• Journal of the Korean Institute of Landscape Architecture
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• v.21 no.4
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• pp.55-68
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• 1994

It has been generally agreed that the city form especially in the preindustrial age resembled their own world view, either in the western or the eastern cultural sphere. So, we aimed to redefine the characteristics of oriental world views compared with the western one, in order to find the relative nature of the Korean townscapes. It is said that the both world views(of western and oriental) are composed of the contrastive binary concepts in common, but there seems to have been nearly contrary differences in these two world views. Wheareas the former was based on the passively segregational and oppositional dualism, the latter, on the dynamically harmonious and complementary dualism, called generally as 'Yin(陰) and Yang(陽)'. Thus, the oriental world view can be thought as the 'philosophy of the relationship', which aim to unify the dualism ultimately with the help of this relationship. So, we can assume a certain third and intermediate concept between these dual concepts of the world view, which can unify these two into the one holistic whole. And the focuses of the most traditional oriental philosophies were concentrated on this, so called, 'the third concept', namely Taoistic 'Tochu(道樞)', Buddhistic 'Kong(空)' or Confucian 'Chung(中)'. And this triple concept, including the third one, of the oriental world view revealed a more concrete form of the cosmological relationship, as the triple structure; 'Heaven(天), Earth(地), and Man(人)', in which the 'Man' is thought as the middle or the center of the world. In this manner, we could found this oriental 'triple world view' was revealed in the real topology of most places in the Korean traditional city and the whole townscape itself. So, in the scale of houses and the roads around them, we can construe the 'Maru(a central board-floored room)' and the 'Madang(a inner court)' as the 'third and intermediate space(中)' between the interior space(陰) and exterior space(陽) in the former, and between the private house(陰) and the public residential road(陽) in the former case, and between the dual parts(陰,陽) of the city representing the contrary social classes and the contrastive visual landscapes. So, we insist that this 'triple world view' represented in the townscape can be one of the most important characteristics of Korean traditional townscape. And this third intermediate spaces, which generate the active social contact and the harmonious relationship among the people, can be the most important cues, as the central places, in the interpretation of the Korean townscapes even in contemporary circumstance, which inherits its spatial and social frame more or less from the preceding one.

• Cross-Cultural Studies
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• v.31
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• pp.119-153
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• 2013

There is the commonness between I-Ching of Asian scriptures and Analytic Psychology of C. G. Jung as the conjunction of opposites of yin and yang. I-Ching has the base of the Great Absolute(太極) as yin and yang. Jung's psychology has the basic structure of opposite contents of psyche. The former wants to find the proper answer for the situation as fortune book, the latter realization of personal psyche. At this basis to approach I-Ching through the Analytic Psychology can be connected with the screening its inner system and structure in the frame of depth psychology. Basically I-Ching is the scripture about the good or ill luck, regret and stinginess. All of them are related with the psychology of human beings practically. I-Ching as the main scripture of Asia has the core theme concept of the mean (中). Previously mentioned the good or ill luck, regret and stinginess are included into this as the large view point. The best decision between the given situation and the fortune teller pursues the mean(中) path of both. Jung's psychology also attaches importance to the proper balance among personal conscious, unconscious and his surrounded situations. Goodness is relied on the mean, healthy psyche the harmony with the psychological and real situations of a person. But this balance and mean cannot be achieved without any reason but by the result of the conjunction of opposites. The opposites are the Ch'ien(乾, the Creative, Heaven) and K'un(坤, the Receptive, Earth) as yin and yang in I-Ching and the conscious and unconscious in Jung's psychology. These can be opened to masculine and feminine, psyche and matter, transcendent and existence and casuality and acausal synchronicity. Conjunction of these opposites can develope and create the new conscious and creative situation. Finally yin and yang from the Great Absolute and conscious and unconscious from Self become the opposites and go through necessary step of separation and sublimation for the creation of new level. In the Great Absolute there are yin and yang and yin the latter contains the cyclic process which can make the former renew. Conjunction of opposite in Jung's psychology also go through the similar process as the Great Absolute of yin and yang.

• The Journal of Korean Philosophical History
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• no.58
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• pp.307-336
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• 2018

This paper traces the historical genealogy of the subjectivity and the silsim (實心, true mind) that appear in Jeong In-Bo's "gukhak" (國學, the national learning) thought and illuminates its characteristics. In the modern East Asian history of thought, the beginning of the emergence of subjectivity and the silsim as the main philosophical topic comes from the Neo-Confucianism of Song Dynasty in China. Cheng Yi is the first thinker to emphasize subjectivity and consciousness. Zhu Xi and Wang Yang-ming inherit the Neo-Confucian thought based on Cheng Yi's principle of subjectivity, but only show difference in methodology. In the Chosun Dynasty, Jeong Je-Doo and his School were one example of the Neo-Confucian spirit of subjectivity and the silsim. Although Jeong In-Bo (鄭寅普) belongs to Jeong Je-Doo's school of Ganghwa in the school curriculum, he has only used it methodologically since he believed that Yangming's learning is more effective in the awareness and practice of the silsim. Especially noteworthy is that the principle of subjectivity led Jeong In-Bo to follow the frame of Zhu Xi's moral theory. Jeong's claim that selfish desire (jasasim 自私心) should be controlled by a conscious mind (silsim) being aware of the right and 'ought to do' corresponds to Zhu Xi's view that the moral mind (dosim 道心) should be selected in the conflict situation between sensual desire (insim 人心) and moral consciousness so that the insim should be supervised by the dosim. Such ethics is a position to emphasize the inner motive and the sense of duty of conduct, and there is no fundamental difference in Zhu Xi and Wang Yang-ming. At least on this point, it is necessary to look at modern and contemporary Korean studies from the perspective of continuity, not discontinuity from Confucian tradition.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.73-82
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• 2019

The satirical content of the absurd play, centered on Lee Keun-sam's play, represents the family image of a modern capitalist society where only duty is emphasized while the characters are lost in love with the family. They show humans becoming subordinate to economic logic as traditional relationships and family relationships change into material ones due to the rapid development of the economy. The narrator expresses the roles of the performer and the narrator together. It also presents the plot as a characteristic element of epic and absurd dramas, and directs actors as directors. It also foretells the events that will take place in the future, presents the inner consciousness of the characters in the play, and reduces and expands events and times. In terms of conflict, in order to fulfill the financial responsibility of their children, the professor translates them like a machine and the wife distributes the money they earn as they demand. The middle-aged professor and his wife are not willing to make a difference in the real world, so specific conflicts are not revealed. Therefore, no concrete conflict appears within this work. The plot of consisted of 22 epicentre compartments, consisting of a time frame from evening to the next morning. And no special events happen and show only one family's daily life. In addition, materials that show simple repetition of daily life such as newspapers, rice, birthdays, etc. are effectively showing the character of absurdity through repeated structure. The linguistic features of the absurd play focus on expressing anxiety, despair, fantasy and the sense of loss that the object's purpose has disappeared. The stage system avoids detailed portrayals of naturalist plays and creates a thoroughly simplified image that the theme of the play demands, which shows that the stage unit is also an important element that characterizes the absurdity of reflexes.

• Korean Journal of Applied Biomechanics
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• v.12 no.1
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• pp.63-87
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• 2002

The purpose of this study was to analyze the kinematic variables when Uchi-mata(inner thigh reaping throw) performing by Kumi-kata(engagement position, basic hold) types A, B(A: grasping part-behind neck lapel, B: chest lapel) in Judo with three dimensional analysis technique DLT method by videography. The subjects were four male judokas who have been training in Yong-In University(YIU), on Korean Representative level and Uchi-mata is their tokui-nage(favorite technique), the throwing form was filmed on two S-VHS 16mm video camera( 30frame/sec. Panasonic). Kinematic variables were temporal, posture, and COG. The data collection was performing by Uchi-mata. Six good trials were collected for each condition (type A, B) among over 10 trials. The mean values and the standard deviation for each variable were obtained and used as basic factors for examining characteristics of Uchi-mata by Kumi-kata types. The results of this analysis were as follows : 1) Temporal variables The total time elapsed(TE) by Uchi-mata of types A, B were 1.45, 1.56 sec. respectively. Types A shorter than B. 2) Posture variables In performing of Uchi-mata, the range of flexion in type A, left elbow was $45^{\circ}$ and B was $89^{\circ}$ from Event 2(E2) to Event 6(E6). Type A and B were quite different in right elbow angle in Event1(E1). Left shoulder angle of type A was extended and type B was flexed in E4. Both types right shoulder angles were showed similar pattern. Also both hip angles(right/left) were showed similar pattern. When type A performed Uchi-mata the knee-angle of supporting foot showed $142^{\circ}$in the 1st stage of kake phase[KP], and extended to $147^{\circ}$in the 2nd stage of KP. And the foot-ankle angle of supporting foot showed $83^{\circ}$in the 1st stage of KP, and extended to $86^{\circ}$in the 2nd stage of KP. moreover, The knee angle of attacking foot showed $126^{\circ}$in the 1st stage of KP, and extended to $132^{\circ}$in the 2nd stage of KP, and the foot-ankle angle of attacking foot showed $106^{\circ}$in the 1st stage of KP, and extended to $121^{\circ}$in the 2nd stage of KP. When type B performed Uchi-mata the knee-angle of supporting foot showed $144^{\circ}$in the 1st stage of KP, and extended to $154^{\circ}$in the 2nd stage of KP. And the foot-ankle angle of supporting foot showed $83^{\circ}$in the 1st stage of KP, and extended to $92^{\circ}$in the 2nd stage of KP. moreover, The knee angle of attacking foot showed $132^{\circ}$in the 1st stage of KP, and extended to $140^{\circ}$in the 2nd stage of KP, and the foot-ankle angle of attacking foot showed $103^{\circ}$in the 1st stage of KP, and extended to $115^{\circ}$in the 2nd stage of KP. During Uchi-mata performing, type A showed pulling pattern and type B showed lift-pulling pattern. As Kumi-kata types, it were different to upper body(elbow, shoulder angle), but mostly similar to lower body(hip, knee, ankle angle) on both types. 3) C. O. G. variables When the subjects performed Uchi-mata, COG of type A, B up and down in vertical aspect was 71cm, 73.8cm in height from the foot in the 2nd stage of KP. As Kumi-kata types, it were different on medial-lateral direction aspect but weren't different in Kuzushi phase on vertical direction aspect.