• Journal of the Korean association of regional geographers
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• v.19 no.1
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• pp.111-129
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• 2013

A city is an ordinary space and a place of living that is directly related to our lives. An ordinary space is the total products of culture and the target of cultural representation. An aging residential area of a city reflects the ordinary lives of ordinary people along with its unique history; therefore, this place should not be seen only from an economic and political perspective. The Wausan area is a place that best maintains the characteristics and scenery of an aging urban residential area within Gwangju metropolitan city. Through research into this area, it is possible to discover the meaning and true value of an aging urban residential area such as the close relationship between ordinary culture and placeness, the creation factors and process of placeness of an aging urban residential area, and the authenticity of a particular place. This area is a modern residential area of today's ordinary people, created on a topography of hills and hilly areas along with a historical value of 400 years. It is based on the Gyeongyangyeok of the Joseon period. This place may be described as a space where the dailiness of ordinary people is alive based on its alleys and the unique scenery formed by its alleys and vegetable gardens. The authenticity deduced from such placeness is that an aging urban residential area is a place where communicative and considerate human life and a cultural diversity of an atypical nature are alive, a place where an environment and humans coexist in harmony, and a place where the communal dailiness of residents still exists.

• Journal of Sasang Constitutional Medicine
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• v.28 no.1
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• pp.19-26
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• 2016

Objectives The purpose of this study is to investigate the concept of 'Sojeung' in Sasang Constitutional medicine. This is the first article, which focuses on the concepts of Sojeung by distinguishing symptoms, syndromes and disease.Methods Donguisusebowon and many articles were reviewed for summarizing the concepts of 'Sojeung'. We investigated the concept of 'Sojeung' from literal meaning and the difference between 'syndromes' and 'symptoms' in Traditional Chineses Medicine.Results & Conclusions By researching and discussing different meanings of Sojeung, we suggest that Sojeung has both 'symptom' and 'syndrome' meanings. Under different circumstances Sojeung refers to different meaning.

• Journal of the Korean Society of Costume
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• v.59 no.7
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• pp.1-16
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• 2009

This study is on the children's clothing in Seoul Gyeonggi-do, Chungcheong-do and Gangwon-do between the $1920s{\sim}1950s$, by comparing positive data collected from pictures and literatures, remains and interviews. A baenaet jeogori was made of soft white cotton fabrics and was used as a charm when the baby had grown and had an test or a big occasion. A dureong chima and pungcha trousers were clothes for both boys and girls from their birth to the age of $4{\sim}5$ when they could have bowel movements by themselves. Occasions for celebrating a baby's growth were the one-hundredth day and the first birthday. In general, ordinary families had their babies' one-hundredth day in a simple way without special clothes. On the first birthday, however, even ordinary families prepared new clothes for their babies, and read their fortune and prayed for their well being and long life through events such as doljabi. In the age when medicine was poor and the infant mortality was high, the meaning of such a ceremony was to congratulate on the baby's safe growth through dangerous moments.

• Journal of the Korean Society of Costume
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• v.19
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• pp.141-155
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• 1992

The Buddhist costumes, unlike the ordinary ones, have not been studied comprehensively due to their religious, non-popular and non-social features. In this regard, this paper aimed at reviewing the styles and symbolic Characters of the monks' dancing costumes for the traditional Buddhist ceremony of 'Spirit Vulture Peak'(The Intangible Cultural Asset No.50.) Here, the 'Spirit Vulture Peak Ceremony' is a kind of Buddhist ceremony commemorating the Buddha's preaches on the peak of Mt. Grdhrakuta by means of symbolized ritual and reformation procedures. The methodology of this study depended on the research of literatures, personal observation of the actual ceremony and the discussion with Priest Park Song-am. The dancing style of the Ceremony can be divided into four categories; the cymbal dancing., the drum dancing , the butterfly dancing and the column-beating dancing. And for the dancing costumes, the loose ritual mantle, the long-sleeve robe and the buddhist costume are used; the loose mantle and the long-sleeve robe are for the drum dancing. The style of the loose mantle is rectangular, sewn every odd knot between 5 and 25 ones. According to the record, its color was initially grey or red-yellow, but varied depending on the local rules. The four corners of the loose mantle have a rectangular-cloth embroidery of sky & king patterns, and the center is embroidered with the Sun'Moon designs or 'Om/Nan' letters in the Korean spells. The light of Sun/ Moon designs symbolizing the sky and the earth respectively are indigenous to a particular school in Korea. The long-sleeve robe has a traditional over-coat style. and is called otherwise of if some design is added. The total clothing or dancing costumes for the Ceremony include 'the Dae-ryung (meaning great peake)loose mantle', 'the White Paldad(meaning Chinese Character eight) long-sleeve robe and the peaked hat. The Dae-ryung mantle is a kind of ritual costumes with the shorter length than the ordinary mantles, and has a character 'Ryung' in Chinese spell attached with three to six colors. The White Paldae robe is shorter than the ordinary robes in the total length but longer in the length of sleeves. It is put on over the mantle from the left shoulder, and used often for the butterfly and column-beating dancings. It is hoped that this study will promote the study on the customs and rites of the Buddhism rather than on the thoughts, and contribute to the further studies.

• The Research Journal of the Costume Culture
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• v.8 no.5
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• pp.648-659
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• 2000

Through this study I would like to examine the meaning system of the symbolized codes related with real costume figures of the abstract concept of the style of the mourning ceremonial dress in Chosun Dynasty as a variable cause of communication through non-language method by the structural analysis of coding of the ceremonial dress style and the meaning system of the codes centering on the traditional book of funeral etiquette dealing with hueneral cereony in the period. To achieve this purpose, I have used the symbolic theory of constructive concept by F. de Saussure, cultural notation theory of Roland Barthes & Umberto Eco, and structural style of costumes by Myung-Sook Han. The result of the study is as follows. 1. As Chosun Dynasty was a society in which people considered courtesy so much important and practiced the basic Confucian ideas of the three bonds and five moral disciplines in human relations, the characteristic of funeral rites in Chosun Dynasty consists in expression of the thoughts of moral ethics & relative systems and systems of clan rules, etc which was a langue determining the symbols of mourning ceremony dress because the mourning ceremony dress in the period should have the feature of a langue. The mourning ceremonial dresses in the period had five grades of the consume and the grades were determined to be classified into five levels according to the clan system of the chief mourner with sang, ha bang. And the method of the association of the mourning ceremonial dress codes had the six principles of Chinchin, Jonjon, Myoungboon, Chulip, Changyu, and Jongbok. 2. Regarding the mourning ceremonial costumes in Korean society, the meaning of funeral ceremony was expressed by the signifier and materials of the mourning costumes in the society. During the process of the funeral, the intangible feeling of condolence was the expression of mourning and the tangible mourning ceremonial dress was the signal with the lamentation meaning. Especially, characters and patterns were removed from the mourning ceremonial dresses in spite of their function of symbols and the styles of costumes were emphasized. Especially the meaning of condolences was symbolized by attachment of some small pieces of cloth on the upper garments. Hemp was mainly emphasized to be the material of the costumes and some different meanings showed according to the quality of the material hemp. The mourning ceremonial dresses were distinguished from ordinary dresses, which were emphasized because they gad some symbolic meaning of the mourning. 3. Considering the association of the synthetic relations of the costumes from the viewpoint that the mourning ceremonial dresses would be classified according to a system, the symbolization of them were avaliable by sex according to how to combine them and there were no distinction between social classes in the society.

• The Journal of Korean Philosophical History
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• no.42
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• pp.233-258
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• 2014

This article investigates the concept of the xing(性) used by Hu Hong. Hu Hong's philosophical system considered to top priority for xing is called xingbunlun(性本論), and he suggested the characteristics of xing as follows. First, Hu Hong regarded xing as the fundamental of whole world and related to the specific individual things, so he constructed the concept of xing in the perspective of ontology. Namely while xing is ti(體) the root of all the world, it is the realization of the uniqueness of the individual things. Also he considered xing which of the ontological aspect developed various psychological aspect contained xin (心), qing(情), yu(欲), etc. Seond, As Hu Hong regulated that wei fa(未發) is xing and yi fa(已發) is xin, he defined the ideal relation between xing and xin as xingtixinyong(性體心用). And he considered that the sage and the ordinary peoples are equal in the xing's aspect of wei fa, but they are not equal in ability of the xin in the aspect of wei fa. Hu Hong thought that the only sage realized the ideal relation between xing and xin in this world, because he keep his mind silent. So Hu Hong suggested the possibility of moral cultivation to the ordinary peoples, expressing that human nature realized the function of the mind(成性), in order that they realized ideal relation by following ren(仁). Third, unlike the traditional notion, Hu Hong understood the meaning of xing in the aspect of ontology. He interpreted the shan(善) of xingshan(性善) as the meaning of exclamation, which implied that "the innate goodness of human nature(性善)" meant "Human nature is good." Because Hu Hong thought that the meaning of xing transcended the relative concept of good and evil, and accepted the whole world affirmatively. In the opinion of Hu Hong, as the concept of xing had two ways of intentionality; likes and dislikes(好惡), things formed relationship with other in this world. Then the concept of good and evil of the ethical value judgement occurred.

• Journal of the Korean Society of Costume
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• v.53 no.1
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• pp.67-75
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• 2003

From ancient times. lotus pattern had esthetic factor and symbolic factor. Lotus pattern was introduced to China, and it was grafted together with Chinese peculiar culture symbol system, thereafter it has changed and developed. The Chinese taking a serious view meaning that things include, and they frequently use several lucky omen patterns in their everyday life. In this study, I investigated laying stress on symbolism about Lotus patterns of China lucky omen patterns, and I wanted to present possibility that can approach to Chinese culture in new angle. Through result of this study, symbol of Lotus patterns can divide two directions. First, symbol by natural properties of lotus are same as following. 1. Lotus grows in the mud, but it is uncontaminated - clearness and uprightness, 2. Root, branches, loaves and flowers are vegetative together, and all of basis and branches are exuberant. - plenty, 3. Bear fruit simultaneously with blooming, and it is procreant. - fecundity and many descendants. Symbol that use same pronunciation and intention are same as following. 1. 'Lian(연)'-'Lian(연)' : repeatability, continuance, plenty and intercommunicate, 2. 'Lian(연)'-'Lian(염)': integrity, 3. 'He (하)'-'He(화)' : peace, harmony and combination, 4. 'He(하)'-'He(하)' : clear river, 5.'He(하)'-'He(하)' ; all work goes well. When the Chinese use lotus patterns in lucky omen patterns, same pronunciation and pitch of Chinese language more prominent than natural properties or the image of Buddhism. I guess that it cause praying individual's peace and happiness more serious than philosophical meaning or symbol that base in Buddhism for ordinary people.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.267-275
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• 2020

Even ordinary-looking plays can have a profound meaning. Based on this assumption, Eugene Pink (1960) has established an analytical model of play with five elements, namely "delight", "meaning", "community", "rules" and "tools." It was an effort to reflect on the true meaning of play beyond the cortical entertaining nature of play. In this study, it was carried out that all the texts containing images and performance from the EBS character "Pengsu" were selected, since he emerged as a new star in 2019. And also his play structure was analyzed by applying the Pink's model. As a result, Pengsu's play structure was confirmed to be systematic and complete as a play prototype because it was well-organized with five elements of play. It was regarded as a successful character that skillfully attracts participants to the play world. Among the components of the play, "fun" was found to be his funny appearance, sudden and unconventional behavior, "meaning" was the elimination of authoritarianism, self-esteeming and energizing, "community" was a multi-platform media user who crossed off-on-line, analog-digital-line, "rules" was to set his concept fixed as a young stranger with an ego to unreveal his identity, and "tools" was shown as his character itself and continual discourse. It shows that until now, Pengsu has a social net function of quite spreading the positive meaning of encouragement and comfort, advice and guide, consideration and forgiveness, introspection and nirvana to all members of our society, including the youth who are struggling with uncertainty and anxiety by showing rather exaggerated and stimulating performance that precisely combines these play elements.

• Korean Journal of Childcare and Education
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• v.9 no.5
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• pp.5-35
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• 2013

This study aimed to figure out the action research process and experience and to examine the significance of such experiences to teachers who implemented action research. This study took in-depth interviews with three experienced teachers and analyzed collected data. In order to carry out action research, they must start from the point of their standing and find the most suitable methodology for the method of their own life. There might cases that they felt strangeness because of unexpected reaction, and struggled hard against uncertainty. But, they finally experienced the joy of completion of their research. Such experiences gave them opportunities to reflect on their own lives and to escape any mannerism through concentration and enthusiasm. And they could recognize the importance of record of ordinary life in a meaningful way, and also recognize the meaning of process as a new start other than failure. So, they made efforts to grant meaning in a widened perspective. And they found themselves to live as empirical researchers. This study demonstrates that teachers in the educational field could not only have sufficient quality to be researchers but also need to be more aware of such talents.

• Korean Journal of Human Ecology
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• v.3 no.1
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• pp.1-14
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• 2000

This paper is on the Kasaya that reveals conspicuously the religious meaning among the Korean Buddhist costumes. The Kasaya has the most special meaning among Korean costume culture. It has the most important historical value, for Buddhism is the oldest religion that begins at 4th century A.D.. It has the most unordinary shape that we could not find any other costume culture. It has very important meaning to study on the Kasaya in the religious and cultural history of Korean costume. We have to study Korean Kasaya from surveying Indian Buddhist Kasaya diachronicaly. Buddha establishes himself the rules of weaving, coloring and wearing Kasaya. Bunso costume(분소의)is the first shape of Kasaya that he has worn during his ascetic practice. Bunso costume was a kind of shari. It is made with diapers those clean ordure of baby It symbolizes the life of ascetic practice. However Buddha could not stick to it as the only costume of monks. From his age Buddhist devotees have thought Buddha and monks as sacred beings. So they eagerly want to Provide the sacred beings with foods. clothes and other things that samgha(승가) need to live and accomplish their duties. At that time there are many kings, aristocracies and rich merchants among the devotees. They often offered them the luxurious silk Kasaya. that the ascetic monks could not wear. to express their deep faith. So the rules of the samgha has been distorted. The samgha has enlarged day by day as a great huge religious association. There are many different shapes of Kasaya. The Buddhist samgha need to establish a minute and rigid rules of Kasaya to order living of monks and to teach the moral and educational life to ordinary people. That book of rule is Vinaya pitaka(율장) . There are many kinds of Vinaya pitaka. This paper surveys the rules of Kasaya from Southern Vinaya pitaka(남전율장). This study will be the basic ground to research the Korean Buddhist Kasaya.