• Cross-Cultural Studies
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• 제42권
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• pp.7-22
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• 2016

Since the Taoyuanming of Confucius an Arcadia (Taohuayuan), utopia imagined in China has continued to this day. Such utopian imagination has been shaped by a variety of literary texts. These works depict the human desires and frustrations that form the utopian imagination. Typically, an Arcadia (Taohuayuan) has been recognized as a symbol of East Asian utopia. An Arcadia (Taohuayuan) anarchism is the utopian character of this small country, based on sensitization of the Lao strong. An Arcadia (Taohuayuan) world ruling class does not exist. But Confucius thought a utopian world is possible to imagine on the premise of 'Virtuous Policy' (德治). By the late Qing Dynasty (淸末), Kangyouwei (康有爲) had written and presented a utopia realized through the system of the "East-West stand." The literary text on utopia information in continued to experiment with implementation of the 'imagined' in the literature as "reality" of everyday life, immediately following the 1911 revolution in the People's Republic of China. As an Avant garde writer, Gefei's "Renmiantaohua" was influenced by the reflexive nature of the report on the point of the experiment. Gefei's "Renmiantaohua" has been rated as an outstanding work depicting the implementation process and the frustration of the utopian imagination. He is an inspiration to vanguard artists who focus on the desire and the frustration of the utopian imagination through the "Renmiantaohua" myths and stories that are comparable to the Sijipuseu story, which in itself perpetuates utopia in literature. In this paper, we explored the trails to implementation of a utopian imagination that has persisted since the ancient Chinese in current literary text. An Arcadia (Taohuayuan) of Confucius and Taoyuanming accompanied Gefei in the 21st century in describing the process of desire and frustration to realize utopia through a variety of traditional shape figures among other favorites. The author interprets those frustrations and desires of the human life course as just utopian imagination.

• Cross-Cultural Studies
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• 제48권
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• pp.67-106
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• 2017

This study focuses on two specific history of Korean literature in Chinese: the outline of The History of Joseon Literature (2010) by Li Yan and The History of Joseon Literature (1988, 2008) by Wei Xu-sheng; it was conducted to compare narrative viewpoints to the history of South and North Korean literature and therefore identify distinguishable characteristics. As a result, the following was concluded. First, The History of Korean Literature by Cho Dong-il and The History of Korean Literature in North Korea (15 volumes) include thorough discussions on division of historical eras, concept of genres as well as individual literary works and applied such discussions on writing literary history. However, Wei Xu-sheng and Li Yan's The History of Korean Literature did not illuminate theoretical discussion of South and North Korea. Li Yan's outline of The History of Joseon Literature was published in 2010 and the first edition of Wei Xu-sheng's The History of Joseon Literature was published in 1986 and later was published as revised editions in 2000 and 2008. Regarding published dates, it is a matter of course to reference Cho Dong-il's The History of Korean Literature, published in the 1980s, or The History of Korean Literature in North Korea (15 volumes), published in the 1990s; nevertheless, neither Wei Xu-sheng nor Li Yan used those texts in their works. Their works were heavily influenced by the narrative tradition of the history of national literature and therefore, entailed unsophisticated discussion on the division of historical eras or the concept of genres. Second, those two texts also emphasized external factors such as politics, society, economy and culture and explicitly mention these factors in historical overview of each chapter. Such an approach is commonly used in narratives of literary history under socialist regimes, including The History of Korean Literature in North Korea (15 volumes). Accordingly, evaluations based on 'political standards' - stress of people, nationality, practicality and so forth - in main texts are particularly accentuated, akin to narratives of literary history under socialist regimes. Finally, since those two Korean literature history works are written by Chinese scholars, they focus on correlation between Chinese literature history and Korean literature history. However, several genre-related terminologies such as Xiaopin (a kind of essay), Yuefu (a kind of popular song/poem), Yuyan (fable), Shuochang (telling of popular stories with the interspersal songs), Shizhuan (biography or/and memoirs in history) were adopted directly from Chinese literature. In analyzing Korean literature using terminologies introduced from Chinese literature, differences between original and alternative definitions were not examined in detail. While some terminologies and concepts were adopted directly without further consideration as to state of the two nations, it is also interesting to note that dichotomy, mainly used in Korean literature history, was used to discuss the genre of Cheonki (romance tale), relevant to Suyichon and Keumosinhua, rather than follow traditions of Chinese literature history.

• Korean Journal of Heritage: History & Science
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• 제50권2호
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• pp.62-79
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• 2017

The principle of repairing the architectural heritage in China was first presented by Liangsicheng of Society for Research in Chinese Architecture in the 1930s, and it was stated as "Restoration of Historic Condition or Preservation of Existing Condition" in 1961 in the "Provisional Regulations on the Protection and Management of Cultural Relics" after various repair experiences under the social and political background of the 1950s. Restoration of historic condition generally means restoration to original shape, and because architectural heritage was often repaired based on similar principle in Korea and Japan in the early and mid 20th century, it can be said that the restoration of historic condition was a universal and leading principle in this period in Northeast Asia. In China, however, the preservation of existing condition is equally specified along with the restoration of historic condition. When considering the leading trend of the time, it seems to be rather unexpected, which leads to questions about the formation process and meaning. The research on Liangsicheng, which first suggested the principle of repair, is very important, but there is a lack of three-dimensional analysis of his principles compared with active research on international principles in China. In order to understand the process of formation and its meaning of the principle of repair in China, we first need to analyze the principle proposed by Liangsicheng, and it is necessary to comprehensively examine how the principle have changed under the social background surrounding architectural heritage conservation after the founding of the People's Republic of China(PRC). In this paper, we first show that Liangsicheng has proposed a principle of restoration of historic condition with important values in the originality, and at the same time he opened the possibility of preservation of existing condition for the result of value judgment or realistic reason. In addition, we examine the process of equalizing preservation of existing condition with a restoration of historic condition as a realistic principle due to the influence of Soviet architectural heritage conservation system and Chinese economic development oriented policy after the founding of PRC.

• Cross-Cultural Studies
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• 제52권
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• pp.165-194
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• 2018

Employing Fairclough's critical discourse analysis (CDA), the purpose of this study was to analyze linguistically significant features, intertextuality, and sociocultural practice focusing on selected editorials of The Global Times, $Hu{\acute{a}}nqi{\acute{u}}$ Shíbào on the 2018 United States-China Trade War. The editorial titled "With the strong will of 'the War to Resist America and Aid Chosun,' let us go through the trade war against America" focused on the use of 'war' related vocabulary in the frame of 'war.' First, "Trade War" and "War to Resist America and Aid Chosun" are examples that reveal metaphors and a war frame. Second, "Strategy" is used positively for China but negatively towards America. Third, various war related words are used. Fourth, cases of allusion illustrate war. Intertextuality in terms of discourse practice pertains to two findings. First, The Global Times, $Hu{\acute{a}}nqi{\acute{u}}$ Shíbào repeatedly uses the phrase 'equivalent revenge.' That is because the expression enables China to justify their counterattack and such war that China may wage can be interpreted as just counterattack much like a self-defense mechanism. Second, the expression, 'the counterattack is not intended but it is not fearful' is repeated in several editorials of the newspaper. The reasons are the following: 1) it is used to appeal to the public, 2) by invoking the feeling of fear, the public should be understand why they should unite, and 3) the expression, "it is not fearful" is used to preserve China's global image and "the counterattack is not intended" is used to signal China's will to America. The whole expression is a good example of intertextuality that repetitively illustrates the intended meaning of China in nine editorials in the newspaper within three months, March 23-June 17, 2018. Finally, sociocultural practice is manipulated through the editorial for disseminating the Chinese government's hegemonic ideology. First, it is clear that the core national project, "China Manufacturing 2025" cannot be abandoned. Second, by calling for "War to Resist America and Aid Chosun" the editorial is manipulated to condemn and intimidate America, avoid dissent of the people, appeal to the people, and empower the government. Third, China somehow wants to open up the possibility of negotiation with the United Sates.

• Trans-
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• 제15권
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• pp.25-56
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• 2023

VR is a dynamic image simulation technology with very high information density. Among them, spatial depth, temporality, and realism bring an unprecedented sense of immersion to the experience. However, due to its high information density, the information contained in it is very easy to be manipulated, creating an illusion of objectivity. Users need guidance to help them interpret the high density of dynamic image information. Just like setting up navigation interfaces and interactivity in games, interactivity in virtual reality is a way to interpret virtual content. At present, domestic research on VR content is mainly focused on technology exploration and visual aesthetic experience. However, there is still a lack of research on interactive storytelling design, which is an important part of VR content creation. In order to explore a better interactive storytelling model in virtual reality content, this paper analyzes the interactive storytelling features of the VR animated version of <Wolves in the walls> through the methods of literature review and case study. We find that the following rules can be followed when creating VR content: 1. the VR environment should fully utilize the advantages of free movement for users, and users should not be viewed as mere observers. The user's sense of presence should be fully considered when designing interaction modules. Break down the "fourth wall" to encourage audience interaction in the virtual reality environment, and make the hot media of VR "cool". 2.Provide developer-driven narrative in the early stages of the work so that users are not confused about the ambiguous world situation when they first enter a virtual environment with a high degree of freedom. 1.Unlike some games that guide users through text, you can guide them through a more natural interactive approach that adds natural dialog between the user and story characters (NPC). Also, since gaze guidance is an important part of story progression, you should set up spatial scene user gaze guidance elements within it. For example, you can provide eye-following cues, motion cues, language cues, and more. By analyzing the interactive storytelling features and innovations of the VR animation <Wolves in the walls>, I hope to summarize the main elements of interactive storytelling from its content. Based on this, I hope to explore how to better showcase interactive storytelling in virtual reality content and provide thoughts on future VR content creation.

• MISULJARYO - National Museum of Korea Art Journal
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• 제97권
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• pp.87-104
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• 2020

Myogilsang on Diamond Mountain, signed and dated (2000) by Seon-u Yeong (1946-2009), is the first work by a North Korean artist to enter the collection of the National Museum of Korea (fig. 1a). The donor acquired the painting directly from the artist in Pyeongyang in 2006. In consequence, there are no issues with the painting's authenticity.This painting is the largest among all existing Korean paintings, whether contemporary or from the Joseon Dynasty, to depict this iconography (see chart 1. A Chronological List of Korean Myogilsang Paintings.) It is ink and color on paper, measures 130.2 × 56.2 centimeters, and is in a hanging scroll format. Since this essay is intended as a brief introduction of the painting and not in-depth research into it, I will simply examine the following four areas: 1. Seon-u Yeong's background; 2. The location and the traditional appellation of the rock-cut image known as Myogilsang; 3. The iconography of the image; and 4) A comparative analysis of Seon-u Yeong's painting in light of other paintings on the same theme. Finally, I will present two more of his works to broaden the understanding of Seon-u Yeong as a painter. 1. Seon-u Yeong: According to the donor, who met Seon-u at his workshop in the Cheollima Jejakso (Flying Horse Workshop) three years before the artist's death, he was an individual of few words but displayed a firm commitment to art. His preference for subjects such as Korean landscapes rather than motifs of socialist realism such as revolutionary leaders is demonstrated by the fact that, relative to his North Korean contemporaries, he seems to have produced more paintings of the former. In recent years, Seon-u Yeong has been well publicized in Korea through three special exhibitions (2012 through 2019). He graduated from Pyeongyang College of Fine Arts in 1969 and joined the Central Fine Arts Production Workshop focusing on oil painting. In 1973 he entered the Joseon Painting Production Workshop and began creating traditional Korean paintings in ink and color. His paintings are characterized by intense colors and fine details. The fact that his mother was an accomplished embroidery specialist may have influenced on Seon-u's choice to use intense colors in his paintings. By 1992, he had become a painter representing the Democratic People's Republic of Korea with several titles such as Artist of Merit, People's Artist, and more. About 60 of his paintings have been designated as National Treasures of the DPRK. 2. The Myogilsang rock-cut image is located in the Manpok-dong Valley in the inner Geumgangsan Mountain area. It is a high-relief image about 15 meters tall cut into a niche under 40 meters of a rock cliff. It is the largest of all the rock-cut images of the Goryeo period. This image is often known as "Mahayeon Myogilsang," Mahayeon (Mahayana) being the name of a small temple deep in the Manpokdong Valley (See fig. 3a & 3b). On the right side of the image, there is an intaglio inscription of three Chinese characters by the famous scholar-official and calligrapher Yun Sa-guk (1728-1709) reading "妙吉祥"myogilsang (fig. 4a, 4b). 3. The iconography: "Myogilsang" is another name for the Bhodhisattva Mañjuśrī. The Chinese pronunciation of Myogilsang is "miaojixiang," which is similar in pronunciation to Mañjuśrī. Therefore, we can suggest a 妙吉祥 ↔ Mañjuśrī formula for the translation and transliteration of the term. Even though the image was given a traditional name, the mudra presented by the two hands in the image calls for a closer examination. They show the making of a circle by joining the thumb with the ring finger (fig. 6). If the left land pointed downward, this mudra would conventionally be considered "lower class: lower life," one of the nine mudras of the Amitabha. However, in this image the left hand is placed across its abdomen at an almost 90-degree angle to the right hand (fig. 6). This can be interpreted as a combination of the "fear not" and the "preaching" mudras (see note 10, D. Saunders). I was also advised by the noted Buddhist art specialist Professor Kim Jeong-heui (of Won'gwang University) to presume that this is the "preaching" mudra. Therefore, I have tentatively concluded that this Myogilsang is an image of the Shakyamuni offering the preaching mudra. There is no such combination of hand gestures in any other Goryeo-period images. The closest I could identify is the Beopjusa Rock-cut Buddha (fig. 7) from around the same time. 4. Comparative analysis: As seen in , except for the two contemporary paintings, all others on this chart are in ink or ink and light color. Also, none of them included the fact that the image is under a 40-meter cliff. In addition, the Joseon-period paintings all depicted the rock-cut image as if it were a human figure, using soft brushstrokes and rounded forms. None of these paintings accurately rendered the mudra from the image as did Seon-u. Only his painting depicts the natural setting of the image under the cliff along with a realistic rendering of the image. However, by painting the tall cliff in dark green and by eliminating elements on either side of the rock-cut image, the artist was able to create an almost surreal atmosphere surrounding the image. Herein lies the uniqueness of Seon-u Yeong's version. The left side of Seon-u's 2007 work Mount Geumgang (fig. 8) lives up to his reputation as a painter who depicts forms (rocks in this case) in minute detail, but in the right half of the composition it also shows his skill at presenting a sense of space. In contrast, Wave (fig. 9), a work completed one year before his death, displays his faithfulness to the traditions of ink painting. Even based on only three paintings by Seon-u Yeong, it seems possible to assess his versatility in both traditional ink and color mediums.