• The Journal of the Korea Contents Association
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• v.20 no.10
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• pp.57-75
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• 2020

This study identifies the symbolism of cross symptoms of different classes during the modernization process based on the imagery of and , both of which are Korean films made in the same era of the 1960s. The study referred to a number of Korean family movie films in the 1960s, in particular and , which are notably different in ways of expression and in social class of the subject matter, and identifies how the films express the mixed aspects of the cross modernization period. The film uses a grotesque expressionist method to voyeuristically look into a newly emerging middle class family, and the deconstructive aspect of a family unit whose excessive desire leads to its own ruin; thus, the film presents a new perspective into the various social issues that emerge in the near future. In contrast, engages realistic depictions to describe in detail the deep conflict of pain and hope within the hardships of life from the urban poor through a deep family conflict. Ultimately, the two films expose the various social issues through the familiar and the unfamiliar that appear from the mixed aspects of the cross modernization period, in other words, the conflicting images of the traditional and the modern.

• Journal of architectural history
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• v.10 no.4 s.28
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• pp.43-55
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• 2001

Living spaces are the results of social environment and also the reflection of the viewpoints by their residents toward human culture and society. Therefore, in studying living spaces, the true essence of the spaces could be easily distorted when cultural and symbolic motives and values are disregarded and only their apparent characteristics are looked into. Hence, it's necessary to simultaneously understand both physical dwelling spaces from architecture's view points and social ideas, simultaneously, of people who form and interact with the spaces. Hence, this paper tries to study housing religion which is one of shamanistic religions which, in turn, have been the fundamental element of ancient religions and came into existence on the basis of dwelling spaces. This study presumes that house religion may have been permeated with its creators' ideas about living and those ideas could be one of those factors which plays a role in organizing of dwelling spaces. As such, with these prior analyses, this thesis attempts to understand the meaning of various dwelling spaces via the characteristics and functionalities of various house spirits which are mentioned in a local house religion and also will find out spatial harmony of Korean traditional living spaces by way of corelations among living spaces, people, and personalized house spirits. Almost all traditional Korean houses have assigned a house spirit to their individual dwelling space. This means a traditional house was considered as a scared space in a secular world called human society and the space was actually intended to protect sacredness of dwelling places from earthliness outside. So when the hierarchy of house spirits in housing religion is projected to a Korean traditional house, it can be shown that a dwelling house as a building was personified to a respectable human status. In other words, it can be concluded that each space was synonymous with a dwelling place for each house spirit and was considered a sacred godly place. In a nutshell, not only each space in a Korean traditional house was a physical and functional space, but also it formed a scared spatial place along with the concept of house spirits intending to ward off disasters and enjoy a comfortable life through those religious symbols and meanings. Housing shamanistic religion which has long been existing with residents and their lives is seeped with the viewpoints of the residents toward life, and hence understanding the meanings and organization of Korean traditional housing can reveal commonly practiced principles of spatial organization of the traditional houses. Therefore an analysis of Korean traditional housing on the basis of humanistic social ideas will help learn Korea's traditional houses which need to be understood in various methods.

• Science of Emotion and Sensibility
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• v.13 no.4
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• pp.741-752
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• 2010

City culture resources are critical elements to city brand strategies for improving city attraction and provide much contribution to induce visitors from competitive city. A city brand needs to be distinguished and differentiated from competing cities because they are all engaged in the similar environment of city. The differentiation of brand achievement has become increasingly important to highlight certain brand functions to include emotional, self-expressive, and symbolic functions since the importance of such functions has been further emphasized in promoting tourism activities. In particular, That is the recent role of city brand personality that has been emphasized in city management. In other words, visitors now freely and actively express their personalities or egos in tourism activities, taking an important role in construction of a brand asset. The study examines how culture resources affect city brand personality, relationship quality, and city brand royalty in the tourism city. The authors test the proposed model using data from Jeju tourists. The pivotal findings via the structural equation model in the study are as follows; 1) culture resources have been classified culture programs, culture infra, human resources, 2) The city brand personality has been classified as innovativeness, peacefulness, sophistication, confidence and dynamics; 3) The culture resources influenced on the city brand personality; 4) The city brand personality influenced on the satisfaction and involvement; 5) The satisfaction and involvement influenced on the loyalty. Results from the empirical study indicates that culture resources have a strong positive impaction on city brand personality. To increase tourist' royalty of city brand personality, managements must manage culture effectively and create friendly city brand personality to in accord with tourist needs.

• Informatization Policy
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• v.22 no.2
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• pp.3-18
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• 2015

We explore the issues on online political participation study in Korea compared with international one. More specifically, we characterize Korea's study trends as focusing on "who" is participating while international studies center on what the new "forms" of online political participation are. In other words, domestic studies try to show that online media play a role as a factor promoting bottom-up model of civic participation. Moreover, this function of online media is stimulated by the rapid growing of civic participation during democratization and citizens' deep disapproval of political institutions since then. However, previous studies are more interested in the expansion of participants, in particular, ordinary people. Therefore, the themes on conceptualizing and categorizing the online political participation seem to have been treated lightly. In this perspective, we need to view online political participation in a more multidimensional manner. In addition, we should pay attention to "those who do not participate" as well as "those who participate" in politics. Because the current media environment more tends to provoke citizens' political indifference than ever before. If it comes to that, we will be likely to face the circumstances worrying the democratic divide beyond the digital divide.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.6
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• pp.171-184
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• 2017

The designers pursue the thoughtful and wide thinking through the accumulation of knowledge and cultivation of insights for making use of high-level design philosophy and language. The purpose of this study is to investigate characteristics of concept figuration types based on designer's 'memory' in landscape design. The results of this study are as follows. First, the design idea starts to be based on the language and image memory of the designer. The figuration types are composed of the verbal and visual view which are representative communication means. Second, the verbal concept figuration of landscape design consists of two types. The symbolic language of the title as a design theme can be a 'phrase', and it should have a hierarchial balance between the master and the sub. 'Descriptive shape of conceptual scenario' is a text that expresses the concept narratively in order that the reader virtually experiences designed landscapes. Third, visual concept figuration of landscape design is divided into three types. 'Simple visualization of a diagram' is easily embodied through a simple graphic using symbols, comments, images and key words. 'Concept sketch and shape of core idea' is useful to grasp the core of the idea such as physical element, form attribute of space and spatial relation at the initial phase of the concept. 'A collage and montage that create a new shape with a combination of images' are a collection of materials and images that provide a new perspective. These are tools to depict them in a compressed way after recording landscapes phenomenon.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.301-338
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• 2021

John Woo's A Better Tomorrow arrived at the turning point of Korean society between 1987 and 1988. The Hong Kong movie boom that started here reached its peak around the 1990s. What does this phenomenon mean? Hong Kong action films have functioned as an important resource for Korean young male subculture since the late 1960s. The audience of A Better Tomorrow matches the audience of previous Hong Kong films in a generational and gendered way. The fascination of Hong Kong action films by young Korean men from 1987 to 1991 has nothing to do with Hong Kong's political context. However, a certain affect is shared between Korean and Hong Kong audiences. It could be said to be the brotherhood within the struggling group. The affective economies of this fraternity embodies the broad solidarity of 1987, the solidarity of comrades seeking to resist the violence of the world. It also works on symbolic and practical gender bias. In other words, this loyalty is nothing but loyalty between the (male) brothers who are confronting the injustice of the world. This is the "translational possibility" of A Better Tomorrow.

• Sim-seong Yeon-gu
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• v.34 no.1
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• pp.1-38
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• 2019

In 1964, Roman Catholic Church declared that 'Christ is the light of mankind' at the Second Vatican Council. Pope John Paul II also proclaimed the 'The Mysteries of the Light of Christ' in 2002. For past two centuries, the fact that Christ is the light was emphasized and people were urged to realize the mysteries by focusing on 'Christ of light' and 'Christ who shines like the sun'. This study examined the meaning of living up to 'the Mysteries of the Light of Christ' through analytic psychological perspective on the symbolism of 'the mysteries of light.'in the Rosary. In order to study symbolism of 'the Mysteries of Light' from analytic psychological perspective, this study dealt with the symbolic meaning of images appeared in 'the mysteries of light' of the Rosary. That is, the symbolism of images was revealed'the mysteries of light'has been testifying for Christ the light in the Bible. Those images represented the Baptism, Wedding at Gana, the Kingdom of God, Transfiguration of Christ, and the Last Supper. To live up to the 'The mystery of Christ the light' means to assimilate the unique Self with the image of 'Christ the light'. in other words, the study has meaningful findings that the personality which became conscious and individuation through experiencing the opposites existed as 'the light of the world' or 'the light of the ages'.

• Sim-seong Yeon-gu
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• v.36 no.1
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• pp.1-54
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• 2021

Princess Bari, the seventh daughter of the King and Queen, is abandoned at birth. She one day embarks on a solitary journey into the underworld to seek the antidote she needs to save her ailing father. The shamanic myth then depicts terrible ordeals, after which the Princess manages to obtain the elixir of life to bring her parents back to life, leading to her deification as the Queen of all shamans. The life of Princess Bari as the ancestor of shamans incorporates the necessary rite of passage to become a shaman, persevering through all manner of trials and tribulations until death and then being reborn. Princess Bari's story of deification as the goddess of shamans constitutes the archetype or the primitive image of the collective unconscious, the mytheme. From the perspective of analytical psychology, Princess Bari, who became the Queen of shamans after undergoing a process of pain, death, and then rebirth demonstrates a facet of the individuation process, evident in heroic mythology. Princess Bari not only cured her parents of disease but also brought them back to life. What enabled her to obtain the elixir to resurrect her parents was her love and compassion for them based on self-sacrifice, enduring all the trivial and repetitive undertakings of everyday life. She viewed the world and behaved from the perspective of a broader Self. Making herself a powerful healer through the ordeals in the underworld, Princess Bari is the psychopomp as well as the healer archetype. The sacred power of healing that goes beyond the Princess' sufferings represents the Self Archetype inherent in the mentality of the Koreans, in other words, a symbolic power that indicates the divine representation of a healer.

• Sim-seong Yeon-gu
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• v.25 no.1
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• pp.1-26
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• 2010

The Ten Ox Herding Pictures by Kuo-an, a Zen Master of China in the Middle Ages are interpreted from the view point of the analytical psychology of C.G. Jung. Basically, I agree with the previous Jungian comments on it by M. J..Spiegelman, M.Miyuki, and H.Kawai at the Ox Herding Pictures are symbolic manifestations of the individuation process in terms of C.G.Jung. In connection with the process of Jungian analysis, I went through, not only the pictures but also the eulogies and critical comments of Zen masters in order to elucidate the symbolical meanings of each stage of spiritual development in Zen meditation. I noticed that the Ox Herding Pictures suggest the preference of suppression and conscious control of shadow in Jung's terms rather than its assimilation through making conscious the unconscious inferior personality. Also, the feminine psyche seems to be not particularly taken into consideration. In another words, different psychic aspects are represented in one single image : Ox. Due to the simplicity of pictorial expressions, the Ox Herding Pictures provide us possibilities to pour abundant imaginations into the pictures. The images comprise multiple irrational meanings; therefore it is warranted to render multiple interpretations of the Pictures as shown in the eulogies and comments by other Zen masters. The sequences of the Pictures need not coincide with a linear process but rather with a circular process of enlightenment, as Miyuki has suggested. Kuo-an's Pictures clearly suggest the danger of ego inflation and the fact that the final goal of Zen meditation should be the capability of the enlightened to serve the people.

• Sim-seong Yeon-gu
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• v.29 no.1
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• pp.1-45
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• 2014

Mystic experience such as seeing an vision could be explained as experiencing elusive and mysterious unique existence in religious way. In depth psychology, which is based on unconsciousness like analytical psychology, this could be explained as a something that gives a meaning of life and purpose through discovering health and healing. The importance of primodial experience in depth psychology is that it can possibly discover the base of present acts. In Christian theology, symbolic mystery and truth of religious experience that appear in Christian tradition have interest on human situation. These two fields' approach methods are different, but both show common interest on unique experience which can be said properly as raw experience. Various visions appear in many parts of the Bible. Among many visions, the book of Zechariah, one of the 12 Prophets, describes rich and diverse 8 visions through chapter 1 to chapter 8. However, due to the Genre of revelation, it lacks historicity, and because of vagueness and symbolic meanings, its visions are hard to understand and interpret. Theologically, visions of Zechariah show communality of Israelites by reconstructing kingdom of Judah and church in a way of historical circumstances. Though, these visions could deliver the meaning of an ethnical aspect as reporting continuous conversation between the God and humans. Furthermore, it could mean a personal aspect of the Prophet Zechariah as reaching for a opportunity of new change. Moreover, those who read these visions could try to interpret the meanings of various images which represent meeting mysterious existences. Therefore, the Author would concentrate on the fact that 8 visions in the book of Zechariah, which has not been received much attention to neither Christians nor non-believers, develop in chiastic structure (stylistic contrast), so that tries to interpret the first, second, seventh, and the eighth visions in analytic psychology way. In visions of Zechariah, excepting the 4th vision which probably was inserted later, rest of 7 visions each shows the stage of the hours of darkness. 1st to 3rd visions represent evening, 5th vision represents deep in the night, and 6th to 8th visions represent dawn to morning. Moreover, since structure of visions arranged in chiastic way, horse appears in 1st and 8th vision, measuring rope and measure tools are used as main motif in 2nd and 7th vision. However, same motifs could have different symbolic meanings and roles as visions are formed in different situations and conditions. In the first vision, angels who ride horses look around the world and report it is calm and peaceful. Concerning the political situation back in the day, the world being calm and peaceful in the beginning of evening means that it is not ready to change to a whole new world. Psychologically, if there is no readiness to adopt new world, it means being hopeless. It is sending you a message to get out of those kinds of situation. Moreover, appearance of four angels who rode red, brown, and white horses to a myrtus tree in the valley means that it is time for individuation and it is right and good timing for changing. In second vision, you will be able to see that Israelites had long years being caught in the shadows by foreign country, and long years succumbed by the strength of four horns, which shows the progress of renewing strength and being oneness with oneself from overwhelmed situation by paternity. In seventh vision, meaning of two women bringing the godness of the sky, who were locked up in a rice basket, back to the temple in Babylon is going towards in a level of Self-actualization by separating one's ego captured excessively by matherhood and putting back to a place where it was before. In eighth vision, chariots pulled by horses are scattered far and wide, and horses which went to north had rest in the land of North. After horses and chariots are seen between two mountains of bronze with the image of Self and anima/animus. These images can be explained as the changing progress are almost completed and the God and human, in other words Self and ego are being united and is now time for rest. All of 8 visions contains the conversation between angel and Zechariah who willing to know the meaning of visions. Zechariah asks the angel actively about the meaning of visions because of his wish for Israelites to return home and rebuild church. Conversation among the God, Zechariah, who asks questions until he knows everything, an Angel, who gives answer to given questions, is conversation between ego and anima/animus. Eventually, it is a conversation between Self and ego.