• Korean Journal of Culture and Social Issue
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• v.22 no.2
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• pp.165-182
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• 2016

Happiness research has primarily been conducted based on the American model of happiness. The agentic concept of happiness in the West emphasizes the positive feeling state stemming from individual achievement and positive interpersonal relationships. However, previous studies on lay theories of happiness in other East Asian countries, such as China and Japan, have suggested that these meanings of happiness differ from those of the Western cultural context. The present study examined the lay theory of happiness among Koreans using qualitative and quantitative approaches. Furthermore, the authors compared the Korean model of happiness with that of the Japanese and Americans from Uchida and Kitayama (2009). The findings from the present research indicate that the Korean model of happiness involves both positive and negative states and consequences of happiness, unlike the uniformly positively connoted happiness in Western cultural contexts. The paper concludes with a discussion of the implications of the current findings on happiness research in the Korean culture.

• The Journal of the Korea Contents Association
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• v.8 no.12
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• pp.160-167
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• 2008

Animations consist of the created artificial images. To interpret of the meaning from analyzing the style of main images is an important element in understanding of animations. Therefore, to analyze images expressed in works of Miyazaki-hayao, this study substitutes the concept of 'hybridity' for images of characters, backgrounds, and mechanics created by him and explores how they are expressed, how they produce symbolic meanings and functions. It is confirmed that main images in selected works as a scope of research have hybridity of images between 'past, present, and future', 'eastern elements and western elements', 'real and virtual', 'human beings and animal' in narrative. From these results, it is concluded that because of hybridity between images, he can present fresh pleasures to spectators, simultaneously communicate thoughtful messages above mere enjoyment, which is a differentiable point with works of other directors.

• Cartoon and Animation Studies
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• s.49
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• pp.537-561
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• 2017

Machines and robotic structures are questioning existential bases of human beings. They influence our way of thinking and transform our social philosophies and value systems. The same time they keep their fascination ever since. Mechanical technique and skills are symbols for development and hazard at the same time. The attraction of this ambivalence is reviewed in this thesis by having a look at kinetic elements in modern sculpture. The author is focusing on classical sculptural positions that use machines or machinery within sculptural artworks. The historical development is examined and certain examples from the classical modern era are discussed as role models during their time. On this scenario, the portraits of two young contemporary outstanding positions in the field of kinetic art and installation are analyzed and explained. One of the goals was to investigate the eastern and the western language of two artists that are doing artworks in the same field and compare the works and the cultural expressions to each other. Different cultural positions and visual languages become visible due to the research. And the author's final conclusions is, that even in a globalized world there will always be significant local distinguishes remaining.

• Journal of Korean Philosophical Society
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• v.117
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• pp.373-397
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• 2011

Nicht nur in Philosophie sondern auch im Bereich der meinsten Geisteswissenschaften $best{\ddot{a}}rkt$ sich die Gewichtigkeit des Spielbegriffs immer mehr. Aus diesem Grund wird 'Spiel' in den $vielf{\ddot{a}}ltigen$ Wissenschaftsbereichen, in $vielf{\ddot{a}}ltiger$ Weise definiert, und diese Definitionen sind im Gebrauch auch in $vielf{\ddot{a}}ltiger$ Weise. Aber trotz dieser mit Spiel $zusammenh{\ddot{a}}ngenden$ '$Vielf{\ddot{a}}ltigkeiten$' liegt immer eine identische Voraussetzung am Boden der Definitionen oder Theorien des Spiels, und das ist nichts anderes als, dass Spiel ausnahmslos eine Vertieftsein-$T{\ddot{a}}tigkeit$ ist. Anders gesagt, dass es kein Spiel gibt, in dem man sich nicht $v{\ddot{o}}llig$ aufgeht. Aber diese Ansicht ist vorwiegend nur im Abendland in Geltung, und deswegen ist es sehr bedenklich, ob man das auch auf dem Morgenland gleichfalls zutreffen $k{\ddot{o}}nnte$. Grund $daf{\ddot{u}}r$ ist, dass, weil das traditionelle $Lebensgef{\ddot{u}}hl$ nicht in einem Tage gebildet worden ist, $l{\ddot{a}}sst$ sich es nicht vermeiden, dass dieses $Lebensgef{\ddot{u}}hl$ auf alles, was mit dem Leben Zusammenhang steht, einen unmittelbaren Einfluss $aus{\ddot{u}}bt$. Dann kann man sagen, dass das sich $nat{\ddot{u}}rlich$ in der Ansicht zum Spiel widerspiegelt. Aus diesem Urteil wird man in dieser Arbeit den Vertieftseinsbegriff und den Verfremdungsbegriff gegeneinander stellen, und folglich, wenn man die 'Verfremdung' $f{\ddot{u}}r$ einen sonstigen Charakter des Spiels erachten kann, muss man sie auch in Rechnung ziehen, falls man Spielbegriff studieren will.

• (The)Study of the Eastern Classic
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• no.54
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• pp.45-76
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• 2014

The purpose of this paper is to examine Toegye(退溪 李滉, 1501~1570)'s interpretation of Chungyong(中庸) who led the completion of the $Chos{\breve{o}}n$-style acceptance of Neo-Confucianism. This paper is focused on revealing the way that how he understood it according to the system of Neo-Confucianism that was proposed by Chu Hsi, rather than revealing the unique perspective of Toegye. I have the following configuration in this paper. First, I have set two directions of research for understanding of Chungyong, these were derived through the work that is an overview of cases of interpretation of Chungyong of $Chos{\breve{o}}n$. 1) How to understand the overall structure of Chungyong? 2) How to understand key concepts of Chungyong? Next, basing on these directions of research, I analyzed Toegye's interpretation of Chungyong. To grasp the structure of the whole, Toegye followed the segmentation system and structure of Chungyong changgu: Commentary on the Doctrine of the Mean, and to understand key concepts of Chungyong, he conducted in collaboration with concepts of Neo-Confucianism. Concretely, I analyze his work : Chungyong $suk{\breve{u}}i$(中庸釋義) and Chungyong $jil{\breve{u}}i$(中庸質疑) for asserting that he accepted the segmentation system and structure of Chungyong changgu. And I analyze his documents: letters to and from his disciples. This analysis focus on concepts of Chungyong for asserting that his understanding is in the context of Chu Hsi and other Neo-Confucian scholars's commentary. Toegye tried to reduce the diversity of interpretation and present one meaning.

• (The)Study of the Eastern Classic
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• no.50
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• pp.261-294
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• 2013

The purpose of this paper lies how the original text of Chinese classical literary works have been implemented in the paintings of China and Korea, and inspect the ways how of these original text interpreted in paintings. It is an experiment of trying to analyze through literature with painting and read again painting through literature. Qu Yuan(屈原) Prose Poem of Fisherman("漁父辭"), Tao Yuanming(陶淵明) Prose Poem of Returning Home("歸去來辭") and the prose with a poem on the peach blossom spring("桃花源記幷詩"), Du Fu(杜甫), Song of Eight Drunken Celestials("飮中八仙歌"), Su Shi(蘇軾), Odes on the Red Cliff("赤壁賦"), Ou Yangxiu(歐陽脩), Odes of the Sounds of Autumn("秋聲賦") and the paintings which based on these texts were the target of examination. These literary texts shared by Chinese and Korea have been compared in the aspects of acceptance and enjoyment. And on the basis of this process the characteristics of korean paintings expressing the ideas of classical literary works was induced. As a result, the following facts are derived. First, By the emergence of the typical style which was formed historically in China at the korean painting shows that korean painters not only actively embraced the art style of China also did not lose the international sense. Second, through the profound study for chinese painting, they transformed it in accordance with korean aesthetic view and finally revealed typical korean characteristics. Third, the results as described above showed the difference of perception and interpretation of literary works between China and Korea.

• Bulletin of the Korean Space Science Society
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• 2009.10a
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• pp.31.3-31.3
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• 2009

견우와 직녀의 사랑 이야기가 얽혀 있는 두 별은 여름철을 대표하는 별들로서 중국 문화권에서는 지난 수 천 년 동안 매우 인기가 높은 별이었다. 두 별은 중국의 춘추전국시대의 노래를 모아 놓은 시경(詩經)에 이미 등장하고 있고, 서기 408년에 조성된 고구려의 덕흥리 고분 속에 있는 벽화에도 그려져 있다. 고려시대에는 이 별들에 대한 국가적인 제사를 지냈으며, 조선 시대에는 칠월칠석에 국왕이 신하들과 어울려 잔치를 베풀고 칠석시(七夕詩)를 지어서 책으로 편찬하는 일도 있었다. 한편 견우성은 주로 농사와 관계된 별점을 가지고 있었고, 시각제도와 긴밀한 관계가 있는 28宿(수)의 하나였으므로 천문학자들이 지속적으로 관심을 갖고 관측한 별이다. 그러한 관측의 결과는 고려사, 조선왕조실록, 승정원일기 등에 다수가 남아 있다. 그런데 동양 천문학에서 이미 널리 다루어졌던 문제 가운데 하나는, 바로 이 문학적 견우성과 천문학적 견우성이 일치하지 않는다는 것이다. 지금 일반 시민들에게 견우성은 독수리자리의 알테어(Altair)로 알려져 있다. 그러나 모든 사서와 고대 천문서 및 천문도가 지칭하는 견우성은 염소자리의 다비(Dabih)라는 별이다. 견우성이 28宿(수)의 하나라는 사실은 그 별(별자리)이 황도와 백도 근처에 있어야 함을 의미한다. 따라서 알테어는 적위가 높아서 도저히 28宿(수)에 속할 수가 없다. 게다가 알테어는 은하수 속에 들어가 있으므로, 견우와 직녀가 은하수를 사이에 두고 마주보고 있다는 일반적인 설화와도 어긋난다. 그럼에도 불구하고, 현재 대다수의 서적과 매체, 그리고 일반인을 대상으로 한 행사와 천문관에서 상영되는 프로그램들에는 모두 알테어를 견우성으로 하여 설명하고 있다. 이러한 불일치는 상당한 혼란을 초래하고 있는 상황이다. 이 연구에서는 이러한 불일치가 천문학적인 견우성과 인문학적인 견우성의 불일치로 보고, 이 문제를 실증적으로 접근해 본다. 즉, 고려사, 조선왕조실록, 승정원일기에 실려 있는 견우성 엄폐 관측 기록을 조사하여 한국사에서 전문 천문학자들은 어느 별을 견우성이라고 보아왔는지 알아보고, 또한 일반인들이 지은 시문에는 어떤 별을 견우성으로 여겼는지 고찰한다. 아울러 역사적으로 이 문제에 대한 선인들의 생각을 짚어보고, 중국과 일본의 학자들은 이 문제를 어떻게 바라보고 있는지를 살핀 다음, 마지막으로 현실적으로 이 문제를 어떻게 해결할 수 있는지 고찰해 본다.

• Journal of the Korea Convergence Society
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• v.10 no.6
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• pp.147-155
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• 2019

In the glocal era, the competition becomes more intense in regional development centered around cities rather than countries. This suggests that increasing the city's unique charms through a positive city image can allow the city to gain a competitive edge in the competition for regional development. In this background, this study would contribute to improving the positive image of Pyeongtaek City, presenting the value and development direction of the image it would pursue, aiming to develop a promotional design for the improvement of the city image. As the details of the research, this study recognized the city image as an efficient means of public relations of the city from its concept and necessity. Thus, this study conducted a survey on the analysis of status and image of Pyeongtaek City. This study would contribute to improving the positive image of Pyeongtaek City, presenting the results of the development of a promotional design of its administration and a plan for utilization in the manual, proceeding by stages.

• The Journal of the Korea Contents Association
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• v.19 no.7
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• pp.220-233
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• 2019

Hitherto there have been by and large three different approaches to the installation works of Olafur Eliasson; a soma-aethetic, politico-aesthetic and techno-aesthetic. But none of these provides us with the aesthetic descriptions of the light effect. This failure seems to arise from the lack of the conceptual tools suit for describing the atmospheric effect of 'light'. The symbolism of light, or the theological optics of Middle Age may help us to compensate for the lack of appropriate concepts needed for theorizing the effect of light used very frequently by contemporary installation artists. And this medieval aesthetics of light can also of service to elucidate some essential characteristics of the digtal visual culture in general.

• Journal of Ethics
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• no.78
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• pp.61-88
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• 2010

This study focuses on the problems of traditional ethics in the textbooks of 7th Moral Education Curriculum. As the fact that Traditional Ethics is an advanced elective of high school curriculum shows, 'traditional ethics' is an important part of moral education curriculum. Unfortunately, many have maintained that there are significant problems in the contents of traditional ethics described in moral education curriculum. The problems mentioned are: encyclopedic enumeration of the contents, incorrect information, content repetitions, placing too much one-sided emphasis on confucianism, lack of organic link between Korean and oriental ethics, and unlikeliness of accomplishing subject's objectives. This study raises more fundamental problems. The problems pointed out are as follows. First, the definition of traditional ethics in the textbooks is problematic. Second, there is a lack of examination on 'tradition'. Third, there exists a naive understanding that western ethics or thoughts are the causes of all problems and oriental traditional ethics is the cure-all for them. Fourth, viewpoints of orientalism or occidentalism are widespread in describing traditional ethics.