• Journal of Popular Narrative
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• v.25 no.3
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• pp.303-345
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• 2019

This article analyzes the multi-layered communication in the Webtoon Princess Pari, released on the Daum portal site, created (written and illustrated) by Kim Naim, through analyzing the narrative structure and comments with the qualitative / quantitative methodology. The webtoon Princess Pari is structured in an omnibus style in which unit narratives are intermittently articulated, multi-lined, and interconnected. As integrated narratives which link with unitary narratives, Pari's growth story as a shaman and a romance narrative are structured. The classical original story of the shaman was used as a prehistory corresponding to the prequel of the webtoon through a preview, and the writer restructured the narrative to overcome the contradictions of the gender asymmetry and the patriarchal ideology of the original text. The viewer then creates a conversational space by giving critical and reflective comments. According to a statistical analysis conducted through sampling, the types of comments can be classified as follows: Appreciation and criticism of the contents ≫ Emotional response ≫ Intuitive overall review ≫ Knowledge and reflection ≫ Comments on comments. In the process of creation and acceptance of the Webtoon, a multi-layered dialogue between classical and modern, content and audience, acceptance and creation has been at play. In the creation dimension, the writer used a device to fill the gap of mythical symbols of the contents. At the level of the audience, they formed a culture of sharing information, knowledge, and reflection about tradition/folk/culture through comments. This corresponds to classical and modern dialogue through the webtoon. The viewers form a sympathetic bond, attempt hermeneutical coordination, supplement the information, and search for a balanced angle through controversial conversation. In addition, by commenting on attitudes, views, and perspective, the commentators showed a behavioral pattern corresponding to meta-criticism in literature. The viewers' comments acted as feedback on the creation of the webtoons, so that the creation and acceptance itself influenced the production of the content of the webtoon. The webtoon Princess Pari, which was based on Korean classical narrative, has been reorganized onto 'moving and dynamic' content, which leads to sense, thinking, criticism and reflection through the formation of various dialogues.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.42 no.3
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• pp.13-26
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• 2024

This study examines the historical and cultural landscape of Qingguo Lane (靑果巷) in Changzhou, Jiangsu Province, China, focusing on the relationship between the changes in the landscape and the local residents from the Ming Dynasty to the present. By analyzing ancient maps, literature, and field photographs, the research reveals that the residents played a crucial role in the transformation of the Qingguo Lane landscape. The findings can be summarized as follows: Firstly, the naming of Qingguo Lane. 1) The name "Qingguo Lane" first appeared in the Changzhoufu and was mistakenly understood as a place for selling fruits. In reality, it was a residential area, and the name originated from descriptions of the plant landscape in poetry. 2) Qingguo Lane served as a residential area for the upper-class, including the prominent Bi-Ling Tang and Dong families, from the Ming Dynasty through the Qing Dynasty. Secondly, changes in administrative divisions and road development. 1) During the Ming Dynasty, Qingguo Lane spanned three administrative regions: Zhongwushang, Xiwushang, and Dongwushang, later narrowing to Xiwushang and Dongwushang during the Qing Dynasty. 2) The main road of Qingguo Lane with nine alleys running north to south, forming the historical and cultural preservation area of Qingguo Lane. Over time, the number of roads increased, and the area transitioned into a residential and commercial space, shaping the modern Qingguo Lane. Thirdly, the formation of the cultural landscape of the upper-class in Qingguo Lane. 1) The development of Qingguo Lane was influenced by population movements and growth during the peaceful period following the Yuan Dynasty massacres. The importance of the natural landscape attracted literati to settle there, and Qingguo Lane became a new residential area for the Changzhou upper-class as commerce and culture flourished. 2) From the late Ming Dynasty, Qingguo Lane gained social and cultural prominence through the garden culture of the upper-class. 3) The concentration of upper-class residents attracted many scholars and merchants, leading to the construction of numerous gardens. The literati of the Ming and Qing Dynasties helped shape the unique cultural landscape of Qingguo Lane, and in modern times, it has developed into a protected historical and cultural area with diverse functions as a multifunctional complex.

• Journal of Sinology and China Studies
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• v.78
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• pp.25-46
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• 2019

In this paper, we analyzed the characteristics of quasi-affix '迷' and 'X迷' words. '迷' has the characteristics of a quasi-affix in general: Grammaticalization, Position fixing, Vocabulary productivity, so it can be considered as a quasi-affix. The results of the analysis are as follows. Firstly, the meaning of '迷' is far from the original meaning and has become a reference to a person, so the degree of grammaticalization is measured to be high. Secondly, If a quasi-affix '迷' represent the meaning 'A person who is addicted to something or something or action', '迷' has to be placed at the end of a word. So '迷' is a quasi-suffix. Thirdly, many compound words are derived from '迷' and 'X迷' words are all nouns, '迷' is a quasi-suffix which can make nounization. The part of speech of 'X' is mainly noun and the next is verb. The syllables of 'X' is mainly two syllables, the words 'X迷' are mainly three syllables, followed by single and three syllables. The meaning of 'X' can be divided into 11 categories, including literature, art, objects, activities, and physical activities. The meaning of quasi-affix '迷' arose in modern times. The analysis suggests that there will be many words derived from '迷' in the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.82-94
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• 2014

This study aims to comprehend that Gwanghalluwon for aspects of landscape change in terms of construction garden(樓園). Transformation focused on the spatial structure is divided into four periods based on literature. And reflect of landscape elements in defunct or unattributable records from tale and novel. The results were as follows. First, The beginning of Gwanghanllu pavilion(廣寒樓) was the composition of the Gwangtongnu Pavilion(廣通樓). The pavilion is located amid beautiful scenery such as the close-range view of a small stream, and distant view Jiri Mountain. Analysis of literature shows that Gwanghallu pavilion was in succession to Gwangtongnu Pavilion's landscape. Secondly, Gwanghallu(廣寒樓) pavilion represents the characteristic of the garden since 1582. Built the Samsinsan(三神山), Construct Lake and bridge that represents the galaxy for realization of utopia reflect in Taoist ideology. Thirdly, Gwanghalluwon garden was recovered when from Jeong-yu-jae-ran(丁酉再亂) to the Japanese Ruling Era. It took Gwanghalluwon garden a long while to recover from original form. According to records, Gwanghalluwon garden is still being likened to the landscape of fairyland by inheriting landscape in the previous of Jeong-yu-jae-ran(丁酉再亂). Fourth, By the modern times, Gwanghalluwon Garden has personality of tourist attractions. Until now, the area of the Gwanghalluwon garden has been expended during the processes of three times. Fifth, Aspect of landscape change of Gwanghalluwon is wide-spreading mainly Gwanghallu pavilion. But elements of external expansion in garden by introduced into the facility irrelevant to the authenticity of the garden. Sixth, Comprehension the cultural landscape of the garden are limited by deficient records. But, the main elements in the Gwanghalluwon garden are commonly appeared on imaginary environment within a tale and a novel. In addition, culture of garden at the time was depicted in tale and novel. In this sense, cultural landscape in garden was able to estimate through imaginary environment within novel.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.3
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• pp.76-93
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• 2017

This thesis recapitulates the current status of Nujeongs(樓亭) by the Han River(漢江) from the late Joseon dynasty, and to contemplate the possible options regarding their restoration. The book Yeon-gang-jeong-sa-gi(沿江亭?記) written by Eom Gyeong-su(嚴慶遂) in 1716 was selected as an object of study. After Hanyang was selected to be the capital of Joseon, Han River was considered to be the greatest venue to visit to take some time off and enjoy the view. The nobleman of the Joseon dynasty built Nujeongs around the riverside and enjoyed boating inthe current status of Nujeongs(樓亭) Han River. Eom Gyeong-su, after traveling on a boat to personally collect information, combined such information with preexisting information to create a well-organized and thorough list of the 29 Nujeongs built by the riverbank, which can be found in his book Yeon-gang-jeong-sa-gi. It is probable that a closer look into Yeon-gang-jeong-sa-gi will reveal more information regarding the general atmosphere of the era, which focused on the history and culture of Han River, and will also enable a more thorough research involving the Han River Nujeongs. The Nujeongs listed in Yeon-gang-jeong-sa-gi were analyzed in this paper. Based on the explanations found in Yeon-gang-jeong-sa-gi, the locations of the 29 Nujeongs were checked and reconfirmed, and the origins and the meanings behind their names were analyzed. In addition, the history of the Nujeongs were recapitulated with information gained from the basis of the fact that Yeon-gang-jeong-sa-gi was written in 1716, The origin of each Nujeongs were revisited, and the history of their change and demise were analyzed. Lastly, the sceneries around each Nujeongs were analyzed based on the poetries that were written and read in the respective Nujeongs, and the general taste for the arts in the era was analyzed. Some Nujeongs remain in the form of paintings, enabling us to take a closer look at the institutions and other aspects of the era. The analysis of Yeon-gang-jeong-sa-gi by this paper has revealed the location of some Han River Nujeongs that were unknown previously. Also, the revelation of some history regarding certain Nujeongs that were unknown previously has created an opportunity for the reinterpretation of the spaces surrounding Han River, and also the opportunity for a new story. Han River has lost most of its old self due to repeated exploitation. However, there are some areas where traces of the original form remains and that may be restored, and some areas may be relocated and restored based on existing paintings. Yeon-gang-jeong-sa-gi in particular may provide us with numerous possible options to reinvigorate and restructure the riverside with a more modern interpretation, especially in relation to the Han River cruise ship, as it is a book written after traveling Han River on a boat.

• Journal of the Korean Society of Clothing and Textiles
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• v.9 no.2
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• pp.67-74
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• 1985

According to the records that all the people in our country were taught the way of braiding the hair and hatting in the first year of 'Tangun' (the founding father of the Korean nation) and that the discipline between sovereign and subject, man and woman, and the standard of food, drink and dwelling were originated from that year, it seems that all the people in our country had lived with keeping a certain standard of food, clothing and shelter, and with maintaining the order in life from ancient times. So, our country have been called 'the Eastern Land of Courtesy' and also regarded as 'the country of the true gentle-man' which was characterized as the custom of a humane, and as the country that had the immortality since a benevolent person lived to a great age. Thus, all the people in our country have lived with keeping and maintaining a certain standard of all aspects in life, and the philosophy in life that we have today was established by the influences of our characteristic thought, Confucianism, Buddhism, Taoism and Christianity, especially the life style in the Chosun Dynasty Period have strong influence on our today life. Thus, the contents concerned with the standard of custume life among those of all life in the Chosun Dynasty Period was studied, and clothes itself is unable to give expression to its ends but when the relationship that is, the inter-harmony among clothes, the body which will be dressed in, and the inherent psyche in that body is formed, then the ends, the complete beauty will be expressed. Though there were many studies dealt with clothes itself, no one was concerned with the all kinds of standard in activities that the dresser should keep, so the purpose of this article is that as above. The literature search is used as the research method. The eight books, 'Noneo' (the Analects of Confucius), 'Yeogi' (the Book of Courtesy), 'Sohak' (the book of Precepts for child-ren), 'Yeosaseo'(the Women's Four Books), 'Sasojeol'(Korean Scholars' Minor Principles) 'Eonhaenaehoon' (Private Moral Instructions for Women), 'Woo-am seonsaeng kyenyeoseo' (Master Woo-am's Cautions for Girls) and 'Kyoobangkasa' (the Lyric Lines of the Boudoir) that had influenced the whole field of life in the Chosun Dynasty Period are analyzed, selected and finally arranged for studyilng the foundation of culture of the clothing and for helping to that culture in modern and future life. The results are as follows: 1. The standard of the clothing life in the Chosun Dynasty Period had deeply rooted in the teaching of confucianism, but also had been influenced by the custom which rooted in our people. 2. There is the emphasis upon the trinity among mind, clothes and activities in the clothing life. 3. The clothing and hat have to be dressed symmetrically in full of all required elements, 4. There is the harmony between the clothing with hat and environments or surroundings. 5. The true elegance in the clothing life will be realized not by the exterior outfit but by the interior outfit with the attitude of chastiny. In conclusion, as the material of clothing life in the Chosun Dynasty Period has the characteristics of the simplicity, the cleanliness, the elegance and the refinement, our clothing life is to be mastered with the simplicity, the cleanliness and the elegance in that life and with the harmony between the inside and the outside.

• Sijohaknonchong
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• v.23
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• pp.71-105
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• 2005

Toson-Shibigok(Twelve Songs of Toson) which T'oegye, Yi Hwang, composed has received a lot of attention in terms of its educational implications. These implications have become the essential part of Gojeon Sigas(classic songs and poems), and solid evidence has also been accumulated in the literature. Therefore, the purposes of this study are twofold, that is 1) to explore the impact of T'oegye's fundamental structure of the first education at that time and 2) describe how these educational attitudes will eventually yield meta- educational values. What T'oegye meant by fundamental structure of the first education was that Sijos originated from his own experience should be the vital part of teaching method. One can say that T'oegye's teaching method is more integrative than that of modern literature education in that it includes songs. Not only using his own teaching method, but T'oegye tried to demonstrate his own literary structure to his colleagues and the future generations. In the end, Meta-Education which comprises the heart of recent educational theories well reflects Toegye's theoretical propositions. Rather than giving practical knowledge, his method offers the paradigms of thought patterns and shows the learners' attitudes in approaching the truth. Moreover, T'oegye's teaching method has become a good example to the future generations as well as his contemporary followers. In sum, although a lot of years have passed since he died, T'oegye's Sijo works and life still have invaluable impact on the field of education.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.4
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• pp.1-14
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• 2015

In the West, of the body's five senses sight is considered the most important but Ocular-centralistic thinking contains many issues. Privileging the subject and inhibiting interaction with the other senses, Ocular-centrism limits the experience of the world to the visual area. However, experiences can be understood as 'touching' various forms and are related to touch. With the heightened interest in the multi-sensuous side of the body contrary to Ocular-centrism, the intervention of the body in the external space has become an important issue in modern landscape architecture. This study explores the possibility of the haptic perception system that causes the active experience of a subject. Haptic perception plays a catalytic role leading an active experience of the subject and the subject experiences a sense of place through such haptic perception. By revealing what was known through the sense of touch through the concurrency and interaction of the various senses, haptic perception draws active participation The haptic perception system has been studied in various fields but has not been studied in the field of landscape architecture. Thus, this study discusses the aspect of haptic perception limited to landscape architecture shown before modernism. In a discussion on haptic perception, the concept of haptic perception is clarified through previous study reviews and literature and the characteristics of haptic perception are derived. Then, the problems of the Ocular-centrism system and the need for haptic perception are discussed. In the historical development process of haptic perception, the change process of the scopic regime is examined chronologically and the ways in which Ocular-centralistic thinking and anti-Ocular-centralistic thinking have been projected on the architecture and landscape architecture of each age are studied via literature and cases studies. The impact of the scopic regime on the landscape architecture field in the historical change process is examined.

• Journal of Korean Classical Literature and Education
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• no.34
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• pp.41-74
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• 2017

This study aimed to investigate the narrative strategy and meaning of fantasy in classic novels and to derive the educational meaning from the fantasy of Sukhyangjeon. This study selected Sukhyangjeon because is considered a suitable literary text that embodies characteristics of fantasy inherent in classical novels through its successful portrayal of the fantasy genre and its high popularity during its time. Specifically, this study observed that the "notice of hardships" which repeatedly appears in the narration of Sukhyangjeon reinforces the fantasy of the novel as it serves as an advance notice of intervention from heaven. Therefore, this study investigated the relationship between the notice of hardships and fantasy by focusing on Sukhyang's life. The way in which the "notice of hardships" is a form of illusion realized it evident in the plot when heaven saves Sukhyang from her hardship even though it was heaven that had granted her those forms of hardship. Firstly, the "notice from heaven" constitutes the macro structure of Sukhyangjeon. Through it, readers realize the enormous power of heaven by seeing how Sukhyang's life has been realized in accordance with heaven's notice with that, it evokes a sense of respect to heaven. In addition, heaven saves Sukhyang from different forms of danger. It enhances a miraculous feeling, which the omnipotent power of heaven shows, against the innocent appearance of Sukhyang during her times of danger. Meanwhile, when heaven notifies Sukhyang and the surrounding people of their fate and subsequently realizes it through dreams, this act creates a mysterious atmosphere and improves the probability of the narrative. If so, the narrative meaning in reinforcing the fantasy of the novel by the use of "notice of hardships" could be revealed through Sukhyang's real life. First, the hardship in which Sukhyang has gone through is so realistic and detailed that the readers' feelings of empathy are evoked with the fear of the coming hardship, wailing together, and trying to resolve the inner anxiety through Sukhyang's happiness. Second, the heavenly beings who are touched by the good behaviors of Sukhyang save her from the dangers of death. This creates the belief in readers that heaven intervenes for the good people. Third, the active attitude that Sukhyang and Leesun show in the process of marriage helps them overcome their earthly hardship and preserve their relationship in heaven. This gives readers hope that they could go to a "higher life" after going through suffering. This fantasy of Sukhyangjeon helps readers overcome their anxieties of reality through fantasy and recognizes the importance of relationships to enhance a sense of unity and solidarity with others. Because of these elements, it is expected that the fantasy of Sukhyangjeon will have a meaningful value to modern readers.

• Journal of Korean Classical Literature and Education
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• no.39
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• pp.137-180
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• 2018

This article examines the constitutional characteristics of the works in the "Shinbi Apartment" (Mysterious Apartment) series produced by Tooniverse, a domestic animation channel, and considers the meaning of the contents of the ghoststory (鬼神談). The "Shinbi Apartment" series is a horror animation for children. It was produced for the first time in Korea and recorded high ratings. Additionally, it is different from Japanese horror animations that were dubbed and broadcast in Korea in terms of composition and narrative direction, and it succeeds in the form and direction of the traditional Korean ghost story. "Shinbi Apartment - The Secret of Ghost Ball" enriches narrative stories by embracing the structure of the "female ghost story" in traditional ghost stories while following the form of ghosts that suddenly pop up in the daily routines of contemporary ghost stories. The ghost's shape, which has a bizarre and unpredictable aspect, embodies the ghost as the object of fear that modern horror stories intend. However, it does not stop there, but puts the attention on the hero who focuses on the emerging ghost and listens and communicates with it, placing the emphasis of the story on communication, understanding, forgiveness, and reconciliation. The structure and contents of the unique story of "The Secret of Ghost Ball" contribute to the transformation of the ghost into a subject of friendliness and entertainment, not merely as one of shock, fear, and anxiety. Additionally, as the concept of "child" is being created, the custom of modernity, which deals with the story of ghosts in the dimension of teaching and edification, is also manifested in "The Secret of Ghost Ball." In other words, through the figure of the devil, it is to continue the lesson of the story by revealing the adventure, the courage necessary for the "child," and the boundaries for substance and appearance. The "Shinbi Apartment" series has also contributed to the success of ghosts as commercial contents. The structure of the story and its characters have been actively used as educational tools and toys for children. It can be said that ghost culture contributed to this popularization by establishing a base for enjoying ghosts for amusement and entertainment.