• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.9 no.11
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• pp.501-512
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• 2019

The purpose of this study is to explore the necessity and method of the development of modern digital image contents using the story of the literary work 'Guunmong'' by Kim Man-joong. Collective intelligence technique is one of the most recommended. Today, most cultural content development is achieved through the application of digital technology through collaboration of various people from the planning stage to the completion stage. Most prototypes of local cultural contents are developed based on the literary works of artists from the region or background of the region on the works. These local cultural resources can be developed into experiential tourism products and used for the development of local cultural industry. This study first examines the availability of collective intelligence method as a way to effectively develop local cultural contents, and proposes application of image-telling technique and using web-toon characters in digital image contents development. In order to prove the practical applicability of the proposed method, we present an example of cultural contents development of 'Guunmong'. Finally, we propose a new business model based on collective intelligence to develop a system of creation and distribution of the cultural contents through the continuous collaboration.

• (The) Research of the performance art and culture
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• no.36
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• pp.103-135
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• 2018

The objective of this study is to re-examine the theory of Pansori (Korean musical storytelling genre) originating in Chinese tale-song literature. The said theory, first presented by Kim Hak-ju, succeeded in confirming the common points and association between Pansori and the Chinese tale-song literature, but failed to present the supporting ground for proving that Pansori originated in the said Chinese genre by comparing the contents of works and their performance type. In actuality, it was confirmed that the common factors of Pansori and the said Chinese genre naturally resulted from the performance situation where both genres should involve one singer chanting epics and simultaneously performing various roles and functions. In addition, it was confirmed that such identity of performance environment made the Pansori clown theory and the Gosagye tale-song(鼓詞系講唱) theory very similar. In addition, it was confirmed that, for one singer to present the wide spectrum of epic to the audience, the realistic description was the main part of literary style of both tale-song literature and Pansori, and furthermore it was revealed that, in the literary style of both tale-song literature and Pansori, the mixed use of time and temporal penetration were free. If a long performance of musical storytelling can be conceptualized in terms of 'tale-song' or 'oral epic', the Chinese tale-song literature and Pansori had similarity in the bigger frame of 'tale-song' or 'oral epic' and yet developed to have their own features.

• (The)Study of the Eastern Classic
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• no.68
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• pp.69-97
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• 2017

In this paper, I tried to examine the aspects of overcoming the aftermath of war through literary works. As history is continuously being reinterpreted and reevaluated, historical figures are described differently and given new meanings especially in the field of literature. It is not only important to examine these interpretations from previous generations themselves; it is also important to analyze them from a modern day perspective and look closely at their meanings. This research, by focusing on the post Manchu's invasion period, I examined the contemporary discussion. Literary works which were written in the post Manchu's invasion had different meaning comparing to the other time. Scholars at that time wanted to use historical figures as an allegory of temporary national situation. And this social phenomena was deeply related to the temporary discourses such like wipe off a disgrace by taking revenge on Qing (boksu $s{\breve{o}}lch^{prime}I$, 復讐雪恥) or loyalty to the Ming dynasty ($taemy{\breve{o}}ng$ ${\breve{u}}iri$, 對明義理). So that this research takes genre, time period, and nationality as the main variables to interpret typical historical figures and study their aspects.

• Journal of the Daesoon Academy of Sciences
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• v.35
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• pp.1-37
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• 2020

In this paper, we investigated the principle of appropriation by which mythology and literature were accepted in the unique religious context of The Canonical Scripture (Jeongyeong 典經). First, we knew that almost all of the gods that appeared in the discourse of Kang Jeungsan (姜甑山) were related to Eastern Yi (東夷) mythology and deeply rooted in folklore. This is because the cultural tendency and historic consciousness of Kang Jeungsan was influenced by Danhakpa (the Danhak School 丹學派). Secondly, when we investigated the acceptance of literature into The Canonical Scripture, we discovered that Tang Poetry (唐詩), Romance of the Three Kingdoms (Sanguoyanyi 三國演義), and Journey to the West (Xiyouji 西遊記) were widely accepted in Kang Jeungsan's discourse. These works were used in diverse ways such as predictions, healing, and meditation. We knew that popular classical work like these were religiously appropriated in the context of The Canonical Scripture. Lastly, we investigated the mechanisms by which mythical and literary imagination was transformed into the Jeungsanist religious movements. Those mechanisms included the magical power of letter and images, sense-cognition of poetry, and the representational ability of mimesis. In conclusion, mythical and literary imagination helped Jeungsanist religious movements gain popularity and spread Kang Jeungsan's soteriology. This is especially true of how it transformed into unique religious techniques which functioned as key elements of the Reordering Works (公事).

• Journal of Popular Narrative
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• v.26 no.2
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• pp.221-247
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• 2020

This paper examines the meaning of Pyeongsari, the main stage of the novel 'Toji (Land )' and the original experience space engraved in the lives of the characters and suggests the direction of Pyeongsari as a 'Toji (Land )' content platform. Pyeongsa-ri, an imaginary space in the novel, starts from the background of the original work and turns into a representative tourist space for Ha Dong-gun. However, it is necessary to provide cultural experience-type contents that visitors can experience in person. In the original work, Pyeongsari is an ideal community and a symbol of the Korean modern history of suffering and pioneering. Therefore, taking advantage of this meaning, it is necessary to prepare a cultural experience space that shows Confucian culture, women's labor culture, and shamanic culture to draw on visitors' experiences. In addition, the app should be developed in connection with transformed works that have been the driving force behind the reorganization of Pyeongsari, and education and experience spaces using augmented reality are provided on the web. This interaction between digital and reality makes the meaning of the original or transformed works contemporaneous, while contributing to the visitor's own experience. In addition, through this, Pyeongsari can evolve into a cultural experience content platform that reflects the meaning of Korean culture and life. This paper is significant in that it suggests the direction of Pyeongsari's space planning for the 'geography of meaningful places'. In addition, while showing how the imaginary space of the original literary work has reorganized the space of reality, there are implications for the media content of the literary work and the terrain of the culture and arts industry.

• Cross-Cultural Studies
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• v.37
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• pp.31-49
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• 2014

Peking has peculiar features as capital city, and has gone through various transformations, with its name changed from Peking to Peiping to Peking. Even when it did not serve as a capital city, it still played an unrivaled role in cultural aspects. Laoshe, a great writer of 'Peking flavour' literature, is famous for works full of cultural charms of Peking. In his works, which show the manners, norms, art, culture and optimistic life style of Peking, Peking culture is described as an extension of cultural traditions of Qiren. In addition, his critical view of reality is also expressed in the works. Linhaiyin's literary works show ordinary hutongs she experienced in the 1920s in Chengnan, the southern part of Peking, and the quiet and simple life of warm-hearted people living there. Her vague memories of Peking, along with her nostalgia for the city, let her describe the city with recreated happy memories of it instead of the harsh critical view. Her works express the city in her recreated memory full of hope, with her dark memories of the city being glossed over. As seen above, Laoshe realistically described the tragic and difficult life of low class people in hutongs of Peking as well as lower middle class people of the city. Meanwhile, in ChengnanJiushi, Linhaiyin expresses the daily routine and ordinary life of people in Peking from the perspective of middle class people. In addition, she showed the sympathetic view of middle class citizens towards their low-class neighbors. In Peking Menghualu, Wangdewei mentioned that the 'castle of memory' which old Peking people in Taiwan tried to establish fills an important gap for the continuity of Peking cultural history and cultural imagination. This indicates that the 'Peking castle of memories,' which Linhaiyin, a Taiwanese writer well known for 'Peking flavour,' has established plays a big role in filling part of such gap. ChengnanJiushi, Wuyigong's film based on Linhaiyin's novel of the same title, also describes the daily sceneries and culture of the southern Peking in the 1920s, which both Taiwanese and Chinese people miss, through sophisticated images with 'profound yearning tinted with calm sadness', accomplishing an artistic achievement different from that of the novel.

• Cross-Cultural Studies
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• v.43
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• pp.171-206
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• 2016

Russian anarchist thinker P. A. Kropotkin had a significant impact on the school of thought, the literary field and the anarchist movement in East Asia in the early 20th century. This paper examines the history of the translation of Kropotkin in terms of the routes and paths of translation in colonial Korea in comparison with those in Japan and China. It is a known fact that the acceptance of Kropotkin in colonial Korea is owed to pioneering translation works in Japan, but it appears that there have been various transformations and magnetizations in the process of translating the texts into the Korean language. Despite a disturbing censorship, the works of Kropotkin, such as "I appeal to the youth ("Aux Jeunes Gens" in French)", were imported, translated and distributed by various routes throughout the 1920s and there were various versions of translated Korean texts. At this point, it is noteworthy that there are works which were translated from Chinese texts about Kropotkin, such as the works of Yu Seo (柳絮), and it can be said that there is a relationship between Korean translations and Chinese original texts. Since the 1930s, the phenomenon of the appropriation of Kropotkin as a litterateur and critic rather than an anarchist thinker is particularly apparent, and this allows us to understand that Kropotkin became a major pathway to interpret Russian literature in East Asia. In colonial Korea, translations of Kropotkin were generally via Japan and China, but the process of translation also showed the struggle to accept and adapt 'the foreign text' into the Korean language.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.325-330
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• 2021

This study set out to investigate the forms, attributes, and escape methods of post-subjects projected on the investigator's works in connection with rhizomatic thinking proposed as a way of social transformation by Deleuze and Guattari and examine their social connotations. Post-subjects projected on the investigator's works are not completed wholes of some sort, but like materials whose constant premise is change and creation. In the investigator's works, post-subjects have conscious and unconscious desire. It is the desire of creation with positive attributes including Deleuze's and Guattari's pursuit of changes in a contradicting society. When desire is deployed in post-subjects, they will carry out an escape. This way of escape is rhizomatic proposed by Deleuze and Guattari. It deconstructs contradicting things and repeats connection, contact, and severance with the outside world, building a new order. Rhizomatic post-subjects appearing in the investigator's works depict the escape process and method in abstract ways through the variable installation of objets combined with a color field of repeating brushes. In this work, the goal of post-subjects is to make a safe landing in a space where beings are recognized for their values and free and creative lives. These post-subjects are nomads creating a new landscape continuously, wandering around vast plains, and also artists and literary figures resisting a contradicting society. That is, they are connected to the concept of a war machine proposed by Deleuze and Guattari as a concept of social transformation and to the concept of Nietzsche's Agon to devise and create new values and politics based on street passion. They seek after a space where they can co-exist with otherness recognized rather than the complete deconstruction of the old order.

• International Journal of Advanced Culture Technology
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• v.5 no.2
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• pp.9-18
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• 2017

The purpose of this study is to find out how to use emotional activity rate in sentence. The aim is to estimate the Emotion-Codon status of emotion-DNA wiggling as well as the sequence of codons in which amino acids of human body are spread. It is as if the amino acids are translated from the DNA of the human body, and the emotions that cooperate with each other are diversified and refined. Through these attempts, we anticipate the change of emotions by literary works and present the direction of the synapse working and the direction of the encoding. Therefore, this study analyzed the emotional activity of Rated Emotion-Codon, which works as Rated Sijo. At this time, the emotional change in the human body, in which the sentence is more clearly pronounced, is predicted and detected. This result shows how emotions can activate the human body. This state of activation is an indicator of how much the sentence pushes the physiological action of the human body. It is judged that Codon is constructed precisely for the activation of the rated Sijo additive definition by this index. Our result is evidenced by the fact that three sentences of Rated Sijo show an array with the same rating as the Rated Codon's, The first sentence fuses with the sentiment between the second sentence and the third sentence of Rated Sijo. The emotional symbols between the sentence symbols "A, U, J, L" in the first base of the Codon table and the sentences fusing between the sentences of the first sentence and the third sentence are "A, U, J, L". The emotional symbols between the sentences flowing in the second base of the Codon table and between the sentences of the first sentence and the second sentence are structured in the third base of the Codon table as "A, U, J, L". The Rated Sijo, which is resiliently and precisely assigned to the human body's Rated Emotion-Codon, will require a rich experience in our Rated Life.

• Journal of the Korean Society for Library and Information Science
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• v.12
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• pp.7-37
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• 1985

In most of the modern libraries throughout the world, it is popular to adopt the author number which arranges the books or entries in alphabetical order of their author's names within the same ultimate class. However, viewed historically, that was the Western practice never used in the East before. Traditionally chronological order was followed in the East. Book number not only individualizes the books within the same class but also makes it easy for the user to choose and find out the relevant materials. In this respect, chronological book number is decidedly superior to all kinds of book number systems ever have been existed. Especially in these days of rapid obsolescence of documents and with serious problems of storage of documents, the chronological order seems to be the most modern and future-oriented of all other book number systems because it distinguishes clearly new materials from aged materials by the date of publication and controls the stack spaces mechanically and effectively. This writer devised New Chronological Book Numbers adaptable to both the Eastern and Western materials, and the system has been adopted at Yonsei University Library. The features of the system are as follows: (1) It is easy to type the call number in cataloging the Eastern and Western materials. That is because the structure of the chronological number is pure numerical notation by taking the last two figures of the year within twentieth century(e.g. 85 for AD 1985), that is 1900s, and the last three figures of the year from twenty-first century to thirtieth century, that is 2000s. (2) It does not make all classes have chronological number uniformly. Within the classes for individual biographies, genealogies and collections of biography of specific family, books about individual organization, individual literary and artistic works, philosophical works of the famous philosophers, books and its facsmile editions published before 1900, new editions, translations, commentaries, serials, chronological number is assigned to the author number as in the past. (3) It separates the Eastern materials from the Western materials and makes the typing easy in cataloging. That is because the subarrangement within the same chronological book number is made by the accession order which uses 'panjol-ponmun' or the characters of basic syllabic table of Korean alphabet in case of the Eastern materials and Roman alphabet in case of the Western materials.