• Korean journal of communication and information
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• v.45
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• pp.187-219
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• 2009

Under the pressure of the selection of topics and the presentation rules of mass media, politics in media society increasingly resort to professionalized forms of theatrical staging as a means of self-portrayal. Although these staging methods are not contradictory to what is actually going on in politics, they strongly advantage the tendency to focus exclusively on the staging of an event. Through their competition for public attention, politicians have been developing sophistication regarding placement and staging of events as well as regarding factual information. In the process of this transformation, politics that are issue-related and based on binding decisions are being gradually transformed into symbolic politics. Moreover, through their appearance on TV, politicians first of all need to possess presentational skills which are not necessarily related to their political achievements. Still, presentational skills decide over the success in politics of those politicians. The reason is that a politician who possesses presentational skills is still being perceived as being successful even if his political achievements notedly lag behind. On the other hand, political achievements are being underrated if a politician lacks the talent to present himself in front of the media. “The staging of politics, “politainment”, on the stage of mass media is evolving into a key structure which is responsible for a new coinage of politics in all different kinds of dimensions: the selection of staff, the role of action programs and their impact for the legitimation of political acting, even in relation to therole of pivotal political institutions such as parties and parliaments in the political process. The TV debates during the Bundestag elections of the year 2002 and 2005 are being analyzed and judged as “staging of politics”(politainment). Self-dramatization in media society concerning media discourses about politics and political self-portrayal has become a basic principle of political communication. Self-dramatization is a vital challenge for adequate political communication and content-based orientation in our present media democracies.

• Journal of the Korean earth science society
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• v.28 no.4
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• pp.393-404
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• 2007

The purpose of this study was to identity scientific models included in the Earth domain of the $10^{th}$ grade science textbooks. Three earth science-related chapters in each of 11 trade books were analyzed. A framework was developed and used to classify a scientific model from three different perspectives: medium of representation, method of representation, and mobility of a model. Results showed that the science textbooks utilized domain-specific models in which the nature of sub-areas of earth science was embedded. That is, the unit of 'Change of the Earth' included many iconic models that represented the inaccessible inner structure of the earth and the movement of the tectonic plates. These were also two-dimensional pictorial and static models. In the chapter of 'Atmosphere and Oceans', symbolic and diagrammatic models were dominant in use, which included weather maps and contour line graphs of sea surface temperature and salinity. The unit of 'Solar System and Galaxies' showed the highly frequent use of iconic and analogical models for the large-scale celestial objects and their movements. Implications for earth science education and relevant research were discussed.

• Korean Journal of Adult Nursing
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• v.12 no.4
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• pp.690-705
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• 2000

This ethnography was based on Kleinman's explanatory model of a health care system. It is conducted to make thick discription of illness conception of the elderly in a sociocultural context. The basic assumptions were as follows. 1) A health care system is a cultural system, and as with any other cultural system, it is a system of symbolic meanings anchored in a particular arrangement of social institutions and patterns of interpersonal relationships; 2) In all societies health care activities are more or less interrelated. Therefore, they need to be in a holistic manner as socially organized responses to disease that constitute a special cultural system; health care system; 3) Health and illness experiences are the natural process of disease. Individuals who recognized a for state of health, their family, neighbors, and communities define the state, search for causes of the health problems, and response to it. According by, they proceed to search for healing stratagies. So, understanding of the illness experience is the starting point for health care. The study participants were 12 elders aged 60 or more. The fieldwork was conducted in an agricultural clan village of Namwon city. The data collection and analysis were cyclic, from descriptive observation, domain analysis, focused observation, taxanomic analysis, selected observation, componential analysis, and finally cultural themes were all analysed. Proxemic and text analysis techniques were used according to the characteristics of the data. The data of sociocultural context and descriptive data were collected from 1990 to 1992. Informations on illness concepts were collected during 1994 using focused observation. Data confirming and contrast observations were conducted from 1997 and 1999. Illness concepts of the elderly were taxonomized supernatural cause, non-supernatural cause, immediate cause, and ultimate cause. The supernatural ones were ancestors, god of home, god of village, and ghost such as 'sal(evil force of dead man)' and 'gagqui(ghost of begger)'. The non-supernatural ones were Ki, natural phenomenones, natural objects, foods, human and human behaviors. Immediate ones were insufficiency and overflows, discretion and consolidation, disorder and out of order, cloudness and contamination, and fluctuation and stagnation of supernatural cause and non-supernatural ones. Ultimate causes were intrusion and loss of supernatural and nonsupernatural ones. The cultural themes of illness concepts of the elderly are: 1) illness concepts are not based on causality principle, but on reciprocal principle; 2) illness concepts are affected by social level and charicteristics of the patients; 3) the causes of disease are recognized as imposed both positive and negative effects on health based on interpretation of the indiviuals; 4) illness concepts reflects on principles of everyday life of the society members such as hierachial structure and group cohesiveness; 5) illness concepts are ruled on principle of reciprocity and spread; 6) illness concepts are interrelated with physical environment of the participants. It can be concluded that the illness concepts of the elderly in a traditional clan village are a component of health care system as a cultural system based on these results. The these results can be a useful basis for gerontological nursing practice and education.

• Journal of the Korean Institute of Landscape Architecture
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• v.35 no.4
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• pp.90-104
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• 2007

Landmarks like high-rise building are one of the important elements for the enhancement of city identity and provides the hierarchy of city streets, playing a central and symbolic role in cities. Research on physical attribute of landmarks, such as height, distance, location and shape, which are suitable for a city scale, can help a city create a distinct image and maintain comprehensible structure. To achieve this purpose, it is necessary to understand the spatial and cognitive characteristics of a landmark for the establishment and management of it. The results of this study can be summarized as follows: 1. The level of representativeness of a landmark increases in proportion to the degree of cognitive intensity on it. The relation between representativeness and cognitive intensity can be explained as the log-function as follows: Log(the number of people who respond "It has representativeness")=$-1.2579+1.5908{\times}$(cognitive intensity); 2. There are a few differences based on the attributes of respondents: while gender has no distinct influence, residential period and age show statistically meaningful influence on cognitive intensity of a vertical landmark Cognitive intensity of an individual landmarks especially, differs according to the class of main users. Because of frequent changes in occupation or employment, respondents consider the distance from a residential area more important than the distance from a working area in evaluating cognitive intensity of landmarks; 3. landmark can be classified into two kinds: a district landmark and an urban landmark A district landmark is closely connected with physical attributes of the landmark itself, such as distance, size and height. An urban landmark is mainly related to cognitive attributes such as the image and identity of a city as a whole. As a result, the landmark analysis data in this research provides spatial order and identity in a city. It is difficult to establish and reinforce the image of a city as a single element ike a landmark. However, withy steady follow-up research, this study could be seen as a systematic and logical model to improve urban landscape and image.

• Journal of architectural history
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• v.29 no.2
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• pp.75-88
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• 2020

There are stone sculptures diversely shaped in several parts of Gyeongbokgung. Geunjeongjeon is a place where the stone sculptures are intensively placed among the various palace buildings of Gyeongbokgung, and it is more important because it contains the phases of the age of the dynasty and the symbolism of governing philosophy. What can be seen in the structure of auspicious animal sculptures is based on the form of instinctive thought that the heavenly and human order systems are in an organic correspondence with each other, especially with regard to astronomical events such as Samwon Sasin 12jisin 28su. The parts that have been interpreted only in Sasin and 12jisin in the interpretations such as wild dogs, Gyoryong, camels, wolves, and apes were able to clarify the contents by revealing the form of 28su. In particular, as Beopsu Ssangbeopsu at the corner may be related to the guardian deity who governs water, called Yimun, Chimi, and Chimun, it is one of Bibo's ways to protect the palace that was vulnerable to fire. In addition, the shape of the existing 28su placed Dambi, but Ha Woldae at the Geunjeongjeon was assumed to have a camel statue and a planned arrangement of double meaning with the Bibo form of Pungsu Sasinsa, and it is also a feature of the arrangement of Woldae at the Geunjeongjeon. The actual composition of auspicious animals at the Nambogye of Geunjeongjeon was in the order of Haechi, wild dogs, horses and Jujak, and the contents of "Gyeongbokgung Construction Daily Record" were in the order of Haechi, horses, wild dogs, and Jujak. As to different composition layouts, based on the contents of the "Gyeongbok palace Construction Daily Record", the composition of Samjae Cheonjiin (天地人) was interpreted differently from the conventional interpretation of the arrangement of Woldae. All of these forms are associated with defense systems in the four directions and have become animal representations of each direction. The auspicious animal statues placed on the railing of Geunjeongjeon Woldae can be seen as reflected in a single building with the three dimensional personality that includes Pungsu's Bibo personality with the symbolic meaning that reveals the centrality as Jeong Jeon, the nation's best politics let alone the ideological system of the ancient astronomical of the East called Men Heaven Unity.

• Cross-Cultural Studies
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• v.25
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• pp.453-482
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• 2011

Until now and in the studying of fantastic literature, there has been likely to regard the character as secondary element, compared to their actions. However, it has to be recognized that the characters is a barometer to divide the boundary among the marvellous literature, or fantasy, magic realism, etc., in particular it is an important narrative element to understand an epistemological vision of fantastic literature. This thesis analyzes the characters, focusing on two dimensions divided such as between protagonist/antagonist and protagonist narrator/editor narrator. The characters in fantastic literature are usually set-up as people like ourselves, because it is necessary for the readers to consider the supernatural phenomenon as real world situation. The reason why many characters in fantastic literature usually meet a tragic end is that the structure of fantastic literature embedded unresolved supernatural confusion into ordinary order in the end, while antagonists are viewed as holders of extraordinariness and they are far from vero-similarity. Together with usual characters who represent the world of logic and reason, antagonists who seek to understand more about the universe totally and thus regarded as symbols of intuition and imagination and ultimately are the elements of fantastic literature. On the other hand, the "first person narrator" is divided between "protagonist narrator" who narrates the supernatural things through his/her own experience to readers and "editor narrator" who narrates the other's experiences. Particularly in the case of "editor narrator", he/she may narrates the stories with different explication and angle, which lead to hesitation and confusion for readers to identify between reality and unreality or natural logic and supernatural one. Even though there are various categories in fantastic literature, this thesis exclude 'neo fantastic', 'metaphysical fantastic' ones, characterized as a possibility of convergence with the secondary interpretation and symbolic implication. Beyond these materials, the literatures which involved with this thesis and analysis are normally related with traditional fantastic literary works which supernatural events intervene in real world and bring out collision between real and unreal, or natural and supernatural logics. Based on this criteria, this thesis chooses literary works such as "De los Reyes Futuros", "El Perjurio de la Nieve" written by Adolfo Bioy Casares who is a representative author in Latin American fantastic literature.

• 기호학연구
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• no.57
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• pp.155-176
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• 2018

This article is a study of Karl Marx's manifesto and the reform in donghak for the modality and their symbolism. As a text, Karl Marx and Friedrich Engels' declaration on the Communist Alliance and the reform program of the peasant Donghak were choose. This Declaration and the Reformation are the works of philosophical practice discourse of the 1800s in this article, which unfolds paradigmatically, deriving its common symbolic meaning in the semiotic sense, and evolving ideologically towards a democracy free of property. In the end, these two historical incident which are published in the contemporary breath, constitute an accusation against a nonhuman policy of surveillance and punishment. Twice a day, the space of the church is transformed into a factory, the act of dividing into two categories by capitalist and work and divorcing by accident is embodied as a social ethic. It is against the phenomenon that the structure of which no man exists is no longer institutionalized. The revolutionary movement aimed at breaking the framework of this hunt manifests itself in the two manifestos mentioned above, and Karl Marx completes the culmination of the utopia that must be achieved through the Declaration of the Communist Alliance by placing his being in the position of "eternal refugee". By choosing to die in his freedom developed during Jeon Bong-joon's trial, he also completes the people's spirit of revolution. In the case of simultaneous exploitation in East and West, the form of oppression is the withdrawal of capital from domination and power, and a new alternative to this is the philosophical context that allows the establishment of a new paradigm with "man is the greatest capital".

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.385-419
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• 2012

Son Jinchaek got into his directing career since 1976 when he founded the theatre group Minye with Huhgyu and others. His experience in Minye was the turnaround of his life; Huhgyu was a teacher in his artist's life whereas Brecht was a teacher for his ideology to make 'Korean Theatre'. From these two teachers, he learned how and why Korean Theatre should be made. Since then, Korean theatre was his calling for 40 years of his directing career. As he established Michoo in 1986, it served a turning point in his art. His focus was on intrinsic attributes of Korean Theatre with Madang Jungshin. With Madang Jungshin, he tried to get over the former generation's fixation on external materials of Korean traditional theatre and folk culture to make Korean Theatre. Rather, he believed Korean Theatre could be realized when it grafted Korean social reality onto the stage, while the form was subsequent. He advocated Korean Theatre should mirror present social reality and circulate social energy. Also, he did not give up aesthetics. On the contrary, his aesthetic style was conspicuously evident in his productions. In spite of his life long career with noteworthy works, the critical discourses are strikingly scarce especially when compared with other senior and peer directors such as Hugh Gyu, Ahn Minsoo, Oh Taesok, and Lee Yoontaek. During his career he has crossed into various genres from Changeuk, Madangnori, and to theatres, which were too versatile to thread them into a discourse and caused a lack of theoretical greeting. Madangnori has anchored its artistic structure on its polished aesthetics which were acclaimed by the general audience for 30 years. For theatre, he concentrated on one production per year to grasp its own style. Theatre works also had revealed his own style of being opened and of being emptied which was certainly different from Madangnori, but had same aesthetic principle within it. This paper attempts to recompose his stylistic features with 'Madang aesthetics' which were based on open space, open acting style, and graphic ensemble. This paper tries to demonstrate how his 'Madang aesthetics' has refined his productions in scenography, acting style, and in more like metaphoric and metonymic symbolic expression of the graphic ensemble. To do this, two productions were explored: eLee Chunpoongjeun and Yulha Ilgyee Manbo. Madangnori was sorely explored by Son Jinchaek with his artistic colleagues Yoon Munshik, Kim Jongyeup, Kim Sungnyu, music designer Park Buhmhoon, and choreographer Guk Sooho. Though it has been ignored for its popular appeal by the doctrinaire theoretical opinions, it started to pull academic attention recently. His theatres are also getting sharp with his 'Madang aesthetics' as well as minimalistic expression in scenography, acting style, and graphic ensemble. Madang Jungshin is the soul and Madang aesthetics is the body in his artistic works. The Madang Jungshin animates the Madang aesthetics, so they become alive in his theatre.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.1-13
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• 2011

Cheongpyeongsa Temple was originally built in the early years of Goryeo Dynasty, but its current structural framework was made by the Lord Jinrakgong Lee Ja Hyeon(1061-1125) of the middle Goryeo period based on the Zen thought after he began living in the Cheongpyeong mountain around the temple in 1089. The purpose of this study is to conceptualize, based on old documents, historical changes of the appearance and survival of man-made structures with in the Zen garden formed and developed after Lee Ja Hyeon laid the foundation for Munsuwon Zen garden. Among the eight, outside-the-temple hermitages built at the time of Lee Ja Hyeon's Munsuwon Zen garden, only three hermitages, which are Sik-am, Gyeonseong-am, Yangshin-am had been remaining thanks to restoration and repair until late Joseon Dynasty and preserved as symbolic hermitages. Also, the Yeongji Pond built at the time of Lee Ja Hyeon still remains as precious landscape relics which is meaningful as a genuine Goryeo-period pond. The nine pine trees said to be planted by Lee Ja Hyeon remained until middle 1800s through their descendant trees. When the Buddhist monk Bowoo Daesa(1509-1565)changed the name to Cheongpyeongsa Temple in middle Joseon based on the Munsuwon Zen garden built by Lee Ja Hyeon and greatly expanded it, he newly built and expanded all buildings inside the temple except for Neunginjeon(main temple building), resulting in the present temple structure. In addition, by greatly enhancing the level of scenery by reconstructing Yeongji Pond outside the temple area and transplanting garden plants from the royal court, he made Cheongpyeongsa Temple the most prosperous Zen garden in its history. But after the mid-1800s, which is late Joseon period, Cheongpyeongsa Temple failed to thrive further and began to decline, and so currently most buildings of the Zen garden have disappeared except for some parts of the temple and other facilities are neglected.

• Journal of Digital Convergence
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• v.19 no.5
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• pp.375-381
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• 2021

This study aimed to examine the dilemma of rural China under rapid urbanization process after economic reform, by paying attention to the problem of the order of village community and the expression of individual desires depicted in the film with a rural background. To this end, the narrative analysis, which is suitable for exploring the story structure and expression style of the text, was conducted to examine the community order and ethics, patriarchy and paternity, and the expression of desires of subject. In the film, closed space and villagers, who are disciplined by community customs, local culture, and formality of the rule of manners, are depicted. The film is covered in a form of mystery movie dealing with the deaths of members of the village community. However, the film talks about the rise of the Imaginary desire of subject against the symbolic rules of community order and ethics through the puzzle pieces story according to the perspectives of the characters. In conclusion, through the narrative analysis, it was possible to examine the implications of weakened communal discipline and paternity of the countryside by the rapid urbanization of China, and implications of the lethargy and neurosis of the subjects.