This study was attempted to suggest a new viewpoint to regulate foundation myth as Akijangsu legend narrative's antistructure. The problem is that Akijangsu legend has been regulated as reversed narrative of foundation myth in precedent research history. Following this viewpoint, it is impossible to explain context that Gangchaeyoon's Akijangsu narrative is collected in Sejong's sovereign myth. But Gangchaeyoon is changed as helper to found ideology order and his Akijangsu narrative is collected in sovereign myth's context. Therefore in this point it is necessary to sound out foundation possibility of new thesis the found myth is reversed narrative of Akijangsu legend. Choosing this standpoint, it is possible to regulate Sejong's sovereign myth as narrative dramatization of successful Akijangsu legend. At the same time it is possible to regulate Cheongkijun as Akijangsu that was situated in Sejong's sovereign myth as antagonist, competing and failing with Sejong to replace existing order by own ideological order. This study investigated that found myth is reversed narrative of Akijangsu legend.
This paper is writed in "Kojiki" and "Nihonshoki" chronicles of the most important in the configuration of the myth known as the 'the myth of Himuka' and the myth of the most important factor in transmission is to analyze the structural 'the myth of Tensonkorin'. There is dual structure and the two appeared in the literature about the relationship between Korea and tried to consider. Korea in terms of both tradition and the literature is limited. However, each appeared sporadically in the literature in their own tradition, elements of ancient Korea shows signs of a glimpse of the image. It appeared that 'the myth of Tensonkorin' in 'Kojiki' 'Kara' is said. They also commonly appear in the literature about the cheonsongangrimsinhwae academia in Japan until now, the so-called 'Himuro car myth' has been recognized as a starting point. However, a closer analysis of the literature focused on factors that cheonsongangrimdameun xi 'Himuro car myth differs from. Sora can see that John bukbanghyeong tradition. The myth of the southern Kyushu region and annexed 'the myth of Himuka' that can tell incorporated into.
This paper took Jeonkyeong (典經) of Daesunjinrihoe(大巡眞理會) as the basic text and studied how Kangjeungsan(姜甑山), the Sangje (上帝), had embraced Chinese myth in process of formation of his religious thought focusing on Yan Emperor(炎帝) Shennong(神農) myth and Shanrangang(禪讓) myth (namely Danchu myth). First when we examine the myth surrounding Kangjeungsan's birth, it deeply emraced a feeling-birth myth(感生神話), we could realize that this is a universe motif through myth of hero birth in East Asia. Further judging from the analysis of geographic space of Kangjeungsan's activity, it included a variety of mythical and Daoist related place names. I think this is because of the fact that birth place of Kangjeungsan and the surrounding area is the locality of Xian(仙) tradition where major characters of Danhak sect(丹學派) have been turned out, and that Korean way of Xian suppressed by the regulatory system has been widely rooted in the public. Especially it's interesting that Jeungsan, the pen name of Kangjeungsan, ambiguously connotes Siru mountain(甑山), a place of his training, and the spiritual realm of the 『Zhouyicantongqi(周易參同契)』. Then I examined the God of fire Shennong myth which has been actively admitted and embraced by Kangjeungsan. Kangjeungsan put the root of his pedigree on Shennong and there is a close affinity between Shennong and Dongyi(東夷) such as Buyeo(夫餘), Goguryeo(高句麗), etc. These Dongyi spirits are losers against the Chinese major myth and beings of ressentiment. At the same time the predecessor of Jiutianyingyuanleishengpuhuatianzun(九天應元雷聲普化天尊) who shares mythical characteristics with the God of fire Shennong was a formerly Taishi(太師) Wenzhong(聞仲) of Yin(殷) dynasty. He was defeated and died by Zhou(周) dynasty, and was deified. The fact that Kangjeungsan regarded himself as a descendent of Shennong and possessed divinity of Jiutianyingyuanleishengpuhuatianzun connotes that he represents all beings of ressentiment such as family of Yin and Dongyi. However, Kangjeungsan set a religious milestone by turning revenge for such ressentiment at tribe level into religious sublimation. At the end Shanrang myth which has been critically embraced by Kangjeungsan was reviewed. According to the existing Shanrang myth, Danchu(丹朱) was unworthy and not succeeded in the succession to the throne. Then good natured Emperor Shun(舜) succeeded to the throne from Emperor Yao(堯). However, the reality of Shanrang myth was a violent change of sovereign power and Danchu was a victim in the process of such violent change. Kangjeungsan shrewdly grasped the reality of ancient China and cast light on presence of Danchu. And he emphasized the need of religious sublimation of revenge, Haewon(解冤). His such awareness of culture had a close relation with revisionist standpoint of independent Danhak sect expressing a skeptical glance at systematic, commensurate and authentic historical view of Chinese civilization. And further Kangjeungsan cosmologically and causationally reinterpreted revenge of Danchu. He established a universal salvation theology which has a corresponsive connotation in regard to embracement of Shennong myth. In conclusion, embracement of Chinese myth by Kangjeungsan was a creative work of reinterpretation resulting in an inherent religious connotation through a process of appropriation, that is independent and selective introjection.
In terms of the way we perceive the world, the history of human beings might be said to be a history of two incompatible forces -'science' and 'myth.' Until today, both indispensable aspects have made human existence possible and characterized human culture. Nonetheless, an essential definition of myth has never been clearly explained. What is the general philosophical thought about myth? Current well known interpretations are so called Enlightenment and Romanticism of myth, which both has same criticism that they has not generally considered myth in terms of its technical function or specified contents. One who overcomes the limit of two current extreme beliefs on myth and also who concerned more with the ultimate origin of myth and its relation to the structure of poetry than the source of its vital accomplishments is philosopher Hans Blumenberg. For him myth is an artificial means and an answers to overcome the 'absolutism of reality.' On this point, the research concerns basically two issues. One is to investigate the functional and structural characters of myth through philosopher Hans Blumenberg's anthropological reflections. The other is to analyze architect Tadao Ando's works and thinking. The intention of the paper is not only to explore the relationship between philosophical theory of Blumenberg and Ando's architectural works, but also to suggest a new critical understanding on architecture from mythological point of view. I also expect that this research will suggests a concrete theoretical idea for constructing and construing artistic form and cultural space.
Architecture is a shelter for society whose social pattern requires a specific form to accord with its material and spiritual needs. Providing a truly acceptable architecture requires our deeper understanding of cultural tradition - mythic values - not only because myth is an interpreted and configured form of 'thing' through man's second nature, such as his subjective and objective consciousness -'self-revelation of the absolute'- but also because, in the world of mythical imagination, a fragment of substantial reality -'thing'- becomes an equivalent mode to the signification, and emerges as 'its independent spiritual form' and 'the characteristic force of the logos.' In this sense, myth of place and myth behind tectonic form are the most essential sources for comprehending people's relationship to the world of inner and conscious experience. The recent efforts of modern architects to achieve cultural continuity should begin with re-interpretation and configulation of the myths behind describable material culture, especially artistic imagination inspired by deeper understanding of the myth of place. Myth provide artists with a creative inspiration, as they did in the past.
The purpose of this study was to investigate representation of media on Korean controversial historical incidents and its myth and ideology. Especially the authors paid attention to the MBC-TV Documentary which had dealt with many controversial issues in Korean society. Those issues had never been dealt by other Korean media before it began to do. Three episodes about the South-North Korea related issues were selected as main object of this study and were analyzed with various semiotic research methods, especially, paradigmatic analytical method, narrative analytic method and mythical analytic method. As a main result of this study, it was found that the Documentary tended to represent such controversial historical issues very differently from the previous representations of old newspapers'. Th e old newspapers tried to establish old myths; that is, 'myth of national crisis', 'myth of anti-communism', 'myth of scapegoat of college students', 'myth of intelligent agency's monopoly', 'myth of social stablization', etc, while the documentary changed to build up new myths; that is, 'myth of humanities', 'myth of peaceful unification', 'myth of freedom and democracy', 'myth of human rights, etc.' In short, it was concluded that the documentary was able to change some previous myths and ideologies through its changing representations.
The purpose of this study is to identify the myth(erroneous beliefs) of police, lawyers, and doctors about wife abuse. Subjects included 194 police, 81 lawyers, 164 doctors, and 222 public who lived in Taegu and kyngbuk. The major findings of the study are follows; first, subject-groups commonly have the myth about wife abuse. Second, there are no differences by sex, formal education, and marital status. Additionally significant age differences are found in police and lawyers. Third, especially they have the myth about wife abuse-e.g. battered women could avoid being battered by simply leaving their batters, their husbands can stop the abuse by attending a counseling or therapy session and by deceasing the job-stress, and they must not to divorce for their children.
The present study tried to explore relations among rape myth, types of sex role, and exposure of sexually obscene material. The specific purposes of this study were investigate (a) if there are differences in the degree of acceptance of a rape myth according to gender, school grades and types of sex role in participants, (b) whether the acceptance of rape myth are different by the types of sex role, and (c) whether the acceptance of rape myth is related with exposure of sexually obscene material. A total of 723 students in middle, high school, and university completed a questionnaire survey. The results of this study are as follows. First, male students accepted rape myth more than female students. In the level of male students, there were significant differences in acceptance of rape myth among three school students(middle, high school, and university). Secondly, types of sex role were not related with the acceptance of rape myth. Thirdly, the correlation between their exposure of sexually obscene material and the acceptance of rape myth was significantly high in middle school male students. Finally, implications and limitations of this study were discussed.
Vesely explains, the main source of our confusion and nihilism comes most probably from the ambiguous relationship between modem architecture, technology and aesthetics. Also, to overcome such crucial problems, many theorists recently emphasize to take part in cultural civilization and to preserve creative genes of great culture that is based on our interpretation of 'ethical and mythical nucleus of mankind,' rather than in technical modernization that constitutes a sort of subtle destruction of mytho-ethical nucleus of a society. They for architecture also strongly stress on a mythopoetic imagination and an ontological construction of building, which could make a form symbolic and mythical rather than mathematical and aesthetic representation. On this point, 'myth' becomes a vital idea for constructing and construing architectural form and space. And it is also one of the essential concepts to understand both the motive power of cultural continuation of place and the meaning of architecture. Nevertheless, its meaning and the citation of word in architectural essay are still obscure. It might be because the original concept of myth not only has been lain in the matter of philosophical contemplation. Thus, the intention of the research is focused on lightening the meaning of myth in architectural term. Especially, it is, first, concentrated on interpreting philosopher Ernst Cassirer's reflections which were written in order to emphasize the importance of 'mythical consciousness' for the world's cultural civilization. And, the second, it will continue to interpret the myth as a sign within the semiotic concept of Charles Sanders Peirce, and further to emphasis the significance of mythic signs for the continuance of artistic and cultural idea including architecture. The contents of the paper is not that of architectural planning and design methodology, rather architectural philosophy and epistemology. Nevertheless, in regard to architecture, the research will, against today's un-discriminated use of symbolic motifs and instrumental representation of form, suggest a concrete architectural and aesthetic theory of myth and sign, especially of the relationship between the idea of semiology and the function of cultural continuity.
Proceedings of the Korea Contents Association Conference
/
2005.05a
/
pp.178-182
/
2005
From the result of analysis to animation, it can be detected the close relation between myth and animation. As Plato mention that myth is a story. Though it is common field for many researchers on myth and animation now, but it have been performing many researches only for animation narrative in the aspect of myth. Therefore this study will be examined that the ritual ceremony, the frequency of participation, and imagination of myth can be related with animation directly. The ritual ceremony is a similar activity to go to theater for watching animation. It can be merged into the unconsciousness state while awaken state. A high frequency of ritual ceremony can also be provide the experience of shortening a distance between the present and the ancient time of mythical aura. Last, imagination is an enemy of rational thoughts, however, it is vital source and material which was created by myth and it can also create new animation. It will be formulated a methodology for this paper which are three elements for an analogizing tool with new mythological approaches, it is inclusive method for animation and myth. So it can be applied and analyzed to other visual media with this methodology.
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