• Journal of the Daesoon Academy of Sciences
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• 제32집
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• pp.109-136
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• 2019

The purpose of this study is to look at the concept of Gaebyeok as used by Kang Jeungsan (姜甑山) from a civilizational perspective. The combination of East Asian civilization during the period of Korea's port-opening and the subsequent inflow of Western powers with material civilization all at the forefront in the late Joseon Korea, served as the driving force for a new civilizational transition. Unlike the Chuk-sa Party and the Gae-hwa Party, modern Korean religions that emphasized Gaebyeok also responded to Western civilization and suggested a new view of civilization. Kang Jeung-san, resisting discrimination and oppression, presented a civilization built upon mutual beneficence while criticizing Western civilizations which centered on reason. Amid this process of the spread of modern Western civilization, Jeungsan declared the construction of a new civilization to the people who were negatively impacted by various social factions, such as class and gender discrimination, political corruption, exploitation via political corruption, and the inflow of Western powers. Jeungsanist Thought developed criticisms of materialism and human alienation, and this resulted in the claim of Gaebyeok. This was an expression of efforts to build a new civilization that aimed to harmonize, integrate, and thrive. The new civilization envisioned by Jeungsan was that of a society run according to mutual beneficence, and it can be summarized as a 'Civilization of Harmonious Union' that integrates philosophical thought and civilizational models of both East and West. This could also be referred to a 'Civilization of Public-commons and Harmony between Divine Beings and Human Beings (神人公共).' The life of Jeungsan was a life spent in the service of curing the world to save the lives of humanity. Since then, his 'movement of mutual beneficence' as observed in Mugeuk-do and Taegeuk-do were also efforts to build the new civilization envisioned by Jeungsan.

• The Journal of the Convergence on Culture Technology
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• 제10권2호
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• pp.323-331
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• 2024

The concept of 'Han' is a psychological characteristic formed by Koreans through long-lasting national hardships. It has deeply influenced every Korean as a form of collective unconscious and has merged with various forms of art over time. Director Bong Joon-ho's works, rich in social consciousness, symbolically visualize sensitive issues like social class, presenting harsh satire on class oppression. His movies continuously emphasize human desires, the homogeneity of good and evil, insurmountable class barriers, and moral decay caused by desires. They produce a wealth of symbols filled with layers and power dynamics. Bong Joon-ho dramatically portrays and directs various forms of symbols. The metaphorical symbols in his movies provide a unique research value for delving into the deeper meanings of the films.This study examines the theme of 'class Han' in six of Bong Joon-ho's films, exploring the 'Han culture' of Korea. It applies semiotic concepts by categorizing into character and non-character symbols for an in-depth analysis of the films. The representative works from the late 1990s to the late 2010s articulate the class layers of the 'visible' and the 'invisible' through a blend of realism and surrealism. The study analyzes Bong Joon-ho's films in the sequence of 'satire-exposure-hope', examining the culturally critical nature of 'Han culture' on class and its psychological and cultural impact on the general public.

• Journal of the Korean Graphic Arts Communication Society
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• 제30권3호
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• pp.89-114
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• 2012

For as to world, the concern about the environment problem is enhanced than any other time in the past because of being 21 century. And the environment problem is highlighted as the world-wide issue. The time of the environment problem intimidates the alive of the mankind and presence of an earth over the time. It becomes the essentiality not being selection in the personal living or the economical viewpoint now to prepare for the climatic modification. As to the company management, the green growth period which it excludes the environment management considering an environment, cannot carry on the company the continued management comes. That is, in the change center of the management paradigm, there is the environment management. Nearly, the greenhouse gas which the publication industry is the environmental toxic material like all industries is generated. The greenhouse gas is ejected in the process of running the manufacturing process and print shop of the various kinds material used as the raw material of the book. Particularly, the tree felling for getting the material of the paper is known to reach the direct influence on the global warming. This study does according to an object it considers and organizes the environment parameter based on this kind of fact as to the publication industry. And it is determined as the reference which is used as the basic materials preparing the case that carbon exhaust right transaction(CAP and TRADE) drawing are enforced in all industries and is sustainable the management of the publication industry and reduces the environmental risk among the company many risk management elements and plans and enforces the publication related policy that there is a value. In the printing publication industry, this study tried to inquire into elements discharging the environmental pollutant or the greenhouse gas. Additionally, in the printed publication production process, it tried to inquire into the effort for an environment-friendly and necessity at the printing paper and the printers ink, regarded as the element discharging the greenhouse gas all kinds of the printing materials, operation of the print shop and all kinds of the machines and recycle process, and etc. These considerations make these industrial field employees aware of the significance about a conservation and environmental protection. They try to give a help in the subsequent study producing quantitatively each environmental parameter emission of green house gas. This makes the calculation of the relative $CO_2$ output reproached ultimately possible. Meanwhile, in a sense, many research protects and improving an environment in connection with the contents of research at the printing publication industrial field is in progress. There will be the voluntary human face that it has to protect an environment but this can not do by the outside factor according to all kinds of environment related law and regulation. Anyway, because of acting on company management as the factor of oppression, the increase of this environment-related correspondence cost could know that the research that the environment loading relates with a procurement and development, environment management system introduction, quality control standard, including, normalizing including a material, and etc. through the part of the effort to reduce the cost low was actively in progress. As to the green growth era, as follows, this paper prescribed the subject and alternative of the print publication industry. It is surrounded by the firstly new digital environment and the generation of the subject. And secondly the printing industry is caused by the point of time when the green growth leaves by the topic which is largest in the global industry and it increases. The printing publication industry has to prepare the bridgehead for the environment-friendly green growth as the alternative for this resolution with first. The support blown in each industry becomes the obligation not being selection. Prestek in which the print publishing was exposed to spend many energies and which is known as the practice of the sustainable print publishing insisted that it mentioned importance of the green printing through the white pages in 2008 and a company had to be the green growth comprised through the environment-friendly activity. The core management for the sustainable printing publication industry presented from Presstack white pages is compacted to 4 words that it is a remove, reduce, recover, and recycle. Second, positively the digital printing(POD) system should be utilized. In the worldwide print out market, the digital printing area stops at the level of 10% or so but the change over and growth of the market of an analog-to-digital will increase rapidly in the future. As to the CEO Jeff Hayes of the Infoland, the offset print referred to that it of the traditional method got old and infirm with the minor phase of the new printing application like the customer to be wanted publication and the print of the digital method led the market. In conclusion, print publishers have to grasp well the market flow in the situation where a digitalization cannot be generalized and a support cannot avoid. And it keeps pace with the flow of the digital age and the recognition about the effort for the development and environment problem have to be raised. Particularly, the active green strategy is employed for the active green strategy.

• Journal of the Korean Society of Costume
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• 제35권
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• pp.325-341
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• 1997

One of the noticeable trends of female wear in 1990s is the Outwearization of Underwear as it is called 'Lingerie look' This trend meaned 'Exposure Fashion' raised splendidly its head to the whole stage of fashion destrying the tradional concept having divided the fashion between outwear and underwear by Madonna an Americal populer singer showed up in front of the audience wearing the corset-dress as a stage custome. This corset-dress which can not be recognised whether it is underwear or outwear has been diffused into the mass as a fashionable trend re-gardless of any reason; therefore discrimi-nation of wear by space by far that is underwear should have the sstandard telling between private and public sector has been gradually tumbled. By the way what has propelled desigers to introduce the style continuously having the underwear motive such as outwear almost as same as underwear or underwear worn on out-wear etc. and has made it a fashion trends? How do we accept this "Ligerie look'fashion" The rearch on vogue of outwearization of underwear started by the questions above can be summarized as the followings The division between the sprit and the ma-terial-economic shrinkage by the collapse of the bubble economy in the late of 20 century and expectation for the next century doubt by changes of international politics dynamics for the next century and increasement of psycho-logical tention by the environmental destruc-tion etc, has been extended to break the sense of value down These frustration of the tra-ditional values and dissatisfaction on the pres-ent have reflected on the fashion pursuing some more sensational style to increase the ex-posure of the body. The revolution of wearing bouncing the con-servatismhas outwardly expressed underwear of the private sector. Therefore the spatial concept of wear which for the public sec-tor has been fallen into pieces and has broken the wall of the concept fixed by outwear on underwear. in addition the stage costome for the popular people like Madonna has not been limited by the specularity any more and has been assimilated with the normal wear on the street to take the distinction for away. The circumstances of the late of 20 century pursuing sensation and making sex commer-cialized have accordance with the outweari-zation of underwear. there it is on the basis of Minimalist's dogmatism has been expressed the maximization of expoure in the pubric space to popularize bra pants(knickers) as outwear. The reaction on the attribute of hiding and shanding has brought 'See-Through fashion' with the transparent materials, The contemporary doubt recalling the mem-ory of the past has sublimated corset which was an instument of toture for women into Romanticism to introduce it to fashion with the development of a new material not to be a tool of any oppression and maltretment any longer. The popularization of outwear like underwear what's more has brought high quality of underwear. There it has called for the variety of materials such as knit demin and velvet etc, and has urged the famous designers to enlarge their working boundaries to underwear designs, Besides outwearization of underwear has been popular even in the Orient which has the con-servative opinions on exposure ; so changes of the thoughts can be seen among the establish-ment generation on exposure of the body. As the more high tech information publi-cized and the more technology and media digitalized the more expression being analog the pursue for the new in fashion with vision never been seen and even though it is imprac-tical the experimental designers have drived the freedom beyond the traditional roles of the previous century. Consequently outwearization of underwear may be viewd as a trial as an expression responded the contemporary background. This trend in my opinion will have been lasted for a while by being proliperlated among lasted for a while by being proliperlated among the pub-lic who has the century-end anxiety and doubt and expectation for the next century.

• The Journal of Art Theory & Practice
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• 제7호
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• pp.37-64
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• 2009

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.

• Journal of Korean Classical Literature and Education
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• 제38호
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• pp.175-200
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• 2018

From the point of view of the law and public morals in Yi-dynasty, it is possible to discover new meanings in the love of Chunhyang and Mongryong-Lee, the conflicts between Chunhyang and Hakdo-Byeon, and the rescue of Chunhyang by Mongryong-Lee as a secret royal inspector. First, although the love of Chunhyang and Mongryong-Lee was against the law and public morals of Yi-dynasty, the narrator did not call to account, but he described the love as a romantic and new one conflicting with the ruling system. And it was an unprecedented case that Chunhyang asked a written contract as a legal guarantee for marriage when Mongryong-Lee courted her. Second, Hakdo-Byeon, the Namwon county governor, accused Chunhyang, a female entertainer of the Namwon county, of disobedience to his oder and contempt of him, and interrogated her with torture when she denied his demand for bed service which was prohibited by law. Chunhyang refuted against him and regarded his demand for bed service as the rape of a married woman. In this process, narrator sharply contrasted Chunhyang's claim for human rights with Hakdo-Byeon's legal administration. Characters such as people of Namwon county and king did not call Mongryong-Lee to account for that he, as a secret royal inspector, allegedly used his power privately to rescue his sweetheart Chunhyang from Hakdo-Byeon's illegal oppression. These different judgements on legal administrations of Hakdo-Byeon and Mongryong-Lee came from the legal emotion of characters and reading publics of . Namely, people who sympathized with Chunhyang's claim for love and human rights had the legal emotion that Mongryong-Lee's administrative order suspending Hakdo-Byeon's govenor's status could be approved as an legal and exciting one. Therefore the love of Chunhyang and Mongryong-Lee implied a new legal emotion which based on the sympathy with Chunhyang's human rights consciousness, and regarded the positive law of Yi - dynasty as one behind times.

• Journal of Korean Philosophical Society
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• 제119호
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• pp.129-159
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• 2017

The study of Freud's Moses and the background of the establishment of monotheism has become a subject of attention in the new atmosphere of the spreading of political theology and the recent rediscovery of Egyptology. This paper examines the publishing background and intentions of Freud's last book, Moses and Monotheism. And it will emphasize the fact that the Moses-Egyptian theory and his criticism of monotheism hid political theological intentions to prevent the spread of anti-Semitism in Nazi Germany. According to the Egyptologist Jan Assmann, there is a difference in that Moses' Judaism is monotheism, but Akhenaten's Aton-religion is a cosmotheism, and while Freud emphasizes Moses the 'historical figure' of that name, Assmann refers to Moses as a 'mnemohistorical figure.' Just as Freud said that the source of Jewish hatred is in Moses himself who established monotheism, Assmann argues also, monotheism is based on the so-called "Mosaic distinction" that distinguishes between true religion and false religion, thus it is possible to dismantle oppression and violence through the abolition of the Mosaic distinction. Assmann estimates that Freud had a clear stance to stop the spread of anti-Semitism as "the most explicit opponent of the Mosaic distinction." While anti-Semitic hatred spread to Christians in the Nazi era, Freud regards the real founder of Christianity, a jew Paul, as both a "Judaism destroyer" and a "successor to Judaism." At this point, Taubes began to see Paul's theology from a political theological point of view, and Assmann succeeded it. The "historical Moses" described by Freud are not "Prophet Moses" but "Moses as lawmaker and political reformer", and Jewish hatred has arisen in his distinction. Thus, Freud's monotheistic criticism as "disintegration by historical reduction"(Nietzsche) has political theological power. Just as Taubes interpreted Paul as a political theologian, Assmann found political theological elements in Freud's criticism of monotheism.

• Cross-Cultural Studies
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• 제42권
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• pp.505-524
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• 2016

This study examines the ways District 9, a film released in 2009, reworks the sci-fi genre to explore the human encounter with "other" alien populations. Like Avatar, released in the same year, District 9 addresses the tropes of conflict over land and human-alien hybridity and introduces non-humans and aliens, not as invaders, but as objects of human oppression and cruelty. Unlike many other science fiction films where the encounter between humans and non-humans occurs in an unidentifiable future time and location, District 9 crosses genre barriers to engage with urban realism, producing a social critique of contemporary urban population problems. The arrival of aliens in District 9 occurs as part of the recorded human past and the film's action is carried out in the present time in the specifically identified city of Johannesburg. A distinctly anti-Hollywood film that locates the action at the street level, District 9 plays out human anxieties about contact with others by referencing the divisions and conflicts historically attached to South Africa's sprawling metropolis and its current problems of urban poverty and illegal immigrants. Focusing on how this particular urban setting frames the film, the study investigates the ways Blomkamp's sci-fi film about extra-terrestrials presents a curious postcolonial mix of aliens and immigrants surviving in abject conditions in an urban slum and forces a realistic examination of the contemporary social problems faced by South Africa's largest city and by extension other major global cities. The paper also examines the film's representation of the human-alien hybrid and its potential as a force to resist human exploitation of the other. It also claims that though the setting is highly local, District 9 speaks to a wider global audience by making obvious the exploitative practices of profit-seeking multinationals. A sci-fi film that is keen on making a social commentary on urban population conflicts, District 9 resonates with the wider sense of insecurity and fear of others that form the horizon of the uncertain and potentially violent contemporary human world.

• (The)Study of the Eastern Classic
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• 제70호
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• pp.407-434
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• 2018

This study took a look at the crossing the border into Liadong in the early Joseon Dynasty, which has nearly not been paid attention to in the history of the Buddhism in Korea, and the Chinese, Buddhist whereabouts of Monk Mangong and Jeokhyu, the periodical, Buddhist priests. Regarding the large-scale, Buddhist oppression measures of King Taejong in the beginning of the Joseon Dynasty and King Sejong, the Buddhist circle did not not respond helplessly, but, rather, it had made the resistance on its own way. Especially, the Naonghyegeum of Jogyeseonjong and the disciple affiliates of Taegobowu had stood out. The disciples of Bowu had mainly hit the Sinmungo or had advocated the self-purification of Buddhism. And the disciple affiliates of Naong either had reorganized the Buddhist circle with Muhak in the center or had opposed the suppression. And, by receiving the help of the Emperor of the Ming Dynasty, they had intended to protect the Buddhist circle, or they, also, crossed the border into Liadong. Although, while attempting the crossing the border into another territory, they were arrested like the sea ships, like Mangong of King Taejong and Jeokhyu of King Sejong, they succeeded in crossing the border into another territory, and they left the clear whereabouts in the Chinese, Buddhist circle. Mangong was one Buddhist monk among the 11 Buddhist monks who crossed the border into Liadong during the King Taejong. After crossing the border, Mangong had moved again from Beijing on a sea route and had settled for after going into a mountain in the Zen sect at the Tienchieh temple in Nanjing. Meanwhile, he had been close to the Joseon Dynasty, and he relocated to Mount Taishan, where there had been the history, thereby rebuilding the Chikurin Temple and the Buchauchan temple and widely publicizing the Buddhism. During the time of King Sejong, by crossing the border into Liadong together with a total of 10 Monks, including the Buddhist monks Shinnae, Shinhyu, Shindam, Hyeseon, Hongjeok, Haebi, Shinyeon, Honghye, Shinwun, etc., under the protection by the Emperor of the Ming Dynasty in Beijing, Jeokhyu went through Shanhaiguan and had moved to the Tienchieh Temple in Nanjing. Although their whereabouts can not be known, on the Guji Mountain in Beijing, Jeokhyu founded the Banyaseonsa Temple nearby the Ryeongamseonsa Temple, where the clergy and the laity of the Goryeo Dynasty had resided and, especially, where Naong and the disciples of Muhak etc. had stayed. As such, the Buddhist monks in the beginning of the Joseon Dynasty had either resisted the suppression by the country or crossed the border into another territory. Mangong and Jeokhyu of the times of King Taejong and King Sejong had led the Chinese, Buddhism circle, had rebuilt the Buddhist temples, and had contributed to the development of the Chinese Buddhism.

• Journal of the Daesoon Academy of Sciences
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• 제39집
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• pp.69-97
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• 2021

'Déconstruction' is a system of thought that induces the emergent property that characterizes contemporary philosophy. The tradition of ancient Greek philosophy evolved over and over again, giving rise to the Renaissance and Enlightenment. It seemed to have reached its end under the historical perspective of modernity. However, contemporary philosophy wanted to see more possibilities through the deconstruction of modern philosophy. If modern philosophy dreams of a strange cohabitation between God and man with the humanistic completion of Plato's philosophy, modern philosophy rejects even that through deconstruction. Although Plato's classical metaphysics is a stable system centered around the absolute, it is ultimately based on God and religion. Under that system, human autonomy is only the autonomy bestowed by God. Contemporary philosophy is one of the results of efforts that try to begin philosophy from the original human voice through deconstruction. Instead of epistemology dependent on metaphysics, they wanted to establish epistemology from human existence and realize the best good that would set humans free through deconstruction. As such, it is no mistake to say that deconstruction is also an extension of the modern topic of human freedom. Deconstruction and human freedom act as one body in that the two cannot be separated from each other. Oddly enough, Daesoon Thought, which seems to have religious faith and traditional conservatism as main characteristics, has an emergent property that encompasses modern and contemporary times. The period of Korea, when Kang Jeungsan was active and founded Daesoon Thought, has an important meaning for those who have a keen view of history. Such individuals likely think that they have found a valuable treasure. This is because that period was a time when ideological activities were conducted due to an intense desire to discover the meaning of human freedom and envision a new world without copying the ways of the West. Instead they looked to face internal problems and raise people's awareness through subjectivity. In other words, the subtle ideas created by Korea's self-sustaining liberalism often take the form of what is commonly called new religions in modern times. Among these new religions, Daesoon Thought, as a Chamdonghak (true Eastern Learning), aims to spread a particular modern value beyond modern times through the concept of Haewon (the resolution of grievances) that was proclaimed by Jeungsan. The Haewon espoused in Daesoon Thought is in line with the disbandment of modern philosophy in that it contains modernity beyond modern times. First, Haewon means to resolve the fundamental resentment of human existence, which arose from Danju's grievance. Secondly, Haewon in Daesoon Thought encompasses the Haewon of the Three Realms of Heaven, Earth, and Humanity centers on a Haewon-esque style of existence called Injon (Human Nobility). Haewon in Daesoon Thought can be understood in the same context as Derrida's philosophy of Deconstruction. Modern deconstruction attempts to expose the invisible structures and bonds within human society and attempt to destroy them. In a similar way, Haewon endeavors to resolve the conflicts among the Three Realms by releasing the bonds of fundamental oppression that hinder the Three Realms of Heaven, Earth, and Humanity.