• Journal of Physiology & Pathology in Korean Medicine
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• v.16 no.2
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• pp.397-402
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• 2002

Clinical studies were done treated with aroma therapy in 22cases of patients for suffering allergic rhinitis. who were treated at Dept of Oriental respiratory internal medicine in the Hospital of Taejeon University from January 2001 to May 2001. The results were as follows. 1. In distribution of sex & age. 45.5% of them were man, and 54.5% of them were woman. Of those who were attached, 2. In distribution of occupation, 59% of them were student, 18% of them were housewife, 18% of them were white color, 9% Of them were blue color. 3. In distribution of the period of the clinical history, under six months was 32%, under 1 year was 9%, under 3 years was 27%, over 3 years was 32%. 4. In distribution of the seasonal contributing factor, most of them were perenial allergic rhinitis, others generally started in spring or winter. 5. In distribution of past history, 59% of them are none, 18% of them are asthma, 18% of them are atopic dermatitis, 5% of them are allergic dermatitis. 6. In distribution of family history, 46% of them are none, 27% of them are sibling line, 18% of them are paternal line, 9% of them are maternal line. 7. In distribution of symptom, the ratio of sneezing was 90%, nasal discharge was 81 %, nasal obstruction was 46%, pruritus was 41 %, headache was 31%, asthma was 22%, digestion disorder was 18%, tears was 9%, nosebreeding was 5%. 8. In distribution of diagnosis in descending order, wind-cold evil was 5%, spleen-lung energy asthnia was 31 %, lung-kidney asthnia was 64%. 9. In distribution of Herb medicine treatment, Tonggyu-tang was the most, the second was hyunggaiyunyo-tang. 10 In emotional change of patients aroma-therapy, only 14% of them felt good. 11. The total remedial value of the 22 patients was revealed 32.9%. 12. In proportion to grow older, the remedial value were decreased. 13. In proportion to the period of the clinical history was longer, the remedial value were decreased.

• Journal of Korean Philosophical Society
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• v.147
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• pp.117-146
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• 2018

This paper discusses, whether religion is possible even in the age of artificial intelligence, and whether humans alone are the subject of religious faith or ultra intelligent machines with human minds can be also subjects of faith. In order for ultra intelligent machines to be subjects of faith in the same conditions as humans, they must be able to have unique characteristics such as emotion, will, and self-consciousness. With the advent of ultra intelligent machines with the same level of cognitive and emotional abilities as human beings, the religious actions of artificial intelligence will be inevitable. The ultra intelligent machines after 'singularity' will go beyond the subject of religious belief and reign as God who can rule humans, nature and the world. This is also the common view of Morabeck, Kurzweil and Harari. Leonhart also reminds us that technological advances should make us used to the fact that we are now 'gods'. But we fear we may face distopia despite the general affluence of the 'Star Trec' economy. For this reason, even if a man says he has learned the religious truth, one can't help but wonder if it is true. Kant and Bloch are thinkers who critically reflected on our religious ideals and highest concept in different world-view premises. Kant's concept of God as 'idea of pure reason' and 'postulate of practical reason', can seem like a 'god of gap' as Jesse Bering said earlier. Kant recognized the need for religious faith only on a strict basis of moral necessity. The subjects of religious faith should always strive to do the moral good, but such efforts themselves were not enough to reach perfection and so postulated immortality of the soul. But if an ultra intelligent machines that has emerged above a singularity is given a new status in an intellectual explosion, it can reach its morality by blocking evil tendencies and by the infinite evolution of super intelligence. So it will no longer need Kant's 'Postulate for continuous progress towards greater goodness', 'Postulate for divine grace' and 'Postulate for infinite expansion of the kingdom of God on earth.' Artificial intelligence robots would not necessarily consider religious performance in the Kant's meaning, and therefore religion will also have to be abolished. Ernst Bloch transforms Kant's postulate to be Persian dualism. Therefore, in Bloch, even though the ultra intelligent machines is a divine being, one must critically ask whether it is a wicked or a good God. Artificial intelligence experts warn that ultra intellectual machine as Pandora's gift will bring disaster to mankind. In the Kant's Matrix, a ultra intelligent machines, which is the completion of morality and God itself, may fall into a bad god in Bloch's Matrix. Therefore, despite the myth of singularity, we still believe that ultra intelligent machines, whether as God leads us to the completion of one of our only religious beliefs, or as bad god to the collapse of mankind through complete denial of existence.

• (The)Study of the Eastern Classic
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• no.69
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• pp.297-324
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• 2017

Recognizing that the ideological nature of Taoist Gwonseonseo whose publication was concentrated during the reign of King Gojong was connected to that of Jeoseungjeon, a Hangul manuscript novel in the 19th century, this study set out to examine the periodic significance of Taoist Gwonseonseo in the 19th century and check the ideological nature of Jeoseungjeon. Taoist Gwonseonseo puts an emphasis on Confucian ethics including loyalty and filial piety in a didactic aspect and shows that the practice of Confucian ethics brings good fortune, which was prominent in many private Taoist books that were huge hits in the latter part of Joseon, when Chinese Taoist Gwonseonseo was introduced in Joseon, translated and circulated in Korean, and spread widely among the public. Those works offer very specific cases of individuals doing good or evil deeds in this world and suffering the consequences in the next world. Jeoseungjeon presents the Buddhist experiences with the next world as the foundation with the next world depicted around the Great Jade Emperor, who emphasizes Confucian ethics, and the hierarchy of Taoist gods under the ultimate the Great Jade Emperor, thus clearly demonstrating the combination pattern of Confucianism, Buddhism, and Taoism in the latter half of Joseon. The work describes the scenes of judgment and punishment in the next world according to the witness of the main character and thus gives specific ideas of daily goods, which is a feature found in the latter half of Joseon different from the previous pattern of next world experiences. It is Taoist Gwonseonseo widely spread among the people those days that connects the link.

• Journal of Korean Philosophical Society
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• v.148
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• pp.239-267
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• 2018

In the matter of ethical and moral practice, Thomas Aquinas's thought is called "intellectualism". It does not mean only that intelligence is more important than will in moral practice, but that it has epistemological, metaphysical, and psycho-psychological implications significance. The first means affirming "the first principles of knowing" as the problem of certainty of knowing. In Thomism, there are surely above suspicion notions in the domain of practice as well as in the domain of reason, which are obviously self-evident, and because of that certainty, they become the basis of certainty of all other knowings that follow. The principle to know these knowings is the first principle of knowing, reason and Synderesis(conscience). Therefore, the "intellectualism" of Tomism is the basis for providing the ground of metaphysics. In the case of reason, it is classified into superior reason and inferior reason according to whether it is object. The object of higher reason is "metaphysical object" which human natural reason can not deal with. This affirmation of superior reason provides a basis for human "autonomy" in the moral and religious domain. This is because even in areas beyond the object of natural reason, it is possible to derive certain knowledge through self-reasoning, and thus to be able to carry out the act through their own choosing. Likewise, for Thomas Aquinas, "Synderesi" as the first principle of good and evil judgment can be applied to both the superior reason and the inferior reason, and thus, except for the truth by the direct divine revelation, precedes any authority of the world, scrupulous Act always guarantees truth and good. This means "subjectivity" that virtually in the act of moral practice, it can become the master of one's act. Furthermore, "consciousness(conscientia)", which means the ability to comprehend everything in a holistic and simultaneous manner, is based on conscience(synderesis). So, at least in principle, correct behavior or moral behavior in Tomism is given firstly in correct knowledge. Therefore, it can be said that true awareness (conscious awareness) in Thomas Aquinas's thought coincide with practical practice, or at least knowledge can be said to be a decisive 'driver' for practice. This will be the best explanation of the definition of "intellectualism" by Thomism.

• Sim-seong Yeon-gu
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• v.25 no.2
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• pp.224-264
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• 2010

A brief story of the tale follows : Mokdoryung was a son of an arbor tree and a fairly. When the boy was 7-8 years old, mother-fairy returned to the sky. By using father-tree, Mokdoryung survived from the flood where he saved ants, mosquitos, and a boy with the same age. They arrived on top of the highest mountain, met an old woman with two daughters, worked as servants. With help of insects, Mokdoryung passed the trials, married to a wise daughter and 2 couples became the ancestor of the mankind. Interpretation of the tale starts with amplification of tree which symbolizes Self and Libido. As the son of the tree-spirit and a fairly from the sky, Mokdoryung is a kind of 'divine child' which represents a psychic possibility to understand archetypal nature of unconscious. Adversities of early childhood due to mother's absence regarded as necessary condition for 'divine child' to attain highest good. Flood can be compensation of absence of feminine as well as to bring a new life. The notion of father·tree becomes a kind of life-boat has to do with union of opposite(vertical phallic tree and horizontal feminine boat). Ants and mosquitoes represent upper and lower level of unconsciousness, they mediate divine power. Therefore respecting insects means respecting unconscious, and reward of insects means salvation come from unconscious. The boy saved from the flood presents emergence of psychic energy in its latent unconscious condition to create mental dynamism. The old woman is Great Mother or anima, the controller or guider of unconscious. Working as servants can be an active service for the divine marriage. Trials of separating millet from sand, and finding right direction relate to separatio, means one needs to be separated from unconscious before conunctio, union of opposite. Two sets of couple becoming ancestor of man-kind has to do with number 4 (quaternity) as well as regeneration. Although the tale includes both positive couple (Mokdoryung, wise daugther in east room). and negative couple(shadow side of Mokdoryung, step daughter in west room)as ancestors of mankind, "Good" seems to be more valued than "evil".

• Cartoon and Animation Studies
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• s.51
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• pp.129-158
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• 2018

China has had many excellent Chinese-style animation since the 1950s. These animations are of distinctive Chinese national characteristics. They have won many awards both at home and abroad, such as "Feelings of Mountains and Waters", "Uproar In Heaven", "Why is the Crow Black-Coated" and so on. But nowadays, Chinese animations that mimics Japanese and American animation are very often, and there are few animation works with rich traditional Chinese culture. There are some works in the name of Chinese style, but they have not been fully accepted by the audiences. If one wants to create animated works of Chinese style, the author must have an in-depth understanding of Chinese traditional and folk art. Animation can not be designed only on the surface. This paper mainly studies the traditional five color concept in China and its application in animation. The purpose is to provide some references to differentiate Chinese animation from other countries in terms of style and color. The main content of this paper is to understand the concept and history of Chinese traditional five color views, and to know that this color system has reflected the ancestors' concept of nature and society. On the basis of five monochromatic colors, red, yellow, green, white and black, it is a kind of complex color concept that has been developed and perfected continuously after a long period of accumulation and precipitation in the practice of life. It is the theoretical basis of Chinese traditional color system and a complete set of historical, cultural, philosophical and religious theories. Finally, this paper analyzes the colors and their symbolic meanings of the main roles in "Uproar In Heaven", a color long animation produced by Shanghai Animation Film Studio, including Sun Wukong, the Jade Emperor and Na Zha. Color is the first visual language. The use of color symbols to express the inner feelings, status, good and evil of the characters will affect the audience's emotions, behaviors and opinions imperceptibly. The traditional Chinese five color concept has gone through such a long history, and its symbolic meaning has a more profound impact on Chinese people. Applying the color concept and symbolic meaning of Chinese traditional five color concept will further highlight the personalities and emotions of the roles in Chinese style animations. This paper takes the five-color view as the theoretical basis, and through the analysis of cartoons with traditional Chinese color, the author finds ways to flexibly use traditional Chinese culture.

• (The) Research of the performance art and culture
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• no.39
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• pp.69-96
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• 2019

North Korea has conserved operas in a selective manner. The subject matters of operas recorded in the history of North Korea can be divided into classical tales, translated foreign works, Korean War and war against Japan. Operas that adapted folk classics of the 1950s are considered valuable materials to verify the changes of genres posterior to division of regime between North and South Korea. The officially confirmed works include "Kumgangsan Palseonnyeo (Gyeonwoo Jiknyeo)," "Chunhyangjeon." "Kongjwi Patjwi (Kotsin)," "Ondal," and "Geumnaneui Dal." These works had gone through recreation in terms of realistic situation setting, abolition of class difference, adjustment of social rank and punishment of evil while the base lies in the original folk classics. People emphasized in adapted folk operas are described as those who are hard-working souls without giving importance of difference of social rank, content with the currently living space, devoted to their parents and full of patriotic spirit, and members of community who participate in organized fights against unfair exploitation. This was the fruit of encouragement of work creation supporting union between labor and individual life, destruction of old things and fight promoting this destruction. Folk operas of South and North Korea posterior to Korean War have similarities in that both deal with a love story transcending social ranks and the concomitant conflicts and they focus on the audience who enjoy the operas. Nonetheless, they are different in that this love in North Korea became a tool of educating people wished by the regime, while it became an object of securing the audience by adding the tragic element to love in South Korea. North Korean operas of the initial stage are characterized by playwriting method emphasizing difficult life and compensation of common people, realistic stage expression, accentuation of melody and agreement between notes and lyrics. This was efforts designed to continuously lead senses concentrated from the theater to everyday life of people. In effect, this is in line with the playwriting method of revolutionary operas. Adapted folk operas were subject matters ideal for easily approaching the audience and leaving them good memories at the same time. To realize socialist realism, they went through an experiment of reviewing "people" through the classic folk operas. The possibility of continuation of a work was determined by thorough evaluation after carrying out an experiment in terms of subject matters, theme, music and operation plans from the moment of which the work was on the stage. The sign consisted in the possibility of visit of "Kim Il-sung" to appreciate the work and presentation of directionality. By proposing the clear directionality of which hard-working people who deny social status system can be duly compensated, it encouraged the audience who saw the opera to voluntarily put this in practice. Thus, operas established the directionality through selective processes for creating public communion even before revolutionary operas.

• (The)Study of the Eastern Classic
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• no.36
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• pp.163-202
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• 2009

The poems of Shin Suk-ju can be divided into two periods around the political change by King Sejo; his poems from the former period show that the poet enjoyed abundant pride and leisurely spirit in the self-satisfying world driven by his determination to maintain a pure heart and save and awaken the people during the reign of King Sejong. His ideology of awakening the people, however, was the product of his heroic consciousness to achieve immortal fame. It was his heroic consciousness and determination to sacrifice his life for fame according to the mandate from Heaven that made him join the political change by King Sejo. His poems from the latter period clearly reveal that the way of his life to pursue fame didn't bring him spiritual satisfaction and happiness. He confessed that his conscience was destroyed as he joined King Sejo in his political change and the deeds he achieved and further his life itself were all in vain. He lost the values or orders he pursued, which caused instability in his life. Facing such instability head-on, he argued that right and wrong, true and false, and good and evil mentioned in the world were all subjective and groundless. Furthermore, he realized all the things and creatures of the world were nothing but phantoms. Those perceptions he had were based on Madhyamaka of Buddhism. Going through such a thinking process, the poet wrote about his mentality of a false reputation with ideal mentality. Heroic consciousness, Buddhist thinking, and pursuit of mentality of a false reputation found in his poems make also frequent appearances in the poems by major literary men in the latter half of the 15th century such as Seo Geo-jeong. His serious searches to overcome his conscientious agony and sense of futility about life had influences on the attitudes toward life and literature of the official literary men of the times. Seong Hyeon's statement that the major literary figures of the times inherited the literary tradition of Shin Suk-ju was not a rhetoric by courtesy.

• KOMUNHWA
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• no.69
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• pp.41-62
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• 2007

This thesis is focused on the bat symbol, especially prevalent crafts’ pattern in late Joseon period on museum collections. For the use and reperception of them, I am aimed for appropriate analysis of bat symbol by co connotation which reflects the characteristics on number.plastic.color symbol. This point of view, bat idea and bat paintings in Joseon period will be the source of meanings to the denotation of bat patterns. In the museum collections, bat paintings and patterns are calculated 324 objects. By functional classification, the bat patterns on dwelling-crafts for the royal and for the people will be discussed. In result, the bat paintings were only a few, however, usually connoted Taoist hermit with super-natural powers.longevity.protector of Lightning-God.praying for long life, which were based on Taoism. Meanwhile the bat symbol of dwelling-crafts for the royal projected the longevity and prosperity of king and queen. By he Five Blessings and good auspices in Ching dynasty, number of '5.4' implied 'Five Blessings', Through the correct recognition of homo-phone, "a bat(蝠, fu)=happiness(福, fu)$\rArr$five bats(五蝠)$\rArr$Five Blessings(五福 )." In the case of bat symbol on the dwelling-crafts for the people, especially its for women, it expressed on the metal-decoration of furniture and paper-crafts. In the metal-decoration, the signified of bat symbol were expellant-evil('guard') that of characteristic signifier, white-silver color, number '1' and 'flying-type'. The bat symbol on paper-crafts for the people signified 'double happiness'.harmony.sons with number of '2', 'Five Colors' and the transformation of 'flying-type'. Accordingly, the bat symbol on the dwelling-crafts for the people marked 'happiness and guard', because the people had concrete cognition the bat symbol as a denotation of 'happiness and 'guard' by itself

• Journal of the Korean association of regional geographers
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• v.6 no.3
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• pp.53-81
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• 2000

The purpose of this study is to examine the chracteristics of the location of Zen Buddhist temples which are the Nine-Mountain Sects of Zen(九山禪門) from feng-shui perspective. A large number of temples have been built for about 1600 years since Buddhism had influenced on Korea. They have been built nationwide in different times by different sects of Buddhism. The pattern of location of Buddhist temples is different according to background of the times (political, economic, cultural aspect) and of tenet(difference in sects of Buddhism) when the temples were built. But the general location of Korean Buddhist temples is in accordance with feng-shui theory. Feng-shui is a traditional geographic thought in China and Korea. It is necessary to understand feng-shui in order to understand Korean landscape and cultural geography. It had given a tremendous impact on Korean landscape through choosing site of cities, settlements, houses, mounments, temples, pagodas, and so on. Before feng-shui was prevailing in Korea, Buddhist temples were mostly built on sacred place which was connected with folk beliefs. In the case of the late Silla Dynasty when Zen Buddhism was prevailing, feng-shui became popular and many. temples were built in accordance with feng-shui. The typical examples are found in the site of Nine-Mountain Sects of Zen temples. The interpretation of geomantic site of Nine-Mountain Sects of Zen temples will show us how feng-shui was applied to and reflected in the Korean peninsula. In Zen Buddhism, feng-shui was applied to the choice of the temple site. Also feng-shui theory was usually used to choose the site of stupa(Budo) where the remains of the founder of sect. In this study, I will interpret the geomantic characteristics of Nine-Mountain Sects of Zen temples. The geomantic interpretations of the temples are as follow. 1. The temples are located at the foot of a hill with surrounding mountains and a watercourse in front. Feng-shui texts often describe it as an ideal site. This geomantic situation is well equipped with natural drainage; protection from cold wind from the north or evil spirits; a good view with open space to the front; protection from unnecessary weather damage; and security and protection from strangers and invaders. 2. The sitting and facing direction of the temples correspond to the oncoming dragon's direction. 3. Many feng-shui texts discuss the types of Sa(surrounding mountains) in detail and morphologically describe them with certain animate and inanimate auspicious objects. In case of Nine-Mountain Sects of Zen temples, the geomantic landscape of these can be compared to auspicious objects. This is morphological marker for the description of configulation features of these temples. 4. Most auspicious places are not perfect, but the shortcomings can be overcome by many means. We can observe modification of landscape for the purpose of fulfilling the geomantic harmony of the temple.