• Proceedings of the SOHE Conference
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• 1999.10a
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• pp.85-101
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• 1999

새천년에 대한 미래를 생각해보면 우리에게 회망과 동시에 웬지 모를 불안올 주기도 한다. 발전지향적으로 살아 온 우리 인간의 지혜로 말미암아 현대에 살고 있는 우리는 과 거 우리 조상 어느 시대 못지 않게 첨단 과학 기술의 혜택으로 물질적 풍요와 함께 사 상적으로도 신분계급이나 남녀문제나 이데올로기의 극심한 차별이 사라져가는 그야말 로 자유스러운 생활올 맛보고 있다. 그러나 한편으로는 이러한 혜택과 이익을 얻는 대 신 지나친 물질의 생산과 사용의 과다는 우리 환경을 파괴하고 나아가 정신적으로도 물질의 지배를 받게 되는 즉, 물질의 소유와 사용에 따른 삶과 사람의 평가가 횡행하 는 기이한 구조에 우리 자신도 모르는 사이에 말려 들어가 피폐된 정신환경의 진행을 우려하지 않올 수 없다. 누구든지 공감하는 이러한 부분이 아마도 다가올 21세기에 대 한 불안이 아닐까 생각한다. 우리의 주거생활도 반세기도 채 안되는 이 시점에 그동안 놀라운 변모를 거듭하여 비교적 선진국과 가까운 수준에 육박하고 있다. 그렇다면 지금 이 시점에서 다가올 주 생활에 대한 이야기는 잘못되어지는 불안을 막고 더 멋지고 쾌적한 주거환경올 창출하 여 주거의 질을 높히기 위한 선도적 쟁점이 되어야 할 것이다. 이러한 의미에서 본고 에서는 새천년의 주거생활문화에 대한 주제를 거시적이고 개념적인 정책적 내용보다는 생활과학의 한 맥락에서 미시적이고 구체적이며 실천지향적인 뜩변에서 나아가야 할 쟁점이 무엇인지를 함께 생각해 보고자 하며 학술 이론적 내용보다는 평이한 사례를 중심으로 함께 생각해 보고자 한다. 밝혀졌다. 그러나, 생산계획시스템에서 1주 간격으로 계획오더를 이송할 때는 Order Release 방법을 적용하여 작업현장에서의 평균 리드타임과 리드타임의 변동, 공정중재고가 줄어드는 결과를 보였고, 가동률 수준이 높을수록 ORR 방법간의 차이가 크게 나타났다. 그리고 부하평준화 기능은 Order Release 정책의 유효성에 별 영향을 주지 않는 것으로 나타났다. 결론적으로, Order Release 방법은 우선순위규칙간의 성능차이를 줄이거나, 대체할 수 통제 기법이라기보다는 우선순위규칙을 보완하여 공정중재고와 작업현장에서의 리드타임, 리드타임의 편차를 줄여주는 역할을 한다고 볼 수 있다. 그리고, 계획시스템이 존재하여 계획오더가 일정기간간격으로 이송되는 환경에서 특히 유용하다는 결론을 얻었다. 알 수 있었다. 것인데, 제조업에서의 심각한 고비용, 저효율 문제 를 해결하기 위해 필수적으로 도입해야만 하는 실정이다. 또한 소비자의 다양한 요구로 인 하여 제품의 종류와 사양면에서 심한 변동을 보이는 시장 수요에, 신속한 정보처리로 대응 하는데도 크게 기여하고 있다. 이에 본 연구에서는, 자동차 Job Shop의 동기화 생산방식을 지원하는 동기화 생산시스템의 구축 모델을 제시하고자 한다.과로 여겨지며, 또한 혈청중의 ALT, ALP 및 LDH활성을 유의성있게 감소시키므로서 감잎 phenolic compounds가 에탄올에 의한 간세포 손상에 대한 해독 및 보호작용이 있는 것으로 사료된다.반적으로 홍삼 제조시 내공의 발생은 제조공정에서 나타나는 경우가 많으며, 내백의 경

• Journal of Conservation Science
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• v.36 no.6
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• pp.562-577
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• 2020

In this study, to conserve the clay seated Vairocana Buddha triad in Seonunsa temple, Gochang (Treasure 1752), the primary materials employed for creating the clay Buddha statues were scientifically analyzed. By analyzing the soil layer constituting the Buddha statues, it is observed that the said layer comprises sand having particle size greater than that of medium sand and soil having particle size smaller than that of fine sand, which were used in a ratio of 7:3, along with the bast fibers of paper mulberry (Broussonetia kazinoki). Hence, the aforementioned soil layer is composed of a mixture of sand and weathered soil, along with bast fibers to prevent scattering. By analyzing the tree species, it is found that the wooden materials constituting the bottom board and the interior of Buddha's sleeves of the Amitabha Buddha statue, Vairocana Buddha statue, and Medicine Buddha statue are hard pines (Pinus spp.). Additionally, three layers are found in the cross section of the gold layer. Furthermore, each of the hair sections of the Buddha statues is composed of earthy materials such as quartz, albite, microcline, mica, and magnetite, and the hair surface was painted by incorporating black materials containing magnetite.

• Cross-Cultural Studies
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• v.49
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• pp.59-93
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• 2017

This paper provides an in-depth examination of the relationship between cinema and Giorgio Agamben's aesthetics and philosophy. Intersecting Agamben's key concepts including gesture, mediality, biopolitics, historicity, and profanation with historical and aesthetic dimensions of cinema, I argue for his ambivalent view on cinema and visual media. On the one hand, Agamben linked cinema and visual media to his discussion on biopolitics and spectacle as he considered them as apparatus for capturing and controlling gestures. On the other hand, he also argued that cinema could restore the image with capacity to preserve and recuperate gestures based on his consideration of montage as cinema's key aesthetic and technical component (an operation of profanation) and his Benjaminian thought on the ways in which montage suspended linear flow of images and activated an alternative memory of them. Drawing on history of cinema and optical devices in the 19th and early 20th centuries as well as examples of found footages of filmmaking predicated upon stoppage and repetition of images, I argue that Agamben's concept of potentialities can be extended into his thought on cinema and visual media apparatuses in general.

• The Critical Review of Religion and Culture
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• no.26
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• pp.150-193
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• 2014

The point in the thought of modern Japanese State Shinto(國家神道) liesin the concept of "kokutai"(國體) which was highly connected with theideology of Emperor system. The kokutai, mainly made up of "the oracle byAmaterasu blessing Japan to be as eternal as heaven and earth"(天壤無窮の神勅), "an unbroken line of Emperors"(萬世一系), and the notion of"Emperor as living God"(現人神), was clearly manifested at Kokutai noHongi(國體の本義), published by the Ministry of Education, Science andCulture 1n 1937. Then, the notion of public-private represented by "selflessdevotion"(滅私奉公) was the prevailing substance of that kokutai. Thepurpose of this essay is to examine the way how the "theology of kokutai" -kokutai ideology based upon such a notion of public-private represented by"selfless devotion" - had been described at Kokutai no Hongi, and tounderstand the mythological, theological meaning of that "theology ofkokutai" associated with the religiosity of State Shinto. Additionally, this essaywill explore a kind of aesthetical way how to reproduce the State Shinto incontemporary Japanese society from the perspective of "collusion betweenpublic and private". In doing so, this paper will pay attention to the principaltexts of State Shinto such as Meiji Constitution(大日本帝國憲法, 1889),Imperial Rescript on Education(敎育勅語, 1890), Kamunagara no Taido(惟神の大道, 1940), Shinmin no Michi(臣民の道, 1941), Kokushi Kaisetsu(國史槪說, 1943), and Jinja Hongi(神社本義,1944), including Kokutai no Hongi.

• Cross-Cultural Studies
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• v.42
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• pp.393-418
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• 2016

Raquel, the representative work of Vicente García de la Huerta, an 18th century Spanish playwright achieved theater box-office success and popularity during staging. It has been evaluated by many scholars and critics as the ideal drama that faithfully followed the norms of neoclassicism, which pervaded the aesthetic mainstream at the time. However, the factor that enabled the popular success of this theater production was its ability to harmonize the themes or contents with a traditional play to meet the unique trends and tastes of Spanish viewers who were still appreciated earlier Baroque theater, rather than complying with external norms of neoclassicism such as principle of three unities or exclusion of comic figures etc. That is, Spanish viewers of the time thoroughly rejected theater of neoclassicists who attempted to unilaterally enlighten them while regarding the Baroque theater of earlier times as full of superstition and irrationality, illogic and disorder, regardless of their own dramatic taste. In this situation, Huerta's tragedy Raquel, achieved the harmony of neoclassical tragedy and Spanish theatrical tradition. It thus emphasizes the importance of public support and sponsorship in dramatic success. Traditional dramatic elements shown in Raquel can be summarized as honor, poetic justice and love and these elements are major dramatic codes penetrating the entire Baroque theater of Spain.

• Cross-Cultural Studies
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• v.45
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• pp.85-107
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• 2016

Cho Ji-hoon was a leading figure on the discussion of recognition on Han Yong-un, particularly the post-liberation period. During the Japanese colonial era, he addressed Han Yong-un as the representative of national poet, and evaluated Han's poems as the models of rebellious nationalistic poetry. Such evaluation by Cho set the precedent of basic perspectives and methodologies on how to recognize Han Yong-un in the present day. This paper analyzes three studies on Han Yong-un, conducted by Cho ji-hoon. We also examine how Cho created his logic of recognizing Han as a national poet, and his poems as nationalistic poetry. Accordingly, this paper has separated recognitions on poet studies and work studies, and further explored how each recognition has consistency with Cho ji-hoon's historical and literary perception. As a result, the following has been concluded: the basis of Cho ji-hoon's recognition on the life and works of Han Yong-un was premised on Cho's understanding of the world from a standpoint of history of ideas, the concept of nation was regarded as an absolute value that binds disparate ideas together, and the combination of nationalism and poetry has been expressed through the logic of nationalistic poetry and the notion which equalizes the poet to a classical scholar. It was further concluded that such equalizing logic contains some logical contradictions derived from integration between universal rights and national sovereignty, and nation and Buddhism. Therefore, it can be said that other possible interpretations on the role of a poet were not fully discussed, but remain bounded. Last but not the least, this paper critically tries to perceive Cho's recognition on Han Yong-un, and accentuates the necessity of new interpretations of Han's poems, apart from those based on nationalism.

• Cross-Cultural Studies
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• v.43
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• pp.207-239
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• 2016

The Altai Humanities Belt connecting Siberia to Central Asia is very important to the history of civilization. It had a huge influence on the formation of an ancient civilization in the Korean Peninsula. Therefore, a variety of studies have been carried out in the field of folklore and anthropology as well as archeology. One of these studies is about the oral epic. The oral epic remains in the form of a unique transmission in Korea, but it wasn't that long ago when it was noted as the component of the Altai Humanities Belt. In that context, some epics from Central Asia, Mongolia, and Siberia were introduced to Korea. This preliminary investigation is conducted to introduce the oral epic Olonkho from Yakutia in Siberia to Korean academia. Although it was revealed recently, Olonkho is highly valued. The epic study has been buried from the Western point of view, but Olonkho is expected to provide a global perspective to the field of epic study. Above all, it contains a very significant clue to a new study because the content and the style of performance are considerably different from those of the West. Additionally, the original form is relatively well preserved. In particular, it explains how human thinking and behaviors have changed in the transition from the mythical age to the heroic age. This change appears in the ethnic history of Yakutia, as well as in the formation process for all Altai countries around the 10th century. Therefore, this preliminary investigation will be a foundation to facilitate the translation of the voluminous Olonkho into Korean, and to conduct full-fledged research on it. In particular, it can motivate a study on the differences and similarities in comparison to the tradition of oral epics between Central Asia and the Korean Peninsula. Furthermore, it will serve as a foundation for the formation of the Altai Humanities Belt.

• Cross-Cultural Studies
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• v.43
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• pp.7-50
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• 2016

In the capitalized Joseon Dynasty under the Japanese colonial rule, most Gisaengs (female entertainers) were waiting for men who would save them from financial distress, but others chose to seize the opportunity imposed by the modern times and capitalization to transform their lives. Socialist Jung Chil-sung was one of those who utilized such opportunity to transform themselves through political awakening. The political awakening of Chung Chil-sung was the result of two factors-the historical occasion of the March $1^{st}$ movement and her personal labor experience as Gisaeng. The March $1^{st}$ movement was not only a colossal political incident externally manifested in nationalism and but also an occasion which educed the microscopic anger of a woman named Chung Chil-sung. In the early capitalist society, women with jobs were forced to play not only vocational tasks but also to subject themselves to emotional roles of being obedient and generous. In other words, those early career women suffered feelings such as anger, shame and humiliation, when they were defenselessly exposed to gender hierarchy and gender power in the public sphere. As shown in the case of Chung Chil-sung, these emotions led to a certain political awakening. The political awakening through the labor experience and emotional problems was the fact that helped Chung Chil-sung have a concrete and realistic understanding about the issue of women's economic dependence unlike other female socialists. But, although socialism was relatively the most appropriate language to explain Chung Chil-sung's experience, what she experienced contained several elements that cannot be explained by the elite socialist language. Therefore, her life paradoxically proved the need of lower-class women's lives to be divided and registered as a new emotion and to be politically visualized.

• Cross-Cultural Studies
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• v.53
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• pp.193-218
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• 2018

In this essay, I examine the interactions of chronotopes in the narrative of Gangnam Blues, a film written and directed by Yu Ha and released in 2015. Bakhtin's chronotope, the connectedness of temporal and spatial relationships in literary narratives, provides the background for the representability of events and becomes the organizing center for the events. Each chronotope offers a different way of acting, interacting and understanding experience, and chronotopes can interact with each other in a single text or between the reader and the represented world. Gangnam Blues is a gangster movie, first of all, showing an individual's illusion of an unlimited possibility for achieving wealth and power. At the same time, the film describes the government's project to transform Gangam, a rural area in the south of the Han, into a new downtown and residential area for Seoul. As the world in the narrative and the world of the author or the reader are all chronotopic, we can see the interactions of chronotopes between the narrative of an individual and the historical narrative, as well as between the narrative about the beginning of Gangnam and the audience's perception of the present Gangnam. In this film, the main character's ambition is shown as part of the social desire for rapid economic achievements in the 1970s, along with high social mobility. The social desire can be explained as envy, as it is fueled by social comparisons and competitions. The main character's pursuit of money and power through the possession of Gangnam land overlaps with the envious desire for the present Gangnam shared by many. The individual's exceptional ambition and violence are not fully examined in this text. Moreover, the film's dependence on the feelings of envy to represent the individual's choice and violence can be a symptom of the lack of critical distance from social desire and envy.

• Cross-Cultural Studies
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• v.44
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• pp.29-58
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• 2016

'Post-memory' is the act of remembering traumatic events in history by subsequent generations who have not had direct experiences or relations with them. For this reason, the narratives of 'post-memory' are considered as re-interpretations of the past deeply influenced by current perspectives and concerns. The Chilean film NO goes back to the Referendum of 1988 in order to examine the "NO campaign" which was opposed to another eight years of continuation of the Pinochet regime. Although this campaign contributed significantly to the Chilean democratization, the filmmaker does not just celebrate it: rather he attempts to cast a critical reflection on its strategies that eventually turned democracy into a "commodity" by deploying commercial language and marketing tools for characterizing and describing it. On the other hand, the Korean movie The Attorney sheds light on the story of an attorney who, during the military regime in the 1980's, became a human rights lawyer when he tried to advocate for university students accused of violating national security law. This film reconstitutes the meaning of democracy built upon the logic of "common-sense" that privileges freedom and fundamental human rights over Statism. Despite the different historical contexts between Chile and South Korea, these two movies retell the history of a dictatorship that ended a couple of decades ago. In doing so, they raise questions about history, memory and democracy in order to deepen the understanding of current social and political circumstances while placing an emphasis on the roles and responsibilities of intellectuals during the transition to democracy and democratic consolidation.