• (The) Research of the performance art and culture
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• no.20
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• pp.163-204
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• 2010

"Nectar of Immortality", also known as Suryukwha, is a painting which is hung on the wall during Suryukjae, a rite to console the spirits residing on both land and water. The Suryukwha at Bonyung Temple in the Ming Dynasty consisted of 139 scrolls depicting separate scenes. In Korea, however, Nectar of Immortality combines all the scenes into one large painting. The lower part of Nectar of Immortality describes pain, disasters, and the frailty of human life in this world. This is intended to inspire people to embrace Buddhism and be delivered from their worldly existence. However, it reflects the social realities of that time as well. The scenes at the bottom of the painting of nomadic troupes of entertainers and their performances are part of this reflection. In this section, various scenes of traditional Korean performance are illustrated, such as double and single tightrope walking, Sotdaetagi (performing atop a pole), Ssangjulbaegi (one form of Sotdaetagi), tumbling, bell juggling, mask dramas, dish spinning, puppet shows, the dance of Sadang, and sword dancing. Among these performances, some, such as Sotdaetagi, Ssangjulbaegi, double tightrope walking, bell juggling and sword dancing (Punggakjaengipae), have since ceased to exist. The troupes of entertainers depicted in Nectar of Immortality are Sadangpae, Namsadangpae, Sotdaejaengipae, Choranipae, Punggakjaenipae, Gutjungpae, and circus troupes. When, after itinerant lives, these entertainers die, they become forlorn wandering spirits with no descendants to perform their memorial services. The entertainers in the performance scenes are the embodiment of souls who are the subjects of salvation through Suryukjae. Among these entertainers, Sotdaejaengipae, Sadangpae, Choranipae, Punggakjaenipae and Gutjungpae no longer exist. In sum, Nectar of Immortality provides insight into the vanished content of numerous historic forms of performance and the activities of nomadic troupes of entertainers.

• Korea Science and Art Forum
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• v.37 no.2
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• pp.239-250
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• 2019

Along with changes in the industrial structure, revitalizing decrepit or abandoned industrial-age infrastructures are actively under way on a global scale. This study was motivated by an interest in investigating currently idle industrial infrastructures and revitalizing the abandoned passenger ferry terminal in Geoje's Jangseungpo and surrounding areas. The main aims of this study were to examine regional features for the purpose of establishing urban renewal plans and field opinions of the local residents on how to proceed with the restoration of the passenger ferry terminal. To this end, this paper looked into previous case studies of converting decrepit industrial infrastructures into new cultural venues, depending on each region's special circumstances. This paper's findings are as follows: First, as a result of this investigation, the author found that in all cases in Korea and elsewhere revitalization focused on creating modern cultural spaces appropriate for the region while retaining its traditional value. At the same time, they sought sustainable cultural and economic revival. Second, as a result of the investigation on Geoje City's local characteristics, the author found that the surrounding areas' commercial districts were depressed after the terminal's closure. At the time of the investigation, the city government was trying to reopen the terminal as a major port offering multiple international ferry destinations while attracting tourists. Third, as a result of the surveys on the local residents, it was found that more than half of the residents were in agreement with the city government's plan to reopen the terminal and expressed their wishes that they want the terminal to have other uses such as cultural venues. Based on these research results, the author makes proposals, including expanding the passenger ferry terminal and offering cultural spaces within and near the terminal, based on the local residents' opinions and in reflection of local circumstances. As part of this effort, the author also recommends a new brand name and design plan for the new passenger ferry terminal so that Geoje City can improve its local community value.

• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.242-261
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• 2021

Sangjeong was a sculptor-monk who was active in the mid-to-late 18th Century, and the current study established the overall chronology of Sangjeong's Buddhist statues and their styles based on the six sculptures of Sangjeong already known and the Wooden Seated Buddha of 1767 in Songgyesa Temple, Geochang, which was found to be his last work. All of the Buddhist statues of Sangjeong have commonalities in terms of the appearance of the ears, wrinkles on clothing on the upper and lower body, position of hands, and expression of the lower body. The expression of the lower body, in particular, is classified into three types: Type A, where the clothing drapes through the lotus leaves on the bottom; Type B, with an 'S-shaped' drape over the lower body but no lotus leaves or pedestal; and Type C, with the Buddha and pedestal as a single unit, and the clothing draping through the lotus leaves on the pedestal. It appears that Sangjeong faithfully succeeded the style of Taewon, who was his only instructor for sculpture. This is verified based on the records of his participation in the creation of the Wooden Seated Sakyamuni Buddha Triad and Statue of Arhat in Bongeunsa Temple, Seoul, as the third sculptor-monk out of twelve sculptor-monks, and the reflection of the S-shaped drape on the lower body found on the statue of Buddha in Bongeunsa Temple on all of the statues created by Sangjeong. Not only that, but it was assumed that the expression of the pedestal and hair was also inherited by Sangjeong from Taewon and Jinyeol, who was a sculptor-monk from the early 18th Century. The work of Sangjeong and Taewon showed differences in the volume and thickness of statues, strength of unevenness on the wrinkles of clothing, drapes on the right side of chest, and details of the ears. The current study identified the original styles of each individual sculptor and attempted to categorize the fourteen pieces of ten Buddhist statues reflecting the styles of Sangjeong into Sangjeong-style or Taewon-style.

• 한국노년학
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• v.36 no.3
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• pp.905-926
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• 2016

Although the concept of the elderly varies depending on scholars and laws, as consumption expenditure is deeply associated with income due to the nature of this study, 55 years old was set as the low limit standard for the elderly according to Prohibition of Discrimination on Age in Employment and Employment Promotion for the Aged Act and the elderly households were limited to single-elderly person household and an elderly couple family household for this study. It is considered consumption characteristics as a significant analysis subject in terms of social welfare because it could be understood as an expressed need which was a reflection of desire. Therefore, the present study aimed to investigate the consumption characteristics of the elderly households by stereotyping the consumption pattern of the elderly households, and find the determining factors for consumption patterns and thus contribute to the establishment of related policies through the expressed needs of the elderly households. K-means of cluster analysis was performed by putting the consumption expenditure of the elderly households to investigate inherent structural type of consumption pattern of the elderly households, which were the investigation subjects. As a result, four groups were stereotyped and named as below: 'health care-centered type', 'saving-centered type', 'livelihood-centered type', and 'food expenses-centered type' Binary Logistic Regression analysis was used to identify the factors that influence the decision of consumption pattern of the elderly households. The result of study showed that the elderly households faced all different needs and problems and thus there is a need for various approach plans to solve this situation. In particular, although the elderly have been viewed as economically poor people so far, the study showed that there were also kind of prepared households through saving. Overall, livelihoodcentered type accounted for the highest portion and, as a factor that influenced this, marital state and household income played an important role. Therefore, it is considered that more active efforts to increase the income of the elderly households are needed. In addition, age, owning of house and subjective health state were found to also have significant influence. Through these results of the study, the elderly's own improvement of awareness on health, presentation of overall standard for health state of the elderly, securement of the elderly's access to cultural life, and financial management coordination for improvement of quality of life, development and dissemination of jobs suitable for the elderly, and dissemination of communal life household, which is a cooperation residential type, were presented as institutional task in the conclusion.

• Cross-Cultural Studies
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• v.40
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• pp.111-131
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• 2015

An unusual success engendering loyalty among cult fans in the United States, Mamoru Oshii's 1995 cyberpunk anime, Ghost in the Shell (GITS) revolves around a female cyborg assassin named Motoko Kusanagi, a.k.a. "the Major." When the news came out last year that Scarlett Johansson was offered 10 million dollars for the role of the Major in the live action remake of GITS, the frustrated fans accused DreamWorks of "whitewashing" the classic Japanimation and turning it into a PG-13 film. While it would be premature to judge a film yet to be released, it appears timely to revisit the core achievement of Oshii's film untranslatable into the Hollywood formula. That is, unlike ultimately heteronormative and humanist sci-fi films produced in Hollywood, such as the Matrix trilogy or Cloud Atlas, GITS defies a Hollywoodization by evoking much bafflement in relation to its queer, posthuman characters and settings. This essay homes in on Major Kusanagi's body in order to update prior criticism from the perspectives of posthumanism and queer theory. If the Major's voluptuous cyborg body has been read as a liberating or as a commodified feminine body, latest critical work of posthumanism and queer theory causes us to move beyond the moralistic binaries of human/non-human and male/female. This deconstruction of binaries leads to a radical rethinking of "reality" and "identity" in an image-saturated, hypermediated age. Viewed from this perspective, Major Kusanagi's body can be better understood less as a reflection of "real" women than as an embodiment of our anxieties on the loss of self and interiority in the SNS-dominated society. As is warned by many posthumanist and queer critics, queer and posthuman components are too often used to reinforce the human. I argue that the Major's hybrid body is neither a mere amalgam of human and machine nor a superficial postmodern blurring of boundaries. Rather, the compelling combination of individuality, animality, and technology embodied in the Major redefines the human as always, already posthuman. This ethical act of revision-its shifting focus from oppressive humanism to a queer coexistence-evinces the lasting power of GITS.

• (The)Study of the Eastern Classic
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• no.72
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• pp.35-66
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• 2018

This thesis has examined Jo Guimyeong's observation method and rhetoric of style of writing style. He tried to look at the world differently through observation and expressed relationship with the world through the style of comic. $J{\breve{o}}nggwan$ is a new way of looking at subjects and objects. It trust the senses and thoughts of the subject. So It is to clarify the circumstances and logic of the world from one's own point of view. In this case, it collides with the common thinking of the day. He put the reason and the action standard in the "taste" and the "mind". This means three things. First, he is proud that his reasons and actions are no different from those of a saint. Second, an individual is an independent being with different emotions and thoughts. Third, based on this, his works of literature have their own value. These reasons and actions were incarnated through '$J{\breve{o}}nggwan$(靜觀)'s observation methods. What he gained from the three stages of $J{\breve{o}}nggwan$(靜觀)' is the 'great mind'. The first step is self-reflection. It is the process of objectifying oneself. The second target is the appearance of things. It's about looking at everything equally, whether it's precious or vulgar. The third object of observation is a harmonic. He is joining the movement of the harmonizers. Therefore, one's own reasons, actions, and works of literature share the same meaning as those of a harmonizer. He said that the description can change according to his own knowledge. It means that you can fit the situation. A typical example was the analysis of 'Sung Bo hyung hwasangchan'<成甫兄畵像贊>. He described Park Moon-soo's life as the lives of officials through comic. Through this, He criticized Park Moon-soo's natural nature of the academic world. but the situation in which he can't escape from bureaucratic life by inducing laughter. This style of writing is one of the most representative features which was written by Jo Guimyeong writer.

• (The)Study of the Eastern Classic
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• no.71
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• pp.147-180
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• 2018

Seokjeong JEONG-JIK LEE is a scholar who tried to render a form of service for his country by writing works of literature during the crisis of the Period of Modern Enlightenment. He mainly expressed his perception of reality through an evaluation of historical figures. He left behind a text on the Analects of Confucius, which is known as the '10 questions and answers regarding the Analects of Confucius', in his posthumous work. It seems that he wrote it to be used as lecture material for his students. The purpose of this thesis is to analyze his recognition to the Analects of Confucius and its learning direction expressed in the writing '10 questions and answers regarding the Analects of Confucius'. With respect to the word ren(仁), which is the most fundamental concept of the Analects, he viewed his life in an introspective way from the standpoint of a 'Hoinyupe(好仁有蔽)', which means that if you like kindness and fairness but don't like learning it, then there will be negative effects, and through the 'Gwangwajiin(觀過知仁)', which means that you will know for sure kindness and fairness when you observe wrongdoing, not the general viewpoint of 'Humaneness or Love'. He tried to determine the meaning of ren, and virtue(德) through a common denominator from an overall point of view. It might have been a reflection of his thoughts that a sound comprehension of powerful countries was needed. In terms of relationship between Gunja(君子) and Myeong(命), Gunja needs to make constant efforts to understand Myeong as a talented person who can maintain order. The direction of learning was examined under three categories: Jongipjibang (從入之方), Gunjajiryu(君子之類), and Sumunihae(隨文而解). Jongipjibang is defined as a way to complement the weaknesses of leaners according to their characteristics and it promotes a focus on pushing ethics into practice rather than acquiring knowledge as it is today. Gunja was classified into 3 stages. However, it merely provides standards to help learners' understandings, so not all students may fall into these stages. Sumunihae gives explanations of commentaries on the book. Seokjeong remarked that the meaning was not different even if the same concept was annotated differently in the "Four Books". This is because the context was emphasized according to the principle of 'Sosisojeol Pilchakpilseom (所始所切, 必着必贍)'.

• Communications of Mathematical Education
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• v.35 no.2
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• pp.173-191
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• 2021

This study noted that a survey of teachers in a leading study conducted in Korea during the Pandemics period pointed out that the "real-time interactive" classes account for a significantly small portion of the remote class format. Contentually, the study reported cases of developing and applying "real-time interactive" class materials based on "planar decision requirements" of high school mathematics subject geometry. The teacher who participated in the development was a math teacher who worked at a Seoul-based high school with 28 years of high school teaching experience, and a teacher who was in charge of geometry in the math department in 2020. The development teacher decided to develop real-time interactive classes. In particular, the materials were developed by organizing the class guidance plan in four stages: 'Meeting and Class Guidance', 'Giving motivation', 'Suggesting tasks', 'Individual Investigative Activities and Teacher Feedback' and 'Reflection and Evaluation' which were selected through the process of selecting the class contents and selecting online class tools. At this time, the development teacher produced and presented about five minutes of video material using the videooscribe, a whiteboard animation program. And in case of task number 8, it consisted of recording the students' free thoughts after class, which served as a role of assessment by students themselves and providing feedback to their teachers. This study is a case study that introduces a series of courses in which field teachers develop class materials, and in addition to presenting class materials that can be applied directly to classes, is a result of a study that focuses on the role of presenting samples for future class data development. The materials developed were verified as class materials based on the opinions of the students who participated in the class and the results of the evaluation commissioned by the three math teachers.

• (The) Research of the performance art and culture
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• no.43
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• pp.357-380
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• 2021

Akjang yoram 『樂章要覽』 is a book that summarizes only the important contents from the Akjang 樂章. Akjang 樂章 is arranged in the first half, and score 樂譜 is arranged in the second half. It seems that Akjang yoram 『樂章要覽』 passed through a total of four stages through the time when the handwriting and the lyrics were written. The presence of various handwriting and traces of modifications means that it has been passed through by several people, so it is not unrelated to the fact that several traces remain on the back of the cover of Akjang yoram 『樂章要覽』. The first part of the Akjang 樂章 is a method of presenting the name and lyrics of the accompanying music based on the ritual procedure, and in particular, the lyrics are written in Chinese characters and Hangeul sounds to improve readability. The score in the second half complies with the ritual procedures, but boldly omits overlapping melodies, and is composed based on the music, and various symbols are used to capture the expression of court music. This structure is a reflection of the direction we practiced to harmonize with the music after prior ritual procedures and diction. This was a device to increase the efficiency of music education and music practice for the court musician. The characteristics of the musical pieces are that they consist of essential musical pieces that must be mastered as musicians. In addition, the name Kim Hyung-sik 金亨植 is noted on the back cover of Akjang yoram 『樂章要覽』, and he was a court musician who was active in the age of King Sunjo 純祖. In other words, the musical pieces included in Akjang yoram 『樂章要覽』 are the core repertoire played by court musicians like Kim Hyung-sik 金亨植. Akjang yoram 『樂章要覽』 is a 'music practice booklet' containing the daily life of court musicians. Akjang yoram 『樂章要覽』 is a booklet designed for the purpose of teaching the court musicians to sing while correctly pronouncing the lyrics in major ceremonies. It is even more noteworthy in that Kim Hyung-sik 金亨植 was an owner. In addition to the fact that Kim Hyung-sik's name remains, and in the practicality of being used by various court musicians reflecting and modifying the changes of the times, it is meaningful in that it contains the path of court musicians who spent a lot of time and time to transmit court music.

• Korea Science and Art Forum
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• v.20
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• pp.315-326
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• 2015

This study has started from a curiosity about how the concept and characteristics of mise en abyme, which is one of meta-discourse in the contemporary aesthetics and has affected every aspect of modern philosophy, art, and culture, are expressed in modern architecture. 'Mise en abyme' is a technique mainly used by writers of the nouveau roman after it was introduced first in the work of novelist Andre Gide; this technique of artistic expression has been extended across the whole contemporary art and has become the meta-discourse which essentially makes its appearance in the art after postmodernism. 'Mise en abyme', meaning endless formation of image between two mirrors, got involved with discourse of the various philosophers of the time such as Deleuze and Derrida, and was also expressed in the language of architecture by modern architects who have been influenced by their philosophy. In this context, the technique of mise en abyme which is mostly used in art has a relation to methods of space expression of architects. This research studied the characteristics of mise en abyme which show in the expressional method of the modern architecture based on the relationship between the technique of mise en abyme and the modern method of architectural expression. Moreover, on the basis of this an analysis was carried out on architectural works of Jean Nouvel, who uses de-materialization and singularity as the architectural language. Through the research it was confirmed that the characteristics of expression of mise en abyme in architecture are embodied in material of the surface which forms buildings' exterior, or expressed by using reflection and graphical factors. Through analysis this study allows the chance to see that even though the means and field for expressing mise en abyme are different, the characteristics of the fundamental concept are shared among them, and to think about the meaning in the technique of mise en abyme as one yardstick to understand modern architecture in modern times with no specific mainstream.