• Korean Journal of Heritage: History & Science
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• v.56 no.4
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• pp.110-130
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• 2023

New years' rites serve a religious function to wish for well-being during the year by bidding farewell to the previous year and welcoming the next. In Japan, in mid-December, to welcome Toshigami, kadomatsu, and shimenawagazari are prepared, as well as osechi ryori to be eaten at the beginning of the year. On New Year's Day, people go to shrines and bow to the gods while saying Hatsumode (初詣). On the fifteenth day of the first month, in the course of a rite called Dondoyaki, all the decorations used in the first month and the amulet used in the previous year are burned. In Korea, when the Lunar New Year approaches, people prepare for their ancestral rites and clean their houses. On the first day of the new year, people hold ancestral rites for their ancestors. There are many different seasonal rites, taking place from the beginning of the year to the full moon. In China, Danwonban (團圓飯), in which the whole family sits together and eats on New Year's Eve, is important. Lights are brightly lit up all night, and the sound of firecrackers outside rings out loudly. On the door, the word chun-ryun is attached to wish for prosperity in the new year. According to the cycle of the four seasons, the first lunar month contains a high proportion of the seasonal rites that are repeated every year. The first month represents the beginning of a year, and various rituals are performed in order to wish for good health and abundance during the coming year. In addition, the "folk religious world view" is integral to annual new years' rites, so it is not difficult to understand the religious character and structure of the Korean, Chinese, and Japanese annual ceremonies. This study examines the current status of annual new years' rites in Korea, China, and Japan, and how the rites are structured according to the inflection points in the year. In addition, religious characteristics are reviewed in terms of gods, predictions, and fertility prayers, exorcisms, health, and restoration. In this way, it can be seen that various religious elements such as shamanism, agricultural faith, ancestor worship, Shintoism, Taoism, Confucianism, and Buddhism can be witnessed in the annual new years' rites of Korea, China, and Japan. In addition, differences in the presence or absence of these are shown to depend on the country.

• Cross-Cultural Studies
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• v.42
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• pp.419-449
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• 2016

The Russian icon and Korean tangwha (幀畵, altar portrait of Buddha) are based on the similarity of the divine Being. Each has the characteristic index that forms an existential connection with the object and at the same time, implies the symbolic meaning of the scriptures and doctrines of the Russian Orthodox and Buddhists. Russian icon and Korean tangwha with these attributes have origins in the Byzantine, India and China. Unlike most religious art, Russian icon and Korean tangwha clearly reveal profane orientation and mystical elements. This artistic phenomenon has evolved from the mystical religious culture in Russia and tantric rituals of the early Joseon period. Iconostasis, created from historical figures of the Old Testament, Jesus, the New Testament represent the principles of the macrocosm. Each icon of iconostasis has integrity, while each floor has another narrative and a meta-discourse on the entire composition. Three-Platforms of amrtakundalin can also have a huge epic that is directed from the Low-Platform to the High-Platform for the purpose of salvation. While the narrative of iconostasis has a time structure, from the beginning of the universe up to date in chronological time, amrtakundalin have pictorial transitions of time and space that rises from this life to a heavenly world. Despite the different world views of the Russian Orthodox and Buddhists, iconographical format and symbolism of heaven and hell in the Iconostasis, Last Judgment and amrtakundalin are similar. There is a constant antagonism between heaven and hell, light and darkness, water and flame. Iconographical contents include the water of life and nectar, the book of life and 'eoppu', and the scales and mirror of Karma that discriminate between the good and evil before judgment. The dualistic coordinate concept such as light and darkness, life and death, or heaven and hell that appears in the narrative structure of iconostasis, the Last Judgment and amrtakundalin leads the people to spiritual awakening.

• Archives of design research
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• v.16 no.4
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• pp.345-354
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• 2003

The Greek theater was the first one which was built artificially and the Roman theater was erected as creative form following the Greek theater The style of these ancient theaters has influenced modern theater. In terms of the purpose and function of the theater, the Greek was derived from religious purpose but the Roman was derived for amusement. We can observe several differences in comparing the Greek with the Roman theater. In the shape of the theater, the Greek theater was dignified and grand and had an open-air structure, but the Roman theater was splendid and ornamental and had a roof over the stage. In the character of the theater, the Greek theater was democratic but the Roman theater was partial. The Greek and Roman theaters have became one source of the modern theater as the Greek and Roman plays have became the source of the modern play, although there are several differences according to the social and dramatic characters.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• v.8 no.1
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• pp.70-82
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• 1997

Objective：This study was performed to identify and understand the characteristics of adolescents who had a history of police arrest and/or were adjudicated unruly/delinquent by the juvenile court. Method：The study employed a retrospective reivew of coumputer-recorded data set on 210 consecutive admissions to an adolescent psychiatric inpatient unit. Three groups(No Police Contact, N=115；Police Contact Only, N=60；Adjudicated, N=35) were compared on the areas of a) cognitive and educational performance b) emotion：anxiety, depression, suicidality c) personality d) family and life experiences. Standardized assessments were administered to all subjects using WISC-Ⅲ, Kaufman Test of Educational Achievement, Millon Adolescent Personality Inventory, Reynolds Adolescent Depression Scale, Revised-Chilren’s Manifest Anxiety Scale, Suicide Ideation Questionnarie, Suicide Behavior Interive, Life Events Checklist, and Family Environmental Scale. A subgroup of the subjects, 60 cases also received a standardized interview by Child Assessment Schedule. Results：The characteristic findings of the delinquent group(the police contact only and adjudicated subjects combined) included (1) a high rate of adoption, sexual promiscuity, out of home placement, and repeated psychiatric hospitalization, (2) low verbal IQ scores and educational achievements, (3) high impulsivity, low social conformity, and high forcefulness in personality inventory, (4) low activityrecreation orientation and low moral religious emphasis in family environment, (5)a high frequency of adverse life experiences, (6) among 3 groups, the Police Contact Only group showed the lowest depression, anxiety and suicidal ideation scores, (7) a high diagnostic frequency of conduct disorder, ODD, and ADHD. Conclusions：The adolescent psychiatric inpatients with a delinquent history presented with a certain clinical, family, psychometric characteristics that warrant specific clinical intervention strategies for their cognitive deficits, an impulsive personality style, family dysfunction with adverse life experiences and disruptive behavioral disorders, different from the rest of adolescent psychiatric inpatients.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.27-37
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• 2010

This study tries to illuminate the features and values of the Buddhist temple Palkyung by closely examining the forms, structures, and meanings of Tongdo-palkyung(通度八景) handed down at Tongdosa Temple, the best among Korea's Buddhist temples with its three treasures of Buddha, law of Buddha and Buddhist monks. The findings of this study can be summarized as the following. First of all, it reveals the meaning of the geographical name Yeongchuksan(靈鷲山), located to the west of Tongdosa, and a spectacular sight spread like an eagle's spread wings, as well as its location and spatial features. In particular, the arrangement features of a number of attached hermitages clearly show Yeongchuksan's world as being a temple with buddhist treasures. The multi-layered unfolding and centripetal intention of the scenery can be perceived through the shape of the Sshangryongnongju(雙龍弄珠形), around Tongdosa and the feature of the enclosed landscape encircling the steps of Hyeolcheo(穴處) Geumganggyedan. The substances and components of Tongdopalkyung include sound-based spectacles derived from Beoneumgu(梵音具) creating sounds related to religious rituals to enlighten and redeem mankind, such as Yeongji(影池: a holy pond with shadow reflections), drum sounds, and bell sounds along with physical features like pine trees, Dae(臺), waterfalls, Dongcheon (洞天), and a glow in the sky. On the other hand, Palkyung's geographical arrangements exhibit a circular spatial formation based on the main motif as Buddhist symbolism, beginning with the 'Gukjangsangseokpyo(國長生石標)' awakening the territoriality of Tongdosa and locating the first scene 'Mupunghansong(舞風寒松)' in its introductory area, with the features of water, bridge, pine grove, and Iljumun(gate) to stand for the influx. Six other scenes including 'Anyangdongdae(安養東臺)' are placed in the sacred precincts around Daeungjeon and Geumganggyedan while the glow of sunset at 'Danjoseong' just outside the domain closes the symbolic circular formation of the Tongdopalkyung, which coincides with the development of the Mandala figure symbolizing 'Gusanpalhae(九山八海)' centered in Sumisan(須彌山). What is more, Tongdopalkyung, while excluding primary scenic elements inside the temple, maximizes the domain of the mountain's entrance and the effects of the multi-layered mountain, mountain upon mountain, by intensifying the influx and centripetal qualities. The Tongdopalkyung analysis reveals the antithesis of four-coupled scenes conveying buddhist principles and thoughts on the basis of seasons, directions, space and time to display a narrative structural landscape when viewed from the temple's territoriality. Likewise, the characteristics and porch structures of Tongdopalkyung are tools and language of symbols to both externally strengthen the temple's territoriality and to internally, maximize the desires to the Land of Happiness as well as intensify religious wishes and the Mandala's multi-layered qualities through the meanings of time and space.

• (The) Research of the performance art and culture
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• no.37
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• pp.187-221
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• 2018

The style of performance to contemporary nongak is not fixed in a specific period of time, but in conjunction with the total change in society that has occurred during its long time from traditional society to the modern times. It is important to recognize that the traditional performance art forms that we see and feel today, including nongak, are constantly interacting with the times and are a change in the design that has been shaped in the past. Now, we must get rid of the negative idea that there is some fixed prototype in Nongak. Also, the value and the need for preservation of current Nongak should not be evaluated according to the ' pure genealogy of village descent, ' which was possible only in villages with small population movements long ago. If can get rid of the stereotypes, can greatly expand the view that we read the values of a certain Nongak. Looking away from a few of these traditional fixed perceptions can significantly broaden the view of reading the winning values of some farmers ' songs. In this regard, this report determined the performing style and nature of Changwon's Toichon-noangak through a structural analysis of the Toichon-noangak in contemporary, and discussed the significance of the transmittion of Toichon-noangak. Changwon Toichon Nongak started out as an even-present ritual performance based on the religious nature of the village community and actively exchanged with the economic, social and cultural foundations of the Republic of Korea, which began to accumulate in the modern changes. Generally, the performance style of village Nongak has a combination of characteristics according to the ritual, Dure(collective labor), entertainment, and these three functions. Toichon Nongak is also a village Nongak style and in which of ritual nongak and village entertainment nongak are connected in parallel as one in the big total structure. The origin, background, purpose, and style of towing of Toichon noangak demonstrates that the Toichon noangak is originally ceremonial noangak derived from a prayer style of Dongje. Then, various factors influences are interacting with Toichon noangak within the orbit of modern society, such a style of playing, popular nongak, is believed to have undergone an extended change. Overall, Toichon nongak performance style can be called nongak, which maintains traditional customs and it also has the changed characteristics according to the times of village society.

• Journal of Korean Classical Literature and Education
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• no.35
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• pp.153-193
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• 2017

This study explores the creation and enjoyment of Kuwoonmong (九雲夢) using a reference system called the cultural imagination, which is related to the Yin-Yang (陰陽) and Wu Xing (五行). When Kim Manjung wrote Guwoonmong, he may have composed figures and events based on this imagination. In particular, when he designed the eight seonnyeo (팔선녀), he set the order such as Gap (甲), Eul (乙), Byeong (병), Jeong (丁), etc. and characterized them according to the celestial stem (天干). Thus it was easy to avoid overlapping of characters and to construct various stories and relationships between them. The table below shows the characters of Kuwoonmong corresponding to the celestial stem. In not only the individual person but also the narrative world, Kuwoonmon demonstrates Yin-Yang and Wu Xing's imagination. In this respect, Kuwoonmon can be considered a large symbol encompassing the abstract theory of Yin-Yang and Wu Xing. Of course, the writer, Kim, Manjung would not have tried to symbolize the principle intentionally. However, he was also present in the environment of the cultural imagination that has been formed over the years. The same is true for the contemporary recipients of Guwunmong. They would have had a pleasant experience applying the cultural imagination and strengthening their familiar world view and human view.

• (The)Study of the Eastern Classic
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• no.69
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• pp.593-622
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• 2017

The purpose of this study is to investigate the characteristics of Confucianism, Buddhism, and Taoism and to examine the characteristics of Intermixture of Three Religions in Journey to the West. This novel, which has the structure of satire, hope, and surrogate satisfaction while being the center of satire and humor, is a refuge for the people. Even today, it can be said, however, that for the people, Confucianism, Buddhism, and Taoism was not a distinctly separate system of religions. Journey to the West story is about the liberation of Buddhism that is obtained through Taoism training. In the celestial world, not all gods are perfect, and often make mistakes. In such a story, the mistakes of beings living as human beings are simply insignificant. What is not different from the structure of life in this world is still a world of nature. The world is rife with absurdities, both on earth and in heaven. The characteristics of Intermixture of Three Religions can be summarized in several ways. First, the Trip of Samjang is not just to gain the enlightenment of illegal but rather to seek a greater sense of meaning. Second, the means to gain enlightenment is that it does not claim that one is right or good. Third, mercy, goodwill, and respect for life for oppressed and exploited peoples are common to all religions. Fourth, this story suggests that everything from the beginning is already a matter of mind. Fifth, all of the logic of Three Religions in this novel can be said to be "preliminary." Human life implies that it is going on a planned path, perhaps as a fate. But the important thing is, as in all religions, even if the road is a planned one, Journey to the West is strongly and persuasively speaking that it is the way of life as well as the attitude of living silently in carrying out its duties.

• Journal of Korean Philosophical Society
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• no.114
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• pp.177-212
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• 2016

Kants Begriff der Freiheit des Willens ist sehr kompliziert und verwirrend. Denn sowie es Ziel der ${\gg}$Kritik der praktischen Vernunft${\ll}$ ist, die reine praktische Vernunft zu beweisen, liegt der Fokus von Kants Begriff der Freiheit auf der Freiheit von Zwang, wobei Kant eine unbestimmte Haltung zur Freiheit von Notwendigkeit einnimmt und sie dann $schie{\ss}lich$ leugnet. Leibnizens Begriff der Freiheit dagegen hebt die Freiheit von Notwendigkeit hervor, denn er sagt, dass der menschliche Wille nicht nur vom Zwang der Leidenschaft, sondern auch von Notwendigkeit frei sei. Die Struktur von Leibnizens Freiheitslehre unterscheidet sich zwar sehr von der Kants, aber die Charakterlehren beider Denker, in denen die $M{\ddot{o}}glichkeit$ der Vereinbarkeit von Freiheit und Notwendigkeit behandelt werden, weisen viele Parallelen auf. Zudem ist Leibnizens Begriff der Freiheit sehr eindeutig. Daher ist ein Vergleich von Leibnizens und Kants Begriff der Freiheit nicht nur sinnvoll und $f{\ddot{u}}hrt$ zu einem besserem $Verst{\ddot{a}}ndnis$ von Kants Freiheitsbegriff, durch die vergleichende Analyse stellt sich zudem auch heraus, dass auch bei Kant nicht nur Freiheit von Zwang, sondern auch Freiheit von Notwendigkeit $m{\ddot{o}}glich$ ist. Leibniz geht $f{\ddot{u}}r$ seine Freiheitslehre von dem Begriff der Freiheit vom Zwang der Leidenschaft, welcher von allen Rationalisten anerkannt wird, sowie von dem Begriff der Freiheit von der Notwendigkeit, welcher von Spinoza negiert wird, aus. Kant dagegen definiert Freiheit als $Unabh{\ddot{a}}ngigkeit$ von den Naturgesetzen, was diesen Begriff von Anfang an unklar macht. Kant war sich anfangs der Zweideutigkeit dieses Konzepts nicht $bewu{\ss}t$ und hat es undeutlich gebraucht, doch in der Neuauflage von ${\gg}$Die Religion innerhalb der $blo{\ss}en$ Vernunft${\ll}$ erkennt er den Unterschied in den zwei Begriffen der Willensfreiheit, weshalb er bei der Rechtslehre in der ${\gg}$Metaphysik der Sitten${\ll}$ dazu kommt, die Wahlfreiheit zu negieren. Aber in den Abschnitten, wo Kant in der ${\gg}$Kritik der reinen Vernunft${\ll}$ und der ${\gg}$Kritik der praktischen Vernunft${\ll}$ die Vereinbarkeit von Freiheit und Notwendigkeit behandelt, $f{\ddot{u}}hrt$ Kant aus, so wie auch Leibniz, dass der intelligible Charakter des Menschen sich durch wiederholte freie Wahl formt, womit sich $best{\ddot{a}}tigt$, dass auch Kant die Freiheit der Wahl anerkannt hat. Kant leugnet die Wahlfreiheit, weil er der Ansicht ist, dass der Begriff der Freiheit als ein einheitlicher Begriff definiert werden muss. Doch Freiheit muss nicht zwingend einheitlich definiert werden. Da Freiheit von Zwang und Freiheit von Notwendigkeit nicht $widerspr{\ddot{u}}chliche$ Begriffe sind, $k{\ddot{o}}nnen$ sie dem selben Willen gleichzeitig zugeteilt werden. Auch wird erst hierdurch Autonomie $m{\ddot{o}}glich$ gemacht.

• Journal of the Daesoon Academy of Sciences
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• v.33
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• pp.319-349
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• 2019

This study aims to elucidate the origin and yield of life and its characteristics and purpose in Daesoon Thought. Thereby, Taegeuk (the Great Ultimate) and Sangje (the Supreme God) have been deemed the source and ontology of life. The structure of each living creature is explained through reason (理), energy (氣) and spirit (神). In addition, through vital reason and living energy, the purpose of life makes the realization of the benevolent characteristics of life possible through the mind of Sangje. This line of research is unique among currently available research views of life as it perceives the spirit to be an ontological entity with functions and interactive engagement. By way of contrast, prior research suggests that spirit is life itself and includes it in the category of life and death. The Daesoon view of life is unique in that it is somewhat influenced by ontology and developmental theories from Confucianism, yet the concept of divine beings suggests a humanistic Sangje, who presides over the Great Ultimate. The realization of reason in this model is rather thought-provoking. Humans, just like other living things, are born with vital essence and function and interact as a main source to preside over the innate spirits inside themselves. Humans take responsibility for a certain sphere in the Three Realms that make up the world. They are also recognized as a significant feature in the world. Such an idea in Daesoon Thought depicts that 'the enshrinement of spirit into human being (神封於人),' follows Heaven and Earth. This is done to rectify humans in order to meet the needs of the universe and ultimately establish the era of the enshrinement of spirits into human beings. As for humanity, this possibility exists because of the spirits contained within their inner-selves. When cultivating oneself, humans and outer spirits actively interact with each other. This is likely to cause changes in a human's constitution and characteristics. In the end, one can be enshrined with corresponding divine beings according to one's degree of cultivation. Humans are born through the command of Sangje and the accomplishments of their ancestors as well as the energy of the universe. Present day humans encounter the era of human nobility and the era of humankind's divine salvation. Thereby, the purpose of human life is to contribute to the universe. To achieve this goal, the most important thing is to wholly realize that one's nature and reason were endowed by Heaven, which emerged from virtuous conduct in society. This is also akin to the movement of reason in Jeungsanist Thought. Sangsaeng (mutual beneficence) among oneself and others and between human beings and divine beings can be completed through the resolution of grievances for mutual beneficence and the grateful reciprocation of favors for mutual beneficence. If one accomplishes the perfected state of one's own nature and reveals it wholly, then one will be fully able to interact with spirits and reach the state of the human nobility.