• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.100-119
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• 2016

The concept of "original form" and the principle of "maintaining the original form" take center stage in conservation, management, and promotion of the domestic heritage. Introduced in the 20th century, there were little discussion or deliberation about the concept of "original form" therefore it remains a vague and somewhat abstract notion subject to individual interpretation. Without a specified practical meaning, "maintaining the original form" became the fundamental principle for heritage conservation and management in the 1999 version of the Cultural Heritage Protection Act, engendering difficulties in applying the principle in practice. Conceived as an important first step toward resolving the issues stemming from the indistinct concept of "original form," this paper explores the process through which the concept was introduced to Korea and then established and developed as a legal principle for heritage conservation, management, and promotion. While the examination of the related documents and various cases shows that the development of the concept of "original form" has centered on specific periods and architectural styles, this essay explicates that the notion "original form" is commonly used as a term referring to the form at the earliest possible temporality. It also explains that this view emanates from perceiving heritages not as multivalent objects, but as a material object that exclusively carries aesthetic and, more importantly, historical value, and that comes from the history awareness of the times. This essay suggests that the concept "original form" should be reestablished with full consideration of the diverse values of heritage and diverse forms through which heritage can be expressed. After reviewing the feasibility and practicality of the concept a set of concrete guidelines should be presented for application in practice.

• Korean Journal of Environment and Ecology
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• v.33 no.4
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• pp.481-492
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• 2019

The Korean Ministry of Culture, Sports and Tourism has held "Travel Week" since 2014 to encourage the people to take a vacation and disperse the seasonal tourism demand that is concentrated in summer in Korea. As part of the program, the Korea National Park Service has also operated the participatory lowland exploration program that offers nature-themed attractions and enjoyment in national parks across the country during the "Travel Week" since 2018. The purpose of this study was to investigate the satisfaction with the program and intention to participate again of participants in the "National Park Spring Week Program" which is held in national parks during the "Travel Week." We conducted a self-report survey of 1,281 participants in the "2019 National Park Spring Week Program" held in 18 national parks across the country. The analysis of responses on the difference in the participants' satisfaction and intention to participate again according to the awareness in advance of the "2019 National Park Spring Week Program" showed that the average satisfaction and intentional to participate again of those who were aware of the program before visiting national parks were statistically significantly higher than those who were not. As for the type of national parks, those who participated in "maritime and coastal national parks" and "historical national parks" showed the statistically significantly higher satisfaction and intention to participate again than those who participated in "urban national parks." As for the type of the programs, those who participated in "cultural performance" and "exploration experience" showed the statistically significantly higher satisfaction than those who participated in "exhibition," "PR booth," and "campaign." Those who participated in "cultural performance" and "exploration experience" showed the statistically significantly higher intention to participate again than those who participated in "exhibition" and "PR booth." This study is expected to provide basic data for establishing a policy to improve exploration services in response to the increasing number of visitors to national parks in spring and fall as well as the peak season of summer.

• The Journal of Korean Philosophical History
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• no.30
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• pp.123-159
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• 2010

Dongyi (Chinese: 東夷; pinyin: $D{\bar{o}}ngy{\acute{i}}$; Wade-Giles: Tung-yi; literally "eastern 'barbarians'") was a collective term for people in eastern China and in the east of China. People referred to as Dongyi vary across the ages. The early Dongyi culture was one of earliest neolithic cultures in China. According to the earliest Chinese record, Zuo Zhuan, the Shang Dynasty was attacked by King Wu of Zhou, while attacking Dongyi, and collapsed afterwards Dongyi culture was one of the oldest neolithic cultures in China. Some Chinese scholars extend the historical use of Dongyi to prehistoric times, according to this belief, the neolithic culture correlates to Houli culture, Beixin culture, Dawenkou culture, Longshan culture and Yueshi culture, five evolutionary phases. Deliang He, thinks that Dongyi culture used to be one of the leading cultures in neolithic China. The writing system of Dongyi was one of the oldest writing systems in neolithic China. There are opinions that the 20 pictogram characters discovered in a Dongyi tomb (山東?縣大汶口墓葬) in Shangdong indictates some of the characters found, like "旦, 越, 斤, 皇, 封, 酒, 拍, ?", are still used in Chinese characters. There are also opinions that Dongyi people were the inventor of arrows. Some classic Chinese history records like Zuo Zhuan, Shuowen Jiezi, Classic of Rites, all have some similar records about this. [3][4] The legendary god of archery in Chinese mythology, Houyi, could also be a Dongyi leader. Based on archeology findings, Dongyi people's ancestral worship totem is bird-shaped. In the meantime, The fundamental thing that Koreans should do is to find out Korean identy. Koreans cannot achieve their goals unless they enforce politics economics, educations, etc. in harmony with their own identity. However, some people say that Koreans do not have any dentity on the grounds that there is no Korean traditional thought. This view is, however, absolutely absurd because it is impossible for a nation to exist for oner five thousand years without having it's own native characteristics. The most essential thought in Korean identity is Confucius' In(仁). In is originated from Yi(夷) or Yi-jok(夷族)'s heart. On this account, Confucius' In can be a precious thought to Korean people who have been suffering from many problem caused by the absence of Korean identity. If Korean could understand their original characteristics and if Korean couldrealize that their original characteristics are Confucius' In, then our culture and identity recovery of though may maximize efficiency of country and society development.

• Journal of the Daesoon Academy of Sciences
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• v.39
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• pp.69-97
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• 2021

'Déconstruction' is a system of thought that induces the emergent property that characterizes contemporary philosophy. The tradition of ancient Greek philosophy evolved over and over again, giving rise to the Renaissance and Enlightenment. It seemed to have reached its end under the historical perspective of modernity. However, contemporary philosophy wanted to see more possibilities through the deconstruction of modern philosophy. If modern philosophy dreams of a strange cohabitation between God and man with the humanistic completion of Plato's philosophy, modern philosophy rejects even that through deconstruction. Although Plato's classical metaphysics is a stable system centered around the absolute, it is ultimately based on God and religion. Under that system, human autonomy is only the autonomy bestowed by God. Contemporary philosophy is one of the results of efforts that try to begin philosophy from the original human voice through deconstruction. Instead of epistemology dependent on metaphysics, they wanted to establish epistemology from human existence and realize the best good that would set humans free through deconstruction. As such, it is no mistake to say that deconstruction is also an extension of the modern topic of human freedom. Deconstruction and human freedom act as one body in that the two cannot be separated from each other. Oddly enough, Daesoon Thought, which seems to have religious faith and traditional conservatism as main characteristics, has an emergent property that encompasses modern and contemporary times. The period of Korea, when Kang Jeungsan was active and founded Daesoon Thought, has an important meaning for those who have a keen view of history. Such individuals likely think that they have found a valuable treasure. This is because that period was a time when ideological activities were conducted due to an intense desire to discover the meaning of human freedom and envision a new world without copying the ways of the West. Instead they looked to face internal problems and raise people's awareness through subjectivity. In other words, the subtle ideas created by Korea's self-sustaining liberalism often take the form of what is commonly called new religions in modern times. Among these new religions, Daesoon Thought, as a Chamdonghak (true Eastern Learning), aims to spread a particular modern value beyond modern times through the concept of Haewon (the resolution of grievances) that was proclaimed by Jeungsan. The Haewon espoused in Daesoon Thought is in line with the disbandment of modern philosophy in that it contains modernity beyond modern times. First, Haewon means to resolve the fundamental resentment of human existence, which arose from Danju's grievance. Secondly, Haewon in Daesoon Thought encompasses the Haewon of the Three Realms of Heaven, Earth, and Humanity centers on a Haewon-esque style of existence called Injon (Human Nobility). Haewon in Daesoon Thought can be understood in the same context as Derrida's philosophy of Deconstruction. Modern deconstruction attempts to expose the invisible structures and bonds within human society and attempt to destroy them. In a similar way, Haewon endeavors to resolve the conflicts among the Three Realms by releasing the bonds of fundamental oppression that hinder the Three Realms of Heaven, Earth, and Humanity.

• Journal of the Daesoon Academy of Sciences
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• v.39
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• pp.215-247
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• 2021

In Buddhism, there are specific terms related to miracles and miraculous acts such as the Sanskrit term, abhijñā, which was translated as into Chinese characters as shintong (神通). This term implies the six supranormal powers. It originally meant 'direct knowledge,' 'high knowledge,' or 'knowledge beyond the common senses,' which was understood as a superhuman and transcendental ability possessed by Buddhas, Bodhisattvas, and noblemen. However, this took on different meanings and morphed into different terms later in India and China. This article analyzes the subject, object, type, and purpose of these shintong, focusing on the Sutra for the Householder Kaivarti (堅固經, Gyeonggo-gyeong, Kaivarti-sūtra) from the Longer Discourses (長阿含經, Jang-Ahamgyeong, Dīrghâgama) and exemplary Buddhist texts such as the Sanskrit, In Praise of the Acts of the Buddha (佛所行讚, Bulsohaengchan, Buddhacaritam) and the Chinese Records of Eminent Monks (高僧傳, goseungjeon) and Continued Records of Eminent Monks (續高僧傳, Sok-goseungjeon). The historical evolution and changes to the meaning of Shintong in Indian and Chinese contexts can be observed through these texts. In the Sutra for the Householder Kaivarti, the Buddha said that there are three kinds of Shintong: supranormal footedness (神足, shinjok, ṛddhi-pāda), mindreading (觀察他心, gwanchaltashim, anya-mano-jñāna), and education (敎誡, gyogye, anuśāsana). Among them, supranormal footedness (multiplying one's body, teleportation, flying, walking on water, etc.) and mindreading were denied because, at that time, claims of this nature were used to appeal to people's emotions and inspire sincerity, but this was of no use in conveying the Buddha's teaching. On the other hand, education, acquired only with through enlightenment, was sanctioned as a shintong unique to Buddhism. However, in In Praise of the Acts of the Buddha, supranormal footedness and mindreading were described as important ways to lead people to enlightenment, while education pertained to the whole of spiritual work. In China, Buddhism was a foreign religion at first, and it urgently sought to be accepted. After the increase of its religious influence, introspection on discipline and practice was meant to firmly deepen its roots. In line with this, shintong and miracles were transformed and expanded to suit the Chinese cultural context. Such changes in Buddhist history are well illustrated by the shini (神異, miraculous powers) described in Records of Eminent Monks and the gamtong (感通, penetration of sensitivity) detailed in Continued Records of Eminent Monks. In Records of Eminent Monks, the subject of shini was that of eminent monks and its objects were those who did not know of Buddhism or believe in it. In Continued Records of Eminent Monks, however, the monks themselves could be objects of shini. The change of object suggests that the purpose had shifted from edification to awareness and self-reflection. Shini focused on edification, whereas gamtong re-emphasized the importance of the pure discipline and practice of monks during the 6^th and 7^th centuries when China became predominantly Buddhist.

• Journal of the Daesoon Academy of Sciences
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• v.44
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• pp.1-52
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• 2023

Incantations are reflected in the fundamentals of the Daesoon faith system and are, thus, key to its understanding. Jeungsan, the yeonwon (fountainhead, 淵源) of the Daesoon faith, created new incantations or transformed existing ones that had been used in old religious traditions such as Buddhism and Daoism. However, there has been no in-depth academic research on Jeungsan's incantations until now. This study aims to academically clarify the incantatory archetypes of Jeungsan's incantations based on documents published until the 1970s. Jeungsan's incantations are then compared to those of Mugeuk-do (Limitless Dao) in the 1920s and Taegeuk-do (Great-Ultimate Dao) in the 1950s. Jeongsan's transformed incantations are analyzed through this process. Jeongsan reflected the faith system in Jeungsan's incantations during the period of Mugeuk-do. He transformed the incantations to achieve his goal and realize his wishes by arranging terms that referred to himself before the optative words of the incantations. Jeongsan made several changes to the incantations in the 1950s. First, the majority of incantations used in Mugeuk-do were discarded. This meant making partial changes to the faith system by reflecting awareness because the corresponding incantations were no longer necessary as the Degree Number calibrated by Jeungsan had been realized. Second, Jeongsan organized the incantations in use and institutionalized their instructions. This reflected the essential doctrinal system of the Daesoon faith, namely the completion of the true dharma by Jeongsan. Considering this doctrine, that is, the Fifty Year Holy Work (五十年工夫), the true dharma can be presumed to have been realized before the death of Jeongsan. Accordingly, the institutionalizing and organizing of the incantations were indispensable until the mid-to-late 1950s. Jeongsan, the founder of the Daesoon order, posited himself as the successor of religious orthodox lineage and as the figure who would complete the true dharma by realizing the Degree Number calibrated by Jeungsan. Therefore, Jeongsan interpreted Jeungsan's incantations to be a rough sketch of the Daesoon faith system that had been drawn for him in advance by Jeungsan. Accordingly, Jeongsan transformed Jeungsan's incantations and used them to realize the Degree Number, which Jeungsan had planned. Simultaneously, Jeongsan declared that he would fulfill the Degree Number and establish the true dharma by changing those incantations.

• Journal of the Daesoon Academy of Sciences
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• v.29
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• pp.241-278
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• 2017

This study aims to classify broadscale anti-religious movements in Korea based on critical public sentiment and analyze the meanings of these movements. To carry out the research, global religious changes that have occurred in modern times were closely looked into first. The world religions have had an influence on the world's religious awareness. As a result, they intend to acquire universality on their own individual grounds while keeping consistency with the past. This phenomenon used to appear to retain the identity, recreate tradition, transform itself to fit in the present times, pursue innovation, or even become overshadowed by other forms of thought such as when religions have collided with nationalism. How does Korean society perceive the changes that emerged in world religions? In general, the circumstances that Korea faces in this era tend to manifest themselves via the Internet, multimedia, and Youtube wherein they sound off on religion and this includes criticism of Christianity, demand for reformation, attack on minor religions, pro-reform academic circles and media, and the propagation of anti-theism. Criticism of religion is interpreted as an anti-religious movement. The secularism and anti-theism brought up by some Western scholars and critical theories of religion from scientific or historical perspectives are being spread through bookstores. Christianity is prone to reflecting on itself and trying to emphasizing a meta-religious spirituality. This in short, characterizes anti-religious movements in Korea. Indeed, criticism against particular religions has also emerged in the past. However, anti-religious movements that have recently come into existence in Korea are in some regards unprecedented when compared to that of the past in terms of their patterns and context. Especially, the active anti-Christianity movement in general is definitely a new phenomenon. This research mainly focused on Christianity, but on-going anti-religious movements will be a major topic for further research that aims to understand the religious changes unfolding in Korea.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.27-36
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• 2019

Today, the Korean wave headed by K-pop is newly named as 'New Korean Wave' in that it has been extended to United States, Europe and Russia. K-POP, the main player of the new Korean wave, has been successful in SNS marketing channels. Furthermore, the content of K-pop has attracted the attention of the global audience. The media and public attention on the Korean Wave is meaningful because it is not merely a cultural export. It also makes Korean people feel national pride, seeing the mental influence of its culture on other regions. Moreover, the development of the cultural industry in our society, which is different from industrial or material development, is a proof that Korean society is at the center of globalization. Until the 20th century, Korean culture had been rather receptive than dominant. In other words, it was focused more on acceptance of other cultures than active creation or outflow of its own. Now, however, K-POP is not anymore copying Western culture. It is creating its own unique characters, which makes K-pop very competitive. Korean culture has been formed for a long time in Korea's unique historical background. Korean popular culture also has to establish a solid foothold in world markets through its distinctive and traditional feature. The positive consumer response to Korean pop culture will create the added value of Korean contents and their derivatives, which will heighten Korea's national image also. In other words, if traditional art and K-POP are converged and equipped with our own unique and highly artistic culture, they will take the lead in the global cultural art market. In this study, we will recognize the possibility, growth and development of K-pop culture and analyze the cases of combining K-pop and Korean traditional art. First, we have to blend traditional art and other various genres to create diverse contents, and we have to actively utilize media channels. Second, we must improve people's awareness of the copyrights of traditional art. Also, we have to mitigate the copyrights of creative dance to expand the disclosure of contents which can be utilized. Third, we have to learn about traditional arts from younger age. Fourth, we will expand traditional arts to the whole of Korean cultural policies, which can enhance the nation's cultural value and create economic benefits. These four are expected to be effective ways to preserve the identity of traditional art and at the same time, globalize Korean culture.

• Sijohaknonchong
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• v.24
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• pp.5-46
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• 2006

Korean verse has flexibly changed its form and contents according to the historical background of the times. This fact arouses reader sympathy because it has reflected ideas, historical aspects and realities of the times. However, korean verse has kept its own characteristics in some ways, allowing it to exist today. It holds its form as 3 verses of three by three or four meter and three letters of the last of three verses. It makes every different version which has specific aspects of each times in the same 'sijo' area. 'Sijo' in Korean poems, is the first form that has been changed from formal to private functionally. As a result of that common verses in the Goryeo to Joseon eras were going with the stream of the times. Verse was the plate for justice so that there was no double meaning, symbols, or technical sentences. It had to show the idea of Myungchundo Jwonginryun. The theme was commonly fitted within certain areas. such as blessings, fidelity, devotion, etc. Around the end of the Joseon era, there was activation of private verses - a form of sijo with no restrictions on the length of the first two verses. Some ideas had been changed because Sarimpa gained power, domestic conflict, and the introduction of practical science. These things had an effect on the form of Sijo. After all, it shows the ideas of collapsing feudalism, resistance of confucian ideas, equality of the sexes, and opposition to the group who rule the government. Thus Sasul Sijo seems to have the tendency of resistance to reality. It was a specialty of realism poetry It explained our life in detail and reflected real life by being an intermediary of realism. This met and represented the demand of a reader's expectations. After 1905, there was new form of sijo that is very different, in form and content, from the previous versions. It was even different in areas of what people accepted. They started to think sijo was not the form of lyrical verse that is once was. It became a 'record of reading'. The form changed to 'hung or huhung' that satirized the times and the ending of a word in the last verse. Although this form could deliver the tension in statement, it was too iu from the original form. Therefore, it didn't last long, and its position got smaller because of the free verse that had western influence and was emerging in the times. In the middle of 1920, there was a movement of Sijo revival. It was lead by Choinamsun. He wrote poems and Sijo which were effected by western ideas in his early works. Although he worked with that, he took the lead in the movement of Sijo revival. He published the collection of Sijo $\ulcorner$Baekpalbunnwoi$\lrcorner$ that has one major theme-patriotic sentiment. He thought an ancient poem was a part of racial characteristics so that he expressed the main theme which represented the times and situations of his era. Modern Sijo is difficult. Sijo has to have modern and Korean verse characteristics at the same time. If it considers a modern aspect too much, it could not be distinguished from sijo and free verse. If it overly leans toward Sijo. it would seem to be too conservative which it then could be said to have no real charm of a poem. In spite of these problems, it is written constantly, because it has its own specialty. It has been focused on some works because they reflect awareness of modern times, the democratic idea, and realism. Overall, the authors of Modern Sijo express various themes by using different forms. The more what we can guess in this work, Sijo will exist permanently because of its flexibility. Furthermore, one special characteristic-flexibility of the korean verse will make it last forever and it will be a genre in Korean poetry.

• Korean Journal of Heritage: History & Science
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• v.57 no.1
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• pp.54-79
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• 2024

The purpose of this research is to fill the vacuum created by the tendency of bias towards China among the curators of Korean museums who plan exhibitions focusing on Balhae, and to share with researchers in the countries concerned various supplementary research materials that could deepen their understanding of the history of Balhae. These materials are based on analyses of the details of exhibitions about Balhae held in a particular Russian museum and the characteristics of and changes in the museum's operational policy. Thus, this research focuses mainly on the permanent and special exhibitions held by the Far East History Museum and Reserve, whose collection represents the archaeological achievements of Russia regarding the history of Balhae. The first part of the research focuses on the layout of the exhibitions presented by the museum and the museum's operational policy. It reveals that the museum's permanent exhibitions follow a diachronic arrangement of the local history, while the first and second special exhibitions featured exhibits that were selected from the collections of the Russian Academy of Sciences and arranged according to specific themes. It also examines the museum's policy for operating the exhibitions, focusing on the operational rules, the human resources deployed to run them, and the related educational and PR programs. The second part of the research examines such issues as local politics, economy, education and culture related to the exhibitions on Balhae's history, and connects them to the background and development of the exhibitions. This study reveals that the permanent exhibitions were intended to promote historical awareness of the local area by museum visitors, particularly those who visited the exhibitions while the city was hosting important events such as international summits. It also reveals that the museum's first special exhibition led to the promotion of Korea-Russia cooperation on exchanges in the fields of culture and tourism, whereas the second special exhibition involved no PR efforts or related events, which was probably due to the changes that have occurred in the relationship between Russia and its neighboring countries since then. The final part of the study focuses on the characteristic features of the exhibition narratives, and compares school textbooks on local history and history books for general readers with the contents of the exhibitions. The analysis of the narratives based on the development of time shows that the history of the Mohe (or Malgal) tribes has been combined with that of Balhae, while they are treated separately in school textbooks. As regards political history, the narrative was largely focused on officials in Balhae's central government rather than on Mohe warriors in the border areas. The maps of Balhae presented in the exhibitions highlight the importance of accumulating empirical data. As for the exhibition of material cultures, this study suggests that the museums should obtain more archaeological floral and faunal remains related with agriculture and hunting. It also points out that the narrative on the theme of foreign relations deals with the archaeological relics of Unified Silla together with those of the Turkic tribes. As for the theme of philosophy and culture, the narrative focused on the state ceremonies and rituals of Goguryeo, a theme that has attracted little attention among Korean academic circles and which consequently requires further study. In conclusion, this study is meaningful in that it suggests a number of research topics regarding the development of exhibitions and exhibition narratives about the history of Balhae by a prestigious Russian museum that specializes in this subject.