• (The)Study of the Eastern Classic
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• no.59
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• pp.183-211
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• 2015

This paper is to clarify the literary value of sino-korean poems interposed in Changseongamuirok. As the author of Changseongamuirok is thought to be a person with considerable knowledge of sino-korean literature, the sino-korean poems interposed in Changseongamuirok can be the clue to examine his literary ability. Furthermore, evaluation on the sino-korean poems interposed in Changseongamuirok can have the verification of Changseongamuirok's literary value and of the author's ability to create novels and to compose literary pieces be possible, and is thought to help determining who wrote Changseongamuirok. The sino-korean poems interposed in Changseongamuirok is not necessary parts for composition or development of the entire piece but additional parts for explaining and verifying characters and situations. Functions and roles of the interposed sino-korean poems are indeed very limited, but it is thought that the reason the author interposed such sino-korean poems into the piece is that those poems perform functions more than superficial limited ones. When the composition of Changseongamuirok and the literary achievement of its interposed sino-korean poems are examined, it can be thought that the author of Changseongamuirok achieved the level of professional novel writer. From the point of view, it can be said that Changseongamuirok was written in the time closer to the $19^{th}$ century than to the $17^{th}$ century and that the author also had literary and narrative creativity with considerable sino-korean literary ability. Such an author adopted sino-korean poems since he thought those interposed sino-korean poems took important roles for strengthening novelistic value and literary excitement. Further and deeper interests in and researches on sino-korean poems interposed into novels of Joseon dynasty period are expected.

• (The)Study of the Eastern Classic
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• no.41
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• pp.211-247
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• 2010

The purpose of this article is to consider the status and the value of a different book of Chunghyangjeon that Professor Park Sunho possesses. Chunghyangjeon that Professor Park Sunho possesses has the text in Chinese and in Korean. Compared with Chullidaebon, Chunghyangjeon that Professor Park Sunho possesses includes deletion, contraction and addition. Chullidaebon has many mistakes while Parkbon in Chinese shows that the mistakes were corrected. According to the standard, Parkbon in Chinese is similar to Mansongbon and Donambon rather than Chullidaebon and it is more similar to Mansongbon than Donambon. In Parkbon in Chinese, hypocrisy of Yangnyeongdaegun is weakened while his negative personality is magnified. And psychological description of Yangyeongdaegun is weakened and Chunghyang's beauty is magnified. Parkbon in Korean shows deletion, contraction, addition, and change. It doesn't show consciousness of lineage and deletes hypocrisy and negative personality of Yangnyeongdaegun. Also, the phrases are being deleted and contracted, which are difficult for those who do not master Chinese literature or Chinese poems. The professor Park Sunho's copy is more significant than other novels circulated at that times, for it is bound along with a copy in Korean. Compared with other editions of Chunghyangjeon and other classical novels circulated, that kind of edition, which included Korean copy, is very peculiar. The Korean-including edition shows that the Chinese literate tried to share the novel with persons who are Korean literate but cannot read Chinese characters.

• Journal of Ginseng Culture
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• v.4
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• pp.38-58
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• 2022

Park Wan-seo's novels deal with realistic topics of society, such as women's issues, the capitalist system, and the problems that come with old age. Assuch, her work is used as a tool to analyze social phenomena in various fields, such as women's studies, sociology, and literature. A characteristic style of Park Wan-seo's novels is that she bases them on her own experiences. However, among her novels, the novel Mimang is exceptional. The plot is based on stories that have been passed down from generation to generation. This is to show the spirit of the times through the unforgettable story of her hometown, Gaesong. Mimang is the story of a family chronology that spans four generations centered on Chun Cheu-Man and his family, who became powerful capitalists through the cultivation and commerce of ginseng cultivation. Set in the late 19th century until the end of the Korean War, the novel unravels the essence of the times symbolized by merchants of ginseng and Gaeseong, focusing on the actions of people living in a period of historical turbulence. Gaeseong is the mecca of Korean ginseng, and Gaeseong cannot be portrayed without the story of ginseng and its merchants. Therefore, Mimang, a fictionalized story based on real facts, contains valuable testimony of the history of ginseng, not only as historical values of modern history and personal customs but also as microhistory. In the novel, traces of the times of Gaeseong and the spirit of ginseng merchants, as shown in the Japanese sacking of ginseng during the colonial period, the resistance of ginseng merchants, and the conversion of ginseng capitalism to modern capitalism, are imprinted like fossils. What is especially meaningful is that the stories in the novel correspond to historical facts and constitute a chapter in the history of ginseng. The symbolism of ginseng in the novel can be explained in three main ways. First, it shows the essence of Korean ginseng. It reveals the soul of ginseng through the sincerity and rigor of ginseng farming, as well as the spirit and pride of ginseng. Second, it symbolizes the exploitation of ginseng in Japan as a national issue. The efforts of ginseng merchants to protect this and support the independence movement are presented as important themes to express nationalism. Third, it shows the modern capitalist progressiveness of Gaeseong ginseng merchants, who do not stay in landownership and commercial capital, but convert them to productive capital and contribute to society by modernizing them. The three symbolisms show the spirit of the times of the Gaeseong ginseng merchants, clearly revealing the meaningful relationship between the Korean people and ginseng.

• Journal of Conservation Science
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• v.38 no.2
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• pp.96-108
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• 2022

To understand the process of publication and distribution of ancient Korean novels under the Joseon dynasty and Japanese occupation, collecting information on the publication of various printed materials and estimating their publication date through various methods is extremely important. In this study, the characteristics and differences that appeared in the woodblock printing process were investigated using image comparison among editions of the Honggildongjeon (Tale of Honggildong) of Wanpanbon (完板本) (published in the Jeonju region) with other commercial editions of the ancient Korean novels. Additionally, the publication year of each edition was estimated. Printed images of different versions were compared with those of a recently discovered original series version and the changes in the process of carving replacement woodblocks were investigated and summarized. Various phenomena, such as differences in fonts, borderline shapes and integrity of printed characters, appearing in woodblock prints provided useful information for determining chronological relationships between the prints and estimating the approximate publication year for each edition. The various characteristics of woodblock printing obtained through this study are expected to serve as a reference for estimating the relationship between the printing method and the approximate publication date of old books and paper-based printed historical records.

• Journal of Korean Ophthalmic Optics Society
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• v.20 no.2
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• pp.219-228
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• 2015

Purpose: The current study was performed to compare the difference in binocular visual function depending on variable background colors at near work. Method: Fifty four adults (18 males, 34 females) who consented to the present study and had no ocular disease, ocular surgery history, strabismus and amblyopia with normal binocular vision were participated into this study. The subjects were asked to read the novels with black letter printed on white, red, green and blue background for 15 min. Then, their heterophoria, AC/A ratio, near point of convergence, accommodation facility, relative accommodation and vergence were measured before and after reading. The difference of measurements were compared. Result: Overall heterophoria was tended to decrease with regardless of background color. AC/A ratio showed a tendency of increase after reading the novels with all backgrounds except white background. Near point of convergence was significantly increased compared to before reading at all background color. Accommodative facility of dominant and non-dominant eyes were also significantly increased after reading however, binocular accommodative facility showed a tendency of decrease. Negative relative accommodation also decreased at all background colors however, the change of positive relative accommodation was not significantly different. In case of vergence, there was significant difference in break point of far BO and recovery point of far BI by the wavelength of background color. Conclusions: From the results, it was known there is convergence change depending on the wavelength of light even though same amount of accommodation and convergence is required when doing near work for certain period. Thus, it can be suggested that the adjustment of the near working environment which perception of various color was required, should be conducted according to the main wavelength.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.191-221
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• 2019

This study aims to analyze the post-humanistic imagination that has emerged as a major academic thesis in Korean literature, especially novels. In particular, this paper focuses on Cho Ha-hyung's two novels Chimera's Morning(2004) and A Prefabricated Bodhi Tree(2008), published in the early 2000s, for intensive analysis. Post-humanism can be seen as an extension of post-modernism that tried to overcome the limitations of modernity and seek to establish a new world view. In particular, this thought pays attention to the comprehensive understanding of how the rapid development of science and technology, which has developed since the 20th century, has changed the view of humanity and human-centered civilization itself. At the concrete level, it is developing in the direction of constructing a new subject idea by reflecting and dismantling Western-, reason-, and male-centered power mechanisms that are the core of modern civilization. Cho attempts to discover and re-illuminate the surrounding figures, non-humans, and objects that were not noticed in the classic works written in the past. This ideological flow reflects the fact that the concept of human beings, which had been dominated by the humanities in recent years, has been completely changed, and the natural science and technology perspective is applied to the discourse field in various ways. From the point of view of post-humanism, objects that have not been classified as humans and objects that were considered inferior to humans should be included in human or comparable levels. These questions generate interdisciplinary research tasks by involving the large categories of philosophy, such as ontology, epistemology and empirical fields, as well as calling for the participation of the entire literature, science and social sciences. Against the backdrop of a disaster-hit world, Chimera's Morning and A Prefabricated Bodhi Tree depict human beings as variants transformed by bio-technology, and creatures made out of the artificial intelligence built by computer simulations. Post-humanistic ideas in Cho's novels provide a reflective opportunity to comprehensively reconsider the world's shape and human identity reproduced in the text, and to re-explore boundary lines and hierarchy order that distinguish between human and non-human.

• Cartoon and Animation Studies
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• s.48
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• pp.173-197
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• 2017

The purpose of this study is to investigate the extensibility of transmedia contents of fantasy genre, and then to examine the characteristics of trans-media contents and analyze how the contents of fantasy genre have become trans-media. The definition and characteristics of the trans-media are distinguished from the existing theories such as One Source Multi Use (OSMU) and Crossmedia. At the same time, this study analyzes the extensibility of the trans-media contents applied to the fantasy genre and it compares with other medias such as novels, videos, games, etc. This shows that the game of the throne was more like to the second order adaptation through video adaptations that succeeded in success compared to the original novels that in expanding into trans-media compared with existing fantasy genre contents represented by the Lord of the Ring. The difference is that although the game of the throne is a fantasy genre content, it does not inherit the existing database genre elements, and it has been found that it has a different aspect from the existing customary form from the role of the character to the whole narrative. The analyzes presented in this study are equally valid for single content, not just for transmedia specific elements.

• Journal of Fashion Business
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• v.19 no.2
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• pp.53-68
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• 2015

The Beijing Opera is one of the leading representatives of Chinese culture, which includes literature, music, dance, martial arts, and a type of performance that stems from the Chinese cultural history that is still relevant today. The purpose of this study is to develop fashion-cultural products from the Lian Pu of the Beijing Opera, a Chinese cultural tradition that receives abundant positive feedback from around the world, showing its value in both academic and practical fields. This study was carried out first as a theoretical study of the literature, definition and types of facial make up used in the Opera, as a way of examining the formative aspect. Secondly, an analysis was conducted on the main characters, 'Guan Yu' and 'Zhang Fei' of "The Romance of the Three Kingdoms", 'Li Kiu' and 'Lu Zhishen' of "All Men are Brothers" and 'Monkey King' of "Journey to West", employing the collection belonging to 'Yongqi Zhao' who is an expert on the Chinese Beijing Opera. Thirdly, two concepts were categorized, based on the analytic results of the abovementioned characters, each of which were then further categorized into three sub concepts. In regard to cultural development designs, the results of an analysis on the facial make-up color, form, and texture of the four main characters were utilized to construct the themes, "Modern Chic" and "Traditional Splendor". The simplest form that has been represented in the four figures has been applied to "Modern Chic" to show a modern image in which black, white and light blue has been used alongside the vivid red, which is a Chinese favorite, to highlight the characters. In "Traditional Splendor", which is focused on the stage art of the Opera, we see more artistic traditions and colors, to further appeal to our emotions. Traditional motifs have been applied using traditional Chinese arts, in order to develop strong and brilliant colors. The two styles of cultural products were developed in the form of women's scarves and men's ties; a total of 24 designs were expressed, using Illustrator CS6. In the final step, 4 scarves and 6 ties were produced as a sample, using high quality silk. The development of these cultural fashion products will bring an opportunity to show how Chinese traditional culture can be widely utilized in commercial market design.

• Journal of Korean Classical Literature and Education
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• no.16
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• pp.29-63
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• 2008

The purpose of the study is to describe the phenomena of reading classical Korean literature in middle school classrooms. This is one of a series of fundamental works to seek a desirable direction for classical Korean literature education. The results of the study are as follows. First, it was investigated which classical Korean literature middle school students read. As a result, it was found that the students read the works given mostly in their Korean language textbooks. A modern language is used for classical Korean literature in middle school textbooks. The textbooks have the largest number of tales with four pieces, followed by novels, essays, and sijos, Korean verses. Secondly, it was investigated how middle school students read classical Korean literature. It was found that they read it in class mainly through one-way lecturing by teachers. As a result of conducting a questionnaire survey of students and teachers, it was found that the lessons in classical Korean literature did not fulfill the students' expectations. Thirdly, my own real teaching cases were arranged to be presented, in connection with the matter why students should read classical Korean literature. This matter is embodied with a teacher's short verbal explanation focusing on motivation concerning the object of study.

• Child Studies in Asia-Pacific Contexts
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• v.6 no.1
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• pp.31-46
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• 2016

This study explored types and characteristics of South Korean crossover picturebooks that are enjoyed across generations. Participants included three publishers, six critics, six illustrators and three picturebook researchers, and focused on 92 South Korean recommended picturebooks published from 1995 to 2014 as the research material for this study. The majority of Korean crossover picturebook type was story, followed by information and art. There were few wordless books. Common themes of the story picturebooks were contemplation, traditional culture, social changes (such as immigration and redevelopment), reminiscence, social relations, loss and death, family problems, and social incidents. Classic essays and novels were revised for picturebooks as were famous poems originally written for grown-ups. Informational books were about traditions in music, architecture, furniture and special occasions like wedding and ceremonies. The style of the drawings were precise and realistic. Some drawings were done by brush and Chinese ink on hanji (traditional Korean paper) or silk. Some books featured Korean calligraphy as well, enabling adult readers to also appreciate the beauty and delicacy of the books. Art books and wordless books were quite rare and exhibited a playful tone. Adults alone were not presumed to be the primary reading audience of the picture books. Implications were made for picturebook marketing in a society such as South Korea, where the elderly population is rapidly increasing. Various forms of art books and parodies were also welcome. One conclusion of the study was that more experimental and innovative works would be encouraging for the development of South Korean crossover picturebooks.