• 대순사상논총
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• 제32집
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• pp.201-236
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• 2019

영웅은 희망을 발견하고 용기와 지혜를 주는 대상이자 오랜 역사를 통해 다양한 방면으로 개인과 사회를 변혁해왔다. 최근에는 영웅학이라는 새로운 학문 체계가 대두되는 등 고대의 전쟁영웅에서 현대의 평범한 시민영웅까지 영웅의 긍정적인 사회적 기능과 역할에 관심이 증대하고 있다. 그러나 영웅적 행위가 타인에게 미치는 부정적 결과로서 도덕 또는 윤리문제는 큰 주목을 받지 못하고 있다. 구체적으로 말하면, 영웅적 행위 속의 타인은 행위의 수혜자뿐만 아니라 그 행위의 구체적 대상도 포함된다. 영웅적 행위의 수혜자들이 얻게 되는 이익의 관점에서 윤리 문제가 거론되며, 행위 자체가 영웅적 행위의 직접적인 대상을 포함하여 사회, 넓게는 국가, 좀 더 확장하면 우주 전체의 조화나 화합에 미치는 결과는 간과하고 있다. 이러한 맥락에서, 이 연구는 영웅적 행위가 우주적 질서의 복구 또는 재편이라는 긍정적 측면과 생명의 파괴 또는 새로운 무질서의 탄생이라는 부정적 측면을 동시에 내포할 수 있다는 사실에 주목한다. 다시 말해, 영웅의 한계에도 주목할 필요가 있음을 제시하고자 한다. 이를 위해 한국에서의 영웅에 관한 연구가 어떤 관점을 수용하고 있는가를 선행연구를 통해 조명해 볼 것이며 동시에 서구 영웅학의 관점에서 영웅 또는 영웅적 행위의 정의를 검토할 것이다. 또한, 대순사상에 비추어 한국적 영웅의 정의와 선천영웅의 한계를 개괄한다. 마지막으로, 더 나은 세상의 귀감이 될 성(聖)과 웅(雄)이 겸비한 진정한 영웅상을 논의할 것이다.

• International Journal of Advanced Culture Technology
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• 제9권3호
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• pp.181-187
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• 2021

According to Joseph Campbell, there is always a similar pattern in the hero myth, which is called hero's journey. The legends about Cuchulain, the great Irish warrior, also follow this pattern. W. B. Yeats adapts the legends into his plays with Cuchulain as the protagonist. This paper discusses the protagonist's heroic journey in the five Cuchulain plays written by Yeats. In the five plays, Cuchulain grows, matures, weakens, dies, and resurrects, completing and meanwhile sublimating his heroic journey. In At the Hawk's Well, Cuchulain shows potential qualities of a hero. The Green Helmet displays his self-growth through the depiction of his heroic merits which make him a true hero. In On Baile's Strand, the hero suffers from the major frustrations and tribulations in his heroic journey and is stricken down consequently. The Only Jealousy of Emer reflects the hero's inner struggle and vulnerability. The last play, The Death of Cuchulainn, marks the end and reincarnation of the hero's life. Through the depiction of Cuchulain's heroic journey in the five plays, his heroic qualities are well demonstrated. Meanwhile, Yeats's views of heroism can be found as well.

• 한국항해항만학회:학술대회논문집
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• 한국항해항만학회 2000년도 Proceeding of CIN-KIN Joint Symposium 2000 on M.E.T. Under STCW 78/95 and SINO-KOREA MARITIME CONTACT IN MID-CENTURIES
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• pp.185-190
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• 2000

The concept of Chang Po-Go phenomenon is put forward and discussed in this paper from the point of view of international rationships in north-east Asia. Superfically, Chang Po-Go phenomenon showed trade prosperity on north-east Asia seas, but he nature of the phenomenon lies in the rising and strengthening of korea sea power. As works of the combination of general environment and individual heroism Chang Po-Go phenomenon can bring us some enlightenment on reform and open policy.

• 대순사상논총
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• 제22권
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• pp.1-32
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• 2014

This paper is searching the meaning of Gangseong(姜聖) which came from Gucheon Sangje(九天上帝, the Lord and Creator of the Great Origin of the Ninth Heaven) incarnated in the Gang(姜) family. To study the meaning of Gangseong(姜聖), this paper concentrate on Maitreya(彌勒尊佛) and the sentence about Wonsibanbon(原始返本) Sangje's incarnation in the Gang's family appeared on term Gangseong in the middle of divinity terms(九天應元雷聲普化天尊姜聖上帝). Furthermore, Sangje's surname Gangseong(姜姓) has relation with Maitreya and the sentence about Wonsibanbon. What Maitreya has relation with Gangseong(姜聖) is the legendary poem that Maitreya Statue became complete woman(六丈金佛 化爲全女) and what Wensibanbon has relation with Gangseong is the fact that family name Gang is primary surname all over the world's human beings. Wonsibanbon comprises correction of family lineage and theocracy(政敎一致) which came from tracing and reviving the beginning. As a primary family name, Sangje's incarnation family name Gang plays a leading edge role of religious activity of Sangje because primary family name Gang represents the one and only Truth(眞法) or the principle of Wensibanbon which means the union[unity] of religion and politics(政敎一致), and combining saintliness and heroism (聖雄兼備). According to the one and only Truth(眞法) like this, the first emergence and role of the completely "DoTongKunJa" (道通君子, the perfection of man with Dotong) who Sang-Je declared will build the union[unity] of religion and politics shows realization of advance-oriented salvation. Under the principle of Yangsan(兩山, twin mountain, 甑山, 鼎山, the three-story Maitreya Statue of Geumsan Temple) which implies emergence of the completely "DoTongKunJa"(道通君子) who will accomplish the union[unity] of religion and politics(政敎一致), combining saintliness and heroism(聖雄兼備) and advent of the one and only Truth(眞法出現). This could be possible by the almighty of Sangje who incarnated in Gang's family name according to the principle of Wensibanbon from the text Jeonkyung(典經) as shown. Adjusting family lineage (血統) means to straighten out the relation between ancestors and descendants, and which has close relation with the activity after Sangje's incarnation in Gang's family name according to the principle of Wensibanbon. As far as family lineage was concerned, there are three aspects of close relation between ancestors and descendants. First, general connection between ancestors and descendants, Second Dotong(道通)-related connection, Third after -death entrance(冥府)-related connection. Descendants should know a family history from moral laws of family relationships(天倫) by the Compatibility principle. As for second Dotong-related connection between ancestors and descendants, the fact descendants' Dotong can be accomplished by the act of ancestors' charity shows human beings world(人間界) where descendants live has close organic relation with divine world(神明界) where ancestors live. As for third after-death entrance-related connection between ancestors and descendants, after-death entrance are totally related with both Heavenly order(天道) of ancestors and Humane-order(人道) of descendants. At this point, we can see the relation between ancestors and descendants are very close and organic. As shown from the text Jeonkyung, Sangje as Gucheon Sangje(九天上帝, the Lord and Creator of the Great Origin of the Ninth Heaven) and Maitreya(彌勒尊佛) has descended to the earth adopting Gang's family name according to principle Wensibanbon. By Sangje's incarnation in Gang's family name, the legitimacy of the religion and the perfection of Do could be successed under the law of Yangsan(兩山). Furthermore, Sangje realize the one and only Truth by Adjusting family lineage and producing the completely "true man" through Cheonji Gongsa.

• 디자인학연구
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• 제18권2호
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• pp.335-344
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• 2005

본 논문은 모던디자인 역사 서술의 구체적인 내용과 한계를 밝히는데 그 목적이 있다. 모던디자인 역사 서술의 전통은 다양한 개별적 디자인 현상들을 억압하거나 왜곡시키면서 지나친 일반화를 추구하였다. 뿐만 아니라 헤게모니를 장악한 제한된 디자인들을 단선적 흐름으로 서술하였으며, 일부 영웅적 인물 중심의 역사를 보편적인 것으로 만들었다. 이러한 전통이 일반화되면서 우리는 '디자인'이라는 자극에 '모던디자인'을 떠올리게 되었고 ‘모던디자인’이라는 자극에 일부 제국주의 국가의 영웅들과 그들의 무용담을 떠올려야 했다. 이러한 맥락에서 논문은 역사를 바라보는 주체적인 시각의 필요성과 그것을 바탕으로 한 다양한 디자인 역사들의 존재가능성과 필요성을 환기시키고 있다

• 복식
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• 제61권2호
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• pp.131-151
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• 2011

The study alms to identify how the symbols and images of Greek Roman myths in contemporary fashion have been reflected in respects of meaning and forms, and to find out the organic course from meaning to forms by using Durand's classification. The results define the significance of Greek Roman myths in contemporary fashion, and systematically suggest a direction of imagination for more creative design. In the diurne regime, the symbolism of purity, heroism and fear appeared. In the nocturne regime, the symbolism of maternity and sensuality appeared. In the dramatic regime, the symbolism of androgyny appeared. The characteristics of designs contained in each symbolism are common. In this regard, it is possible to trace organic relationships in the creation of images through the verbal scheme. In addition, the verbal scheme creates archetypal images that lead to images and symbols in the socio-cultural context, so it is possible to analyze the relationships between archetypal images and the format of garments. The study examined how the archetypal images that appeared in the mythical images were expressed in garments through the verbal system.

• 복식
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• 제52권1호
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• pp.103-115
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• 2002

The purpose of this study is understanding modern woman's various aesthetic values and aesthetic sense through observing expression aspects of gender images in the 1990s military fashion and analyzing their aesthetic characteristics and formative factors. Gender images in military fashion have expressed the masculine image of authoritative image and offensive image and offensive image, and the feminine image of conservative image and ostentatious image, sensual image. The authoritative image showed authority and dignity of military uniform by using the classic military uniform's image. This spoke for desire of women to rise their position. Heroism and androcentrism affected as its formation factor. The offensive image destroyed original dignified image of military uniform by that resistance to authoritative image and existing gender identity appeared as way-out form and deconstructive expression. Anti-establishment spirit, resistance to gender identity, and deconstructionism affected as its formation factor. The conservative image expressed military fashion only with slim and soft silhouette, curved line, color, and simple details by magnifying feminity. Fallen man's authority affected as its formation factor. The ostentatious image expressed military fashion with magnifying accessories such as gold button and belt by women who wanted to display ostentatiously their social position and charm. The aspiration for class of elite affected as its formation factor. The sensual image intended to show erotic voluptuous beauty of woman's body by indirect and direct body exposure. Narcissism, desire to show, and sexual amusement affected as its formation factor.

• 한국의류학회지
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• 제25권2호
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• pp.327-338
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• 2001

The purpose of this thesis is to study the aspects of sex identity in the contemporary mens fashion expressed through sexual image and taste in the half of twentieth century. The aspects of sex identity expression in the contemporary mens fashion can be classified by image, that is, homosexual, heroic, bisexual, and fetish. 1. The homosexual image has shown the tendency to emphasize the masculinity since 1950.60s. It can be found in \"Cowboys costume\" which is typical of American traditional fashion, and jeans and underwear fashion expressed by muscular men has homosexual characteristics which contain narcissism. 2. Based on mens traditional gender role, the heroic image emphasizes mens physical characteristics and expresses tough and offensive masculine beauty in mens suit which is free from the authority and formality. 3. The bisexual image denied the division of gender role by costume and destroyed the traditional sex model by resolutely applying womens costume such as skirts to mens fashion. 4. The fetish image is similar to bisexual image in that they wear womens costume, but different in that it expresses sexual desire or fantasy. It is expressed through brilliant color, leather and metal ornaments, and sensual element of women which emphasizes \"body\". This shows the sex identity of contemporary men who want more sensible and free life.sible and free life.

• 한국의류산업학회지
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• 제8권1호
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• pp.34-40
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• 2006

Fascism is a term that began to be used from the late 1930s, means an idea and a system that the strong power of the state intervenes or control people's life based on the argument that the existential value of individuals is found only in the total. Fascist looks, which resulted from World War I and II, had brought a new pattern in women's fashion inspired by men's military uniforms. Thus, the purpose of this study was to identify fascist fashion trends in the first half of the twentieth century and to infer various aesthetic values of fascism expressed in fascist fashion looks. The results of this study indicated that expressions of fascism reflected the current ideology of rebellion and appealed to the original national sentiment of the masses. Fascism occurred in response to the contradiction of capitalism and its general crisis had emerged as an ideology with the highest popularity symbolizing power and government during the first half of the twentieth century. It was expressed in military looks as self-centered nationalism and yearning for minorities. Second, fascist fashion looks were not only for political and sexual temptation with the image of power but also for the display of women's status and roles through the bold expression of sexual attractiveness. Finally, fascist fashion looks expressed medieval images praising the feudal age in imagination that contained heroism and at the same time achieved integration under strict social hierarchical order.

• 한국엔터테인먼트산업학회논문지
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• 제14권1호
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• pp.91-96
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• 2020

슈퍼히어로 영화는 할리우드 영화 산업의 중요한 구성 부분 중 하나이며, 슈퍼맨 시리즈는 그 중에서도 가장 중요한 것으로, 할리우드 영화 산업에 높은 흥행 수익과 주변상품(周边商品)(굿즈-파생상품) 이윤을 가져다 주었다. 슈퍼맨 시리즈의 실사판 영화는 슈퍼히어로 애니메이션을 각색하고 재창작한 것으로, 시대의 발전에 따라 슈퍼맨 시리즈 영화는 서사내용, 서사형식과 미학디자인에 있어 시대에 걸맞은 변화를 가져왔다. 영화 '맨 오브 스틸'은 이 시리즈의 최신작으로 7년 만의 슈퍼맨 시리즈의 재기작품으로, 전작에 비해 스토리와 미학적 디자인에 있어 혁신적인 변화를 꾀하였다.