• Journal of Korea Society of Industrial Information Systems
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• v.16 no.5
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• pp.185-196
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• 2011

In order to draw some strategic implications for the sustainable growth of emerging technologies this paper attempts to dynamics underlying the 'hype cycle' ever occurring in course of coevolution of technology and society. Particularly, a series of basic questions in the context of sustainability are explored to answer by simulating the hype system structure: What makes hype cycle occur? how to enhance the tapering level at the final stage of coevolution? what are the key policy leverages and when is the right time for the policy intervention? This study perhaps give some insights not necessarily to the academics but also to the practitioners and policy makers.

• Journal of the Korea Convergence Society
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• v.13 no.5
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• pp.531-539
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• 2022

The government enforced policies such as social distancing and limiting business hours to prevent the spread of COVID-19. However, the impact of the long-term COVID-19 pandemic is causing more serious difficulties for small business owners. The government intended to relieve the business management pressure for small business owners by drawing up the COVID-19 emergency disaster relief funds. The funds provided temporary support for the small business owners, but the prolonged pandemic worsened the business management difficulties. Therefore, this study will apply fixes that fail and shifting the burden archetypes from the system archetype of system thinking for the exploratory deduction of policy measures as the policy leverage to effectively enhance the recovery of small business owners. In response to the situation, emergency financial aid for small business owners and support that can enhance the self-sustaining powers are required to heighten the recovery of small business owners.

• Journal of Daesoon Thought and the Religions of East Asia
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• v.2 no.2
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• pp.73-99
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• 2023

The dragon is a special imaginary figure created by the people of East Asia. Its archetypes appeared primarily as totemic symbols of different tribes and groups in the region. The formation of early dynasties probably generated the molding of the dragon symbol. Dragon symbols carried deep imprints of nature. They concealed alternative messages of how ancient people at different locations dealt with or interacted with nature. Under pressure to standardize in the medieval and late imperial periods, the popular dragon had to transform physically and ideologically. It became imposed, unified, and framed, conveying ideas of caste classification and power, and losing itsecological implications. The dragon transitioned from a semi-ecological domain into a total social caste system. However, many people considered the "standardized" dragon as the symbol of the oppressor. Because of continuous orthopraxy and calls for imperial reverence, especially under orthopractic agenda and the surveillance of local elites, the popularized dragon was imbued within local artworks or hidden under the sanctity of Buddhas or popular gods in order to survive. Through disguise, the popular dragon partially maintained its ecological narratives. When the imperial dynasties ended in East Asia (1910 in Korea, 1911 in China, 1945 in Vietnam), the dragon was dramatically decentralized. However, trends of re-standardization and re-centralization have emerged recently in China, as the country rises in the global arena. In this newly-emerging "re-orthopraxy", the dragon has been superimposed with a more externally political discourse ("soft power" in international relations) rather than the old-style standardization for internal centralization in the late imperial period. In the contemporary world, science and technology have advanced humanity's ability to improve the world; however, it seems that people have abused science and technology to control nature, consequently damaging the environment (pollution, global warming, etc.). The dragon symbol needs to be re-defined, "re-molded", re-evaluated and reinterpreted accordingly, especially under the newly-emerging lens-the New Confucian "anthropocosmic" view.

• Sim-seong Yeon-gu
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• v.25 no.2
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• pp.163-193
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• 2010

A Korean fairy tale, "I live on my fortune" is discussed and interpreted from the perspective of analytical psychology. Analytical psychology understands fairy tales are stories in which the workings of archetypes of unconsciousness are represented symbolically. Therefore they are intended to achieve psychic wholeness compensating collective consciousness. The fairy tale is found in almost every region of Korea. There are several parallel stories that share similar motifs, such as Samgongbonpoori, a mythological story and a tale on the king Mooh. The father in the story asked his three daughters whose fortune they lived on. The youngest was expelled by her father for she answered, "I live on my own fortune." Then she came into a humble cottage in the mountain marrying a poor charcoal maker and she found gold there. She became rich, made the charcoal maker a decent learned man and seeked for and took care of her parents who had become beggars. This fairy tale is interpreted as a story about individuation process of a woman who integrated 'inferior' aspects and unconscious animus through actively accepting the suffering from being expelled and commitment to the unconscious world, and also about how rigid collective psyche, under patriarchal system, changes toward wholeness through the workings of the unconscious.

• Journal of the Daesoon Academy of Sciences
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• v.22
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• pp.471-507
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• 2014

Edification in Daesoonjinrihoe is not only a phenomenon that occurs following the differences of religious experience or spiritual development among the community members, which enables the members to share teaching and learning experiences with one another, but also an issue determined as one of the major activities of the religious order and a plan for achieving the purpose of the religious order-Podeokchenha(Wordly Propagation), Gujechansaeng (Salvation of all mankind) and Jisangcheonguk Geonseol(Building of earthly paradise). The purpose of this article is to clarify its concept and provide an example of edification, through considering the historical model for edification to help the cultivators with their work of edification. The archetype of edification of Daesoonjinrihoe was formed and gradually developed in phases by Sangje, Kang Jeungsan, the Supreme God(姜甑山, 1871-1909), Doju, Jo Jeongsan(趙鼎山, 1895-1958) and Dojeon, Park Wudang(朴牛堂, 1917-1995), by the three of whom the Religious Authority was succeeded. Sangje descended to the human world and preached to people to live by the rule of Haewon Sangsaeng(Resolution of grievances for the mutual beneficences of all life) and set an example of abolishing the old customs, living in mutual beneficences and having respect for human being. Doju, in revering the last will of Sangje, established the religious order by setting its creed, rituals and activities, which formed most contents of the archetype of edification. Dojeon set up a religious faith system by firmly establishing the Religious Authority and performed the True Law in accordance with Sangje's program of heaven to educate the cultivators to achieve the goal of self-cultivation following the last will of Doju. Through this, a perfect method to reach the state of Dotong(The Truly Unified State of Dao) is fulfilled. In this way, the archetype of edification was formed in the process of succession of Religious Authority. In conclusion, edification in Daesoonjinrihoe contributes to a 'systematic conveyance and understanding' through the historical archetype of edification, and it can be described as a concept that becomes a model to put into practice the 'True Law' of teachings given by two Sangjes for Dotong. Therefore, edification of Daesoonjinrihoe is drawing attention of its development as an important activity that realizes the ultimate value of the religious order because it solves the problems of immorality(absence of Dao), disorder and disregard of human value generated from the other side of this material civilization, with the truth of Haewon Sangsaeng, and has a function of rebuilding and leading the individuals and the society to the Truly Unified State of Dao through performing of the True Law.

• Journal of the Daesoon Academy of Sciences
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• v.44
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• pp.1-52
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• 2023

Incantations are reflected in the fundamentals of the Daesoon faith system and are, thus, key to its understanding. Jeungsan, the yeonwon (fountainhead, 淵源) of the Daesoon faith, created new incantations or transformed existing ones that had been used in old religious traditions such as Buddhism and Daoism. However, there has been no in-depth academic research on Jeungsan's incantations until now. This study aims to academically clarify the incantatory archetypes of Jeungsan's incantations based on documents published until the 1970s. Jeungsan's incantations are then compared to those of Mugeuk-do (Limitless Dao) in the 1920s and Taegeuk-do (Great-Ultimate Dao) in the 1950s. Jeongsan's transformed incantations are analyzed through this process. Jeongsan reflected the faith system in Jeungsan's incantations during the period of Mugeuk-do. He transformed the incantations to achieve his goal and realize his wishes by arranging terms that referred to himself before the optative words of the incantations. Jeongsan made several changes to the incantations in the 1950s. First, the majority of incantations used in Mugeuk-do were discarded. This meant making partial changes to the faith system by reflecting awareness because the corresponding incantations were no longer necessary as the Degree Number calibrated by Jeungsan had been realized. Second, Jeongsan organized the incantations in use and institutionalized their instructions. This reflected the essential doctrinal system of the Daesoon faith, namely the completion of the true dharma by Jeongsan. Considering this doctrine, that is, the Fifty Year Holy Work (五十年工夫), the true dharma can be presumed to have been realized before the death of Jeongsan. Accordingly, the institutionalizing and organizing of the incantations were indispensable until the mid-to-late 1950s. Jeongsan, the founder of the Daesoon order, posited himself as the successor of religious orthodox lineage and as the figure who would complete the true dharma by realizing the Degree Number calibrated by Jeungsan. Therefore, Jeongsan interpreted Jeungsan's incantations to be a rough sketch of the Daesoon faith system that had been drawn for him in advance by Jeungsan. Accordingly, Jeongsan transformed Jeungsan's incantations and used them to realize the Degree Number, which Jeungsan had planned. Simultaneously, Jeongsan declared that he would fulfill the Degree Number and establish the true dharma by changing those incantations.

• Cartoon and Animation Studies
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• s.29
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• pp.173-207
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• 2012

The four-phased plot which consists of introduction, development, turn and conclusion in the long-story structure tends to be patterned and schematized. The behavior of characters is in line with the beginning of human beings and the plot of comic strips basically has four phases. It is, however, not a simple arrangement but a complex one which was developed by organizing patterns of human power, behavior and emotions. With the results from a survey with college students studying comic strips, this study aims to categorize four characters from the archetypal system by Carol Pearson, four phases of the hero's journey by Joseph Campbell, and the four phases of the plot based on Aristotle's theory, which is the frame of the comic strip structure through supporting evidence extracted from comic strips in an integrated way. In this study, the categorization is performed by simplifying and systemizing a character's life cycle, which is a factor of a story structure in complex comic strips. This study is to identify what comic strip writers express by using the metaphor in the complicated long-story structure of comic strips This study reveals that the structure of introduction, development, turn and conclusion based on the plot theory by Aristotle is the metaphor of human life and fate and that the phases of development in the archetypal system by Carol Pearson, a Jung researcher influenced by Jung's theory are the metaphor of human life and fate. Also, the theories of Joseph Campbell, who also was influenced by Jung, are the metaphor of human life and fate as they projected complex emotions of joy, anger, sorrow, and pleasure onto the archetype of heroes and used the metaphor of the hero's journey. Lastly, the theories are introduced with the approach of 'guide to screenwriters' by Christopher Vogler. Meanwhile, this metaphor is the objective and goal of this study. The comic strips selected for this study seem to have long complex stories which have characters leaving their homes, going through adventures and difficulties, meeting the world in another way, experiencing tension, competition, wars, and hardship and returning home with compensation. They grow mentally and psychologically through their journeys and finally become heroes. They express the meaning of our introspection in a narrative through plots and images of comic strips. This appears complex but the basic structure of long comic strips has four phases of plot. The life style of an extraordinary character traveling for adventures and growing in long comic strips can be divided into four phases symbolizing childhood, adolescence, adulthood, and senescence and it is a psychological growth process. The archetypes of the character can be divided into four phases and the growth process can be explained. The hero's journey symbolized by the character can be also divided into four phases. Through theories, the complex arrangement of four-phased plots in comic strips corresponds with the growth process of introduction, development, turn and conclusion through the stages of life. At the same time, this study found that the characters becoming heroes are the metaphor of introspection and that the characters' growth and life correspond with the four phases in life through long comic strips. Long stories in long comic strips written by comic strip writers show that characters go on their journeys and change their lives through hardship and difficulty by logical construction of plot and their growth processes are presented in archetypal images and they reach introspection as heroes. The readers share time and space through images in comic strips and realize that they had the same experience as the characters emotionally by being moved by the stories.