• International Area Studies Review
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• v.22 no.3
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• pp.221-251
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• 2018

Two-tier wage systems mean the dual wage systems that the new wage system require the new future employees to get much lower wage level, compared to the level of wages for existing employees under the existing wage system. While it allows employers to benefit from low-cost advantages, the two-tier wage systems is definitely a type of wage discrimination by the collusion between management and trade unions in that it forces the new future employee to accept the low wages. Also it reflects extreme collectivism which old union members try to keep having their jobs and wages at the sacrifice of future members' wages. The two-tier wage systems had been introduced by airplane industry in 1980s and introduced again in Big Three auto companies in 2007. The purpose of this paper is to examine the history, contents, and details of two-tier wage system in the United States and to think of the possibility of recurrence of the systems in the context of Korean auto industry in the near future. The tentative findings from this paper implies that the two-tier wage systems will likely happen in Korean auto industry because the collusion between trade unions and management are found easily and the degree of extreme collectivism favored by the old permanent union members is seriously high. It is time for trade unions to go back to their original ideals and purposes and to revitalize solidarity among workers.

• The Critical Review of Religion and Culture
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• no.32
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• pp.13-54
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• 2017

The Ise Grand Shrine(伊勢神宮) dedicated to the sun goddess Amaterasu (天照大神), located in the city of Ise(伊勢市), Mie Prefecture of Japan, is a center of Japanese Shinto Shrines and composed of a large number of Shinto shrines centered on two main shrines, Naiku(內宮=皇大神宮) and Geku(外宮= 豊受大神宮). Historically it has kept very close relationship with Emperor, because its enshrined deity Amaterasu is generally said to be the ancestor of Imperial Family. The food and alcohol offering to the gods in Japanese Shinto rites are called Shinsen(神饌, ambrosia). Main subjects of this essay dealing with Shinsen are the various matsuri (rites) of Ise Grand Shrine and Emperor, such as Higoto-asayu-omike-sai(日別朝夕大御饌祭, offering repasts to the gods in the moring and evening everyday), Kan-name-sai(神嘗祭, offering of the year's new rice harvest), Shikinen-sengu-sai(式年遷宮祭, year of the ceremony), Nii-name-sai(新嘗祭, Ceremonial offering by the Emperor of newly-harvested rice to the gods), and Daijo-sai(大嘗祭, first ceremonial offering of rice by newly-enthroned Emperor). Then, the purpose of this essay is to examine not only the social, religious, and political but also cultural meaning of Shinsen especially in relation to Korea, basically introducing some types and characteristics of Shinsen with its mythological background and historical development. In so doing, I will show the concrete list of items and processes of Shinsen in those rites. For example, the social meaning of Shinsen might be examined in association with agricultural features, ancient dietary life, Japanese food, and its contemporary context etc. Besides, its religious meaning can be mentioned especially from the perspective of divine nature, life and rebirth etc. On the other hand, the politics was in ancient Japan originally called Matsurigoto which means the ancestral rites for gods. This suggests the political meaning of Shinsen that the politics in Japan has originated from Shinsen.

• The Korean Journal of Archival Studies
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• no.54
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• pp.179-210
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• 2017

By redefining the concept of history, my colleagues and I have reformed our department in terms of curriculum and faculty members. This paper is a report of some of the conclusions that we have obtained from this procedure. Despite a long relationship, two disciplines do not seem to match or complement each other in the Korean education system. We believe that this is due to the fact that the Department of Korean History has focused on "national history (NH)." By conferring a privilege on NH, persons, families, societies, regions, and others were removed from NH. To make matters worse, a biased view that history is just an interpretation has prevailed, and the empiricism of history was weakened, which brought about an indifference in keeping records and archives. In East Asia, "history" means both modern history and archives. The concern about the authenticity of records did not come from H. Jenkinson or L. Duranti, and not even from the electronic environment or the Public Records Act of 1998. Key concepts such as records, documents-archives, manuscripts, authenticity, compilation-appraisal, arrangement, and description are different from their signifiant but are same or similar to their $signifi{\acute{e}}$. In case of "provenance" and "original order," they are used in education and practice in the traditional archives. History includes the recording, archiving, and the story or historiography of an event. In this context, the Department of Korean History should contain a more archives-oriented curriculum and select an archival-trained faculty. On the other hand, the department has accumulated long-term experience with appraisal and description of records; thus, archival science should absorb the criticism of the material. History will be shaken without the help of archives, while archives will lose their root without history. We are at the point in which we need to be reminded why we want to be a historian or an archivist, and for this, the more colleagues, the better.

• (The)Study of the Eastern Classic
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• no.57
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• pp.263-299
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• 2014

This study aims to look into weapons names mentioned in "Unhae", a book of traditional martial arts annotated into Korean. Comprehensive conclusions drawn from this are as follow. First, the annotated martial arts book is compiled to the order of Muyejaebo of year 1598, Muyejaebobunyuksokjib(A annotated attachment to Mooyejebo) of year 1610, Moojesinbo of year 1759, and Muyedobotongji of year 1790. Second, in the martial arts book are a total of 24 weapons with 4 types of spears, swords, bare hands & poles, and horseback weapons. Weapon names of ?Unhae? taken into detailed analysis, spears are 5 types of Jangchang (long spears), Jukjangchang (long spears made of bamboo), Keechang (flagged spears), Dgangpa (skewered spears), and Nangseon (forked spears). Swords are 10 types of Ssangsoodo (two-handed swords), Yedo (pointed swords), Waegum (Japanese swords), Waegumkyojun (Japanese battle swords), Jedokgum (Admiral's swords), Bongukgum (native swords), Ssanggum (coupled swords), Woldo (moon swords), Hyupdo (narrow swords), Deungpae (swords made of rattan). Bare hands & poles are 3 types of Gwonbeop (fists), 7070 Gonbang (clubs), and Pyeon-gon (flailed clubs). Horseback weapons are 6 types of flagged spears, MasangSsanggum (coupled horseback spears), MasangWoldo (horseback moon swords), MasangPyeon-gon (horseback flailed clubs), Kyukgoo (striking poles), and Masangjae (horse postures). Third, spears of the martial arts book, "Unhae" had the function as long weapons and were used for military drills of the infantry. Swords had the function as short weapons, and were used for military drills of the infantry. Bare hands & poles had the function as short weapons and were used for military drills of the infantry. Horseback weapons composed of short and long weapons were used for military drills of the cavalry. In addition to these, Kyukgoo (striking poles), and Masangjae (horse postures) were martial arts to which entertaining elements were added. Fourth, the difference in its compiling is that Mooyejebo and A annotated attachment to Mooyejebo place both Chinese characters and Korean annotation in the context together with introduction of weapons while Moojedobo Tongji explains weapons in Chinese and compiles a separate copy of Korean annotation that explains mainly postures in each lineage of martial arts for soldiers to acquire practical skills.

• Journal of Korean Historical Folklife
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• no.45
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• pp.291-325
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• 2014

This study is about examining the changing process of worshiping heaven in the end of the Koryo dynasty and early Chosun dynasty. For this, it was compared with book of national rites. This paper will outline the differences of commemorative rites of worshiping heaven between Korea and China and its reason for changing process. Also, it shows the understanding of the historic characteristics of commemorative rites of worshiping heaven in the end of the Koryo dynasty and early Chosun dynasty through analyzing conducted religious service. Following methodological approach was used to achieve the aim of the study. The study includes historical changing process and basic ritual of commemorative rites of worshiping heaven from Koryo dynasaty to King Sejo period through various chronicles and books of rites. Understanding the trend transition of operating commemorative rites of worshiping heaven is expressed differently based on the situation in those days even though it is the same operation of commemorative rites of worshiping heaven. The existing study only primarily considered the rites of worshiping heaven in the end of the Koryo dynasty and early Chosun dynasty through the resources within the country. However, the process of settlement of commemorative rites of worshiping heaven is closely related to settlement of Confucian formality. As the problems cannot be solved if institutional changes are researched only though the resources within the nation, this following study also considered the transition of commemorative rites of worshiping heaven in China for sure. Through this approach, the study understood how China's rites of worshiping heaven settled down and formed in Korea and found differences of the rites of worshiping heaven between the two nations by comparing China's book with ornamental "seal" characters throughout many generations. Furthermore, it also illustrated historical characteristics of rites of worshiping heaven in the end of the Koryo dynasty and early Chosun dynasty by analyzing carried out religious service. Although it seems like there are many similarities of Chinese ritual procedure between Koryo dynasty and Chosun dynasty, there are existing significant differences in the context. Moreover, it is clear that there are differences of ritual between Tang, Song, Ming dynasty. These differences are directly connected to Korea and also with transition of king's power. Generally, Tang and Song dynasty show similar trend whilst Ming clarifies the differences between the two. For instance, there are differences between deep bow and superintendent of cho-hun, a-hun, and jong-hun. Transition of configuration is also one of the major differences. Changing of configuration has considerably important meaning refer to status of king's power. Analyzing specific features, such as size of altar, ancestral tablet, people who participate in sacrifices, okpye, configuration, and etc., made possible to consider the actual differences, not just examining different features of vaguely. Based on this foundation, the study closely examined the differences among the periods between the nations and gave the significance of the differences.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.154-169
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• 2021

The establishment of the Bronze Age is one of the most important achievements suggested by Korean archaeology shortly after liberation. There is no doubt that Moo-Byung Yoon is the representative figure, who refuted the ambiguous Eneolithic age (金石倂用期) created by Japanese scholars and settled the concept of the Bronze Age. In this article, the author takes a new look at Yoon's institutional role in studying the Bronze Age in Korea. Until now, Yoon's representative achievement has been his typology of the Slender dagger of the Korean Peninsula. However, it is not less important that Yoon also established the Bronze Age concept with the excavation of a dolmen and a Bronze Age subterranean dwelling in Oksok-ni, Paju during the 1960s. Of course, it was not a personal assignment for Yoon. He was aided by Prof. Kim Won-Yong's work, who had introduced newly excavated materials from North Korea and China; these materials gave some insight for establishing the Bronze Age concepts in the 1960 and 1970s. Kim's suggestion about the possibility of a Korean Bronze Age led to Yoon's refined typological study on Korea's bronze wares. However, Yoon's excessive schematic classification of artifacts and reliance on the Japanese chronology became an obstacle for making the Korean Bronze Age isolated from East Asia. As a result, it is regrettable that his research led to the "cultural lag" phenomenon of Bronze Age research. Meanwhile, Japanese archaeology, which had influenced Yoon, also faced a major change. In 2003, the Japanese archaeological community revised the Yayoi culture's beginning around the 1,000 BC. This means a shift in the perception that we should understand Japan's Bronze Age in the context of the East Asian continent. Of course, it is not appropriate to reevaluate or denigrate Yoon's research from the current view. Rather, it is necessary to recognize the limitations of Yoon's time and present a new path to research by combining the archaeological tradition of refining research on the relics he maintained with a new chronological view and a macro view of East Asian archaeology. This is why we should take a new glimpse into Yoon's research.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.221-254
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• 2020

This paper finds a solution in the social context which cannot be explained thoroughly by well-timed release date, revival of comedy films, and the attraction of Lee Byeong-heon's comedy etc. while it throws question of how the film, Extreme Job captivated 16 million audience. The incredible hits of Extreme Job cannot be explained by analyzing the text alone. After this essay investigates a function and a role of comedy as a public sphere, it examines people's desires and wishes in the comedy and other genres since 2008 when the conservative government has seized power. Since 2008 a series of dark tone's action thriller, social problem film, and disaster film have emerged, these genres showed absence of public security, crisis of democracy and criticism against rulling class. On the other hand, hit comedy films have showed escapism such as weepie, nostalgia, and fantasy at the same time, generally. Although Veteran (2015) is not full-blown comedy, after this film's big success, "comic mode" has gradually revived. A light tone's films which are truer to genre rules has started representing the wishes of people toward social reforms and changes. Meanwhile, "Candlelight Protest" served as a momentum to recover the democracy which has been in crisis, but it could not lead changes in economic and daily lives. Exreme Job can be read as a question how we will survive since "Candlight Protest." The lives of detectives as self-employed workers who has taken over a fried chicken restaurant for going undercover are appearances of ordinary persons who must survive in the edless conpetition. Furthermore, this film shows a dream of a "great success myth" which becomes well-known as a famous restaurant and a self-management such as brand-naming and an exapansion of franchise business. We can read ganster's chicken franchises as a huge distribution industry which disturbs market system by delivering drugs secretly. While applauses that we give to the police having identities of self-employed workers which sweeps the ganster are giving support to oridinary neighborhood like us, they are also wishes of people who long for the restoration of publicness of police in the market which is becoming increasingly privatized today. A significance of this essay is to examine Extreme Job in terms of the geography of film genres and the revival of comic mode sicne 2008 at the macro level, and is to read the film in the perspective of the problems of economic and daily lives which has been still unsolved since "Candlelight Protest" at the micro level.

• Korean Association of Arts Management
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• no.53
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• pp.127-151
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• 2020

In this study, the announced in 2010 was used to identify the flow of social value expansion on the culture and art education and to provide the future direction. In the context of culture and art education, cultural diversity is an important agenda, and thus the case of cultural diversity program by the National Museum of Contemporary Art was analyzed to discuss the social role of culture and art education. To summarize the findings, it is a program of promoting understanding on the diversity of art in the same period and various identifies of the members of our society through the exhibition of «Artist of the Year», and it is a program on cultural diversity of understanding the diversity and identity of various members in our society through the contemporary artwork. Through theme-based approach, education on cultural diversity and cooperative learning were applied to develop the sense of community. Based on the core values of education on cultural diversity, the contents of the education program on performed total of 80 times on 14 programs in 2017-2019 were analyzed. As a result, the analysis showed 9 core values, and the core values of education on cultural diversity derived through the content analysis of the education program on were ① Engagement, ② Conversation, ③ Citizenship, ④ Coexistence, ⑤ Human Rights, ⑥ Difference, ⑦ Equality, ⑧ Cooperation, ⑨ Solidarity. As the space enhancing the cultural engagement, the art museum is a place for realizing the value on cultural diversity, so it has significance as the space that embraces both cultural diversity and culture and art education. In this sense, it was identified that the discussion on the cultural diversity and culture and art education was being expanded into the perspective of various groups and communities in our society through the core values of engagement, conversation, citizenship, coexistence, human rights, difference, equality, cooperation, solidarity and direction, which were provided by the analysis of the contents on the art museum education program on cultural diversity in the National Museum of Contemporary Art.

• Economic and Environmental Geology
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• v.56 no.2
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• pp.139-153
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• 2023

This study aimed to understand the spatiotemporal variations in nitrogen content in the Gyeongan stream along the main stream and at the discharge points of the sub-basins, and to identify the origin of the nitrogen. Field surveys and laboratory analyses, including chemical compositions and isotope ratios of nitrate and boron, were performed from November 2021 to November 2022. Based on the flow duration curve (FDC) derived for the Gyeongan stream, the dry season (mid-December 2021 to mid-June 2022) and wet season (mid-June to early November 2022) were established. In the dry season, most samples had the highest total nitrogen(T-N) concentrations, specifically in January and February, and the concentrations continued to decrease until May and June. However, after the flood season from July to September, the uppermost subbasin points (Group 1: MS-0, OS-0, GS-0) where T-N concentrations continually decreased were separated from the main stream and lower sub-basin points (Group 2: MS-1~8, OS-1, GS-1) where concentrations increased. Along the main stream, the T-N concentration showed an increasing trend from the upper to the lower reaches. However, it was affected by those of the Osan-cheon and Gonjiamcheon, the tributaries that flow into the main stream, resulting in respective increases or decreases in T-N concentration in the main stream. The nitrate and boron isotope ratios indicated that the nitrogen in all samples originated from manure. Mechanisms for nitrogen inflow from manure-related sources to the stream were suggested, including (1) manure from livestock wastes and rainfall runoff, (2) inflow through the discharge of wastewater treatment plants, and (3) inflow through the groundwater discharge (baseflow) of accumulated nitrogen during agricultural activities. Ultimately, water quality management of the Gyeongan stream basin requires pollution source management at the sub-basin level, including its tributaries, from a regional context. To manage the pollution load effectively, it is necessary to separate the hydrological components of the stream discharge and establish a monitoring system to track the flow and water quality of each component.

• (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.