• The Journal of the Korea Contents Association
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• v.21 no.6
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• pp.435-444
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• 2021

This paper discusses the geometrical interpretation of the Taegeuk Shapes of Kameun Temple through the geometric analysis of mathematics. Based on the literature, This paper attempted to clarify that the origin of Gameunsa's founding of the spirit of patriotism may coincide with historical records through historical literature and geometric meaning. First, the background of the founding of Kameun temple, geographical location located near the East Sea, especially the history of the ancient Chinese mathematics at the time, And that mathematical knowledge influenced all fields such as agriculture, architecture, and art. Secondly, it is related to the historical record as the space of about 60 centimeters, which is uniquely underground, was identified as the structure of the excavated space. It is thought that there is a strong correlation with the origin that the King Munmu changed into a dragon, and set up the temple to be able to stay. Based on these, the clues of the interpretation of the taegeuk and the triangular pattern were searched in the samcheon yanggi(參天兩地) of the Oriental and circumference of the Western. The taegeuk and triangular patterns represent the symbols of yin-yang harmony, which correspond to the origin of its creation. the Korean people regarded the mysterious dragon as a symbol of yinyang harmony. In conclusion the Shapes of Kameun temple's stone is consistent with the contents mentioned in the historical record.

• Journal of Korean Classical Literature and Education
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• no.34
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• pp.41-74
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• 2017

This study aimed to investigate the narrative strategy and meaning of fantasy in classic novels and to derive the educational meaning from the fantasy of Sukhyangjeon. This study selected Sukhyangjeon because is considered a suitable literary text that embodies characteristics of fantasy inherent in classical novels through its successful portrayal of the fantasy genre and its high popularity during its time. Specifically, this study observed that the "notice of hardships" which repeatedly appears in the narration of Sukhyangjeon reinforces the fantasy of the novel as it serves as an advance notice of intervention from heaven. Therefore, this study investigated the relationship between the notice of hardships and fantasy by focusing on Sukhyang's life. The way in which the "notice of hardships" is a form of illusion realized it evident in the plot when heaven saves Sukhyang from her hardship even though it was heaven that had granted her those forms of hardship. Firstly, the "notice from heaven" constitutes the macro structure of Sukhyangjeon. Through it, readers realize the enormous power of heaven by seeing how Sukhyang's life has been realized in accordance with heaven's notice with that, it evokes a sense of respect to heaven. In addition, heaven saves Sukhyang from different forms of danger. It enhances a miraculous feeling, which the omnipotent power of heaven shows, against the innocent appearance of Sukhyang during her times of danger. Meanwhile, when heaven notifies Sukhyang and the surrounding people of their fate and subsequently realizes it through dreams, this act creates a mysterious atmosphere and improves the probability of the narrative. If so, the narrative meaning in reinforcing the fantasy of the novel by the use of "notice of hardships" could be revealed through Sukhyang's real life. First, the hardship in which Sukhyang has gone through is so realistic and detailed that the readers' feelings of empathy are evoked with the fear of the coming hardship, wailing together, and trying to resolve the inner anxiety through Sukhyang's happiness. Second, the heavenly beings who are touched by the good behaviors of Sukhyang save her from the dangers of death. This creates the belief in readers that heaven intervenes for the good people. Third, the active attitude that Sukhyang and Leesun show in the process of marriage helps them overcome their earthly hardship and preserve their relationship in heaven. This gives readers hope that they could go to a "higher life" after going through suffering. This fantasy of Sukhyangjeon helps readers overcome their anxieties of reality through fantasy and recognizes the importance of relationships to enhance a sense of unity and solidarity with others. Because of these elements, it is expected that the fantasy of Sukhyangjeon will have a meaningful value to modern readers.

• (The) Research of the performance art and culture
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• no.34
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• pp.111-131
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• 2017

Korean Shamanism has long been regarded as the peripheral cult or supersition by the majoriy of the society. This fact is a result by the influence of the mass media, especially the motion pictures, which intentionally reflected the negative images of the Shamanism. The documentary films, which stress the objectivity and the reality, rather disclose the neutral position toward the Shamanism. In fact, the directors of the documentary films who have more or less close relationship with the Shamanism have tried to exhibit the mental world and the traditionality of the Shamanism. In this paper, I will explore the value of Shamanism reflected in the documentary films. I focus of two films; directed by the Korean and directed by a foreigner. In this way, I can compare the attitudes of the two directors toward the Korean Shamanism. The director of confessed that he was attracted by the aspect of a musical underlied in the shaman ritual. However, the film does not show the artistic beauty of the shaman music because the director failed to understand the essential aspect of the shaman ritual, that is, the music. In this way, the director failed to show the distinct characteristics of the shamanism to the audience. The director of , a music herself, was focused on the music of the shamanism. The story flows to the adventure to seek a "master" with a long journey to enjoy diverse genres of Korean performing arts. This story resembles the epic shaman song, the Princess Bari. In this way, the audience can easily grasp the beauty of Korean culture. Music is said to be a universal language and, at the same time, a non-universal language which reflects a special trait of a cultural community. The Korean shaman ritual music is a non-universal language that is an accumulation of the Korean culture for a long time. The Korean director fails to exhibit the essential characteristics of the Shamanism since he does not have enough knowledge toward the shaman ritual music in . However, the foreign director, who is a music herself, successively disclose the underlying beauty of Korean shaman ritual music and Korean traditional culture in .

• The Journal of Korean Philosophical History
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• no.36
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• pp.319-352
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• 2013

This paper aims to compare Liang Shu-Ming and Lee Don-Hwa's perceptions of modernization and the philosophical grounds of their perceptions during the New Cultural Movement period in Korea and China. Although Liang and Lee had different levels of enthusiasm towards New Cultural Movement, they shared many commonalities in their attitudes to Western modernization and their philosophical justifications for such attitudes. Liang Shu-Ming not only held positive views of Western modernization, but also examined the spiritual dynamics contributing to the development in science and democracy in Western countries. By analyzing the three fundamental questions of life, three kinds of human attitudes toward life, three types of culture derived from human attitudes, and the recapitulation theory, Liang systematically reviewed the spiritual dimension of Western modernization. Liang defined the spirit of Western modernization as a calculative rationality based on egoism and the separation of Self and Other. Such a statement demonstrates Liang's keen insights towards Western modernization. Meanwhile, although Lee Don-Hwa basically held positive views of Western modernization, from the beginning, he pointed out the problems with Western modernization and attempted to overcome these problems by employing the "human is heaven" doctrine of Cheondogyo. While Lee embraced modern science and the theory of evolution, he also insisted on the legitimacy of mysticism and the compatibility of the creation theory of Cheondogyo and the theory of evolution. Although Lee employed the concepts in Western philosophy of life, he also emphasized the interdependence, reciprocal relationship, and connectedness between Self and Other from the perspective of Cheodogyo doctrine. From the fact that Lee Don-Hwa transcended the modernization theory when he was applying it to answer questions, it seemed that Lee preceded Liang Shu-Ming. Nevertheless, Lee did not demonstrate the keen insight into the spiritual dimension of Western modernization, and his criticism against Western modernization did not touch upon the problem of rationality as Liang did.

• Korean Association for Visual Culture
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• v.23
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• pp.463-524
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• 2013

En exprimant 'la découverte de l'homme', Valéry, dans la Philosophie de la danse, représente «un plaisir qui allait jusqu'à une sorte d'ivresse, et si intense parfois, qu'un épuisement total de ses forces, une sorte d'extase d'épuisement pouvait seule interrompre son délire, sa dépense motrice exaspérée». Dans le même sens du plaisir, Jayadéva, dans son dithyrambe du Gîta-Govinda, représente la danse de Harî, une des nombreuses formes de Vichnou. Excités par le brûlant désir des jeux de la volupté, Hari et son amante Râdhâ cherchent au cours de la danse Râsa l'énergie vitale. Voilà la source du plaisir mystérieux valéryen. Ensuite l'eau, «élément essentiel de toute vie», est la mesure du temps de même que le soleil, l'eau est le principe de l'harmonie comme celui du monde. Finalement, chez Valéry, sous les diverses infleunces de l'eau mythique, la mer devient l'Océan de lait, soit le lieu de naissance, soit la substance maternelle, soit l'essence da la création universelle. Or tout au long de 「La Dormeuse」, Valéry évoque l'image de 'Vichnou-Narayana' sous l'influence de la mythologie indienne. Et sous une autre influence de Flaubert, Valéry évoque « d'étranges mondes abstraits». Malgré tout, Valéry crée lui-même, dans 「La Dormeuse」, une nouvelle image d'un monde abstrait : 'Vichnou-Narayana' couché sur un lit de lotus, porté par les replis du grand serpent Ananta, qui élève au-dessus du dieu endormi méditant, ses sept têtes formant une éspèce de dais - du sein de Narayana, richement décoré d'un collier d'étoiles et d'une couronne de pierres précieuses en forme de disque, croit un lotus qui porte Brahma dans son calice ; Lakchmi est aux pieds de son divin époux. L'épisode des dieux indiens est à un stade encore plus avancé de la destruction du symbole. Ils sont réduits à des formes symboliques obscures, non commentées et même difficilement identifiables. Le dieu rose qui mord son orteil dans une attitude à la fois mystérieuse et grotesque, c'est Vichnou qui a, selon le vichnouisme, le premier rôle dans la création du monde. Il flottait avant la création sur les eaux, couché sur une feuille de figuier, sous la forme d'un jeune enfant qui porte son pied vers sa bouche. Cette scène évoque la méditation et le repli sur soi de la divinité avant le commencement. Valéry désigne la cosmogonie particulière d'une religion bien déterminée(le vichnouisme) sans la nommer et en la vidant de son sens pouratnt capital, laissant subsister un symbole guetté par le grotesque, un dieu en enfance ; d'autre part, cette cosmogonie est télescopée et intégrée par une cosmogonie d'origine différente : le désemboîtement des trois dieux renvoie à la théorie sivaiste du Lingam, l'arbre de vie. Les dieux de la tirinité iendienne se détachent les un après les autres et il ne reste plus que la fleur sous la garde de Vichnou. Le désemboîtement des dieux paraît bien se référer à cette conception, malgré l'absence du lingam. Enfin toute la forme veille ; et tous les yeux sont ouverts.

• The Journal of Korean Philosophical History
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• no.56
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• pp.151-180
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• 2018

Since the completion of the theories on human ethics and moral had been established to pursue by Confucian thinkers like Confucius and Mencius, they generally had agreed to present the basic principles for human education which every human could be the sage. In these principles for human ethics and morality there is on the premise that the knowledge about your own ethical and that the completion of the so-called act(爲) and learning(學). They had given to us that how to get a goal for the ethical and moral lives there are several academic oriented methodology will have act and learning set. In the point of achieving complete figures which act and learning for good society, there was named the sage(聖). This concept sage has two major types. One is on for the political figures that completed, and the other one is for the realm of academic side. Confucian as above mentioned the moral human being is equipped with a complete personality and political ability to make man and society perfect. Confucius has been understood as a complete human being. Yes, ideal for these two types of figures will be fulfilled in some way? They take a mystical ability to a priori or a posteriori, such as human effort can reach the sage. There are many thinkers are obvious and logical answer for this major problem in the system of confucian philosophy I have been trying. About the sage(聖), inherently natural learning(生知) occur to the position sage or knowledge (學知), can lead to there are two of the doctrine for that problem. With the study of learning and knowledge on human beings and real society the two systems concerned together. In fact, the main content of the "Analects of Confucius" we have a set of ethical and moral values not the benevolent conversation about Jin(仁) and his disciples a steady emphasis but on in praise of learning (學) for. However, at the time in Han Tang(漢唐) Han Wi(韓愈) and Wang Chung(王充), according to such thinkers the sage is already a priori determined, cannot be reached by human effort. But At the beginning of the Neo-Confucianism, Cheng I(程?) for the pioneer this Song(宋) scholars, regarding this issue could rebirth the thought that every human could be the sage through the learning as the pre-Chin(先秦) times.

• 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.

• Cross-Cultural Studies
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• v.44
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• pp.211-237
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• 2016

This paper seeks to explore the new relationship between music and poetry established in the beginning of the Modern Era. This was a period when reading silently was the dominant culture rather than reading aloud and orality was limited due to the emergence of literacy and print culture. A poet sensitive to the characteristics of the period, $Mallarm{\acute{e}}$ created his own concept of music and new creative principles of poetry from it. We analyze his "Divigation" and letters, in particular, the "Crisis of vers", "Music and Literature", "Mystery in the letters", and "About the book." Firstly, $Mallarm{\acute{e}}$ connects music with the mystery and the sacred: the mystery surrounds the music and the music is oriented with the sacred. The sanctity is that of the human race and has existed within humans since the beginning. Transposing the characteristics of this music to the poetry is his first creative principle of poetry. However, $Mallarm{\acute{e}}$ called music a totality of relationships that exist between objects without reducing the dimension to only the instruments or the sound. His definition is abstract, regarding music as a complete rhythm, the atmosphere and the air. Secondly, we have the question of how to realize music in a poem. As the music is surrounded by the mystery, $Mallarm{\acute{e}}$ can transpose the sacred to a poem in mysterious ways. This leads to his second principle of poetry: make a poem as a structure. In other words, 'musically', based on the disappearance of real objects and the initiative of the poet, he created a structure with only the words. We can create an acoustic structure but $Mallarm{\acute{e}}$ created a visible structure to overcome the incompleteness of the sound of a word in the diffusion of print culture. In this manner, the use of silence as much as sound and the use of visual as much as aural components were introduced in poetry as important motifs and the essentials of creation. This new relationship between poetry and music and the creative principles drawn from it appear to be the areas to which attention should be focused in the research of poetry.

• (The) Research of the performance art and culture
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• no.32
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• pp.31-70
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• 2016

Jongmyo Jeryeak [Royal ancestral shrine music] is a precious cultural heritage, which has been played till now since two great kings Sejong and Sejo who made it. But going through Japanese occupation, Jongmyo Jeryeak has been changed into a music totally different from the music the two kings intended. And the changed Jongmyo Jeryeak is being played these days. The original Jongmyo Jeryeak, which was made by the two kings, remains in old music scores. Therefore there is a need to investigate the differences between the original and current Jongmyo Jeryeak by interpreting the old music scores and recovering the original. This paper recovers the origianl Jongmyo Jeryeak from the music score Daeakhubo and compares it with the current Jongmyo Jeryeak. The results are as follows. The origianl Jongmyo Jeryeak is a set of common songs made with Hyangak and Gochiak to sing the verses which extol royal ancestors' virtues. All of the musical elements are matched with the verses so that the meaning of the verses is transmitted naturally. Jangdan musical time musical structure are matched with the structure of verses, and the musical motif of the songs is matched with the meaning of the verses. The music, which is easy and expresses the meaning of the verses well, demonstrates King Sejong's talent as a musician. The current Jongmyo Jeryeak is a set of special songs in which Sigimsae is emphasized rather than the meaning of the verses. The melodies are broken into pieces inconsistently, the meaningless word 'ae' is added thoughtlessly, and Jangdan musical time musical structure are unrelated to the verses. Therefore the meaning of the verses is not transmitted at all. These changes, which were made during the period of Japanese occupation, seem to desecrate the verses of the original songs. The melodies, which are broken into pieces inconsistently, revive into the current mysterious ritual music through Sigimsae. But in order to be a proper ritual music, some corrections have to be made to convey the meaning of the verses.

• Broadcasting and Media Magazine
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• v.10 no.1
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• pp.85-98
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• 2005

About the phenomenon of being imaged of everything, the scholars of the humanities who had studied on the simple reason structure in a text have been in a big agony how accept it. Especially, semiologists have studied about this for a long time and the points at issues of Saussure, Peirce as well as Umbeto Eco are more outstanding. Being based upon his philosophic interesting from medieval esthetics to modern semiotics, Eco was very concerned about the field of general esthetics and poputar arts like television and cartoons. He connected the mutual open-relations between 'signifier' and 'signified' debated in Semiotics with the open and vague modern arts and regarding it as a deviation from the custom, intensively studied the film-media. Saussure is a representative figure of semiotics and explained Sign and the character of semiotics as the division into two parts such as signifier/ signified, form/ substance, langue/ parole, synchrony/ diachrony. The triadic semiotics (the theory that Sign is composed of the triadic structure like sign, referent and interpretant) of Peirce put the new item- 'interpretant' in sign and referent to connect them and open the possibility to introduce time in to the Sign. In this paper, I try to analyze a cartoon film in the semiotic structure with the systemic, reasonable and logical approach and analysis as as possible. While the images shown through a film were depended on the romantic and impressional judge in the past, due to semiotics, it' s quite possible to correlate the procedure of symbolization to social coherence so that we analyze the incredible power of images to suck audiences with the systemetic Sign. I accept all ot film-images including a cartoon film as not the simple esthetic arts but a social custom and system, want to serve as a aid to properly understand world and humanbeings and prevent the film-image from being mystic. A cartoon and a cartoon film which were begun with the link of a text and an illustration give shape to all of images such as materials, places and even thoughts with a cartoon icon existed in only a cartoon. A cartoon and a cartoon film simply and exquistely conceptualize the complex and vague attribute of an organic creature and extend them infinetly beyond language. However, it can be exploited as a mysticism to temptate the general public and a faking material. In addition to that, it can distort our world-knowledge engaging a political power and the massive power of mass media. In this paper, being based on semiotics to approach a cartoon film in a scientific and organic system, I conclude that a non-linguistic cartoon expression is entangled with the manifold signs and implies the supplementary meanings just like a regular linguistic expression. It remarks that the iconic images of a cartoon film are composed of the social codes and can be analyzed on grounds of a linguistic system.