• Cartoon and Animation Studies
• /
• s.25
• /
• pp.109-132
• /
• 2011

The Vampire has relatively universal images in through the cultural and verbal usages. The comic Higajima and movie display the latest image of Japanese Vampire of asian mode of production. After the Meiji political reformation of 18th Century, Japanese had rapidly changed into European style in every places. However, the Higajima is denied the structural changes, it is insisted that the changing is only the skin deep and colour of hair but the structure of the society is same as feudal Japan. Asian mode of production is claimed by Karl Marx, according to him, it is before the historical developing model in Europe and it was controversial. The major character of modern Japanese history would be the change of hierarchy of king-shogun-samurai-peasant based on the regional ground. The feudal structure is changed by the Meiji reformation and Japan was rushed for the westernized country rather than the asian mode of production. However, Higajima argued that the changing is just the clothes of ruler but the democracy and individual citizenship was lost in that reformation. Vampire is cursed creature that cannot see the sun and it has not the functioned as a human organ. For human it is dead but this creature actively moves and stronger than human and much superior than human in every aspects. It is managed the feeding through the suck the human blood and power to seduction. Even it is not exist, it is quite symbolic phenomenon of cultural usage of superior entity of chain of feeding. The aim of this paper is display the symbolic code Vampire of Asian mode of production in Higajima and political struggling of Japan in actual. To search of the cultural meaning and possibility of the Korean solution of modernity.

• Women's Studies Review
• /
• v.26 no.1
• /
• pp.183-206
• /
• 2009

This study attempts to explore a phenomenon of an expansion of emotional capitalism in the context of marriage migration. Emphasizing that 'emotion,' 'love,' 'affection,' 'intimacy,' and 'care' are neither materialistic nor a work, and noting that they are social roles attached to natural femininity and that they are separated from the economic realm, modern myth has been challenged by the increase of marriage industry, emotional/service work, and care industry. This study discusses the ways in which individual desires for love and intimacy and her/his economical needs are combined or negotiated. Specifically, this study 1) reviews existing literature on how 'love' and 'intimacy' has been combined with economy under capitalism in general, 2) discusses the ways in which a marriage has been commercially negotiated within the context of South Korea, 3) analyzes combined aspects of 'love' and 'economy' within cross-border marriages and suggests that cross-border marriages, even though they are highly commercially negotiated, may not be fully explained by 'economy' only as other marriages have both aspects of 'love' and 'economy.' An analysis on 'love' and 'economy,' not only separated from each other but also controversial, is essential for understanding 'intimacy' and transitions of Korean families in post-modern era. However, the evaluation criteria for commercial trades in 'love' and 'intimacy' have not developed yet. Whereas a certain trade is inevitable or essential, others may threaten our lives. Developing the ethical and political evaluation criteria on such commercial trades requires future study.

• Journal of the Korean Society of Hazard Mitigation
• /
• v.9 no.4
• /
• pp.29-35
• /
• 2009

In this study, quantitative homogeneity analysis was performed between rainfall observation data set of Chukwooki(CWK) and rainfall observation data set of modern rain gage(MRG) using statistical methods such as basic statistics, K-S test and Boxplots. To analyze the homogeneities of CWK and MRG four rainfall characteristic series such as monthly rainfall, the ratio of maximum daily rainfall to monthly rainfall, number of rainy days for each month, and the ratio of monthly rainfall to numbers of rainy days are made, and the homogeneity tests using two sample K-S test and quantitative comparisons were performed. The test results showed that observation precisions between CWK and MRG of original data set(M00) were differed because M00 clearly showed the statistical significances on differences of numbers of monthly rainy days of CWK and MRG. But, rainfall showed a little differences which were not significant between CWK and MRG.

• Journal of Ethics
• /
• no.88
• /
• pp.103-122
• /
• 2013

This paper aims to study on conceptual suitability or unfitness of Silhak(實學). It is general that by criticizing Chujahak(朱子學) or beyond the limitation of Seonglihak(性理學), Silhak has developed practical tendency to reforming the society in the middle and end of Chosen Dynasty, related to the context of Korean national reflection in modern times. However, it is unfortunate to be understood. As presented in Chosenwangjosillok(『朝鮮王朝實錄』), there has been a few usages in the term 'Silhak'. In short, it was different from its contemporary meaning. At that time, it was usually used to have the meaning of Gyunghak(經學), compared to Sajanghak(詞章學), or rarely, of 'the true study' or 'the practical study'. Therefore, it is to claim that its conception has been manipulated or exaggerated very seriously. Since 1930s, in particular, its conception has been misused in interpreting works of Jung Yak-Yong by some scholars, such as Jung In-Bo, Moon Il-Pyung and An Jae-Hong, who tried to apply the term to overcome the Japanese colonial era symbolised as modernity based on the future life of Korea. Even though their attempt has led to have crucial discussions on the conceptions of Silhak, it has an unnecessary result that there has been a new and totally different understanding of Silhak in South Korea, North Korea, China, Japan, etc., which means that the unsustainable conception of Silhak has been one of major problems in studying of Silhak. To give an practical solution, I would try to make sense of 'time spirit' whose scholars studied Silhak in the middle and end of Chosen Dynasty. A problem, however, is that a scholar group in the name of Bukhakpa(北學派) had certain links and bonds. This is because many scholars studying of Silhak were usually features out of the main stream, which made them it difficult to form any various groups. That is to say, it seems to be natural that they have dreamed of utopian imaginations less than of overlapping points in reality. To sum up, it would be concluded at least that any approach to human lives and thoughts in the given conceptions of Silhak, e.g. ethical thoughts of Silhak, enables us to be indifferentiated to take its true meaning and time spirit of Chosen Dynasty. To be disenchanted of its social roles in Chosen Dynasty, fundamentally, it should be escaped from the wrong net of illusions and sings in understanding Silhak in certain eclectic steps.

• Journal of the Korean association of regional geographers
• /
• v.23 no.2
• /
• pp.288-310
• /
• 2017

This paper aims to provide a conceptual framework to see the special zones in East Asia in relation to the territorialities of the state. For this, it will introduce Aihwa Ong's notion of 'spaces of exception', and provide some critical discussions on it. Unlike Ong, I do not see the spaces of exception as an outcome of neoliberal changes of the state. Instead, I propose to see the special zones in terms of the internal limitations of the modern state territoriality. In particular, I try to theorize the special zones in relation to the dialectics of the contradictory relations between mobility and fixity inherent in the territoriality of the modern nation state. In addition, it will be suggested to see special zones as an essential part of the spatiality of the East Asian developmental states, given the spatio-temporal contexts of the East Asian capitalist development. On the basis of these theoretical discussions, this paper will divide the special zones that have been developed in East Asia since the 1960s into 3 different types, including 1) developmentalist special zones, 2) neo-liberal special zones, and 3) special zones for transition, and discuss their characteristics.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.14 no.1
• /
• pp.426-435
• /
• 2013

Minimal architecture is generally expressed in a simple and pure form, this characteristic of minimal architecture was first introduced by the architect, Mies Van der Roche, in the beginning of 20th century. The objective of this study is to identify wether minimal architecture is just a reappearance of the beginning of 20th century's modern architecture or a suitable form for contemporary aesthetics. As a result, it can be concluded that minimal architecture is based on human emotion and one's experienced perception which is very different from the modern architecture which is more focused on functionality and mechanical esthetics. Minimal architecture uses two systems which are multi-sensual perception and conceptual perception; however, it focuses more on conceptual perception which is also used in comtemporary architecture. In conclusion, simplicity is just one of the necessary conditions which is not sufficient enough to represent minimal architecture.

• 전기의세계
• /
• v.32 no.12
• /
• pp.712-718
• /
• 1983

1961년 7월1일, 전력 삼사가 통합되어 한국전력주식회사로 발족한 이래 사차에 걸친 전원개발 및 송배전시설 확장 5개년 계획이 성공리에 완수되었으며, 1982년 1월1일, 전력사업의 공익성과 효율성을 도모코자 공사 본제로 전환한 후에도 제오차 전원개발과 송배전시설 확장계획이 추진되어 세계적 수준의 전력공사로 성장하였다. 이러한 시점에서 현재의 전력사업의 실태를 분석하고 2000년대를 향한 전력계통을 전망해보고, 계통계획, 배전계통의 근대화, 봉사수준의 질적향상 등에 관한 현상 및 장차의 전망에 대하여 살펴 보았다.

• Archives of design research
• /
• v.16 no.4
• /
• pp.225-232
• /
• 2003

A German philosopher, Herbert Bolz predicted that the human way of thinking would be fundamentally and completely changed because of digital media and the 'Gutenberg-Galaxis', named by M.McLuhan which was symbolized of modern reason was doomed to be over. He thought that the limit of reason-centered European culture would be overcome by the up-to-date multimedia to revive the communication life. On this theory, he emphasized the emotional perception, 'aisthesis' which is original meaning of aesthetics. That is to say, he insisted on the restoration of communication media to enable the five senses' amusement condition mentioned by Kant. This thesis asserts that the representative hypermedia digital animation may play a key role to rehabilitate human sensibility pressed by reason centered modernism. Digital animation has the unique worth of Art that is firstly to deal with time and space and enable unlimited expressions and can communicate effectively as a characteristic synthetic medium which consists of intensive computer techniques. Based on the background, this thesis analyzes the possibility of the digital animation as a new medium. Especially, it is focused on the relations to the hypermedia theory of Norbert Bolz who is a media analyst and professor of a design college.

• Korean Institute of Interior Design Journal
• /
• v.15 no.5 s.58
• /
• pp.36-43
• /
• 2006

Architecture is the product of a way of thinking. If the problems of architecture are to be traced to their roots, then attention needs to be focused on the thinking and considerations that inform its production. Adolf Loos occupies a truly exceptional place in the history of architecture. Adolf Loos's ideas and attitudes disagree with the notion that modernity is possible to develop a harmonious culture within the bounds of a modernizing society. Loos chronologically precedes the modern movement, but his ideas contain the seeds of what will be worked out later as a complex critique of the movement's notions about architecture and modernity. Loos holds the view that modernity provokes an inevitable rupture with tradition that has as a consequence the disintegration of one's experience of life. This evolution, he think, obliges architecture to display a number of languages corresponding to a multitude of different experiences. Through the discussion of Loos's opinions on dwelling and architecture, it explores the true features of position of Loos in modern architecture. Loos thinks that the rejection of the deliberate creation of a new style was a correct response to the diagnosis of life as being rootless and fragmented. Ornament is that which people use to attempt to relate different aspects of life and to join inner and outer worlds in a coherent whole. By getting rid of ornament the illusion is destroyed that a harmonious unity of this sort is still possible. One can only remain true to tradition if one acknowledges that its continuity is not an unbroken one. Dwelling can only be saved by separating it from other aspects of life.

• Journal of Fashion Business
• /
• v.22 no.4
• /
• pp.76-92
• /
• 2018

The purpose of this study is to find the meaning of women's fashion in the city culture of Paris in the nineteenth century by examining paintings by the Impressionists. The research method was based on literature survey and visual examination paintings, 224 paintings(by ${\acute{E}}douard$ Manet, James Tissot, Edgar DeGas, Gustave Cailleboat, Jean $B{\acute{e}}raud$, Pierre-Auguste Renoir) were analyzed in this study. The results are as follows: In the nineteenth century, Paris was a new city with new department stores. Department stores were centers of consumer culture, where the power of capital appeared rather than class. The spatial backgrounds of Impressionist paintings were places where they could see the consumption and leisure culture of urban people, such as outdoor parks, cafes, theaters, ballrooms, bars, streets, and the boats. As for the characteristics of women's fashion in paintings, it was found that various changes of artificial silhouettes were developed. Various frills, ruffles, gatherings, and pleats were thought to have been made by machines. In the urban space, many of the women's costumes stood out because of the black color. Not only the black color came to represent widows and mourning but the black outfits worn by women enhanced their sensual appearances. Women's fashion expressed in Impressionist paintings eventually contained a modern meaning that changed from 'class symbol' to 'expression of taste'. And the symbol of consumer and leisure culture showed, and a Demimonde's fashion became a trendsetter, and painters were used as an important element expressing modernity.