• Journal of Gifted/Talented Education
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• v.19 no.3
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• pp.603-646
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• 2009

This paper explores in depth Gaston Bachelard's theory of imagination so as to establish the philosophical bases of creativity. While he had begun his studies on imagination to eliminate unreliable subjectivity hampering objectivity of philosophy of science, he was fascinated to become a philosopher of imagination by its unlimited power. Since his theory of imagination marked a prominent spot in the history of Western idea, this paper will seek its significant implications that will also shed light on the philosophical grounds of creativity. The best way to approach his theory is to differentiate whether imagination is the power of forming images or that of transforming them. If not misguided by surface simplicity of the aforementioned differentiation, it will be revealed that it has accrued strata in the history of Western idea. The power of forming images is related to theory of mimesis or of representation, and to ocularcentric and logo-centric structures. Bachelard strongly opposes to the theory of imagination as power of forming images, since, if it is so, its expansion and development are not possible. He thereby constructs the theory of imagination as power of transforming images. The force of movement lies at the core of his theory. Imagination as an ability to intuit movement is directly related to the problem of change in the history of Western idea. If an entity is incessantly changes itself, it becomes a crucial role of imagination to capture the force perse in the perpetual movement without distortedly and abruptly fixing it at a still point of time and space. Bachelard criticizes such a method that makes movement a controllable entity consisting of partitioned moments of space; instead, he constructs theory of imagination that reveals the true power of indispensable movement. Furthermore, it will be revealed that Bachelard's theory has more affinities with Kantian imagination and reflective judgement of aesthetics than the past researches on Bachelard showed. This paper, by means of the above investigation, will transcend the superficiality of defining what are Bachelard's formal, material, and dynamic imaginations; simultaneously, it will bear philosophical conditions of possibility that makes us experience imagination fully. These conditions also become the philosophical foundations of creativity. It will draw to a provisional close its imaginative journey of everlasting movement by making ontological and ethical dimensions of imagination and creativity.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.119-129
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• 2012

Yongdoseo and Guimunwon are described in "Bokgeo(卜居, fixabode)" of "Sanlimkyengje(山林經濟)" written by Manseon Hong. This record is a unique garden conceptual idea applying the principles of Hetu(河圖) and Luoshu(洛書), fanciful gardens which have not been actually constructed. Here, two garden types were concretely described respectively, however the underlying meaning therein cannot be apprehended without exact understanding about Sangsu studies. Therefore, the purpose of this study is to illuminate the meaning contained in Garden illustration and the historical meaning of landscape therein through considering this text. To achieve the purpose of this study, the writer and the compiler who are the background of this writing and the outline of Sangsu studies were investigated. Also, the principles of Saengsu(生數), Seongsu(成數), Yin Yang(陰陽), Four Bodies(四象), Palgwedo(八卦圖), etc. which are in Hetu and Luoshu were considered. The result of this study went through this research process is summarized as follows. First, Hetu Luoshu are conceptual definitions which wholly abstracted the basic propositions of Sangsu philosophy such as the universe change principle, etc., while Yongdoseo and Guimunwon can be said to be operational definitions which apply those as garden composition principle, enabling to experience the meaning contained therein concretely and explain it in a replicable way. This attempt is a unique example, unprecedented in Chinaas well. Second, as a livingspace, garden was selected as a means to concretize operational definitions about the meaning of Hetu Luoshu, and as the property to reproduce the bearings concept, the location and the number, etc. of Hetu Luoshu, Taegukjeong(太極亭), Shipjagak(十字閣), Dondae(墩臺), well, pond as well as various kinds of trees were used. Third, the main motif of Yongdoseo and Guimunwon is the relation between Apriority(先天) and Posterior(後天), and the relation between Constitution(體) and Use(用) of Hetu and Luoshu respectively. That is, Yongdoseo planted evergreen trees such as Shipjangcheong(十長靑) in order to symbolize the universe creation principle which Hetu stands for, i.e. silent, harmonious, orderly and win-win image. In Guimunwon, flowering trees(花木) and fruit trees(果木) were planted freely to express the change of Posterior which Luoshu stands for, thatis, dynamic, disharmonious, disorderly, incompatible(相剋) and changing image. The effects intended to be attained through such planting were, 'freshness and cheerfulness(淸爽)' of Yongdoseo and 'splendidness' of Guimunwon respectively. Sangsu studies based on Hetu and Luoshu is a unique thinking system to the Orient which came from the accumulated wisdom of several scholars from various schools through a long period since ancient times. Therefore, the concept and the theory thereof are profound and huge, and its viewpoints of interpretation are diverse. It is a limit of this study that more in-depth and various consideration was not performed. As a further research project, more empirical study of Orientalism such as Sangsu studies, etc. inherent in Traditional Garden is necessary.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.2
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• pp.58-68
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• 2017

The conclusion of this research after analyzing and interpreting the landscape structure and meaning of Yeongsajeongpalkyung (永思亭八景) that appears in Yeongsajeongpalyeongsi(永思亭八詠詩) of Cheonggye(靑溪) Yang, Dae-bak(梁大樸, 1544~1592) and through document studies, poetry and painting analysis and interpretation, and site investigation, is as follows. Yeongsajeong and its nearby lands are the area of "Yeongsa", where the builder, Ahn, Jeon(安?, 1518~1571) worshipped towards the grave of ancestors, and Yeongsajeongpalkyung oversees a family burial ground in Namwon, centering around Yeongsajeong such as Yocheon, Geumseokgyo and Cheonggyedong, and Sunjagang River and Mountain Jiri, which are the foot hold and key points of advantageous scenic views in Namwon. Yeongsajeongpalkyung, unlike general Jeongjapalkyung, shows a panoramic bird's-eye structure overseeing the landscape and scenery of the Yocheon area and Sunjagang River, in addition to Yeongsajeong, while show in a transition of location, a multi-view structure and time. The trace of visual unity with Sosangpalkyung of China can be seen in many places in Yeongsajeongpalkyung, which seems to be a transitional feature of composing poems regarding Palgyeong during the mid-Joseon dynasty, which pursues harmony with the local landscape of the Namwon area. The 'Changsongchwijuk(蒼松翠竹)' appearing in each of the first and second scenic views of Palgyeong and Yeongsajeongpalyeong can be understood as an incarnation of Yang, Dae-bak, the author of Palyeongsi or Ahn, Jeon, the builder of Yeongsajeong. On the other hand, as a result of interpreting the yin-yang features of poetic diction and picture elements appearing in the subtitle of Yeongsajeongpalyeong, Palyeongsi seems mostly full of yin-like elements and Palgyeongdo. Moreover, as a result of comparing and analyzing the acts expressed in and acts described in Yeongsajeongpalyeong, based on the fact that the reis almost no common ground between the two media except for Soongangmowoo, the third scenic view, the formal similarity between the two media can be acknowledged, however, it is difficult to discover any substantive 'integrity of poetry and painting'.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.1
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• pp.10-24
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• 2017

The research takes note of the formation process and settling period of Gwandong-Palkyung(關東八景, Eight Sites of Eastern Korea), the representative palgyeong(prominent eight sites) and jipgyeong(集景, landscape collection of scenic beauty), and investigates the time of formation regarding the palkyung and jipgeyong of Gwandong's scenic beauty through the analysis and interpretation of bibliographic data, and reference data. The result of the study is as follows. As the first document that records the terminology of "Gwandong-Palkyung" is "Daphongeunggil(答洪應吉)" of Yi, Hwang(李滉), Gwandong-Palkyung is inferred to be settled within the recognition of the people even before the 16th century. The geographic analysis result including "Sinjeung Donggukyeojiseungram(新增東國輿地勝覽)", Gwandong-Palkyung expanded as Gwandong-Sipkyung in early to middle of the 16th century. The first confirmed landscape collection regarding Gwandong-Palkyung in this study is confirmed in Shin Zup(申楫)'s "Yeonggwandong-Palkyung(詠關東八景)", thus, the terminology of Gwandong-Palkyung existed before 16th century at the latest. The settlement time of current "Palkyung" collection is estimated to be early 17th century at the latest. Poetries regarding Gwandong-Palkyung, and the frequency on the appearance of Gwandong scenic beauties are analyzed as making clear of the concentrated phenomenon on the sceneries of Gwandong-Palkyung. On the other hand, the collection of Gwandong-Palkyung in the domain of arts is confirmed initially in the ${\ll}$Gwandongpalkyungdobyeong(關東八景圖屛)${\gg}$ of Heo, Pil(許泌). Gwandong-Palkyung, expressed as the actual scene landscape painting shows similar tendencies of the conditions in the jipgyeong from the poetry, but the appearance rate of the painting subject was more prominent in visual solidarity and cohesion due to the reflection of the importance on icon(圖像) of the art works produced with particular meaning in the case of fixed ideal system. From late Joseon to modern times, ${\ll}$palpokbyeongpung(八幅屛風)${\gg}$ of various forms of folk painting is a corroborative evidence notifying that the cultural phenomenon of Gwandong-Palkyung has entered the universal period of embrace. Also, the 13 scenic beauties of Gangwon-Do appearing in the games of Namseungdo and Myeongseungyuramdo include Gwandong-Palkyung, which confirms the settlement of Gwandog-Palkyung even within the culture of games in late Joseon. Such results demonstrate the existence of awareness regarding Gwandong-Palkyung from the first half of the 15th century, which is presumed to have completely settled in the 17th century through the continuous development of formative process in the 16th century. Ultimately, Gwandong-Palkyung is the concrete formation of regional scenic beauties that individually gained its reputations as scenery from the Koryo Dynasty to late 17th century. Gwandong-Palkyung of the scenic beauty of Gwandong is a unique cultural scenery of the region that have germinated and formed through the process of cutting and polishing of long time to collect the best eight of scenic beauty from the many participation of sightseeing culture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.2
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• pp.60-76
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• 2020

The purpose of this study was to examine the spatial and visual arrangement characteristics of Imsil Yi Ung-jae's old house's spatial and visual aspects in order to discover the value of landscape and traditional house garden. The results of this study are as follows. Dongchon-village in Dundeok-ri, where old house is located, is a typical form of with "Back to the mountain and facing the water(背山臨水)", and is located in the north of the three streams of water, forming a Jeonchaghugwan(前窄後寬). Dongchon Village, which has a traditional scenic spot between Danguidae(丹丘臺) and Samgyeseokmun(三溪石門), is understood to be the main street of Nojeokbong Peak and Gyegwanbong Peak, which is Ansan(案山), where the "A centipede flying in the sky(飛天蜈蚣形)". Yi Ung-jae's old house is the oldest existing high-priced house in the North Jeolla region and the closing price of a royal family of the Joseon Dynasty, which was arranged by Chunseongjeong(春城正), Yi Dam-son(李聃孫) in the mid-16C. The Japanese Invasion of Korea in 1592 and Japanese colonial era, the loyalty of the gate quarters, the filial piety of the gate quarters, and the faithfulness of the tablet(扁額) and Juryeons(柱聯) are enough to contribute to the rise of the value of a physical house. The men's quarters(Sarangchae), which are placed on a high-pocket or a layout without going against the sloping terrain, have the effect of making the distance as far as possible, enhancing its dignity and hierarchy as a royal building. In addition, the entrance to the main quarters(Anchae) through the four pillar gates(四柱門), the extensive support and the appropriation of the Chaewon(vegetable garden), and the official base for the Anchae are very unique compared to the general nobility. However, in the context of the postwar relationship, the shrine seeks to realize Confucian ideals while harmonizing with nature by arranging wide sponsorships around it. On the other hand, it is confirmed that there was a pond in the form of a circle in a square(方池圓島型) with a relatively large area, which is now disturbed and damaged. Written by the high priced planting species are sponsored pine trees, hackberry, persimmon trees, Japanese apricot flower, Ohmomiji, and plum tree in the side garden, as well as cotyledon trees in the outside garden. However, although flower bed(花階), which is built on the stone axis, is a place that clearly shows the expensive garden, it seems to have lost the texture of the plant due to the extremely high variety of species and the splendor that does not match the plant landscape of the flower world. Yi Ung-jae's old house is highly valuable as it is a portrait house of a prince of the blood in the mid-Joseon Dynasty. Based on these findings, this study proposed a plan to improve the management of high prices that could be met.

• Cartoon and Animation Studies
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• s.39
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• pp.59-83
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• 2015

Magical realism, blooming and improving in Latin America, opened the new vision about reality and rationalism, coming out from the out-styled frame of past. While having common points with unrealistic literature, which uses fantastical components, magical realism is different from Surrealism and fantasy literature that is focusing on reality and realizing reality intensely. In the early stage of this research, magical realism was restricted by the characteristics of literature of Latin America, but the research of magical realism is expanding in planning Post-Modernism nowadays. Lately, the influence of magical realism is identified in literatures, arts, films, and animations over the world; according to the research, however, research about magical realism in animations was not done in Korea before. A Korean independent animation "A coffee vending machine and its sword" was evaluated positively in many international film festivals is valuable as the research of magical realism. Throughout this study, this animation "A coffee vending machine and its sword" was analyzed by its narrative and images. The analysis of narrative consists two parts. One is about the form of narrative and the other is about contents through the story. Analysis of Image is also divided into two parts: background image and character image. In this animation, the protagonist is narrating about the fantastic accidents in his life and his own feelings towards it. The narration leads audience to understand his situation and feelings in meta-fiction. On the surface, audience watches the love story of a normal girl and coffee vending machine in this artwork, but deep inside the animation, it is visible that the directors tried to make audiences think about the life of 880,000-won Generation in Korea. The background image was represented as real places in Seoul including the landmark of Seoul, making mimesis of reality in Korea. The character image has two conflicting aspects with reincarnated warrior, Jinyoungyoung and a coffee vending machine. It is a hybrid-character transmogrifying between two characters. Likewise, "A coffee vending machine and its sword" has the characteristics of Korean magical realism through form, content and image. Through analyzing the Korean independent animation "A coffee vending machine and its sword", this research tried to find a way of using factors of fantasy, of representing reality as a dramatic device and of using magical realism of Korean animation for bond of sympathy with audience.

• Restorative Dentistry and Endodontics
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• v.36 no.1
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• pp.37-49
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• 2011

Objectives: The aim of this study was to evaluate the surface color of indirect resin restoration according to the layering placement of different shade of incisal composite. Materials and Methods: In this study, CIE $L^*a^*b^*$ value of 16 Body composite of Tescera ATL (Bisco, Schaumburg IL,USA) was measured by spectrophotometer (NF999, Nippon Denshuku, Japan), and compared to CIE $L^*a^*b^*$ value of Vitapan shade guide. Nine shade Incisal composite of Tescera ATL were buildup to 1 mm thickness on Body composites inlay block, and CIE $L^*a^*b^*$ value was measured. Incisal composite was ground to 0.5 mm thickness and CIE $L^*a^*b^*$ value was re-measured. Color difference between Body composite and Incisal composites layered on Body composite was calculated as a function of thickness. Results: Color difference between corresponding shade of Tescera Body composite and Vitapan shade guide was from 6.88 to 12.80. $L^*$ and $b^*$ value was decreased as layering thickness of Incisal composite on Body composite was increased. But, $a^*$ value did not show specific change tendency. Conclusions: Surface color difference between Body composites and Incisal composites layered on Body composite was increased as the layering thickness of Incisal composite increased (p < 0.05).

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.97-110
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• 2012

This study aimed at considering the original shape of Iljiam Tea Garden at Mt. Daedun. In order to accomplish our goal, we tried to strengthen the authenticity of construction of Iljiam by comparing its space structure depicted in the poetry of Choeui(艸衣) the monk with its current restored state. According to the clues and situation in the poetry along with symbolic words like 'Choeui' and 'Ilji(一枝)', Iljiam seemed to be a tea garden with elegant and celestial beauties, and with a nice view where Choeui the famous monk searched for the highest state of enlightenment by enjoying and living in nature. When we compared the plural aspects of Iljiam like Dacheon(茶泉), Dajo, Mulhwak, Darim(茶林), Chaewon(菜園), and Yeonji(蓮池) with those of Dasan Tea Garden[茶山草堂], we could see that the basic components of tea-culture space of both gardens are the same, showing the organizational principle of the top and bottom area to stress reading and studying. When it is restored, the authenticity of Iljiam should be pursued by linking spatial, historical, and landscaping characteristics as the space of which Choeui the monk carried out Zen meditation and mastered tea. However, the recent grand scale Buddhist business like the expansion of access road and construction of Buddhist sanctuary and Seolimdang became the biggest threat to the authenticity. Especially, it was emphasized many times in various poetry that the view from Iljiam and its surroundings is extraordinary, so it is critical to get rid of obstacles to the view from Iljiam and its surroundings in order to restore Iljiam as its genuine form. The current Iljiam should be re-made because it is like a leaf-roofed garden, not like a hermitage. However, the opinion that Jawoohongryeon-sa(紫芋紅蓮社) is somewhat a Taoistic and Taoist hermit space with a special shape adopted the pattern of building of the Joseon period rather than a Buddhist building can be accepted as long as other convincing historical evidences are found out, considering the ideology of uniting Confucianism and Buddhism and the spirit of Taoist hermit found out from poetry of Choeui and his friends. In conclusion, the restoration of Iljiam in 1979 was carried out to restore the place of Iljiam rather than to restore the originality of Iljiam by combining and referring domestic cases of tea gardens. However, there is not much material for restoration even though the main frame of Iljiam was distorted. Nevertheless, the top and bottom ponds should be constructed as a rectangle shape. In addition, it can be improved much in terms of plants and trees. It is necessary to restore bamboo forest, which was razed in order to make a tea plantation around Seolimdang, to set vines of arbors above the upper limbs, to plant pine trees and willow trees inside of the garden, and to put Dajeolgu under the corner of the eaves. Especially, the bamboo forest emphasized in poetry and took care of by Choeui himself should be restored inside of the garden.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.232-245
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• 2021

The present study is about a brand development strategy that utilizes Korean traditional patterns. The global culturenomics phenomenon confirms the value of the cultural aspects of design when a national brand is established. People succeed with their unique aesthetic sense and reinterpret it in a modern view, and this design acts as today's national brands. In this way, people used traditional patterns and original designs, along with regional characteristics and formative style, in developing their designs. However, due to recent changes in the global environment, modern people live in an "untact" world, and consumption culture shifted toward online marketing. In this environment, where one is isolated from social activities, there needs to be a strong image that can dramatically change the mood of one's home. I would like to re-examine the Dan-Chung pattern, whose painting depends on the aesthetic characteristics of architecture to protect the wooden members of the framework in traditional architecture. The pattern and color of Dan-Chung, coated in traditional architecture, differs by the type of construction used, which includes a palace, a Buddhist temple, and a Confucianism Dan Chung. The Geummoon pattern contains aesthetic factors to add solemnity to the Main Buddhist Halls, which contain Buddha. This is a new medium that continues the current traditions instead of remaining in the past. Among different Dan Chung patterns, Geummoon has magnificent decoration consisting of the highest grade materials and unique composition; therefore, it is suitable to be reinterpreted in modern terms. The same pattern can be interpreted in different ways with different colors, so there is a great aesthetic impression in the Geummoon pattern. The value of preservation for exploration and theoretical study of the traditional pattern is important, but recreating the pattern into modern formative art can present a new angle of view and national brand, bearing pride in our cultural assets. The study used multidimensional molding methods for realistic presentation after going through the two-dimensional design process. The significant value of Korean molding beauty which hangs onto the past will play a crucial role in establishing our national brand.

• Cross-Cultural Studies
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• v.48
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• pp.289-323
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• 2017

L'Espoir, a novel by Andre Malraux, contains traits of the genre of literacy reportage that depicts the full account of the Spanish Civil War as non-fiction based on his personal experience of participating in war; the novel has been dramatized into a semi-documentary film that corresponds to reportage literature. A semi-documentary film is the genre of film that pursues realistic illustration of social incidents or phenomenon. Despite difference in types of genre of the novel and the film L'Espoir, such creative activities deserve close relevance and considerable narrative connectivity. Therefore, $G{\acute{e}}rard$ Genette's narrative discourse of novel and film based on narrative theory carries value of research. Every kind of story, in a narrative message, has duplicate times in which story time and discourse time are different. This is because, in a narrative message, one event may occur before or later than another, told lengthily or concisely, and aroused once or repeatedly. Accordingly, analyzing differing timeliness of the actual event occurring and of recording that event is in terms of order, duration, and frequency. Since timeliness of order, duration, and frequency indicates dramatic pace that controls the passage of a story, it appears as an editorial notion in the novel and the film L'Espoir. It is an aesthetic discourse raising curiosity and shock, the correspondence of time in arranging, summarizing, deleting the story. In addition, Genette mentions notions of speech and voice to clearly distinguish position and focalization of a narrator or a speaker in text. The necessity to discriminate 'who speaks' and 'who sees' comes from difference in views of the narrator of text and the text. The matter of 'who speaks' is about who portrays narrator of the story. However, 'who sees' is related to from whose stance the story is being narrated. In the novel L'Espoir, change of focalization was ushered through zero focalization and internal focalization, and pertains to the multicamera in the film. Also, the frame story was commonly taken as metadiegetic type of voice in both film and novel of L'Espoir. In sum, narrative discourse in the novel and the film L'Espoir is the dimension of story communication among text, the narrator, and recipient.