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To painters in these days, it has remained as a task to solve the conflict caused by different values of Western society and traditional values shown in ink-and-wash paintings and independent efforts to incarnate this task into social structures and historical backgrounds specifically have been required so to accept it into their works. Asians make ‘leaving nature as it is’ as the root in their creation of pictorial arts, which is to follow the law of nature, rather than artificial things. And they also considered the aim of art as a course towards the completion of character as a noble man. Such vast expressions of outer space are available in oriental paintings by the method to leave a space. It is able to know through Asians’view of nature. That is, the symbol of heaven is the space, while the symbol of human is the part painted by brush and ink. Therefore, in this study, it examines the formative consciousness in traditional oriental paintings dividing into the aspects of spiritual and spatial and, then, interprets the backgrounds of traditional thought and its formative effect of space in oriental paintings in much more logical ways. By this, it examines the space to imply spirit through the merits and the limitations. Furthermore, this study aims at examination of the difference of formativeness between the East and the West about a space so to study the space again as the one referring in the oriental aesthetics.

The main cause for <Sungkyunkwan Scandal>, a drama that deals in the era of King Jeongjo, to create such a stir is just the one that has originated from our demand for intellectuals and politicians serving the public these days. The efforts exerted by the Confucian scholars, King and the politicians, who were all intellectuals at that era, to make the publics’ life more convenient may be one of the main reasons for us to be immersed in this drama. This is containing the publics’ demand that the intellectuals and politicians have to endeavor for stable lives of the ordinary people. It may be said that this is the very power retained by the image contents. There may be dramas in different genres, but as the historical drama like <Sungkyunkwan Scandal> became so popular by taking advantages of Korean Wave, the issue between fact and fiction, i. e., the issue of historical interpretation, is to the fore. In particular,with spread of the Korean Wave, it cannot be denied that the issue of historical interpretation is an important issue from the educational aspects. In addition, this thesis is examining the issue about educational utility of the historical dramas.

The aim of this paper is to criticize cultural-philosophically the change of the human memory and imagination in the new cognitive environment constructed by convergence media. Convergence media are not simple instruments but cognitive conditions of human. Today, through convergence media we can see, listen,remember and imagine. As convergence media are emerging as new cognitive conditions, human cognitive process falls to being understood as structure of media. This understanding is clearly emerged in the Mylifebits project promoted by MS. This project aims at ‘externalization of human memory’, by using convergence media. In this project, human memory is understood as computer file storage system. Computer files are stored in an external device, likewise human memory can be also stored in an external device. Human is biological being, and his memory is apt to be distorted and lost. However, if the memory is stored in external device, it is neither distorted nor lost. Thus the research directors of Mylifebits project call this electronically stored memory ‘Total Recall’. It requires two main premises which human memory is personal and unrelated to the meaning, in order that human memory could become Total Recall. Because we have digital media personally and mechanical memory cannot generate any meaning. However, any human act is neither simple physical work nor mechanical process like response to a stimulus. Even in the lowest level, human act has meaning. Meaning is not personal at all. Thus human memory is also not personal. In other words, human memory is essentially cultural. It is a distortion of original meaning to regard human memory as a mechanical process. Furthermore, memory is not different to imagination, or rather, memory is closely akin to imagination. In this sense, distorting original meaning of memory is linked directly with the distortion of imagination. The externalization of human memory like Mylifebits is originally based on collaboration between human and digital media in order to augment human cognitive ability. Thus, if we want to accomplish this original intention,we must start from the true understanding of that ability.

There are three kinds of parties, among the people who wrote Chinese literature. First kind of people worked distantly from the new civilizations,seeking the traditional view of the world, like Kim-taekyung and Jo-geoungsub. Second kind of people worked, showing the tendency that accepted the new civilization, but also holding attachment to Chinese, like I-gi and Ryu-insik. Finally, last kind of people worked, possessing the modernity and traditionality,like Byun-youngman and Jung-inbo. But our history of literature about after the modern times and the period of enlightenment have disregarded the modern Chinese literature that was popular until middle of the 20century. In the modern times, foreign culture crowded the traditional cultural senses out and disbanded the traditional communities. At the same time, it was the peak of accumulating cultural heritages and experiences. Now is the time to check the chapter of the modern Chinese literature,contending with modernity and traditionality, and to handle the dynamics of modern Chinese literature.

The objective of this thesis is to analyze the narrative structure of the complicated individual persons dealt in the movie <King and the Clown> from the discourse system concerning formation of the modern subject so as to study the meanings of individual subjects highlighted in the movie <King and the Clown> from the point of aesthetics of reception. Through this, the writer is studying the type of narrative structure, of which the meanings of individual subjects are emphasized, in comparison with the communicational aspect of Popular culture. For this, the writer is first contemplating on the interests for the individual subjects, typically appearing from <King and the Clown> as a historical movie, from the philosophical discourse concerning formation of the subject. This is the process to contemplate not only the meanings held by the complicated narrative structure which is formed with the individual subject at its center from the aspect of spectators of the movie, i. e., the audiences who are watching the movie, but also the positive aspects of the social communications held by the mass culture from the position of the subjects who are enjoying the culture as well.

A certain main character and the hindrance factors becoming oppositions within the story structure is inevitable. Various conflict situations against antagonist within the story can clearly and specifically show what the main character intends to accomplish. The reason for this is because the main character experience changes and setbacks through many trials but ultimately accomplishes what was intended through continuous efforts. It is because what the main character desires, aims and intends to accomplish can be clearly known in this process. This study will recompose the world desired by the main character (Sejeong) through the conflict relation between the main character and the antagonistic forces shown in the story of TV drama “Deeply Rooted Tree”. In addition, the principle of Hunminjeong invention will be analyzed to also examine the Utopia contained within. The purpose of this is to compose the actual world dreamt by Sejeong by combing the ideal within the story and the ideal within reality.

The chief purpose of this research is to examine the true meaning of hybridity that is the symbol of the cultural paradigm in the 21st century digital information society and investigate the types of sources in Japanese hybrid culture and the patterns of its transmission. ybrid is the process of hybridity to combine heterogeneous things and create a new system. As it corresponds to the original meaning that Japan’s ultimate goal through ‘imitation’ is ‘creation’, Japan is recognized as the symbol of hybrid. Japanese hybrid culture created properly for the Japanese soil as foreign and its original culture are well harmonized is characterized by the fact that it doesn’t mean the absence of basic culture but the coexistence of all in multilayered ways. In particular, the result of hybridity established voluntarily in the inside of Japan did contribute greatly to the birth of ‘Hwahonhanjae’ and ‘Hwahonyangjae’which are the background of triggering Japanese modernization through the value of ‘Wa’ that is the ground of its hybrid culture. As the development of Japanese culture through hybrid justifies the mixture of cultures and contributes to cultural openness, diversity, and creativity to produce new culture, it becomes the ground of creativity to build a future nation in the knowledge information society. Thereupon, we also have to escape from cultural monism but pursue hybridity where boundaries collapse and fuse. However, we should also deem that the hybrid resulted from random combination without our original ideas or values will lead to the risk in which we may lose the originality or uniqueness of local culture. Therefore, this discussion can be seen significant in that it adheres to cultural pluralism and provide essential clues to understand hybrid culture through cultural pluralism and openness.

Lee Hak-kyu had to send 24 years of exile in the dawn of the 19th century occurred in ‘ShinYuOkSa’(辛酉獄事). Unfamiliar space and the first meeting of a strange land with only people like writers in exile, he garden of Seoul creating or growing potted flowers instead of using ‘Bottled support’(甁养), plug the bottle to enjoy the way the flowers were used. The exile of the real reason in an unstable housing situation is a result. Frequently appeared in Lee Hak-kyu’s poetry is a chrysanthemum flowers. He put the bottle shine plugging Chrysanthemum by watching the shadow was creative ‘Chrysanthemum shadow poetry’(菊影诗). Lee Hak-kyu’s chrysanthemum shadow poetry is a chrysanthemum lantern shadows appear on the show a fantastic pose, rather than the act of listening to the shadow flower show or to his projections on the inner surface of the chrysanthemums were featured. This is Dasan and his sons will look at different aspects from. Soon his chrysanthemum shadow poetry a special plight of the exiled customer personal circumstances that distinguish it from other literary aspects of the poetry appear as can be seen as a factor.

A Study on the Creation of Media Culture and Musical Taste in the Early Twentieth Century The first modern theater, Hyeopryul-sa(協律社), was an important element in mass popularization of the traditional music. Jap-ga(雜歌),which originated among the common people before taking its place in the theater, took the form of popular music due to growth of the performance and record industry and ensuing support of the mass public. However, the atmosphere of the period was predominantly favorable to Western music, and the controversy surrounding the direction of growth of the traditional music largely argued for negotiation of traditional and Western music. Moreover, the emergence of class preference for traditional, popular, and Western music initiated categorization of the music culture. The mass culture of the period was led not by the ‘modern’ public but by intellectuals and the elite. In the mean time, there was a strong current of inappreciation of the traditional music by the younger generation. The lack of preference for, if not, repulsion of the traditional music by the younger generation brought about stark differences in the musical taste of each generation. Such phenomenon was strongly influenced by the education system as well as the political and social change during the Japanese colonization. The present study investigates the change in traditional music due to the emergence of the media culture in the 20th century through Jap-ga. In addition, the present study examines the commoditization and mass popularization of music brought on by the record industry and the radio broadcast. Finally, the process of change in generational taste of the traditional music is observed.