• Journal of Korean Library and Information Science Society
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• v.43 no.3
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• pp.27-48
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• 2012

This study analyzed guidelines and instructions for access points representing works and expressions in RDA. The preferred title for the work is used as the basis for constructing an authorized access point to represent a work or expression. If applicable, the authorized access point is constructed by combining the preferred title for the work to the authorized access point for the identity with principal responsibility for the work. The variant titles for the work are used as the basis for constructing variant access points to represent a work or expression. If the authorized access point is constructed by combining the preferred title for the work to the authorized access point for the identity responsible for the work, the variant access points are constructed by combining the variant titles for the work to the authorized access point, and by using only the preferred title for the work. Besides, RDA provides instructions to construct the controlled access points for special works like musical works, laws, religious works and others, but the general principles for these works are same as the above instructions. The authorized access points for works and expressions in RDA are almost same as the main entry headings in AACR2.

• Archives of design research
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• v.16 no.1
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• pp.45-52
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• 2003

Modem church architecture in korea have many problems in the shape and composition of space and design method. Many church were built without consideration of the identity of the christian religion. The characters of Ando Tadao's church architecture are using the transition space, light and the symbol. The transition space similar to the approach process using in asian temple. It make a meditative space for the church during approach to the chapel. Ando Tadao make meditative space by using self-support wall. In here, Self-supporting wall devide space as the holly space and the common space. Light is very important element in church architecture. He introduce light and shadow in the chapel more significant element. Light and shadow make the space with very dignity. Also, Ando Tadao use symbol as important element. It make the identity of christian religion. He make that as a part of structure. The well-controled symbols change the simple space to more religious place.

• Journal of Christian Education in Korea
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• v.62
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• pp.11-41
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• 2020

This study is to suggest the tasks of Christian Education for developing empathic emotional ability of women in AI era through examining the meaning of empathic sensibilization and the examples of women overcoming the hardships of their times and bringing about change. Empathic sensibility is becoming a issue and empathy is emphasized in AI era. Because empathy is becoming a big support in overcoming hardships, and empathic emotion is showing human dignity, equality, service, devotion and consideration and so is forming a global community living together. And on investigation of the examples of women overcoming the hardships of their times, I found that as a woman with a sense and thought, as a historical human being, not as a gender, the tasks of Christian Education for developing empathic sensibility ability of women in AI era will be effort to be yourself, theological identity reestablishment of women and developing insight to read the times.

• Journal of Christian Education in Korea
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• v.67
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• pp.157-194
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• 2021

The issue of AI's ethical consciousness has been constantly on the rise. AI learns and imitates everything behavior human beings do, just like a child. Therefore, the ethical consciousness we currently demand from AI is first the ethical consciousness required of humans, and at the center of it is the dignity of humans. Thus, this study analyzed human identity and its problems according to the development of AI technology, apologized the theological premises and characteristics of human dignity, and sought the direction of human dignity education as follows. First, this study discussed the development of AI and its relation to human beings. The development of AI's technology has led to the sharing of "reason or intelligence" with machines called AI which have been restricted to the exclusive property of mankind. This raised the question of the superior humanity which humans would be remained to be distinguished from AI machines. Second, this study discussed transhumanism and human identity. Transhumanism has been argued for the combination of AI machines and humans in order to improve inefficient human intelligence and human capabilities. However, the combination of AI machines with humans raised the issue of human identity. In the AI era, human identity is to believe thoughts that God had when he built us. Third, this study apologized theological premise and characteristic about human dignity. Human dignity has become a key concept of the constitution and international human rights treaties around the world. Nonetheless, declarative conviction that human is dignified is difficult to be understanded without Christian theological premise. Theological premise of human dignity lies on the fact that human is dignified feature being granted life by Heavenly Father. This feature lies on longing for "Goodness" and "eternality", pursuit of beauty, a happy being in relationship with others. Fourth, this study presented the direction of human dignity education. The direction of human dignity education has to awaken what is identity of human and how human beings were created and how much they are precious. Furthermore, it lead human to ponder consciously and accept the highest value of what human beings are, how they were created, and how precious they are. That is about educating human identity, and its core is that regardless of the circumstances - the wealth gap, knowledge level, skin color, gender, age, disability, etc. - all people are in God's image and for the glory of God, thereby being very important to God.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.3
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• pp.15-25
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• 2008

Today, each country's cultural communications are carried briskly and Japan already showed a new trend of world fashion by accepting its own design with aesthetic sense to western Europe in 1970s and built the new area of Japanese fashion. This special traditional aesthetic sense, formed by social, cultural, geographic and religious conditions, is roughly divided into decorated and undecorated beauty; decorated one means splendidness, coquetry, exaggeration and was represented ornamental modification of nature object in dress pattern as ornamental expression means; undecorated one, based on Zen-thought, means simplicity, purity, ugliness and Japan gave rise to the new beauty by receiving and adapting continental culture to its culture openly and creating and developing its own beauty. This study aims to examine the aesthetic sense shown in Japanese traditional dress and understand how traditional beauty is used and applied to modern fashion and analyze the diversity of Japanese traditional aesthetic sense shown in modern fashion. For material analysis, total 220 were collected of photograph related to formative element existence according to aesthetic sense shown in Japanese traditional fashion design using literature research and visual data. The existences of Japanese image among them were confirmed by clothing and fashion department majors so that 7 pieces of which were selected as final analysis object. Likewise, the result suggests that Japanese traditional aesthetic sense creates global design based on folk element-used identity as well as new beauty by adapting continental culture to its culture openly and producing and developing its own creative beauty.

• Journal of the Korean Institute of Landscape Architecture
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• v.27 no.2
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• pp.95-107
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• 1999

Shamanism is an ancient culture that is also considered as a religious rite by most of people. So, shamanism is an important part of Korean tradition and should be a significant base to the Korean exterior space organization theme. However in the field of Landscape architecture th principle of exterior spacing has not yet clearly been identified as shamanistic. Therefore believe that this study can exhibit a model for the study of shaministic space language and its application to one of Korean's village Namsa. The results of this study are summarized below; 1. Extracted models are Unspecialized· Circular·Coninuous space. These are analyzed on the basis of the shaministic space language. Also shaministic space languages are based with Korean common belief of eternal human identify, circular view of the world. 2. Applying the shamanistic space models to Namsa village shows that shamanistic space models follow the Korean space organization principle. Some area of the village do not apply, because they were built on the structure of the social hierarchy between families or the difference between head households and collateral households. 3. Applying the shamanistic space model to Namsa village shows that the shamanistic space model follows the Korean space organization principle. Therefore can say that Namsa village was built by a shamanistic system that pursued eternal human identity.

• Journal of English Language & Literature
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• v.58 no.6
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• pp.1103-1117
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• 2012

This paper focuses on eighteenth-century English pastor, poet, and hymnist, Isaac Watts (1674-1748), a significant yet neglected nonconformist dissenter, who defines a public religion and transforms poetry as a new literary political genre. During England's post-Revolutionary religio-political turmoil, Watts's poem, "The Hurry of the Spirits, in a Fever and Nervous Disorders" (1734), deliberately engages in a methodical refusal to settle upon a single system of images or terms for describing or referring to the speaker's identity or situation. Watts's, literal and metaphoric, refusal to identify with one religio-political approach to nonconformist dissent has been the very point of criticism that not only undermines the poet's monumental work on hymns but also the lasting impact that the poet had upon England's national consciousness. This study, therefore, questions why the poet refuses to choose one ideal path in his pursuit for religious freedom and, further, analyzes how the hymn writer defends his demotic aesthetics. This paper investigates Watts's comprehensive and detailed formulation of what a secularized "social religion" should entail and, further, explores its beneficial role in the pursuit for society's peace. In contrast to Milton's apocalyptic vengeance, Watts's nonconformist goal seeks to balance and locate authority in the individual with the ancient ideal of a "sacred order" that is represented in "The Hurry of the Spirits" through the means of poetic imagination.

• Journal of Daesoon Thought and the Religions of East Asia
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• v.3 no.1
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• pp.129-151
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• 2023

The concept of interfaith harmony is one of the key issues for discussion in this contemporary world. It has multifaceted implications that range from pedagogical realms to global policy making. Here we focus on the basic concepts of interfaith harmony from Sikh and Cao Dai perspectives in order to address their viewpoints in regard to promoting culture of Peace and Understanding. Although these religions are new as compared to the existing living religions of the world, they found their new identity in the history of world religions for their unique concepts of interfaith harmony. In this article, the concept of interfaith harmony has been analyzed from two perspectives such as theological and socio-historical. For a systematic understanding of the subject matter, it has been categorized into three subpoints; unity of God, unity of religions and unity of humanity. Methodologically, the qualitative methodological framework of the proposed research is descriptive in nature. Thus, the present research has been primarily conducted by using secondary sources, although the crucial information is collected from primary sources such as the sacred texts of Sikhism and Caodaism. Since this study is done considering the social, political and religious contexts of India and Vietnam, it can contribute to the understanding of the nature of interfaith harmony in South and South-East Asia.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• (The) Research of the performance art and culture
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• no.35
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• pp.125-174
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• 2017

The Cheondeok-Song (religious songs of Cheondo-Gyo) of the Japanese colonial period shown on Cheondo-Gyohwe-Weolbo, the monthly magazine of Cheondo-Gyo Church were examined in this paper. The results are as follows. There are scores of songs, lyrics, and articles related to Cheondeok-Song in the monthly magazine. The five-tone scale or Korean traditional rhythm style was partly used, but western music form was dominant in most of the songs. Especially the four-part form of Christian hymns became usual since 1931. This shows how people thought of the new trends. The reception of the new trends being emphasized, but they recognized tradition as an object of overcoming rather than of succeeding. The lyrics contain religious contents and the spirit of the period to restore national self-respect and contribute to the world peace through overcoming Japanese imperialism. But the rhythm of seven and five syllables which is suspected to have been introduced by Japan was spread after the 1920s. Cheondeok-Song have been sung in the three grand anniversaries and other anniversaries, the Prayer-day, in Cheondo-Gyo church services on Sunday, ceremonies, and in lecture. There are various kinds of songs and their status is very high. Especially, Cheondeok-Song have been used actively in mission works and edification for women. Cheondeok-Song actively reflected the domestic and international trends and the demands of that times. They could sing self perfection through enlightenment and also the social reform based on it. These are the reasons why I think Cheondeok-Song of those days are so important. Cheondeok-Song reflected modern elements actively, but couldn't succeed the national form and the traditional elements properly. The problem of cultural identity is not only a specific group's but also that of the whole humanity of maintaining cultural diversity. This is also a task that Cheondo-Gyo Cheondeok-Song have to solve in the future.