• Korean Journal of Child Studies
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• v.26 no.6
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• pp.189-200
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• 2005

The main objectives of this study are to examine the relationships among the Bu-Ja- Yu-Chin-SungCheong, child's self differentiation and interpersonal relationship and to compare the effects of the cultural virtues. Bu-Ja-Yu-Chin-Sung-Cheong which is the Korean traditional parent-child affective bonding defined as a characteristic of relationship between parents and children within Korean culture by Choi, sang jin. The subject of the study are 656 students from 4 different elementary schools in Seoul : they were 5 and 6th grades. The study was executed by surveying them with questionnaire and the results were analyzed through co-relation analysis and multiple regression. Findings were: (l)the Korean traditional parent-child affective bonding has a positive effect on self differentiation and interpersonal relationship of a child. (2)The Korean traditional bonding has a impact on a child's acceptance of others and social behavior. However, according to the level of a child's self differentiation a child's dominance-ascendance, ostentation-narcism interpersonal relationship inclination increased.

• Lingua Humanitatis
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• v.7
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• pp.93-122
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• 2005

China, the nation which reigns the society consisted of several ethnic groups, has been interested in universal virtues since its early eras, due to the social demand for their integration. Confucianism, therefore, traditionally has been executing this function as a transcendant world, and at present the Marxism takes its role instead. After its reformation and opening, the market economy was allowed to set in China, which means that the traditional ideology of integration comes to face the crisis occurred by new trend of the individualism which is gradually spreading. The people who make the policies and the intellectual people in China who noticed these phenomena, are trying to make measures to cope with this contradiction. Despite of their trials, they are destined to find nothing but powerlessness in front of the powerful marketing strategy of the commercialism which adroitly adapted to their measures. In this situation, the transcendant world to reach, which these people are appealing again is the totalitarian ideology that persistently has been maintained through history of China. The movie, Hero, is the one of these attempts. This paper offers you the analysis of this cultural agony of contemporary China.

• Journal of English Language & Literature
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• v.55 no.3
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• pp.383-398
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• 2009

Based on the Greek myth of Pygmalion and the fairy tale of Cinderella, Shaw's Pygmalion demonstrates a masterful coalescence of these two narrative motifs into a coherent plot scheme. Even more significant is his keen insight into the conflicts created at the tripartite intersection of human activity concerning language/class/culture, which, as the leitmotif, revolves around lessons in language learning. This play basically deals with human transformation and by its very nature, Higgins's experimentation with transforming Eliza cannot stop at language alone. Her cultural transformation ripples over into the realms of gesture and even a unique way of living (modus vivendi) intimately associated with taste and manners, which Bourdieu terms as habitus. By acquiring a new fashion and language, Eliza is reborn as a new lady aspiring to be filled with a newly acquired habitus. While separating her from her old Cockney style, Higgins inculcates Queen's English in Eliza, in which process her changed speech styles gradually transforms and restructures her deportment and manners, finally generating new practices, perceptions and attitudes. The gist of Pygmalion is however less Eliza's ascent into the middle class than her battle for symbolic capital waged at the level of language. By problematizing his contemporary practice of habitus conventionalized and warped by class distinctions based on economic, social and cultural capitals, Shaw creates a new humanist model of man founded on spiritual and rational virtues. In conclusion, Eliza is not a frigid Galatea but a dynamic character that goes through a brilliant transformation of three stages: 1) linguistic; 2) cultural, and 3) humanist. Finally she is built into a "consort battleship" on an equal standing with her sculptor. The process of her character-building cannot be illuminated without resorting to the dynamic notion of habitus, which highlights the process of inculcation, structuring, generation and transposing. Given the overwhelming weight of the heroine's role and the dynamic process of her transformation as the major plot scheme, this play should be christened Galatea in lieu of Pygmalion.

• Journal of Ethics
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• no.97
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• pp.279-306
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• 2014

This study presents the leadership model that is to build of ethical and cultural leadership. This model is to operat the functions of a systemof leadership that based on the universal principles of life, that is performed bybalance and harmonized judgment of the ideal ethical oughtfulness and cultural values, and practise ethically through relationship, process, and skill of leadership. And this model turn out to lead a real impact and then overcome conflict, problem solving, motivation. To check the validity of leadership, this study analysis the case study of leadership of King Sejong. His leadership is based at heaven that on the basis of the universal principles of life. The ideal ethical oughtfulness is to cares for people and the value of the cultural is to cherish the people's will. His leadership is to be balance and harmonized judgment of the ideal ethical oughtfulness and the cultural values by practice of virtues through relationship, process, and skill of leadership. Leadership relationship is a equal role relationship that are the children of the sky, thus to be coexistence and harmonyin close collaboration. Leadership process is a process of transvaluation to ensure the validity of the values by rational discussion and persuasion. Leadership skills led to active obedience through leading by example and love of learning. King Sejong' leadership is the leadership that ethical and cultural leadership become well-implemented.

• Journal of the Korean Home Economics Association
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• v.36 no.11
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• pp.73-90
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• 1998

During the period of 1950s and 1960s extreme changes in political, economic, social and cultural environments had a great influence on family ethics, since the western civilization had been introduced to this nation in late 19th century. This paper studied the family ethics during the above periods by interviewing elders(average age 77) who had couple relations at that time focusing the followings. During the period, ① what is the view of family? ② what are the actual sapects and characteristics of married couple ethics? ③ what are the actual aspects and characteristics of the ethics between parents and their children? The results of this study are as follows; ① The indispensable requisite of the parents is a son who functions as the tool for enhancing social position of their family rather than succession of them. The nuclear family is regraded ideal, but the concept of nuclear family of them is far different from that of western. ② The married couples accepts the given couple relations in the name of bringing up their children. The ideal image of wife is traditional wifely virtues and that of husband is ability of making money. ③ The parents emphasize education and success of their children for enhancing the social position of their family, while they still require some degree of moral standards to their children. The parents believe that the best filial piety is making good lives of their children's own, which is somewhat different from the traditional filial piety norm.

• Journal of the Korean Society of Costume
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• v.66 no.8
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• pp.78-97
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• 2016

The purpose of this study is to develop textile pattern designs by utilizing the prototype of traditional culture extracted from cultural resources in order to establish a specialty strategy for local cultural contents. To achieve this, the study selected the Hyojaemunjado as source of Jeju traditional culture. Jeju's Hyojaemunjado is characterized mainly by the creative and unique formativeness of Jeju's character paintings. Character paintings often contained images related to the characters featured inside characters, or composed stroke with symbolic iconography. The main subjects of Hyojaemunjado were stories that alluded to the Confucian virtues. Therefore, the purpose of this study was to remind people of the real meaning of Shin(truth) by developing textile pattern designs, which borrows the tessellation technique for design, and the dominant characteristic of geometric abstraction. This study used theoretical research and empirical analysis. First, the study did the theatrical research on Hyojaemunjado based on literature and precedent studies, and then analyzed the style of expression and formativeness on the Shin character paintings through real analysis of Jeju's Hyojaemunjado kept in Jeju National University Museum. Second, based on the analysis of the style(three-tier composition) and formativeness of Hyojaemunjado, it analyzed the formativeness of the iconography about Shin, i.e. character types(semi cursive style, square style) drawn according to the symbolic meaning, palace, unknown flower, pheasant, tile fish and constellation. Based on analysis of the iconography, it stylized the motives that became available on the Archimedean tiling of tessellation, and then developed the textile pattern designs by arranging the iconographic motives with Platonic tiling and Semi-tiling. The reason why this study borrowed tessellation was to create various visual effects using the size of angle, symmetry and change and joint with simple figure.

• Journal of Hospice and Palliative Care
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• v.1 no.1
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• pp.1-5
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• 1998

Grief is the ordinarily self-limited complex of symptoms and processes that constitute the acute reaction to a significant loss. And it is the reaction of the dying as well as the bereaved. Every culture has had its own ways of grief and mourning. The definition of healthy grief and mourning, in terms of both emotional expression and the length of time it should continue, mostly depend upon the type of culture as well as the type of religion. So the manner of grief and mourning greatly differs from culture to culture. In the most of the Asian countries, influenced by Confucianism, Taoism, and Buddhism, death is traditionally considered the most significant life cycle transition. In Chinese culture, many rituals have evolved to help family members deal with their loss, over the past five thousand years. Confucianism taught the virtues of filial piety and righteousness. These rules and many customs added since the time of Cofucius, have been loyally followed and practiced by many Asian people. However, Buddhists have different ideas. They believe in karma and reincarnation and in predetermination of one's present life by good or bad deeds in the present life and past lives. Display of uncontrollable emotion is not encouraged. Continuity of family relations after death is very important. The ancient practice of the ancestor worship is still followed in many Asian households. Many Buddhist do not practice ancestor worship; family members honor the deceased by placing a memorial plate in the temple for continued chanting purposes. The mourning rituals have been dramatically curtailed in the past 50 years. For example, political, social and economic forces have shaped the current mourning practices of Chinese in different countries. There are many clinical implications in helping Asian to deal better with the emotional strains of the experience of loss. The therapiest must respect the cultural framework through which the client perceives family losses.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.49-71
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• 2013

Melodrama emerged as a form of the moral in the early modern age. As an approach 'the moral' not only means that rewarding virtue and punishing vice, but also refer to a principle of spiritual life and a way of life. -Melodrama theatricalizes a new vision of human life and society through a new type of the virtuous protagonist and sentiment/-ality. -This allows melodrama to be a dominant cultural form in this modern age, beyond the borders of the theater, mass-media, and literature. Virtue and sentiment/-ality are the core elements of melodrama, which differentiate it from tragedy and comedy especially in the structure and effect of the drama. Actually virtue and sentiment/-ality have been a main target of criticism. Virtue has been regarded as a trite quality of the stereotypical protagonist, and sentiment/-ality as a banal emotion which paralyzes an audience's recognition of reality. -However, this thesis regards both virtue and sentiment/-ality as vehicles for showing and sharing the morals of the modern age. First, the virtues of the protagonist included the general and universal ones of the bourgeois -at that times, the bourgeois represented themselves as a human being- such as the responsibility and obedience of a father, a mother, a wife, a husband, a daughter and a son. They also included the professional ethics such as courage, honesty, and justice and so on. The fall or salvation of the protagonist is largely determined by his/her private individual virtue. Second, sentiment/ality is a theatrical device that makes the audience internalize the protagonist's virtue. The protagonist expresses his/her universal virtue sentimentally, and the audience also expresses their virtue by sympathizing with the protagonist's virtue sentimentally. However, the melodramatic protagonist as an individual, is not connected with society, but remains isolated. As a result, s/he has no influence on the society, where s/he can only ends her/his play alone with a happy-ending. S/he is happy alone, or at best happy with his/her own family. On the contrary to this, tragic protagonist usually fixes social disorder through his/her fall. In that sense, we can say that melodrama presents only the half of the human life.

• Journal of Korean Philosophical Society
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• v.144
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• pp.17-31
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• 2017

In the beginning of the 21st century, UNESCO (The United Nations Educational, Scientific and Cultural Organization) thinks the key to the battle is "morality," and thus proposes the norm of ethic, morals and values. Not only have countries all over the world responded to the proposal, but we in Taiwan are also involved in the campaign, hoping through the new movement, the deviant values are to be modified. "Doctrine of the mean" is the best essence in Confucianism when it comes to the idea of government ruling by a virtuous king, who possesses sincerity, a crucial element to inspire better character. Moral teachings nowadays emphasize the fact that a person should own ethic virtue and behave accordingly. Only via constant practice and training can people obtain sincerity and virtues in the learning process, in which Confucianists rely mostly on self-discipline while more tactics are applied to modern education.

• Cross-Cultural Studies
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• v.46
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• pp.227-251
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• 2017

This article is designed to study the conceptualization process of one of the ancient Chinese classical literature heritages, the so-called, the Triple Virtue(三達尊). By showing the principle meanings and the newly embodied symbolism of this Triple Virtue, this article is prepared to encourage revitalization of the moral virtues and self-identical pride among the elderly and to promote the young people's social consciousness of respecting the elderly. The author identifies the philosophical origins of the Triple Virtue, implying that the virtuous trinity is composed of morality, position and age, by analyzing poems in "Daya(大雅)", "Xiaoya(小雅)" of the Book of Odes and archives in "Zhoushu(周書)" of the Book of Documents(尙書). The author especially emphasizes that the concept of Triple Virtue was created by governing classes for meeting the political needs in the Zhou Dynasty. Moreover, by regarding King Wen of the Zhou Dynasty as the symbolic representation in the beginning era of the Western Zhou Dynasty and Shao BoHu as the embodiness representation in the end of the Western Zhou Dynasty, the author performs an in-depth study related to the above two great men. Finally, the author sheds lights on how symbolic and embodiness representations had played significant roles in formulating a typical model of the Triple Virtue in the following generations.