• (The)Study of the Eastern Classic
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• no.70
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• pp.303-345
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• 2018

In this article, how the Bangmok(榜目) documents, which are essentially lists of successful passers for the civil competitive examination system of the $Chos{\breve{o}}n$ dynasty, when rendered into digitalized formats, could serve as source of information, which would not only lets us know the $Chos{\breve{o}}n$ individuals' social backgrounds and bloodlines but also enables us to understand the intricate nature that the Yangban network had, will be discussed. In digitalized humanity studies, the Bangmok materials, literally a list of leading elites of the $Chos{\breve{o}}n$ period, constitute a very interesting and important source of information. Based upon these materials, we can see how the society -as well as the Yangban community- was like. Currently, all data inside these Bangmok lists are rendered in XML(eXtensible Makrup Language) format and are being served through DBMS(Database Management System), so anyone who would want to examine the statistics could freely do so. Also, by connecting the data in these Bangmok materials with data from genealogy records, we could identify an individual's marital relationship, home town, and political affiliation, and therefore create a complex narrative that would be effective in describing that individual's life in particular. This is a graphic database, which shows-when Bangmok data is punched in-successful passers as individual nodes, and displays blood and marital relations in a very visible way. Clicking upon the nodes would provide you with access to all kinds of relationships formed among more than 90 thousand successful passers, and even the overall marital network, once the genealogical data is input. In Korea, since 2005 and through now, the task of digitalizing data from the Civil exam Bangmok(Mun-gwa Bangmok), Military exam Bangmok (Mu-gwa Bangmok), the "Sa-ma" Bangmok and "Jab-gwa" Bangmok materials, has been completed. They can be accessed through a website(http://people.aks.ac.kr/index.aks) which has information on numerous famous past Korean individuals. With this kind of source of information, we are now able to extract professional Jung-in figures from these lists. However, meaningful and practical studies using this data are yet to be announced. This article would like to remind everyone that this information should be used as a window through which we could see not only the lives of individuals, but also the society.

• Analyses & Alternatives
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• v.7 no.1
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• pp.115-145
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• 2023

The 20th National Congress of the Chinese Communist Party (hereafter referred to as "the 20th National Congress") was under the global spotlight long before it was held for seven days from 16 to 22 October 2022. People wondered whether Xi Jinping would secure a third term as China's leader or whether he would lay the foundations to be in power forever during the third term. In Korea, the press and media questioned whether the event would become the "crowning of Emperor Xi (Xi Huangdi)," whose power rivaled that of the first emperor in China, Shi Hunagdi, and featured the scene where Hu Jintao was forced to leave the venue during the Congress. On the other hand, many Korean academics focused more on how Xi would organize the Politburo and its Standing Committee and whether the outline of his heirs would appear during the event. This tendency in academia in turn worsened the media's concerns. This paper presents a quantitative analysis of the 20th National Congress Report, as opposed to an analysis of Xi's political intentions at the event. The National Congress Report outlines the Party's visions, goals, and strategies for the next five years in politics, economy, society, culture, foreign affairs, and relationship with Taiwan. The authoritative document is rich in narrative and logic and deserves academic study. This research analyzes the 18th, 19th, and 20th Reports by identifying their keywords and regular expressions and checking their frequency and percentage through text-mining methods. This approach enables the quantification and visualization of the significant changes in the Party's sovereign vision over the fifteen years of Xi's rule from 2013 to 2027.

• Journal of the Daesoon Academy of Sciences
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• v.31
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• pp.165-197
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• 2018

The purpose of this article is to investigate communal action in the Ox Seeking Pictures of Daesoon Thought as an expression of future prospects. The Ox Seeking Pictures in Daesoon Thought seeks out renewal of thought, renewal of life, and true living. Here, the Ox Seeking Pictures symbolize a world in which good fortune comes true according to faith in Gucheon Sangje. The correlation between searching for the ox and the supporting teachings of the Reordering Works of Heaven and Earth in Daesoon shows the transformation of Daesoon prospects for achieving the renewal of thought. The correlation between Deep Contemplation Leading to Awakening and Finding and Following Heavenly Teachings shows the transformation of Daesoon reason into a practice implemented in daily life. The correlation between a human being's awareness and the heavenly paradise of the Later World shows transformation into true living based on everyday practice and the practical transformation of one's livelihood. In this investigation, we can say that the Ox Seeking Pictures of Daesoon symbolizes the realization of human dignity and respect for lives. No life should be destroyed or violated by another. Heaven, Earth, and Humanity can be changed and born anew. The visions of the realization of the heavenly paradise of the Later World show that this paradise in the world results from Daesoon principles. This provides a unique insight when compared to the bodhisattva ideal conveyed through the Ox Seeking Pictures of Mahayana Buddhism. Daesoon's Ox Seeking Pictures consist of a three-way interlocking of renewal of thought, implementation in life, and the practical transformation of one's livelihood. The communal spirituality based in Daesoon Truth connects and mediates among people and appears in three aspects. Firstly, it is thought to be a vision of the renewal of thought through the 'Virtuous Concordance of Yin and Yang.' Secondly, it is thought to be the vision of a new life based upon the spirit of Mutual Beneficence. Thirdly, it is thought to be a vision of true living through the realization of human dignity. Because of the appearance of the Ox Seeking Pictures of Daesoon Thought, this narrative picture shows the oxherd as searching for an ox which is the symbol of Daesoon Truth and Dao. Even though he catches the ox, he is still holds the rope to tie the ox to himself. He makes an effort to keep the ox steady. Finally, the oxherd's enlightenment becomes the source of responsibility to help unenlightened people in their struggles. In conclusion, it is necessary to interpret these paintings as the start of the Later World.

• Journal of the Daesoon Academy of Sciences
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• v.41
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• pp.179-217
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• 2022

Concerning the differences in the tales between the Investigation of Historical Remains of Patriarch Jinmuk (hereafter, IHRPJ), as well as those which appear in Jeungsanist Thought and Daesoon Thought, previous studies view such differences as Jeungsan's intentional modification of the original intent of the narratives or as indicating differences in beliefs and values. This style of interpretation seeks to reconcile both Korean Buddhism and Jeungsanist and Daesoon Thought based on the premise that the former and the latter two exhibit differences in values. This study accepts the above view of the differences in description according to values. However, the differences between the tales of Jinmuk that appears in IHRPJ versus those in The Canonical Scripture can be approached from a new perspective, i.e., the differences that exist between literary and oral traditions; rather than only stemming from potential differences in the world views espoused by Buddhism and Daesoon Thought. These refer to the IHRPJ, which was constructed first as literary narratives in the 19th century; however, there was also folklore that had been handed down from the 18th century. As a result of examining the relationship between Jinmuk and Bonggok via this interpretive horizon, the contents of the IHRPJ are found to reflect the values and intentions of the intellectual class, such those held by Master Cho-ui and Kim Ki-jong, whereas oral traditions can be seen as a reflection of the hopes of the people of the late Joseon Dynasty. Jeungsan should also be interpreted as having utilized folklore in his teachings. Meanwhile, the circumstances and intentions behind publishing the IHRPJ are analyzed in the context of the text's historical background and the relationship between Confucianism and Buddhism during the 16th through 19th centuries. In particular, through the Compilations of Wandang and the collection of writings of Buddhist monastics, I have evaluated that Confucianism needed to purify and correct materials according to the ideology of the times in order to promote a spirit of morality and courtesy. Likewise, Buddhist Master Cho-Ui also embellished records to benefit Buddhism and deleted oral records that could harm the reputation of Buddhism. On the other hand, when viewing Records of Shrine Renovation and existing oral traditions, it can be shown that some Jinmuk tales existed in the 18 th century which were not included in the IHRPJ. Thereby, Jeungsan's description of Jinmuk tales can be reappraised as accepting the oral secular tradition that conveyed the wishes of the people. In other words, compared to the IHRPJ, which reflects only the harmonious content of Confucianism and Buddhism due to political and social factors, The Canonical Scripture reflects oral traditions that were widespread during the late Joseon Dynasty. As evidence, it can be suggested that there are many narratives about the relationship between Jinmuk and Bonggok that center on Bonggok's jealousy and the murder of Jinmuk. Jeungsan aimed to encompass people of all classes according to their minds and wills rather than their political positions or statuses. Therefore, Jeungsan did not need to rewrite the narrative content that had been passed down via oral tradition. Instead he embraced those narratives as a projection of the voices of the people.

• Journal of Korean Academy of Dental Administration
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• v.5 no.1
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• pp.1-12
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• 2017

Although dental hygienists have performed chair-side assisting and other dental cares as well as preventive dental cares in Korea, medical technician law confines duties of dental hygienists as closed narrative. The aim of this study was to investigate difference in perception of duties of dental hygienists in dental clinic between dentists and dental hygiene students. A total of 245 copies of questionnaires were distributed to dentists and students by post-mail. Only 42 dentists and 30 students in an area replied these questionnaires about the present and future duties of dental hygienists after providing written consent. Both groups agreed that intra and extra oral X-ray taking, education about oral health behavior, instruction after dental treatment, chair-side assisting, consulting for patients, scaling, initial impression taking, management of dental materials and equipment, sterilization of equipment, and receiving dental bills are duties of dental hygienists. However, they had different perceptions about various dental treatments as duties of dental hygienists even if they were under instructions of a dentist, including infiltration anesthesia, filling in cavity, intramuscular injection, FC change, canal irrigation, orthodontic treatment including separating, ligature bracket bonding and removing, setting crown and bridge, making individual, removing implant screw, and so on. These findings demonstrated that there were different perceptions about duties of dental hygienists between dentists and dental hygiene students, especially on dental treatment.

• Journal of the Daesoon Academy of Sciences
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• v.47
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• pp.173-202
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• 2023

In this study, we delve into the potential for innovative cultural education techniques that utilize the timeless tales of Princess Bari and The Tale of Shim Cheong as tailored for the upcoming generations of overseas Korean learners. With a rising number of young overseas Koreans born and raised in their host countries, there emerges a pressing need to craft an educational framework that resonates with the evolving dynamics of their generation. Our endeavor revolves around proposing educational strategies that help solidify identity while carefully considering the intrinsic motivation prevalent among most overseas Koreans. Naturally, the choice of employing the classic epics Princess Bari and The Tale of Shim Cheong as educational resources was deliberate. These narratives are rich in rites of passage and offer profound insights into the transformative journey of their protagonists. Both characters are affluent women in patriarchal societies, and both embark on quests to redefine themselves through new relationships, liberating themselves from the confines of parental ties. This narrative framework provides a unique opportunity for overseas Koreans who are often adrift in the social fabric of their adopted countries. These stories inspire them to introspect and contemplate their own identities. By intertwining their personal narratives with the empowering stories of characters, students are provided a chance to reaffirm their authentic selves. Therein, a paradigm shift can occur that allows individuals to embrace the core elements that define them. Our ultimate objective was to enable students to explore their own stories and immerse themselves in the intricate narratives of classical works. This immersive experience fosters a profound sense of unity with the characters and paves the way for a comprehensive educational plan. This plan not only celebrates the hybrid nature of identity but also cultivates a deep sense of positivity within amalgamated 'subjects.' Such an approach not only fosters a stronger connection with one's heritage but also sparks a genuine curiosity about and affinity for the rich cultural tapestry of one's home country. It's not just education; it's a transformative journey that enriches the lives of overseas Koreans and nurtures a profound bond with their cultural roots.

• Cartoon and Animation Studies
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• s.37
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• pp.361-392
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• 2014

Regarding works that express objects realistically in painting, Gustave Courbet advocated realism in the mid-19th century, France, resisting the then academist style of painting, and works in realist style were produced in earnest by painters such as H. Daumier or Jean F. Millet, who went along with him. Later, realism has expanded into the realm of general literature, including fine art, which has had profound impacts on works of art and literary works. In comics, too, in the same historical context as a form of painting, realistic comics began to be produced by painters or cartoonists at the time. These realism comics are those dealing with stories based on facts, and in terms of contents, objective description and representation of the social realities of the times is one of the most important objectives, but it could not be concluded that in their visual aspect, that is, that of expressing the objects, they were realistic. In the meantime, a graphic novel was born, which was the intermediate form between comics and novels around the United States and Europe since the 1980s. Graphic novels appeared in forms and styles with strong literary and artistic values in the comics market in the U.S. which was full of the superhero genre (comics around heroes), and their major characteristics are very realistic expressions in terms of contents and visual aspect. They are complex and delicate and even have artistic, literary values as if readers read a fiction or literary work of which its narrative structures or pictures are produced with graphics. The characteristics of realistic expressions shown in graphic novels are very different from the previous works of comics. It is noteworthy that they began to be acknowledged as works of art like painting or illustration, thanks to their features of strongly individual auteurist painting style, a fairly high degree of completion of the works, and creative and experimental expression techniques or methods, instead of following the fashion of the times. In recent years, in South Korea, Hollywood blockbuster films have been released one after another and become box office hits, there are increasing interest and demand for the original graphic novels. Accordingly, many original graphic novels have been translated and started to be sold, and keeping pace with this global flow of fashion, some writers in Korea began to produce works of graphic novels. However, to look into the domestic works produced claiming to be graphic novels, there are various opinions on their format and authenticity. In this sense, this study focused on Ga-ya Kwon's Namhansanseong, one the representative works of Korean style graphic novels, and in particular, it attempted to analyze their characteristics and commonalities focusing on the visual aspect of realistic expressions of objects. It is expected that there would be an opportunity to seek for ways so that Korean style graphic novel can be further developed as a genre of comics, with competitiveness by looking back on the identity and present state of domestic graphic novels and developing and applying Korea's original subject matters differentiated from those of graphic novels in the U.S., Europe or Japan through this study. In addition, it is desired that they will be a new energizer for the stagnant domestic comics market.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.