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

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

• Sim-seong Yeon-gu
• /
• v.37 no.2
• /
• pp.184-254
• /
• 2022

Through this thesis, the psychological meaning of the Korean folktale 'the servant who ruined the master's house' was examined. The opposition between the master and the servant is a universal matter of the human psychology. It can be seen as a conflict between the hardened existing collective consciousness and the new consciousness to compensate for and renew it. From different angles, it has become the opposition between man's spiritual and instinctive aspects, between the conscious and the unconscious, or between the ego and the shadow. In the folktale, the master tries several times to get rid of the youngest servant, but the servant uses tricks and wits to steal food, a horse, the youngest sister, and all money from the master, and finally, take his life. It ends with the marriage of the youngest sister and the servant. Enantiodromia, in which the master dies, and the servant becomes the new master, can be seen that the old collective consciousness is destroyed, and the new consciousness that has risen from the collective unconscious takes the dominant position. In an individual's psychological situation, it can be seen that the existing attitude of the ego is dissolved and transformed into a new attitude. In the middle of the story, the servant marries the youngest sister by exploiting naive people to rewrite the back letter written by the master to kill him. This aspect can be understood negatively in the moral concept of collective consciousness, but it can also be seen as a process of integrating mental elements that have been ignored in the collective consciousness of the Joseon Dynasty, symbolized by a woman, a honey seller, and a hungry Buddhist monk. The new consciousness, represented by the servant, has the characteristics of a trickster that is not bound by the existing frame, so it can encompass the psychological elements that have been ignored in the collective consciousness. Such element may represent compensation or an alternative to the collective consciousness in the late Joseon Dynasty. The master puts the servant in a leather bag and hangs it on a tree to kill the servant. However, the servant deceives a blind man; he opened his eyes while hanged. Instead of the servant, the blind man dies, and the servant is freed. As the problem of the conflict between master and servant is finally entrusted to the whole spirit (Self) symbolized by a tree, the blind man gets removed. It can be understood as an intention of the Self to distinguish and purify the elements of recklessness, stupidity, and greed included in the trickster. Through these processes, the servant, which symbolizes a new change in collective consciousness or a new attitude of ego, solves the existing problems and takes the place of the master. While listening to the cunning servant's performance, the audience feels a sense of joy and liberation. At the same time, in the part where the blind man and the master's family die instead and the servant becomes the master, they experience feelings of fear and concern about the danger and uncontrollability of the servant. The tricksters appearing in foreign analogies are also thoroughly selfish and make innocent beings deceive or die in order to satisfy their desires and escape from danger. Efforts to punish or reform these tricksters are futile and they run away. Therefore, this folktale can also be seen as having a purpose and meaning to let us know that this archetypal shadow is very dangerous and that consciousness cannot control or assimilate it, but only awe and contemplate it. Trickster is an irrational manifestation of revivifying natural energy that rises from the unconscious as a compensation for hardened existing structure and order. The phenomenon may be destructive and immoral from the standpoint of the existing collective mind, but it should be seen as a function of the collective unconscious, a more fundamental psychic function that cannot be morally defined. The servant, a figure of the trickster archetype, is a being that brings transformation and has the duality and contradiction of destructiveness and creativity. The endings of this folktale's analogies are diverse, reflecting the diversified response of the audience's mind due to the ambivalence of the trickster, and also suggesting various responses toward the problem of the trickster from the unconscious. It also shows that the trickster is a problem of inconclusive and controversial contradictions that cannot be controlled with a conscious rational attitude, and that we can only seriously contemplate the trickster archetype within us.

• Journal of The Korean Association of Information Education
• /
• v.12 no.2
• /
• pp.213-222
• /
• 2008

The information society based on Internet has positive effects to provide us with abundance and comfort as well as enhancement of quality of life. But it also has negative effects which bring about more serious social problems than real life. These negative effects of the cyber space are especially critical to elementary school students who do not have good judgment capability and clear concept on cyber space. To solve these problems, we have to let them have ethical sense to respond to the dysfunctions of Internet. We need to enforce Internet ethics education at home and in school so that they can behave as responsible and moral behaviors in this information society. Because the most of the elementary school students usually use Internet at home, the role of their parents can be particularly important factor in Internet ethics education. The purpose of this paper was to identify the current status of the consciousness on Internet ethics of the elementary school students who are the creators of new culture on Internet and their parents who make great influence on their education, and to study what influence the consciousness on the Internet ethics of parents has made on the Internet usage of their children. Through this study, we try to provide the desirable direction for Internet ethics of elementary school students.

• Trans-
• /
• v.4
• /
• pp.65-86
• /
• 2018

In this paper, I chose one of various agenda for life in a philosophical film world view and explored the core of dialectical relation between free will and responsibility. Freedom and responsibility, Existential and inferiority, etc, The conflict of humanity on the crisis of faith have been A comparative study based on the discussions of East Asian religious philosophy and Western philosophy. Including compare the three commonalities and differences with Jean Paul Sartre's 'subjectivity ideology due to the existence of free will' on existentialism in contemporary Western philosophy and The theory of the 'moral autonomy originating in the good will' of the Enlightenment philosopher Immanuel Kant and Concept of 'consciousness' of the life essence of Keiji Nishitani Based on the analysis of the film. In addition, the problem of free will in the viewpoint of nature, along with the individual's point of view, is comprehensively supplemented by the idea of the "nothingness" of the philosopher Zhuang Zhou. A selection of the Polish film Dekalog: Eight and make a basic conclusion of the final by argumentation and analysis as a case of the dialectical relation between the free will and responsibility.

• Cross-Cultural Studies
• /
• v.33
• /
• pp.171-192
• /
• 2013

The article is a research about the Belle Epoque era and Dadaism in the modern culture as a whole and separate. The years from 1890s to 1914, is known as the Belle Epoque era, in which the European continent including France had developed the climax of the modern culture after the Renaissance. At the same time, it was the period where the postmodern developments were being spread, leading to the present days. Moreover, the main ideologies in art that led to the cultural advancement of the time were impressionism, cubism, art nouveau, evolutionized painting category, symbolism and futurism. It was a literature category that was maintained to present Dadaism and surrealism. Dadaism began since the magazine, Bulletin Dada was published, originating in 1916 by Tristan Tzara of Zurich, Switzerland during the WWI. The extreme motto that the Dadaists supported was a contradiction, as they had to dissolve from their own art movements and expression techniques. However, until Andre Breton introduced 'Manifeste du Surrealisme' in 1924, the "Dada group" had a tremendous influence in France as an epicenter and rejected the modern cause and art that continued during the time, thus attempting its dissolution. First, they rejected the ideology, ethics and customs of rationalism from the previous system and demonstrate an anarchical and anti-bourgeoisie characteristic. They also reject the French lucid thoughts and the artistic techniques. They strongly emphasized on their motto "The idea is created from the mouth", while reframing from the philosophical ideology and at the same time, attempting to express the psychical unconsciousness. Second, the most important catchphrase that the Dadaists supported was the theory of negation. The question "Why do you write?" connotes the negative consciousness about the artistic value and the stereotyped method of the preexisting writing and drawing. Third, the Dadaists bring forward a radical query about all of the former esthetic and morals, and reveal an admirable resistance spirit. They emphasized on the slogan "Dada, means nothing" and insist on 'the anti-literal Dada, anti-artistic Dada, anti-musical Dada'. The Dadaist movement manifested their resistant spirit and the new artistic spirit through the publication of , , and most importantly through the magazine . Fourth, the Dadaists embodied the volume, density, and quality into an image through the auto-technical, cubistic writings and drawings. They ignored the fixed form of arrangements, verses, and rhymes of a poetic diction. The Dadaists utilized an unfamiliar and inversed expression method of applying the combination of the size of print, or capital letters and lowercase letters, even combining printed and handwritten writings. As presented, the auto-technical and cubistic characteristic of expressing the auto-psychical ideology into writing is called as the radical aesthetic and moral and can be considered as the most essential cause of the Dadaists' avant-garde features. As a conclusion, Dadaism demonstrated dual characteristics of consuming the nutritive elements of the modern culture through the most powerful resistance and liberation of the artistic movement of the Belle Epoque era, where at the same time, it deconstructed the modern art. By revolting against the former grounds and expression techniques, and dominating the era with the new artistic spirit, their resistant actions were artistic movements that symbolized the dissolution of the modern times. Moreover, the Dada's expressionism and resistance of saying "There's nothing" can be evaluated as postmodernity's initiative of outweighing the modern history and opening the door for new period of nowadays.

• Journal of the Korean Society of Costume
• /
• v.58 no.3
• /
• pp.131-148
• /
• 2008

Each stylistic period through history has its own unique look. The characteristic look of each period is completed and visualized with its prevailing ideologies, aesthetic consciousness and morality by means of 'form'. A period expresses its characteristics in accordance with form according to the widespread preferences of the time. Among the various cultural factors that form the look of the time, those that the period holds as ideal aesthetic values create the concept of 'ideal beauty' for that period. This study begins by establishing the conceptual definition of 'ideal beauty' and develops the premise that dress reflected ideal beauty. To attain the goal of the study, the selected objects are dresses represented in paintings, the actual garments from the Renaissance to Baroque periods and written references about art, art history, and history of costume. The results, based upon a theoretical study of the zeitgeist and aesthetic values of the 16th and 17th centuries, are as follows: first, ideal beauty influences the substance and form that constitute dress style. It is a byproduct of the spirit of time, the zeitgeist. The concept of ideal beauty is born within the lifestyle pursued by the ruling class and focuses on the body as an epitome of beauty, moral values, custom, lifestyle and taste as it becomes visualized via form. Second, the aspect of dress representing the ideal beauty of particular time varied according to the times. In both periods, power and dignity were used to achieve the ideal aesthetic values. In the Renaissance, power was expressed by the horizontal extension of dress (i.e. wide farthingales and sleeves) and in the Baroque period, by vertical extension (i.e. long and tall wigs, fontanges and trains). It can be said that fashion in both periods achieved an ideal, such as power and dignity, via the same means, by extending dress sizes, but the ways in which those ideals were portrayed in each period's dress yielded very contrary styles. It is understood through this study that ideal beauty influenced the dress style of the Renaissance and Baroque periods and played a decisive role in determining its forms and symbolic meanings.

• The Journal of the Korea Contents Association
• /
• v.12 no.3
• /
• pp.123-138
• /
• 2012

The purpose of this study is to identify how tales are accepted and embodied as a new work in dance as performing arts, which are getting attention for its rapid growth in the area of cultural industries. Major performances of recently created and performed ancient tales including Baridaegi, Chun-Hyang story, Yeonohrangseohnye are analyzed here. With acceptance of tales into dance, vitality of creation by the eternal word of mouth, rich information contained in each tale and the variety of interpretation showed the possibility of a new interpretation based on the existing perspectives. There are three kinds of acceptances: diversification of narrative techniques of the subject, adoption of the issue of moral values as a topic, and acceptance of tradition and national consciousness. To satisfy the fundamental concern about the universe and human, and to create both worldwide and Korean dance contents, the images of tales are being reinterpreted into a new dimension beyond the boundary of time.

• The Journal of Korean Society for School & Community Health Education
• /
• v.10 no.2
• /
• pp.69-83
• /
• 2009

Objectives: The purpose of this study was to analyze sexual permissiveness in order to solve the problems it creates for setting up desirable sexual culture. Methods: This study used Walker and Avant's methods for concept analysis. Results: Sexual permissiveness is the favorable attitude that is agreed upon and accepted as physiological, socio-cultural, and moral sexuality of an independent human who was born in man or woman. The property of sexual permissiveness that is accepted overall the humans are sex generously, change over the course of growth. sex consciousness, and attitudes toward sexual activity change based on race, age and religion etc. The values and beliefs of individuals that were formed in social and cultural background are bipolar. It is mutually agreed upon and accepted that volunarary activities should be spontaneous. The antecedents of sexual permissiveness included achievement of sexual development, establishment of the relationship, and mutual agreement between them. The consequences included mature relationship with others, meeting sexual needs, and raising sexual problems. Conclusions: These results suggest further studies are required that refine the diverse attributes of the concept of sexual permissiveness. The sexual education and enlightenment should be conducted at the period of secondary sex character.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.40 no.1
• /
• pp.26-40
• /
• 2016

The importance of Corporate Social Responsibility (CSR) implementation is increasing and CSR activity has become a core activity for firms. The increase on CSR activity expenditures also increases the need for strategic. When firms implement CSR strategically, firms need to consider consumers' perspectives toward CSR. This research investigated how Korean fashion companies integrate consumers' CSR expectations into CSR implementation. Through a qualitative study, we researched a firm's consideration of consumers which are reflected in detailed procedures of CSR implementation. We conducted in-depth interviews with executives and managers in charge of CSR and found the following results. First, motivations for CSR implementation were both strategic and moral along with consumers who play a crucial role in CSR motivation. Second, firms conducted various strategic CSR activities differentiating themselves using a specific resource. Third, self-CSR evaluation was not active and structured. Few companies were collecting consumer responses to CSR activities. Last, executives and managers have difficulties to perform CSR activities due to gaps between ethical consumption consciousness and the ethical consumption behavior, measurement of CSR effect, and lack of understanding of strategic CSR. The results of our study show that firm's consideration of consumers is insufficient despite executives and managers who strongly agree with the need for strategic CSR.

• Journal of the Daesoon Academy of Sciences
• /
• v.48
• /
• pp.199-237
• /
• 2024

Donghak-gyo, the Teaching of Eastern Learning, is a new religious order founded by Kim Ju-hee, centered around the Donghak (Eastern Learning) lineage. The core thought conveyed in the lyrics of Donghak-gyo songs (gasa) can be identified as the concept of 'Return to the Former World (先天),' considering the frequency of the term and the content of the recited verses. The view of time and destiny (時運觀) held by Eastern Learning emphasizes the concept of 'Another Great Opening.' Donghak-gyo's perspective on time and destiny is further rooted in the concept of 'Return to the Former World.' Donghak-gyo particularly emphasizes the term 'Former World,' and incorporates the Study of Changes (易學) into their songs. They recite verses that depict the situation of the Great Opening as an interaction between yin and yang. In Donghak-gyo, it is emphatically asserted that the completion of the Later World's destiny leads to the achievement of the 'Return to the Former World.' It is sung that with the restoration of destiny associated with the 'Return to the Former World,' the symbolic 'Spring (春)' represented by the virtue of Wood (木德) will return. Donghak-gyo describes the unfolding of a new cycle of destiny (運數) as the 'restoration of Changes (易).' When this occurs, they refer to the emerging new world, characterized by a new order and norms, as the 'Return to the Former World,' asserting that a 'moral world' will be established, leading to the development of a moral civilization. It is also sung that the restoration of the destiny associated with the Return to the Former World is akin to the restoration of the Heavenly Dao (天道). The characteristics of the concept of the Return to the Former World are threefold: firstly, it advocates a nostalgic system; secondly, it is a backward-looking thought; and thirdly, the idea of 'cyclical repetition' encourages tangible actions such as 'returning to the origin' or 'restoring fundamentals.' The concept of Return to the Former World in Donghak-gyo, unlike many new religions of those days, provided a unique conceptualization and understanding of the Former World and presented a new framework for interpretation. It moved away from the notion of discarding the Former World as a relic of an outdated era, and instead interpreted it as a new era to be embraced. Therefore, the concept of 'Return to the Former World' in Donghak-gyo should be re-assessed as one of the ideologies that inherits the pursuit of returning to and restoring the past in Eastern traditions. However, it can be criticized for lacking a concrete methodology with regards to the 'Return to the Former World.' Additionally, it is noted for deficiencies in ethical consciousness and moral virtues. Furthermore, its explanation about the Former World come across as insufficient. Thus, the concept of the 'Return to the Former World' in Donghak-gyo seems to be characterized more by declarative slogans than substantive content.