Jeju is a small island of 650,000 with a mixture of cities and farming and fishing villages, but famous for many things including longevity, Haenyeo community culture, strong sprit of Jeju Women, Kim Man Deok, etc. The elderly in Jeju rural areas including Haenyeo women divers run a community centered on labor. The women divers’ community, in particular, is the most representative community, and was inscripted by UNESCO in 2016 as Intangible Cultural Heritage. Additionally, Jeju's residential culture is unique. In Jeju area, Jeong Nang, consisting of 3 wooden bars (gate attached to fence) is used instead of a main gate. When you enter the Jeong Nang (gate), there are the Ankeorae, Barkeorae, and Mokeorae within the same fence (refer to Figure 3 below). In addition to acknowledging the economic and emotional independence between generations in different houses within the same fence, it is also a structure that encourages communal life in the yard for ritual ceremony, communal labor, playing, etc., which guarantees independence between generations plus "filial piety" for the elderly. Voluntary intergenerational communication in this space can be very significant. Jeong Nang is the main gate to connect all the family members within the fence to their neighbors. It is not closed or locked but open which signifies complete trust between neighbors. Specifically, this study seeks to utilize the spatial concept of the community of Ankeorae, Barkeorae, and Mokeorae traditional houses of Jeju as shown in the pictures above. Hanok, a Korean traditional house, is a patriarchal, economically and emotionally dependent community model in which elderly people and younger generations utilize a kitchen in common and the elderly in the house have the highest authority as a dining community. However, each generation in Ankeorae, Bakeorae, and Mokeorae has its own independent kitchen, though they are one large family within a fence connected by Jeong Nang, and they also guarantee economic and emotional independence. Intergenerational privacy is guaranteed. In addition, there is an independent space which is used when a visitor comes in or relatives visit. It is a model for communication between generations, with dignity and independence, respect, love, trust and acceptance coexisting The reasons for choosing the culture of Haenyeo community for the silver model archetype are as follows. Jeju women divers have learned how to dive without oxygen tank since they were young. They have lived on diving as Haenyeo for all their lives. Even after becoming elderly, they continue to live on diving to educate children and grandchildren. They share a sisterhood with grandmothers, great grandmothers, daughters and granddaughters. They are divided into superior, middle, and lower divers according to their ability and experience. And if one reaches 80 and 90 years of age, it will be material in the sea. As for the labor of Haenyeos, there is a saying: "We are daring to die for diving to keep our family welfare." As long as the life continues, their labor continues, their dignity is maintained as they in turn maintain the dignity of nature. Many of the “old-old” elderly divers, in their late 80s and beyond, are found floating dead in the sea while collecting shells without oxygen tank. That’s Haenyeo’s strong spirit. In 2016, for those above the age of 80, the Jeju Provincial Government decided to reinstitute the tradition of maintaining a separate area in the shallows called " Halmang Badang " (“Sea of Grandma”), so that oldest Haenyeos can safely take care of themselves. The way of life of these Haenyeos was similar to the typical life style of retired Babe Boomers, who had been devoted to social contribution until the last minute, returning expert knowledge to the community. That’s why Haenyeo community was chosen as a typical archetype for a new silver model development.

Architecture is a product of numerous influences, as shown in the apprenticeships of Kim, Jung-Up and Kim, Swoo-Geun with Le Corbusier’s influences. Therefore, its identity is need to be re-defined based on such complex relationships. The rhetorical images of ‘the Map of Misreading’, as the core of the poetic identification proposed by Harold Bloom’s ‘the Theory of Influence’, provide an efficient way of explaining the relations between architectural apprenticeships and identities. This research is to re-build a new methodology of architectural criticism based on it. The diachronic transformations of the architecture of Seung, Hyo-Sang also had very characteristic ‘revisionary ratios’ about his precursor Kim, Swoo-Geun. As an antithetic stance of his precursor’s final phase, his early days works pursued continuously geometric abstraction and objective images of the architecture of Adolf Loos. However, his recent works are showing the obvious symptoms of regression to his origins. Finally, the architectural identity should be re-conceptualized as a complexity, based on inter-textuality from complex influences. This new architectural identity can be reflected into the modern obsessive identity.

본 연구는 고대 종법사회에서 시작된 효가 동서고금을 망라하여 현재까지 논의되고 있음으로부터 출발한다. 그간에 ‘효’의 연구는 주로 인문학 분야에서 이루어져왔으나, 근래에 들어 사회학, 의학, 법학 등의 대상으로 확대되고 있으며, 본 논문 역시 효에 대한 새로운 이해와 실천방법을 찾고자 ‘인문학’, ‘심리학’, 그리고 ‘코칭학’이라는 별개의 학문을 접목하는 새로운 시도를 하였다. 그 첫 번째 이유는 언론사에서 효의식과 효행에 관한 조사를 실시하였던 바, 효에 대한 의식은 높이 나타났지만, 효행 실천 항목에서는 잘하지 못한다는 결과를 얻었다는 내용 때문이다. 즉, 효는 알고 있어야 할 덕목이 아니라 실천해야하는 방법이 중요하다는 점을 깨달은 점이다. 두 번째 이유는 ‘효와 충이 상충’하는 문제와 ‘부모를 봉양한 자녀의 효행이 부모를 떠나 외지에서 성공하고 귀향한 자녀의 효행에 비하여 초라해지는’ 주관적 평가에 대한 모순을 해결해보고자 하였다. 다만, 본 연구에서는 효행의 실천을 목적으로 『소학』에 나타난 내면적 효의내용을 살펴보고 효행의 코칭 방법을 제안하는 범위로 제한하고자 한다. ‘효’의 내용을 분석하고 ‘효’를 실천해야하는 이유와 방법을 찾아보기 위해 먼저, 효의 전범으로서의 위상을 지닌 『소학』을 텍스트로 택하였고,『소학』에서 효와 관련된 내용만을 선별한 후, 인간발달과 관련하여 전근대, 근대, 탈근대 자료들이 제시하는 불후의 통찰들을 모두 받아들인 켄 윌버의 통합적 접근 방법으로 그 내용을 분석하였다. 분석 내용을 토대로 코칭 방법론을 도구로 하는 실천 프로그램을 제안하고자 한다.

鬼神論은 남효온이 글의 말미에 밝히고 있듯이 그의 나이 29세 무인년(1482, 성종13) 가을에 짓기 시작하여 갑진년(1484) 31세 여름에 마친 대작이다. 한 작가 가 卷帙의 차원이 아닌 산문 작품 하나를 완성하는데 3년이란 세월을 보냈다는 것은 작가가 그 작품과 주제에 대하여 가졌던 각별함과 중요성을 살피기에 충분 하다. 그 문장 형식에 있어서도 총 6466글자로 이루어진 장편 大論에 속하는 작품 으로서 작품의 규모적인 측면에서도 韓非子에 의하여 쓰여진 중국 장편 대론의 대표작인 五竇가 5천여자인 것에 비교한다면 그 형식적 면에서의 방대함을 알 수 있다. 鬼神論은 그 형식과 수사에 있어서 敍事와 敍情寓言과 比喩의 수사기교를 제시하면서 語錄體형식을 벗어난 단형 論文의 형식을 제시한 莊子의 논과는 완 전히 반대의 형식을 취하고 있다 그 논리전개형식에 있어서 기본적으로는 長篇의 議論을 전개하여 傍證을 두루 이끌어 오고 고금을 관통하는 기세를 보인 韓非子 의 논에 그 연원을 두고 있다. 그러면서도 그 논리전개 방법론으로는 論語의語錄體를 이용한 문답 형태를 주로 하면서 孟子의 論駁을 통한 논리전개 형식을 문답형식의 의론 속에 내재시키고 있다. 그리고 수사상으로는 수사가 배제된 서술 문을 위주로 하면서 체계적인 논리성과 명료성, 적절한 예증과 독창적 시각을 통 하여 주제전달을 함으로서 “論精微而朗暢” 이라는 논의 문체적 특성을 실현시키 고 있다. 그러므로 이 작품은 전체적으로 볼 때 儒家의 實證적 논리전개방식의 語錄體, 孟子의 論駁, 表題와 내용을 일치시킨 莊子, 韓非子의 長篇大論形式등 과 같은 논의 모든 글쓰기 형식과 논리전개형식을 수용하여 소화해 낸 우리 문학 사에서 매우 주목되는 작품이라 할 수 있다.

The first significant modern theatre movement in Korea arose in the early 1920s. Modern Irish drama and its theatre movement has always been a major field of interest for the Korean intellectuals and dramatists who believed that it provided a model for the modern Korean theatre. The importation of Irish drama was systematically conducted by different groups from the Korean intellectuals in the 1920s and 1930s, during which period many of them published articles concerning Irish drama and the Irish theatre movement. A famous Korean writer Hyo-Seok Lee(1907-1942) published an article titled 'A Research about John Millington Synge's Drama' in 1930, a compressed version of his BA degree essay in Monthly Dae-joong-gong-ron(Public Opinion). However, despite of his fame and popularity as a writer and material for academic research, this article has been forgotten and has remained unknown. Majority of Korean scholars concentrate on Lee's novel and essays while comparatively neglecting Lee's interest towards Irish drama. The main areas of discussions are the followings. First, socio-cultural significance of Irish impact on Korean theatre will be discussed. Second, in the context of Irish influence on Korean drama, the main feature of Lee's viewpoint towards Synge will be examined in comparison with other politically oriented Korean essays.

The focus of study in this paper is put on the comparison of symbolism manifested in the world of W. B. Yeats’ poetry and the thoughts of Master Won-hyo.. The comparing works include the identification of their understanding ways of life. The symbols in common to bridge W. B. Yeats and Master Won-hyo are, for instance, circle, cone, cycle, sphere, spiral, wheel, vehicle, etc. Such a sign symbolizes a round thing, in another expression, the world or the cosmos where man belongs to. The phenomenological world or the cosmos by oriental thoughts is represented as the 28 phases of the moon, ranging from the dark moon(objectivity) to the full moon(subjectivity), which according to W. B. Yeats’ theory are identified the same kinds of character of man. Won-hyo(元曉, 617～686), a life-long friend of another Buddhist Master Ui-sang., insisted on the necessity for every living being to return to the foundation of the One Mind(一心), which is the original state of being, in another words, or “Ultimate Reality” to which every living being has to return. The Hwa-yen Sutra(華嚴經), a rare scripture of Mahayana Buddhism(大乘佛敎), emphasizes that the Ultimate Reality is the Source of One Mind of Won-hyo. We can say that Mahayana Buddhism teaches every living being the way to return to the world of the Ultimate Reality by great vehicle of "Mahayana"(大乘) in sanskrit. Another principle of Hwa-yen philosophy may be expressed as "All in one, one in all. One is all, all is one"(一中一切一切中一, 一卽一切一切卽一). "The Six Aspects"(六相) is interpretated by the principle. The mutual relationships are harmonized between the whole and a part, between the unity of the whole and the diversity of the part, and between the completion of the whole and the self-denial of the part. The One Mind is synonymous with the Great Vehicle with great wheels, which return to the Source of One Mind, the original state of being, or the Ultimate Reality( or Nirvana). The meaning of the One Mind may be expanded to the synonym of the existential world or the cosmos, at the center of which the One Mind lies. Accordingly, The One Mind, the Great Vehicle or Great Wheel and the World has a similar analogy, which make a system of symbolism, so called “Yeatsian gyre theory.” Yeats imagined a spiral, which he preferred to call a gyre) or whirling cone. Then two such cones were drawn and considered to pass like the human soul through a cycle from subjectivity to objectivity. These cones were imagined as interpenetrating, whirling around inside one another, one subjective, the other objective. The cones were not restricted to symbolizing objectivity and subjectivity. They were beauty and truth, value and fact, particular and universal, quality and quantity, abstract and concrete, and the living and the dead. Yeats thought that he had discovered in the figure of interpenetrating gyres the archetypal pattern which is mirrored and remirrored by all life, by all movements of civilization or mind or nature. Man or movement is conceived of as moving from left to right and then from right to left. No sooner is the fullest expansion of the objective cone reached than the counter-movement towards the fullest expansion of the subjective cone begins. These movements slide to the 28 phases of the moon. The dark moon, in the course of wane and wax sways to the full moon. The different 28 patterns of the moon is mirrored by all life or mind, ranging from the highest state of subjective mind(the 15th phase: the full moon) to the highest cast of objective mind(the 1st phase; the dark moon). In the long run, the world which Won-hyo and Yeats seek for as an ideal space of mind is a unified one, into which melted are the binominal opposites such as objectivity and subjectivity, the sacred and the profane, the bishop and Jane, fair and foul, the dancer and the dance, beauty and truth, value and fact, particular and universal, quality and quantity, abstract and concrete, and the living and the dead.

This paper investigates into a lost koˇmun'go tablature attributed to Soˇnghyoˇn callcd hyoˇnguˇmhapjabo[現金合字譜]. based on evidence drawn from hyoˇnguˇmhapjaboso written by the same author. Up to the present, the historical value of hyoˇnguˇmhapjabo[現金合字譜] has been largely overlooked by most Korean scholars. However, an introduction to this document provides important insights into the state of koˇmun'go music during the 15-16th century. Besides, the koˇmun'go tablatures from 16-17 centuries indicate that even prior to Kumhapjabo. the earlist extant koˇmun'go tablature. there was another notational system for the instrument and that Soˇnghyoˇn was possibly the editor. This allows present-day scholars to make some conjectures regarding the possible nature of the lost noation. This study, after examining the various writings of soˇnghyoˇn and other 16-17th-century sources, reconstructs the background and the contents of hyoˇnguˇmhapjabo. With the aid of his brother, a connoisseur of music. Soˇnghyoˇn. was able to learn the arts of koˇmun'go from the contemporary master Yi Ma-ji(이마지). After this initial contact, soˇnghyoˇndvoted his to music. occasionally learning from and exchanging artistic ideas with masters like Yi Ma-ji. Kim Pok-kuˇn (金福根). and Choˇng Ok-kyoˇng(鄭玉京). From as early as 25 years of age. Soˇnghyoˇn was reknowned as an authority in music, which led him to hold an important position at the Changakwon. after being appointed a goverment official. It was during this period that soˇnghyoˇn was exposed to Chong In-ji's influence and his important book Yulnyo-sinso(律呂新書). which further expanded his knowledge in music. Such a long period of accumulating knowledge in koˇmun'go music foregrounded soˇnghyoˇn's invention of a koˇmun'go notational system and his publication of hy on gu mhapjabo. Therefore one can safely conclude that his work epitomizes his in-depth understanding of the koˇmun'go tradition and that he intarded it as a solution to his life-time concern that the traditions of koˇmun'go master were dring without being faithfully transmitted. The tablature was intended to serve the needs of students who learned koˇmun'go without neccedssarily having a teacher to guide every step. The actual content of hyoˇnguˇmhapjabo is surmised to have been comprisad of yoˇmilnak, pohoˇja, kamgun'un, halnimbolgok. Taeyoˇp. and pukjoˇn The introduction to kuˇmhapjabo states that there was already a tablature before the mid 16th century. with a rather inconsistent notationa system and that kumhapjabo is merely a re working of that prototype with the addition of a few new pieces. This points to the possibility that the system at issue is actually S oˇ nghyoˇ's hyoˇng uˇmhapjabo, of which kuˇmhapjabo is simply a revision. There soˇnghyoˇn's hyoˇnguˇmhabjabo, although lost, bears the historcal significance of having been the very first koˇmun'go tablature ever written in the hapjabo notational system. Further, the existence of an earlier tablature than Kuˇmhapjabo(琴合字譜) may help explain the structure of the pieces contained in kuˇ mhapjabo that are presumed to have had a longer history. (November 9, 1997)