• Journal of Korean Theatre Studies Association
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• no.49
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• pp.209-238
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• 2013

In recent years, a Zainichi playwright Jeong Ui Sin has been very active in the Korean theatre scene. However, the production of Yakiniku Dragon-first performed in Korea in 2008-which received numerous awards both in Japan and Korea gave him the recognition of Koreans' that was long overdue. In this paper, I will look closely into his two plays-Ineo Jeonseol (1990) and Yakiniku Dragon (2008)-which was written twenty-eight years apart from each other and reveal both similarities and differences between them in terms of the formation of post-colonial Zainichi identities. And to do so, I will utilize various opinions from post-colonial theories, performance studies theories, ethnic studies theories and theories on Zainichi Koreans. In the first, introductory chapter, I will delineate the theories on which this paper is based and some common factors of Jeong Ui Sin's 1990s plays as a point of departure. Then, I will move into the second chapter in which the two plays and actual productions of them will be closely examined to reveal different types of Zainichi identities and their social and cultural place within Japan by using Millie Creighton's concept of uchi others. In the third chapter, the identities of double negative (not not) and nomadic identities that are relevant to three types of Zainichi identity formation will be discussed. The fourth chapter will debate about various scholars' speculations about the future of Zainichi Koreans' identities and, finally, illuminate the changes/shifts that Jeong Ui Sin shows in terms of his stance as a Zainichi subject. In conclusion, even though it is very hard to speculate exactly what will happen to the Zainichi identity and their existence in Japan, the differences between the two plays-especially the endings-can be interpreted as revealing the changes in Jeong Ui Sin's Zainichi identity and it certainly sheds positive light on the future of the Zainichi identity and existence.

• The Journal of Korean Medical History
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• v.17 no.1
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• pp.177-194
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• 2004

This study examines the main points of DongUiBoGam(東醫寶鑑) based on the preface(序) and Compiled Examples(集禮) of DongUiBoGam(東醫寶鑑). The results of this study are the following: 1) DongUiBoGam(東醫寶鑑)'s InSinReon(人身論: man-body doctrine) states that Form(形 -hyeong) and Jeong(精), Ki(氣), Sin(神) are the foundation and the Organs are the mediators. 2) DongUiBoGam(東醫寶鑑) includes Taoism, Buddhism, and Medical Science. 3) DongUiBoGam(東醫寶鑑)'s NaeGyeongChapter(內景篇), OeHyeongChapter(外形篇), JapByeongChapter(雜病篇)'s name shows that each chapter's key concept is Gyeing, Hyeong(形-Form), and Byeong(病-Sickness). 4) The purpose of DongUiBoGam(東醫寶鑑) is Following the Ideas Handed Down From Forefathers(慕古人之遺意), and in this prospect, the context could be named, 'The Treasure Box and Mirror of Eastern Ideas' (東意寶鑑-DongUiBoGam).

• Korea Petroleum Association Journal
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• no.9 s.151
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• pp.40-45
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• 1993

• Proceedings of the Korean Radioactive Waste Society Conference
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• 2010.05a
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• pp.285-286
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• 2010

• Journal of Korean Medical classics
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• v.28 no.1
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• pp.111-125
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• 2015

Objectives : The objectives of this study is to provide the theoretical basis to cure and prevent mental disease by translating and considering Benshen chapter in LingShu. Methods : First, I translate the contents of "Benshen" chapter in LingShu paragraph by paragraph. Second, I consider the contents of Benshen chapter in LingShu. Third, after considering each paragraph of Benshen chapter in LingShu, I think the relation of each paragraph and picture to myself Benshen chapter. Results and Conclusions : 1. Heart(心) appeared in Benshen chapter mediates the action of 'JeongSinHonBaek(精神魂魄)' and 'UiJiSaRyeoJi(意志思虑智)'. 2. 'UiJiSaRyeoJi(意志思虑智)' appeared in Benshen chapter means the process of the maturity of thought. 'Jeong(精)' which has a 'water(水), sink(沈), silent(靜)' image gets involved in the development from 'Ui(意)' to 'Ji(志)', because its process means the thought is deepening. 'Hon(魂)' which has a 'wind(風), cloud(雲), change(變)' image gets involved in the development from 'Ji(志)' to 'Sa(思)', because its process means the change of the thought. 'Sin(神)' which has a 'fire(火), bright(明), move(動)' image gets involved in the development from 'Sa(思)' to 'Ryeo(慮)', because its process means the expansion the horizon of the cognition. 'Baek(魄)' which has a 'metal(金), firm(剛), decide (決)' image gets involved in the development from 'Ryeo(慮)' to 'Ji(智)', because its process means the wise response to real world. 3. If one is immersed in one emotion and cannot escape from it, the functional change of Gi(氣) due to its emotion harms five spirits which move in the opposite direction and causes mental physical symptoms and has a possibility to die in the season which inhibit each five organs. 4. Five spirits(五神) acts based on 'HyeolMaekYeongGiJeong(血脈營氣精)' and in the symtoms caused by deficiency and excess of five organ Gi(五藏氣), symptoms of liver and heart appear in emotion and symptoms of spleen lung kidney appear in body. 5. Benshen chapter highlights the importance of checking 'Sin(神)' and 'Gi(氣)' treating a patient with acupuncture and mentioning the importance of observing deficiency and excess of five organ Gi(五藏氣) in the last paragraph means 'Sin(神)' and 'Gi(氣)' are inseparably related.

• 대한관절경학회:학술대회논문집
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• 2008.04a
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• pp.77-77
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• 2008

• Communications of the Korean Institute of Information Scientists and Engineers
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• v.27 no.7
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• pp.51-58
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• 2009

• Cement Symposium
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• s.37
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• pp.244-250
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• 2010

• 대한불안의학회:학술대회논문집
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• 2004.06a
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• pp.139-155
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• 2004

• Proceedings of the Korean Radioactive Waste Society Conference
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• 2010.10a
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• pp.321-322
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• 2010