• International Journal of Advanced Culture Technology
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• v.8 no.1
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• pp.213-217
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• 2020

In this paper, we present that Virtual Reality (VR) is a type of media that has attracted interest in storytelling and media utilization. VR was first discussed as a specific narrative medium with traditional story medium. Via this discussion, The innate difference of VR is that the role of the media users in which the narrative is communicated were active in the development of the narrative unlike that of most classical narrative media. We also discussed specific features related to VR based on the theories of traditional literary criticism, movie reviews, and plays. Through these discussions, we aruged two directions of VR storytelling production as an narrative medium, its specificity, and its expressiveness for VR producers. First, story processing and characters can be introduced as part of continuing a new narrative by altering the interaction history that appears in VR stories to user interest ratings. Second, VR interaction responds intuitively to the idea that it represents a trajectory across the story surface of all possible interactions. More specific theories and controvercials are discussed.

• The Journal of Korean Philosophical History
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• no.27
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• pp.145-166
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• 2009

This paper analyzes the views of Gyeongjae O Chiik on Classical Studies. O is the second son of Noju O Heesang (1763-1833). The characteristics of his views are as follows. First, unlike his father, Gyeongjae is more interested in Chinese Textual Criticism than in Hsing-li hsüeh. Therefore, he provides textual interpretation in detail with erudition in his Manrok and Munjip on the formation and problems for such classics as The Four Classics, The Classic of Poetry, The Book of Changes, The Rites of Zhou, The Book of Rites, and The Spring and Autumn Annals. Second, his openness. He didn't canonize The Book of Changes. Also, he thought that the analysis of Jeongja in his Annotation on the Book of Changes and Zhuxi's Original Interpretations, the absolute authority of the time, were not the only interpretation possible. He argued that other interpretation is possible depending on perspectives and it is desirable. We can see that Gyeongjae had transcended the world view of Zhuxi Studies. Third. he put the emphasis on the theories during the Han dynasty. He showed the inclination toward the Yuheung theories rather than Zhuxi theories in regard of the discussion of names in The Analects of Confucius. Fourth, unlike other Confucius scholars in Chosun, he showed interests in Gongyangjeon and Gokryangjeon. He compiled Gonggokmunseon with beautiful writings from both works. Fifth, he was interested in the dynamics of constant numbers. He grasped that what is important in the Book of Changes is not right principles but constant numbers and points. Thus he compiled Sangjeomyuhoe. Besides, he was also interested in the Rites of Zhou.

• Cross-Cultural Studies
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• v.45
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• pp.85-107
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• 2016

Cho Ji-hoon was a leading figure on the discussion of recognition on Han Yong-un, particularly the post-liberation period. During the Japanese colonial era, he addressed Han Yong-un as the representative of national poet, and evaluated Han's poems as the models of rebellious nationalistic poetry. Such evaluation by Cho set the precedent of basic perspectives and methodologies on how to recognize Han Yong-un in the present day. This paper analyzes three studies on Han Yong-un, conducted by Cho ji-hoon. We also examine how Cho created his logic of recognizing Han as a national poet, and his poems as nationalistic poetry. Accordingly, this paper has separated recognitions on poet studies and work studies, and further explored how each recognition has consistency with Cho ji-hoon's historical and literary perception. As a result, the following has been concluded: the basis of Cho ji-hoon's recognition on the life and works of Han Yong-un was premised on Cho's understanding of the world from a standpoint of history of ideas, the concept of nation was regarded as an absolute value that binds disparate ideas together, and the combination of nationalism and poetry has been expressed through the logic of nationalistic poetry and the notion which equalizes the poet to a classical scholar. It was further concluded that such equalizing logic contains some logical contradictions derived from integration between universal rights and national sovereignty, and nation and Buddhism. Therefore, it can be said that other possible interpretations on the role of a poet were not fully discussed, but remain bounded. Last but not the least, this paper critically tries to perceive Cho's recognition on Han Yong-un, and accentuates the necessity of new interpretations of Han's poems, apart from those based on nationalism.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.9 no.8
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• pp.783-790
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• 2019

Cognitive science attempts to explain human intelligence on the basis of success of artificial neural network, which is called connectionism. The neural network, e.g., deep learning, seemingly promises connectionism to go beyond what it is. But those(Fodor & Pylyshyn, Fodor, & McLaughlin) who advocate classical computationalism, or symbolism claim that connectionism must fail since it cannot represent the relation between human thoughts and human language. The neural network lacks systematicity, so any output of neural network is at best association or accidental combination of data plugged in input units. In this paper, I first introduce structure of artificial neural network and what connectionism amounts to. Second, I shed light on the problem of systematicity the classical computationalists pose for the connectionists. Third, I briefly introduce how those who advocate connectionism respond to the criticism while noticing Smolensky's theory of vector product. Finally, I examine the debate of computationalism and connectionism on systematicity, and show how the problem of systematicity contributes to the development of connectionism and computationalism both.

• Journal of Platform Technology
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• v.11 no.5
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• pp.23-36
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• 2023

This study aims to analyze the similarities and dissimilarities of various versions of <Heungbu-jeon> at both micro- and macro-levels using contents analysis techniques and the Hamming distance metrics. The 28 versions of <Heungbu-jeon> were segmented into 341 content units, and for each unit, the value of the content type was encoded. The dissimilarities between content types were compared among all versions by the content unit, respectively. The (dis-)similarities based on the content types of the 28 versions were aggregated and transformed into a distance matrix. The matrix was interpreted by multi-dimensional scaling, resulting into the two-dimensional coordinates. By visualizing the results by multi-dimensional scaling analysis, it was confirmed that the versions of <Heungbu-jeon> can be broadly divided into two groups. Hierarchical clustering and phylogenetic analysis were applied to analyze the clusters of the 28 versions, using the same distance matrix. The results showed that there are five clusters based on the micro-level analysis of (dis-)similarities within two major clusters. This study demonstrated the usefulness of applying digital humanities methods to encode the content of classical literary versions and analyze the data using clustering analysis techniques based on the (dis-)similarity of literary content.

• (The) Research of the performance art and culture
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• no.32
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• pp.71-106
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• 2016

This study analyzes the current work of the traditional theater around 'Back Parkcheomji(season2)' of theatre troupe 'Saninomou'. 'Back Parkcheomji(season2)' has proved that it is possible modernization while at the same time preserving the traditional theater. As a result, 'Back Parkcheomji(season2)' regained the spirit of contemporary social criticism and reality inherent in Kokdugaksinorum. The performance are beyond the traditional production method, which has created a new performance aspects. 'Back Parkcheomji(season2)' has created the puppets like this 'Kimga' 'Seweolho' 'Ryukbang' 'Chourani'. Traditional and creative dolls has criticized our modern society at the same stage. On the other hand, plays such as tightrope, Pungmul, Burna confirmed the spirit of Namsadangpae, and gave a dramatic fun. 'Back Parkcheomji(season2)' has dual stage. The dual stage will produce a magnificent spectacle, and has provided a variety of attractions. 'Back Parkcheomji(season2)' re-created the traditional theater of Namsadangpae in vivid contemporary version. The performance has made the opportunity to think again about the value of classical and allowed to recognize the new phase of classical theater.

• The Journal of Korean Philosophical History
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• no.25
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• pp.251-292
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• 2009

In this thesis, the status of Pre-Chin Study of One Hundred Schools in the history of Korean thoughts, and in addition, the reception of $Hs{\ddot{u}}n$ Tzu's ideology and the aspect of its development in Korea were examined. Moreover, the different understandings of $Hs{\ddot{u}}n$ Tzu and their trend of the times were summarized through the intellectuals' collection of works from the end of Goryeo Dynasty and the beginning of Cho Sun Dynasty to 18-19 century. What was revealed through the study can be summed up as the followings. From the age of Three States to the middle part of Goryeo Dynasty, few intellectuals regarded other schools or philosophers among Study of One Hundred Schools as heresies and blamed them. However, since Mencius had been established as the legitimate classical scripture of Confucianism after the end of Goryeo Dynasty and the beginning of Cho Sun Dynasty, other Pre-Chin philosophers including $Hs{\ddot{u}}n$ Tzu had started to be regarded and criticized as heresies. Intellectuals of Goryeo Dynasty and the early Cho Sun Dynasty made various estimates on $Hs{\ddot{u}}n$ Tzu's doctrine of the evilness of human nature, but we can see the understanding of $Hs{\ddot{u}}n$ Tzu became deeper. In the heyday of Neo-Confucianism in Cho Sun Dynasty, the intensity of the criticism on $Hs{\ddot{u}}n$ Tzu by intellectuals rather tended to decrease, compared to that of the early Cho Sun Dynasty, which produced contrary evidence that the world view of Sung Confucianism, based on Mencius' doctrine of the goodness of human nature, had been already established. Also, even the intellectuals criticizing the evilness of human nature positively quoted $Hs{\ddot{u}}n$ Tzu's other ideas in general. In 17th century, there were some arguments to conclude $Hs{\ddot{u}}n$ Tzu as Legalism, but the general trend came to accept Study of One Hundred Schools constructively, challenging the authority of Sung Confucianism, or based on positive school. In 18th century, it can be confirmed that the understanding on $Hs{\ddot{u}}n$ Tzu became broader, and particularly in the historical research of letters, $Hs{\ddot{u}}n$ Tzu's original texts and annotations were used in many ways. In short, the intellectuals' criticism on $Hs{\ddot{u}}n$ Tzu in Cho Sun Dynasty was always grounded on his argument of the evilness of human nature, and furthermore, on connecting it to Legalism, related to the Fenshukengru. On the other hand, it can be said that they generally accepted other ideas of $Hs{\ddot{u}}n$ Tzu positively, except for the idea of the evilness of human nature. However, it's worth paying attention to the fact that those intellectuals who criticized $Hs{\ddot{u}}n$ Tzu could easily meet with the books of Study of One Hundred Schools, and relatively had an open attitude in terms of knowledge.

• Environmental and Resource Economics Review
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• v.16 no.2
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• pp.379-409
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• 2007

Korea's energy sector was one of policy sectors that exhibited the classical bureaucratic governance of an administrative state. Under the regime, government monopolized the policy-making process and controled the market and the civil society. It not only provided energy goods and services directly through public enterprises but also dominated the market activities through public regulations. However, during 1993~2002, stringent reformation efforts were made to transform the governance regime from the past bureaucratic model to the market model, by way of privatization of public enterprises and deregulation. The ideology behind the reformation based on the shared recognition that the market and spontaneous order thereof is the better apparatus than the government and artificial order thereof in solving social problems mote efficiently. From the year of 2003, another round of reformation efforts have been promoted to introduce the participatory governance model, through institutionalization of channels for the wider participation of civil society into the energy policy-making process. This reformation efforts respond to; first, the increasing criticism from the civil society on the closedness of energy policy process and the higher probability of policy failures thereof, and second, the recognition that the self-organizing nature of an open policy process is the better mechanism for evolutionary problem-solving.

• (The) Research of the performance art and culture
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• no.34
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• pp.73-109
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• 2017

This article studies Hur Gyu's Wanpan-Changgeuk Heungbojeon (1982) and Heungboga (1984), with a specific focus on the dramaturgy of Changgeuk and its meaning as transformed from Pansori Heungboga. The dramaturgy of Wanpan-Changgeuk Heungbojeon and Heungboga served to express criticism toward selling oneself. Beyond their former classical theme of brotherly affection, these productions elicited sorrow at the sight of poverty through a dramaturgy integrating modern theatricality with the Korean dramatic style. The theme of grief for poverty in these Changgeuk plays simultaneously aroused spectators' sympathy and critical thinking about economic aspects. Moreover, the Korean drama style and humor were not used simply as a tool but to exhilarate an emotional response to a life of coexistence. This paper found that Hur Gyu's Wanpan-Changgeuk Heungbojeon and Heungboga recreated a new Changgeuk dramaturgy based on the director's integration of western thinking and Korean traditional culture on stage. Through this, Hur Gyu tried to expand spectators' sympathy and to achieve artistic and popular success. Thus, these value of Hur Gyu's Wanpan-Changgeuk lay not only in its long running-time, but in its dramaturgy of integrating thinking for his Minjokgeuk (nationalist theater).

• Journal of Korean Classical Literature and Education
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• no.34
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• pp.115-147
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• 2017

This paper compared and reviewed the poetic theories and Chinese poems of the Korean author Kim Chang Heup and his Japanese counterpart, Kan Chazan. Kim Chang Heup and Kan Chazan shared largely the same opinions on poetry, and both rejected archaism. First, they did not just copy High Tang poetry. Instead, they focused on the (sometimes trivial) scenery right in front of them, and described the calm feelings evoked by what they had seen. They also adopted a sincere tone, instead of an exaggerated one, because both believed that poetry should be realistic. However the differences between the two poets are also noteworthy. Kim Chang Heup claimed that feelings and scenery meet each other within a literary work through Natural Law, and the linguistic expressions that mediate the two are philosophical in nature. However, Kan Chazan did not use Natural Law as a medium between feelings and scenery. Instead the Japanese writer said the ideal poetical composition comes from a close observation and detailed description of scenery. In sum, while Kim Chang Heup continued to express reason through scenery, Kan Chazan did not go further than depicting the scenery itself. In addition, Kim Chang Heup believed poetry was not only a representation of Natural Law, but also a high-level linguistic activity that conveys a poetic concern about national politics. As a sadaebu (scholar-gentry), he held literature in high esteem because he thought that literature could achieve important outcomes. On the other hand, Kan Chazan regarded it as a form of entertainment, thereby insisting literature had its own territory that is separate from that of philosophy or politics. In other words, whereas Kim Chang Heup considered literature as something close to a form of learning, Kan Chazan viewed it as art. One might wonder whether the poetics of Kim Chang Heup and Kan Chazan reflect their individual accomplishments, or if the characteristics of Chinese poetry that Korean and Japanese poets had long sought after had finally surfaced in these two writers. This paper argued that the two authors' poetics represent characteristics of Chinese poetry in Korea and Japan, or general characteristics of Korean and Japanese literatures in a wider sense. Their request to depict actual scenery in a unique way, free from the ideal model of literature, must have facilitated an outward materialization of Korean and Japanese literary characteristics that had developed over a long time.