• The Journal of Korean Philosophical History
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• no.35
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• pp.165-188
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• 2012

The purpose of this study is to examine the historical consciousness and view of the three religions (Buddhism, Taoism, and Confucianism) of Won Cheon Seok who lived a period of historical transition from the end of the Goryeo Dynasty to the early Joseon Dynasty. Actively speaking for the public in his time and having the same attitude as the Neo-Confucian scholars in the end of Goryeo Dynasty, he kept criticizing the abuse of the power by powerful families who made the people fall into a state of distress and misery. He believed the dispatch of troops to conquer the Yodong region as a great opportunity to boost the valiant spirit of his country; however, the reality was quite opposite to his expectation as Lee Seong Gye had withdrawn the army troops at the Wihwado causing a great risk to his country. He took a very hard line stance against what Lee Seong Gye did. Although he was a Confucian scholar, he did not ignore Buddhism and Taoism and understood that after all the three religions were based on the same principle. His deep understanding of Buddhism and Taoism as well as Confucianism helped him to make sense of Confucianism even further. He was able to sublimate the worldly anguish coming from the Confucian thinking system by indulging himself deeply into the world view of Buddhism and Taoism. In the end, his view on the three religions was based on the idea that they taught the same principle. His view of the three religions with transactional features has a huge implication for the contemporary society in which various values and multiple cultures coexist and have more common grounds.

• (The)Study of the Eastern Classic
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• no.35
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• pp.215-242
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• 2009

19C was a chaotic time of Chosun dynasty, in order to make society stable, the scholas of Chosun wanted to define themselves as a little China on the east", to understand themselves as part of China and somehow they thought it will help for Koreans to understand who they really are. This "Chosun as a little China" idea is their spritual foundation and also the to understand who they are. From 16 C, Chosun had idea of "being a little China, so when Hwaseo talked about this idea, it was not new to the people and scholars in Chosun, however in Hwaseo's theory, the idea was more defined and realistic. In 19 C Chosun dynasty, the chaos caused by absece of fundimental principle was great, the scholars agreed Hwaseo's "Chosun as a little China" theory should be the foundational principle. Therefore, the problem of understanding and communicating about the west has to be reconcidered, because that was what they wanted to have as foundation before the comunication with west. Scholas of Chosun wanted to set their foundation before they often up their country to the west so they needed time to discuss this. In 19 C Japan on the other hand, they faced same chaos that Chosun experienced, however they went totally different way, because Japan unerstood the reallity and accepted western civilization. Specially, the latter period Mito study influenced to make that decision by changing the west from what they have to defeat to what they have to respect and copy. Both Chosun and Japan focused on making thier countries stronger, but Chosun found the answer in focusing on orthodox confucianism and Japan found the answer in making the military stronger. That is why these two countries went totally different ways in the history of 19-20 C North-east Asia.

• The Journal of the Korea Contents Association
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• v.20 no.12
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• pp.567-581
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• 2020

While Coronavirus (COVID-19) is popular all over the world, democratic citizenship is strongly highlighted as a factor that has enabled the Republic of Korea to successfully prevent it. Democratic citizenship can also be understood as a civility, which means respecting the individual's individuality, value and freedom, but at the same time pursuing common good based on healthy relationships with others in the community. It is true that despite the need for modern Christianity to practice this civility more gracefully and politely in the public sphere, some churches and Christians have failed to show it during the Corona crisis. Under these circumstances, this study made the following suggestions for the realization of communality through the practice of democratic citizenship beyond the privatization of modern Christianity. First, Christianity needs recognition as a public church and theological establishment of it. Second, modern Christianity needs to recognize the importance of a network society and practice public good more than ever. Third, modern Christianity should be able to provide a new lifestyle for the development of public character in the community. So the New Normal-era church should be able to restore its original churchlikeness by having a Christian identity and communicating gentlemanly in the public domain.

• Journal of the Daesoon Academy of Sciences
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• v.33
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• pp.179-218
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• 2019

This article examines some important issues in films about new religious movements (NRMs) that express and represent NRMs in sensationalistic ways and criticize them as immoral and antisocial cults. I presented a typology to analyze films about NRMs from the perspective of marginalized religions separated from established religions and also as alternative religions that replace the established religions. In recent times, films about NRMs have changed from being social criticisms that represents NRMs as perpetrators of brainwashing and the need for deprogramming to that of faithful participation and empathetic reflection. Films about NRMs that utilize empathetic reflection, including Wild Wild Country (2018), go beyond the normative, single-perspective formula to enable insiders to conduct self-reflection and outsiders to empathize through openness, varied perspectives with multi-faceted composition and polyphony. In contrast, films about NRMs that adopt the perspective of faithful participation, including The Road to Peace (1984), present a new visual way to unravel the voices of silenced subalterns with alternative religious visions and those who needed relief from the marginalization due to alienation or exclusion from established religions. In the Korean context, these visions are expressed as 'the great transformation into the creation of a paradise of the Later World (後天開闢)' or as 'the resolution of grievances for mutual beneficence (解冤相生).'

• Journal of Popular Narrative
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• v.26 no.1
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• pp.243-277
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• 2020

This paper examines a social and cultural history of horror films through the keyword "technology", focusing on The Spark of Fear: Technology, Society and the Horror Film (2015) written by Brian N. Duchaney. Science fiction film is closely connected with technology in film genres. On the other hand, horror films have been explained in terms of nature/supernatural. In this regard, The Spark of Fear, which accounts for horror film history as (re)actions to the development of technology, is remarkable. Early horror films which were produced under the influence of gothic novels reflected the fear of technology that had been caused by industrial capitalism. For example, in the film Frankenstein (1931), an angry crowd of people lynch the "monster", the creature of technology. This is the action which is aroused by the fear of technology. Furthermore, this mob behavior is suggestive of an uprising of people who have been alienated by industrial capitalism during the Great Depression. In science fiction horror films, which appeared in the post-war boom, the "other" that manifests as aliens is the entity that destroys the value of prosperity during post-war America. While this prosperity is closely related to the life of the middle class in accordance with the suburbanization, the people live conformist lives under the mantle of technologies such as the TV, refrigerator, etc. In the age of the Vietnam War, horror films demonize children, the counter-culture generation against a backdrop of the house that is the place of isolation and confinement. In this place, horror arises from the absolute absence of technology. While media such as videos, internet, and smartphones have reinforced interconnectedness with the outside world since the 1980s, it became another outside influence that we cannot control. "Found-footage" and "torture porn" which were rife in post-9/11 horror films show that the technologies of voyeurism/surveillance and exposure/exhibitionism are near to saturation. In this way, The Spark of Fear provides an opportune insight into the present day in which the expectation and fear of the progress of technology are increasingly becoming inseparable from our daily lives.

• The Journal of Art Theory & Practice
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• no.14
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• pp.125-158
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• 2012

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People's Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of 'Korean' we usually consider ambiguous, and prompts careful attention to the silence of 'some Koreans' forced to live against their will in the blurred boundaries between nation and people. This dissertation regards 'Koreans' who came to live in the border of nations, especially 'Korean-Japanese third generation women artists'who are marginalized both Japan and Korea. It questions the category of 'Korean women's art' that has so far been considered, based on the concept of territory, and presents a new perspective for viewing 'Korean women's art'. Almost no study on Korean-Japanese women's art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of 'Korean women' and 'Korean women's art'considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority's diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist's cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual's historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with postcolonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women's art.

• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.84-97
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• 2016

One of the assimilation policies of Japanese imperialism for the permanent domination in the colonial Joseon is the theory of integration of Japan and Joseon. The theory of integration of Japan and Joseon is a logic that Joseon (Korea) and Japan (Wae) were connected to the same ancestor on the basis of ancient myths. Also it is the assimilation ideology to justify the Colonial rule of those days through the objectification of historical identity or affinity of political and cultural relations of ancient Korean peninsula and Japan (Wae). Japan reorganized our history to meet the colonial point of view, as part of the assimilation policies based on the theory of integration of Japan and Joseon. On the other hand Japan attempted to objectify them through archaeological research and the reinterpretation of the historical remains. The survey, reinterpretation and tourist of the historic sites in historic cities such as Gyeongju and Buyeo were promoted in this context. In particular, the Buyeo, a capital of Baekje, was emphasized upon the close relevance and affinity between Sabi, Baekje and ancient Asuka (飛鳥) in Japan through research and reinterpretation on the Historic Sites. Based on them, Historic Sites Tourism was conducted by reconstructed historic sites toward the colonial Korean. In addition, after the Sino-Japanese war in 1937, Japan tried to realize the politics of space by upgrading and idealizing Buyeo as homeland or Shinto (神都) related to Japanese ancient mythology of the Asuka culture. This paper investigated in what context research, reinterpret and tourist of the historic sites progressed on Buyeo area and how it had soaked through the general public in the Japanese colonial era. First, it is on historic sites. Historic sites research on Buyeo area made an attempt by Sekino Tadashi in 1909 for the first time and the re-excavation of the old burial mounds and temple sites during the Japanese colonial period. Sekino set up a cultural relationship and influences between the ancient China (梁), Korea (百濟) and Japan (倭). Also, he emphasized that Sabi, Baekje largely received influence of Chinese culture and Baekje and Japan Asuka culture had closely relations and affinity. These views had been consistent during the Japanese colonial period. Second, it is the reinterpretation on Historic sites. Buyeo Historic Sites Preservation Society (Buyeo Gojeok Bojonhoe) was established in 1915 and Osaka Kintaro, curator of Baekje exhibition hall redefined the relationship between ancient Japan and Baekje as perspective of the assimilation ideology through the post contextual interpretation. In particular, they emphasized on the close relevance between Baekje's Historic sites and Japan, through the reinterpretation of Nakhwaam, Goransa and Cheongmasanseong. Third, it is the tourist on Historic sites. Buyeo Historic Sites Preservation Society played a leading role in Tourist on Historic sites at the Buyeo region. The main tourist destinations and course were restructured through a reinterpretation on the historic sites. Japan would like to show Buyeo as ideology area, homeland of ancient Japanese culture, toward the Koreans under Japanese colonial era. Thus, research, reinterpretation, and tourism on Historic sites were promoted while they were closely related to each other. The promoting body was Joseon Chongdokbu and pro-Japanese interest group. It's point was 'made' and 'shown' by the eyes of others and a rediscovery of Buyeo as representational space of colony.

• (The) Research of the performance art and culture
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• no.22
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• pp.223-252
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• 2011

If we remember that modern world history has built systems of meaning through the concepts "difference," "different," and "other-ness" and has constructed new identity based on opposing hierarchy, music anthropology which tried to build "difference" between the west and the non-west was thoroughly west -centered, in the sense that it has perceived the heterogeneous symbolic systems among nations, as well as the barrier between the two cultures. On the other hand, world music, which has emerged as the most attractive field in culture industry and concert-art-market by crossing over global capitals, markets, and barriers, can be considered the most post-modernist and glocal. However, it is interesting to note that world music, which has been described as post-modern and glocal, has "difference" and "different" in its basis, just like the precepts for modern music anthropology (Meintjes 1990; Guilbault 1993; Taylor 1997; Frith 2000; Feld 1988). Furthermore, one can understand that the "different" and "difference," generally termed as being "non-western," are fundamentally based on ethnic or national imagination. In this sense it is interesting and important to examine such ethnic imagination in the "non-western ethnic musics" in music anthropology and in world music. Notwithstanding the attention paid and research made by music anthropologists, they have failed to elevate the "non-western ethnic musics" to become universally communicative, and these ethnic musics were reborn as "global" and "world music," through the process of "acculturation," "derivation," and "hybridization," with the west as major site for production and consumption. Meanwhile, the audience for world music, which did not exist before the birth of world music as a term, was now born as world music emerged. They are global populace who consume the musical "difference" and "imagined ethnicity," who through their consumption are constructing new social meanings including ethnicity, race, nation, and class identity. This study, by examining current discourse, performance, and process for the world music through media and field studies and scholarly debates, attempts to understand the production and consumption of "imagined ethnicity." This will also shed light on how "ethnicity" is created and consumed, and how this is involved in the process of world music.

• Korean Journal of Psychosomatic Medicine
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• v.31 no.2
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• pp.63-71
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• 2023

Urinary incontinence (UI), affecting 3%-11% of males and 25%-45% of females globally, is expected to rise with an aging population. It significantly impacts mental health, causing depression, stress, and reduced quality of life. UI can exacerbate psychiatric conditions, affecting treatment compliance and effectiveness. It is categorized into transient and chronic types. Transient UI, often reversible, is caused by factors summarized in the acronym DIAPPERS: Delirium, Infection, Atrophic urethritis/vaginitis, Psychological disorders, Pharmaceuticals, Excess urine output, Restricted mobility, Stool impaction. Chronic UI includes stress, urge, mixed, overflow, functional, and persistent incontinence. Drug-induced UI, a transient form, is frequently seen in psychiatric treatment. Antipsychotics, antidepressants, and other psychiatric medications can cause UI through various mechanisms like affecting bladder muscle tone, altering nerve reflexes, and inducing other conditions like diabetes or epilepsy. Specific drugs like lithium and valproic acid have also been linked to UI, though mechanisms are not always clear. Managing UI in psychiatric patients requires careful monitoring of urinary symptoms and judicious medication management. If a drug is identified as the cause, options include discontinuing, reducing, or adjusting the dosage. In cases where medication continuation is necessary, additional treatments like desmopressin, oxybutynin, trihexyphenidyl, or amitriptyline may be considered.