• The Journal of Art Theory & Practice
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• no.9
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• pp.171-193
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• 2010

This paper examines Fernand Khnopff's Symbolism, focusing on the I Lock My Door upon Myself as a manifesto of his artistic credo in style and theme. Its title was originally in English, originating from the poem "Who Shall Deliver Me?" by Dante Gabriel Rossetti's sister Christina Rossetti. I use the term "Social Symbolism" which combines a nationalist perspective with traditional French Symbolism, in order to explain how the image of Bruges is represented in his oeuvre. Symbolism calls for psychological introspection evoking death, love, silence, and solitude and recluse from realty in pursuit of the Unknown and the Ideal. Although Khnopff shared this idea, he departed from symbolist tradition by incorporating a political milieu in his paintings. First, I discuss Khnopff's early stage in the formation of his artistic concept, including his family background as well as his early opportunity to visit the Exposition Universelle in Paris where he formed his early interests in aesthetics, philosophy, literature, mythology and Egyptian art. His early works, La Painture, la Musique, la Poesie(1880-1881), Le Crise(1881), and En ecoutant Schuman(1883) reveal his favorite subjects which were quite prevalent in the symbolist traditions of both Belgium and France. By looking at Khnopff's paintings, I endeavor to situate his Symbolism in the context of the development of Belgian modernity and cultural nationalism. Second, my analysis of Khnopff creates a new overview of Symbolism in Europe, especially in Belgium. In the absence of socio-political integration, the Symbolist painter adds nostalgic meaning to the landscape of Bruges. The scene of Bruges illuminates the social atmosphere in Belgium at that time. Since Belgium became an independent country, it tried to differentiate its own cultural and national identity from France. There was a powerful social movement for Belgium to claim its own identity, language, and culture. Bruges was, for Symbolists, the epitome of Belgium's past glory. This encouraged the formation of Belgian nationalism centering on Brussels, as I demonstrate in Khnopff's Bruges-la-Morte(1892). The relationship between Symbolist artist and writers is crucial for understanding this development. Khnopff, for instance, illustrated or provided frontispieces for many Symbolist writers such as Rodenbach, Peladan, Spencer and Le Roy. Khnopff did not objectify the exact meaning, but rather provided his own subjective interpretation. In this respect, I Lock My Door, inspired by Rossetti, started from the same motif, but Khnopff seeked escape into silence and death while Rossetti searched for Christian salvation. Finally my paper deals with the social context in which Khnopff worked. He was a founding member of Les XX in 1883 and later La Libre Esthethetique he also participated in the exhibition of le Salon de la Rose + Croix. Les XX was not a particular school of art and did not have a uniform manifesto, but its exhibitions focused on decorative arts by encompassing art for all people via common, everyday objects. The Periodical, L'art moderne was founded to support this ideal by Edmond Picard and Maux. Les XX declared art as independent art, detached from all official connections. Khnopff designed the 1890 catalogue cover of Les XX and the 1891 cover. These designs show decorative element of Art Nouveau in an early example of "modern poster." Les XX pursued all art including graphic arts, prints, placard, posters and book illustrations and design. These forms of art were l'art social and this movement was formed by the social atmosphere in Belgium in terms of social reforms and strikes by working class. Khnopff designed the book cover for la Maison du Peuple. The artist, however, did not share the ideal egalitarianism of the working class to a certain degree, while he was working in his villa he designed under the ideal motto, "on n'a pas que," he expressed the nihilistic emotions toward society by the theme of interiority such as solitude, silence, narcissism, introspection, and introversion. In the middle of his Symbolism, we find the "cultural nostalgia" or longing that the artist develops in the I Lock My Door upon Myself. Khnopff's longing toward the lost city of "Bruges" form the crux of his "Social Symbolism."

• Cartoon and Animation Studies
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• s.47
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• pp.241-271
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• 2017

Film color is equivalent to other elements of film, including narrative, and has a textual meaning according to the identity of expression. In general, red has a function of focusing attention, and the meaning derived from it is diffused. In the interaction of text and context, the function of concentration and the meaning of diffusion can be presented. The concept of concentration and diffusion is shaped by the relationship between independent colors, colors and other cinematic elements, and interactions between colors. In order to confirm this, this study analyzes a series of popular Korean films, how film colors interact, and in particular, the concentration function of red and the meaning of proliferation. The results of this study are as follows. First, in Korean popular films, at its most basic, red symbolizes a nation, a people, and a nation. The red of nationalism surrounding ethnicity, nationality and country visualizes ideology and conflict. The purpose of an individual or group, the relationship between the offender and the victim is mediated through red. The flag, the name tag, the costume appearing in the film are red. This can be seen in films such as Train to Busan, Assassination, Masquerade, Miracle in Cell No.7, Brotherhood of War, Northern Limit Line, Joint Security Area, Welcome to Dongmakgol, and May 18. Second, the red color attached to the female body fixes or strengthens socio-cultural sexuality and gender. The examples are films like Ode to My Father, The Thieves, The Host, Purpose Of Love, Sunny, Like A Virgin, Forbidden Quest, Untold Scandal, Bewitching Attraction, and Ssanghwajeom. Third, the blood red in Korean films is a visual device that directs magical horror, anger, and asceticism. Such films include The Neighbors, Bunshinsaba, R-Point, A Tale Of Two Sisters, Whispering Corridors, The Uninvited, Thirst, SECTOR 7, Asura:The City of Madness, The Tiger, Veteran, and so on. Fourth, red of tears constitutes the specific emotions such as a beautiful desire and a brilliant tragedy in films like King and The Clown, Oldboy, Memories of Murder, 26 Years, The Attorney, Unbowed, Sympathy For Lady Vengeance, Happy End, Punch, Calling, The Yellow Sea, and He's on Duty.

• The Journal of Korean Philosophical History
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• no.58
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• pp.201-243
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• 2018

Understanding the theory of how a religion accepts the perspective on death is a prerequisite to grasp the identity and characteristics of such religion. Furthermore, contemplating the perspective on death, itself has a significant meaning as the contemplation provides an insight on how religion has, currently is and how it would influence the practical life of the human race. This current study compares and analyzes the perspective on death accepted by New Religions of Jeungsan, Confucianism and Taoism. By comparing the perspectives on death, this study seeks to conclude the similarity and discrepancy of New Religions of Jeungsan, Confucianism and Taoism. The objective of this study is to summarize the religious characteristic and identity of New Religions of Jeungsan, and the social role of New Religions of Jeungsan. How does New Religions of Jeungsan preach afterlife? This question implies varieties of questions including: In what shape or form does human exist in afterlife?; Does human maintain their original identity in afterlife?; What happens to relations with family members in afterlife?; What is one's role in afterlife, and what would one experience in afterlife? or Does soul transmigrate or are reborn? This current study compares the answers to these questions one by one with Confucianism and Taoism.In general, this current study was conducted with a non-religious methodology. Death can be explained in three different domains: the psychological domain explaining the individual psychological awareness upon encountering death; the philosophical-religious domain explaining the death through the philosophical understanding of the human concept; and the socio-cultural domain explaining death through the social ceremonies upon death.This current study focuses on the philosophical domain of the perspective on death accepted by New Religions of Jeungsan, with a comparison of the socio-cultural significance. To understand the perspective on death preached by New Religions of Jeungsan, It is indispensable to explain the five key elements of Hon(魂), Baek (魄), Shin(神), Young(靈) and Seon(仙) that construe death. The perspective on death preached by New Religions of Jeungsan imposes a multi layer of acceptance and overcoming. This current study complements the problems and limits of previous studies by comparison with Confucianism and Taoism. Throughout this process, this current study intends to highlight the key elements of the perspective on death preached by Deasunjinrihoe, and identify the aspects of each key element. With the sophisticated discussion of the perspective on death provided by New Religions of Jeungsan with clarity, this current study will provide grounds for future studies to extract, in detail, the aspects of the perspective on death preached by New Religions of Jeungsan, in further subjects including: discussions on death such as rituals for death, treatment of bodies, funerals, educating death, euthanasia, or suicide; discussions on the existence of hell; discussions on psychological aspects of ones who encounter death; or discussions on rebirth of those who died during the creation era. This current study will provide an overview on what kind of perspective on death does those who are faithful to New Religions of Jeungsan have and currently are living their life with.

• Cartoon and Animation Studies
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• s.50
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• pp.153-185
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• 2018

This study analyzed the comic "Monster" based on J. Lacan's psychoanalytic theory. J. Lacan advocated a new psychoanalytic theory through S. Freud's psychoanalytic theories and socio-cultural studies. The main theory of his theoretical background is the 'desire theory' which analyzed human desires. He distinguished human desires as desires and demands and had the basic proposition that 'human desire is the desire of the other'. J. Lacan (J. Lacan) studied in depth the relationship between oneself and others, which he defined by dividing it into an imaginary system (mirror stage), a symbolic system (Oedipus complex), and a real system (desiring subject). Based on these theories, the main purpose of this study is to analyze the comic "Monster" by Naoki Urasawa focused on the desire theory of J. Lacan based on psychoanalysis to examine what new meaning could be extracted. In order to analyze the comic "Monster", the qualitative research method was used and the method of analysis was the descriptive phenomenological method devised by Giorgi (1985). Through this analytical method, the background, characters, and symbols of "Monster" were analyzed and content analysis was performed based on the theory of Giorgi (1985) and the desire theory of J. Lacan As a result of the analysis of the meaning unit and components related to the desire theory through content analysis, the contents analysis was divided into four components: identification, reproduction of desire, alienation, and unique desire and freedom. The results of this study are summarized as follows. First, on the basis of psychoanalysis, "Monster" is classified into four elements, identification of twin characters, reproduction of desire, feeling of alienation and unique desire and freedom of characters based on desire theory of J. Lacan. Second, the characters analyzed by the desire theory of J. Lacan attempted to reproduce their desires through identification and projection of twins due to their traumatic experience when they were young. Also, the characters who felt alienated in the process of reproduction made a tragic ending to complete human desire and freedom to fill in their emptiness. This result shows that desire theory of J. Lacan based on psychoanalysis can be used as a new analytical theory, a comic analysis which suggested a new meaning. The results of this study suggest that a new field of research, a comic analysis using psychological theory, needs to be created and further studies in this field are required.

• Journal of the Korean Geographical Society
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• v.38
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• pp.15-36
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• 1988

In this paper, I consider the development of methods in contemporary human geography in terms of a dialectical relation of action and structure, and try to draw a new horizon of method toward which geographical research and spatial theory would develop. The positivist geography which was dominent during 1960s has been faced both with serious internal reflections and strong external criticisms in the 1970s. The internal reflections that pointed out its ignorance of spatial behavior of decision-makers and its simplication of complex spatial relations have developed behavioural geography and systems-theoretical approach. Yet this kinds of alternatives have still standed on the positivist, geography, even though they have seemed to be more real and complicate than the previous one, The external criticisms that have argued against the positivist method as phenomenalism and instrumentalism suggest some alternatives: humanistic geography which emphasizes intention and action of human subject and meaning-understanding, and structuralist geography which stresses on social structure as a totality which would produce spatial phenomena, and a theoretical formulation. Human geography today can be characterized by a strain and conflict between these methods, and hence rezuires a synthetic integration between them. Philosophy and social theory in general are in the same in which theories of action and structural analysis have been complementary or conflict with each other. Human geography has fallen into a further problematic with the introduction of a method based on so-called political ecnomy. This method has been suggested not merely as analternative to the positivist geography, but also as a theoretical foundation for critical analysis of space. The political economy of space with has analyzed the capitalist space and tried to theorize its transformation may be seen either as following humanistic(or Hegelian) Marxism, such as represented in Lefebvre's work, or as following structuralist Marxism, such as developed in Castelles's or Harvey's work. The spatial theory following humanistic Marxism has argued for a dialectic relation between 'the spatial' and 'the social', and given more attention to practicing human agents than to explaining social structures. on the contray, that based on structuralist Marxism has argued for social structures producing spatial phenomena, and focused on theorising the totality of structures, Even though these two perspectives tend more recently to be convergent in a way that structuralist-Marxist. geographers relate the domain of economic and political structures with that of action in their studies of urban culture and experience under capitalism, the political ecnomy of space needs an integrated method with which one can overcome difficulties of orthhodox Marxism. Some novel works in philosophy and social theory have been developed since the end of 1970s which have oriented towards an integrated method relating a series of concepts of action and structure, and reconstructing historical materialism. They include Giddens's theory of structuration, foucault's geneological analysis of power-knowledge, and Habermas's theory of communicative action. Ther are, of course, some fundamental differences between these works. Giddens develops a theory which relates explicitly the domain of action and that of structure in terms of what he calls the 'duality of structure', and wants to bring time-space relations into the core of social theory. Foucault writes a history in which strategically intentional but nonsubjective power relations have emerged and operated by virtue of multiple forms of constrainst wihthin specific spaces, while refusing to elaborate any theory which would underlie a political rationalization. Habermas analyzes how the Western rationalization of ecnomic and political systems has colonized the lifeworld in which we communicate each other, and wants to formulate a new normative foundation for critical theory of society which highlights communicatie reason (without any consideration of spatial concepts). On the basis of the above consideration, this paper draws a new norizon of method in human geography and spatial theory, some essential ideas of which can be summarized as follows: (1) the concept of space especially in terms of its relation to sociery. Space is not an ontological entity whch is independent of society and has its own laws of constitution and transformation, but it can be produced and reproduced only by virtue of its relation to society. Yet space is not merlely a material product of society, but also a place and medium in and through which socety can be maintained or transformed.(2) the constitution of space in terms of the relation between action and structure. Spatial actors who are always knowledgeable under conditions of socio-spatial structure produce and reproduce their context of action, that is, structure; and spatial structures as results of human action enable as well as constrain it. Spatial actions can be distinguished between instrumental-strategicaction oriented to success and communicative action oriented to understanding, which (re)produce respectively two different spheres of spatial structure in different ways: the material structure of economic and political systems-space in an unknowledged and unitended way, and the symbolic structure of social and cultural life-space in an acknowledged and intended way. (3) the capitalist space in terms of its rationalization. The ideal development of space would balance the rationalizations of system space and life-space in a way that system space providers material conditions for the maintainance of the life-space, and the life-space for its further development. But the development of capitalist space in reality is paradoxical and hence crisis-ridden. The economic and poltical system-space, propelled with the steering media like money, and power, has outstriped the significance of communicative action, and colonized the life-space. That is, we no longer live in a space mediated communicative action, but one created for and by money and power. But no matter how seriously our everyday life-space has been monetalrized and bureaucratised, here lies nevertheless the practical potential which would rehabilitate the meaning of space, the meaning of our life on the Earth.

• Journal of Ethics
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• no.77
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• pp.73-112
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• 2010

This study aims to explore the character and problem of multicultural society in Korea in terms of the concept of moral panics. Its major issues are dealt with as follows: Firstly, this essay will apply two concepts of culture in multiculturalism - the pattern of meaning and a study of perfection- to three degrees of multicultural members: by individual, by groups and by a society as a whole. In this approach, moral panics of multicultural society in Korea have been manipulated by the secondary definitions like Korean government and media. In this study, however, the resource of the panics would be seen as nationalism in Korean history. To remove it in this essay, the conception of the pattern of meaning, which makes members understand others outer their norms, should be harmonized with that of a study of perfection by which they have identities. Secondly, the main subject of multiculturalism in Korea should at least be majority (groups)-Korean, not minority (groups)-foreigners. A stereotype of foreigners by majority is an image distorted by nationalities and races. People, for example, with the white skin from advanced countries are recognized as superior, while those born in the countries of Southeast Asia are, consciously or unconsciously, discriminated and have low positions due to socio-economic stratification in Korea. In this sense, a study of multicultural society in Korea should go forward to the inner direction to majority, because it is one of the real moral panics in Korea. In conclusion, it is important that there must be a study of identity which we can have of others in multicultural studies of Korea. It enables us to meet the conception of diversity. In that Korean government and media have neglected the danger of nationalism, it is also necessary that this study have any foundation of morality in ethics, which can give useful alternatives to the given polices of the secondary definitions.

• Journal of Korean Academy of Fundamentals of Nursing
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• v.3 no.2
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• pp.153-169
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• 1996

This study was designed to identify, describe and classify orientations of cancer patient's family members to death and to identify factors related to their attitudes on death. Death to the male is understood as a comprehensive system and believed to be highly subjective experience. Therefore attitude on death is affected by personalities. As an attempt to measure the subjective meaning toward death, the unstructured Q-methodology was used. Korean Death Orientation Questonaire prepared by Kim was used. Item-reliability and Sorting-reliability were tested. Forty five cancer patients' family members hospitalized in one university medical center in Seoul were sampled. Sorting the 65 Q-itmes according to the level of personal agreement ; A forced normal distribution into the 11 levels, were carried out by the 45 P-samples. The demographic data and information related to death orientation of the P-sample was collected through face to face in depth interviews. Data was gathered from August 30 till September 22, 1995. The Z-scores of the Q-items were computed and principal component factor analysis was carried out by PC-QUANL Program. Three unique types of the death orientation were identified and labeled. Type I consists of twenty P-samples. Life and death was accepted as people's destiny, They firmly believed the existence of life after life. They kept aloof from death and their concern was facing the and of the life with dignity, They were in favor of organ donation. Type II consists of Nine P-Samples. They considered that death was the end of everything and did not believed the life after life. They were very concerned about the present life. Type III consists of Sixteen P-samples. They regarded the death as a natural phenomena. And they considered that the man is just a traveller and is bound to head for the next life which is believed to be free of agony, pain or darkness. They neither feared death nor its process. Their conserns were on the activities to prepare themselves for the eternal-life after death. Thus, it was concluded that there were three distinctiven type of attitudes on death among cancer patient family members, and their death attitudes were affected by demographic and socio-cultural factors such as sex, education, and religion.

• 한국노년학
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• v.29 no.4
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• pp.1501-1520
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• 2009

The aim of this study is to observe the settlement experience among elderly North Korean women defectors who have been living in South Korea, and to understand their experience more fully. In this study, we adopted Colaizzi's phenomenological research method. The research participants consisted of six elderly North Korean women defectors in the age group of 65 to 70 who have settled in South Korea over three years. We utilized the purposed sampling and an in-depth interview for data collection. Data analysis was based on Colaizzi's six specific steps. As a result, eight theme clusters and sixteen themes were deduced from this research. The eight theme clusters are , , , , , , , . Based on these results, we discussed the meaning of elderly North Korean women's settlement experience in South Korea from a socio-cultural aspect and provided social welfare implications and future research suggestions.

• Korean Journal of Cognitive Science
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• v.2 no.2
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• pp.405-428
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• 1990

Language has a social function to communicate information. Linguists have gradually paid their attention to the function of language since the nineteen sixties, especially to the relationship of form, meaning and the function. The relationship could be more clearly grasped through disciyrse-based analysis than through sentence-based analysis. Many researches were centered on the discourse functional notion of topic. In the early 1970's the subject was defined as the grammatiocalized topic the topic as a discrete single constituent of the clause. In the late 1970's several lingusts including Givon suggerted that the topic was not an atomic, disctete entity, and that the clause could have more than one topic. The purpose of the present study is, following Givon, to study grammatical coding devices of topic and to measure the relative topic continuity/discontinuity of participant argu, ents in Korean narratives. By so doing, I would like to shed some light on effective ways of communicating information. The grammatical coding devices analyzed are the following eight structures: zero-anaphora, personal pronous, demonstrative pronouns, names, noun phrases following demonstratives, noun phrases following possessives, definite noun phrases and indefinite referentials. The narrative studied for the count was taken from the KoreanCIA chief's Testiomny:Revolution and Idol by Hyung Wook Kim. It was chosen because it was assumed that Kim's purpose in the novel was to tell a true story, which would not distort the natural use of language for literary effect. The measures taken in the analysis wre those of 'lookback', 'persistence', ambiguity'. The first of these, 'lookback', is a measure of the size of gap between the previous occurrence of a referent and its current occurence in the clause. The meausure of persistence, which is a measure of the speaker's topocal intent, reflects the topic's importance in the discourse. The third measure is a measure of ambiguity. This is necessary for assessing the disruptive effects that other topics within five previous clauses may have on topic identification. The more other topics are present within five previous clauses, the more difficult is the task of correct identification of a topic. The results of the present study show that the humanness of entities is the most powerful factior in topic continutiy in narrative discourse. The semantic roles of human arguments in narrative discourse tend to be agents or experiences. Since agents and experiences have high topicality in discourse, human entities clearly become clausal or discoursal topics. The results also show that the grammatical devices signal varying degrees of topic continuity discontinuity in continuous discourse. The more continuous a topic argument is, the less it is coded. For example, personal pronouns have the most continutiy and indefinite referentials have the least continutiy. The study strongly shows that topic continuity discontinutiy is controlled not only by grammatical devices available in the language but by socio-cultural factors and writer's intentions.

• Journal of the Korean Geographical Society
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• v.29 no.1
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• pp.46-64
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• 1994

Among every civilized people salt has been recognized as an essential foodstuff to the human society without which even man's survivor is unthinkable. The cultural-anthropological meaning of salt is estimated highly as well, and in geographical perspective salt itself symbolize regional interrelationship. Playing a decisive role in freeing innermost settlement from isolation, salt aiso made a contribution to expanding human habitats. This study tries to reconstruct historica geography of 18th and 19th century surrounding traditional salt-roasting (chayeom). The Joolpo Inlet area which is located on the mid-western coast in Honem Region is selected for study area. Established on the basis of optimum physical geographical conditions such as topography, climate and vegetation, salt-making of Joolpo Inlet area was run dynamically with the sudden turn of events in the 18-19th century which was chacterized as an age of transition from medieval society to modern one. In this paper the writer attempts to clarify mainly following three points: physical conditions and socio-economic background leading to the initiation and later development of roasting of salt in Joolpo Bay; distribution of saltworks; methods of saltmaking. Main points drawn from these analyses can be summarized as follows: of iron pan and cow-drawn tools rendered labour-saving and output growth. 1, Saltworks of Joolpo Inlet area in the 18-19th century were distributed evenly over Kobu, Puan, Mujang and Heungduck counties among which Kobu's was located in Puanmyon - a sort of exclave. All saltworks belonging to above four counties were clasified as most lucrative ones in Honam Region on government archives. In particular, Gumdang saltwork which belongs to Mujang county is noteworthy in that it was first introduced by one Paekje priest in 6th century and therefore it provides a clue to examine the history of salt-roasting of Joolpo Inlet area. In light of the fact that temple or monastery economy, regardless of East and West, has been closely connected with traditional industry, the case of Gumdang is not unusual. 2. The process of saltmaking follows this order: harrowing of salt field exposed to solar heat; construction of saltern mound with saline earth; acquiring of brine by leaching saline earth; roasting of salt. Salterns (saltworks) are consisted with various salt making facilities such as roasting shed, saltern mound, salt field, salt well) salt pit or brine pit) and seawater reservoir. Among them roasting shed which is constructed chiefly with hundreds of pieces of pine tree as a frame and with straw as roof and wall is customarily considered as an unit of saltwork. And inside it is saltpan made of two kinds of materials, that is iron pan or plaster pan. The area attached to one unit of roasting shed is approximately 1 ha, and that of saltern mound is a tenth of it.