• Journal of Popular Narrative
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• v.25 no.1
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• pp.217-247
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• 2019

This research paper intends to examine the intertextuality of Klaus Mann's novel Mephisto (1936) and István Szabó's film Mephisto (1981) and how the derivative contents (i.e., film) accepted and improved the schematic aesthetics of conviction in original contents (i.e., novel). In general, the aesthetics of conviction is applied to criticize the state socialism of the artists of the Third Reich or the ideology of the artists of East Germany from a biased ethical perspective. Mephisto is also based on the aesthetics of conviction. Thus, it would be meaningful to examine the characteristic similarity and difference between Klaus Mann's real antagonist (i.e., Gustaf Gründgens) and fictional antagonist (i.e., Hendrik Höfgen) from a historical critical perspective. In this process, an aesthetic distance between the real and fictional antagonists would be secured through the internal criticism in terms of intertextuality. In this respect, the film aesthetics of István Szabó are deemed to overcome the schematic limit of the original novel. The conviction in both the novel and film of Mephisto pertains to the belief and stance of a person who compromised with the state socialism of Nazi Germany, i.e., succumbed to the irresistible history. Klaus Mann denounced Mephisto's character Höfgen (i.e., Gründgens in reality) as an "Mephisto with evil spirits" from the perspective of exile literature. For such denunciation, Klaus Mann used various means such as satire, caricature, sarcasm, parody and irony. However, his novel is devoid of introspection and "utopianism", and thus could be considered to allow personal rights to be disregarded by the freedom of art. On the contrary, István Szabó employed the two different types of evil (evil of Mephisto and evil of Faust) from a dualistic perspective (instead of a dichotomous perspective of good and evil) by expressing the character of Höfgen like both Mephisto and Hamlet (i.e., "Faust with both good and evil spirits). However, Szabó did not present the mixed character of "Mephisto and Hamlet (Faust)" only as an object of pity. Rather, Szabó called for social responsibility by showing a much more tragic end. As such, the novel Mephisto is more like the biography of an individual, and the film Mephisto is more like the biography of a generation. The aesthetics of conviction of Mephisto appears to overcome biased historical and textual perspectives through the irony of intertextuality between the novel and the film. Even if history is an irresistible "fate" to an individual, human dignity cannot be denied because it is the "value of life". The issue of conviction is not only limited to the times of Nazi Germany. It can also be raised with the ideology of the modern and contemporary history of Korea. History is so deeply rooted that it should not be criticized merely from a dichotomous perspective. When it comes to the relationship between history and individual life, a neutral point of view is required. Hopefully, this research paper will provide readers with a significant opportunity for finding out their "inner Mephisto" and "inner Hamlet."

• Sijohaknonchong
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• v.22
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• pp.27-55
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• 2005

Visual media are taken the highest position in modem society, Modern poems also have been changed into visual poems, This aspect is the result of considering only individual talents ignoring traditions. Now, new Sigo should be concentrated on the mythological and historical voice from true nature and the body of human being, That is. ut should be converted into an ecological world view resolutely and restored a form of expression granted specific characteristics of our language. Advantages the computer media have brought. that is. equality freedom. human rights. harmony. pro-environmental value. can be maximized by positively accepting an ecological world view of Sijo which had included daily lives and spirits of the nation. Moreover. these all changes of new Sijo have to be established and recreated in the traditional expressions of Sijo. Aesthetic value of Sijo should be found in the expression forms such as phonetic harmony, rules of versification, rhythm, and etc. Then, we can overcome modern society's pathological phenomena such as severance, separation, dissolution, estrangement, psychiatric syndrome and etc. which visual media superiority brought. At the same time. it will cure ills of modern poems, Sijo and writing epochally and can establish true happiness and development.

• Journal of the Korean Society of Costume
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• v.62 no.5
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• pp.125-137
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• 2012

This study examines the stage costumes of the creative musical 'Hyecho', which was performed six times in the Chung Ang Art Center hosted by Chung-Ang University's performance & media agency from December 20 to 22 in 2006. The stage costumes were made based on these basic design elements of stage costumes that were dyed : line, silhouette, material, and color. First, the creative musical 'Hyecho' presents a new form of fusion theatre, which blends Korean traditional music and dance with videos. Thereby, the musical has opened a new phase in Korea's creative performing arts. Second, in musical performances that combines dance and songs, stage costumes should be made not only to attract the audience's eyes, but also not to interrupt actors' vocalizations and movements by taking their physical features into account. Also, costumes should be made in consideration of their relationships with visual elements, including stage settings and lighting. Third, the musical features fusion-style stage costumes, which combines Hanbok, the Korean traditional costume, and Indian traditional costumes with modern costumes. For the line and silhouette, costumes show the beauty of curves through the curves of Hanbok and India's traditional costumes and also through irregular pleats of pants. Also, by using cotton materials, which is easy to dye and not readily deformed, costumes feature colors that are found in nature through a gradation dyeing technique. In doing so, it offers visual amusement to the audience by making stage costumes look like a beautiful painting. Fourth, the stage costumes of the chorus feature costumes that use lining and pleated skirts using belts, and various accessories, including necklaces that use strings in order to express evil spirits. Since there is not much time to change costumes during a performance, using such items are helpful to show the unique characteristics of actors effectively during the limited time. Also, coordinating with the lighting director allows the costume designer to make better costumes for the chorus and make the performance more dramatic. Finally, it was not necessary to wash the costumes of the chorus of the fusion musical Hyecho 2006 since it was performed only six times. However, when using dyed costumes for the long-term performance, it might cause problems such as bleaching that result from the washing of costumes and low durability that can result in the deformation of costumes. As performing arts are made in various forms and are diversified, it is needed for stage costumes to change accordingly through new attempts and various ways of expression.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.1
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• pp.87-99
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• 2009

This research is an introductory study that hopes to interpret the cultural scenic landscape by analyzing Korea's mountains, streams, topography, color, light, human behavior, and more based on real landscape paintings. It places its purpose on understanding our intrinsic cultural scenic landscape by investigating the changed topography and the differing life patterns caused bythe active national land development after the modern era. With Seoul, which is now difficult to find images of its past, and the surrounding areas of the Han riverbed, the interpretation related to its original topography, landscape, climate, weather, and human behaviors was observed while the main focus was placed on the climate of the perception held by people regarding Mt. Geumgang and other ranges which are not fully opened to the public yet. In order to comprehensively analyze the figures of features and appearing landscapes including color, light, and more, it was described through the concept called climate. Hereupon, the real landscape paintings by Gyunjae(Jeong-Seon), mainly bearing features of existing Korean mountains, wereutilized as visual historical material. However, not having all his works, other pieces with representative characteristics were utilized such as "Gyeong-Gyo-Myeong-Seung-Chup(a painting with picturesque sceneries around old Seoul)" and "Hae-Ak-Jeon-Shin-Chup(a landscape painting including even the spirits of the seas and mountains)" which contain the regions' distinct scenery. As a result, the old cultural scenic landscapes of Korea are regarded as containing diverse mountains and where the conceptions of the treatment of mountains were reflected.

• Journal of Service Research and Studies
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• v.12 no.4
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• pp.139-163
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• 2022

This study analyzes the past and present of service science research as a central discipline that will lead a new economy and society, and presents a guide for future research. In the 21st century, service research has developed into a new discipline that is different from the existing service studies. Service science is a discipline that collectively refers to all research related to services. This study analyzes this development process and suggests the direction of future service science research. First, we analyze the research before the birth of service science, an early model of service studies. And the early research on the birth of service science is analyzed. Through this process, the service science framework that expanded and developed the initial service science is analyzed. We introduce each field of service science, which is a new innovation of the existing academic system from a modern perspective, and analyzes the structure of the service philosophy that is the basis of independent academic fields. And we suggest the future direction of service science research. The direction of paradigm innovation research of existing individual disciplines is presented first. As an example, innovation from existing business administration to service business administration is introduced. We also suggest a new economic and social system research direction that requires the convergence of multiple academic fields. Finally, we present a direction for multidimensional, broad-based convergence research. We suggest that the future of service science can be the process of reverting back to integration and convergence, centered on humans and the world, of the disciplines that have continued to diverge in the history. We present a model in which all disciplines are reintegrated into service science as the Eastern and Western spirits converge.

• Journal of the Daesoon Academy of Sciences
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• v.27
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• pp.171-200
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• 2016

This paper will analyze the filial piety based ethics of Daesoonjinrihoe (大巡眞理會) and the traditional filial piety of Confucianism (儒敎), Buddhism (佛敎) and Taoism (道敎) through comparing and contrasting their unique systems. The traditional Korean ethics regarding filial piety are in great need of reformation as the relationship between the parents and children should not be vertical or unilateral but parallel and reciprocal. However, there have not been sufficient in-depth studies on this specific ideology and alternative approaches. Regarding this prospect, one representative Korean indigenous new religion, Daesoonjinrihoe has emerged and directly engages in the collision between traditionalism and modernity. The modernity of Daesoonjinrihoe, enables the observation of how the filial piety based ethics have developed within a system of doctrine and thereby provides an exemplary model of traditional filial piety reimagined in accordance with modern sensibilities. A brief summary of comparative findings is as follows: First, Daesoonjinrihoe and Confucianism have taken serving parents with respect as an ethic within filial piety, but Confucianism engenders this ideal through the unilateral and unconditional sacrifice of younger people based on patriarchal feudalism whereas Daesoonjinrihoe has rejected such unilateral sacrifice and instead promotes mutual beneficience between parents and children. This difference occurs, in part, due to the filial piety of Confucianism rising in the midst of the feudal order whereas the ideology of Daesoonjinrihoe contains ideals such as "the reciprocation of favor for mutual beneficence (報恩相生)" and "respect for humanity (人尊)," both of which serve as key principles of the new religious world as envisioned by Daesoonjinrihoe. Second, filial piety in Buddhism and Taoism tends to be passive and inactive and is often expressed by praying for happiness and longevity for one's parents while they are alive and later praying for the heavenly rebirth of one's parents after they die. The filial piety of Daesoonjinrihoe also partially contains such ideas, however; they are extended much further and arrive upon novel and profound expressions. The spectrum of the filial piety in Daesoonjinrihoe expands to the extent children perform actions to resolve their parent's sins and pave a new road for their parents. This filial piety requires a cultivation practice from both parents and children. This system of dual cultivation was established because the world-view of Daesoonjinrihoe enables both parents and children to enjoy happiness and wealth both of which are achieved through the completion of religious objectives following cultivation practice. Third, Confucianism and Daesoonjinrihoe hold memorial services for ancestors with sincerity as an expression of filial piety. Filial piety in the Confucian context excludes ideas from Shamanism and thereby memorial services are held for impersonal entities, however; in the Daesoonjinrihoe context, memorial services are held for personal-entities. Accordingly, holding a memorial service for ancestors with sincerity has a greater sense of realism in Daesoonjinrihoe than it does in Confucianism. Fourth, while Confucianism and Daesoonjinrihoe both aim to requite the grace received from ancestors, the contents of grace and reciprocation of favors (報恩) are viewed differently. In Confucianism, since the ancestors existed previously and bestowed the gift of life to their children and indirectly, all of their descendents. Therefore, memorial services for ancestors are held to convey gratitude and filial piety. However, in Daesoonjinrihoe, ancestors not only bestowed the gift of earthly life to their descendents, in the spirit realm, ancestral spirits also spend sixty years accumulating the merit necessary to imbue each of their descendents with spiritual insight. Consequently, filial piety is expressed through memorial services as well as spiritual cultivation. Fifth, in Confucianism, achieving the fame and prestige indicative of success in the mundane world can be an act of filial piety as it would bring pride to one's ancestors, but in Daesoonjinrihoe, succeeding in religious objectives through spiritual cultivation is considered to be a higher form of filial piety. Sixth, Confucianism, Buddhism and Taoism all observe filial piety as system of familial ethics based in morality. This is likewise true of Daesoonjinrihoe, however; Daesoonjinrihoe confers greater importance on filial piety as an essential form of ethics for religious redemption. This is due to the Daesoon interpretation that the absence of filial piety was the direct cause which led to the sickened state of the world and its collapse. Forgetting the grace of parents who have given the gift of life or the grace of ancestral spirits who have accumulated merit on behalf of their descendents are acts of ingratitude which are unacceptable during the period of Reordering of the Universe. Judging from these findings, Daesoonjinrihoe embraces parts of traditional filial piety as it exists in Confucianism, Buddhism and Taoism, but it does so on the ground of its own unique culture. Through re-interpretation and re-creation, ideas regarding filial piety are being further developed. Namely, filial piety in Daesoonjinrihoe is regulations founded upon the reciprocation of favors for mutual beneficence and respect for humanity. Therefore, it is understood as a concept wherein one's own cultivation practice is performed in order to reach religious objectives, the perfection of personal character, and spiritual insight. This requires that even recipents of filial piety (i.e., parents) perform certain cultivation practices to enjoy happiness and wealth. Additionally, filial piety in Daesoonjinrihoe manifests a reinforced religious character and also serves as a system ethics which is soteriologically essential for salvation during the period known as the Reordering of the Universe.

• Journal of the Daesoon Academy of Sciences
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• v.39
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• pp.33-67
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• 2021

This paper aims at revealing the core concept of Injon (Human Nobility). The concept of Injon is one of the salient fundamental ideas which makes Daesoon Jinrihoe recognizable as Daesoon Jinrihoe. The concept of Injon has the basic meaning of 'human nobility,' but within the context wherein the nobility of humankind is considered to be greater than the nobility of Heaven and Earth. Although the religious and ideological interpretations of Injon (human nobility) that have developed over time have been quite diverse and abundant, these interpretations are all limited in that they generally assume the relationship between 'Heaven and Earth' and 'Humanity' to be antagonistic. However, if human nobility is relativized in that manner, it can reduce the potential broader meanings of mutual beneficence and the earthly paradise of the later world. These interpretations are grounded in the view of semiotic interpretation. Such interpretations have composed their view point via the semiotic meaning of the words. The semiotic point of view suggests that meanings of words consist in the relation of the word and the object to which it denotes. We will introduce a new view point which can be termed the transcendental view point. This view focuses on how the exact interpretation of words and sentences depends on the comprehension of the triad of systematic relations among the word, object, and speaker. In the Daesoon Thought, the Former World is considered to be the world wherein all creations unfolded according to the principle of mutual contention. This led to the accumulation of grievances and grudges which condensed and filled the Three Realms of Heaven, Earth, and Humanity. The Former World was dominated by Western material civilization, selfishness, and exclusivism. It was also a world where humans suffered from various natural disasters such as floods, droughts, plagues, and wildfires. The Former World lost the constant Dao and was overwhelmed with all kinds of disasters and calamities. That world fell into various kinds of wretchedness. The causes which made the Former World so cruel came from humans misunderstanding their relation to nature and life in general; including human life. The anthropocentric modern cosmology insisted that the human race was the only one to have the powers and rights to exercise dominion over nature. On the other hand, there is the Later World, which means the ideal and perfect, immanent eternal world for all humankind in Daesoon Thought. This world consists of life, peace, and equality and is also characterized by three typical attributes: goodness, peace, and all kinds of life. All living beings previously struggled for survival, but in the Later World, those lifeforms will embrace each other; even across different realms. In Daesoon Thought, the world and cosmos contain diverse forms of life, and human have both an earthly life and life in the after world should they die before the Later World. There are also the lives of divine beings and animals, and other such living entities. Daesoon Thought subsumes pan-vitalism, which allows they acknowledgement of myriad possible lifeforms. The concept of the Later World in Daesoon Thought, which mainly revealed in The Canonical Scripture and the words of Sangje (Kang Jeungsan), suggests that all kinds of life, including humans, animals, and even spirits in the afterworld, can live together in a perfect coming earthly paradise which is immanent. The concept of Injon can be interpreted though the view of transcendental pragmatics as an alternative to the typical views discussed in Daesoon Thought. Thinkers should attempt to improve current discourse on Injon in Daesoon Thought by focusing on the point that all kinds the original teachings demonstrate a value of all lifeforms. Therein, Injon would indicate not only the human nobility and dignity but also the nobility and dignity of divine beings, divine humans, and all other forms of life that have existed across time. The dimension of time allows for recognition of lifeforms from the Former World, the afterworld, and the Later World. This revised appraisal of Injon could further accommodate denizens of the afterworld, animals, ghosts and spirits, the earth and cloud souls of humans, and other lifeforms held to exist in the cosmology of Daesoon Thought.