• Title/Summary/Keyword: contemplation

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Literary Text and the Cultural Interpretation - A Study of the Model of 「History of Spanish Literature」 (문학텍스트와 문학적 해석 -「스페인 문학사」를 통한 모델 연구)

  • Na, Songjoo
    • Cross-Cultural Studies
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    • v.26
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    • pp.465-485
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    • 2012
  • Instructing "History of Spanish Literature" class faces various types of limits and obstacles, just as other foreign language literature history classes do. Majority of students enter the university without having any previous spanish learning experience, which means, for them, even the interpretation of the text itself can be difficult. Moreover, the fact that "History of Spanish Literature" is traced all the way back to the Middle Age, students encounter even more difficulties and find factors that make them feel the class is not interesting. To list several, such factors include the embarrassment felt by the students, antiquated expressions, literature texts filled with deliberately broken grammars, explanations written in pretentious vocabularies, disorderly introduction of many different literary works that ignores the big picture, in which in return, reduces academic interest in students, and finally general lack of interest in literate itself due to the fact that the following generation is used to visual media. Although recognizing such problem that causes the distortion of the value of our lives and literature is a very imminent problem, there has not even been a primary discussion on such matter. Thus, the problem of what to teach in "History of Spanish Literature" class remains unsolved so far. Such problem includes wether to teach the history of authors and literature works, or the chronology of the text, the correlations, and what style of writing to teach first among many, and how to teach to read with criticism, and how to effectively utilize the limited class time to teach. However, unfortunately, there has not been any sorts of discussion among the insructors. I, as well, am not so proud of myself either when I question myself of how little and insufficiently did I contemplate about such problems. Living in the era so called the visual media era or the crisis of humanity studies, now there is a strong need to bring some change in the education of literature history. To suggest a solution to make such necessary change, I recommended to incorporate the visual media, the culture or custom that students are accustomed to, to the class. This solution is not only an attempt to introduce various fields to students, superseding the mere literature reserch area, but also the result that reflects the voice of students who come from a different cultural background and generation. Thus, what not to forget is that the bottom line of adopting a new teaching method is to increase the class participation of students and broaden the horizon of the Spanish literature. However, the ultimate goal of "History of Spanish Literature" class is the contemplation about humanity, not the progress in linguistic ability. Similarly, the ultimate goal of university education is to train students to become a successful member of the society. To achieve such goal, cultural approach to the literature text helps not only Spanish learning but also pragmatic education. Moreover, it helps to go beyond of what a mere functional person does. However, despite such optimistic expectations, foreign literature class has to face limits of eclecticism. As for the solution, as mentioned above, the method of teaching that mainly incorporates cultural text is a approach that fulfills the students with sensibility who live in the visual era. Second, it is a three-dimensional and sensible approach for the visual era, not an annotation that searches for any ambiguous vocabularies or metaphors. Third, it is the method that reduces the burdensome amount of reading. Fourth, it triggers interest in students including philosophical, sociocultural, and political ones. Such experience is expected to stimulate the intellectual curiosity in students and moreover motivates them to continues their study in graduate school, because it itself can be an interesting area of study.

An Investigation on the human nature in philosophy of Wang Yang-Ming and Buddhism from a Kantian point of view (칸트의 관점에서 본 왕양명과 불교의 인간관)

  • Park, Jong-sik
    • Journal of Korean Philosophical Society
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    • v.131
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    • pp.165-197
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    • 2014
  • In this paper, I investigate on the human nature in philosophy of Wang Yang-Ming and Buddhism from a Kantian point of view. The core argument of the philosophy of Wang Yang-Ming, Buddhism and Kant is that all human beings have the pure abilities a priori to overcome themselves, to realize their own potentialities. This is called immanent transcendence. At this time human beings can be free. Kant, Wang Yang-Ming and Buddhism claim that all human beings themselves will overcome their desires from their mind and body through the immanent transcendence, reflection and contemplation on their own. When we give up the external knowledges, throw away obsessions with the selfish desires and go back to our inside, we can see our original nature. To have an insight into this inner nature, to respect the moral law a priori, this is to overcome the ourselves, and to be a Grate Man(聖人) and a Buddha. This way is the only way to be a Grate Man and a Buddha. The main proposition of Wang Yang-Ming's philosophy is expressed 'There are no things without mind.'(心外無物) The core of Kant's transcendental philosophy is called the Copernican Revolution by himself. Copernican Revolution means the transition from the object-centered epistemology to the subject-centered epistemology. 'Innate Knowing'(良知) and 'Perform Innate Knowing'(致良知), 'All human beings have the mind of Buddha'(一切衆生悉有佛性) contain the apriority, immanence of Moral Law. In this respect, the theory of Innate Knowing in Wang Yang-Ming and mind of Buddha in Buddhism, pure Moral Law in Kant has the same structure grounded in subjectivity. Even if we have the mind of Buddha, innate Knowing, moral law a priori, the reason why we don't know our original nature is that we fall into the obsessions with selfish desires, and that we have inclination to external interests. So the moment you see our original nature, ordinary people themselves turn into a Buddha. These changes and transitions are immanent transcendence. All human beings have the ability to do this changes and transitions. Buddha does not exist outside of us, but it exists with our reflections on our human nature. Buddha can not existed without our insight into the our innate Ego. Where there is our original nature, there is a Buddha. So Buddha is called the another name of the original figure of human beings.

Lee Ungno (1904-1989)'s Theory of Painting and Art Informel Perception in the 1950s (이응노(1904~1989)의 회화론과 1950년대 앵포르멜 미술에 대한 인식)

  • Lee, Janghoon
    • Korean Journal of Heritage: History & Science
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    • v.52 no.2
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    • pp.172-195
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    • 2019
  • Among the paintings of Goam Lee Ungno (1904-1989), his works of the 1960s in Paris have been evaluated as his most avant-garde works of experimenting with and innovating objects as an artist. At that time, his works, such as Papier Colle and Abstract Letter, were influenced by abstract expressionism and Western Art Informel, illustrating his transformation from a traditional artist into a contemporary artist. An exhibition, which was held prior to his going to Paris in March 1958, has received attention because it exhibited the painting style of his early Informel art. Taking this into consideration, this study was conducted by interpreting his work from two perspectives; first, that his works of 1958 were influenced by abstract expressionism and Art Informel, and, second, that he expressed Xieyi (寫意) as literati painting, focusing on the fact that Lee Ungno first started his career adopting this style. In this paper, I aimed to confirm Lee Ungno's recognition of Art Informel and abstract painting, which can be called abstract expressionism. To achieve this, it was necessary to study Lee's painting theory at that time, so I first considered Hae-gang Kim Gyu-jin whom Lee Ungno began studying painting under, and his paintings during his time in Japan. It was confirmed that in order to escape from stereotypical paintings, deep contemplation of nature while painting was his first important principle. This principle, also known as Xieyi (寫意), lasted until the 1950s. In addition, it is highly probable that he understood the dictionary definition of abstract painting, i.e., the meaning of extracting shapes from nature according to the ideas which became important to him after studying in Japan, rather than the theory of abstract painting realized in Western paintings. Lee Ungno himself also stated that the shape of nature was the basis of abstract painting. In other words, abstractive painting and abstract painting are different concepts and based on this, it is necessary to analyze the paintings of Lee Ungno. Finally, I questioned the view that Lee Ungno's abstract paintings of the 1950s were painted as representative of the Xieyi (寫意) mind of literary art painting. Linking traditional literary art painting theory directly to Lee Ungno, who had been active in other worlds in space and time, may minimize Lee Ungno's individuality and make the distinction between traditional paintings and contemporary paintings obscure. Lee Ungno emphasized Xieyi (寫意) in his paintings; however, this might have been an emphasis signifying a great proposition. This is actually because his works produced in the 1950s, such as Self-Portrait (1956), featured painting styles with boldly distorted forms achieved by strong ink brushwork, a style which Lee Ungno defined as 'North Painting.' This is based on the view that it is necessary to distinguish between Xieyi (寫意) and 'the way of Xieyi (寫意) painting' as an important aspect of literary art painting. Therefore, his paintings need a new interpretation in consideration of the viewpoint that he represented abstract paintings according to his own Xieyi (寫意) way, rather than the view that his paintings were representations of Xieyi (寫意), or rather a succession of traditional paintings in the literary artist's style.

Study on the Inheritance and Transformation of the Goryeo Tradition in the Illustrations of the Sixteen Contemplations of the Amitayurdhyana Sutra of the Early Joseon Dynasty -with the Focus on the Concept of Rebirth in the Pure Land- (조선전기 관경십육관변상도에 보이는 고려 전통의 계승과 변용 -정토인식과 왕생관의 변화를 통해-)

  • Lee, Seung-Hee
    • Korean Journal of Heritage: History & Science
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    • v.51 no.1
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    • pp.126-147
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    • 2018
  • The compositions and iconographies of the three Illustrations of the Sixteen Contemplations produced in the early Joseon Dynasty effectively manifest the transitional period of Joseon society as well as the Joseon people's perception of the Pure Land. In particular, the painting at titled Chionji (知恩寺) dated 1435 and another painting at titled Chion' in (知恩院) from 1465, which were commissioned by the Joseon royal family and high-ranking monk, embody the Pure Land faith of the Tiantai School of Buddhism (天台宗) which thrived during the late Goryeo period. This indicates that the Joseon royal court continued to favor the Pure Land faith that emphasized salvation through "self-power" (自力), which was popular among both the royal family and the nobility of Goryeo. On the other hand, in the painting at titled $H{\bar{o}}rinji$ (法輪寺), which is presumed to have been made in the sixteenth century, the compositions and iconographies shown in late Goryeo examples of the Illustrations of the Sixteen Contemplations are disassembled. Moreover, a new iconographical motif, i.e. "welcoming the dragon boat" (龍船接引), emerged with this painting. This motif symbolizes the idea that the souls of the deceased are guided by Amitabha Buddha to rebirth in the Pure Land of Extreme Bliss, which is based on the "other-power" of the Pure Land faith that emphasizes the power of Amitabha Buddha in attaining salvation rather than the educational "self-power" of the Pure Land faith. The emergence of this motif demonstrates the transformation of the Pure Land belief into a faith that relied on the "other-power" of Amitabha in Joseon's Confucian society.

Current status, perception and practicability of restaurant staffs related to reducing sodium use in Seongnam, Korea (성남 지역 외식업소의 나트륨 저감화 현황과 종사자의 저감화 실행에 대한 인식 및 실천용이도)

  • Ahn, So-Hyun;Kwon, Jong Sook;Kim, Kyungmin;Lee, Yoonna;Kim, Hye-Kyeong
    • Journal of Nutrition and Health
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    • v.52 no.5
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    • pp.475-487
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    • 2019
  • Purpose: With the increase of going out to eat, reducing the sodium in restaurant foods has a crucial impact on reducing sodium intake. This study aimed to assess the current status and perceptions of restaurant staffs related to reducing sodium use in restaurants. Methods: Restaurant managers and chefs (n = 312) in Seongnam area completed a questionnaire on the current status related to sodium use, the barriers to practice for reducing sodium use, support needs, and the practicability of methods for reducing sodium use in restaurants. Results: The percentage of restaurants in the preaction stage (including the precontemplation, contemplation, and preparation stages) for reducing sodium use was 79.7%. Logistic regression analysis showed that measuring salinity while cooking was associated with measuring seasoning (OR, 4.761; 95% CI, 2.325 ~ 9.751), action/maintenance stages of behavior change (OR, 2.829; 95% CI, 1.449 ~ 5.525) and providing salinity information of restaurant foods (OR, 6.314; 95% CI, 2.964 ~ 13.45). Maintaining taste and hindering the cooking process were the main barriers to reduce sodium use. The total practicability of actions for reducing sodium was higher in staffs who worked in restaurants that measured seasoning and salinity while cooking (p < 0.05 and p < 0.01, respectively). The hardest item to practice was 'purchase foods after comparing sodium content in the nutrition labeling'. 'Avoid serving salt-fermented foods as side dishes', 'serve small portions of kimchi and less salty kimchi', and 'put up promotional materials for reducing sodium intake' were selected as easy items to perform. The majority (82%) was willing to reduce sodium in restaurant foods under the support of local government and they desired the promotion of participating restaurants and education on cooking skills to reduce sodium. Conclusion: Measuring seasoning and salinity while cooking is a meaningful practice that is associated with stages of behavior change and the practicability of actions for reducing sodium. It is necessary to provide support and education with a gradual approach to staffs for reducing sodium in restaurant foods.

Quest for Yeoheon Jang Hyeon-gwang's View on Education - Deepening of the intrinsic nature in accordance with the Neo-Confucianistic thought (여헌(旅軒) 장현광(張顯光)의 교육관 탐구 - 성리학적 본질의 심화 -)

  • Shin, Chang-ho
    • (The)Study of the Eastern Classic
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    • no.33
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    • pp.31-56
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    • 2008
  • Jang Hyeon-gwang(張顯光, 1554-1637), whose pseudonym or courtesy name is 'Yeoheon(旅軒)', had made a thorough study on the intrinsic nature of Neo-Confucianism in a more sincere fashion, when comparing him with other Neo-Confucianists in Joseon period. Also he was a renowned scholar who expanded its philosophical system in-depth. Yeoheon thereby had strengthened his philosophical system accordant with the Great Learning(大學) and Doctrine of the Mean(中庸), which are the fundamental systems of Neo-Confucianistic education. Based on such considerations, Yeoheon's thought on education can be illuminated from three different perspectives. First, Yeoheon deepened his a theory of good governance by a virtuous ruler(聖人君主論, pronounced, 'Seongingunjuron') as the standard of education. Essentially, his theory pursues Refraining from desire, and preserving the laws of nature(存天理?人欲, pronounced, 'Joncheolliarinnyok'), and put emphasis on ethical awakening, and the governance through a virtue of moral excellence. Second, Yeoheon stressed the learning theories related to 'sincerity' or true heart(誠) and 'piety' or 'respect'(敬)) as the form of education(誠敬, pronounced, 'Seonggyeong'). Also he expounded that people needs "to establish a ground of Respect and Sincerity in their mind." He recognized the differences between the two virtues, meanwhile, however, he understood it as in an identical context. Third, Yeoheon advocated harmony between separation and integration(分合, pronounced, 'Bunhap') as a method for education. Through his unique 'Discourse on Longitude and Latitude', dubbed, 'Li-Gi Gyeongwiseol (理氣經緯說) in which the principle(Li, 理) is equal to the intrinsic energy or material force(Gi, 氣), he maintained his view on the Doctrine of the Mean, in that he was not inclined to either sides according to the logic of Change(易, pronounced 'Yeok'). When reviewing Yeoheon's contemplation in education in the meaning of modern education, he laid the standards for education on the establishment of morality, and he also provides us with an idea which induces us to look through the form and method for education from the perspective of Doctrine of the Mean. In short, Yeoheon's view on education embodies wisdom of traditional Neo-Confucianistic Education having consistency, and it provides for an implication of the review of the importance of the balance in relation to methodological bias toward confusion in the standards for modern education, and unsystematic contents therein.

Comparison of perspective on death accepted by New Religions of Jeungsan, Confucianism and Taoism (증산계 신종교와 유교, 도교의 죽음관 비교)

  • Shin, Jin-sik
    • 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.

A Study on Communal Action as Found in the Ox Seeking Pictures of Daesoon Thought (대순사상 심우도의 공공작용 연구)

  • Kim, Yong-hwan
    • Journal of the Daesoon Academy of Sciences
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    • v.31
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    • pp.165-197
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    • 2018
  • The purpose of this article is to investigate communal action in the Ox Seeking Pictures of Daesoon Thought as an expression of future prospects. The Ox Seeking Pictures in Daesoon Thought seeks out renewal of thought, renewal of life, and true living. Here, the Ox Seeking Pictures symbolize a world in which good fortune comes true according to faith in Gucheon Sangje. The correlation between searching for the ox and the supporting teachings of the Reordering Works of Heaven and Earth in Daesoon shows the transformation of Daesoon prospects for achieving the renewal of thought. The correlation between Deep Contemplation Leading to Awakening and Finding and Following Heavenly Teachings shows the transformation of Daesoon reason into a practice implemented in daily life. The correlation between a human being's awareness and the heavenly paradise of the Later World shows transformation into true living based on everyday practice and the practical transformation of one's livelihood. In this investigation, we can say that the Ox Seeking Pictures of Daesoon symbolizes the realization of human dignity and respect for lives. No life should be destroyed or violated by another. Heaven, Earth, and Humanity can be changed and born anew. The visions of the realization of the heavenly paradise of the Later World show that this paradise in the world results from Daesoon principles. This provides a unique insight when compared to the bodhisattva ideal conveyed through the Ox Seeking Pictures of Mahayana Buddhism. Daesoon's Ox Seeking Pictures consist of a three-way interlocking of renewal of thought, implementation in life, and the practical transformation of one's livelihood. The communal spirituality based in Daesoon Truth connects and mediates among people and appears in three aspects. Firstly, it is thought to be a vision of the renewal of thought through the 'Virtuous Concordance of Yin and Yang.' Secondly, it is thought to be the vision of a new life based upon the spirit of Mutual Beneficence. Thirdly, it is thought to be a vision of true living through the realization of human dignity. Because of the appearance of the Ox Seeking Pictures of Daesoon Thought, this narrative picture shows the oxherd as searching for an ox which is the symbol of Daesoon Truth and Dao. Even though he catches the ox, he is still holds the rope to tie the ox to himself. He makes an effort to keep the ox steady. Finally, the oxherd's enlightenment becomes the source of responsibility to help unenlightened people in their struggles. In conclusion, it is necessary to interpret these paintings as the start of the Later World.

A Phenomenological Interpretation on the Principle of 'Coincidentia Oppositorum' of Daesoon Thought (대순사상의 대대성 원리에 대한 현상학적 해석)

  • Chung, Byung-hwa
    • Journal of the Daesoon Academy of Sciences
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    • v.33
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    • pp.63-90
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    • 2019
  • In pluralistic political realities that have been exposed as antagonistic relationships between self and others, the principle of 'Coincidentia Oppositorum' in Daesoon Thought emphasizes the complementarity between self and others and presents us with a new form of cognition and attitude which can overcome pluralistic political realities. Though solipsism that objectificates others on the basis of the self, the principle of 'Coincidentia Oppositorum' presents us a new form of cognition and attitude with which we can approach others. The principle of 'Coincidentia Oppositorum' is based on the logic that we can secure and extend ourselves only in relation between self and others. Self is not fully formed or perfected without others. Previous discussions on the principle of 'Coincidentia Oppositorum' as it is exists within Daesoon Thought have been limited to Eastern Philosophy. On one hand, this inclination may be due to a narrow understanding of Western Philosophy. The flow of Modern Western Philosophy can at times be a self-reflective output for solipsism. On the other hand, the understanding of the principle of 'Coincidentia Oppositorum in context of a dualistic contrast between Eastern Philosophy and Western Philosophy is not concordant with the principle of 'Coincidentia Oppositorum' which emphasizes the creation of harmony between self and others. This paper aims to investigate avenues to create harmony between Eastern Philosophy and Western Philosophy regarding the principle of 'Coincidentia Oppositorum' in Daesoon Thought. Specifically, attention will be paid to 'flesh' as used by Merleau-Ponty. In his writings, flesh is the matrix which activates the fundamental involvement between self and others. Self is a being of flesh and an ambiguous being which is formed in a double position (seeing and being seen). Flesh can secure and extend the self only through its relationship to an other or multiple others. Restoring the other that has been excluded from modern Western Philosophy, Merleau-Ponty's flesh call for contemplation into the meaning of the other and of otherness.

A Study of Su Shi(蘇軾)'s Philosophy and Garden Management - A Basic Study Focused on Baiheju(白鶴居) - (소식의 사상과 원림 경영 연구 - 백학거를 중심으로 한 기초 연구 -)

  • Shin, Hyun-Sil
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.41 no.4
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    • pp.21-29
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    • 2023
  • The Northern Song Dynasty, the heyday of cultural and artistic achievements, brought significant changes to the history of gardens in China. The developments and contemplations that had evolved during the previous Tang Dynasty became intertwined with literature, painting, and art, leading to garden being perceived as works of art. In particular, the emergence of Su Shi(蘇軾) that permeated literature and art during the Northern Song Dynasty, had an impact beyond individual garden creation, influencing the development of public gardens and the diversification of garden. His long exile periods served as an opportunity to understand and reflect the local culture and characteristics, influencing the development of the garden. This study focuses on the ideology of Su Shi(蘇軾) that managed various gardens, examining the relationship between his exlie life and ideology. To do so, the study examines the form of the literati's gardens managed by Su Shi(蘇軾), with a particular emphasis on the Baiheju(白鶴居) garden in Huizhou, revealing the following characteristics and values. First, Su Shi(蘇軾), who was proficient in the Three Houses: Confucianism, Buddhism, and Taoism, combined his philosophy and unique perspective techniques with the location and composition elements of Baiheju(白鶴居) to enjoy the landscape. Although the ancient residence has a simple form, it possesses expansiveness through the combination of internal and external views. The interior is designed to be perceived as a single space, but it allows overlapping experiences of space and simultaneous appreciation of different sceneries. On the other hand, the spatial layout incorporates a hierarchical order to establish a sense of order. Second, the garden reflects the local characteristics, featuring numerous tropical plants and presenting vibrant and contrasting colors with structures. The planting forms embrace the concept of "huosei seikou" (活色生香) to enhance the color harmoniously. Additionally, the garden incorporates the poet's spiritual world, projecting it onto the garden as a contemplative place for spiritual nourishment and exploration of the ideal realm. For the pursuit of serenity and profound contemplation, the selected plantings are simple yet distinctive, providing rhythm and depth to the garden space. Third, Baiheju(白鶴居) has undergone changes over the years, but fundamentally, the form and elements of the garden shaped by Su Shi(蘇軾)'s descendants persist, confirming its heritage value.