• Journal of Service Research and Studies
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• v.12 no.4
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• pp.1-18
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• 2022

This study was conducted to prove that the service philosophy is the development principle of human society in the service age. From ancient times to the present, the service philosophy was tried to show the wisdom of the development of human society in all earth spaces including the East and the West. In addition, it tried to prove that the service philosophy was at the center of the development wisdom of many countries and individuals who flickered on all space on earth and all human time. The study showed that the differences between countries were in software rather than hardware. Furthermore, it was analyzed that countries with a service philosophy embedded in the center of software such as spirit and culture made a great contribution to human society. The cases of Greece and Rome, the Republic of Venice, the Republic of the Netherlands, followed by the United States and modern Korea prove this, and the Soviet Union can be seen to disprove it. The former was a society in which state-run software was strong, and the latter was a society in which hardware was strong. There is a big difference between the case of the state, which citizens have autonomously organized and operated, and the case of the upper-level state-led operation. Since the leadership of the upper classes is not based on the service philosophy, the accumulated software power is weak, so it can be said that the accumulation of wisdom in human society is weak. Therefore, while the essence of human society so far has been a society of self-centered animal ecosystems led by selfishness, the human society in the service age from now on can be said to be a society of plant ecosystems where mutual respect and self-centeredness coexist. Just as the society centered on the service philosophy in the past human society prospered and left a greater legacy to mankind, it is suggested that the human society in the future service era should be a human society of a plant ecosystem centered on the service philosophy. Further in-depth studies related to this are needed in the future.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.469-506
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• 2019

More than a few existing studies on popular narratives that pay attention to 'place' tend to adopt as their theoretical framework the celebrated distinction between space and place. According to this distinction, to put it simply, space is allegedly mobile, whereas place is static. Given this distinction, and in this age of high-mobility, where the spaces of mobilities seem to rapidly and extensively undermine the places of immobilities, would studies on popular narratives focusing on 'place' still remain convincing? Referring to David Seamon's recent book Life Takes Place: Phenomenology, Lifeworlds, and Place Making, this article aims to consider the possibility of studies on popular narratives in the era of high-mobility. To explore the concept of 'place' through phenomenological methodology, Seamon's book uses a theoretical framework called the 'progressive approximation,' which is attentive to synergistic relationality. According to this approach, the place should first be put under scrutiny as a whole, i.e. as the monad of place. Phenomenological studies on the monad of place as a whole identify places as the fundamental condition for human beings. Then, in accordance with the 'progressive' order of research, places are studied as dyads, i.e. as binary oppositions. Through these analyses, movement/rest, insideness/outsideness, the ordinary/the extra-ordinary, the within/the without, homeworld/alienworld are identified as the five dyads of place. To make a detour around these binary oppositions and confrontations, however, phenomenological studies on place now advance to the higher order of six place triads including place interaction, place identity, place release, place realization, place intensification, and place creation, whereby the study of place progressively approaches the 'approximate' essence of place. Reflectively asking himself about the idea of 'place' in the high-mobility era, the author of this informative and insightful book submits an answer that place is still the fundamental sine qua non of human beings. However, this answer is more likely to be bounded by the binary opposition of space/place, and movement/rest accordingly. In this article, I suggest as an alternative and hopefully more promising answer a perspective of transcending this kind of a dead-end dichotomy and of performing 'place-making' through the mobilities themselves, while presenting a noticeable example of the manner in which research on popular narratives could begin from this perspective.

• Journal of Christian Education in Korea
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• v.74
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• pp.7-31
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• 2023

The climate crisis threatens Earth's ecosystems and biodiversity. In particular, it can be said that the cause of the global crisis began with human greed. An educational alternative is needed to change the Christian worldview that causes greed. The purpose of this study is to find ways to apply democratic citizenship education to Christian education as an alternative to overcome the climate crisis. The contents of the study to achieve the purpose were first the essence of Christian citizenship education was examined by dividing it into citizenship education, democratic citizenship education, and Christian citizenship education. Second, The model of democratic citizenship education was established by defining its goals, content, methods, and directions within the context of Christian citizenship education. Third, the application plan of Christian education for democratic citizenship education was classified into 7 categories and proposed; environmental education to overcome the climate crisis, ethical education to restore the public role of the church, education to form God's character, education to realize the village education community, education that promotes Christ's peace and Christ education that fosters consideration for multicultural individuals, and literacy education to prevent the negative impacts of digital media culture. Next, the plan to apply democratic citizenship education to Christian education is, first, to reduce human greed and restore God's creation order through environmental education that can overcome the climate crisis. Second, through ethics education to restore the church's public nature, it is necessary to restore the church's role for the church's moral empathy and publicity. Third, through the education that forms the God's character, it is necessary to form a mature character of faith in which personality and faith are harmonious and balanced. Fourth, schools, villages, and churches form a community through education that realizes a village education community so that the members of the village can obtain educational results. Fifth, through education that aims for the peace of the God Christians should be able to live as Christian democratic citizens who achieve peace in the kingdom of God. Sixth, through education that considers multicultural people, faith education that helps them overcome discrimination, exclusion, and hatred toward multicultural people with the love of Jesus Christ and seek a life of coexistence. Seventh, through literacy education that prevents the harmful effects of digital media culture, personal ability to read and write in media should ultimately be improved to the ability to practice socially.

• The Journal of Korean Philosophical History
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• no.28
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• pp.237-266
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• 2010

This thesis is to check whether the modernization, promoted mainly in 1960-1970 of Korea may have the relations with Confucian values or have a gap between this and that, and have the question about the idea of the appearance of modernity under Park Jung-hee's government, which is based on the viewpoint that Confucianism would have been made ill use of or have contribution to the nation-directing modernity, especially to the modernization of people. In a sense this thesis demands the overcome of the modern ills such as social dichotomy, leaving out matters of locals, and neglecting the diversities and singularities of creatures, resulted from efficiencies and uniformity caused by nation-centralism. At first Confucianism have represented humanism with a view to finding the mean between the two of locals, affairs, and men. As such it has seek to find centrality, which means my real mind for meeting outward things or the optimum as the mean, the best state between of the two. The political doctrines modified from Confucian learnings including chung, hyo, samgang, and oryun worked as the mechanism for finding nation-directing modernity. As a result we have lived in the modernity, strengthened by nation-centralism. And the leading concepts in related with Neo-Confucianism had people lose their spaces of desire for their own future or got them to be narrow. Accordingly the modernization of Korea means not an integral space in which we can achieve what we want in various aspects, but a deficient space to be complemented, resulted from the centralization of all conditions of life, dichotomous way of approaching matters by nation-centralism, far from being the essence of Confucianism. In the end the rapid modernization by the leaders in Korea has given rise to the concentration politics, economy, and so forth on Seoul as the center. Then we should deeply reflect the deficiency state of centralism like this and how Confucianism would have been responsible for it and will give how to relieve the unequal centralism of nation. Now for this matter we would like to expect our study in the future.v

• Korean Association for Visual Culture
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• v.23
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• pp.463-524
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• 2013

En exprimant 'la découverte de l'homme', Valéry, dans la Philosophie de la danse, représente «un plaisir qui allait jusqu'à une sorte d'ivresse, et si intense parfois, qu'un épuisement total de ses forces, une sorte d'extase d'épuisement pouvait seule interrompre son délire, sa dépense motrice exaspérée». Dans le même sens du plaisir, Jayadéva, dans son dithyrambe du Gîta-Govinda, représente la danse de Harî, une des nombreuses formes de Vichnou. Excités par le brûlant désir des jeux de la volupté, Hari et son amante Râdhâ cherchent au cours de la danse Râsa l'énergie vitale. Voilà la source du plaisir mystérieux valéryen. Ensuite l'eau, «élément essentiel de toute vie», est la mesure du temps de même que le soleil, l'eau est le principe de l'harmonie comme celui du monde. Finalement, chez Valéry, sous les diverses infleunces de l'eau mythique, la mer devient l'Océan de lait, soit le lieu de naissance, soit la substance maternelle, soit l'essence da la création universelle. Or tout au long de 「La Dormeuse」, Valéry évoque l'image de 'Vichnou-Narayana' sous l'influence de la mythologie indienne. Et sous une autre influence de Flaubert, Valéry évoque « d'étranges mondes abstraits». Malgré tout, Valéry crée lui-même, dans 「La Dormeuse」, une nouvelle image d'un monde abstrait : 'Vichnou-Narayana' couché sur un lit de lotus, porté par les replis du grand serpent Ananta, qui élève au-dessus du dieu endormi méditant, ses sept têtes formant une éspèce de dais - du sein de Narayana, richement décoré d'un collier d'étoiles et d'une couronne de pierres précieuses en forme de disque, croit un lotus qui porte Brahma dans son calice ; Lakchmi est aux pieds de son divin époux. L'épisode des dieux indiens est à un stade encore plus avancé de la destruction du symbole. Ils sont réduits à des formes symboliques obscures, non commentées et même difficilement identifiables. Le dieu rose qui mord son orteil dans une attitude à la fois mystérieuse et grotesque, c'est Vichnou qui a, selon le vichnouisme, le premier rôle dans la création du monde. Il flottait avant la création sur les eaux, couché sur une feuille de figuier, sous la forme d'un jeune enfant qui porte son pied vers sa bouche. Cette scène évoque la méditation et le repli sur soi de la divinité avant le commencement. Valéry désigne la cosmogonie particulière d'une religion bien déterminée(le vichnouisme) sans la nommer et en la vidant de son sens pouratnt capital, laissant subsister un symbole guetté par le grotesque, un dieu en enfance ; d'autre part, cette cosmogonie est télescopée et intégrée par une cosmogonie d'origine différente : le désemboîtement des trois dieux renvoie à la théorie sivaiste du Lingam, l'arbre de vie. Les dieux de la tirinité iendienne se détachent les un après les autres et il ne reste plus que la fleur sous la garde de Vichnou. Le désemboîtement des dieux paraît bien se référer à cette conception, malgré l'absence du lingam. Enfin toute la forme veille ; et tous les yeux sont ouverts.

• (The) Research of the performance art and culture
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• no.23
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• pp.37-61
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• 2011

The Noh(能) performance is a traditional drama that represents Japan. The Noh performance was approved in the background of religious thought such as Shintoism(神道), Buddhisms(佛敎), and Syugendo(修驗道). Especially, the influence from Shugendo is large. Shugendo was active in the Middle Ages. Especially, the influence from Shugendo is large. Shugendo was active in the Middle Ages. The Noh was approved while receiving a large influence from Shugendo. It can know the feature of the Shugen(修驗) culture in the Middle Ages through the consideration of . Moreover, the appearance of the training of 'Yamabusi(山伏)' can be seen. "Yamabusi" has not been paid to attention up to now in the research of . And, the focus was appropriated to Yamabusi and it researched in this text. Moreover, the problem of "Chigo(稚子)" is thought through . "Chigo culture" was general in the Middle Ages. It is thought that "Chigo culture" is reflected in . is an Noh performance for the boy named 'Wakamatsu' to enter the mountain and to train. It is because mother's sickness was cured. However, the boy gets sick while it is training. It was dropped to the valley according to the law of Shugendo, and it died. However, it revives by the Yamabusi's prayers. 'Taniko' is to drop to the valley and to bury it when the Yamabusi gets sick while lived. The title of the Noh originated in here. has elements of history, content of training of Shugendo, "Filial piety", and the Chigo culture, etc. These are features of the culture in the Middle Ages. It is not only a sad content though this is a content of the cruel remainder. It is because of the revival though waited rapidly at the end. As for the difficulty of training is drawn in the round, and the appearance of the training at that time is understood well. The essence of Shugendo is to train in the mountain. Supernatural power can be obtained through training. Moreover, it was thought that it was able to be newly reborn through training. The leading part of Shugendo is an Yamabusi. The Yamabusi took an active part in not only the mountain but also the village. The Yamabusi is ordinary people's lives and because the relation is deep, an important factor it knows the folk customs of Japan. The word 'Chigo' is not written in . However, a spectator at that time is 'Chigo' Wakamatsu and is already sure to have understood 'Chigo'. Because everyone knew the Chigo culture in the Middle Ages. A religion at that time and knowledge of the society are necessary to understand the play of Nho well.

• (The) Research of the performance art and culture
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• no.23
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• pp.347-368
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• 2011

This article is a review of the composition pattern of Suryukjae, which is one of the Buddhist ceremonies, and a consideration of the performance process. As one of the ceremonies leading the dead to heaven performed in the Buddhist circle, Suryukjae had been performed in Buddhist temples nationwide, but currently, it remains only in several Buddhist temples. Suryukjae is composed as follows. First, the early part of Suryukjae is a stage of preparing Suryukjae and ensuring legitimacy; thus, it has no detailed Jaecha except for Gwanyok. It is made up of Onghoge and Dage, has no Somun, and is centered on Yojabbara. The middle part of Suryukjae is a part in which Suryukjae is performed on a full-scale, which wishes the achievement of the goal of Suryukjae. It is made up of Geobul, Dage, and Somun, and is centered on Sadaranibara. Furthermore, this part delineates the flow of the Jaecha concerned as it contains detailed Jaecha. Meanwhile, in the middle part of Suryukjae, there is only detailed Jaecha called Sajadanman Bongsong (sending off), and the rest parts including Orodan, upper part, middle part, and lower part, in which there is no detailed Jaecha called Bongsong. The fact that there is no Bongsong in this part means all Bongsong is made in Heuihyang Bongsong, which is the last Jaecha. This implies that Saja, which is enshrined in Sajadan, is the essence of the achievement of the goal of Suryukjae. Only when there is Saja, Muju, Yuju, and Gohon (the meaning of all spirits) can be led to heaven. Also, from a rough perspective, this part is connected to other Chundojae (ceremony for sending off the dead to heaven) in Korea. There is a geori(Jaecha) that calls in Saja also in Jinogigut (exorcism) of Seoul. Then, although various gods from the otherworld are coming in in succession, to which Saja enters clearly shows a process in that Saja returns to the next world with the dead through . Just as demonstrates a process in that Saja returns to the next world with the dead in Jinogigut, also in Suryukjae, Saja needs to return to the next world with Gohon; therefore, at least Sajadan has detailed Jaecha called Bongsong. That is, this means that although Suryukjae of Buddhism is different from other Chundojae in terms of the composition of Jaecha, its notion about Saja is the same.

• (The) Research of the performance art and culture
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• no.19
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• pp.88-123
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• 2009

Gyeongsanjain Dano Festival is a local festival of Yeongnam that was initially designated as Intangible Cultural Heritage No. 44 "Hanjanggun Nori" in 1971 and finally became Gyeongsanjain Dano Festival in 2007. At first, few parts of it were designated for preservation and it was succeeded as a whole without connections between each part. Problems also rise from the fact that it has not been closely studied. Gyeongsanjain Dano Festival is mostly classified into five parts: Keungut, Yeowonmu, Hojanggut, Hanmyoje, and Jainpalgwangdae. This study has closely discussed each part as follows: 1. Keungut 1) Process and Contents of Keungut - Characteristics of Gut in Daegu and Gyeongsan 2) Presence of Performers that can Execute Traditional Gut of Local Area 3) Problems with the Name of Keungut - Ex: 'Hanjanggungut' or 'Keungut' 4) Problems of Dano Festival without Parts to Summon and Send off Spirits before and After Keungut and Restoration Measures 2. Yeowonmu 1) Essence of Yeowonmu and Yeowonhwa 2) Problems with the Mass Game of Hundreds of High School Girls 3) Origin and Succession of Yeowonmu 3. Hojanggut 1) Changes in Characters of Hojanggut 2) Composition and Characteristics of Hojanggut 3) Problems with the Name and Characteristics of Hojanggut 4. Jainpalgwangdae Nori 1) Similarity with Newly Created Shows 2) Problems with the Name of Palgwangdae 3) Difference with the Composition of Other Mask Dances 4) Dances and Movements Distinguished from Other Mask Dances in Yeongnam The following are the solutions suggested for Gyeongsan Jain Dano Festival. First, for the restoration of Gyeongsanjain Dano Festival, Dano festivals and Byeolsinje of nearby areas with clear traditions could be benchmarked. Second, the major content of Gyeongsanjain Dano Festival is 'Hanjanggungut,' and it has to be the leading content of the festival. Third, the structural principle of Korean festival must be adopted and the process and principle must correspond to those of other traditional shows. Fourth, as Gyeongsanjain Dano Festival is the comprehensive form of art, folk, and festival, each part must be closely related in a well-planned scenario. Fifth, Intangible talents and successful training must be widely acknowledged for successful transmission and responsible performances. Sixth, traditional festivals must be restored along with the discovery and development of various festival repertories and spectacles such as tour programs and experiential tours that contribute to local economy.

• Journal of Service Research and Studies
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• v.14 no.2
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• pp.37-47
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• 2024

Currently, social interest in post-cremation funerals is growing due to the establishment of cremation culture. In addition, as awareness of nature-friendly funeral methods spreads in modern times, the demand for tree burial grounds and tree groves, which are representative natural burial methods, is increasing. However, if the current method of relying on trees is used, the forest burial may damage the forest and turn it into another cemetery. The tree decoration is a funeral method that contains the temporal meaning of humans returning to the space of nature that we have, and the philosophical meaning that humans return in compliance with nature. Like this, there are quite a few concerns. Even though tree burials are not the traditional burial facilities we are familiar with, many of the facilities and operating systems adopt the standards of park cemeteries and have stricter standards and restrictions than natural burials under the law. This rigidity is intended to preserve the forest, but the reality is that it limits the expansion and operation of tree plantations. To this end, this study seeks to find specific improvement measures for sustainable tree plantation operation. To this end, we look at the types of natural fields in foreign countries and find directions for tree planting that can be effectively applied and established in accordance with the sentiments of the people. Specific improvement measures include an enshrinement method that does not rely on memorial trees, the operation of anonymous or anonymous tree planting, a change in the method of visiting and commemorating, and various mountaineering methods, thereby suggesting alternatives to sustainable tree planting in Korea. The place where tree planting is implemented is the forest, that is, the forest itself. I should be a place where the spirit of natural return, which is the essence of the deceased, can be celebrated through the forest, not a funeral facility. By doing so, it will be possible to provide the public value of the forest, that is, the social function of the forest, in the name of an eco-friendly funeral service.

• Sim-seong Yeon-gu
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• v.30 no.2
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• pp.145-186
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• 2015

This thesis discusses and analyzes Jeju island's shamanistic myth "Samgong Bonpoori" from the perspective of analytical psychology. Similar to the "I live on my fortune"-type folktales discovered in the Korean mainland, "Samgong Bonpoori" is such a widespread myth that similar folktales are found not only in East Asian regions, including Korea, Japan, and China, but also in Ireland. The essence of the story is as follows; One day, a father asked his three daughters whose fortune they lived on. The first two daughters claimed that they owe their lives to their parents. However, the youngest daughter, Gameunjang-agi, replied, against his expectation, that "I live on my own fortune," and showed her fortune and virtue were physically embodied in the line drawn from her genitals to navel. Her answer enrages his father so fiercely that she was expelled and forced to embark on a journey with no one but a black cow carrying food to accompany her. In retaliation for telling lies against her, Gameunjang-agi transformed her two sisters into a centipede and a mushroom, while her parents were turned into beggars afflicted with blindness. Afterward, Gameunjang-agi wandered around the country and eventually found love with a Chinese yam digger. Not long after, they got married, and as a couple, they stumbled upon roots of gold in fields, which brought them an incredible amount of wealth. After this miracle has happened, Gameunjang-agi began to wonder about the status of her parents and decided to organize a party for all the beggars and the blinds in the country. She eventually found her parents and got a chance to reconcile with her sisters. The story ends with her parents regaining their eyesight and Gameunjang-agi reestablishing herself as the "Goddess of Providence." "Samgong Bonpoori" is a myth about a God. A God is ontologically a supremely perfect being; however, in this thesis, it will be discussed as a part of a folktale. Gameunjang-agi can be seen as the anima archetype of the father, which reveals the process of a paternal consciousness being transformed over time. At first, her parents deny Gameunjang-agi. However, after years of suffering from blindness, they regain their eyesight and finally recognize their daughter. This signifies that Gameunjang-agi is a being that has come into the world for a certain "purpose." Gameunjang-agi embodies the creative function of "femininity" that can renew the existing collective consciousness embedded in the patriarchal system. Such recognition of femininity matters to men to a great degree as well as to women. Without knowing their true nature (femininity), the two sisters submit themselves to their parents and conventional values. Not until they suffer from being transformed and captured into small and insignificant beings, a centipede and a mushroom, which symbolize their shadow, they fail to develop their self-awareness. Meanwhile, by reconciling with her parents and sisters--playing a significant role in reuniting the family--Gameunjang-agi turns out to be a figure that can reveal what it truly means to have self-awareness and achieve Self-realization. In conclusion, this story illustrates that recognition of femininity matters to men to a great degree as well as to women, and women's Self-realization plays a critical role in revitalizing the collective consciousness embedded in the patriarchal system.