• (The)Study of the Eastern Classic
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• no.57
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• pp.67-102
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• 2014

Yeoheon is a representative recluse and philosopher in the 17th Joseon dynasty. His contemporary intellectuals considered him as a sincere nobleman, Confucius in the Joseon, and moreover a saint, a cornerstone of culture, and a model for Confucianists. As a politician, he was regarded as practicing the stabilization of the people's livelihood and education, which are the key ideas of Confucian politics, when he serviced as a local governmental office twice. In addition, his ruler thought that he was right, wise, and modest, and therefore had the dignity of the old sage. His subordinates considered that he possessed the way of the old great ministers and the eye to see the current state of affairs. His theory of the Yijing is based on Cheng-Zhou learning, but developed their interpretation of the text. In addition, he discussed that Confucianism is a practical learning. His theory of the ritual was considered to follow Zhu Xi's works, but refer the old rituals and overcome the aspect of minor customs. His contemporary scholars thought that his theory of Neo-Confucianism revealed the essence of Li-Four and Qi-Seven theory regardless of scholarly parties, which were formed after Toegye and Yulgok. However, he proposed the Li-longitude and Qi-latitude theory in order to restore the real values, but it is similar to Yulgok's theory, which was criticized by the schools of Toegye and South Faction near Seoul. However, his theories revealed the fact that Joseon Confucianism cannot be simply differentiated as two major theories of "Centering on Li" and "Centering on Qi. In addition, his ideas of the universe and concern for the old showed that Joseon Confucianism is not just a theory, but is related to our lives and therefore practical in its nature.

• Analyses & Alternatives
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• v.7 no.2
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• pp.79-110
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• 2023

The purpose of this research is to explore the relation between Brexit and division in various areas within the British society. This research can lead to understanding how division of the British society and the decision of Brexit was mutually influenced. The UK's withdrawal from the EU has been explained mainly through the relations between the EU and the UK; therefore, issues of immigration, EU regulation, and the UK's EU rebate are considered as major reasons. In addition, 'British identity' or 'British exceptionalism' existing in the British society and politics for a long time has been regarded as a reason for Brexit. Although it is generally accepted that Brexit results in the division in the British society, the reasons mentioned above have limitation to explain the result of referendum and the division of the British society in the post-Brexit era. In this sense, this research explores the division in various areas - generation, social grade including income and education level, value and region, etc. - revealed in the British society is not the result of Brexit; rather, this research argues division deeply rooted in the British society before referendum is the root cause of Brexit. The division in various areas immanent in the British society for a long time is complicatedly intertwined, and the decision on Brexit by referendum has led to solidifying the division of the British society. Having considered this division in the British society has been expanded to rancour, it is necessary for the UK to establish appropriate policies for national cohesion.

• Journal of the Daesoon Academy of Sciences
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• v.26
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• pp.183-214
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• 2016

The purpose of this study is to promote the understanding of the objective of Daesoon Thought through 'examining the Objectives of Daesoonjinrihoe.' The objective of Daesoon thought was set when Kang Jeungsan Sangje descended to human world, upon the plea of divine sages, buddhas, and bodhisattvas, and determined to save the world and relieve people far and wide. For building an Earthly Paradise with Daesoon thought, Sangje carried out the great work of Reordering of the Universe for nine years and passed into heaven. Cho Jeongsan Doju, who received the heavenly religious orthodox through divine revelation from Sangje, served the late will of Sangje and established Main Tenets, Creeds, and objective of Daesoon thought. The objective set by Doju was continued to Park Wudang Dojeon and formed the Objectives of Daesoonjinrihoe. The Objectives of Daesoonjinrihoe consist of three sets of objectives in sequential order, which are related in organic, mutual beneficient, and integrative with one another. The Objectives starts from individual cultivation and expand into worldly reformation: 1)one's Spiritual transformation through Guarding against self-deception 2)Renewal of human beings through Realizing Earthly Immortality 3)Opening of new world through Building of Earthly Paradise. Also, in these Objectives of Daesoonjinrihoe, Three Realms of Heaven, Earth, and Humanity keep close relations to enter into new world. These Objectives are based on the 'thought of mutual beneficence' and are realized with Daesoon thought, which is the Dao of 'Crowned King' that goes beyond the previous thoughts of Confucianism, Buddhism and Taoism. Objectives of Daesoonjinrihoe have following details in each objective as following; (1) 'Guarding against self-deception-Spiritual Transformation' is for human nature. In Daesoon thought, human has the potential to restore conscience, which is true nature, and return to undefiled essence by 'guarding against self-deception'. In other words, it views that one can reach into the stage of spiritual alignment with the Dao once he recovers conscience through cultivation of Daesoonjinrihoe based on the idea of 'Guarding against self-deception'. (2) 'Realizing Earthly Immortality-Renewal of human beings' is for ideal human character. 'Realizing Earthly Immortality' in Daesoon Thought indicates the advent of ideal human beings called 'Dotong gunja'(virtuous beings who are aligned with the Dao). They are leaders who integrate politics and religion in helping people to renew themselves and make the world into Earthly Paradise. (3) 'Building an Earthly Paradise-Opening of new world' is for ideal society. Daesoon thought aims to making a peaceful world by creating an ideal society of heaven on this earth. Park Wudang Dojeon, who led Daesoonjinrihoe, emphasized the importance of Three Basic Activities: Spreading of Sangje's virtue, Edification, and Cultivation: and Three Major Activities: Aid and charity, Social welfare, and Education. Dojeon said "One should make effort to reach the utmost goodness through enlightening their bright virtue and cultivating their talent virtue." In this words, he made clear that the Objectives of Daesoonjinrihoe can be realized when people enlighten their bright virtue and cultivate themselves with their talent virtue. In conclusion, the Objectives of Daesoon thought were clarified of their meanings by Sangje, established into laws by Doju, and actualized by Dojoen in various activities of Daesoonjinrihoe.

• Korean Journal of Social Welfare Studies
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• no.37
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• pp.319-344
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• 2008

The Purpose of this study is to observe the existence of welfare attitude split between welfare regimes clique and to explore the effect of institutional(regime) characteristics on welfare attitude. And Second purpose is to find the characteristics of structure of welfare attitude and then to clarify the characteristics of welfare attitude in Korea. This work contribute to find the point of solidarity and split and to work out the strategical clues for constructing pro-welfare politics. To compare the attitude on the state responsibility about the welfare, Sweden, France, US, and Korea is selected. And the effect of sex, age, education level, income class, and labor status which are abstracted from existing welfare state comparative study are analyzed. The result show the difference in welfare attitude score between countries. The welfare attitude score is Sweden, France and US in order. the Score in Korea is lowest. In the case of the effect structure of welfare attitude between countries, there are no differences between Sweden and France. But the specific characteristics in US and Korea, are observed. And the effect structure of sex, class, labor status is equal in Sweden, France, and US. That is, women, people in low class, and people in low labor status more emphasize the state responsibility on the welfare. But the effect structure of age of US is different comparing other countries. In US, the old age is tend to less support the state responsibility. The education level operate as the effect factor in only US. And Korea show the different effect structure on the welfare attitude. This understanding about structure of welfare consciousness become the basis to construct the strategy for welfare state by proposing the point of consensus and conflict to conversion of welfare paradigm.

• The Mathematical Education
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• v.24 no.2
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• pp.48-73
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• 1986

Though the tradition of Korean mathematics since the ancient time up to the 'Enlightenment Period' in the late 19th century had been under the influence of the Chinese mathematics, it strove to develop its own independent of Chinese. However, the fact that it couldn't succeed to form the independent Korean mathematics in spite of many chances under the reign of Kings Sejong, Youngjo, and Joungjo was mainly due to the use of Chinese characters by Koreans. Han-gul (Korean characters) invented by King Sejong had not been used widely as it was called and despised Un-mun and Koreans still used Chinese characters as the only 'true letters' (Jin-suh). The correlation between characters and culture was such that, if Koreans used Han-gul as their official letters, we may have different picture of Korean mathematics. It is quite interesting to note that the mathematics in the 'Enlightenment Period' changed rather smoothly into the Western mathematics at the time when Han-gul was used officially with Chinese characters. In Koryo, the mathematics existed only as a part of the Confucian refinement, not as the object of sincere study. The mathematics in Koryo inherited that of the Unified Shilla without any remarkable development of its own, and the mathematicians were the Inner Officials isolated from the outside world who maintained their positions as specialists amid the turbulence of political changes. They formed a kind of Guild, their posts becoming patrimony. The mathematics in Koryo significant in that they paved the way for that of Chosun through a few books of mathematics such as 'Sanhak-Kyemong', 'Yanghwi-Sanpup' and 'Sangmyung-Sanpup'. King Sejong was quite phenomenal in his policy of promotion of mathematics. King himself was deeply interested in the study, createing an atmosphere in which all the high ranking officials and scholars highly valued mathematics. The sudden development of mathematic culture was mainly due to the personality and capacity of king who took anyone with the mathematic talent into government service regardless of his birth and against the strong opposition of the conservative officials. However, King's view of mathematics never resulted in the true development of mathematics perse and he used it only as an official technique in the tradition way. Korean mathematics in King Sejong's reign was based upon both the natural philosophy in China and the unique geo-political reality of Korean peninsula. The reason why the mathematic culture failed to develop continually against those social background was that the mathematicians were not allowed to play the vital role in that culture, they being only the instrument for the personality or politics of the king. While the learned scholar class sometimes played the important role for the development of the mathematic culture, they often as not became an adamant barrier to it. As the society in Chosun needed the function of mathematics acutely, the mathematicians formed the settled class called Jung-in (Middle-Man). Jung-in was a unique class in Chosun and we can't find its equivalent in China or Japan. These Jung-in mathematician officials lacked tendency to publish their study, since their society was strictly exclusive and their knowledge was very limited. Though they were relatively low class, these mathematicians played very important role in Chosun society. In 'Sil-Hak (the Practical Learning) period' which began in the late 16th century, especially in the reigns of Kings Youngjo and Jungjo, which was called the Renaissance of Chosun, the ambitious policy for the development of science and technology called for. the rapid increase of he number of such technocrats as mathematics, astronomy and medicine. Amid these social changes, the Jung-in mathematicians inevitably became quite ambitious and proud. They tried to explore deeply into mathematics perse beyond the narrow limit of knowledge required for their office. Thus, in this period the mathematics developed rapidly, undergoing very important changes. The characteristic features of the mathematics in this period were: Jung-in mathematicians' active study an publication, the mathematic studies by the renowned scholars of Sil-Hak, joint works by these two classes, their approach to the Western mathematics and their effort to develop Korean mathematics. Toward the 'Enlightenment Period' in the late 19th century, the Western mathematics experienced great difficulty to take its roots in the Peninsula which had been under the strong influence of Confucian ideology and traditional Korean mathematic system. However, with King Kojong's ordinance in 1895, the traditional Korean mathematics influenced by Chinese disappeared from the history of Korean mathematics, as the school system was hanged into the Western style and the Western mathematics was adopted as the only mathematics to be taught at the Schools of various levels. Thus the 'Enlightenment Period' is the period in which Korean mathematics shifted from Chinese into European.

• The Journal of Art Theory & Practice
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• no.5
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• pp.217-229
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• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

• Journal of Korean Classical Literature and Education
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• no.35
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• pp.87-122
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• 2017

1) The passage "Sila seongdae so-seongdae cheonha daepyeong nahu-deog (新羅盛(聖)代 昭盛代 天下大平 羅侯德)" of the Korean Dynasty , corresponds to the primary passage of Cheonyong Rang Manghaesa(처용랑 망해사)>. These passages are ironic expressions of King Heongang's reign. This passage can therefore be interpreted as having the meaning of "People talk about King Heongang who ruined the kingdom. The bright politics of Silla's loyalty is the virtue of King Heongang." 2) "Cheoyong aba isi insaeng-ae sangbuleo hasilandae isi insaeng-ae samjaepalnan-i ilsi somyeol hasyatda (處容 아바 以是人生애 相(常)不語시란 以是人生애 相(常)不語시란 三災八難이 一時消滅샷다)." This was said by Cheoyong(처용), who was unable to reveal his anger while witnessing his wife being raped by Yuk-sin(疫神). This passage means, "Father Cheoyong(처용), in this world if a man does not express anger about the absurdity of the world, he can escape from catastrophe," or, "Father Cheoyong (처용), because in this world you had not expressed anger about the absurdity of world, you could escape from catastrophe." 3) In "maa-man maa-man haniyeo sibi jegug-i moda jiseo syeon aeu cheoyongbi-hal maa-man haniyeo (마아만 마아만 니여 十二諸國이 모다 지 셰온 아으 處容아비 마아만 니여)," the most likely interpretation of Maa is "마아(麻兒)," which means "scarecrow." In this way, this passage emphasizes that Cheyong(처용) is not a scarecrow, but a representative of the eyes of all people in all kingdoms. 4) In "meoja oeyaja logliya ppallina nae singohal maeyara (머자외야자 綠李야 리나 내 신고 야라", meoja (머자) is the double arranging shape of meotda(멎다), and oeyaja(외야자) is the double arranging shape of oeda(외다); those characters mean "ugly" and "wrong for each other." Additionally, Rokri(綠李) can be regarded as an administrator in blue or black clothes who is performing an errand of the yuksin(疫神).

• Journal of Science and Technology Studies
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• v.6 no.1 s.11
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• pp.119-152
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• 2006

This paper deals with the historical development of research community in Korea. As the former studies of the korean scientific community show, the government supported institutes played an important role in the formation of research community. Therefore the theme of this study is concerned with the historical development of the government supported institutes and the features of their researcher group. In this paper following questions will be answered: How the social status of these researcher group is changed, what kind of response on social problems or national politics they had, and which characteristic they showed with regards to the identity problem. After the korean liberation the government institutes, such as the Chungang Kongop Yonguso(industrial research center)and the Korean Atomic Energy Research Institute, contributed to the development of the first generation of research group. However this research group could hardly identify themselves as researcher, because they spent much time on testing, evaluation or education. The identity problem is also resulted from the deficiency of authority as research institute. The status of researcher had no difference from that of civil servant. With the establishment of KIST the korean research community came into blossom. The government supported institutes, which were founded after the model of KIST, allowed quantitative and qualitative growth of research community. Thanks to the guarantee of institutional authority and the new reward system, the researcher could get respect and improve its social status. During this period the researcher volunteered to help the government policies. We can find often the nationalistic statements in the research community. During 1990s the research group demonstrated different behaviors and attitude toward the government. The nationalistic ideology disappeared. Instead of that, the research group criticized the government policies and took actions against the government. Those changes are related with the lowered position of government supported institutes.

• Journal of the Korean Geographical Society
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• v.42 no.5
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• pp.808-834
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• 2007

This study attempts to elucidate manifold dimensions of gendered accessibility experiences. How gender roles(household responsibilities) differentiate accessibility experiences between women and men is explored through the comparison of married dual-earner couples' parental status, using the US Portland activity-travel diary dataset with GIS-based geocomputation results of(time-geography based) space-time accessibility. First, this study shows how gender division of labor within the household still permeates current society, despite the widespread belief of the social change toward a gender-egalitarian society. Then, the study pays special attention to the way gender roles structure individual accessibility experiences of women and men differently, and, in turn, the way such accessibility experiences take a form of gendered spatiality. Gendered spatiality is examined through the analysis of accessibility space as well as activity space in order to ascertain women's home-attached and spatially entrapped characteristics. More household responsibilities throughout a day and, even more, the time constraint of picking up children at the daycare centers after work lead women's possible activity space to be more home-centered. The analysis of the spatio-temporal context of accessibility space makes gendered spatiality visible. However, the findings suggest that behavioral outcomes should be understood with an explicit awareness of constraints individuals face. It is because the revealed activity spaces can be not only an outcome of constraint but also an outcome of choice. Behavioral outcomes should not be treated as a straightforward expression of the level of constraints. It is problematic to expect that behavioral outcomes directly mirror the level of constraints. It is also problematic to suppose that the level of constraints can be straightforwardly elicited from revealed behavioral outcomes.

• The Journal of Art Theory & Practice
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• no.7
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• pp.37-64
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• 2009

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.