• The Korean Journal of Archival Studies
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• no.12
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• pp.81-135
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• 2005

The release of administrative information has been the challenge of our age following the maturation of democratic ideology in our society. However, differences of opinion and conflict still exist between the government and private sectors regarding the issue, and it seems that the technical and policy-related insufficiencies of information and record management that actually operate the release of information are the main causes. From the perspective of records management, records or information are variable in their nature, value, and influence during their life span. The most controversial issue is the records and information in the current stage of carrying out business activities. This is because the records and information pertaining to finished business are but evidence to ascertain the past, and have only a limited relationship to the ideal of the 'democratic participation' by citizens in activities of the public sector. The current information release policies are helpless against the 'absence of information,' or incomplete records, but such weakness can be supplemented by enforcing record management policies that make obligatory the recording of all details of business activities. In addition, it is understood that the installation of 'document offices("Jaryogwan")' that can manage each organization's information and records will be an important starting point to integrate the release, management, and preservation of information and records. Nevertheless, it seems that the concept of 'release' in information release policies refers not to free use by all citizens but is limited to the 'provision' of records according to public requests, and the concept of 'confidential' refers not to treating documents with total secrecy but varies according to the particulars of each situation, making the actual practice of information release difficult. To solve such problems, it is absolutely necessary to collect the opinions of various constituents associated with the recorded information in question, and to effectively mediate the collective opinions and the information release requests coming from applicants, to carry out the business more practically. Especially crucial is the management of the process by which the nature and influence of recorded information changes, so that information which has to be confidential at first may become available for inquiry and use over time through appropriate procedures. Such processes are also part of the duties that record management, which is in charge of the entire life span of documents, must perform. All created records will be captured within a record management system, and the record creation data thus collected will be used as a guide for inquiry and usage. With 'document offices(Jaryogwan)' and 'archives' controlling the entire life span of records, the release of information will become simpler and more widespread. It is undesirable to try to control only through information release policies those records the nature of which has changed because, unlike the ones still in the early stages of their life span and can directly influence business activities, their work has finished, and they have become historical records or evidences pointing to the truth of past events. Even in the past, when there existed no formal policy regarding the release of administrative information, the access and use of archival records were permitted. A more active and expanded approach must be taken regarding the 'usage' of archival records. If the key factor regarding 'release' lies in the provision of information, the key factor regarding 'usage' lies in the quality and level of the service provided. The full-scale usage of archival records must be preceded by the release of such records, and accordingly, a thorough analysis of the nature, content, and value of the records and their changes must be implemented to guarantee the release of information before their use is requested. That must become a central task of document offices and "Today's information" will soon become "yesterday's records," and the "reality" of today will become "history" of the past. The policies of information release and record management share information records as their common objective. As they have a mutual relationship that is supplementary and leads toward perfection, the two policies must both be differentiated and integrated with each another. It is hoped that the policies and business activities of record management will soon become normalized and reformed for effective and fair release of information.

• Korean Journal of Heritage: History & Science
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• v.52 no.2
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• pp.240-253
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• 2019

Archaeological heritages are precious cultural relics and public assets that must be preserved, conserved, and shared with people all over the world. Investigating archaeological heritage is valuable and plays an important role for the public good; our ancestors' cultures can be restored, and it helps with developing a clear understanding of the cultural and social aspects of a historical period as well as teaches about historical factors unreported in the literature. One of the most basic and important conditions necessary for recognizing the value and importance of archaeological heritage investigation, expertise, and quality improvement is to establish detailed criteria for investigation services and the qualification examination of archaeological heritage. Observation of detailed criteria and the qualification examination of archaeological heritage can partially demonstrate society's recognition of strengthening transparency, public property, and the objectivity of the investigation of archaeological heritage. However, the detailed criteria for investigation services and the qualification examination of archaeological heritage currently implemented as administrative rules are neither followed by all institutes in the public and private sectors nor the government. Thus, there are serious problems in terms of the effectiveness and stability of institutions. The detailed criteria for the qualification examination breach the principle of statutory reservation, the principle of statutory regulation, and regulations on the announcement and management of orders and rules. Non-compliance with compensation criteria for investigation services or with detailed criteria for the qualification examination of archaeological heritage will be one of the reasons for the failure of the investigation foundation for archaeological heritage in the future. That is, it will result in the expansion, reproduction, and repetition of a vicious cycle of conflict between developers, who are the decision-makers responsible for selecting an investigating organization for archaeological heritage and determining the cost, and investigating organizations. This includes the impractical shortening of investigation periods and reducing costs by developers, distrust of the values and the importance of investigations of archaeological heritage, a decrease in quality, accidents caused by a lack of safety, a lack of occupational ethics, and non-recruitment of new experts, etc. Therefore, it is necessary to change the structure from a vicious cycle to a virtuous cycle, and promote the enactment of regulations that will ensure effectiveness and stability in the process of attaining the goals of the institution and application of the institution, as well as the continuous advancement of work to fill the gaps with reality.

• (The) Research of the performance art and culture
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• no.32
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• pp.71-106
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• 2016

This study analyzes the current work of the traditional theater around 'Back Parkcheomji(season2)' of theatre troupe 'Saninomou'. 'Back Parkcheomji(season2)' has proved that it is possible modernization while at the same time preserving the traditional theater. As a result, 'Back Parkcheomji(season2)' regained the spirit of contemporary social criticism and reality inherent in Kokdugaksinorum. The performance are beyond the traditional production method, which has created a new performance aspects. 'Back Parkcheomji(season2)' has created the puppets like this 'Kimga' 'Seweolho' 'Ryukbang' 'Chourani'. Traditional and creative dolls has criticized our modern society at the same stage. On the other hand, plays such as tightrope, Pungmul, Burna confirmed the spirit of Namsadangpae, and gave a dramatic fun. 'Back Parkcheomji(season2)' has dual stage. The dual stage will produce a magnificent spectacle, and has provided a variety of attractions. 'Back Parkcheomji(season2)' re-created the traditional theater of Namsadangpae in vivid contemporary version. The performance has made the opportunity to think again about the value of classical and allowed to recognize the new phase of classical theater.

• Korean Journal of Heritage: History & Science
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• v.36
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• pp.347-377
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• 2003

China is a country with large agricultural areas and subject to frequent calamities. Drought is the top of them. It has been a key problem for development of agriculture in the country. In the long struggle against drought, Chinese have accumulated many rational and irrational experiences. The Dragon Kings Belief, which is popular in North China and discussed in a thesis, is one of their irrational experiences. The belief was passed together with Buddhism from India to China in the Tang Dynasty. After it settled down, it was incorporated with the local five dragons belief and a set of beliefs in dragon kings came into existence. The emergence of the dragon kings belief ended the history that the title of rain got was not clear in China and Dragon kings finally got the status. Irrigation is the lifeblood of agriculture in China. In a Chinese mind, Dragon kings are the most important gods who take charge of rain and thus offer the lifeblood. In understanding the nature and characteristics of Chinese traditional culture, it is important for us to make clear the origin and evolution of the belief, find out its nature, function and operation. In the every year beginning of February of the Fanzhuang calendar in the people of Hebeisheng Zhaoxian, would all hold a festival to offer sacrifices to the $^{{\circ}TM}^{\prime}longpai$. Longpai was regarded as the core of the temple fair, thus the native sons came to call this festival; "longpaihui". In this region the'Fanzhuang longpaihui'developed into a well knownand grand temple fair. It was able to attract numerous pilgrims with its special magic power, occupying a place in $China^{{\circ}TM}$ 'eryueer'festival with festive dragon activities. The dragon is a common totem among Chinese nationals. The belief worship of the dragon dates from the start time of primitive societies. Dragon oneself the ancients worship's thunder lightning. In the worship of the great universe, at first afterwards this belief with the tribe's totem worships to combine to become the animal spirit. In ancient myths legends, along with folk religion and beliefs all hold a very important position. The longpaihui is a temple fair without a temple; this characteristic is a distinction between longpaihui and other temple fairs. As for longpaihui must of the early historical records are unclear. The originator of a huitou system has a kind of organized form of the special features rather, originator of a huitou not fix constant, everything follows voluntarily principle, can become member with the freedom, also can back at any time the meeting. There is a longpaihui for 'dangjiaren', is total representative director in the originator of a huitou will. 'banghui' scope particularly for extensive, come apparently every kind of buildup that help can return into the banghui, where is the person of this village or outside village of, the general cent in banghui work is clear and definite, for longpaihui would various businesses open smoothly the exhibition provides to guarantees powerfully. Fanzhuang longpaihui from the beginning of February to beginning six proceed six days totally. The longpai is used as the ancestry absolute being to exsits with the community absolute being at the same time in fanzhuang first took civil faith, in reality is a kind of method to support social machine in native folks realize together that local community that important function, it provided a space, a kind of a view to take with a relation, rising contact, communication, solidify the community contents small village, formation with fanzhuang. The fanzhuang is used as supplies for gathering town, by luck too is this local community trade exchanges center at the same time therefore can say the faith of the longpai, in addition to its people's custom, religious meaning, still have got the important and social function. Moreover matter worthy of mentioning, Longpai would in organize process, from prepare and plan the producing of meeting every kind of meeting a longpeng of the matter do, all letting person feeling is to adjust the popular support of, get the mass approbation with positive participate. Apart from the originator of a huitou excluding, those although not originator of a huitou, however enthusiasm participate the banghui of its business, also is too much for the number.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.170-181
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• 2011

This Research will explore the meaning indicated in the landscape meaning and feature of literary group culture, focusing in Gurujeong(九老亭: pavilion for nine elders) and Samgaeseokmun(三溪石門: stone gate in three valleys) located in Dundeok-myun, Imshil-gun, and will seek to understand the implications by studying the cultural landscape spread out in the area. The place where Gurojeong and Samgaeseokmun is located is the meeting point of the three valleys, Dunnam stream, Osu stream, and Yul stream, which is the main location to view the beautiful scenery, which has the nickname as the dwelling place of a celestial being. Especially, based on the description of old maps, "Samgae(three valleys)" and "Samgaeseokmun" possesses significance as a landmark and shows a characteristic feature of landscape structures of low hills. Dangugurohwe(丹丘九老會: nine elders gathering on the dwelling of a celestial being) originated from Hyangsangurohwe(香山九老會: gathering of nine elders on a fragrant mountain), where Baekgeoi(白居易) of China was one of the main people. This group was organized by nine elders over the age of 60 desiring to view the scenery of Doyeonmyeong. The group enhanced the literary spirit on the low hill, erecting a tower, and enjoying the beautiful scenery changing every season with scholars from the same region. This phenomenon seems to have been formed upon the positive response to gatherings of elders, which were prevalent in the Joseon Dynasty. If the internal idea pursued by the group was "longevity," the external idea pursued can be summarized as "the spirit the respect for the elders." Naming the groups as 'Dangudae(place where the celestial being lives), Guseondong(valley of seeking a celestial life), Bangjangsan(mountain of a high priest), and Daecheondae(place of communicating with God) was likely a device to introspect oneself and symbolize one's life process. Furthermore, the reason Samgaeseokmun, which is an imitation of Choi, Chiwon's work, was built near Soyocheo, was probably to yearn the celestial land and based on the desire to follow Choi, Chiwon, who was the most self-fulfilling being presumed to have become a celestial being by practicing the pursuit of freedom, escaping from the reality. After tracing the symbolizing meaning of the four letters carved in the left side of the stone wall of Dangudae, the conclusion that this place was not only a place for literary gatherings of the nine elders of Saseong(four families), but was a place where the celestial being dwelled could be inferred. Corresponding with Dangudae and Gurojeong, which are places where the order of human and nature is harmonized and where its meaning associated with the location intensifies, arouses strong bond, can be said to be the symbol of the traces of celestial beings where the spirits of attachment to a certain place is embedded. The acts performed in Dangugurohwe were those of traditional leisure including strolling, viewing the scenery, drinking, composing poems, and playing instruments, and sometimes listening to stories, tea ceremony, prayers, and fishing were added, which indicates that the gathering had a strong tendency towards pastoral and hermit life.

• Cross-Cultural Studies
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• v.40
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• pp.111-131
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• 2015

An unusual success engendering loyalty among cult fans in the United States, Mamoru Oshii's 1995 cyberpunk anime, Ghost in the Shell (GITS) revolves around a female cyborg assassin named Motoko Kusanagi, a.k.a. "the Major." When the news came out last year that Scarlett Johansson was offered 10 million dollars for the role of the Major in the live action remake of GITS, the frustrated fans accused DreamWorks of "whitewashing" the classic Japanimation and turning it into a PG-13 film. While it would be premature to judge a film yet to be released, it appears timely to revisit the core achievement of Oshii's film untranslatable into the Hollywood formula. That is, unlike ultimately heteronormative and humanist sci-fi films produced in Hollywood, such as the Matrix trilogy or Cloud Atlas, GITS defies a Hollywoodization by evoking much bafflement in relation to its queer, posthuman characters and settings. This essay homes in on Major Kusanagi's body in order to update prior criticism from the perspectives of posthumanism and queer theory. If the Major's voluptuous cyborg body has been read as a liberating or as a commodified feminine body, latest critical work of posthumanism and queer theory causes us to move beyond the moralistic binaries of human/non-human and male/female. This deconstruction of binaries leads to a radical rethinking of "reality" and "identity" in an image-saturated, hypermediated age. Viewed from this perspective, Major Kusanagi's body can be better understood less as a reflection of "real" women than as an embodiment of our anxieties on the loss of self and interiority in the SNS-dominated society. As is warned by many posthumanist and queer critics, queer and posthuman components are too often used to reinforce the human. I argue that the Major's hybrid body is neither a mere amalgam of human and machine nor a superficial postmodern blurring of boundaries. Rather, the compelling combination of individuality, animality, and technology embodied in the Major redefines the human as always, already posthuman. This ethical act of revision-its shifting focus from oppressive humanism to a queer coexistence-evinces the lasting power of GITS.

• (The)Study of the Eastern Classic
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• no.69
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• pp.9-44
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• 2017

Seonsaengan(先生案) is the predecessor's lists. The list includes the names of the predecessor, the date of the appointment, the date of return, the previous job, and the next job. Therefore, previous studies on the local recruitment and Jungin (中人) that can not be found in general personnel information of the Joseon dynasty were conducted. However, the status and classification of the list has not been achieved yet. So this study aims to clarify the status, classification and data characteristics of the list. 176 books, are the Joseon dynasty lists of predecessors, remain to this day. These lists are in Jangseogak(47 cases), Kyujanggak(80 cases), the National Library of Korea(24 cases) and other collections(25 cases). Jangseogak has lists of royal government officials, Kyujanggak has lists of central government officials, and the National Library of Korea and other collections have lists of local government officials. However, this paper focuses on accessible Jangseogak list of 47 cases. As I mentioned earlier, the Jangsaegak lists are generally related to the royal government officails. This classification includes 18 central government officials, 5 local government officials, and 24 royal government officails. If the list is classified as contents, it can be classified into six rituals and diplomatic officials, 12 royal government officials, 5 local government officials, 14 royal tombs officials, and 10 royal education officials. Through the information on the list, the following six characteristics can be summarized. First, it can be finded the basic personal information about the recorded person. Second, the period of office and reasons for leaving the office and office can be known. Third, changes in the office system can be confirmed. Fourth, it can be looked at one aspect of the personnel administration system of the Joseon Dynasty through the previous workplace and the next job. Fifth, it is possible to know days that are particularly important for each government. Sixth, the contents of work evaluation can be confirmed. This is the reality of the Joseon Dynasty, which is different from the contents recorded in the Code. Through this, it is possible to look at the personnel administration system of the Joseon Dynasty. However, in order to carry out a precise review, it is necessary to make a database for 176 lists. In addition, if data is analyzed in connection with existing genealogy data, it will be possible to establish a basis for understanding the personnel administration system of the Joseon Dynasty.

• (The)Study of the Eastern Classic
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• no.71
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• pp.147-180
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• 2018

Seokjeong JEONG-JIK LEE is a scholar who tried to render a form of service for his country by writing works of literature during the crisis of the Period of Modern Enlightenment. He mainly expressed his perception of reality through an evaluation of historical figures. He left behind a text on the Analects of Confucius, which is known as the '10 questions and answers regarding the Analects of Confucius', in his posthumous work. It seems that he wrote it to be used as lecture material for his students. The purpose of this thesis is to analyze his recognition to the Analects of Confucius and its learning direction expressed in the writing '10 questions and answers regarding the Analects of Confucius'. With respect to the word ren(仁), which is the most fundamental concept of the Analects, he viewed his life in an introspective way from the standpoint of a 'Hoinyupe(好仁有蔽)', which means that if you like kindness and fairness but don't like learning it, then there will be negative effects, and through the 'Gwangwajiin(觀過知仁)', which means that you will know for sure kindness and fairness when you observe wrongdoing, not the general viewpoint of 'Humaneness or Love'. He tried to determine the meaning of ren, and virtue(德) through a common denominator from an overall point of view. It might have been a reflection of his thoughts that a sound comprehension of powerful countries was needed. In terms of relationship between Gunja(君子) and Myeong(命), Gunja needs to make constant efforts to understand Myeong as a talented person who can maintain order. The direction of learning was examined under three categories: Jongipjibang (從入之方), Gunjajiryu(君子之類), and Sumunihae(隨文而解). Jongipjibang is defined as a way to complement the weaknesses of leaners according to their characteristics and it promotes a focus on pushing ethics into practice rather than acquiring knowledge as it is today. Gunja was classified into 3 stages. However, it merely provides standards to help learners' understandings, so not all students may fall into these stages. Sumunihae gives explanations of commentaries on the book. Seokjeong remarked that the meaning was not different even if the same concept was annotated differently in the "Four Books". This is because the context was emphasized according to the principle of 'Sosisojeol Pilchakpilseom (所始所切, 必着必贍)'.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.123-160
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• 2020

Manga develops by reflecting a change of society, reader's needs, and their thoughts and changes of tastes, sensitively. Shojo manga and Jyosei manga also do. We can find several kinds of meaningful changes in Japanese Jyosei manga in the 2010s. The works which represent preciousness of daily life, women's narrative and self-realization are gradually increasing. In addition, the works that deal with very touchy issues such as sex discrimination at work, sexual harassment begin to emerge. It has never been found in the manga of the former era. While this paper analyzes the social and cultural causes of these changes of the works that exclude romance and treat gender issues focusing on recent works, it examines changes of Japanese Jyosei manga in the 2010s and their meanings. I investigate the current trends of Japanese Jyosei manga in the 2010s through Umimachi Diary that represents a precious everyday life with woman-centered narrative, Metamorphose no engawa that deals with women's story from a new perspective, Good-bye My Miniskirt that tackles gender issues. Furthermore I intensively analyze how Nagi's Long Vacation and Darucyan, which win popularity from women in their 20s~30, represent lives and troubles of contemporary Japanese women. Nagi's Long Vacation represents the heroine's quest for a self throwing everything out. While Darucyan deals with self-realization, it forms of a bond of sympathy of readers by representing the heroine who suffers sexual harassment and inequal conditions very realistically. Nagi's Long Vacation and Darucyan have something in common with portraying troubles and self-realization of the working women in their 20s based on a indigenous reality to Japanese society very realistically. However they are unusual in that it is different from the manga of the former era in dealing with heroine's troubles and their solutions. The most distinctive changes of Jyosei manga since 2010 are that real issues surfaced with social changes. In addition, these social contradictions result from irrational discriminations and old customs of Japanese society for a long time. Manga reflects subtly the portraits of the times, their images of women, and their values. These changes of Jyosei manga also show the concerns of readers at that time, and it means that women began to be aware of the issues.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.9-41
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• 2020

Park Jong-won's debut film "Guro Arirang," based on a short story of the same title by Lee Moon-yeol, is the first commercial film to deal with labor struggles from a worker's point of view in the wake of the 1987 democratic movement, and a pioneering work in terms of representing female workers the Korean cinema has traditionally turned away from. In this film Park Jong-won tried to win the sympathy of the middle class for labor movement in spite of the red scare which still stood firm in the Korean society at that time. To convey its progressive message in a form acceptable to the middle class public, the film portrays labor issues in the light of universal humanity and ethics, not in terms of class hostility or struggle. Park Jong-won calls this point of view "common sense of normal people" and emphasizes its universality and objectivity. This study critically examines the cinematic strategies to deal with labor issues in a form acceptable to the public in a conventional and commercial film and the ideological implications of the "common sense of normal people" reflected in such strategies. The first chapter of the study reveals that the film destroys the irony of the original story and reduces the complex constellation of the characters to the conflict between pure good and evil, creating a melodramatic composition in which the good falls victim to evil. The tragedies suffered by the workers in the film are of course intended to arouse the audience's strong sympathy and solidarity with them. The second chapter shows that the film's various scenes and episodes converge on the them of compassion and grief, and are mostly based on cultural and real experiences and events that caused great public sensations at that time. Especially in the last decisive scene of the movie, the memory of the June 1987 uprising is strongly recalled. So "Guro Arirang" can be seen as a patchwork of proven cases of compassion and grief. The third chapter examines the implications of the scene where the workers turn back demands for wages and put the issues of human treatment and trust to the forefront at the crucial moment of their struggle. It appeals to universal moral values and sentiments that everyone has to acknowledge and removes the political dimension from the workers' campaign. While the film tends to become a pure story of humanity marginalizing irreconcilable conflicts of class interest, the workers fall to the position of passive victims who can be deeply sympathetic on the one hand, and on the other, are idealized as leaders with noble attitude keeping themselves aloof from the hard reality. As a result, the movie loses its realistic ground and weakens its narrative probability. The scenes reminiscent of the 1987 uprising which evoke the solidarity between working and middle class fail to integrate harmoniously into the whole story of the film and remain only as fragmentary parts of the patchwork of compassion and grief.