• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.75-88
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• 2021

The film won the Golden Palm Award at the Cannes Film Festival, and received the Academy Award for a non-English-speaking film in February 2020, respectively. It has received a monumental evaluation in the world film history. Overall, this film is about class conflict, and critics evaluate the theme of the film as "badly twisted class gap" and "anger from class." The film expresses an intrinsic conflict embodied in culture as a "tragedy in which no bad person appears," rather than the dichotomous composition of the classical class struggle from Marxism. In other words, this can be seen as expressing the substrated class relationship of the modern society that Pierre Bourdieu had argued. This film has been focused as a controversial target under Korea society with excess of ideology. Politics used to adopt the keyword, 'parasite', for political disputes not only in culture contents world. Paradoxically socialism China did not allow to release film 'Parasite.' On the other hand, Lee O-Yong argues that the movie "Parasite" does not look at social phenomena through a dichotomous perspective, but is viewed through a "double perspective" and evaluates that it does not lose eyes looking at humans through tension. This view is based upon 'Vital Capitalism'. Lee. O-Yong looks at the movie "Parasite" from the perspective of "Vital Capitalism". The theory of Vital Capitalism does not seek to find the root of historical development in class struggle conflicts, but rather figuring out history and society pays attention onto the intrinsic characteristics of life, Topophilia, Neophilia, and Biophilia. Lee Eo-ryeong argues that the development of civilization theory evolved from the stage of Hobbes' Darwinism or predatism to the stage of host vs. parasite of Michel Serres, and onto the stage of Margulis's 'Win-Win (inter-dependence)'. In this paper, after overview of vital capital concept and preceeding research, re-interpretations were tried onto scenes based upon fields from habitus, culture capital. This exploration looks for a alternative for excess of ideology in Korea society.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.9-41
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• 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 Popular Narrative
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• v.25 no.2
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• pp.247-275
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• 2019

We hope that more diverse interests will arise in the novels by Park Gye-hyeong By looking at writers and works in time, we identified the key element of Park Gye-hyeong's novels as 'romantic'. Romantic nature of this time is lyrical, sentimental, spiritual, unrealistic and idealistic. Based on a romantic understanding of the world, the core sanction of the novel is love, focusing on feelings of sadness, and on the aspects of joy, separation, and pain that arise from loving relationships rather than the aspects of joy. Based on the feelings of grief, the novels end with failure, death and betrayal, thus embodying tragic romanticism. Before her marriage, Park Gye-hyeong's novels were love stories that revealed her longing for beautiful love based on sensibility. The idyllic world and longing for nature reveal a romantic world-view. Ultimately, it is a fictional worldview that the author seeks to despair and long for, and to find the sincerity and morality of love in an environment that does not. Park Gye-hyeong, who became a housewife, expressed that she wanted to write a piece that can give readers a sense of nostalgia by embodying "romance at a high level," not "sentimental." In subsequent works, physical relationships are treated as failures of love and spiritual relationships as the fruit of love, revealing the lofty spirituality, idealistic longing and religious nature of love. Park Gye-hyeong confessed her shame about her previous work when she published a new one after more than two decades of writing. And after more than two decades of reflection, her new novel had a new theme of "recovering destroyed humanity." However, the search for "humanity" in the two novels released after the write-off tends to be somewhat hasty at the end of the novel. The question of human nature, sin and forgiveness, is the next best thing to save as a way of life, rather than as a result of the intense inner agony and behavior of the characters within the narrative, and this also shows a sudden shift in religiousness at the end of the novel. Therefore, the romantic meaning of the superficial is superficial.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.67-99
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• 2019

This paper analyzed romance novels imported into Korea in the 1980s and examined the traits of Korean girls' culture at that time. To this end, This paper chose as subjects the series of 'high-teen romance' published by Samjungdang, 'princess bestseller' by Seoul Publishing and the 'silhouette romance' by Joongang Ilbo in the 1980s. Through the aspects of the paperback romances, the traits of the artist, the content of the work, and the response of the reader, this paper analyzed the position and affection of romance as a genre in Korean culture in the 1980s. In the 1980s, most of the paperback romances available in Korea were translations of the modern and progressive present lines of Harlequin Enterprise's category romance. There were also many writers who were mostly introduced with progressive characters like Charlotte Lamb. The Harlequin romance depicts a story of sensual love. These translated 1980s paperback romance novels allowed girls in Korea to freely imagine the problems of sex and love. In particular, it showed a new perspective on women's sexuality. In Korean love novels, the sexuality of women was treated as an object for the gaze of men. The novels of female writers as college student who criticized this dealt with women's sexuality, but focused on criticism and resistance to the ideology of chastity. The paperback romance made it possible for women to freely enjoy their sexuality by escaping the ethical standards of reality. In addition, the paperback romance was an escape from the frustration of love. Romantic love in Korean love novels did not lead to the unification of mind and body, and always ended in tragedy. On the contrary, the paperback romance started with the fear of the girl who felt love for the first time, showed the process of winning over anxiety, confirming love and reaching a happy marriage. Through this, girls understood general love that was not subordinated to the ideology of chastity, and accepted love positively. The process of establishing romance as a genre in Korean culture and the traits of its readers have not yet been sufficiently clarified yet. This paper compared the romance genre with the other love novels of the day, explaining the position and meaning of the romance genre in Korean culture in the 1980s. Through this, we were able to chart the historical development of the Korean romance genre.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.217-247
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• 2019

This research paper intends to examine the intertextuality of Klaus Mann's novel Mephisto (1936) and István Szabó's film Mephisto (1981) and how the derivative contents (i.e., film) accepted and improved the schematic aesthetics of conviction in original contents (i.e., novel). In general, the aesthetics of conviction is applied to criticize the state socialism of the artists of the Third Reich or the ideology of the artists of East Germany from a biased ethical perspective. Mephisto is also based on the aesthetics of conviction. Thus, it would be meaningful to examine the characteristic similarity and difference between Klaus Mann's real antagonist (i.e., Gustaf Gründgens) and fictional antagonist (i.e., Hendrik Höfgen) from a historical critical perspective. In this process, an aesthetic distance between the real and fictional antagonists would be secured through the internal criticism in terms of intertextuality. In this respect, the film aesthetics of István Szabó are deemed to overcome the schematic limit of the original novel. The conviction in both the novel and film of Mephisto pertains to the belief and stance of a person who compromised with the state socialism of Nazi Germany, i.e., succumbed to the irresistible history. Klaus Mann denounced Mephisto's character Höfgen (i.e., Gründgens in reality) as an "Mephisto with evil spirits" from the perspective of exile literature. For such denunciation, Klaus Mann used various means such as satire, caricature, sarcasm, parody and irony. However, his novel is devoid of introspection and "utopianism", and thus could be considered to allow personal rights to be disregarded by the freedom of art. On the contrary, István Szabó employed the two different types of evil (evil of Mephisto and evil of Faust) from a dualistic perspective (instead of a dichotomous perspective of good and evil) by expressing the character of Höfgen like both Mephisto and Hamlet (i.e., "Faust with both good and evil spirits). However, Szabó did not present the mixed character of "Mephisto and Hamlet (Faust)" only as an object of pity. Rather, Szabó called for social responsibility by showing a much more tragic end. As such, the novel Mephisto is more like the biography of an individual, and the film Mephisto is more like the biography of a generation. The aesthetics of conviction of Mephisto appears to overcome biased historical and textual perspectives through the irony of intertextuality between the novel and the film. Even if history is an irresistible "fate" to an individual, human dignity cannot be denied because it is the "value of life". The issue of conviction is not only limited to the times of Nazi Germany. It can also be raised with the ideology of the modern and contemporary history of Korea. History is so deeply rooted that it should not be criticized merely from a dichotomous perspective. When it comes to the relationship between history and individual life, a neutral point of view is required. Hopefully, this research paper will provide readers with a significant opportunity for finding out their "inner Mephisto" and "inner Hamlet."

• Journal of Public Diplomacy
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• v.3 no.2
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• pp.35-52
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• 2023

Korea has developed as an influential country over Asia and all over the world based on remarkable economic development. And the background of this development was possible due to the existence of those who sacrificed precious lives and contributed to the nation's existence in the past crisis. Every year, Korea holds an annual commemorative event with people of national merit, Korean War veterans, and their families, expressing gratitude for sacrifices and contributions at home and abroad, and providing economic support. The tragedy of the Korean War and the pro-democracy movement in Korea over the past half century will one day become a history of the distant past over time. As generations change and the purpose and method of exchange by region change, the tragic situation that occurred earlier and the way people sacrificed for the country are expected to be different from before. In particular, it is true that the number of Korean War veterans and their families is gradually decreasing as they are now old. In addition, due to the outbreak of global infectious diseases such as COVID-19, it is difficult to plan and conduct face to face events as well as before. Currently, Korea's digital technology is introducing various methods. 5G communication networks, smart-phones, tablet PCs, and smart devices that can experience virtual reality are already used in our real lives. Business meetings are held in a metaverse environment, and concerts by famous singers are held in an online environment. Artificial intelligence technology has also been introduced in the field of human resource recruitment and customer response services, improving the work efficiency of companies. And it seems that this technology can be used in the field of veterans. In particular, there is a metaverse technology that can vividly show the situation during the Korean War, and a way to digitalize the voices and facial expressions of currently surviving veterans to convey their memories and lessons to future generations in the long run. If this digital technology method is realized on an online platform to hold a veterans' celebration event, veterans and their families on the other side of the world will be able to participate in the event more conveniently.

• Journal of Applied Biological Chemistry
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• v.66
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• pp.416-423
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• 2023

Figs has known to have antioxidant, whitening, anti-inflammatory, and antibacterial effects in their leaves, roots, stems, latex, and fruits. In order to develop cosmetic materials based on natural products, we have studied on the skin activity of the ficin in latex as well as the whitening function of the fruit extract with 70% ethanol, and used it as a raw material for released cosmetic product. However, there is little research on the demand for the development of new eutectic solvent extraction methods and its ability to control skin inflammation and psoriasis regulation. Thus, in this study, we evaluated the effectiveness of fig fruit extracts and fractions using eutectic solvent extraction for skin inflammation control and psoriasis. First, fig fruits were extracted under optimal eutectic solvent conditions and fractionated with n-hexane, dichloromethane, ethyl acetate, and butanol. First, the antioxidant activity and inhibition of nitric oxide (NO) production were confirmed in mouse macrophage RAW264.7 cells. In addition, as a result of observing the mRNA expression through RT-PCR, pro-inflammatory cytokines such as TNF-α, IL1α, and IL-1β were suppressed significantly in the hexane, dichloromethane, and ethyl acetate fractions. In addition, it was confirmed in TNF-α stimulated HaCaT keratinocyte model. Finally, chemokine CC motif ligand 20 (CCL20), marker gene of human psoriasis skin disease, was significantly suppressed in the hexane, dichloromethane, and ethyl acetate fractions. These results suggested its anti-inflammatory and skin soothing effect and the possibility of development as an excellent skin soothing natural cosmetic material in the future through future clinical trials.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.18 no.4
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• pp.297-308
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• 1985

Differences in lipid composition including fatty acid, lipid class, sterol and especially carotenoid between fleshes of wild and cultured prawn, Penaeus japonicus, were studied. Total lipids were extracted from the flesh during the spawning period and fractionated into two lipid classes of polar and nonpolar lipids by silicic acid column chromatography. The fatty acid composition of each lipid classes, total lipid (TL), nonpolar lipid (NL) and polar lipid (PL) were analyzed by gas liquid chromatography. The sterol and carotenoid composition of total lipids were determined by using thin layer chromatography, gas liquid chromatography and column chromatography using MgO-celite 545 and silicic acid-celite 545 as an absorbent, and by UV spectrophotometry. Total lipid contents of both fleshes from the wild and cultured prawn were about $2.0\%$ on average, but the content of the unsaponifiable matters in the cultured prawn (about $16.2\%$ in total lipid) showed a little higher than that of the wild prawn (about $13.9\%$ in total lipid) and the ratio of NL to PL in total lipid was 1:1.7. In the fatty acid composition of TL, the contents of $Cl_{16:0}\;and\;C_{20:3}$ fatty acids were higher in wild prawn than in cultured prawn, while the contents of $Cl_{18:1}\;and\;C_{20:5}$ fatty acids in cultured prawn were higher than those in wild prawn. The cultured prawn contained higher amounts of monoenoic acids and lower amounts of polyenoic acids than the wild prawn. In the fatty acid composition of NL, the wild prawn showed higher levels in $Cl_{18:0}\;and\;C_{20:1}$ fatty acid contents than the cultured prawn, while the cultured prawn contained much amout of $Cl_{16:0}\;and\;C_{18:1}$ fatty acids. On the other hand, the fatty acid composition of PL showed that $Cl_{16:1}\;and\;C_{17:1}$ fatty acid were higher in the wild prawn than in the cultured prawn, but in $Cl_{16:0}\;and\;C_{18:1}$ fatty acids, the levels were reversed. Consequently, the cultured prawn contained higher amount of monoenoic acids, and similar amounts of saturated acids and polyenoic acids to the wild prawn in NL. And the cultured prawn contained lower amount of monoenoic acids, and similar amounts of saturated acids and polyenoic acids to the wild prawn in PL. In sterol composition of both the wild and cultured prawn, the predominant sterol was cholesterol with the proportion of $78.7{\sim}88.9\%$ to the total sterol. In addition to the cholesterol, the other minor sterols such as 24-methylene cholesterol and sitosterol were detected. Total carotenoid content in flesh of the wild prawn was relatively higher than that of the cultured prawn marking 70 mg/100g of lipid in wild prawn and 40 mg/100 g of lipid in cultured prawn, respectively. The main carotenoids of the both prawns were astaxanthin($54.1{\sim}60.8%$), phoenicoxanthin ($16.5{sim}22.9%$),${\bata}-carotene\;(20.0{\sim}22.0%)$.

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.163-206
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• 2010

Um die Jahrhundertwende des 20. Jahrhunderts besinnt sich Theater als ein Kunstwerk auf seine eigene $Realit{\ddot{a}}t$, $K{\ddot{o}}rper$, Raum und Zeit. Die Existenzweise des Theaterkunstwerks ist $Auff{\ddot{u}}hrung$. Die Kennzeichen der $Auff{\ddot{u}}hrung$ ist Transitorik, Unmittelbarkeit und Ereignishaftigkeit. $Auff{\ddot{u}}hrungsanalyse$ der Theaterwissenschaft als Disziplin wird lange Zeit $vernachl{\ddot{a}}ssigt$, weil $Auff{\ddot{u}}hrung$ ein Opfer der Zeit ist. Angesichts der $Auf{\ddot{u}}hrungsanalyse$ $mu{\ss}$ man eine Invariante zur $Verf{\ddot{u}}gung$ stellen, um einen Gegenstand zu analysieren. Die Inszenierung als ${\ddot{a}}sthetischer$ Gegenstand ist einmalig und unwiederbringlich. Das $B{\ddot{u}}hnengeschehen$ ist materielle $Realit{\ddot{a}}t$, die von dem Zuschauer sinnlich - optisch und akustisch - erfahren wird. Die Inszenierung realisiert sich in 'drei $B{\ddot{u}}hnengestalten$': 'Intendierte $B{\ddot{u}}hnengestalt$', 'realen $B{\ddot{u}}hnengestalt$' und 'vermeinte $B{\ddot{u}}hnengestalt$'. Die $Auff{\ddot{u}}hrung$ konkretisiert sich im Kopf des Zuschauers nicht als eine reale $B{\ddot{u}}hnengestalt$, sondern als ein '${\ddot{a}}sthetisches$ Objekt', 'als Abdruck der $B{\ddot{u}}hnenvorg{\ddot{a}}nge$'. Der Platz des $Auff{\ddot{u}}hrungsanalytikers$ ist der des Zuschauers, des Rezipienten. Die ${\ddot{a}}sthetische$ $B{\ddot{u}}hnengestalt$ ist eine Rekonstruktion der selektiven wahrgenommenden $Auff{\ddot{u}}hrung$, die der 'realen $B{\ddot{u}}hnengestalt$' ${\ddot{a}}hnelt$. Diese Rekonstruktion als neue $Sch{\ddot{o}}pfung$ des Rezipienten ist "Simulacrum", das der dem Objekt $hinzugef{\ddot{u}}gte$ Intellekt ist. Der Begriff der $Auff{\ddot{u}}hrungsanalyse$ wird Synonym $f{\ddot{u}}r$ die Interpretation als hermeneutischer $Proze{\ss}$. $F{\ddot{u}}r$ die Methode der $Auff{\ddot{u}}hrungsanalyse$ gibt es Strukturanalyse und Transformationsanalyse. Strukturanalyse geht $ausschlie{\ss}lich$ von der $Auff{\ddot{u}}hrung$ aus. Transformationsanalyse geht von der Transformation des Textes aus. $F{\ddot{u}}r$ diese Arbeit steht dramaturgische Analyse von Shakespeares Romeo und Julia als erste Grundlage. Die Handlungsentwicklung von Romeo und Julia ist klar in '$f{\ddot{u}}nf$ Akte' eingeteilt, die insgesamt aus 24 Szenen bestehen. Die Gesamthandlung von Romeo und Julia baut sich $pyramidenf{\ddot{o}}rmig$ nach dem Schema der steigenden und fallenden Handlung auf: Exposition/ Ausgangssituation (bis zur ersten Begegnung des Liebespaares auf dem Fest), erregendes Moment als Steigerung (von der Verliebtheit bis zur $Eheschlie{\ss}ung$), Wendepunkt/ Peripetie (Mercutios Tod), retardierendes Moment (Julias Scheintod) und Katastrophe (Vereinigung im Grabe). Die Handlung des $St{\ddot{u}}ckes$ gliedert sich in eine Haupt- und eine Nebenhandlung: dominierend ist die Liebeshandlung zwischen Romeo und Julia, daneben steht die Entwicklung der Fehde zwischen den Familien von Montague und Capulet; sie sind 'sich gegenseitig bedingend, steigernd, hemmend und vernichtend'. Parallelisierung und Kontrast der Figurenkonstellation werden in den jeweils sozial oder im Alter entsprechenden Figuren aus den beiden verfeindeten Familien gezeigt. Die Thematik des $St{\ddot{u}}ckes$ kommt in dem Oxymoron "loving hate" (I.1.175) zum Ausdruck. Shakespeare $l{\ddot{a}}sst$ die Liebeshandlung von Romeo und Julia in der Art der de casibus-$Trag{\ddot{o}}die$ spielen; deren Handlungsmuster ist 'dargestellt im Rad der Fortuna, das einen Menschen $emportr{\ddot{a}}gt$ und wieder $abst{\ddot{u}}rzen$ $l{\ddot{a}}sst$'. Das $St{\ddot{u}}ck$ Romeo und Julia ist eine experimentelle $Trag{\ddot{o}}die$. Es beginnt als $Kom{\ddot{o}}die$ mit $Z{\ddot{u}}gen$ einer Romanze, die sich aus dem Motiv der privaten Liebe und Heirat entwickelt. Pater Lorenzo und die Amme treten mit Lorenzos Wissen von der magischen Kraft der $Kr{\ddot{a}}uter$ und der $Geschw{\ddot{a}}tzigkeit$ der Amme $h{\ddot{a}}ufig$ in der $Kom{\ddot{o}}die$ auf. Die Handlung von Romeo und Julia erreicht mit Mercutios Tod den Wendepunkt, der die komische Welt zur tragischen umwandelt. $F{\ddot{u}}r$ die Sprache gibt es Prosa der Diener wie die Alltagssprache der einfachen Leute und zugleich Verse der Adeligen. Shakespeare verwendet eine kontrastreiche Metaphorik $f{\ddot{u}}r$ Raum und Zeit. Dreimal geschehen am Tag die $K{\ddot{a}}mpfe$ der verfeindeten Familien auf den ${\ddot{o}}ffentlichen$ $Pl{\ddot{a}}tzen$. Der Tag wirft ein Licht auf den Hass und die Gewalt. Die Nacht aber ist die $Sph{\ddot{a}}re$ der Liebe, wo Romeo und Julia ihre heimliche Verbindung verborgen halten $k{\ddot{o}}nnen$. Die Liebenden treffen sich in der Nacht und in dem ummauerten Raum. Oh, Tae-Suks "Romeo und Julia" wird in der Form des Madangguks gestaltet. Die Handlung in Oh, Tae- Suks Textfassung ist also nicht nach dem Prinzip der $Kausalit{\ddot{a}}t$ und Folgerichtigkeit zu lesen wie im Shakespeare-Drama. Wegen dem Ignorieren der $Kausalit{\ddot{a}}t$ des Handlungsablaufes und dem Fehlen der Motivation der Handlung ergibt sich hier keine individuelle psychologische Figurencharakterisierung. Die Figuren sind typisiert. Die koreanische Textfassung mit den extremen textlichen $Verk{\ddot{u}}rzungen$ und den zwei szenischen $Hinzuf{\ddot{u}}gungen$ $pr{\ddot{a}}gt$ die Inszenierung dahingehend, dass an die Stelle der Wortsprache mehr $K{\ddot{o}}rpersprache$ und szenische Bilder treten. Die langen Sprechpartien der Figuren im Shakespeare-Drama werden meistens $gek{\ddot{u}}rzt$ und $beschr{\ddot{a}}nken$ sich entweder auf Informationen ${\ddot{u}}ber$ die Situation oder zur Handlungsentwicklung. Und der Handlungsablauf erfolgt in Episoden sowie Musik, Lied und Tanz; Musik, Lied und Tanz dienen einerseits dem ${\ddot{U}}bergang$ der Szenen, sind aber andererseits auch selbst Teil des Handlungsablaufs. $W{\ddot{a}}hrend$ Shakespeare die Sprache der $W{\ddot{o}}rter$ in den Vordergrund $r{\ddot{u}}ckt$, $st{\ddot{u}}tzt$ Oh, Tae-Suk sich mehr auf die Sprache des $K{\ddot{o}}rpers$, die ja zugleich bildhaft ist. $Daf{\ddot{u}}r$ nimmt die Inszenierung Tanz und Lieder. Oh, Tae-Suks Inszenierung entwirft Shakespeares $Trag{\ddot{o}}die$ in der Form des Madangguks als Spiel und zugleich als erkennentnisorientiertes, nachdenkliches Theater $f{\ddot{u}}r$ den koreanischen Zuschauer, das dem traditionellen koreanischen Theater als Unterhaltungstheater nicht $m{\ddot{o}}glich$ ist, in dem sich das Volk von der Wirklichkeit erleichterte und sich $vergn{\ddot{u}}gte$. Oh, Tae-Suk formt das Publikum zum 'Wir' und zugleich zum 'Ich'. Mit dem Zusammensein der $v{\ddot{o}}llig$ andernen Theaterkulturen schafft der Reigisseur das hybride Theater und dadurch bildet $f{\ddot{u}}r$ die moderne koreanische Gesellschaft eine neue kulturelle $Identit{\ddot{a}}t$ heraus.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.155-180
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• 2019

Samsaebulhoedo(三世佛會圖) at Yongjusa Temple(龍珠寺), regarded as a monumental masterpiece consisting of different elements such as Confucian and Buddhist ideas, palace academy garden and Buddhist artist styles, unique traditional and western painting styles, is one of the representative works that symbolically illustrate the development and innovation of painting in the late Joseon dynasty. However, the absence of painting inscriptions raised persistent controversy over the past half century among researchers as to the matters of estimating its production period, identifying the original author and analyzing style characteristics. In the end, the work failed to gain recognitions commensurate with its historical significance and value. It is the particularly vital issue in that estimating the production period of the existing masterpiece is the beginning of all other discussions. However, this issue has caused the ensuing debates since all details are difficult to be interpreted to a concise form due to a number of different records on painters and mixture of traditional buddhist painting styles used by buddhist painters and innovative western styles used by ordinary painters. Contrary to other ordinary Buddhist paintings, this painting, Samsaebulhoedo, has a praying letter for the royal establishment at the center of the main altar. It should be noted that regarding this painting, its original version-His Royal Highness King, Her Majesty, His Royal Crown Prince主上殿下, 王妃殿下, 世子邸下-was erased and instead added Her Love Majesty慈宮邸下 in front of Her Majesty. This praying letter can be assumed as one of the significant and objective evidence for estimating its production period. The new argument of the late 19th century production focused on this praying letter, and proposed that King Sunjo was then the first-born son when Yongjusa Temple was built in 1790 and it was not until January 1, 1800 that he was ascended to the Crown Prince. In this light, the existing praying letter with the eulogistic title-Crown Prince世子-should be considered revised after his ascension to the throne. Styles and icons bore some resemblance to Samsaebulhoedo at Cheongryongsa Temple or Bongeunsa Temple portrayed by Buddhist painters in the late 19th century. Therefore, the remaining Samsaebulhoedo should be depicted by them in the same period as western styles were introduced in Buddhist painting in later days. Following extensive investigations, praying letters in Buddhist paintings in the late 19th century show that it was usual to record specification such as class, birth date and family name of people during the dynasty at the point of producing Buddhist paintings. It is easy to find that those who passed away decades ago cannot be revised to use eulogistic titles as seen by the praying letters in Samsaebulhoedo at Yongju Temple. As "His Royal Highness King, Her Majesty, His Royal Crown Prince" was generally used around 1790 regardless of the presence of first-born son or Crown Prince, it was rather natural to write the eulogistic title "His Royal Crown Prince" in the praying letter of Samsaebulhoedo. Contrary to ordinary royal hierarchy, Her Love Majesty was placed in front of Her Majesty. Based on this, the praying letter was assumed to be revised since King Jeongjo placed royal status of Hyegyeonggung before the Queen, which was an exceptional case during King Jeongjo's reign, due to unusual relationships among King Jeongjo, Hyegyeonggung and the Queen arising from the death of Crown Prince(思悼世子). At that time, there was a special case of originally writing a formal tripod praying letter, as can be seen from ordinary praying letter in Buddhist paintings, erasing it and adding a special eulogistic title: Her Love Majesty. This indicates that King Jeongjo identified that Hyegyeonggung was erased, and commanded to add it; nevertheless, ceremony leaders of Yongju Temple, built as a palace for holding ceremonies of Hyeonryungwon(顯隆園) are Jeongjo, the son of his father and his wife Hyegyeonggung (Her Love Majesty)(惠慶宮(慈宮)). This revision is believed to be ordered by King Jeongjo on January 17, 1791 when the King paid his first visit to the Hyeonryungwon since the establishment of Hyeonryungwon and Yongju Temple, stopped by Yongju Temple on his way to palace and saw Samsaebulhoedo for the first and last time. As shown above, this letter consisting of special contents and forms can be seen an obvious, objective testament to the original of Samsebulhoedo painted in 1790 when Yongju Temple was built.