• Journal of Service Research and Studies
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• v.13 no.4
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• pp.142-159
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• 2023

As the core technologies of the 4th Industrial Revolution are introduced into luxury hotels, they are taking off as cultural and experiential spaces that provide new products and services to hotel users and new experiences. Therefore, this study investigated the effect of hotel users' perception of the experience of using technological amenity services on their trust and satisfaction, focusing on luxury hotels as smart hotel to identify the essential factors of smart hotels that can lead to continuous competitive advantage and improvements in the future. In addition, the study aimed to find an effective hotel marketing strategy and plan to satisfaction the smart hotel by maximizing customer satisfaction. To verify the research hypothesis, a survey was conducted targeting hotel users with experience using technological amenities in smart hotels within the last two years. As a result of the study, it was confirmed that all hypotheses were adopted except for the relationship between personification, intention to use technical amenities, and perceived performance expectations and satisfaction with smart hotels. Based on these research results, this paper presents theoretical and practical implications. Smart hotels are rapidly changing by introducing various smart technologies. Therefore, it will be meaningful data for securing a sustainable competitive advantage and establishing differentiated hotel management and marketing strategies.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.4
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• pp.61-72
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• 2014

Throughout analyzing and construing the words, contexts, and expressive languages used for depicting the pine tree in the novel "Honbul" written by Choi, Myung-Hee the symbolism of the pine and folksy languages used for scenery can be condensed as written below: First, it is explicit that the scenery-words for illustrating the pine tree in "Honbul" are emerged through diverse means methods and expressions. Namely, the reference forms of the pine tree and the expressive means of utilizing words portrays the use of the pine are various and subdivided. Second, the scenery-words found in vocabularies and the contexts of "Honbul" imply various symbolic representation. They not only perform to describe inherent image and symbolism of the pine, but they work for reifying the image of "Honbul" in the narrative structure in "Honbul" as being intrinsic scenery-word. Third, the scenery-words used for expressing aesthetics emerge as synesthetic expressions through the linear beauty and the texture of the pine as well as through five-senses. Forth, on the basis of the inherent symbolism and the image of the pine, the landscape of the background described in "Honbul" deems as a symbolic backdrop. As with then narrative structure of the novel, the pine tree performs as a mediation of the heaven and the earth, god and man, as well as the sacred and the secular. Fifth, scenery-words used for depicting the pine tree are a symbol that represents the spirit and emotion of the character in the novel. Moreover, it is a tool for pursuing the personification of the nature, the deification of the object, and the cosmos of the space. It is also utilized as a device that definitize the ideational image applied to express the landscape of the background of the novel. As mentioned above, the expressions, vocabularies and textures about pine tree represented from "Honbul" are expected to be the beginning of understanding the landscape-images and landscape-languages of pine in not only the setting for this novels, Namwon but also the entire districts of Korea.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.2
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• pp.30-39
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• 2019

In this study, 27 representative plants with symbolism and appreciation were extracted from 68 plants collected in Li Yu (1611-1680)'s monograph named 'Xianqingouji Zhongzhibu'. The interpretations were as follows. First, symbolism of plants could be summarized as 1) Li Yu thought that Paeonia suffruticosa was called 'the king of flowers', not only because of its beauty, but also because of its upright character. The only flower that could compete against Paeonia suffruticosa was Paeonia lactiflora Pall.. This flower was called 'the flower prime minister' by common people. But Li Yu thought that Paeonia lactiflora Pall. should also be included in the feudal princes. 2) Prunus persica and Camellia japonica were compared to 'beautiful cheeks', and Malus spectabilis (Ait.)Borkh, Jasminum sambac, Rosa multiflora var. platyphylla, Narcissus tazetta, Papaver rhoeas were compared to 'beautiful women', expressing his love for flowers. 3) Li Yu called Nelumbo nucifera a 'gentleman in flowers' and Buxus sinica Rehd. et Wils. Cheng a 'gentleman in trees'. On the contrary, Daphne odora was compared to 'villain in flowers'. 4) Ilex integra was compared to a hermit, and Campsis grandiflora was compared to an immortal. Second, appreciation of plants could be organized by 1) Appreciation of plants required assistive tools. When going to suburb to enjoy the scenery, tents needed to be prepared. Paper screens should be used to appreciate Prunus mume in the courtyard so as to gain more elegant. Li Yu also proposed that ornamental objects should be properly placed near Orchidaceae so as to gain more elegant. 2）Li Yu took Lagerstroemia indica and Prunus armeniaca L. as examples to interpret that plants were as perceptive as animals and human beings. 3) Li Yu took Salix pierotii and Albizia julibrissin as examples to interpret that people should communicate with plants through five senses to produce resonance. And took Nelumbo nucifera and Rosa rugosa to emphasize the ornamental and practical value of plants. 4) Plants were metaphored sth. similar to them. An interesting example was Celosia cristata L. which was more like an auspicious cloud in the sky than the crest on the cock's head. To sum up, Li Yu personified plants and thought that people should communicate with plants by multi-sensory world when appreciating plants. Through this, it fully showed his love for plants. Meanwhile, Li Yu's symbolism and appreciation of plants, to some extent, reflected the elegant life of literati in the early Qing Dynasty.

• Korean Journal of Heritage: History & Science
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• v.46 no.2
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• pp.46-69
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• 2013

The results of study on the meaning landscape and environmental design techniques of the Byulup, Yoohoedang garden(Hageowon) based on the story in the collection of Kwon Yi-jin (Yoohoedangjip, 有懷堂集), are as below. First, Yoohoedang Kwon Yi-jin (有懷堂 權以鎭 : 1668~1734) constructed a Byulup garden consisting of ancestor grave, Byulup, garden, and a school, through 3 steps for 20 years in the back hill area of Moosoo-dong village, south of Mountain Bomun in Daejeon. In other words, he built the Byulup(別業, Yoohoedang) by placing his father's grave in the back hill of the village, and then constructed Yoegeongam(餘慶菴) and Geoupjae(居業齋) for protection of the pond(Napoji, 納汚池), garden(Banhwanwon, 盤桓園), and ancestor graves, and descendants' studying in the middle stage. He built an extension in Yoohoedang and finally completed the large-size garden (Hageowon) by extending the east area. Second, in terms of geomancy sense, Yoohoedang Byulup located in Moosoo-dong village area is the representative example including all space elements such as main living house (the head family house of Andong Kwon family), Byulup (Yoohoedang), ancestor graves, Hagoewon (garden) and Yoegeongam (cemetery management and school) which byulup type Byulseo should be equipped with. Thirdly, there are various meaning landscape elements combining the value system of Confucianism, Buddhism and Taoism value, including; (1) remembering parents, (2) harmonious family, (3) integrity, (4) virtue, (5) noble personality, (6) good luck, (7) hermit life, (8) family prosperity and learning development, (9) grace from ancestors, (10) fairyland, (11) guarding ancestor graves, and (12) living ever-young. Fourth, after he arranged ancestor graveyard in the back of the village, he used surrounding natural landscapes to construct Hagoewon garden with water garden consisting of 4 mountain streams and 3 ponds for 13 years, and finally completed a beautiful fairyland with 5 platforms, 3 bamboo forests, as well as the Seokgasan(石假山, artificial hill). Fifth, he adopted landscape plantation (28 kinds; pine, maple, royal azalea, azalea, persimmon tree, bamboo, willow, pomegranate tree, rose, chinensis, chaenomeles speciosa, Japanese azalea, peach tree, lotus, chrysanthemum, peony, and Paeonia suffruticosa, etc.) to apply romance from poetic affection, symbol and ideal from personification, as well as plantation plan considering seasonal landscapes. Landscape rocks were used by intact use of natural rocks, connecting with water elements, garden ornament method using Seokyeonji and flower steps, and mountain Seokga method showing the essence of landscape meanings. In addition, waterscape are characterized by active use of water considering natural streams and physio-graphic condition (eastern valley), ecological corridor role that rhythmically connects each space of the garden and waterways following routes, landscape meaning introduction connecting 'gaining knowledge by the study of things' values including Hwalsoodam(活水潭, pond), Mongjeong(蒙井, spring), Hosoo(濠水, stream), and Boksoo(?水, stream), and sensuous experience space construction with auditory and visualization using properties of landscape matters.

• Sim-seong Yeon-gu
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• v.36 no.2
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• pp.105-159
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• 2021

The Red Book is a personal record that contains Jung's psychological self-experiment and describes his own experiences of the individuation process. Throughout The Red Book, Jung describes how he got caught by the spirit of the depths and dethroned the spirit of this time, how he regained his lost soul by getting to the bottom of inner processes, how he differentiated the soul upon encountering the various aspects of his soul, and finally how he confronted God approaching Jung in the form of the divine opposites. The spirit of the depths as a personification of the collective unconscious caught up with Jung and launched him into the individuation process. The spirit of the depths was "the God yet to come". Jung realized that he had been driven by the collective spirit of his time and then set off on a journey into a new territory of life under the guidance of the spirit of the depths. Jung first encountered his lost soul, afterwards experiencing various aspects of the soul-spirit duo such as Salome-Elijah, Helena-Simon, and Baucis-Philemon. In the process of individuation, the initial experience of the soul can appear to the ego as a Satanic force which darkens the consciousness. The Red Book describes how Jung consciously integrated the Satanic force and came to realize the meaning of it. Jung's experience of emotionally gripping aspects of the soul led him to the awareness of the dark side of God, Satan, while the insights he gained from that Satanic emotionality led him to the awareness of the bright side of God, Christ. Through this process, he finally encountered the opposites in God. Jung also referred to the Self as an image of God which manifests itself in the psyche. Jung later discovered God as a phenomenal psychic reality which incarnates itself from the unconscious into the conscious. He did it in terms of strict empirical science. Although the incarnation process of the deity is the main cause of psychological conflict and distress of a human being, if accepted consciously, we come to realize that the incarnation process of the deity in the psyche is the ultimate teleology and meaning of our life as well.