back to TV. The web drama A-Teen is a high-teen romance drama about everyday life and love of high school students, and became one of the most popular and popular web dramas, leading to a Season 2. A-Teen actively utilizes teenage culture and expression, and a strategy that leads to empathy among teenage viewers. In A-Teen, love is recreated in a way that relieves the depth of overconsumption emotions. Instead of dealing in depth with the inner conflict over love, it takes an approach ofpresenting the emotional change of love in real time and forming a consensus with the acceptor. The TV drama 18 Moment is one of the programs that has helped refocus attention to TV-hitting romance dramas. 18 Moment underlines the growth of the characters, with the main characters reaching maturity through love as fresh and innocent teenagers. The TV drama 18 Moment is a high-teen romance drama that has been transformed into a way to apply the web-fadding high-times grammar while retaining the typicality of existing TV hagwons to suit the TV broadcasting environment. As the Internet becomes more ubiquitous, video content is changing based on the newly emerging platforms. Dramas no longer mean just traditional television media. While considering the limitations of TV, this paper analyzed the background of the rebirth of the high-teen romance drama, which had been marginalized, through the web platform. This is meaningful in that it identifies and considers the increasing popularity of this genre of drama.

• Journal of Christian Education in Korea
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• v.72
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• pp.245-271
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• 2022

The purpose of this study is to develop a nursing clinical practice education model that applies case-based learning and co-teaching to nursing students, and to secure the validity of the developed model. To verify the validity of the nursing clinical practice education model, it was applied to the subject of 'Health Response and Nursing VI (Perception/ Cognition) Practice' in the 2nd semester of 2021 at J University in Jeonju, and the instructor's response to the model was evaluated. Surveys and focus group interviews were conducted on confidence in clinical practice and teaching and learning models. After deriving the case-based learning stage and co-teaching elements through a review of precedent literature and case studies, an initial model was devised after expert review, and the devised model was reviewed for internal validity by nursing education experts, and then modified and supplemented. As a result of the learner response evaluation conducted after applying the model to the clinical practice subject for external validation verification, the confidence in clinical performance was 4.22 points and the satisfaction with the teaching-learning model was 4.68 points. Summarizing the results of the focus group interview, the importance of prior learning and the learning of selected cases based on actual cases, learning terminology and professional knowledge, eliminated fear of the practice field, felt familiar, and learned various cases. He said that he was able to think critically through the time to organize the knowledge learned in the practice field. In addition, through co-teaching, it was found that field leaders and advisors taught the theoretical and practical aspects at the same time through examples, thereby experiencing practical education closer to practice. It is expected that the nursing clinical practice education model developed through this study, applying case-based learning and co-teaching, will be an effective teaching and learning model that can reduce the gap between theory and practice and improve the clinical performance of nursing students.

• Women's Studies Review
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• v.27 no.1
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• pp.73-109
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• 2010

The cultural pluralism on which more and more emphasis is put in the globalized cultural environment, takes local identity as a crucial index for the cultural exchange on the global level, but at the same time it results in transforming individual regions/places into a homogeneous space, as it forces the local identity itself to fit into the standardized global perspective. In this context I focus on two art projects that are related to 'Dongducheon', a town that houses the U. S. Second Infantry Division. These projects attract specific attention due to the fact that Dongducheon is a significant place with very 'thick' cultural identity: it reveals that modernization in Korea took place in intersection of nationalism, patriarchy and gender/sexuality postcolonial (military) culture. With these two Dongducheon related art projects (Donglyung Kim) and (Eunyoung Jeong) as excellent examples of site-specific art practice, this paper asks what it means to keep the historicity of disappearing local space/place in the global era. And how is it possible to 'represent' an extremely gendered/sexualized place like Dongducheon. This should be examined from a postcolonial feminist perspective. Since emancipation from Japanese occupation Dongducheon has been an island or an outside space in the nation-state Korea. This becomes more complicated, as now mostly women from the Philippines or former Soviet countries are working in the nightclubs in Doungducheon. and are feminist activist experiments to make the place with its residents to be seen and heard in proper a way of mourning, recognition and communication. shows the 'new' kijich'on women as those who are daring to be on an 'Odyssey' for a better life as they run everyday life in Dongducheon, working in clubs, doing laundry, bearing children, going to mass; tries to help them to be heard and felt, while it gathers sounds on the street or at mass and shows the doors or narrow alleys which lead to the their rooms. It aims to mourn the dead kijich'on women and to represent the precarious life of the present migrant kijich'on women, as it shows no faces.

• (The) Research of the performance art and culture
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• no.19
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• pp.221-280
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• 2009

This thesis is a study of the rise and the characteristic of 'Hyangto Gakeuk(literally Song drama of the country or local music drama)' in the Early 1940s. During the colonial period, there were attempts to incorporate traditional Korean music elements with Western operatic form. This type of music drama with librettos based on traditional tales came to be known as 'Hyangto Gakeuk'. Mostly 'Hyangto Gakeuk' has led this effort under the director Seo Hang-Suk, the composer Ahn Ki-Young and the lyricist Seol Eui-sik. In the first chapter, the study aims at arranging the performance history of 'Hyangto Gakeuk' composed by Ahn Ki-Young. Also, the study examined representative works after classifying 'Hyangto Gakeuk' performed by Lamila Music Drama Troupe, and Bando Music Drama Troupe. There is significant meaning to evaluate 'Hyangto Gakeuk' in the history of Korean music drama through this analysis of the performance history. In the second chapter, I will analyze with representative works composed by Ahn Ki-Young, a pioneer in the Korean art song. He tried to create the music that held the nationalism and tradition. His works which were called 'Kageuk' laid down the foundation of Korean original operatic style. This study demonstrated characteristics of 'Hyangto Gakeuk' as 'the beginning' in modern musical drama history and its effects on Korean musical drama developments. Namely, 'Hyangto Gakeuk' based on Korean traditions can be seen as examples of original modern musical in Korea. Practically, study on all the aspects of performance not only text generally studied, dramaturgy and criticism, but also performance concept and intention of creators in early period.

• Korean Journal of Heritage: History & Science
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• v.56 no.4
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• pp.40-52
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• 2023

The basic purpose of building material called tiles is waterproofing and damp proofing, and they were restricted to use on important buildings to symbolize authority. This is especially true during the Three Kingdoms period, although unearthed examples are rare. Most of these tiles are found in ruins in the Silla and Baekje regions. Tiles were excavated from the Buwon-dong ruins that show the oldest manufacturing technique in the Gaya region to date, and tiles from the early Three Kingdoms period were recently excavated from the Gimhae Bonghwang-dong ruins, which is presumed to be the site of the royal palace of Geumgwan Gaya. These are important materials that show the appearance of tiles from the early days of Gimhae, the ancient capital of Geumgwan Gaya. The tiles excavated from the Bonghwang-dong ruins are reddish-yellow because a small amount of sand was mixed in the tile material and baked at a low temperature. The tiles are thin, no traces of fabric were identified, but traces of clay bands were identified. Tapping tool marks and traces of an anvil used in pottery production are clearly observed on the inside and outside, indicating that the tiles were made in the same way as earthenware manufacturing methods. If this is connected to the genealogy of the potters who made Gaya earthenware, it is estimated that tiles and earthenware were produced together as in the Songrim-ri ruins in Bulo-dong, Incheon, Songgok-dong ruins in Gyeongju, and Mulcheon-ri ruins. To date, tiles excavated from the Gimhae area have been identified only in places believed to be the Geumgwan Gaya City Wall (Royal Palace) in the Gimhae Basin. Considering what has been recorded so far and the geographical scenery, the Bonghwang-dong remains are the only city wall candidate site, and this is clearly revealed through the existence of the excavated tiles, which proves this. Considering that a small number of tiles were excavated during this time, it is estimated that the role of tiles as a luxury product with a symbolic meaning was greater than that of roofing materials, and there were strict restrictions and controls on its use.

• Journal of the Daesoon Academy of Sciences
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• v.46
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• pp.123-152
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• 2023

This paper will examine how the Avalokitesvara faith of India was restructured into the doctrines and practices related to the Sinicized version of the deity as Guanyin (觀音) Bodhisattva. Particular focus will be given to the Hangzhou area of China, when the Guanyin faith was still in the process of gaining establishment in China. In the Hangzhou area, Buddhist Orders grew significantly due to the wealth accumulated from commerce using canals and maritime trade, and the Chan (禪 typically known as Zen in English) Orders were particularly active during the Song Dynasty. Zhiyi (智顗), a prominent master from the Tiantai Order (天台宗), based his activities out of Hangzhou. He composed the text known as the Commentary on the Guanyin Petitioning Sutra (Qingguanyinjing-shu 請觀音經疏) based on a reinterpretation of a scripture related to Guanyin, and he systematized the Guanyin Repentance Ritual (Guanyin-chanfa 觀音懺法) by combining the Doctrines of Tiantai with the Guanyin faith. In addition, Ciyin Zunshi (慈雲遵式) reformulated that Guanyin Repentance Ritual into the Guanyin Petitioning Repentance Ritual (qing-guanyin-chan 請觀音懺) to make it into a common ritual that was more accessible to everyday people. The book, Records Regarding the Personal Conduct of the Chan Master Zhijue (zhijue-chanshi-zixing-lu 智覺禪師自行錄), which is written by Yongming Yanshou (永明延壽), a figure from the Fayan Order (法眼宗), one of the Chan Buddhist orders in the Hangzhou area during the Northern Song Dynasty, reveals the acceptance of the Guanyin faith as a daily practice within the 108 daily rituals (108事). In Chinese Buddhism, there were historical examples of monks being worshipped as incarnations of Guanyin Bodhisattva. An example of this includes iconography depicting Baozhi (寶誌), a figure from Jiliang (濟涼) who lived during the Southern Dynasties, as Ekādaśamukha (十一面觀音, Eleven-faced Guanyin Bodhisattva) in keeping with the belief that he was an incarnation of that deity. Monks of the Tiantai and Chan orders operating in the Hangzhou area actively utilized the transmission of Buddhist tales about Guanyin Bodhisattva as related to monks that exhibited miraculous powers (神異僧). This can be understood as a phenomenon demonstrating how Song Buddhism tried to attract more believers through the popularity of the Guanyin Faith.

• Korean Journal of Heritage: History & Science
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• v.57 no.2
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• pp.118-141
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• 2024

This study investigates and analyzes ancient literature records and iconographic materials to examine the Willow Tree Fence(樹柵) built on Gasan(假山) Cheonggyecheon(淸溪川) within the Hanyangdoseong, which was deliberately created to prevent flood damage during the Joseon Dynasty. Although there have been research cases related to the willow tree, it is difficult to find research conducted with the purpose of identifying its archetypal value by investigating and analyzing specific use cases of the willow tree and its historical background. Accordingly, this study aims to identify examples of the Willow Tree Fence(樹柵) created in Cheonggyecheon(淸溪川) during the Joseon Dynasty and reinterpret their value by illuminating the background of construction and regional characteristics. The main contents of this study are as follows. It is presumed that floods during the Joseon Dynasty were a great hazard. Between the 16th and 18th centuries, Joseon suffered severe damage from floods. By the time of King Yeongjo, all Four Mountains(四山) of the capital had become bare mountains, which was the cause of frequent floods. In the year of Gyeongjin(庚辰, the 26th year of King Yeongjo's reign, 1760), King Yeongjo dredged the channel bottom of Cheonggyecheon(淸溪川), which overflowed every rainy season, with the Juncheon Project(Channel-Dredging, 濬川事業) and planted willow trees on the mountain on both sides of the Ogan Water Gate(五間水門), as measures to prevent flood damage and soil loss. was implemented. In the <Doseongdo(都城圖)> in 《 Gwangyeodo(廣輿圖)》 produced in the mid-18th century during the reign of King Yeongjo, Gasan(假山), built in front of the Ogan Water Gate(五間水門) is visible, and in the record 『Sinjeung Donggukyeoji Seungnam(新增東國輿地勝)』 In the record, it appears that willows were planted on both sides of the mountain in the year of Gyeongjin(1760). With <Hanyangdoseong Map(漢陽都城圖)> produced in the 46th year of King Yeongjo's reign(1770), it is confirmed that willow trees formed a thick forest on Gasan Mountain near the Ogan Water Gate(五間水門) in the late 18th century. In addition, the Juncheon Project(Channel-Dredging, 濬川事業) and the creation of the Willow Tree Fence(樹柵) continued from the 15th century, the early Joseon Dynasty(朝鮮前期), to the end of the 19th century, the late Joseon Dynasty(朝鮮後期), through the records of ancient literature such as 『Annals of the Joseon Dynasty(朝鮮王朝實錄)』, 『Seungjeongwon Diary(承政院日記)』, and 『Records of Daily Reflections(日省錄)』. This study is meaningful in informing that the willow tree was a unique cultural heritage and traditional landscape resource by investigating the composition and use of the Willow Tree Fence in the Joseon Dynasty, which was a great basis for preventing floods and flood damage, as well as forming a beautiful landscape.