• Journal of Fisheries and Marine Sciences Education
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• v.27 no.4
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• pp.901-911
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• 2015

This article starts with a review of the e-self directed learning, future time perspective and decision making, especially in relation to the career myths. In particular, we empirically analyzed the factors affecting the future time perspective and the decision making on the characteristics of career myths(e.g. relatedness of the test myths, the supreme myth and the family myths). Hence the main purpose of this article is to suggest an empirical model explaining how these factors affect e-self directed learning to future time perspective and decision making. Furthermore, we suggested an expanded model about future time perspective, decision making and especially in relation to the career myths. We founded that the e-self directed learning significantly affect the future time perspective and the decision making, also the future time perspective affect the test myths and family myths except the supreme myths and the decision making significantly affect the career myths(i.e., the test myths, the supreme myth, the family myths).

• The Critical Review of Religion and Culture
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• no.29
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• pp.101-133
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• 2016

The term 'myth' is modern terminology. It was introduced to the East Asia from late 19th century to early 20th century. Under the rule of Japanese imperialism, some Japanese historians insisted that Dangun(檀君) has no relation with Kochoson(古朝鮮). Some Korean historians have refuted their conjecture. The arguments between Japanese and Korean historians bring about the motives of making the concept of Shinwa(神話) The purpose of this study is to investigate the historical procedures of making myth of Homogeneous Korean as a case study of "teaching religion". For the scholar the historic beginning is to be distinguished from later myths of origins. The scholars, particularly among the historians of China, Japan and Korea take it as the beginning of the history to investigate myths, for the ending parts of narratives are in themselves involved in a social constructs in order to give legitimacy to the story. It is apparent to satisfy for the current social demands of the nation-states building. It is also an act of casting and projecting their national values into the far distant past which is considered to be authentic and authorative. The western term 'myth' had been made up in Japanese historical context in order to build "nation-state concept". In Korea, the myth of homogeneous ethnicity of Koreans had been also reconstructed as modern myth during the late 19th and the early 20th century. We can call it the invention of the tradition accordingly.

• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.895-900
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• 2009

Myth is defined as hidden rules or practices in a particular group universally represented in the overall society. The implied meanings in the myth is the result of reflection of culture, and the understanding of the reflection seeps into the society, making cycle structure. In many mythological stories, an act of looking has broad meanings. For example, in the story of Orpheus, Medusa and Tiresias, the act of looking brought about misfortune. The implication of these stories is that it pushes 'what should be not done' rather than 'what should be done', highlighting taboos across the society. This study seeks to present a case of image analysis by interpreting the image of current commercials through the relationship between looking back and taboos among acts of looking in mythological stories.

• Journal of English Language & Literature
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• v.55 no.6
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• pp.937-959
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• 2009

The Queen of the Air, John Ruskin-s highly elliptical publication of 1869, elaborates a complex mythology as a way of responding to the prevalence of scientific thinking, widespread environmental degradation, the pernicious effects of political economy, and mechanistic labor. Benjamin-s desire to rescue human experience from prevailing scientific conceptions is reminiscent of Ruskin-s fear that the peculiar power that shapes the unities of the natural world is simultaneously being "beaten down by the philosophers into a metal or evolved by them into a gas" and obscured by the dreams and theories of philosophers and theologians. As a critic remarks, in Benjamin-s-and, we would add, Ruskin-s-view, "what the modern era lacked was a basis for continuity which would prevent experience from disintegrating into a desultory and meaningless series of events." Despite its frenetic hyper-associativity, then, The Queen of the Air contains a key element that Benjamin believes is necessary for "redemption": the desire for a new form of consciousness that recognizes links to the past and thus to the longings and dreams of our forebears. Thus, although Ruskin most immediately influences Proust, who in turn influences Benjamin, Benjamin-s thought is far more Ruskinian than critics have heretofore observed. Just as Benjamin helps us make sense of the ways in which The Queen of the Air is caught in the grip of the shocking associativity of modern life, so Ruskin assists us in discerning similar impulses in Benjamin-s attraction to a form of archaic consciousness that can, by altering the modern form of perception, reenchant the present.

• Fashion & Textile Research Journal
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• v.9 no.6
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• pp.663-670
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• 2007

Arts is the expression of reasoning and conscious life of human and arouse human the concept of existence, utmost emotion and excellent thoughts. Also it makes humans life very abundant. I make it come first to get rid of the art thirst on the opposite sight of technical one for hair as on part of humans body. Next purpose is that to confirm the esthetic value of 'hair arts' by solidify the academic ground of beauty arts through creating 'hair arts' works and learning and make the direction for the beauty industry and education of the next generation. In this study I investigated the Greek myth and the hair styles of ancient Greek Goddesses. On the basis of that symbols I elaborated hair formative works made of metal and studied, analyzed and displayed that. Work No.1 'aphne' pictures the second of changing into a laurel tree avoiding the love. Secondly 'Muse Erato' was exhibited the peaceful figure that have enough the fine melodies. 'Leda' brings out the feature of Leda resembling a swan and the fourth piece, 'Eos' conveys the brilliant and mystery of dawn. So this study conducted based on the concept of practical hair and have made efforts to be close to theoretical manufacturing research needed at making hair arts works and academic one needed at organic design composition for pioneering new field, 'art hair.' I hope these 'hair arts' works make creativity of the practise hair alive. It will be very thankful to me if this study can help even though slightly for splendid beauty arts to make its status firm as a one part of arts, and there are following studies.

• English Language & Literature Teaching
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• v.8 no.2
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• pp.23-38
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• 2003

Seamus Heaney, a famous Irish poet after Yeats, has written some pastoral lyrics from his experiences of farm life and childhood memories. These poems, in spite of his simple overt praise of a rustic farm life, have layers of meaning with their vast allusiveness and implications. He is an extremely literary writer dealing with history from the Celtic myth and a long English literary history. Though his style reminds that of a Victorian poet through his allusions of nature, he is a modern poet of innovative skills and senses. The explication of his representative sonnet sequence, the "Glanmore Sonnets" will reveal exquisite, complicated poetics of a modern poet. The poems are basically love poems, and the love is directed to his beloved wife, his lifetime companion. The poems relate the cultivation of a land to the poet's excavating language from the classics and to the images of love making. Through a careful reading of the sonnets this article will broaden our knowledge on how a modern love lyric of layered meanings can retain the past tradition in its complicated poetics.

• Cartoon and Animation Studies
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• s.16
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• pp.141-163
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• 2009

This paper examined the goblin characters in Japan animation. The meaning of the goblin in this paper is not a just monster. They have a spirit. This concept is based on animism in japanese mind. I attempted a chase of goblin character's making methods. My theoretical approaches lean on the concepts "inter-textuality" of Julia Kristeva and "text" of Roland Barthes. First of all, I compared some beings of the old chinese myth-geographical book with some characters of Japan animation . The making method of goblin characters is two. One is 'Hybrid', the other is 'Mutant'. And than I appled to Japanese traditional image, "Baek-kuy-ya-hang-do"(hundreds of goblins' parade). The making method of goblins is combined to a inter-textual way as hybrid or mutant.

• Journal of the Korean Geographical Society
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• v.49 no.2
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• pp.160-177
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• 2014

The Guro Exporting Industrial Complex has become a core of success story of Korean economy in 1960s. Re-examining the making process of Guro Complex, this paper intends to disclose the real and fictional aspects of this myth. For this purpose, this study tries to inquire into this process which is divided as dimensions of conception, execution and evaluation from a view of political sociology. Its results are as follows: The making of Guro Complex was not propelled by the state unilaterally, but passed through the process of conflicts and conciliations among various social forces such as state, business groups and local communities etc. As this complex was built on the basis of state's full supports, it is difficult to conclude it as a case of 'parasitic industrialization'. And in spite of its ostensible success, it is difficult to evaluate that its original goal which means a building of the bonded exporting complex with Japanese Koreans' investment was accomplished. Therefore it is needed to discover its whole aspect from the comprehensive perspective, not to be enchanted by its official results.

• Acta Via Serica
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• v.8 no.1
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• pp.31-54
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• 2023

The article deals with issues related to the tradition of carpet production on the territory of Kazakhstan where, for the most part, tribes engaged in nomadic livestock raising lived. Analyzing the technological component of this traditional craft, the author focuses on the main factor that influenced carpet weaving along with arts and crafts-the nomadic method of production of the Kazakhs. The study of the ideological component that accompanies the process of making various types of carpets allows us to conclude that it has a sacred meaning and subordination to myth, rite, and ritual. At the mythmaking level, the process of making carpets, like any other activity among nomads, personified the process of creating the world, the marriage of Kok-Tengri (Heaven) and Zher-Su (Earth), and the creation of the Cosmos from Chaos. The process of carpet weaving, as well as the process of making felt, symbolized the act of creation, the marriage of Heaven and Earth, and male and female principles. The study of various types of ornaments that Kazakhs and their ancestors used to decorate carpets allows us to conclude that the ornament applied to carpet products was the bearer of the most valuable information about the mythological worldview of the people. Carpets in their structure reproduced the structure of the Universe, which has a binary, ternary, and quaternary system. The ornament has turned into a kind of coded text, reflecting ideas about the cosmogonic structure of the Universe and an awareness of the harmony of the world. The location of Kazakhstan on the northern routes of the Sogdian Road (Great Silk Road) allowed the spread of various ideas, due to which carpet weaving was influenced by other peoples in technical and stylistic design.

• English & American cultural studies
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• v.10 no.2
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• pp.29-48
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• 2010

This paper is a kind of interdisciplinary studies which connect a Western film criticism with a criticism of minority literature in America. My purpose in this paper is to put on the table such a sensitive issue as racial representation and representativeness in Clint Eastwood's revisionist Western, Unforgiven. We admit generally that Western films have contributed to the white American myth-making of how the West was won. Yet, since the mid-1960s, a growing number of revisionist Westerns were produced so as to raise a question about the conventional way of looking at what happened in the American West. In order to analyze the problem inherent in the way of seeing, I pay attention to how the director Eastwood (re)presents a character named W. W. Beauchamp in the film. Presumably, what the character Beauchamp misses in the West can be overlapped with what ordinary film viewers miss in the genre of Westerns. Given this, interrogating both what Beauchamp sees and what he misses within the movie, I attempt to disclose how much of the West has been unseen from his biased viewpoint. By doing so, I argue why it is important to focus on some passing scenes that touch on the irony of a Native American train passenger, the gaze of the mute Native American housewife, the abrupt disappearance of Asian American men, the lynching of African-American ex-cowboy, and the self-determination of the saloon prostitutes. Then I hope that, conservative and mainstream though the director is, his way of revising the Western is not quite far from my minority-conscious critical position.