• Journal of the Korean Home Economics Association
• /
• v.32 no.1
• /
• pp.239-248
• /
• 1994

This study analyzed a costume historic meaning of TANGUN Mythology. TANGUN Mythology have been transmitted from many literatures but TANGUN Mythology recorded Samgukyusa(II-Yun) is not false piece or a fiction. A Costume historic meaning of TANGUN Mythology was studied in the clothing system meaning of a headgear worn by nobles in court in the Chun-Boo-In three and meaning of bear and tiger. However results are not clear. In addition the Han stones of Wu Liang Tz'u relates to TANGUN Mythology but results also are not manifest.

• The Journal of the Korea Contents Association
• /
• v.18 no.11
• /
• pp.236-249
• /
• 2018

The purpose of this study is to examine the effects of educational activities based on oriental mythology on young children's creativity and personality. A total of 14 sessions were applied to 36 children (18 experimental group and 18 control group). For this study, myths in Shan-hai jing, The Classic of Mountains and Seas), which is the origin of oriental mythology, were used as basic data of class activities and developed to experimental groups. The collected data were analyzed using SPSS 21.0 statistical program and covariance analysis (ANCOVA) was conducted with covariance score of the group after the activity. The results of this study were as follows: First, integrated educational activities using oriental mythology had a positive effect on all children's creativity and all sub-factors. Second, integrated educational activities using Oriental mythology have a positive effect on children's personality. The expansion and transformation of educational texts to oriental mythology is not only helpful for young children's creativity and personality development, but also enables them to experience cultural balance through their new understanding of the Orient.

• Lingua Humanitatis
• /
• v.8
• /
• pp.151-173
• /
• 2006

Even in this current high-tech industrial age, mythological imagination is considered important. Although each mythology scattered all across the world may have an insignificant origin, to understand that particular society fully, one must not mistakenly assume that the mythology itself is a production of a primitive mind. Ultramodern physics and futurology professor Freeman Dyson has also acknowledged this opinion. He insists that in order for human kind to survive into the far future it most keep in touch with its far past. Levi-Strauss also observes that mythology and science aren't a entirely separate domains. The scientific mind is regarded as a source of understanding the intrinsic qualities of mythology. Taking mythology and science as a binomial opposition, and only weighing their prospects, should be put to the past as we should recognize the need for mythology and science's qualitative unification. In this new point of view, regarding mythology as a meaningless irrationality should cease, while finding out why the inevitably related world of mythology needs metaphoric, ideological consideration. By utilizing 'Whale Rider' by Witi Ihimaera(2004) we will discover why our lives require an 'image' that is borrowed from our experience. The author, Witi Ihimaera, is originally from the Maori tribe, who approaches the world with a mythological imagination, which is not easy to understand with scientific thinking nor in modern civilization. When looking into the mythology of the ocean which still lives in modern civilization, while noting that the world is one, the author indicates that reality and unreality, nature and the super-natural, present and the past, science and fantasy, were not divided from the beginning. However, overtime humans have divided the borders. To do this, the author interprets the ancient emotions of the Maori tribe which have been traditionally accumulated in the group identity in a new literary way by introducing the Maori tribe's ancestral god, Paikia, who can converse with the ocean and the whales. This piece, which has been made into a movie and won awards in 5 international film festivals, including the Toronto International Film Festival, regards primitive emotions as a rational concept instead of an instrumental concept. Also these primative emotions are continuing their attempts to communicate with nature. Furthermore, it advises contemporary human beings who seek for eternal life to not exploit the cultural differences that have been formed naturally, and it is vital for human beings to transcend the ethnic boundaries and to think rationally. In the story, we can find "the dissimilar us" that philosopher E. Levinas mentioned in his sayings, which refers to responsible human beings who devote their lives for the sake of other people instead of fulfilling their own needs.

• International Journal of Contents
• /
• v.1 no.2
• /
• pp.44-47
• /
• 2005

One of the most important characteristics in Hollywood movies is that Hollywood movies have created heroes. But, the meaning of heroes in Hollywood movies is different from proto- typical heroes. America has such a short history, so it doesn't have the mythology. It is also consist of multi-race, culture. Thus, America people, especially governor need something that tie up governed people spiritually. Hollywood film industry has responded about this expectation since 1920's. Hollywood film producers have created mythology and hero like the western genre and Rambo. Now days, America, as only super power, wants to spread it's mythology and heroes over the world. That is cultural Imperialism.

• Philosophy of Education
• /
• no.63
• /
• pp.105-131
• /
• 2017

The myth reflects the human way of thinking about the world. Therefore, an important part of myth is human creation and role. This study examines the process of human creation in myth and discusses implications for education. The subjects that can be considered from the viewpoint of education are as follows. The status and role of teachers and students, the relationship between teachers and students, how to create or create humans, and the purpose and results of human creation. First, it is the position and role of the teacher. In myth, being like a teacher is a divine being that transcends human ability. In Dangun mythology, Hwanwoong or Shinwoong descended from heaven, and in the Genesis it is the Creator God. In Dangun mythology, the role of the teacher guides the way of becoming a human and provides necessary tasks. In Genesis, the image of the teacher is the Creator God. God plays the role of a teacher who prepares various environments in which learners can work. Second, the status and role of students in myths. In Dangun mythology, students are symbolized by bear and tiger. They go to the teacher with the desire to become human beings. In Dangun mythology, the student is not a passive existence but an autonomous and active image. In Genesis, the appearance of a student is a passive being created by a teacher. Third, the creation of human beings in myth can be seen in terms of educational process and method. In Dangun Myth, the beginning of education is the wish or expectation of learners. Learners eat mugwort and garlic and participate in human learning. In Genesis 1, however, there is no need for a special method, since human beings are created according to the Creator's command. Fourth, the purpose of education can be discussed through the purpose of human creation. In Dangun mythology, the purpose of education is not to live according to instinct but to become human with culture and personality. In Genesis 1, the purpose of human creation is the role of the Creator in creating and managing the world. Therefore, it is the aim of humans to manage the world in an orderly manner. The purpose of education in Genesis 2 is to enable humans to serve the world.

• Cartoon and Animation Studies
• /
• s.41
• /
• pp.553-578
• /
• 2015

The Korean society was forcefully merged with the invasion of Japan in 20th century, and traditional culture of Korea was damaged severely by colonization from Japan. After liberation, Korean society experienced drastic social change with Korean War, and industrial economy and democratic system developed as modernization and democratization occurred. However, Korean traditional culture dissolved more severely as Korean society developed industrial economy and democracy. As criticism of existing Western center of society and the emphasis of cultural identity of non-western regions and third-world, world society preferred exchange of culture of diverse nations and people with each other in advent of postmodernism thoughts in mid-late 20th century. If the cultural identity of Korea was dissolving meanwhile, it was needed to be recovered again. Despite the research in Korean history, language, art, architecture was performed to recover cultural identity of Korea, it did not go in-depth with Korean mythology, for Korean mythology is considered as superstition or savage. Mythology shows subconscious group psychology of people who live in certain specific region. Studying Korean mythology is one of the ways to rediscover cultural identity of Korea. In order for Korean mythology to be known to many people, its stories should be told by media. There were movies, plays, drama, and novels produced based on existing Korean mythology as introduction, then these mythical stories are appear in subculture contents such as recent comics, animation, webtoon, games, and light novels. Then population of game players and webtoon readers increased as dissemination of PC and smart phones, and increasing market scale of subculture contents increased a population of consumers of comics, animation, and light novel. Consumers of sub-culture contents were interested as many of these contents were created, base on Korean mythology. Therefore, this paper is written as research on Korean mythology and its signification in sub-cultural contents which were produced base on Korean mythology.

• International Journal of Contents
• /
• v.9 no.3
• /
• pp.48-54
• /
• 2013

This paper explores J. R. R. Tolkien's fantasy novel, The Lord of the Rings Trilogy in order to analogize two primary sources which enabled the fantasy literature to be restored to its former popularity in 1930's-50's. First source is the cinematization of the original novel, based on the advanced digital technology, and second, the adaptation of Norse mythology to the original novel. The advanced digital technology rendered a distinguished contribution to the resurrection of the fantasy novel today. Peter Jackson, the director of the film trilogy, The Lord of the Rings Trilogy gained an un-heard popularity in the history of the fantasy movie. It was practicable with the advanced digital technology. Nevertheless, it could be realized only with the fact that J. R. R. Tolkien's original novel retains the excellence of plot. The episodes of the novel present the author's broad knowledge of Norse mythology and his attempts to employ it to the novel, The Lord of the Rings Trilogy. Through such two directions, this paper describes that the advanced digital technology and the quality of the original plot are two key elements to succeed in authoring and filming the fantasy literature.

• Journal of the Korean Society of Costume
• /
• v.63 no.6
• /
• pp.69-83
• /
• 2013

This research is to analyze costumes of Greek Mythology Gods in films using Morris' semiotics. In film "Clash of The Titans", Zeus' costume of shining gold armored body suit and long manteaux expressed the limitless sublime. The definite form contouring body shape of his costume also demonstrated classical beauty. Hades' costume of dark colored armor, long manteaux, and transformation via smoke also described the limitless sublime. The unbalanced and irregular shaped armor showed ugliness. In "Percy Jackson & The Olympians: The Lightening Thief", the armor and long manteaux of Zeus showed the limitless sublime. The beauty of his body and his sophisticated business wear indicated classical beauty. These features were also present in Poseidon's costume as well. The limitless sublime and ugliness are implied in Hades' look by portraying him as having a monster body with horns and wings, and his costume of punk look. In "Immortals", gods of Olympus wore clothing that was reminiscent of Egyptian times, which represented a time of strong royal authority, in order to expose the limitless sublime. Classical beauty was shown in the beauty of their body. Titans' costumes and look of non-human being were composed of black and red to present ugliness. The inherent meanings of Gods' costumes are death of god, patriarchy, and the good triumphing over the evil. The Greek gods are not held in the same reverence in the contemporary society. However mythology inspires lots of visual creations. The results help to accumulate a creative design database for fashion.

• Cross-Cultural Studies
• /
• v.35
• /
• pp.185-214
• /
• 2014

This paper presents an investigation into the forms of master archer Huhdai Mergen from Mongolian mythology and his character through archery. In Mongolian mythology, master archer Huhdai Mergen is usually connected to the regulation of the sun, the moon, and the stars in Heaven and the creation of stars. Such a series of acts are conducted through archery, which used to be performed as an incantatory ritual to resolve a disaster in life, dispel an evil spirit, and pray for affluence as well as for hunting. In Mongolian mythology, Huhdai Mergen is a master archer and hunter that rises to Heaven while hunting a deer and becomes Sirius with the deer becoming Orion. The Mongolian have believed that the two constellations protect them since ancient times. While Orion is related to the deer totem, Huhdai Mergen or Sirius is related to the wolf totem faith. Huhdai Mergen takes too much pride in his archery skills and ends up causing damage to himself, which can be understood as a pattern of controlling the power of personified Huhdai Mergen through excessive natural force. He also has something to do with Polaris, which is regarded as the stake to bind his horse to by the Mongolian. They also believe that their ancestral gods reside in the horse stake or column. The stake is the residence of Huhdai Mergen protecting the Mongolian people, which reflects his aspect as an ancestral god. He is also depicted as the god of thunder and lightning born in a cow. The stones he throws and the arrows he shoots in Heaven are the embodiments of thunder and lightning. The Mongolian have understood lightning of dispelling an evil spirit and striking wicked things as the arrow of Huhdai Mergen. The god of thunder and lightning has the attributes of a fertility god such as eliminating bad devils and bringing affluence. Huhdai Mergen is also manifested as the creator to create the earth and the savior to save mankind. Such forms all derive from his archery skills.

• Journal of the Korean Society of Hazard Mitigation
• /
• v.7 no.4
• /
• pp.31-39
• /
• 2007

Disaster mythology is "beliefs about human behavior in disaster that have been proven to be wrong through scientifically conducted research studies." Disaster researchers have discovered a series of disaster myths. The results of research survey based on 491 individuals confirm prior research representing widespread belief in disaster mythology such as panic, looting, crime, evacuation and lethargy. This study also indicates that, while high, the percentage of local government officials demonstrating belief in disaster myths was lower than the public except for looting. The probability of believing disaster myths was greater for individuals who were female (panic and evacuation), old (evacuation and lethargy), in their twenties and thirties (looting), and officials with disaster related work experience (panic, looting and crime). The results indicate the importance of understanding public belief to make effective emergency plans.