• Journal of the Daesoon Academy of Sciences
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• v.34
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• pp.27-48
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• 2020

"Saving lives by curing the world is the way of sages" is one of the key concepts from Daesoon Jinrihoe's The Canonical Scripture. In the Daoist scripture, The Most Excellent and Marvelous Lingbao Scripture of Limitless Salvation (The Salvation Scripture for short), a similar idea of 'saving the world and liberating lives' can be found, and it parallels the idea of religious healing in Daesoon Jinrihoe. Both systems of thought are internally consistent and focus on the individual living being as well as society by taking aim at curing human diseases while solving societal problems. Both sources also took influence from earlier Daoist Thought that responded to The Book of Changes, extended their innovations to traditional medicine, and realized the usefulness of religious healing. Although the two developed in different countries and time periods, their ideological similarities can still be appreciated. This paper delves into the above topic via three aspects: first, analyzing the historical background that produced Daesoon Jinrhoe's concept of "Saving Lives and Curing the World" while covering both individual and societal applications, second, examining the methods of implementing "Saving Lives and Curing the World" as a form of religious healing, and third, comparing the philosophical similarities between Daesoon Jinrihoe's "Saving Lives and Curing the World" and Lingbao Daoism's The Salvation Scripture in terms of their religious thought.

• Journal of the Korean Society of Food Culture
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• v.2 no.1
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• pp.81-92
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• 1987

This treatise deals with chronic state of famine and exploitation of famine relief food in the later half of Chosun Period and especially in relation with socio-economic changes. There with the impact of socio-economic factors on the chronic state of famine and exploitation of famine relief food is studied mainly with a literary approach. The influential factors which lead to the chronic state of famine were not only climatic restrictions such as flood and drought but socio-economic factors such as foreign invasion (Japanease invasion and Ching's invasion), frequent breaking out of revolt and technological development of agriculture (rice transplantation). And disorder of land system and cultivation of cash crops by the richer peasantry, lowering the economic status of the poorer peasantry who were a major constituents of the population, aggravated the famine state. Because the poorer peasantry were under the shortage of food, they had to seek something edible in the fields and mountains. In this process various kinds of famine relief foods were exploited by the poorer peasantry. The majority of famine relief foods were wild vegetables. Consequently the Chronic state of famine was a cause to introduce various edible wild vegetables into Korean food, which influenced modern vegetarian food habits and firmed the Korean's favorite taste to be hot and salty. These wild vegetables couldn't have a marvelous effect on the relief of starved people. Potatoes and sweet potatoes, which were newly introduced foreign crops, were encouraged to be cultivated for famine relief. But these tubers, unable to be staple food, didn't contribute to an increase in population.

• International Journal of Costume and Fashion
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• v.5 no.2
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• pp.68-77
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• 2005

In contemporary advertising market, one of main trends is to speak surrealistic visual language which provides 'enjoyable spectacles'. Specially, in the beginning of 21st century, there discovered more and more exhibitions and discourses about surrealism reinterpreted from the viewpoint of postmodernism. Surrealism as a creative style of expression based upon free association, has been a great inspiration for fashion ads for commercial communication as well as fashion design since its origin. However, there has been ignored the idea of analyzing surrealistic image expressed in fashion ads in spite of their flood. Accordingly, the purpose of this study is to grasp its cultural meaning through analyzing aesthetic characteristics of surrealistic image expressed in fashion ads. It will provide a better understanding of surrealistic image in fashion ads reflecting popular taste and preference directly as popular visual culture, focusing on post modern context. A case study of surrealistic fashion ads limits to TV or print commercials and digital ads as image ads stimulating visual expressions. The Results can be summarized as follows. Surrealism is an avant garde style which deconstructs the established meaning system as well as the existing formalistic order and then put them together in the frame of 'dream' and 'unconsciousness'. Defamiliarization questioning the whole edifice of representation can be adapted to. By means of paradox and metaphor, unfamiliar new visual world can be represented. The plastic characteristics of surrealistic image in fashion ads are founded as surrealistic styling of time and space, distortion of object by methods of automatism, depaysement, parody and trompe-l'oeil which bring about the deconstruction of gestalt. Aesthetic values of surrealistic fashion ads appear as dualistic representation, allegoric symbolism, fantastic romanticism. Ultimately they lead to marvelous. mysterious, humorous visual effects. Foster reinterpreted these effects of surrealism from Freud's 'Uncanny Concept'. 'Uncanny' means the phenomenon recurring to familiar being defamiliarized by repression. Surrealistic fashion ads strengthen this shocking effect more and more dramatically in company with our post modern needs for fantastic adventure and thrilling spectacle. It can be thought that surrealistic fashion ads reflects uncanny as an alternative which can relieve us of our stress and anxiety and which realize our potential desire in contemporary post industrial stage.

• Journal of Microbiology and Biotechnology
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• v.18 no.10
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• pp.1621-1629
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• 2008

Harmful algal blooms (HABs), commonly called red tides, are caused by some toxic phytoplanktons, and have made massive economic losses as well as marine environmental disturbances. As an effective and environment-friendly strategy to control HAB outbreaks, biological methods using marine bacteria capable of killing the harmful algae or algicidal extracellular compounds from them have been given attention. A new member of the $\gamma$-Proteobacteria, Hahella chejuensis KCTC 2396, was originally isolated from the Korean seashore for its ability to secrete industrially useful polysaccharides, and was characterized to produce a red pigment. This pigment later was identified as an alkaloid compound, prodigiosin. During the past several decades, prodigiosin has been extensively studied for its medical potential as immunosuppressants and antitumor agents, owing to its antibiotic and cytotoxic activities. The lytic activity of this marvelous molecule against Cochlodinium polykrikoides cells at very low concentrations ($\sim$l ppb) was serendipitously detected, making H. chejuensis a strong candidate among the biological agents for HAB control. This review provides a brief overview of algicidal marine bacteria and their products, and describes in detail the algicidal characteristics, biosynthetic process, and genetic regulation of prodigiosin as a model among the compounds active against red-tide organisms from the biochemical and genetic viewpoints.

• Journal of Ginseng Research
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• v.44 no.3
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• pp.496-505
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• 2020

Background: Panax ginseng is a marvelous herbal remedy for all ailments of body. That may be why it is called Panax, which means "cure for all". Melanin is a pigment that gives color to our skin; however, increased melanin production can lead to tumor formation. Human exposure to ultraviolet B radiation has increased extensively owing to the increased sunlight due to global warming. Consequently, a phenomenon called photoaging has been observed for all skin colors and types. As a result of this phenomenon, a set of enzymes called matrix metalloproteinases, which serve as degradation enzymes for extracellular matrix proteins, mainly collagen, is increased, causing depletion of collagen and resulting in early wrinkle formation. Methods: Therefore, in our study, we used the murine melanoma cell line B16/F10 to study the inhibition of melanogenesis by Korean Red Ginseng (KRG) extract in vitro and HRM-2 hairless mice exposed to artificial ultraviolet B to examine the efficacy of KRG in vivo. We prepared a 3% red ginseng extract cream and evaluated its effects on human skin. Results: Our results demonstrated that KRG induced potent suppression of tyrosinase activity and melanin production in B16/F10 cells; moreover, it reduced the transcription and translation of components involved in the melanin production pathway. In the in vivo experiments, KRG potently suppressed the expression of matrix metalloproteinases, reduced wrinkle formation, and inhibited collagen degradation. On human skin, ginseng cream increased skin resilience and skin moisture and enhanced skin tone. Conclusion: Therefore, we conclude that KRG is an excellent skin whitening and antiaging product.

• Korean Chemical Engineering Research
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• v.54 no.5
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• pp.693-697
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• 2016

In this study, we fabricated the catalysts for enzymatic biofuel cell anode with carbon nanotube (CNT), glucose oxidase (GOx) and various molecular weights branched poly(ethyleneimine)(bPEI) and terephthalaldehyde (TPA) as cross-linker. In case of GOx/bPEI/CNT using only physical entrapments for immobilization, the molecular weights of bPEI didn't affect to electrochemical performances and long term stability. but that of the catalysts cross linked via TPA (TPA[GOx/bPEI/CNT]) improved and the mass transfer of glucose to FAD was interrupted as increasing of the bPEI's molecular weights. Furthermore, it was confirmed that the optimum molecular weight of PEI for TPA [GOx/bPEI/CNT]) structure is 750k that showed marvelous high performance (maximum power density of $0.995mW{\cdot}cm^{-2}$).

• Journal of the Korean Society of Costume
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• v.4
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• pp.13-24
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• 1981

The color yellow was considered from ancient time to the Chosun Dynasty as the central color. Thus, this color became the royal color for the costumes in the palace. It is generally known to usthat the color yellow was controled in use both for the general public and in the royal palaces. However, in the later part of Chosun Dynasty, the color yellow was used not only for the king's costumes but also used for women's tops and for the linings of clothing. Especially, in some of the costumes that belonged to the later period of the Chosun Dynasty, we can still see lots of bright yellow tops. Also there are many green dyed official robes and various costumes for women. It is a true fact that people could not derive the color green from the plants as they did with yellow. The only way they could make the color green was to mix indigo and yellow together. By repeating the difficult process of making various dyes constantly during many centuries, the Korean people developed the marvelous technique of making natural color. Those plants used to make the color yellow are ; Gardenia, Phellodendron amurense, Turmeric, Coptis, Safflower, Arthraxon hispidus, Styphnolobium japonicum. While synthetic dye causes pollution, natural coloring by plants is as safe and useful as the color itself is lovely. Yet it is tragic to know that this traditional culture of making beautiful natural colors was cut off. There is no way to know today the traditionally correct method to derive colors from the plants. Therefore, it is our aim and challenge to find out the original way to dye and develop it and preserve it as our non-polluted folk art. In regard to natural dyeing, we must say that is very difficult to prepare and preserve natural dyes. In the first place, people had to get the right plants at an appropriate time. Then they could not keep those plants too long. Finally, much depended upon the mordant as well as various conditions and dyeing procedures. All those things influenced greatly the quality of color, some times producing a very pretty color and other times a very dull one. It is very appropriate that the natural dye art should be recognized and appreciated anew by Korea since it provides satisfaction to historical and folk artistic demands as well as to those of fashion conscious modern society for high quality consumption items. We propose two stages of development. The first stage is to explore native dye plants and encourage their cultivation. The second stage is to extract from the plants desirable dye which will enhance national culture.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.135-158
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• 2019

The purpose of this paper is to elucidate the characteristics that make Guillermo del Toro's film Pan's Labyrinth (2006) a fantasy film, and the meaning and function of the labyrinth motifs closely related to it. Tzvetan Todorov defined the 'fantastic' as the hesitation between natural and supernatural interpretations in the face of supernatural events that invade reality. In Pan's Labyrinth, the fantastic continues to be seen, because the film does not allow the hesitation to disappear; thus, the fantastic does not enter the 'uncanny' genre or 'marvelous' genre, and because it keeps its fantastic state. In this case, the labyrinth symbolizes art as a passage into the fantastic world and a space that represents it. Rosemary Jackson saw the fantasy as a "literature of desire to compensate for a lack resulting from cultural constraints" and thus repeatedly dealing with unconscious materials. Del Toro's film shows the character of the fantastic as an expression of desire by allowing 'family romance' to take place in the fantastic world. In this case, the labyrinth symbolizes the mind as a place of desire. Kathryn Hume defined fantasy as a reaction to reality, like mimesis, and 'departure from consensus reality.' The film, operating in a 'vision' genre, satisfies its definition by allowing the fantastic world to illuminate the reality world through 'contrastive' technique, and brings out the fantastic it has. In this case, the labyrinth symbolizes the world as a mirror of the world of reality. Thus, Pan's Labyrinth is representative of fantastic film in that the fantastic functions very effectively, and the labyrinth appearing in this film can be evaluated as a motif that is full of meaning by symbolizing all three elements of art, world and mind. The significance of this paper is to shed light on how a motif works in a particular genre through the above considerations.

• Journal of the Daesoon Academy of Sciences
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• v.16
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• pp.69-85
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• 2003

Death has been one of the basic objects in philosophy and religion. Why do people feel afraid about death? Maybe it is because they don't know the situation after death or because they have a wrong idea about it. Someone may think that he/she doesn't care the situation. But this attitude is wrong. We must understand that our attitude about life is shaped by our knowledge of the situation after death. A recurrent theme about death in popular thought is the idea that death is mysterious. As we have seen, it is difficult to formulate a satisfactory philosophical analysis of the concept of death. If it is impossible to analyse the concept of death, then it is impossible to explain precisely what we mean when we say that something dies. It might be said therefore that, in virtue of this fact, death is mysterious. Of course, death is not distinctively mysterious - all other unanalysable concepts are equally mysterious in this way. Reflection on death gives rise to a variety of philosophical questions. One of the deepest of these is a question about the nature of death. Typically, philosophers interpret this question as a call for an analysis or definition of the concept of death. Plato, for example, proposed to define death as the separation of soul from body. However, this definition is not acceptable to those who think that there are no souls. It is also unacceptable to anyone who thinks that plants and lower animals have no souls, but can nonetheless die. Others have defined death simply as the cessation of life. This too is problematic, since an organism that goes into suspended animation ceases to live, but may not actually die. The eastern philosophers proposed to define death as the nonduality of life and death. Taoists, for example, do not believe in the Wheel of Life of the Buddhists nor in the Heaven or Hell of Christianity. Taoists view existence as glorious. The whole Universe, they teach, is a marvelous, vibrant Unity wherein everything, visible and invisible, pulses with energy and changes. As being develops through the experience of existence, its vessels are swept onwards by the mighty stream of the eternal TAO to other forms of expression and activity. Man does not die; he merely extends into new fields. Taoists teach that the end of a person is the return to the Ultimate Reality. "Life is uncertain - Death is certain": This is a well known saying in Buddhism. Knowing very well that death is certain and it is a natural phenomenon that everyone has to face, we should not be afraid of death. Yet, instinctively, all of us fear death because we do not know how to think of its inevitability. We like to cling to our life and body and so develop too much craving and attachment.

• Cross-Cultural Studies
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• v.25
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• pp.391-420
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• 2011

Christina Rossetti's novella Maude displays Tractarian influences in terms of Holy Eucharist, Puseyism, and the doctrine of Reserve. Tractarianism is High Church revival movement of nineteenth century. In the story a teenage girl, Maude went through hard time receiving Holy Eucharist due to self-consciousness and internal guilt according to Puseyism. She felt guilty when she enjoyed worldly things and outward beauty. Due to guilt Maude refused to receive Holy Communion, which is complete connection to God. Her cousin, Agnes suggested that in refusing Holy Communion Maude is following her own will not God's will. Later Maude overcame Puseyite thought of self-hatred and reconciled with her identity as a poet and a woman. Maude oscillates between concealing and revealing, secrecy and truth, sincerity and affectation, and modesty and display. Her marvelous poetic talent makes people praise her but she withholds private feelings and attempts to divert attention from herself. Like Maude herself, the meaning of her poems is at times reserved and withheld. This tendency goes with the doctrine of Reserve in Tractarianism. The doctrine of Reserve utilizes indirect methods to reveal divine attributes because finite human being can not accept infinite God. The doctrine of Reserve sees to it that the expression will be veiled, indirect, subdued and self-effacing. Rossetti adapts a poetic method of Reserve when Maude has anxiety over 'display and poetry' and generates the reticence, secrecy, mystery, renunciation, modesty and detachment. According to Mary Arseneau, by veiling and expressing herself through symbols she can rise above the self and employ the phenomenal to suggest a noumenal reality. Thus the poetry becomes an expression of longing for the divine. The poem "Three Nuns" exemplifies Maude's maturity and gradual progress in the relationship with God. Rossetti suggests the vision full of hopes and promises of reuniting with God. In conclusion, in some sense, authoritative and conservative Tractarianism affects Rossetti both ways. On the one hand, it makes Rossetti abnegate herself and leads her to asceticism, on the other hand, it makes Rossetti express her faith in God and write amazing devotional poems such as "Three Nuns". A poem within the poem has three voices that are in perfect harmony. In the poem the first and second nun show hesitation to fully commit to God's will and the desire for the world prevents them from having heavenly joy. Third nun reveals spiritual maturity and sings new life in God where their hopes and joys begin. Rossetti expresses the procedure of spiritual growth through the poem "Three Nuns". For Rossetti, self-abnegation and self-expression both are involved in the doctrine of Reserve, Puseyism and Holy Communion.