• Korea journal of population studies
• /
• v.34 no.1
• /
• pp.1-25
• /
• 2011

There are two main purposes in this study. First, we compare the effects of wives' characteristics with the effects of the husbands' characteristics on the induced abortion. Second, we analyze whether the determinants of the induced abortion have changed according to parity and conception period. The main findings are follows. First, both wives' and husbands' socioeconomic characters have insignificant effects on the induced abortion at parity 0, in the 1997 and 2000 Korean Fertility Survey data. Second, during the periods of the lowest-low fertility, after 2000 in Korea, wives' employments have positive effects at parity 0 and 1, while husbands' educational levels have negative effects at parity 1 on the induced abortion. The implications are as follows. First, having children had been the universal social phenomenon before 2000 in Korea. however, after 2000, reproductions have become the women's choice, lather than the duty of married women. Women must weight the balance between the benefits and the costs of children so that women's fertility behaviors become a rational choice. Women's employment is the most important factor in these rational calculations. Second, both Western individualism and the traditional Korean familism have significant effects on the fertility behavior and the induced abortions in Korea. This rejects the diffusion theory, which tells that the traditional familism must be replaced by the Western individualism in order to decline the fertility rates in developing countries.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.41 no.4
• /
• pp.42-55
• /
• 2013

The purpose of this study is to figure out the place characteristics of preferable city tourist attractions through the contents analysis of non-academic literatures such as tourist guidebooks and web materials. The most preferable Seoul tourist attractions were selected by their frequency in literatures including Namsan and Hangang as 'natural' places, Dugsu Palace and Gyungbok Palace as 'historical' places, Itaewon and Daehak-ro as 'lively-cultural' places that were classified by their relativistic character. The main findings of the research are as follows. The essential place characteristics of tourist attractions were synthesized in urban, regional and place scale respectively. While 'contrast' was found to be the most distinguished character of the tourist attractions in the urban context, 'connectivity' was found to be the most distinguished character of the tourist attractions in the regional context. In addition, both 'visibility' and 'experience' were found to be the most distinguished characters of the tourist attractions in the place context. The characteristics of these places seem to be the universal fascination factors of city tourist attractions currently recognized by ordinary citizens. We expect to further strengthen the city identity and the city tourism effect by adopting those research results systematically to the urban environment. Therefore, it is needed to vitalize the urban tourist attractions that we make them to be more 'contrasting' with urban areas surrounding them, more 'connective' with vicinity areas and more 'visibly fascinating' and 'experienced actively and meaningfully' in each place of tourist attractions.

• Journal of Korean Philosophical Society
• /
• v.146
• /
• pp.219-243
• /
• 2018

In both the East and the West, the most classical question in classical philosophy was, "What is truly a human virtue and a good man?" A good man realized a human virtue. A good man was composed of mind and body. The question is harmony of mind and body. This article aims to articulate the terms related on Mind and Body in Confucian analects. We analyzed the terms related to Mind (mind, mind-heart, human nature, feeling, will etc) and we analyzed the terms related to Body (body, self, ki etc). Confucius's Theory of Mind and Body Relation focus on self-cultivation and revelation of universal virtue. Chu-his(1130-1200)'s commentary of the terms related on Mind and Body in Confucian analects is based on Heaven's principle vs. man's desire. He advanced the theory of the human mind and moral mind on the bases of Li-Ki. Dasan(1762-1836) deconstructs the mind-law of 16 characters and the theory of Li-KI. He argues that the human mind and moral mind coexist as a servant and a master. Dasan insists that the human mind is controlled by the moral mind but he wants to reconstruct the new theory of mind-body, mind-heart.

• The Journal of the Convergence on Culture Technology
• /
• v.8 no.2
• /
• pp.243-249
• /
• 2022

Fairy tales are rooted in folk tales and contain human unconsciousness and universal emotions. It also plays a role as original content in various narrative transformation works. Andersen's brings numerous signification through symbolic signs of red shoes, dance, and ankle amputation. Victor W.Turner's theory of social drama broadens the perspective of narrative analysis. In addition, this theory makes us realize the conditions of the social community required by society at the time. As a circular content, Andersen's shows the double entry narrative of growth as a woman and incorporation into the social community. In this process, the social conditions accepted and rejected are symbolically revealed. In Koo Byung-mo's novel , achromatic color and red color are contrasted. The red world is full of vitality and represents the meaning of human existence. Yoon Mi-kyung's fairy tale is divided into different characters from the girl's growth narrative and the outsider's entry into the women's society. This work accuses preconceived notions and prejudices against multicultural families and strangers.

• Journal of Popular Narrative
• /
• v.26 no.4
• /
• pp.117-144
• /
• 2020

The film Burning (Lee Chang-dong, 2018) is one of the most noted Korean films in recent years as a work that unfolds an elaborate narrative in a delicate visualization. This film is a multi-vocal text in which different types of characters appear and scattered objective facts and ambiguous subjective desires are intertwined, so it is a text that has room for diverse interpretations. This article attempts to read Burning as an ethical discourse centered on the protagonist Jong-su, noting that the film raises universal and significant ethical issues that transcend the specific social and historical conditions of a contemporary Korean youth. I would like to examine the situation in which Jong-su is facing and his reaction to it, above all, from the perspective of Jong-su's ethical awakening and leap forward. Jong-su, a young South Korean non-regular man living in the present, encounters and connects with Hae-mi and Ben and attempts to understand the mysteries of the world. His trajectory, which the film shows closely, inevitably intersects the social and historical dimension of confusion and frustration of a young man graduated from the Department of Creative Writing, the reality of family dissolution and the individual psychological dimension of the sudden disappearance of his lover Hae-mi. Burning is a magistrate film that depicts Jong-su as an ethical subject oriented toward 'communal togetherness' while confronting the world and exploring its mysteries despite all his unfavorable conditions, such as his social position of the precariat youth and the epistemological uncertainty of reality perception. It is read as a story of his painful growth, in which Jong-su is becoming a 'writer', who once was a helpless non-regular delivery worker.

• Journal of the Daesoon Academy of Sciences
• /
• v.25_1
• /
• pp.1-22
• /
• 2015

This paper took Jeonkyeong (典經) of Daesunjinrihoe(大巡眞理會) as the basic text and studied how Kangjeungsan(姜甑山), the Sangje (上帝), had embraced Chinese myth in process of formation of his religious thought focusing on Yan Emperor(炎帝) Shennong(神農) myth and Shanrangang(禪讓) myth (namely Danchu myth). First when we examine the myth surrounding Kangjeungsan's birth, it deeply emraced a feeling-birth myth(感生神話), we could realize that this is a universe motif through myth of hero birth in East Asia. Further judging from the analysis of geographic space of Kangjeungsan's activity, it included a variety of mythical and Daoist related place names. I think this is because of the fact that birth place of Kangjeungsan and the surrounding area is the locality of Xian(仙) tradition where major characters of Danhak sect(丹學派) have been turned out, and that Korean way of Xian suppressed by the regulatory system has been widely rooted in the public. Especially it's interesting that Jeungsan, the pen name of Kangjeungsan, ambiguously connotes Siru mountain(甑山), a place of his training, and the spiritual realm of the 『Zhouyicantongqi(周易參同契)』. Then I examined the God of fire Shennong myth which has been actively admitted and embraced by Kangjeungsan. Kangjeungsan put the root of his pedigree on Shennong and there is a close affinity between Shennong and Dongyi(東夷) such as Buyeo(夫餘), Goguryeo(高句麗), etc. These Dongyi spirits are losers against the Chinese major myth and beings of ressentiment. At the same time the predecessor of Jiutianyingyuanleishengpuhuatianzun(九天應元雷聲普化天尊) who shares mythical characteristics with the God of fire Shennong was a formerly Taishi(太師) Wenzhong(聞仲) of Yin(殷) dynasty. He was defeated and died by Zhou(周) dynasty, and was deified. The fact that Kangjeungsan regarded himself as a descendent of Shennong and possessed divinity of Jiutianyingyuanleishengpuhuatianzun connotes that he represents all beings of ressentiment such as family of Yin and Dongyi. However, Kangjeungsan set a religious milestone by turning revenge for such ressentiment at tribe level into religious sublimation. At the end Shanrang myth which has been critically embraced by Kangjeungsan was reviewed. According to the existing Shanrang myth, Danchu(丹朱) was unworthy and not succeeded in the succession to the throne. Then good natured Emperor Shun(舜) succeeded to the throne from Emperor Yao(堯). However, the reality of Shanrang myth was a violent change of sovereign power and Danchu was a victim in the process of such violent change. Kangjeungsan shrewdly grasped the reality of ancient China and cast light on presence of Danchu. And he emphasized the need of religious sublimation of revenge, Haewon(解冤). His such awareness of culture had a close relation with revisionist standpoint of independent Danhak sect expressing a skeptical glance at systematic, commensurate and authentic historical view of Chinese civilization. And further Kangjeungsan cosmologically and causationally reinterpreted revenge of Danchu. He established a universal salvation theology which has a corresponsive connotation in regard to embracement of Shennong myth. In conclusion, embracement of Chinese myth by Kangjeungsan was a creative work of reinterpretation resulting in an inherent religious connotation through a process of appropriation, that is independent and selective introjection.

• Journal of the Daesoon Academy of Sciences
• /
• v.20
• /
• pp.223-272
• /
• 2009

Both Daesoon philosophy and Buddhist philosophy have strong aspirations for establishing a world comprised of human-beings. In other words, Daesoon philosophy and Buddhist philosophy put human-beings in the place of 'subject character(主語的 人格)' instead of 'predicate character(述語的 人格).' This is because a human is the master rather than a guest of the universe and the world. In this regard, it is safe to say that both Daesoon philosophy and Buddhist philosophy have a common goal of reaching 'an infinitely open life managed by a human-being, the master.' Daesoon philosophy and Buddhist philosophy also share the idea that everything in the universe is an organistic world that is closely connected, like a network. In this aspect, the two philosophies consider the whole world rather than the individual, and seek ways for people to live together actively while expanding the scope of community to the world. Even if 'the morality of living together (相生)' and 'the realization of mercy(同體大悲)' are completely different languages on the surface, it is not difficult to understand the homogeneity inherent in such expressions. Daesoon philosophy and Buddhist philosophy show endless reliability towards all humans and are declarative and reasonable, but both herald human beings as eligible to become the main characters of the future world and lead to the birth of independent human beings while inducing them to the highest position in the universe by liberating humans from the limitations they find. 'Heaven on Earth' as stated in Daesoon philosophy refers to an ideal society where humans and God harmonize, and God and humans complement each other. Also, the world will achieve political stability and equality, realizing an economically prosperous world. Furthermore, social justice will be realized and cultural and religious conflicts resolved. As humans acknowledge there is a way to live together in a universal nature, the environmental issue no longer becomes the top priority for human beings and a world where the morals of human beings reach the highest level will be established. From the original Buddhist perspective, King Jeonrhyun, the proxy of Buddha, realizes the ideal of Buddhism in the mundane world. The world controlled by King Jeonrhyun can be described as having liberty, equality, peace, justice, prosperity, morality, order, legality, democracy, welfare, etc. Therefore, the ideal Buddhist world is materially prosperous, physically healthy and socially just, as well as a world where moral maturity and mental freedom are achieved.

• Journal of Popular Narrative
• /
• v.26 no.4
• /
• pp.9-41
• /
• 2020

Park Jong-won's debut film "Guro Arirang," based on a short story of the same title by Lee Moon-yeol, is the first commercial film to deal with labor struggles from a worker's point of view in the wake of the 1987 democratic movement, and a pioneering work in terms of representing female workers the Korean cinema has traditionally turned away from. In this film Park Jong-won tried to win the sympathy of the middle class for labor movement in spite of the red scare which still stood firm in the Korean society at that time. To convey its progressive message in a form acceptable to the middle class public, the film portrays labor issues in the light of universal humanity and ethics, not in terms of class hostility or struggle. Park Jong-won calls this point of view "common sense of normal people" and emphasizes its universality and objectivity. This study critically examines the cinematic strategies to deal with labor issues in a form acceptable to the public in a conventional and commercial film and the ideological implications of the "common sense of normal people" reflected in such strategies. The first chapter of the study reveals that the film destroys the irony of the original story and reduces the complex constellation of the characters to the conflict between pure good and evil, creating a melodramatic composition in which the good falls victim to evil. The tragedies suffered by the workers in the film are of course intended to arouse the audience's strong sympathy and solidarity with them. The second chapter shows that the film's various scenes and episodes converge on the them of compassion and grief, and are mostly based on cultural and real experiences and events that caused great public sensations at that time. Especially in the last decisive scene of the movie, the memory of the June 1987 uprising is strongly recalled. So "Guro Arirang" can be seen as a patchwork of proven cases of compassion and grief. The third chapter examines the implications of the scene where the workers turn back demands for wages and put the issues of human treatment and trust to the forefront at the crucial moment of their struggle. It appeals to universal moral values and sentiments that everyone has to acknowledge and removes the political dimension from the workers' campaign. While the film tends to become a pure story of humanity marginalizing irreconcilable conflicts of class interest, the workers fall to the position of passive victims who can be deeply sympathetic on the one hand, and on the other, are idealized as leaders with noble attitude keeping themselves aloof from the hard reality. As a result, the movie loses its realistic ground and weakens its narrative probability. The scenes reminiscent of the 1987 uprising which evoke the solidarity between working and middle class fail to integrate harmoniously into the whole story of the film and remain only as fragmentary parts of the patchwork of compassion and grief.

• Journal of Korean Classical Literature and Education
• /
• no.38
• /
• pp.65-101
• /
• 2018

In the late Joseon Dynasty, patriarchal ideology became central to the family and the clan, and once again became acutely felt with "the familism of clan rules that centered around a legitimate and eldest son." The establishment of the family-clan system, though somewhat complex, was largely aimed at the family line of "a paternalist-a legitimate and eldest son." The trend was not limited to a particular family, but rather, was a historical and social trend. Changseonggameirok showed how to solve the family crisis by setting up a problem for the next generation's patriarch. This paper tries to explain the issue of Hwachun's complex as the legitimate and eldest son complex. First, it suggests that Hwachun's complex is as universal as the Cain complex, also known as the eldest son complex, and that Hwachun's complex is a special instance of the legitimate and eldest son complex in Changseonggameirok. Next this paper studies the aspects of Hwachun's legitimate and eldest son complex combined with Mrs. Sim's complex, as well as her daughter-in-law's complex, and eventually tracks the development of the family-clan complex. As a result, we've come to a new conclusion that the legitimate and eldest son complex was found in Changseonggameirok for the first time in Korean literary history. This paper also examines the fact that when the legitimate and eldest son complex was transferred to Hwajin, it became a family complex that Hwajin had to contend with; this paper tracks the process wherein Hwajin's filial piety solved the legitimate and eldest son complex. As a result, we realized that Hwajin's filial duty and brotherly love went beyond his feelings for Mrs. Sim and Hwachun, and supported the substantiation for "the familism of a clan that is based on rules of the legitimate and eldest son" in the course of public opinion. However the familism of these rules was not embodied in the absolute; in the royal family, for example, it was rather flexibly implemented when the characters admitted to breaking the law. In addition, this paper provides the room for a critical reading of Changseonggameirok, reflecting back on the underlying guilt and psychological pain of the characters who are affected by the particular rules, and concluding that guilt and suffering are fundamentally insoluble. This is because the two ideas, "the legitimate and eldest son complex" and "the familism of a clan rules centered on a legitimate and eldest son" are two sides of the same coin.

• Sim-seong Yeon-gu
• /
• v.26 no.2
• /
• pp.149-188
• /
• 2011

This thesis presents the research of analytical psycholoy in respect of Jindo Dasiraegi. In a funeral of Jindo, situated in the southern island of Korea, there is a theatrical performance which is called Dasiraegi(rebirth). This research manifested a basic, universal meaning of psychological approach related the implicit of death in performing theatre from a analytic psychological point of view. The characteristics of this theatrical feast are like these ; 1) funeral festival 2) entrance of clown(the existence of antipole and conflict) 3) eroticism 4) active participation of female character 5) difficulty in her delivery 6) the moment of joy thanks to childbirth. The prerequisite of this feast should be a propitious mourning of person dying old and rich. That is, after having a complete life, it could be an entire death. Three main roles in Dasiraegi ; a bat-blind buddhist devotee, a strolling actor teasing men, an apostate monk, theses characters lock horns in a form of triangle conflict relations, then they keep a balance with a fake mourner as a protagonist , modulator and narrator. These characters are indeed clowns who manifested a metaphor as a decent, sacred and reasonable part of shadow regards group consciousness. The alive and the deceased, mourner and fake mourner, piety and confusion, wail and laugh, silence and grumble, death and birth, diverse antipole all coexist then theses are in harmony. The blind devotee and the monk are in antipole, the entertainer(anima) provokes a conflict between them. The infant is a solution as same as a result of conflict. This conflict seems to be eased by birth of a baby which is a symbol of wholeness(ganzheits) but the conflict of antipole is reenacted as insisting his parental right so this solution is leaving the baby to the chief mourner who is fourth character and the first beginning. Unconsciousness, hereby, is negotiating with appeared reality. The Images in unconsciousness are conscious and this new energy in unconsciousness is proceeding towards consciousness, then it became a therapeutic power for the loss of consciousness. Dasiraegi is the play of consolation much more for the alive than the deceased. The death signified not a loss but a resurrection and this intends a transition of new leading independent role for the alive. These make us have more prudent consideration concern the double sense of renewal for the dead and the alive. It is preserved as only a form of drama on stage after disappearance of Dasiraegi in a funeral recently. Dasiraegi was a manifestation of unconsciousness for compensation about the unilateral attitude of group consciousness to the strict death excessively. Therefore, this will enable reflect the relativeness and the attitude which regards the death as the end today.