• Korean Journal of Social Welfare
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• v.66 no.4
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• pp.257-280
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• 2014

This is a study of Jinminso. The purpose of the study is to search and analyze the documents about Jinminso. The data is composed with the first hand historical documents both government documents and civil newspapers which are searched by internet. Based on the documents found, it is safe to say that Jinminso has existed and functioned as an indoor almshouse for the poor. It was established in June 25, 1898 by civil people with donated money in order to reduce the burden of Emperor and to share the love and care for their people with a brotherhood mind. The Jinminso resident were the poor, the sick, the orphans, widows, elderly living alone, and the disabled. They received food, clothes, and shelter. However, Emperor Gojong ordered to shut down Jinminso, and it was closed in Sept. 25, in 1898. The main reason was inappropriate collection of money for the agency operation from the merchants. When Jinminso was closed, all the inmates became homeless. The founders asked to reopen it, and it was accepted but this time was opened as a government agency in 1899. Jinminso imposes great meanings. One, Jinminso was not just an office but a direct service agency housing hundreds of poor people; two, poverty was understood as social problem not just a local district problem; three, rules and regulations were prepared to set up a system of modern age social welfare. The findings provide a clue how the government and society perceived poverty and the poor during the time of late 1800s to early 1900s. The existence of Jinminso will pose many new question.

• Korean Journal of Psychosomatic Medicine
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• v.4 no.2
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• pp.269-276
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• 1996

A theroretical study was made on the psychodynamism of somatoform disorder. Somatoform disorder is caused by a defense mechanism of somatization. Somatization is the tendency to react to stimuli(drives, defenses, and conflict between them) physically rather than psychically(Moore, 1990). Ford(1983) said it is a way of life, and Dunbar(1954) said it is the shift of psychic energy toward expression in somatic symptoms. As used by Max Shur(1955), somatization links symptom formation to the regression that may occur in response to acute and chronic conflict. In the neurotic individual psychic conflict often provokes regressive phenomena that may include somatic manifestations characteristic of an earlier developmental phase. Schur calls this resomatization. Pain is the most common example of a somatization reaction to conflict. The pain has an unconscious significance derived from childhood experiences. It is used to win love, to punish misdeeds, as well as a means to amend. Among all pains, chest pain has a special meaning. Generally speaking, 'I have pain in my chest' is about the same as 'I have pain in my mind'. The chest represent the mind, and the mind reminds us about the heart. So we have a high tendency to recognize mental pain as cardiac pain. Kellner(1990) said rage and hostility, especially repressed hostility, are important factors in somatization. In 'Psychoanalytic Observation on Cardiac Pain', psychoanalyst Bacon(1953) presented clinical cases of patients who complained of cardiac pain in a psychoanalytic session that spread from the left side of their chests down their left arms. The pain was from rage and fear which came after their desire to be loved was frustrated by the analyet. She said desires related to cardiac pain were dependency needs and aggressions. Empatic relationship and therapeutic alliances are indispensable to psychotherapy in somatoform disorder. The beginning of therapy is to discover a precipitating event from the time their symptoms have started and to help the patient understand a relation between the symptom and precipitating event. Its remedial process is to find and interpret a intrapsychic conflict shown through the symptoms of the patient. Three cases of somatoform disorder patients treated based on this therapeutic method were introduced. The firt patient, Mr. H, had been suffering from hysterical aphasia with repressed rage as ie psychodynamic cause. An interpretation related to the precipitating event was given by written communication, and he recovered from his aphasia after 3 days of the session. The second patient was a dentist in a cardiac neurosis with agitation and hypochondriasis, whose psychodynamism was caused by a fear that he might lose his father's love. His symptom was also interpreted in relation to the precipitating event. It showed the patient a child-within afraid of losing his father's love. His condition improved after getting a didactic interpretation which told him, to be master of himself, The third patient was a lady transferred from the deparment of internal medicine. She had a frequent and violent fit of chest pains, whose psychodynamic cause was separation anxiety and a rage due to the frustration of dependency needs. Her symptom vanished dramatically when she wore a holler EKG monitor and did not occur during monitoring. By this experience she found her symptom was a psychogenic one, and a therapeutic alliance was formed. later in reguar psychotherapy sessions, she was told the relaton between symptoms and precipitating events. Through this she understood that her separation anxiety was connected to the symptom and she became less terrifide when it occurred. Now she can travel abroad and take well part in social activities.

• The Journal of the Convergence on Culture Technology
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• v.5 no.4
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• pp.29-36
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• 2019

Lee Sang's poems and his portraits are being used in various video media. Depending on the characteristics of the medium and genre, the representation of the poet or higher and his poems are selected and variations in different ways. In a modern era where literature communicates with various media, reviewing how a poet's portrait is shaped is also the process of reading what text wants to convey to the public through a single person. This study examined aspects in which representations of poets or higher were utilized in various image media, and compared and analyzed how poet aberrations are represented in each text. In particular, the discussion centered on the movie and the drama . In the movie , the above poem is used as a hidden puzzle. The film uses the popularly known 'genius' representation to track down Yi Sang's secret. Because of this, the film represents its ideal in a way that is faithful to the genre's custom of Thriller In comparison, the drama was about to re-emerge as a young man with a passion for the inner workings. The cynical attitude shown in the above text is also a reflection of the love for the nation and the times. These different typographical methods are worth noting in terms of the literary man's public perception of "Yi-sang" and the strategy of the new portrait attempt.

• Journal of Korean Home Economics Education Association
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• v.15 no.2
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• pp.55-66
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• 2003

In Korea home economics in the secondary school level was only taught to girls until 1995. So. home economics education only for girls was criticized to sexist education by the feminists. According to the 6th revision of curriculum. home economics has been taught to girls and boys. But some of curriculum developers raises another questions on home economics education. They argue that home economics is a subject which prepares students for the demand of their day-to-day lives. but they can manage their lives well without school learning. The purpose of this study is to explore the educational values of home economics in secondary education from the gender-sensitive approach. For this study, a literature survey on the nature of home economic education in secondary education and the content analysis on 12 secondary school textbooks of Home Economics were employed. The results are as follows : First, the educational values of home economics education should not be underestimated. The aims of home economics education is to help students grew into a independent person by managing their daily lives. The home is charged with fostering a side of our life which we might call Personal, private. intimate and nurturing. The management of the home needs good skills and attitudes. and many knowledges on the child rearing, family relation, marriage, love and sex, which can not be successfully acquired without school learning. And home economics education for boys and girls can help break down the barriers between the sexes because it can change the attitudes of students regarding the private sphere. which is traditionally where women have worked. Second. most of contents of Home Economics were composed of the women-oriented contents. There was a trend still describing that domestic labor mainly be carried out by mother. And the ideas that only the family consisting of two parents and their children is normal were founded. Finally directions of development of the Home Economics Education are suggested.

• Journal of Korean Classical Literature and Education
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• no.15
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• pp.67-88
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• 2008

In spite of a few numbers of Hyangga that is handed down today, Hyangga has diverse and abundant contents. So it is possible to survey Hyangga as a journey literature of the middle age. On this purpose we can inquire into the Hwarangs' group journey, because the Hwarang was one of the main enjoying group of Hyangga. Hwarangs' group journey shows many aspects. They made a journey for the public purpose like a tour of inspection of people's daily life and the fortresses of the country's peripheral areas. Also, they made a journey for personal purposes like enjoying the attractive view of the mountains and rivers or seeking pretty girls outside of the palace. On these journeys, Hwarang made and enjoyed Hyanggas. Among Hyanggas that remains today, Hyeseongga and Cheoyongga have a direct relation to Hwarang's journey. Hyeseongga was made to eliminate the calamities that occurred at the time of the start of a journey. It is expressed in this poem that Hwarang could take a peaceful trip with the condition that the celestial objects shed light on the earth path. As such, the trip becomes a sacred ceremony. Cheoyongga reflects the fact that the foreigner Cheoyong became Hwarang and toured the streets of Seorabeol, the capital of Shilla. The Cheoyong's bitterness of broken love is expressed in this poem. SongSadahamga and MoJukjirangga come under a broad category of Hwarang's journey literature. SongSadahamga is a farewell poem for Hwarang who leaves to fight on the battlefield. It was universal to make a journey for the fighting of a battle in Shilla period, so many Hyanggas would be made under those situations. MoJukjirangga has the content of Hwarang's trip for saving his follower who was taken by another senior. It expresses the intimate relationship between Hwarang and the follower. Though the words of the song have not been remained, Hyeongeumpogok, Daedogok, and Mungungok were created on the way of Hwarang's journey. These seem to be a series poems which have the proper characteristic features of the Hwarang's journey literature. In these poems, the king's open mind and liberal political views are reflected. In short, Hwarang created and enjoyed Hyanggas on the way of their journey, so Hyangga has the features of journey literature in Korean middle ages.

• Journal of Korean Society of Forest Science
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• v.22 no.1
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• pp.7-17
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• 1974

Eighty percent of Gangweon-Do area is mountain forests, and of all others this province has the largest number of "Hwajeon-farmers" (who illegally reclaim the mountain forests to do farming as long as the soil is fertile enough to yield profit, but when it fails, move to other places to repeat the same forest burning, causing tremendous forest damages). In 1965 a 7-year plan was mapped out to exterminate this gipsy-farmers only to be suspended in 1969 to give way to the stronger urge from the national security view-point to first displace those isolated farmers set in deep mountains. In the meantime an increased number of the Hwajeon-farmers burned the forests, working new havoc. To cope with the situation, the provincial government lounched another 4-year plan in 1973 and has been enforcing the resettlement policy with renewed enthusiasm. Whether the plan will succeed depends entirely on the authority involved can solve the problems listed below with regard to the Hwajeon-farmers who are to lose their only means of survival and move down to the low-lands: 1) Their living must be taken care of until they can have definite means of self-supporting. 2) They must be provided with the opportunity to work in connection with the government-sponsored labor programs. 3) Not only the public organizations but also the private firms must give them the priority to get work. 4) The rural revitalization movement must expand the self-help reconstruction projects to absorb their labor powers. 5) The Hwajeon-farmers themselves must have the spirit of self-help and self-supporting. 6) All the citizens in the province must receive and protect them with brethren love. 7) The function of the watch-posts against the Hwajeon-farmers must be strengthened again.

• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.187-195
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• 2021

Nam Nong Heo Geon(1908-1987) re-recognized and re-created the tradition of Korean Namjong painting by excluding Japanese art forms after liberation. He is a great painter in the Korean art world, who has succeeded and developed Korean Namjong Painting in a modern way, pioneering a new field of 'NewNamhwa' with a composition that fuses modern Western style and real scenery. Based on optimism, Namnong's painting world can be divided into three periods: the 'Namnong Sanin' period in the 1930s, the 'Namnongoesa' period from the mid-1940s to the early 1950s, and the 'the owner of Unlimsanbang' period after that. The Namnong Sanin period is a period in which the painting style handed down from the traditional namhwau family of Sochi and Misan is fully acquired, and the Japanese painting style for the exhibition in Seonjeon is reflected, and the local real scenery is treated a lot, and the two styles are mixed. In the Namnong-oesa period, after liberation, a new formativeness was explored in the traditional Namhwa style. In particular, based on the scenery and sentiments of the southern provinces, he focused on local and landscape paintings, depicting real landscapes with lyricism and local love, while expressing subjects with fast brush strokes, a worndown writing brush, and dry brushes, along with freehand adjustment of shading. The period of the owner of unlimsanbang is in accordance with the flow of modern art to some extent, but is gradually omitted as a composition full of academic fragrance that draws a meaning befitting traditional painting. I painted a lot of lyrical landscapes and pine trees of sumugdamchae. Namnong named it 'NewNamhwa'. Namnong established 'Namhwa Research Institute' and worked hard to nurture his disciples, where Im-in's son Heomun and Namnong's eldest grandson Heojin practiced, continuing the legacy of the 5th generation Unlimsanbang painter.

• (The)Study of the Eastern Classic
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• no.66
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• pp.303-330
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• 2017

The purpose of this article is figuring out the modern understanding of SimChong Jeon's narrative and its storytelling strategy in the movie (2014). In the movie, there are three steps which are based on the temporal flow of narrative. shows the web-like structure of desire especially by focusing on the male character Sim Hakkyu. The relationship among characters in is gradually broken because of the desire. Moreover, the desire pushes Sim Chong who is Sim Hakkyu's daughter into the sacrifice. This part seems similar with the narrative of SimChong-Jeon which has been transmitted since 18~19 century in Choson dynasty. However, also tells a different story which describes the progress of Sim Hakkyu's seeking the real relationship filled with love. This difference is able to make people read with the 'stroytelling' point of view. All the lack or problem in is closely related to the desire of Sim Hakkyu. His narrative is something different from the typical story of SimChong-Jeon. A new narrative of Sim Hakkyu is not Sim Chong centered story but rather the anti of it. 'The other narrative' in seems social practice of storytelling in order to break down the preconception of SimChong-jeon called 'cannon'. This is the storytelling strategy of and it suggests the another way of creating new narrative which is based on the classical cannon.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.175-183
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• 2021

Gongjae Yoon DuSeo(1668~1715), from Haenam in the late Joseon Dynasty, is a scholar-born painter who was active during King Sukjong. He is the person who created the foundation as a pioneer of realist paintings in the late Joseon period during the transition from the middle to the latter period. He was born in Namin's prestigious family, but he ended his career as part of a partisan fight and immersed himself in painting and learning. 18C, the beginning of the late Joseon Dynasty, was a period when Silhak emerged and the Jinkyung era opened with awareness of nationalism. At this time, by incorporating the Silhak thought into the art world, the real reformed aesthetic consciousness was demonstrated to pioneer common people's customs, the application of Western painting methods, the pursuit of realist techniques, and the introduction of Namjongmuninhwa. His view of painting, who thoroughly learned the old things and pursued change, must have both the form and spirit that he can achieve 'HwaDo' only when it has the science of 'learning and knowledge' and the technical elements of 'practice and quality' emphasized. He has worked in a variety of reconciliations. In particular, portrait paintings are characterized by ihyeongsasin's realistic expressions of aesthetics. His masterpiece, 「Self-portrait」, excels in extreme-realistic depiction and innovation in composition, and stands out with an unconventional experimentation spirit that expresses his mind and thoughts in a painting with a sense of resentment. His landscape paintings combine to express the form as it is and mental notions, and beautifully embodied Do as a form, thus achieving ihyeongmido, which reached the level of'joyfulness forgotten even the heart of joy'. On the other hand, the generalization of the common people using various common people's lives as the subject of an open-mindedness aimed at gaining the facts of ihyeongsajin, a passive protest against corrupt power and an expression of a spirit of love. Since then, his painting style has been passed down from generation to generation to his eldest son Yoon Deok-hee and his grandson Yoon Yong, leading the change and revival of calligraphy art in the late Joseon Dynasty.

• (The) Research of the performance art and culture
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• no.41
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• pp.133-156
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• 2020

This is a paper that examines the meaning and changes of how Dalgang Song, a parenting song, is accepted in pansori works and how it plays a role in the narrative of the work. In Chapter 2, Compared the lyrics of Dalgang-Dalgang in actual parenting scene and Dalgang-Dalgang in Pansori's work. As a result, the songs in Pansori, show some differences in lyrics, but most of them kept the narrative structure intact. Among them, Gangreung-maehwa-ga maintained the phrase "Dalgang-Dalgang" in front and back, making the least changes. Simcheong-ga and Jeokbyeok-ga maintained their epic structures, but the the front and the rear phrase turned into a "Uh huh, Doong doong". And Dalgang-Dalgang was sung mostly by its mother or grandmother at the actual parenting scene, but the song in Pansori, was all sung by men. Dalgang song in Pansori, had a mostly Gyemyeon melody due to the genre characteristics of Pansori. Also Dalgang-Dalgang for actual parenting, was sung with a leisurely, soft beat. But Dalgang song in Pansori's works were sung rhythmical with Jungjungmori rhythm or Jajinmori rhythm to maximize joy. In Chapter 3, I discussed the roles and meanings of Dalgang song contained in Pansori. Dalgang-Dalgang of Simcheong-ga appeared in the crucial process of Sim Hak-kyu's return to will of life through Simcheong after the death of his wife. In Jeokbyeok-ga, Dalgang song also appeared as a tool to recall the happy memories with his son. On the other hand, Dalgang-Dalgang of Gangreung-maehwa-ga played a role of expressing affection for relationships between men and women, not between parents and children. This is beyond the original meaning of parenting, which means the hedonistic and excessive affection of Mr. Gol. The desire to change a relationship between a man and a woman into between parents and children is also found in Kim Yeon-soo's Chunhyang-ga. This change is an example of how the role and meaning of Dalgang song has changed dramatically as it was inserted into pansori. And the reason why Dalgang-Dalgang was so important in the narrative of Pansori was because of The lyrics of the song contain the love of the baby.