• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.32 no.3
• /
• pp.69-81
• /
• 2014

Herman $F{\ddot{u}}rst\;P{\ddot{u}}ckler-Muskau$ is one of important figures in German landscape architecture who designed both Muskau Park and Branitz Park and published garden book Andeutungen ${\ddot{u}}ber$ Landschaftgartenerei (Hints on Landscape Gardening) in 1834. He was a German nobleman who governed Muskau estates while working as both a writer and a landscape gardener. German landscape gardening was grounded on Romanticism, which was represented in diverse ways such as the reconciliation between man and nature, the liberation of reason, and the pursuit of liberty. The intellectuals came to have an interest on landscape gardening since the garden carried the cultural connotation such as the idealized epitome of nature. This study is to investigate how his idea of landscape gardening had been developed through his personal life and social background and to find out his landscape gardening theory and its unique gardening techniques. Finally, the inventive aspect of his garden theory and contemporary significances in practices were discussed. $P{\ddot{u}}cklers^{\prime}$ personal experience and social background provide us to understand the idea of garden. First, there was a mixture between reality and fantasy in his garden theory. It was due to the influence of Romanticism and literary garden. Second, his gardening mentality and technique were influenced by the late 18th century English garden practices, which emphasized the expressive aspects. Third, $P{\ddot{u}}cklers^{\prime}$ inner disposition and personal experience were represented in his garden design. Fourth, the intention of creating landscape garden for the local people might be a self realization of his contradictory characters between falling nobleman and liberal social leader. The significant value of $P{\ddot{u}}ckler^{\prime}s$ garden idea might be closely related in the dual nature of humanistic garden tradition and garden practice for social agenda. Therefore, his garden idea pursued of the comprehensive landscape strategies toward ideal communities and ethical spirits while concerning ecological, social, economic sustainable development of the region. Furthermore, his landscape gardening aims at the total landscape encompassing garden to region as well as the Gesamtkunst combing the beautiful with the useful. $P{\ddot{u}}ckler^{\prime}s$ holistic attitude gives us fresh insights and new directions to contemporary landscape theory and practice.

• Cross-Cultural Studies
• /
• v.44
• /
• pp.411-430
• /
• 2016

One of central issues in the Literature and Science discourses during the Victorian era is the relation of physiology to psychology. Many thinkers tackle the question of whether or not psychic phenomena can be reducible to their physiological bases. For instance, Victorian physiologist William Benjamin Carpenter claims that there should be a boundary between physiological and psychological qualities. Yet, his contemporary writer Grant Allen contends for the reduction of psychology into physiology. In the essay, I discuss Grant Allen's work Physiological Aesthetics (1877) so as to eventually problematize his physiological reductionism. I especially highlight the paradox of his physiological aesthetics. In order to clarify my argument, I introduce two concepts: evolutionary aesthetics and physiological reductionism. On the one hand, Allen argues for the development of aesthetic appreciation. The gradual evolution from gaudy to serene colors, for instance, reflects the fine differentiation of sensory organs. He believes that the existence of varied aesthetic pleasures corresponds to the evolution of sensory nerve structures. Nonetheless, Allen ironically gives more weight to the commonality of aesthetic experiences than to this teleological ordering of aesthetic experiences. He argues that there is no fundamental difference among humans in terms of their aesthetic assessments. Furthermore, there is even no essential distinction among plants, animals, and humans in light of their aesthetic appraisals, he states firmly. Although he asserts the gradual advance of aesthetic feelings caused by the intricacy of nervous systems, he simultaneously trivializes the evolution of aesthetic appraisal. In the essay, I highlight this paradox in Allen's physiological aesthetics. It should be underscored, lamentably enough, that Allen seeks biological purity by erasing fine lines among physiology, psychology, and sociality. He estranges aesthetic experiences from subjective variations and their socio-cultural contexts. He makes great efforts to eliminate individual differences and socio-cultural specificities in order to extremely biologize aesthetic experiences. Hence, Allen's physiological aesthetics is marked as the politics of physiological purification.

• Archives of design research
• /
• v.18 no.4 s.62
• /
• pp.277-286
• /
• 2005

The purpose of this study is to ascertain the design element in traditional palaces of Korea, China and Japan. It takes threesteps to proceed this study. Firstly, it needs to be established the analysis framework from the documents. In second step, the design elements - the form, the material, the pattern and the color - should be collected and investigated through the observation of the actual traditional palaces the Changduckung, the Forbidden City, the Nijo castle. The third step is the analysis of the results of the investigation of the design elements from step two. To sum up similarities and dissimilarities among the design element in traditional palaces of Korea, China and Japan is as the following It is to be noticed that the mainly common characteristics of the artistic design are 'naturalism', 'harmonious ideas' and 'confucianism'. But the representation style of the design element is differed from the country. : The typical features of China are symmetry, glassy surface by artificial process, the meandered curve, the magnificent pattern and the constrable color. In Japan, the mathematical asymmetry, made-up rough surface by artificial skill, decorativepattern with abbreviation and achromatic color are important feature of the design element. While the major features of Korean design element are asymmetrical balance with nature, rough surface by natural process, moderate pattern and harmonious color.

• The Journal of Natural Sciences
• /
• v.10 no.1
• /
• pp.209-216
• /
• 1998

The results of the study of diving the 21st century's Korea fashion market into consumer market, fashion market, and a new marketing strategy are as follows. The 21st consumer market is First, a fashion democracy phenomenon. As many people try to leave unconditional fashion following, consumer show a phenomenon to choose and create their own fashion by subjective judgements. Second, a phenomenon of total fashion pursuit. Consumer in the future are likely to put their goals not in differentiating small item products, but considering various fashion elements based on their individuality and sense of value. Third, world quality-oriented. With the improvement of life level, it accomplishes to emphasize consumers' fashion mind on the world wide popular use of materials, quality, design and brand image. Fourth, with the entrance of neo-rationalism, consumers show increasing trends to emphasize wisdom, solidity in goods strategy pursuing high quality fashion and to demand resonable prices. Fifth, concept-oriented. Consumers are changing into pursuing concept appropriate to individual life scene. Prospecting the composition of the 21st century's fashion market, First, sportive casual zone will draw attention more than any other zone. This is because interest in sports will grow according to the increase of leisure time and the expasion of time and space in the 21st century, and also ecology will become the important issue of sports sense because of human beings's natural habit toward nature. Second, the down aging phenomenon will accelerate its speed as a big trend. Third, a retro phenomenon, a concept contrary to digital and high-tech, will become another big trend for its remake, antique, and classic concept in fashion market with ecology trend. New marketing strategy to cope with changing fashion market is as follows. First, with the trend of borderless concept, borders between apparels are becoming vague, for example, they offer custom-made products to consumers. Second, as more enterprises take the way of gorilla and guerrilla where guerrillas who aim at niche market show up will develop. Basically, they think highly of individual creative study, and pursue the scene adherence with high sensitiveness. However this polarization becomes mutually-supplementing relationship showing gorilla's guerilla movement, and guerilla's gorilla high-tech. Third with the development of value retailing, enterprises pursuing mass merchandising of groups called category killers are expanded and amplified to new product fields, and expand business' share. Fourth, using outsourcing, the trend to use exterior function leaving each enterprise's strength by inspecting its own work is gradually strong. Fifth, with the expansion of none store sale, the entrance of the internet and the CD-ROM sales added to communication sales such as catalogues are specified. An eminent American think tank expect that 5-5% of the total sale of clothes and home goods in 2010 will be done by none store sale. Accordingly, to overcome the problems, First international, global level marketing, Second, the improvement of technology, Third, knowledge-creating marketing are needed.

• Journal of the Daesoon Academy of Sciences
• /
• v.35
• /
• pp.359-392
• /
• 2020

In this paper, we examined the development of Chinese Taoist architecture, its cultural implications, and comprehensively summarized the core principles of the Taoist ecological ideas that are reflected in Taoist architecture. This is a groundwork for exploring an ideological model for sustainable ecological architecture in modern cities. Taoist architecture has a long history that has led to changes, developments, and a gradual maturation. Zhi (治), Lu (廬), and Jing (靖), were the first architectural forms of the early Taoist body. These formed the basis for the future development of Taoist Courts (宮觀). The state-sponsored government-run Taoist Courts established from the time of the North and South Dynasties to the time of Tang Dynasty led to a constant standardization of the rites, and these Courts gradually became more and more formalized. Since the establishment of Quanzhenjiao (全眞敎) in the early 12th century, a movement that emphasized putiy training, architecture for the ascetic practice emerged in remote natural spaces suitable for strict ascetic practices. Meanwhile, in Taoist architecture, the type and structure of buildings were strengthened in order to worship various gods. The various Taoist Courts established through this historical process embody the elements, institutions, and ecological ideas of Taoist culture. Taoist architecture basically pursued the idealism of Paradise in a Deep Cave (洞天福地) and adopted a feng-shui theory of using natural terrain artfully in selecting a place and building a layout. This was reflected through their ecology. Meanwhile, Taoist architecture does not destroy the balance of nature by emphasizing the utilization of local natural resources whenever possible while selecting building materials according to the principles of yinyang and the five movements (陰陽五行). In addition, Taoism aims to select simple places for practising asceticism and ancestral rituals whenever possible because of the need to maintain a simple mind, suppress desire, and return to a state of purity. This attitude is an indication of a kind of simple ecological ideas and value of frugality easily found in Taoism. The ecological ideas of Taoism provide abundant resources for considering solutions to the ecological crisis that arises in the creation of residential environments. Through the ecological ideas of Taoism, we can find a direction to understand the relationship between human beings and nature while creating new, sustainable residential environments.

• Cartoon and Animation Studies
• /
• s.50
• /
• pp.299-325
• /
• 2018

Humans have made a third person over a long history and differentiated them from each other. Discrimination of 'us' and 'them' has led Derrida to make works to look upon the human nature towards animal strangers. This study tries to examine upon the expansion of animal strangers by focusing on 'The Animal That Therefore I am.' Furthermore, the research asserts to pay more attention to animal strangers by looking at his works of how modern people think about animals in the current society. Derrida expresses his 'humiliation' that he felt when he faced his cat after a shower. This emotion brings up the topic that was neglected in the conventional wisdom and casts doubts on this. This emotion of humuliation is only felt by humans, and he explains this is one way of feeling like a 'human.' The researcher therefore focuses on the 'experiences of humans' and looks at the ambivalence of humans in culture and the irony in natural animals. This perspective criticizes Speciesism, which considers people other than oneself able to be suffered. This view also tried to escape anthro-pocentrism and looked at the animals on their own. This study examines current animal strangers with theories of Donna Haraway and Jane Goodal, and analyzes Derrida's artworks with Susan Sontag's philosophy. This aims to lead to a conclusion of how to reach an optimal relationship between human and animal. By focusing on Derrida, who has not been highlighted yet in this country, hopes to create effective communication between human and animal by explaining his artworks through new philosophy of animals.

• Journal of Christian Education in Korea
• /
• v.67
• /
• pp.339-375
• /
• 2021

The author considers that contemporary society has entered the era of 'life on earth in peril' as a very serious situation in comparison with the past, and assumes that this life-in-peril situation, known as 'life crisis,' is one of the most urgent and important issues in Christian education as well as in public education. This urgency and importance is mainly based on the belief that Christianity is the religion of life that values all living beings' life and all Christians have the sacred vocation to cope with this crisis of life on earth, given by the life-giving God. For this reason, this study aims at identifying some tasks that Christian education should perform in the era of imperiled life, premising that diverse life-threatening situations and circumstances in today's world are closely related to the Christian Sabbath. More specifically, first of all, this article analyzes some notable phenomena of the life crisis in the contemporary world, such as deaths from intentional self-harm (suicides), deaths from industrial accidents and disasters, the real-life situation of vulnerable populations, people's indifference and insensitivity to the situation, and natural environmental degradation, by reflecting on current global issues as well as issues in Korea. This paper also criticizes neoliberalism, productivism, consumerism, economic materialism, egotism, and anthropocentrism as ideologies for causing these phenomena. After the criticism, the author interprets, from biblical and theological perspectives on the Christian Sabbath, main purposes and meanings of the Sabbath for contemporary society that are deeply connected with the crisis of life on earth: confessing that God takes the initiative to govern every creature's living and being; building the relationship with the God who has given the power of life to all living beings; practicing the Sabbath rest by living a holy life; and participating in the Sabbath rest as 'life-giving ministry.' In conclusion, this article suggests Christian educational practices that confront the life crisis, rooted in the purposes and meanings of the Christian Sabbath: reminding participants of the belief that God is the source of life on earth; cultivating 'life literacy'; helping people to resist the crisis of life; and encouraging humans to pursue the well-being and peace of both humanity and the earth.

• Archives of design research
• /
• v.12 no.4
• /
• pp.149-159
• /
• 1999

It is already a well-known fact, that Korean attend the funeral ceremonies with their courteous etiquette being derived from their customs succeeded from the old ancient times to the contemporary one, regarding it as of great importance. Especially in the age of Lee Dynasty, the etiquette has been a way of Confucian ideas, which has exerted a harmful influences to Korean society due to the reflection of the dutiful conciousness to the tomb customs, and that the change of the burial site and its construction works became more and more serious and excessive. In the meantime, the population has been increased according to the development of the modern industrialization and the number of the dead has also been increased, which caused the issue on the effective use of the limited national land relating to the tomb culture, as the passing of the time. Consequently, in this study on the design of the charnel house, three aspects, humane aspect pursuing the human value, like naturalism or equalitarianism, circumstancial aspect presenting minimum space and convenient space, and formative aspect expressing convenient space, and formative aspect expressing convenient charnel function, unique form and symbolism, have been considered, in order that the tomb space could be transferred to the place for the meditation looking back the meaning of the life, or the place for the comfort. Above all, the special emphasis has been put on the creation of the tomb culture, harmonizing relaxation, exercise and refinement in everyone's life. And in order to realize it, the special interest and investment should be directed not only to the materialistic culture caused from the whole hearted devotion to the development for advancing society, but to the related parts to the value of the life or spiritual culture, such a sideology, culture or environment etc., which would be led to the entrance to the real advaced country members.

• Journal of Korean Philosophical Society
• /
• v.137
• /
• pp.383-407
• /
• 2016

Considering the long time that modern man has been autonomous, it can be said that the brutal human violence prevalent around the globe today is an 'exceptional situation'. Behavior such as killing animals or devastating the natural environment are thought to be unavoidable. However, if human beings have been 'social animals' pursuing connectedness and seeking meaning in the relationships of others beyond themselves since the beginning of time, how can the incredibly powerful violence which humankind has inflicted on plants, other animals, or the earth itself be explained? With this in mind, I propose the following arguments. First, the crisis of consciousness in the loss of hope for the future of mankind under the technology of modern Western civilization has already come to a dead-end causing Western philosophers to think of ways to discover new opportunities, apparent as ecology and ecological philosophy. Second, as reality has become governed by the technology of modern Western civilization and ecological philosophical rationality fails to co-exist with this reality, an understanding of ecological philosophy should be deepened and continued. In this context, I will investigate the existential conditions for human life to continue in the future in consideration of ecological philosophy and the meaning of Forest.

• The Journal of the Convergence on Culture Technology
• /
• v.7 no.1
• /
• pp.117-133
• /
• 2021

The art of the Confucian literati' was mainly centered on literati' painting. Literary paintings combined with poem-writing-painting are based on the literary characters and studies. This is usually based on the technique of Shensi(神似) caused by a hobby accomplishment, enjoying the chinese painting and cherishing with chinese painting. The Confucian literati' cultivated their own character and sublimated humanism to art based on studying. They sought the life of supremacy and supreme gentleness, and enjoyed life on the boundary of pleasure through art. The aim of the Confucian literati' arts lies in the pursuit of expressing the artist's inner world, spirit, and the combination of the Confucian and the Taoism, Because of literati's spirit based on learning, the Confucian literati' arts still exist. The aesthetic of Sunbi Spirit is mainly in the customs of Sunbi, the loyalty of Sunbi, the Silhak(實學) of Sunbi, and loving of the people of Sunbi. We can find honor and loyalty in the Sunbi spirit of the Confucian literati' of the Joseon Dynasty. In addition, it is also possible to observe the loyal troops, the hard work for the country, and the Pung-ryu with nature. In other words, the Sunbi honor, loyalty, loyal troops, pursuit of study and the Pung-ryu show the spirit of the Confucian literati' of Joseon Dynasty. The aesthetic of the Sunbi spirit is in Pung-ryu, loyalty, Silhak, loving of the people etc. The aesthetic of experience of art is mainly based on the aesthetic experience by emotional intelligence and the aesthetic experience according to the individual's inclination. The aesthetic sense actually shows Pung-ryu, loyalty, Silhak and love etc. We can see it in many of our literary paintings. Therefore, the Confucian literati' painting in Chosun Dynasty were the intentionality of the mind and the intentionality of the spare. Furthermore, it has directivity of expressing the artist's inner world, directivity of substance, so it is possible to see that the characteristics of the Sunbi spirit are diverse.