• The Southeast Asian review
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• v.20 no.3
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• pp.223-262
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• 2010

This paper has been written to find facts about the image of earth goddess broadly found in the Southeast Asia. The research findings are as follows: Firstly, the image of earth goddess wringing her hair is phenomenally discovered in both Buddhist temple murals and independent shrines in Thailand. This phenomenon is common in other Indochinese Buddhist countries such as Myanmar, Laos and Cambodia. Secondly, the life of Buddha including the story of the victory over Mara is found in such Buddhist canons as Mahavastu, Buddhacarita, Lalitavistara, Nidanakatha and Patamasambodhi. Among the canons, the story of the victory over Mara is described in differently ways. Earth becomes personified as the goddess in later version. The main cause to expel Mara's army also changes from sound to water. Patamasambodhi is most closely associated with the iconography of the earth goddess of Southeast Asia. Thirdly, Vessantara Jataka and Indian ancient customs tell us that a merit maker performs a rite of pouring water on the earth as an evidence for merit-making. This rite is a key to understanding the meaning of the scene where the earth goddess expels Mara's army into the flood by wringing her hair. The earth goddess is personified from the earth upon which the merit water is poured. Water soaked in her hair is the very holy water poured by the Buddha whenever he made a merit in his former lives. The amount of water flowed from the hair of the earth goddess representing the amount of his merit making was so huge and enough to defeat the Mara's army and for the Buddha to reach the Enlightenment. This legend explains the significance of the notion of merit in the Theravada Buddhist countries such as Thailand and Myanmar where the water pouring rites still take place and the images of the hair wringing earth goddess are commonly discovered. Fourthly, the first image of the earth goddess as the witness of merits for the Buddha appeared in some Gandharan Buddhist sculptures in the form of devotional gesture with her both hands pressed together and the upper half of her body above the ground. The appearance is in accordance with the description of her in the Lalitavistara canon. In later periods, the form changed into various types and finally the image of the earth goddess wringing her hair appeared in Southeast Asia around 11 century C.E. Some researchers argue this image form of the earth goddess shows the influence from China or India. However, the arguments are considered to be hypothetical as they have no strong evidence to prove. Finally, the modern image of earth goddess shows richer and more dynamic expression compared with its predecessors. Especially, outstanding is the standing earth goddess images found in the scene of the victory over Mara in many temple murals of central region of Thailand. The earth goddess in her voluptuous body shape is usually depicted as wringing her hair with her arms wide open in a posture of S curve. This appearance strongly reminds us of the postures of Salabhanjika and Tribhanga originated from Indian art. The adoption presumably has been made to signify her fertile and affluent characteristics.

• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.172-180
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• 2022

Focusing on the concept of "narrative of desire" advocated by Peter Brooks, this paper aims to analyze the construction and presentation of the body narrative in I Am What I Am, combined with the "body situation" concept of Merleau-Ponty, the pioneer of body studies. This paper first analyzes the changes in the characters' physical and mental cognition in the film through the "desire narrative" and "visual body" proposed by body narratologist Peter Brooks. Secondly, this paper summarizes the physical and mental evolution of the coward-rebel-disciple-self-breaker experienced by the teenager, and analyzes the continuous plot composed of the body in time and space through the physical situation formed by time and space, that is, the visual presentation of the juvenile's personal body picture. So the protagonist's physical desire and visual body in "I Am What I Am" are the meta-driving forces of the narrative. The film presents the subject's physical desire in a visual way, and reproduces the deduction process of the body narrative through the body situation.shift from the common surreal, magical special effects, exaggeration, deformation and other techniques of commercial animations such as "Ne Zha: Birth of the Demon Child" (2019) and "Legend of Deification" (2020) to the true-life "I am What I am". "(2021), "To the Bright Side" (2022) and other visual experiences of the same kind marks breakthroughs made by Chinese animation and is of practical significance.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.133-185
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• 2021

This study is an attempt to connect television drama M, which deals with abortion issues, with theoretical focus such as materiality, relativity, and agency, to understand diffractively as an cartography of agential reality. According to Karen Barard's Agential Realism, Television drama M is a sociocultural phenomenon produced by the agential intra-actions of material-discursive apparatuses such as medical technology, ghost stories and legends, and male-affect. The 1990s repeatedly revealed "hate" through apparatuses such as technology, discourse, and affect, which are directed at women's gendered bodies. The material -discursive practice of plastic surgery and abortion proves that the agential reality surrounding the body is closely intertwined with medical technology, as well as with the genderized hate. Another related material-discursive phenomenon is rediscovery of the legend and fad of the ghost story, which is also produced from the hate of the denaturalized body, which is once again expanded and reproduced. Appearing in this environment of affect, M enacts diffraction, which is based on backlash, lacking posthuman implications for the materialization of the techno-body. M puts humanistic assumptions about "Man" as a universal definition, historically framed and defined in context. But it is not universal and it is gendered. The current time when the political turmoil surrounding medical technology, discourse, and bodily matters is violently intra-acted is the time to carefully account and respond to the alternative definitions of human beings that M has rejected.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.20 no.1
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• pp.23-38
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• 2009

The purpose of this study was to suggest the collection codes and simplification of call numbers for children's easy access to the children's materials. The classification schemes, author tables, expansion of classification schemes, collections codes, classification numbers used in domestic and foreign children's libraries were surveyed through questionnaires and interviewing with librarians. As a result, in foreign children's libraries, it was common practice to shelve children's materials separately into various collections and sub-collections, to mark the spine with collection code and the lead characters of the author's last name, and not to stick with their classification scheme when it comes to highly circulated children's materials such as fiction, picture book, biographies and so on. Also, in domestic children's libraries, it was found that a collection code was used a few and each call number was almost assigned by KDC number. Therefore, it was suggested that the types and codes of collection and sub-collection were divided as non-fiction, fiction, fiction/mystery, fiction/science fiction, picture book, cartoon, language, folks and fairy tales, biographies, legend, concept book, holiday, award, dinosaur, insect, DIY, transportation, tall book, pop-up, story book, board book, reference, magazine, series, new book, video, and audio and were easily expanded by combining age tables or fiction genre. Also, new simplifying methods of building call numbers with collection codes were suggested.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.21-30
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• 2015

Bulguksa Temple, a typical temple of Silla was lost during Japanese Invasion of Korea and there are records of reconstructing in its record, Bulguksa Sajeok. There is no record after that. And reconstructing was stopped due to lack of money and repair works were conducted for two times in Japanese colonial era. First repair work was from 1989 to 1919 and second repair work was conducted from 1922 to 1925. After Liberation, Bulguksa Temple Restoration Committee was established in 1969 and the construction has started since 1970 after excavation investigation to complete in 1973. The shape of south arcade without walls in the main temple of Bulguksa was found in a blue print of Bulguksa in Japanese colonial era in National Archives of Korea now and a picture of Bulguksa in 1902 taken by Sekino Tadashi. It verified the correlation between Gupumyeonji which was discovered in restoration work in 1970s and a legend of Muyoungtap. And a stair from the hall of Paradise to the main temple was introduced as a stair including Pure Land Buddhism doctrine in many literature materials, but a blue print of Bulguksa in Japanese colonial era and reports of excavation investigation in 1970s verified that it was a temporary stair built by Japan and its meaning was given later. This research checked the scenery of Bulguksa Temple before Japanese colonial era and it is intended for basic data to conduct restoration or reconstruction project in the future.

• The Journal of the Petrological Society of Korea
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• v.28 no.4
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• pp.319-345
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• 2019

Recently planification and effort for management, assessment and discovery of geological heritagesare being increasingly demanded with institutional strategies such as geopark, as their preservation is asked socially. In this study, we discovered geological heritages in the Jeolla Province and then performed assessment of the value and grading of them and finally suggested a promising and suitable site for the National Geopark. A total of 325 geological heritages are listed on literature review and then detailed description in field and assessment of the value for selected 158 geoheritages are completed. The assessment items are categorized into intrinsic value, subsidiary value, and preservation/management part. The intrinsic value is subdivided into scientific/educational value, composed of representativeness, rarity, geodiversity, typicality, reproducibility, and particularity, and geomorphological/landscape value composed of scale, naturality (integrity), scenery (aesthetic value). Also, subsidiary value consist of 7 subsections of soil function, ecological function, tourism value, geological resource, historical value, folk tale or legend and symbolic value, and accessibility, convenient facility (infrastructure), management condition (legal protection) is evaluated in preservation/management part. The heritages in the Jeolla Province subdivided into three types: 73 geological heritages, 42 geomorphological heritages, and 42 composite heritages. Based on points acquired in intrinsic value, all geological heritages are graded Class-I to -V. As a result, numbers of geoheritage belong to Class-I (protection at world level), -II (protection at national level), -III (nationdesignated management), -IV (involved management list), -V (candidate management list) are 12, 39, 52, 34, 21, respectively. Finally, we construct database based on Arc-GIS with all informations for each geological heritage and suggest three promising and suitable sites, 'Jirisan-Seomjingang Area' and 'south coast area of Jeolla Province', for the National Geopark.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.49-58
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• 2010

This study is attempted to establish the concept of Byeulseo Scenic Spot that the definitions of Byeulseo and Scenic Spot would be presented first followed by clarifying the basis, reason and justification that Byeulseo would be called as Byeulseo Scenic Spot that the following is the major results formulated herein. First, the concept of scenic spot under the Cultural Property Act is the reference to the famous site with the building improvement well known for its great scenery or the point where splendid scenery is viewed that has the artistic value along with the trace of human lives in this cultural heritage that, although the scenery is important but the attention has to be on discovery of historic resources with the story telling in the subject site. Second, the criteria of designation on the Scenic Spot in Korea would be natural scenery, animal and plant site with well-known scenery, view point of scenery, famous building or garden and important places with legend that there lacks diversification. In this aspect, the intent of the concept of Scenic Spot would be facilitated to expand the designation of the Byeulseo Scenic Spot as the Scenic Spot of living style. Third, from the foreign cases, particularly, in Japan, it is needed to note that Byeulseos and housing gardens are designated for 196 places of Scenic Spot, reaching 55.4% of entire Scenic Spots. Laws, regulations, systems and designated criteria on the cases of designating the foreign Scenic Spots would be studied and quoted. Fourth, the classification work for each type to designate as cultural heritage has to be continued as the Scenic Spot of subject site with even more emerged for the value as the Scenic Spot in garden, original site and the like classified as historic site, important folk data and the like. Fifth, the designation of Scenic Spot of Byeulseo garden with splendid scenery as the living Scenic Spot has to be expanded. The pavilion existed now nationwide would be approximately 1,500, and these pavilions are the place where the scholars stay in the famous site, and this is the central space of Byeulseo to study, and if there is clear one that has written and record of deed to create the stories to people with the value for publicity campaign, it would be the subject of Scenic Spot. And sixth, for the case of view point with splendid scenery in Byeulseo Garden, it cannot be the subject of designation that the designation of Scenic Spot has to be expanded. In the event of the Byeulseo garden in Korea, there are many cases of having outstanding view points, and there is a few case of designating the subject site with great view point as a Scenic Spot.

• Journal of Science Education
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• v.32 no.1
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• pp.33-46
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• 2008

The purpose of this study was to know whether or not any wrongful description or simple errors were in photosynthesis unit of Biology II textbook under 7th national curriculum and if so, to know whether or not high school teachers recognized and corrected properly the mistakes. The mistakes in photosynthesis unit of text books were determined by the comparison with several reference books and through examination by three plant physiologists in 8 different Biology II textbooks. After the mistakes were analysed, the survey using contents of textbook containing the mistakes was conducted on high school teachers teaching Biology II. As a result, 48 mistakes were determined in 13 subjects. As many as four mistakes were found even in one subject in a certain textbook and a same mistake was found repeatedly in several textbooks. The survey result showed that the teachers who pointed exactly the mistakes out corrected properly, however, the percentage of these ones out of 35 teachers replied to survey was less than 50%. The ratios of correction out of total number of responses were high in question #6 (43%), #4-3 (40%), and #1-2 (32%) which were containing a simple mistake in graph, a wrong word and a wrong picture, respectively. But, no one pointed out and made correction in question #5-1 and #5-2 which were containing Z scheme of light reaction without the legend of vertical axis that should be explained as electron energy or standard reduction potential. The result indicates the possibility that the mistakes in photosynthesis unit of Biology II textbook can be corrected and teached properly by teachers may be low. In order to reduce the possibility that students may have misconceptions about photosynthesis, the list of print's errors should be provided to the teachers and/or the training program and/or workshop for in-service high school biology teachers was recommended.

• Sijohaknonchong
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• v.30
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• pp.21-52
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• 2009

This study observed what roles and identity the Taoist Hermits have when they appear in Korean Verse, SiJo, which was preoccupied by the illustrious-officials in Choseon Dynasty. This study has found that languages of Taoist Hermit frequently appear in SiJo, through the historical study documents focusing on only the mountain wizards in terma of the genre, SiJo. Of those terms used by Taoist Hermit, most prominent was 'JeokSongJa', which was expressed as that sought by the illustrious-officials-they were using the sentence, 'I will follow JeokSongJa' to the extent that it is an idiom. This suggests that the illustrious officials in ChoSeon Dynasty meant if one was going to be entitled to become a Taoist Hermit, he should seek 'JeokSongJa' first. We can see those illustrious officials were using the words with a ideological tone, affected by then 'JangRyang' or 'BeomRyo' who were devoting themselves to finding 'JeokSongJa' with a belief that they could become a Taoist Hermit and live forever, which had been handed down as a legend or a myth. Meanwhile, Li Po is a profile who can not considered, separately in the history of Korean Literature. Li Po recited poems, as a great poet and a hard drinker, who were incited in SiJo of those illustrious officials as a intimate person. In contrast, among those who were accepted as a negative profile, were a Chinese Emperor JinSi and HanMuje. These two emperors, who were looking for a herb of eternal youth and Mt. BongRae, figures who had lost their positions in the real political circle. In addition, they couldn't make their dreams to get perennial youth and long life come true, which stimulated the illustrious officials of that time to recite those poems indicating there is no ideal Utopia so it's better be satisfied with the reality living up to the realistic idea of Confucianism. In this sense, those two emperors are negative. There are also women Taoist Hermits present in SiJo, including MaGo nymphs, SeoWangMo, MuSanShinNyo, and Hang-A. MaGo nymphs were grandmothers who superintend the longevity, often incited as a beautiful woman; SeoWangMo was a Toast Hermit who had an elixir of life; MuSanShinNyo is a beautiful woman who was representing the attachment of cloud friendship; and Hang-A is expressed as a goddess who betrayed her husband and as a result staying lonely in the moon palace. These women goddesses were characterized by their beautiful appearances, generous and delicate personalities. widely incited in romantic poems.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.37-48
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• 2019

This study, which starting from Yangyang Jukdo's topography formation and questioning revealed in landscape guide and landscape commentary board, is to sort out the characteristics of Jukdo natural landscape through literature research, field observation research and stakeholder interview as part of the proper recognition of Jokdo landscape and search for landscape resources, and pursued a review of nominations and criticism. The results of this study are summarized as follows. Yangyang Jukdo is an island named because it was full of blue bamboo. From before the first half of the 14th Century. to the middle of the 18th Century., there was a Gwanlan-pavilion to see the sea and the bamboo in the west. The time when the original island, the Jukdo, have been a land-tied island connected with the land by the tombolo formed by the erosion of the sand. It is located at the end of the 14th Century. and before the middle of the 18th Century. In Jukdo, colorful weathered terrains, coastal terrain, and structural terrain formed by long-time weathering are found. Among them, the type of weathering, the tafoni style and the gnamma style are the scenic landscapes with the key stories of legend and poetry that are brought to Jukdo. In addition, there are seven kinds of letters caved in the rocks in Jukdo. The rocks found on the coast, basketball cannons, shrines, and sutras are seen as shrouds based on a Taoist hermit motifs and style. In addition, it can be interred from the photography of "jeongssisejeog" that the souvenir of Jukdo was the family of Chogyejeong of mid 18th Century. In terms of observational geography and poetry, Jukdo has been handed down a great deal of missionary color with key motifs such as 'Jukdo-seongoo', 'Jukdo-Dolgooyoo', or 'Stone mortar of Taoist hermit' It is proved that the pearl which is called 'The stone of the Taoist hermit' is a porthole formed in a separate space rather than the topography of the geomorphology in terms of shape, size and function. Currently named Shun-tang is a product of the ridiculous 'naming' of interest. The present landscape guide and commentary is not only incompatible with the place of Jukdo, but also does not match the traditional cultural landscape. Future scenery information such as guide signs and commentary boards should be improved in the direction of positively highlighting the stories and motifs related to the present that are present in order to enhance the landscape identity of Yangyang Jukdo.