• (The)Study of the Eastern Classic
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• no.68
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• pp.173-208
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• 2017

This study sorted out the political methods of the typical shell-and-bone inscriptions during early Western Zhou, the shapes and arrangements of Chan, Chak, and Jak, and the characteristics and description methods of shell-and-bone characters and also investigated the formation backgrounds and changing patterns of shell-and-bone inscriptions with a focus on the transmitted literature and actual shell-and-bone inscriptions. First, the transmitted literature contained records saying that Gogongdanbu told fortunes by burning tortoise shells during Proto-Zhou, but no Bokgap from those days had been excavated yet. The content of the divination focused on the periods of Kings Wen, Wu, and Cheng of Zhou, and the shell-and-bone characters of Juwon contained much content about Jugong those days. Second, there were some differences in the processing methods between Bokgap and Bokgol, but their origin could basically be found in the Joyeongjang form during middle Shang. In addition, it was found that they directly accepted the Bukchon type of Seomseo during late Shang and the divination method of the Proto-Zhou culture. Third, all of Bokgaps had a set of square Chan and rectangular Chak installed on the back, whereas all of Bokgols had a set of circular Chan and vertically thin Chak and were in the shape of a cat's eye. In terms of the Chan, Chak, and Jak arrangement, the Bokgaps were similar to those of Yinxu during late Shang, whereas the Bokgols had the characteristics of the Joyeongjang type during middle Shang. Finally, there were differences in the description methods of shell-and-bone characters according to the arrangement methods of shell-and-bone inscriptions. Some rules were found according to each of the parts. Bokgaps were placed horizontally so that Gapsu would face sideways. The middle sections of Bokgols were mostly placed horizontally with the Byeongbu and Seonbu facing downwards at Golgu to write downwards from right to left. This method was estimated to have something to do with "Sigo" in the divination process in The Rites of Zhou. It was inferred that the perceptions of divination changed in the process of arranging the rites and music institutions during early Western Zhou.

• Journal of the Daesoon Academy of Sciences
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• v.40
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• pp.1-38
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• 2022

The aim of this research is to discover the value of peace conveyed by Haewon Sangsaeng, the Resolution of Grievances for Mutual Beneficence, as espoused by Holy Teacher Kang Jeungsan (姜甑山, 1871~1909) and to evaluate its modern significance. To the faithful, Jeungsan is seen as the Supreme God who descended into the world in the Late Joseon Dynasty in the year 1871. Until the time of His passing away into Heaven in 1909, He vastly saved the world and fulfilled the hopes of humankind by carrying out the fundamentally innovative Reordering Works of Heaven and Earth (1901~1909) in the Three Realms of Heaven, Earth, and Humanity. He has thereby been appraised as a great religious figure within religious and academic circles. Jeungsan's ideological contributions can be summarized into two main points. One is the concept of 'the Great Opening and the Later World,' which foreshadowed the liquidation of the old system of order and the arrival of a new world. The other contribution is the concept of 'the Resolution of Grievances for Mutual Beneficence,' a fundamental principle meant to achieve human salvation and world peace. In this context, 'the Great Opening' is precisely a 'positivistic religious expression of peace,' and 'the Resolution of Grievances for Mutual Beneficence' is the principle by which 'peace can be achieved in the world for all humankind.' In particular, the Resolution of Grievances for Mutual Beneficence is a tenet within the doctrine of Daesoon Jinrihoe, and it is the main concept that forms the basis of Daesoon Thought. It can be said to be the core current that flows through Jeungsan's Reordering Works of Heaven and Earth. Nowadays, the Resolution of Grievances for Mutual Beneficence is being discussed and cited in various ways in academic fields as well as in discourse on coexistence, mutual beneficence, and peace. The Resolution of Grievances for Mutual Beneficence is specifically based on observations of the structure of conflicts as observed throughout world history via global conflicts, regional conflicts, cultural conflicts, ideological conflicts, class conflicts, generational conflicts, racial conflicts, religious conflicts, and other such conflicts. That is why the Resolution of Grievances for Mutual Beneficence is discussed in depth within academic settings wherein the nature of conflict-resolution is examined. Looking at the previous studies on this topic, those studies tended to focus on key concepts or concerns such as human beings, divine beings, the earthly paradise of the Later World, ideal societies, world peace, new principles of order, and lasting peace. In particular, the Resolution of Grievances for Mutual Beneficence has been presented as directly related to concepts such as love, coexistence, harmony, and peace for humankind and the world. Its significance has been applied to ethics, philosophy, order, and principles, and it has been understood as conveying values such as peace. Accordingly, this paper examines the ideological connections to the succession and establishment of Jeungsan's notion of the Resolution of Grievances for Mutual Beneficence based on previous research, but further examines the value of peace communicated via the principles and ideas that pervade current discourse on the Resolution of Grievances for Mutual Beneficence. I hope to thoroughly explore Haewon Sangsaeng in regards to its modern significance to the world and to humankind.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.243-277
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• 2020

This paper examines a social and cultural history of horror films through the keyword "technology", focusing on The Spark of Fear: Technology, Society and the Horror Film (2015) written by Brian N. Duchaney. Science fiction film is closely connected with technology in film genres. On the other hand, horror films have been explained in terms of nature/supernatural. In this regard, The Spark of Fear, which accounts for horror film history as (re)actions to the development of technology, is remarkable. Early horror films which were produced under the influence of gothic novels reflected the fear of technology that had been caused by industrial capitalism. For example, in the film Frankenstein (1931), an angry crowd of people lynch the "monster", the creature of technology. This is the action which is aroused by the fear of technology. Furthermore, this mob behavior is suggestive of an uprising of people who have been alienated by industrial capitalism during the Great Depression. In science fiction horror films, which appeared in the post-war boom, the "other" that manifests as aliens is the entity that destroys the value of prosperity during post-war America. While this prosperity is closely related to the life of the middle class in accordance with the suburbanization, the people live conformist lives under the mantle of technologies such as the TV, refrigerator, etc. In the age of the Vietnam War, horror films demonize children, the counter-culture generation against a backdrop of the house that is the place of isolation and confinement. In this place, horror arises from the absolute absence of technology. While media such as videos, internet, and smartphones have reinforced interconnectedness with the outside world since the 1980s, it became another outside influence that we cannot control. "Found-footage" and "torture porn" which were rife in post-9/11 horror films show that the technologies of voyeurism/surveillance and exposure/exhibitionism are near to saturation. In this way, The Spark of Fear provides an opportune insight into the present day in which the expectation and fear of the progress of technology are increasingly becoming inseparable from our daily lives.

• The Journal of Korean Philosophical History
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• no.27
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• pp.39-61
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• 2009

Numerous Researches on the Buddhist perspective of Wonhyo agree that the Mind is the core principle of Wonhyo's Buddihist perspective. Based on prior research, this paper identifies the philosophy of Mind-only(vijñaptimātratā) in the broader perspective, that is, "Mind is the first principle of the existence", as the core thought of Wonhyo. The objective of this paper is to reorganize the systematic theories of consciousness, one of the principle sectors of Wonhyo's philosophy of vijñaptimātratā. One can find most systematic texts of consciousness of Wonhyo in 『GiSilRonSo』 and 『GiSilRonByeolGi』. Although 『GeumGang SamMaeGyeongRon』 includes some interpretations of consciousness, it is difficult to formulate a consistent structure based on it. Beside tā.JangEui』, which discusses the meaning of vijñaptimātratā centering around affliction, Wonhyo's opinion about important issues of vijñaptimātratā philosophy such as ālayavijñāna, permeation, bījadharma, and aspects of perception appears in fragments. Thus, this paper focuses on 『GiSilRonSo』 and 『GiSilRon ByeolGi』, Wonhyo's interpretation of 『Awakening of Mahāyāna Faith』(大乘起信論), as well as 『IJangEui』, 『PanBiRyangRon』 and 『Geum GangSamMaeGyeongRon』. The researcher examines how one-mind, tathāgatagarbha, and ālayavijñāna become the principles of 'neither arising nor ceasing'(不生滅) and 'arising and ceasing'(生滅) of all beings. The process of how one-mind develops mind in terms of the Absolute(心眞如門) and mind in terms of Phenomena(心生滅門) and its ontological structure are also investigated. In addition, the philosophical significance of Wonhyo's interpretation of tathāgatagarbha and ālayavijñāna analyzed. Besides, the method how various theories about vijñāna from Tathāgatagarbha's and Yogācāra's philosophy can be synthesized is examined based on Wonhyo's arguments. The four aspects of existence(caturākāra 四相) -arising(生), abiding(住), changing(異), and ceasing(滅)- which is transformed according to stages and dimensions of 'arising and ceasing', and phases of mind such as delusion of three fine states(三細) and six rough states(六麤), five consciousness(五意), and six defiled states(六染) are interpreted based on Tathāgatagarbha's and Yogācāra's philosophical system.

• Journal of the Daesoon Academy of Sciences
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• v.27
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• pp.245-282
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• 2016

Currently, the whole world is being swept away by spiritual movements seeking divinity in oneself. Yet there are terror attacks, religious disputes and other conflicts continuously taking place on larger and larger scales as well as expanding further and further throughout the world. Interreligious harmony seems like a distant ideal. What is the ultimate cause of religious conflicts? Is interreligious communication truly that difficult? Even among different cultures, said cultures' varieties of ritual expressions, and various religious doctrines, there are points of general common to be appreciated if a deep perspective is adopted. When we find the common ground and understand each other's difference, it will be easier to communicate since everyone will be learning from each other. What could serve as common ground for different religions? Many scholars speak about the state of 'oneness' that is claimed by mysticism throughout a large array of religions. This state of oneness is typically not achieved overnight, but it serves as a prospective state which is pluralistically inclusive. This "religion of enlightenment" emphasizes the process of reaching comprehensive interreligious agreement would be characterized by a deep religious perspective. If superficial religious perspectives focuses only on faith to attain blessings and engage in blind belief, then, by contrast, deep religious perspectives emphasize inner divinity, the true self, orthe higher self. The words, 'superficial religious perspective' and 'deep religious perspective' were defined for personal convenience by O Gang-nam, a scholar of comparative religion. Consequently, this classification is a relative binary concept lacking hard and fast rules with regards to distinctions. But the concept of superficial religious perspectives and deep religious perspectives has its advantage in allowing clearer and easier discussion about religions because it could embrace all aspects of religious life and the development of various religious sentiment. In this way, the terms surface religious perspectives and deep religious perspectives will be used in limited framework. I both borrow this concept and reconsider it by referring to other scholars' methods of classification. From that point, I explore and these views in relation to religious experience. How does religiosity develop, maturity of religious faith take place, deep awareness of truth reveal itself, or an attitude of open-mindedness arise? After these states are realized, is interreligious agreement possible? Most religious studies scholars point out 'religious experience.' They say people could develop their faith from superficial religious beliefs into a more mature and deeper faith through religious experience while continuously aspiring towards enlightenment and practicing their religion in daily life. This study will try to examine aspects of superficial religious perspectives and deep religious perspectives represented in each religion and also explore criticism of each religion. With this view of superficial religious perspectives and deep religious perspectives, some cases documenting the religious experience of Daesoonjinrihoe disciples will be analyzed to see how their religiosity develops from superficial religious perspectives into deep religious perspectives through certain religious experiences. The characteristics of those experiences will also be investigated.

• Journal of the Daesoon Academy of Sciences
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• v.33
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• pp.219-255
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• 2019

'Dao' is an important research subject as it is the main term for 'ultimate reality' in East Asian religious thought. Understanding the concept of 'Dao' is essential to reach the state of 'Perfected Unification with Dao,' the ultimate aspiration in Daesoon Thought. The meaning of 'Dao' can vary such as 'Dao' meaning 'way', which was first introduced in Jinwen. There is also the 'Dao' of yin and yang, and Dao used to mean human obligation, or Dao meaning the way of Heaven. These can also be classified into five categories: Constant Dao, Heavenly Dao, Divine Dao, Human Dao, and the Dao of Sangsaeng. Every natural phenomenon of birth, growth, and death in the universe operates under the patterns of Heaven and Earth. Therefore, Constant Dao in Daesoon Thought is the ultimate pattern underlying human action and the operations of Heaven and Earth. These apply not only to the natural and the divine world but also to the human world. It can be said that 'Rather than natural law or moral symbol of the world, 'Heavenly Dao' means the great Dao that saves the world through the Daesoon Truth of Sangje, Supreme God of the Ninth Heaven. Divine Dao can be said to be 'the Dao by which man must complete his work according to the law and the will of God,' that is, 'the Dao by which God and man are united together by Sangje's heavenly order and teaching, which aims for humanity, righteousness, propriety, and wisdom.' When the world is in a state of calamity and crisis, the request for the saint's Dao can symbolized by the kings, Yao and Shun, in The Canonical Scripture (Jeon-gyeong). The saint's Dao saves the dying world and people's lives and is called 'saving lives by curing the world (濟生醫世)'. It can be regarded as a characteristic of Human Dao in Daesoon Thought, which is the human obligation to follow Sangje's order, the great Dao to save the world. The Dao of Sangsaeng is the true dharma that rectifies the world full of mutual conflict through the ethics of the Later World, which is to promote the betterment of others and to practice the human Dao that saves the world and rebuilds the Constant Dao. Thus, The concept of Dao in Daesoon Thought is Daesoon Truth which applies to and operates throughout all realms of Heaven, Earth, Humanity, and the Divine world. Dao in Daesoon Thought was influenced by the historical background in which it emerged and this can be seen in its ideological features. It embraces the traditional concept of Dao, which refers to the Chinese classics and represents the main schools of thought in East Asia: Confucianism, Buddhism, and Daoism. And it is unique in that it implies the will of Sangje as a religious object, a supreme being. It can be seen that Daesoon Thought has developed through the process of defining the concept of Dao by harmonizing both the universality and specificity of modern Korean religious thought.

• Journal of Service Research and Studies
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• v.13 no.1
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• pp.48-62
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• 2023

As seen in the recent K-pop craze, the size and influence of the Korean music industry is growing even bigger. At least 6,000 songs are released a year in the Korean music market, but not many can be said to have been successful. Many studies and attempts are being made to identify the factors that make the hit music. Commercial factors such as media exposure and promotion as well as the quality of music play an important role in the commercial success of music. Recently, there have been many marketing campaigns using Internet memes in the pop music industry, and Internet memes are activities or trends that spread in various forms, such as images and videos, as cultural units that spread among people. Depending on the Internet environment and the characteristics of digital communication, contents are expanded and reproduced in the form of various memes, which causes a greater response to consumers. Previously, the phenomenon of Internet memes has occurred naturally, but artists who are aware of the marketing effects have recently used it as an element of marketing. In this paper, the mediated effect of Internet memes in relation to the success factors of popular music was analyzed, and a prediction model reflecting them was proposed. As a result of the analysis, the factors with the mediated effect of 'cover effect' and 'challenge effect' were the same. Among the internal success factors, there were mediated effects in "Singer Recognition," the genres of "POP, Dance, Ballad, Trot and Electronica," and among the external success factors, mediated effects in "Planning Company Capacity," "The Number of Music Broadcasting Programs," and "The Number of News Articles." Predictive models reflecting cover effects and challenge effects showed F1-score at 0.6889 and 0.7692, respectively. This study is meaningful in that it has collected and analyzed actual chart data and presented commercial directions that can be used in practice, and found that there are many success factors of popular music and the mediating effects of Internet memes.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.159-190
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• 2019

This paper aims to examine to the political unconsciousness of social movies that have caused social repercussions in the 2010s, and to study the social imagination of Korean films at that time. Korean Movies such as (2013), <1987>(2017) and (2017) reflect the ethos of civil society based on common sense and justice. The epic structure was the same as that of ordinary citizens, who move toward a public space (court, square) after awakening their political correctness. More than anything else, the fact that such films were based on "a historical fact" could have been a strategy to avoid censorship in the era of the blacklist. In these social films, courts and squares have become places for democracy. The conservative government of the time was tired of anti-government resistance and the politics of the square. Thus, films from directors and producers blacklisted were difficult to produce. That's why the court in the movie during this period could become a symbolic proxy for the "legitimate" reenactment of the politics of the square, which was subject to censorship and avoidance by the regime of the time. Meanwhile, the square has gradually become the main venue for political films that advocate "historic true stories." The square of the 1980s, which appeared in the movies, will be connected to the Gwanghwamun candlelight square that audiences experienced in 2017. Furthermore, it was able to reach the concept of an abstract square as an "open space for democracy." At the foundation of these works is a psychological framework that equates the trauma of the failed democratic movement of the 1980s to the trauma of the failed progressive movement of the 2010s. Through this study, we were able to see that social political films in the 2010s were quite successful, emphasizing "political correctness" and constitutional common sense. But they also had limitations as "de-political popular films" that failed to show imagination beyond the censorship of the blacklist era.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.45-71
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• 2019

Through the expansion of platforms in the media era, this paper notes the phenomenon in which 'high-teen romance drama,' a genre which had been marginalized in the past, began to re-emerge. It analyzes the 'high-teen romance drama,' which is moving from TV to the Web and being produced in various ways, while successfully returning to the TV drama format. This study sums up the latest trends in TV and web-based high-teen romance dramas, and as a case study, this paper examines the characteristics of the 'high-teen romance drama' in relation to the platform's environment through the web drama A-Teen, TV drama 18 Moment. Due to the restriction of ratings, high-teen romance dramas have been one of the largely marginalized genres on television. But in the web space, high-teen romance dramas are no longer non-mainstream. The high-teen romance drama has been solidifying its position through the Web, with absolute support from young viewers. Web dramas are gradually expanding their influence on the genre and subject of TV dramas. The high-teen romance drama is one of the most prominent examples of this trend. The popular interest and success of the high-teen romance web drama has brought the forgotten high-teen romance drama back to TV. The web drama A-Teen is a high-teen romance drama about everyday life and love of high school students, and became one of the most popular and popular web dramas, leading to a Season 2. A-Teen actively utilizes teenage culture and expression, and a strategy that leads to empathy among teenage viewers. In A-Teen, love is recreated in a way that relieves the depth of overconsumption emotions. Instead of dealing in depth with the inner conflict over love, it takes an approach ofpresenting the emotional change of love in real time and forming a consensus with the acceptor. The TV drama 18 Moment is one of the programs that has helped refocus attention to TV-hitting romance dramas. 18 Moment underlines the growth of the characters, with the main characters reaching maturity through love as fresh and innocent teenagers. The TV drama 18 Moment is a high-teen romance drama that has been transformed into a way to apply the web-fadding high-times grammar while retaining the typicality of existing TV hagwons to suit the TV broadcasting environment. As the Internet becomes more ubiquitous, video content is changing based on the newly emerging platforms. Dramas no longer mean just traditional television media. While considering the limitations of TV, this paper analyzed the background of the rebirth of the high-teen romance drama, which had been marginalized, through the web platform. This is meaningful in that it identifies and considers the increasing popularity of this genre of drama.

• The Journal of Korean Philosophical History
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• no.28
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• pp.267-296
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• 2010

There exists various advantages and disadvantages with various thoughts in human beings. Therefore, it causes very complicated conflict by these diversity. It would be impossible if there would not be solved in classes, areas, schools, cultures whether it is simple or complicated. The proposition which totally shows these logic are Cheng-Yi(程頤, 1033-1107)'s principle is one but its manifestations are many(理一分殊) and Yul-gok(栗谷, 1536-1584)'s all penetrating Li and defining Ch'i. The main concern is how to realize concretly the pure goodness in theory of principal and vital force. There are opinion which Li shows it's pure goodness initiatively and it only has to be shown through Ch'i. Toi-gyeo(退溪, 1501-1570)and Woo-dam(愚潭, 1625-1707) thought the subjectivity lies on Li which shows itself even though Li can't shows itself. On the while, Yul-gok thought it realize through Ch'i, and Li has the superintendence which Li shows itself through Ch'i. Regardless with above, Nok-mun(鹿門, 1711-1788) had the point of view which pure goodness come to realize by the coincidence of Li and Ch'i, on the same time, it didn't matter whether the subjectivity lay on Li or Ch'i, Li showed by nature while Ch'i did by vital energy controlled and worked together. While Yul-gok established his theoretical ground of universality in the best pure good and its bases on the realization, Woo-dam put an emphasis on the practice and realization of goodness to endow with its positive meaning. On the contrary of it, Nok-mun emphasised vital enerty, that is, enabled to realize goodness which premised Li and Ch'i are reciprocally related to other in non-segregated condition(理氣不相離). Still however, the most important thing is how the rightness can be concreately explained which human have to practice its pure goodness. It is not restricted on the Sung Confucianism, it is the material question in philosophy.