• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.131-140
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• 2020

This article attempted to apply the methodology of film acting as a performance oriented towards socio-cultural meaning to Min-sik Choi's acting. Specifically, the relationship between the body, the face, the audio, the direction and the attitude toward film technology mentioned in the interview dictation of actor Choi Min-sik was analyzed. In conclusion, Min-sik Choi's acting cannot be defined only by method acting, but implies or integrates the typical or avant-garde acting theories such as Stanislavsky, Strasberg, Mayerhold, Brecht and Grotovski. Above all, it is the presentation that expresses the flow of life through movement suggested by S. Kracauer. The feeling of compassion that Choi Min-sik himself emphasizes is in contact with the essence of the film that reproduces the flow of life, and it expands to an intended screen performance with a certain purpose. The screen performance that can be compressed with compassion and the flow of life is expressed by Min-sik Choi's various personas. His persona, transcending good and evil, reflects the present of Korean society.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.9-41
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• 2020

Park Jong-won's debut film "Guro Arirang," based on a short story of the same title by Lee Moon-yeol, is the first commercial film to deal with labor struggles from a worker's point of view in the wake of the 1987 democratic movement, and a pioneering work in terms of representing female workers the Korean cinema has traditionally turned away from. In this film Park Jong-won tried to win the sympathy of the middle class for labor movement in spite of the red scare which still stood firm in the Korean society at that time. To convey its progressive message in a form acceptable to the middle class public, the film portrays labor issues in the light of universal humanity and ethics, not in terms of class hostility or struggle. Park Jong-won calls this point of view "common sense of normal people" and emphasizes its universality and objectivity. This study critically examines the cinematic strategies to deal with labor issues in a form acceptable to the public in a conventional and commercial film and the ideological implications of the "common sense of normal people" reflected in such strategies. The first chapter of the study reveals that the film destroys the irony of the original story and reduces the complex constellation of the characters to the conflict between pure good and evil, creating a melodramatic composition in which the good falls victim to evil. The tragedies suffered by the workers in the film are of course intended to arouse the audience's strong sympathy and solidarity with them. The second chapter shows that the film's various scenes and episodes converge on the them of compassion and grief, and are mostly based on cultural and real experiences and events that caused great public sensations at that time. Especially in the last decisive scene of the movie, the memory of the June 1987 uprising is strongly recalled. So "Guro Arirang" can be seen as a patchwork of proven cases of compassion and grief. The third chapter examines the implications of the scene where the workers turn back demands for wages and put the issues of human treatment and trust to the forefront at the crucial moment of their struggle. It appeals to universal moral values and sentiments that everyone has to acknowledge and removes the political dimension from the workers' campaign. While the film tends to become a pure story of humanity marginalizing irreconcilable conflicts of class interest, the workers fall to the position of passive victims who can be deeply sympathetic on the one hand, and on the other, are idealized as leaders with noble attitude keeping themselves aloof from the hard reality. As a result, the movie loses its realistic ground and weakens its narrative probability. The scenes reminiscent of the 1987 uprising which evoke the solidarity between working and middle class fail to integrate harmoniously into the whole story of the film and remain only as fragmentary parts of the patchwork of compassion and grief.

• The Journal of Korean Philosophical History
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• no.25
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• pp.137-166
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• 2009

Prior studies on Nam-myoung characteristics used to focus on practical confucianism of "Kyeong Eui (Respect and righteousness)" ideology. However, in the strict sense, what are the elements that can define Nam-myoung as a historical figure and as he has been in his time and after his death? Is it his philosophy established and derived from respect and righteousness? For this, I have a quite different view. All of literatures about Nam-myoung from his and his posterity time consistently most highly valued the idea of "Entering the government service and live in seclusion" advocated by Nam-myoung who consistently refused to be assigned any post from the government. This study aims to look into his idea by examining his personality and to find out the basis of his idea implied through the examination. He discussed the practices of "Entering the government service and live in seclusion" of other historical and present figures of his time through critical examination on them. For setting the reference for determining the reasonability for their practice of such idea, Nam-myoung pointed out "foresight" for understanding "Gimi (shade)" of which "Gi" is the diverging point of good and evil. He understood if one puts aside self-interest and observes the law of nature, one would be a good and lucky man but if one includes self-interest in the law of nature one would be a wicked man. His view on anyone entering government service when the time is against the person to obtain the post or when the person is unable to fill the post satisfactorily, was that they are 'people with self-interest' and therefore their practice of entering the government service and living in seclusion is wrong.

• Journal of Physiology & Pathology in Korean Medicine
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• v.18 no.6
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• pp.1580-1584
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• 2004

On the basis of the widely collected fork prescriptions, long clinical practice of himself, together with integration of all the good points of earlier medical specialists, 孫思邈 wrote 『千金方』 of thirty volumes. Among them Volumes 『食治』 (Food Therapy) and 『養性』(Cultivating the Character) are especially meaningful for in gerontology. Thirty years after its completion, as a supplement, he wrote another thirty volumes of 『千金翼方』. Mr. Sun integrated his discoveries in the treatments of the aged patients, and his opinions for longevity into the Volumes 『養性』 (Cultivating the Character), 『?穀』(Fasting), 『退居』(Retirement), 『補益』(Supplementation). Thus he laid down the basic foundation for the gerontology of Chinese medicine. 『千金要方』 and 『千金翼方』 by Mr. Sun discuss mainly the prevention of illness for aged patients. As for the function of food therapy, he explains: 'Food can dispel evil elements of the body and settle down its organs. It can further bring pleasure to man's spirit and help the circulation of blood and breath.' He then propose the major method of food therapy: 'For a medical doctor, he should understand the causes of disease, then treat it with food. Only after the food treatment fails, medicine is employed.' He thinks that medicine does work in treatment, but it also creates imbalance in the body, and makes the latter vulnerable to outside harms. Therefore, a good doctor is the one who cures the disease and bring pleasure to the patient with food. He stresses that food therapy is always a priority. Mr. Sun prefers animal's organs in the food therapy for aged. For example, he uses powder of sheep's kidney to treat the lumbago. He suggests the viewpoint of 'Curing man's organs with animal's organs' and 'Strengthening man's organs with animal's organs,' and sets the theoretical foundation of 'Organic Treatment.' Mr. Sun's gerontology and food therapy received further development latter. The prescriptions contained therein had been widely used in 王懷隱's 『太平聖惠方』 and 陳直's 『養老奉親書』, both in the Song Dynasty. Eventually they had become a science of food therapy for aged patients.

• Journal of Korean Classical Literature and Education
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• no.33
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• pp.5-44
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• 2016

This study focuses on Ko woo-young (1939-2005), a Korean representative cartoonist. I analyzed his work Nolbudyeon (1988), which is a retelling of Heungbu and Nolbu, a traditional Korean story. I consider Ko woo-young a creative observer who has popularized his perspective in modern society. His work is a good example of how a traditional folktale can be made relevant in modern society. I used three methods of adaptation to differentiate Nolbudyeon from Heungbu story: construction of events, characterizing, and space-time background. First, to aid character development, Nolbudyeon includes a prologue that focuses on conflicts between brothers with different personalities. At the same time, the ambiguous ending could be a response to Heungbu story, which has a didactic theme. Second, I found that the new characters, Nolsun and Yeonsaengwon, enhanced the differences between Heungbu and Nolbu by playing the role of mediators. Also, in Nolbudyeon, both Heungbu and Nolbu had positive as well as negative elements, in contrast with the original story's traditional point of view on good and evil. Finally, by exploring the space-time of Nolbudyeon, we can see that its world is combined with the contemporary world. In other words, Nolbu and Heungbu, though outwardly traditional, have a modern outlook. Therefore, readers can recognize that Nolbudyeon is a metaphor for modern life rather than just an old story.

• The Journal of the Korea Contents Association
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• v.19 no.10
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• pp.641-648
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• 2019

South Korea and North Korea, which have been separated for 70 years, are getting closer and closer. This is very good news for Christians in South Korea who have long wanted to contact with the North Koreans. But it is not easy for Christianity to find contact points for North Koreans who have lived in a society that does not accept religion. First of all, it is necessary to grasp their ideological background, to find similarities with the message of Christianity, to search the Bible for cases of contact with Christianity in similar situations, and to appropriately contextualize them according to the present situation of North and South Korea. The ideological background of the North Korean people is the materialism which is the basic philosophy of communism, and the Juche idea based on materialism. Christianity is negative about the world view that spiritual things are good and material things are evil. Some contact points between Materialistic thinking and Christianity can be found in recognizing the material world as an important element of God's creation. The contact between materialism and Christianity also can be found in dialogue with the Greek philosophy in early Christian era, particularly in the conversation between Paul, who were at the forefront of non-Jewish contact, and Athenians.

• The Journal of the Korea Contents Association
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• v.10 no.4
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• pp.175-185
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• 2010

This article aims to compare the implications of masked dance in Hahoe with Gangneung masquerade and analyze them, in terms of the transition of the rituals. The results are as followings; Byulsin exorcism of Hahoe was the worship for God who people believe protects us from the evil. However, from the making of the mask in Hahoe masquerade. The movement of the dance features the spontaneous, changeable, depending on atmosphere of the stage or the host of the performance. Hahoe masquerade has the religious suggestion in the organization; it is one of the festivals, wishing for peace, good harvest of the village, in the content of the performance. From the roles of casts, the implications of the rituals are inferred; such the characters as Yangbankwangdae, Somaekaksi, Sisittakttaki, and Jangjamari have the implication of the repelling. But, the movement of the masked dance lost the original fashion in the process of restoration and faced the change. Therefore, most of the movements are tuned to falk of Gangneung; it doesn't have essence of the rituals. Finally, Gangneung masquerade has a factor of amusement of the Dano festival, wishes for well-being, good harvest of the village and includes the ritual of a guardian deity of the town, like the tutelary masquerade.

• (The) Research of the performance art and culture
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• no.38
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• pp.193-224
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• 2019

Shaman's play is significant in that it provided public theater for a long time in the theatrical and dramatic history. Unlike upper class who could call entertainer or Korean geisha in the traditional society, the majority of ordinary people could see professional performances through gut. Therefore, the shaman of the traditional society pulled the play which developed in the gut and the outside play into the gut and prepared the performance street for the ordinary people. shaman's play, apart from the religious context, has also functioned as a theatrical performance. Through shaman's play, you can see the process of ritual development into play. Shaman's play is a ritual ritual of expel calamity in an agriculture based society. In Korean consciousness, evil spirits are thought to bring disease or disaster to humans, so they should be good for evil spirits. This is a ritual that goes hand in hand with the Confucian Yeoje and the Buddhist Suryukjae. Most traditional plays, including masque performance, tend to weaken and become stifling after the designation of intangible cultural properties. However, shaman's play is transformed every time it is executed and is given a new meaning. Depending on the ability of the shaman to respond to and accommodate social change, adaptability is excellent depending on the situation in the field. Shaman's play has richness, prevent calamity and playful elements such as imitation of god and sexual connection based on the element of shamanism. In addition, it is necessary to pay attention to the meaning and the direction of Shaman's play because it is differentiated into play including social subject beyond mere magic imitation.

• Cross-Cultural Studies
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• v.42
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• pp.419-449
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• 2016

The Russian icon and Korean tangwha (幀畵, altar portrait of Buddha) are based on the similarity of the divine Being. Each has the characteristic index that forms an existential connection with the object and at the same time, implies the symbolic meaning of the scriptures and doctrines of the Russian Orthodox and Buddhists. Russian icon and Korean tangwha with these attributes have origins in the Byzantine, India and China. Unlike most religious art, Russian icon and Korean tangwha clearly reveal profane orientation and mystical elements. This artistic phenomenon has evolved from the mystical religious culture in Russia and tantric rituals of the early Joseon period. Iconostasis, created from historical figures of the Old Testament, Jesus, the New Testament represent the principles of the macrocosm. Each icon of iconostasis has integrity, while each floor has another narrative and a meta-discourse on the entire composition. Three-Platforms of amrtakundalin can also have a huge epic that is directed from the Low-Platform to the High-Platform for the purpose of salvation. While the narrative of iconostasis has a time structure, from the beginning of the universe up to date in chronological time, amrtakundalin have pictorial transitions of time and space that rises from this life to a heavenly world. Despite the different world views of the Russian Orthodox and Buddhists, iconographical format and symbolism of heaven and hell in the Iconostasis, Last Judgment and amrtakundalin are similar. There is a constant antagonism between heaven and hell, light and darkness, water and flame. Iconographical contents include the water of life and nectar, the book of life and 'eoppu', and the scales and mirror of Karma that discriminate between the good and evil before judgment. The dualistic coordinate concept such as light and darkness, life and death, or heaven and hell that appears in the narrative structure of iconostasis, the Last Judgment and amrtakundalin leads the people to spiritual awakening.

• The Journal of Internal Korean Medicine
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• v.11 no.1
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• pp.93-107
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• 1990

Studies on diagnosis and treatment of tumor . abscess . ulcer in intestinal carbuncle were carried out. The result of studies were summerized as follows: 1. By Nai-Gyung carbuncle-tumor arose from disharmony between nutrient and defensive because of cold, abscess arose from fever victory between cold and fever, ulcer arose from decreasing function of Bi-Kam year. By latter literature Bi-Kam year could be interpreted that spleen stomach was invaded evil influence from unattainable vital force of the earth. 2. Sites of intestinal carbuncle were large intestine, small intestine, intestinal inside or outside between large and small intestine, Intestinal carbuncle was common name of a disease about large intestinal carbuncle, small intestinal carbuncle, pelvic intestinal carbuncle, shrink leg intestinal carbuncle etc.. Pain appeared Chunchu-Hyul in large intestinal carbuncle, and Gwanweon-Hyul in small intestinal carbuncle. 3. On abdominal diagnosis tumor had indistinct pain of Gwanweon Chunchu, edema and heary feeling in low abdomen, no excessive pain by hand press and intestinal boiling sound. In abscess pain descended from right side of low abdomen to huckle, and there was rejection against press, feeling about fever,water sound with flank movement. In ulcer hand approach was difficult since excessive pain diffuse to whole abdomen, and perforating ulcer sometimes caused a serious symptom of umbilical pus. 4. On fecal and urinary diagnosis in tumor urine was yellowish red pollakiuria like gonorrhoea and occasional constipation. In abscess uncomfortable rough pain short red early urine like gonorrhoea appeared during urination, and constipation with stinging pain appeared during defecation. In ulcer red rough pyuria appeared, and stinging and pain with puruloid blood appeared during defecation. 5. On treatment in tumor Daiwhang-Tang Daisenggi-Tang Dangui-Jun by dissipation method, calming down method, interior reliance maturation method, in abscess Mokdan-San Euiiin-Tang Jeokduiin-Tang by the method of water repelling pus discharge, acute breaking, in ulcer Takridanggui-Tang Paljin-Tang Bojungikki-Tang were each used by the method of interior reliance, virulence astriction, supplement vital force and blood, supplement spleen stomach. 6. On treatment patient may have to be careful of excessive moving and suprising anxiety. Abuse of acupuncture and moxibustion made patient worse, misuse of analgesics purgative intestinal irrigation etc. could provoke difficult diagnosis and perforation. So you must treat after exact diagnosis. 7. Prognosis of ease tumor ease abscess ease ulcer and ease astriction was good. If the intestinal carbuncle were not to promote to abscess and ulcer for a long time, its prognosis was bad and it could metastasize to cancer because of dark purple with hardness. So tumor abscess ulcer in intestinal carbuncle may be significant of precancerous lesion.