• Korean journal of communication and information
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• v.46
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• pp.449-484
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• 2009

It has been said that Gwangjudream, nevertheless a free press, plays a role as a local press that it should be, in a situation that other local papers do not. This study aims to reveal the forces that influence the article production of Gwangjudream, and to examine the interrelations between them, through using the methods of participant observations and depth interviews. In this course, it is eventually purpose of providing more deep understandings on the present circumstances and problems of the local papers and having a chance to concern the concrete ways to enhance them. This study results in revealing the five forces that primarily influence the article production of Gwangjudream: 1) as a historical force, keeping the spirit of the first publication that look forward to playing a role as a local press that it sound be, 2) as an individual force, the habitus of its members that is critical of mainstream society and culture, 3) as an organizational force, non-hierarchical culture and the independence of the editorial rights, 4) as a habitual force, the deny of beat system, 5) as an economical force, the power of sponsors, financial poorness, and the competition for attracting subscribers. While the historical force and the individual force play a role as fundamental circumstances and the organizational force and the habitual force as practical circumstances for producing articles, they encourage to emerge the characteristics of the articles that are related to citizens' everyday life and reflect locality, and criticize and keep an eye on government and other public offices. However, the economical force provides the circumstances that weaken the characteristics of Gwangjudream. The results of this study question the perspective to overly regard it as coming from their economical weakness that the local newspaper do not play a role as a local press that it should be.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.160-171
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• 2018

This study aims to find an original form of temple flower decoration patterns, considering floral lattice pattern as a view element composing temple landscape. To that end, we analyzed and interpreted the form and symbol expressed in the floral lattice pattern at Nahanjeon of Seonghyel Temple at Yeongju, Gyeongsangbukdo. The front side of Nahanjeon windows shows a sculpture with 176 pure patterns in a form where two squares are in sequence. The basic concept of main front door (the inner gate of Nahanjeon) frames is considered the design language of lotus pond that symbolizes "square land" in traditional gardens. The four leaf clover and arrowhead are water plants discovered in areas nearby ponds, which are a realistic expression conforming to the water ecology of lotus pond. The lotus, which is the most important plant at the main front door, indicates purity, a non-stained state, and the world of the lotus sanctuary, which is the land of blissful happiness in Buddhism. The lotus expressed in the floral lattice pattern is spread in a diverse form, containing the features of creation and destruction, showing the landscape character of the "One Body of Buddha and Lotus". The expression of flying birds such as kingfishers and egrets is an ecologically aesthetic idea to infuse dynamism and vitality into a seemingly static aquatic ecosystem. The floral lattice pattern contains lotus pond scenery showing symbiosis of animals(i.e., dragons, frogs, crabs, fishes, egrets, wild geese, and kingfishers) and plants(i.e., four leaf clovers and arrowheads), which are symbols of relief faith for longevity, wealth, preciousness, and many sons. The pattern is not just an ecological aesthetic expression but a holistic harmony of ecological components such as growth and disappearance of lotus and its leaves, fitting habitats, symbiosis, and food chain.

• (The)Study of the Eastern Classic
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• no.66
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• pp.35-73
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• 2017

The aim of this article is to analyze the feature of the $Hongch^{\prime}{\breve{o}}n$ poetry society(紅泉社). The leader of the $Hongch^{\prime}{\breve{o}}n$ poetry society was Yi Mansu(李晩秀), and the members of that were Yi Naksu(李洛秀), Sin Chin(申縉) Sin Chak(申綽) Sin $Hy{\breve{o}}n$(申絢) Pak Chongu(朴宗羽) $Ch{\breve{o}}ng$ Sukwi(鄭遂龜) $Kw{\breve{o}}n$ Sik(權?) Kim Kyeon(金啓溫). They organized the poetry society at Gi-dae(企臺) of Seoul. The poems of the $Hongch^{\prime}{\breve{o}}n$ poetry society were included in "$K{\breve{u}}gw{\breve{o}}n$ yugo(?園遺稿)", a collection of Yi Mansu's works. The $Hongch^{\prime}{\breve{o}}n$ poetry society was maintained for three years, from 1817 to 1820. The members of the $Hongch^{\prime}{\breve{o}}n$ poetry society gathered at Kidae(企臺) and wrote poems together, such as the linked verses(聯句), divisions of rime(分 韻), replying rhyming verses(次韻) and so on. This article especially analyzed the linked verses of the $Hongch^{\prime}{\breve{o}}n$ poetry society. The following is a summary of characteristics in the linked verses of the $Hongch^{\prime}{\breve{o}}n$ poetry society. First, the members of the $Hongch^{\prime}{\breve{o}}n$ poetry society showed their poetic genius by writing the linked verses. They competitively designed unique words and techniques to exhibit their poetic genius. Especially, their poetic genius were exposed in $y{\breve{o}}n^{\prime}gu$(放雲樓聯句)>, modeling <$S{\breve{o}}ngnam$ $y{\breve{o}}n^{\prime}gu$(城南聯句)>'s style. The members of the $Hongch^{\prime}{\breve{o}}n$ poetry society had remarkable literary attainments. Second, the members of the $Hongch^{\prime}{\breve{o}}n$ poetry society promoted friendship by writing the linked verses. They expressed the pleasure of having a poetry party in the linked verses. Their linked verses are elegance. In addition, their poems are full of the pride as officials. And they were glad that they lived in the happy era. So they extoled the king's virtue in their linked verses.

• Korean Journal of Heritage: History & Science
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• v.53 no.4
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• pp.118-135
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• 2020

It is not uncommon in Korea to see the structure and function of a garden remain intact as well as its form. Yi Cheon-bo's Historic House (Gyeonggi-do Cultural Heritage Item No. 55), located in Sang-myeon, Gapyeong-gun, Gyeonggi-do, is considered an example of very valuable garden heritage, although its family history, location, and remaining buildings and natural cultural assets are not fully intact. Along with Yi Cheon-bo's Historic House, this study attempted to explore the possibility of restoration of the forest houses and gardens by highlighting the high value of Yi Cheon-bo's Historic House through research into the typical layout of private households in northern Gyeonggi Province and Gapyeong County, comparative review of aerial photographs from 1954, and interviews with those involved. The results of the study are as follows: In this study, the presence of Banggye-dongmun and Bansukam in the Banggyecheon area, where the location of the garden was well-preserved, was examined across the landscape of the outer garden, while the location of Yi Cheon-bo's Historic House, the appearance of feng shui, and the viewing axis were considered. Also, the appearance of the lost main house was inferred from the arrangement and shape of the Sarangchae and Haengrangchae that remain in the original garden, and the asymmetry of the Sarangchae Numaru and the hapgak shape on the side of the roof. In addition, the three tablets (Pyeonaeks) of Sanggodang (尙古堂), Bangyejeongsa (磻溪精舍), and Okgyeongsanbang (玉聲山房) were used to infer the landscape, use, and symbolism of the men's quarters. Also, a survey was conducted on the trees that existed or existed in the high prices. Incidentally, it was confirmed that information on boards and cultural properties of Yeonha-ri juniper (Gyeonggi-do Monument No. 61) was recorded to a much lesser extent than the actual required standard, and the juniper trees remaining in the front of Haengrangchae should also be re-evaluated after speculation. On the other hand, as a result of estimating the original shape as a way of pursuing completeness of the garden through restoration of the lost women's quarters and shrine, it is estimated that the main house was placed in the form of a '口' or a 'be warped 口' on the right (north) side of the men's quarters. By synthesizing these results, a restoration alternative for Yi Cheon-bo's Historic House was suggested.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.1
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• pp.55-64
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• 2022

This study aims to shed light on the cultural history of Hajodae(河趙臺) enjoyed by writers of the Joseon Dynasty by analyzing the origin and the contents of the landscape based on the literature materials of Hajodae in Yangyang(襄陽). The results of the study are as follows. First, Hajodae is a space that is said to have been visited by Ha Ryun(河崙) and Jo Jun(趙浚). However, since this story has not been confirmed in the literature, various opinions coexisted in history. Jo Wi-Han(趙緯韓) quoted the opinions of aged people who lived in Yangyang, saying that it could be Jo In-Byeok(趙仁壁), not Jo Jun(趙浚), and Jo Deok-Rin(趙德鄰) recorded it as "遐眺臺", which means "a stand for a distance view." There is a need to clearly present the origin of Hajodae by revealing the literary authority. Second, Hajodae was talked about as the best scenic site in Gwandong(關東) in the middle of the Joseon Dynasty. during the mid-Joseon Dynasty. The writers of the time mentioned Hajodae as one of the best scenic sites in Gwandong, which soon became a symbol of Yangyang. These records of Hajodae show a relatively decreasing trend entering the late Joseon Dynasty. It is believed to be the result of the slight degrading in the status of Hajodae as the Eight Views of Gwandong were established and Naksansa Temple(洛山寺) gained fame. Third, the writers of Joseon enjoyed the scenic sites through various landscapes of Hajodae. The open terrain on three sides allowed a sea view and provided an opportunity to develop a great spirit or to reflect on oneself. On the other hand, the strange rock formations and cliffs, which correspond to a close-up view, drew the attention of tourists, and the Rosa rugosa Thunb. blooming in the Hajodae area was enough to show a bizarre charm. This shows the various charms of Hajodae, suggesting that the management of such landscape is necessary. Fourth, a Chinese poem about Hajodae shows the spatial meaning of Hajodae. Looking into all sides of the Chinese poem about Hajodae, a case of unburdening one's mind on the landscape, and the aspect a person compared oneself to the natural landscape or projected one's consciousness onto it, and a case of recalling Ha Ryun and Jo Jun, illustrious retainers in the early Joseon Dynasty are confirmed. It can be seen that it results in the aspect of expressing one's impressions and looking back on history through the landscape.

• 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 the Daesoon Academy of Sciences
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• v.48
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• pp.41-155
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• 2024

Among the records that attest to the period from July to August of 1863, when Suwun was believed to have transmitted the orthodox lineage to Haewol, the oldest documents are The Collection of Suwun's Literary Works (水雲文集), The Collection of Great Master Lord's Literary Works (大先生主文集), and The Records of Dao Origin of Master Choe's Literary Collection (崔先生文集道源記書, hereafter referred to as The Records of Dao Origin). The records regarding Suwun in these three documents are considered to have originated from the same context. The variances embedded in the three documents have led to arguments about which documents accurately reflect the fact of orthodox lineage transmission. Additionally, these variances highlight the necessity of a review regarding the characteristics of early Eastern Learning, such as its faith and organizational systems. Accordingly, by thoroughly examining these three documents, it is possible to elucidate the chronological order, establishment-date, accuracy, descriptive direction, and characteristics of the faith system of early Eastern Learning as these are reflected in each document. If successful, this examination would provide a clearer description of the developmental process of Eastern Learning from 1860 to 1880, facilitating a more in-depth analysis of the significance embedded in various forms of discourse on the movement's orthodox lineage transmission. In comparing the three documents and contrasting them with related sources, the results of the textual examination assert that the documents within the lineage of The Collection of Suwun's Literary Works, given they lack a clear record of the event regarding Haewol's orthodox lineage succession, may be the first draft of The Collection of Great Master Lord's Literary Works and The Records of Dao Origin, as these texts distinctly include that record. This reflects that Haewol's succession was not precisely recognized within and outside of the Eastern Learning order until the time when The Collection of Great Master Lord's Literary Works and The Records of Dao Origin were published. This is further attested to by the fact that during the late 1870s, when various Yeonwon (fountainhead) factions of Eastern Learning began to converge around Haewol, and his Yeonwon became the largest organization within Eastern Learning. At that point, the order's doctrine was reinterpreted, and its organization was reestablished. In this regard, it is necessary to view Eastern Learning after Suwun-especially the orthodox lineage transmission to Haewol-from a perspective that considers it more as competing forms of discourse than as a historical fact. This view enables a new perspective on Haewol's Eastern Learning, which forms a distinct layer from Suwun's, shedding light on the relationship between Haewol and the new religious movements in modern-day Korea.

• Journal of Science of Art and Design
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• v.10
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• pp.5-50
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• 2006

The terminology "human body" simply means a physical body but also more often, as an object in art works, carries symbolic concepts incorporating the whole history of human lives. Human body has been employed as an artistic object capturing physical body, delivering artist's idea expressing life indicators from different standpoints of times and places. This point of view about human body in art works has in fact rather short history since 1960's when modern thinking paradigm focusing upon rationality and reasoning has begun declining and on the contrary when the body used to be the servant of the mind and soul for a long time has begun attracting artist's attention as a real entity from the viewpoint of dichotomy. During the 1960's, frequent performances in Pop art and of Fluxus showed that the human body has been an important media for artistic communication after importance of body performances had been raised in Action painting in 1940's. The human body became a more determined media in body art works that had got into stride after Yves Kline's conceptual works applying body and its traces. These kinds of art works have continued and consolidated into the Feminism came into blossom in 1980's and into fragmentated and disembodied body art trend in 1990's. Through development of trends in body works, human body now might well be regarded as a clue provide from individual identity with implication over the world. This thesis is to analyse in semiotic way main works of Kiki Smith who is a representative artist devoting to Feminism and proposing extended significance of human body. In the analysis process of works done by two great artists with histrorical background of art trend in order to find and open an significance horizon of human body, semiotics and bodism are therefore perceived as pertinent and applied as basic tools. The first stage of analysis is to get the significances emerged in between expression part and contextual parts, which are separated structually from the most basic level. The study deals with body works furthermore in the way of structual cohesion of the expression and the context from the view of A J. Greimas' Structural Semantics and tried to build up a basic frame for the extended significances of human body. This thesis is, on the other hand, to attempt to contribute for extension of disembodied and fragmentated body discussed in the structural semantic frame earlier by Julia Kriesteva who delivers abjection concepts and phenomenology of Maurice Merleau-Ponty who enables to overview relationship between the body and the world from the viewpoint of Bodism, further into interpretation level. The other works are Kiki smith's that showed epics about death in mid-1980's, detailed humbleness of vulnerable human body exposed to dichotomy and fragmentation in 1990's and religion and mythology incorporating wouln healing in 2000's and henceforth. Through the analysis of Kiki Smith's representative work 'Pee body', it is verified and confirmed that fragmentated body showed beyond boundary gap of the human body and ultimately tends to imply human healing owing to divine maternity. Bodily symbols in Kiki Smith's are extended to the universal world to imply human life and death on the one hand and religion and mythology of human wound and divine healing one the other hand. This thesis through these process and results of analysis is in a broad context, to emphasize that human body as objectified text has a key indicator role to understand world as well as semiotic extension in art works in late 20th century so that we might confirm bodily symbol as a cultural context constitutes a section of contemporary visual arts.

• Journal of Distribution Research
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• v.17 no.1
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• pp.1-36
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• 2012

Service failure is one of the major reasons for customer defection. As the business environment gets tougher and more competitive, a single service failure might bring about fatal consequences to a service provider or a firm. Sometimes a failure won't end up with an unsatisfied customer's simple complaining but with a wide-spread animosity against the service provider or the firm, leading to a threat to the firm's survival itself in the society. Therefore, we are in need of comprehensive understandings of complainants' attitudes and behaviors toward service failures and firm's recovery efforts. Even though a failure itself couldn't be fixed completely, marketers should repair the mind and heart of unsatisfied customers, which can be regarded as an successful recovery strategy in the end. As the outcome of recovery efforts exerted by service providers or firms, recovery of the relationship between customer and service provider need to put on the top in the recovery goal list. With these motivations, the study investigates how service failure and recovery makes the changes in dynamics of fundamental elements of customer-firm relationship, such as customer affection, customer trust and loyalty intention by comparing two time points, before the service failure and after the recovery, focusing on the effects of recovery satisfaction and the failure severity. We adopted La & Choi (2012)'s framework for development of the research model that was based on the previous research stream like Yim et al. (2008) and Thomson et al. (2005). The pivotal background theories of the model are mainly from relationship marketing and social relationships of social psychology. For example, Love, Emotional attachment, Intimacy, and Equity theories regarding human relationships were reviewed. As the results, when recovery satisfaction is high, customer affection and customer trust that were established before the service failure are carried over to the future after the recovery. However, when recovery satisfaction is low, customer-firm relationship that had already established in the past are not carried over but broken up. Regardless of the degree of recovery satisfaction, once a failure occurs loyalty intention is not carried over to the future and the impact of customer trust on loyalty intention becomes stronger. Such changes imply that customers become more prudent and more risk-aversive than the time prior to service failure. The impact of severity of failure on customer affection and customer trust matters only when recovery satisfaction is low. When recovery satisfaction is high, customer affection and customer trust become severity-proof. Interestingly, regardless of the degree of recovery satisfaction, failure severity has a significant negative influence on loyalty intention. Loyalty intention is the most fragile target when a service failure occurs no matter how severe the failure criticality is. Consequently, the ultimate goal of service recovery should be the restoration of customer-firm relationship and recovery of customer trust should be the primary objective to accomplish for a successful recovery performance. Especially when failure severity is high, service recovery should be perceived highly satisfied by the complainants because failure severity matters more when recovery satisfaction is low. Marketers can implement recovery strategies to enhance emotional appeals as well as fair treatments since the both impacts of affection and trust on loyalty intention are significant. In the case of high severity of failure, recovery efforts should be exerted to overreach customer expectation, designed to directly repair customer trust and elaborately designed in the focus of customer-firm communications during the interactional recovery process to affect customer trust rebuilding indirectly. Because it is a longer and harder way to rebuild customer-firm relationship for high severity cases, low recovery satisfaction cannot guarantee customer retention. To prevent customer defection due to service failure of high severity, unexpected rewards as a recovery will be likely to be useful since those will lead to customer delight or customer gratitude toward the service firm. Based on the results of analyses, theoretical and managerial implications are presented. Limitations and future research ideas are also discussed.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.27-41
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• 2014

This study aims to investigate the history, cultural values prototype through literature analysis, characteristics of construction, location, space structure and landscape characteristics by Arc-GIS on the Munam pavilion(聞巖亭) in Changnyeong. The results were as follows. First, Shin-cho((辛礎, 1549~1618) is the builder of the Munam pavilion and builder's view of nature is to go back to nature. The period of formation of Munam pavilion is between 1608-1618 as referred from document of retire from politics and build a pavilion. Secondly, Munam pavilion is surrounded by mountains and located at the top of steep slope. Pavilion was known as scenic site of the area. But damaged in a past landscape is caused by near the bridge, agricultural facilities, town, the Kye-sung stream of masonry and beams. Thirdly, Munam pavilion is divided into the main space, which is located on the pavilion, space in located on the pavilion east and west and the orient space, which is located on the Youngjeonggak. Of these, original form of Munam pavilion is a simple structure composed of pavilion and Munam rock, thus at the time of the composition seems to be a direct entry is possible, unlike the current entrance. Fourth, Spatial composition of Munam pavilion is divided into vegetation such as Lagerstroemia indica trees in Sa-ri in Changnyeong, ornament such as letters carved on the rocks and pavilion containing structure. The vegetation around the building is classified as precincts and outside of the premises. Planting of precincts was limited. Outside of area consists of front on the pavilion, which is covered with Lagerstroemia Indica forest and Pinus densiflora forest at the back of the pavilion. Ofthese,LargeLagerstroemiaIndicaforestcorrespondstothenaturalheritageasHistoricalrecordsofrarespeciesresourcesthatareassociated withbuilder. Letterscarvedontherocksrepresenttheboundaryof space, which is close to the location of the Munam pavilion and those associated with the builder as ornaments. Letters carved on the rocks front on the pavilion are rare cases that are made sequentially with a constant direction and rules as act of record for families to honor the achievements. Fifth, 'The eight famous spots of Munam' is divided into landscape elements that have nothing to do with bearing 4 places and landscape elements that have to do with bearing 4 places. Unrelated bearings of landscape elements are Lagerstroemia indica trees in Sa-ri in Changnyeong, Pinus densiflora forest at the back of the pavilion, Okcheon valley, Gwanryongsa temple and Daeheungsa temple. Bearing that related element of absolute orientation, which is corresponding to the elements are Daeheungsa temple, Hwawangsan mountain, Kye-sung stream and Yeongchwisan mountain. Relative bearing is Gwanryongsa temple, Yeongchwisan mountain and Kye-sung stream Gongjigi hill. At Lagerstroemia indica trees in Sa-ri in Changnyeong, Pinus densiflora forest at the back of the pavilion, Kye-sung stream and Okcheon valley, elements are exsting. Currently, it is difficult to confirm the rest of the landscape elements. Because, it is a generic element that reliable estimate of the target and locations are impossible for element. Munam pavilion is made for turn to nature by Shin-cho(辛礎). That was remained a record such as Munamzip(聞巖集) and Munamchungueirok(聞巖忠義錄) that is relating to construction of pavilion. Munam pavilion located in a unique form, archival culture through the letters carved on the rocks and Large Lagerstroemia indica forest and through eight famous spots, cultural landscape elements can be assumed that those elements are remained.