• Journal of the Daesoon Academy of Sciences
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• v.31
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• pp.237-269
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• 2018

This study aims to look into Daesoon Thought from the perspective of Neo-Confucianism. Numinous emptiness (虛靈), wise-awakening (知覺), and divine beings (神明) in the Scripture of the Black Tortoise (Hyeonmu-gyeong) are often mentioned as characteristics of the mind in Neo-Confucianism. Accordingly, this research take up the 'Che-Yong (substance, 體 and function, 用)' of mind by classifying numinous emptiness as Origin-Substance (本體), wise-awaking as function, and divine beings as subjects. Numinous emptiness enables an individual to have been born with Li (理) of Taegeuk (太極), which is a mandate from Heaven and the nature of humanity; whereas one embodies spirit and brightness mind based on Origin-Substance. This numinous emptiness of mind is precisely the mind-spirit. Wise-awakening is a function of mind, which actually awakens numinous emptiness (理) and objects (氣). The mind which realizes the Li of Taegeuk as numinous emptiness is conscientiousness and can be taken as a Dao-Mind. The mind which desires objects refers to the Human Mind or a selfish motive. Such propensity in terms of wise-awakening determines the state of mind. One should reach the state of a quiet mind by wisely awakening through the scripture. Divine beings correspond to metaphysical Origin-Substance and physical objects respectively. In addition, they comprehend all and preside over wise-awakening as subjects. The subject recognizes wise-awakening and responds to it. Mind is a path traveled upon by divine beings as they enter and exit. In this regard, the human mind refers to the organ used by immanent deities, which accumulates physical senses, innermost mental processes, and awakened activities. Furthermore, Transcendental deities also come in and out through mental correspondence, leading to changes in one's physical constitution or personality. This paper focuses on the mind perceived in Daesoon Thought as follows: first, besides the existing spiritual perspective, the research takes a view on surveying numinous emptiness, wise-awakening, and divine beings in Neo-Confucianism. Secondly, the Che-Yong of mind is closely looked into by means of innate numinous emptiness as Che and wise-awakening as Yong. Lastly, the essence, energy, and divinity as well as spiritual soul and physical soul are mentioned according to the concept of an immanent deity. The paper also clarifies the fact that divine beings preside over the mind as subjects.

• Journal of the Daesoon Academy of Sciences
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• v.28
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• pp.207-241
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• 2017

In the scripture of Daesoon Jinrihoe, the expression 'Dosu (度數)' is frequently used and Jeungsan, Jeongsan, and Wudang also left behind many teachings related to Dosu. In this paper, the concept of Dosu is analyzed in detail and the achievement of an in-depth understanding of the concept of Dosu is attempted. The term Dosu is often used in traditional literature. In the classics, Dosu was used to mean institutions, standards, rules, law, figures, and the laws of heavenly bodies. In other words, Dosu is used to mean the laws of astronomy and the norms of human society. This meaning is expanded and used as the principle of the universe and nature. This concept of Dosu is related to the mathematical cosmological understanding of numbers as the principle of the universe. This type of mathematical cosmology was systematized by Shao Yong (邵雍). In the Joseon Dynasty, Seo Gyungduk (徐敬德) accepted it positively, and it thereby became an influential trend in Korean thought. In the world view of Daesoon thought, there exists the view that numbers as a principle of the universe, and of course this world view is connected to mathematical cosmology. In Daesoon thought, the concept of Dosu is based on the concept of traditional Dosu and adds an additional meaning which connects it to the Reordering of the Universe (Cheonjigongsa). Also, Dosu is used to mean the process of changing the principles and laws of cosmos through Jeungsan's Reordering of the Universe. It is especially the case that discourse about Dosu is widely used when describing the Reordering of the Universe. Jeungsan corrected, reorganized, and adjusted Dosu, as well as establishing new Dosu. Jeongsan, who succeeded Jeungsan, followed the Reordering of the Universe by Jeungsan, and also realized Dosu. In other words, Jeongsan acted and practiced according to the Dosu that had been enacted by Jeungsan. Also, Dosu means the process of the transformation of principle according to the Reordering of the Universe, and Wudang used the concept of Dosu to describe the historical process of Daesoon Jinrihoe. This means that the foundation of Mugeukdo, the change to Taegukdo, the establishment of Daesoon Jinrihoe, and the contruction of Yeoju headquarters are episodes in a divine history carried out through Dosu. Through this discourse, Daesoon Jinrihoe asserts a legitimacy that distinguishes itself from other sects, and believers can be inspired by the sacred meaning that they are participating in the Dosu of heaven and earth. This empowers their devotion and sincerity.

• (The) Research of the performance art and culture
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• no.41
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• pp.257-284
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• 2020

Goseong Ogwangdae started academic research in the late 1950s and was designated as a national intangible cultural asset in 1964. From the time of the academic survey to the time of designation, it was recorded as using paper masks, but when the recording image was filmed in 1965, it was already changed to wooden masks. In 1960, before being designated as an intangible cultural asset, the number of masks, which was 9 points, gradually increased to 19 points in 1964. It is necessarily included in the leper, Chorani, Malttuki, Cheongbo-Yangyang, Halmi, and Jemilju, but the character of the yangban is not yet clearly differentiated. Hwangbongsa and Sangju appeared as bare faces, and consumption, milling, Cheongbo-Yangyang are used together with Bibi and inspiration. It can be guessed that Bibi was not the appearance of a foreign object with horns as it is now, considering that Bibi and Madangsoi were used together. Since 1965, shortly after the designation, the whole of the Goseong Ogwangdae mask has been changed to a wooden mask. All the characters except for resident, courtyard, and top-of-the-line are wearing masks. Bibi, Hongbaek, and service masks have never appeared until 1964. The Yangban was changed to the closing ceremony with six people in the order of Won-Yangban, Baekje, Heukje, Cheongje, Hongbaek, and Jonggadoryong. Starting in 1969, the mask enters the stable period where the kind is the same as the present. Bibi-Yangban uses both the Won-Yangban and the Jemilju uses the Somu, but all other characters use the individual mask to use a total of 18 masks. The Yangbans are clearly differentiated, and a total of seven Yangban appear. The reason why the change in the type of mask and the expression of material is so large is that the first generation of mask makers died and the tradition of mask production was cut off, but there is also a cause of the extreme change in the environment of the drama that the performers who joined after the designation had to face. Also, it is closely related to the change of the times when the meaning and weight of masking in masking has changed. At that time, the performers were not so tied to the current concept of 'original form' that they preserved the appearance of the designated time. Originally, Goseong Ogwangdae was centered on improvisation dance, not the formalized dance as it is now, and there was a certain fluid aspect in the retelling, so it was flexible in the use of masks even before the designation of cultural assets. Strict rules did not apply in the details, as it was a self-sufficient play by the performers, not an offer event. The form and contents of this fluid play are changed to preparation for the performance while preparing for the folk art contest. As the subject of the contest in self-sufficient play, dance, costumes, and props became more and more colorful as well as dancing, costumes, and props. As a result, participation in the contest brought about changes in the overall performance and changed the mask, which was accepted within the preservation society.

• Economic Analysis
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• v.26 no.1
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• pp.1-33
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• 2020

Recent discussions about a minimum wage increase (MWI) and its influence on the economy have mainly focused on the quantitative aspects, such as labor costs and employment. However, concerning the qualitative aspects, an MWI could have positive effects by enhancing firm productivity and crowding out marginal firms from the market. These positive effects of an MWI can offset, to some extent, its potential negative effects - increasing labor costs and decreasing employment, among others. In this regard we empirically examine the impact of an MWI on firm productivity (total factor productivity). Using firm level panel data from the manufacturing industry in Korea, we calculate the influence rates of a minimum wage by sector and by firm size (number of workers), and analyze its effects on firm productivity. In particular, the production functions of the firms are estimated by taking into account endogeneity among the input factors, in order to resolve the drawbacks of existing studies - underestimating the capital factor coefficient and overestimating the labor factor coefficient. This study finds that the influences of an MWI on wages, employment, and productivity are substantially different across sectors and firm sizes. While an MWI has shown to have positive influences on productivity growth in the manufacturing industry as a whole, each sector demonstrates a different direction of effect, and the degree of productivity change also varies by sector. The impacts of an MWI on firm productivity are generally estimated to be more negative for smaller firms, but in some sectors the effects are found to be positive. In addition, the wage increases resulting from an MWI seem to cause a productivity enhancement across all sectors in the manufacturing industry. The policy implications of this study are as follows. Considering the empirical findings that an MWI causes an increase in productivity in many sectors of the manufacturing industry, it would be desirable to take into consideration not only the negative side effects but also the positive effects of an MWI when designing any future minimum wage policy. Moreover, in spite of there being a uniform minimum wage, this study finds that the diverse influence rates of a minimum wage across firms have different impacts on wages, employment, and productivity across sectors or firm size. This finding could be conducive to discussions about differentiation among minimum wage schemes by sector or firm size.

• (The) Research of the performance art and culture
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• no.42
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• pp.147-181
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• 2021

Dalgubal drum dance is inherited in a recreated form by incorporating regional symbolism and the dance philosophy and artisticity of Young Hwangbo, the creator, based on the traditional drum dance of the Yeongnam region. This dance having popularity with the transformation of traditional Korean culture has been invited not only to Yeongnam region including Daegu but also to international various venues. This study explores what the movement characteristics of this Dalgubal drum dance are and the unique charm and symbolic meaning of this dance. Specific analysis was conducted through analyzing Dalgubal drum dance video film of the 89th Korean Myeongmujeon's by using Laban Movement Analysis as a research method. The special features of this dance resulted from the LMA analysis in terms of the four categories-Body, Effort, Shape, and Space-reveal simple yet cheerful personalities and strong yet patient characteristics of the people in Daegu. The harmony of drum sounds(music) and movements(dance) creates various characteristics of dances and reveals the beauty and excitement of unique Korean dance. In particular, drum play and its related dance movements create curved linear spatial pattern of arm movements, Spiral Shape in body posture, and diverse floor patterns occupying whole stage space. These movements show the three-dimensional spatial beauty and the artistic ideas for recreation of traditional drum dance, which considered with the spatial structure of the proscenium stage. In addition, the well-organized structure and harmonious movements of this dance show the traditional Korean philosophy, implying heaven, earth, and human being and the wholeness, and the harmony of yin and yang. The dance aims at communication between the audiences and dancers through sharing excitement and the aesthetic beauty of dance. This can be interpreted as a meaningful expression of traditional Korean philosophy developed with the unique value and characteristics of Korean dance.

• (The) Research of the performance art and culture
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• no.42
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• pp.107-146
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• 2021

This article examined the current status of performance activities in the theaters in Ulsan during the Japanese colonial period, and examined the characteristics and social roles of performance culture at that time.,The cultural space during the Japanese colonial period can be divided into theater space and semi-theater space.,The theater spaces in Ulsan include Daejeonggwan, Sangbanggwan, and Ulsan Theater. The semi-theater spaces include Ulsan Youth Center, Ulsan Youth Alliance Hall, Barrack Youth Hall, Eonyang Youth Alliance Hall, Eonyang Christian Hall, Eonyang Christian Hall, Eonyang Inn, Eonyang Public Inn, Eonyang Public Normal School, Seosaeng School, Ulsan Public Aid Auditorium, Night school.,These spaces not only held events or performances for a specific purpose, but also played a role as public spaces producing local discourse. The theater was a complex cultural space where performances are performed along with movie performances, and artists and audiences meet.,Furthermore, the theater provided a special experience of producing and consuming various issues such as colonial modernization, modern city formation, and the emergence of new popular culture beyond the meaning of stage space.,The theaters in Ulsan also functioned as a space to represent the foreign culture acceptance, leisure activities, the performance and viewing of cultural contents, and the artistic skills of local artists in accordance with the purpose of establishing local theaters.,It was a base space for local discourse production and enjoyment activities by holding political rallies, meetings, lecture activities, and various conferences.,Political rallies were also concerts, enlightenment activities were also accompanied by film screenings, and music performances were associated with dance performances and charity gatherings.,In particular, Ulsan Theater, which is the first theater in Ulsan, and the role of the public hall, held a lecture, debate, and oratory for public enlightenment along with performances such as musical drama, children's song contest, fairy tale contest, small-sized play performance,, It was widely used as a large-scale rallying place, and served as a public hall, such as a place to visit outside theaters. Thus, the theater and semi-theater space in Ulsan during the Japanese colonial period improved the cultural level of the region, fulfilling the aesthetic needs of the local people and faithfully fulfilling the social role as a public sphere leading the public opinion and agenda.,And it was also positioned as an alternative public area of ​​modern society and also played a role as a public institution.

• Journal of the Society of Cosmetic Scientists of Korea
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• v.49 no.3
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• pp.247-258
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• 2023

This study aims to investigate the enhancement of water resistance and improvement in adhesion to the skin by combining dextrin palmitate and isopropyl titanium triisostearate coating materials with titanium dioxide. Due to the recent increase in consumers who enjoy outdoor activities, the demand for sunscreen with excellent water resistance is increasing. Prior research was conducted with O/W, Pickering, and W/O/W multiple formulations, but there was a limit to water resistance. The purpose of this study is to develop a complex inorganic powder that can improve water resistance and increase adhesion to the skin to solve this problem. First, we combined dextrin palmitate and isopropyl titanium triisostearate coating materials to form a composite with titanium dioxide. The coating of the inorganic powder was confirmed using FE-SEM and FT-IR analysis. The composite exhibited significantly higher in vitro water resistance compared to other formulations. The hydrophobicity of the coated inorganic powder was compared by measuring the contact angles. When the coated inorganic powder was applied to the W/O sunscreen formulation and the non-coated inorganic powder was applied to the W/O sunscreen formulation as a control, the SPF of the sunscreen containing the coated inorganic powder was higher. These results were the same when observed with a UV camera. Finally the adhesion of the coated inorganic powder to the skin was assessed by applying it to a foundation product. In vivo study, it was observed that the product formulated with the coated powder exhibited less smudging compared to the foundation product formulated with the non-coated powder. The developed inorganic powder in this study demonstrated excellent adhesion to the skin, providing a superior sensory experience, as well as enhanced hydrophobicity and remarkable water resistance effects. In the future, the result of this study is expected to help develop various sunscreen products to improve water resistance.

• Journal of the Daesoon Academy of Sciences
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• v.42
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• pp.45-73
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• 2022

The phenomenon of veneration for Queen Mother of the West [西王母 Chn: Xiwangmu Kr: Seowangmo] is a 'cultural flow' that has garnered great interest not only in China but also in Korea for many years. To properly understand the cultural trend regarding the Queen Mother of the West, it is essential to view the related mythology as it corresponds to East Asian women as well as the transformation of society's view of women. In addition to the outcomes that result from the establishment of a patriarchal society, the relationship between goddesses and gods gradually becomes a relationship of discrimination based upon differences. Accordingly, as women change into objects that are given meaning rather than subjects that give meaning, the de-sacredization of the goddess occurs. This paper focused on the changes in the perception of the Queen Mother of the West from the view of Yin-Yang theory. This approach shows a transition process of transforming wherein she has morphed into an assistant or spouse of a god as part of a trend that deemphasizes the divinity of her as a stand-alone goddess. Yin-Yang theory is the key to understanding culture, history, and art as well as Chinese philosophy. This key can be further applied to the theme of women in mythology. What is particularly noteworthy about the process by which the Queen Mother of the West was defined as a goddess is that she was original described as half-human and half-beast and yet by the time her depictions became fully human and fully woman, she was described instead as an absolute beauty endowed with great artistic talent. In this paper, it will be revealed that the perception of the Queen Mother of the West, as an absolute beauty and artistic talent, is embedded with the male societal desire for an image of the feminine as understood via Yin-Yang theory. Queen Mother of the West as she was depicted in the Classic of Mountains and Seas (山海經 Chn: Shanhaijing Kr: Sanhaegyeong) had a half-human half-beast form that instilled people with fear of disasters and punishments from heaven. However, in the Han Dynasty, her religious significance became that of an object to ward off evil and attain blessings. By the time of the novel, Tales of the Strange (志怪小說 Chn: Zhiguaixiaoshuo Kr: Jigoesoseol), from the Wei, Jin, Southern and Northern Dynasties, she was transformed into a goddess in the image of beautiful woman in charge longevity and immortality. From the perspective of Yin-Yang theory, the changes in the perception of Queen Mother of the West was found to contain the following meaning: as an extension of the establishment of a patriarchal system and subordinate laws, her new form was made to be pleasing to the male gaze and Yin-Yang theory was brought in to support those changes later.

• Journal of the Daesoon Academy of Sciences
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• v.42
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• pp.75-108
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• 2022

This paper aims to newly investigate the meaning of life in this era when various discussions on life and ethical living are commonly raised by comparing and examining the theories of life proposed by Confucianism and Daesoon Thought. Both Confucianism and Daesoon Thought explain the creation of all things as having been based on the principles of life in heaven and earth. Specifically, there is the will to live (生意 saengeui) and also divine beings (神明 sinmyeong). For this reason, everything in heaven and earth is created by obtaining the same principle of life such that it is an equal being with the same intrinsic value. Here the consciousness of being one body amid all things as one living thing is established. The consciousness of being one body forms an organic worldview in which all things are one. As a result, all things in heaven and earth exist within a mutual organic relationship, and that makes oneself and others precious life partners that coexist rather than separate beings. Nevertheless, both Confucianism and Daesoon Thought define humans as outstanding beings, set aside for a higher purpose than other beings. The excellence of humans is that by constantly engaging in self reflection and completing tasks through independent efforts, they thereby achieve the great moral doctrine of coexistence and symbiosis. In this process, cultivation of character (修養 suyang) and cultivation of the Dao (修道 sudo) are presented as means to realize one's nature and establish the right human image. By realizing nature or humanity through the cultivation of character and cultivation of the Dao, humans fulfill their responsibilities and missions by independently participating in being nourished by Heaven and Earth (天地化育 cheonjihwayuk) or the Reordering Works of Heaven and Earth (天地公事 cheonjigongsa), both being based in the concept of the three generative forces of Heaven, Earth, and Humanity (天·地·人 cheon·ji·in). In the end, the theories of life posited by Confucianism and Daesoon Thought are based on a consciousness of being one body. Both emphasize the characteristics and roles of humans who are distinguished from other beings and phenomena. At this time, human characteristics and roles are revealed as the reasons for which humans have a responsibility and mission take care of all things. From this point of view, it can be seen that the theoretical structure of Neo-Confucianism and Daesoon Thought, in regards to their theories of life, is rather similar.

• Korean Chemical Engineering Research
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• v.61 no.2
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• pp.302-311
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• 2023

This study was conducted to evaluate the applicability of castor oil (CSO) as a natural wood preservative. CSO was treated into wood blocks prepared with domestic and imported wood species using a vacuum-pressure method, and then treatability, leachability and decay resistance of the CSO-treated wood blocks were examined. Although CSO was penetrated effectively into wood blocks of all wood species, the CSO-treatability was the highest in Western hemlock, followed by Japanese larch (LA), soft maple and Mongolian oak due to the difference of its anatomical structure. Except for LA, the more retained, the more leached during a saline water-immersing process for 48h. The use of ethanol added to reduce the viscosity of CSO affected negatively the treatability and leachability of wood blocks. Decay resistance, which was evaluated by the weight loss of wood blocks exposed against Fomitopsis palustris (FOP) and Trametes versicolor, of the CSO-treated/leached wood blocks was superior to that of control. Especially, most of wood blocks treated with preserving solution composed of only CSO (CSO-2) did not decayed and showed a very low weight loss against FOP. The decay resistance results from CSO retained in wood blocks after leaching. The retention of CSO could identify using the observation of X-ray microscope. Length of wood strips, which were treated with CSO-2 and then immersed in saline water for 2 weeks, hardly changed in all cutting directions. In addition, weight gain and length-swelling rate of the wood strips were extremely low compared to those of control. These results indicate that moisture resistance of the wood strips was improved by the CSO treatment. It is concluded that the treatment of CSO using a vacuum-pressure method provides the decay resistance and dimensional stability of wood, and thus CSO can be used as a natural wood preservative on various indoor and outdoor circumstances.