• The Journal of Korean Philosophical History
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• no.23
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• pp.349-392
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• 2008

Modern Neo-Confucianism was formed as a school by solving the modern problems in China through accepting western philosophies with Chinese basic philosophies since New Cultural Movement. Marxism, Liberalism, and Modern Neo-Confucianism are called three representatives of Chinese modern philosophies. Since the People's Republic of China was founded in 1949, Modern Neo-Confucianists have tried to keep their philosophy and cultural conservatism in Hong Kong and Taiwan. Modern Neo-Confucianism which had been prohibited before 1978 was brought again to people's attention in the middle of 1980s by their active lectures and writings. Furthermore, the study on Modern Neo-Confucianism was supported by the Chinese government in 1987. China was trying to find the way to enhance Chinese tradition and to develop China to a modern society at the same time through the study on Modern Neo-Confucianism. The purpose of Modern Neo-Confucianism is to keep Chinese tradition which was broken off, to develop China to a modern society, to control the problems caused by capitalism socially, and ultimately to strengthen socialism in China in the political aspect. The study on Modern Neo-Confucianism in the 1980s focused on introducing, organizing, and understanding Modern Neo-Confucianism as its early stage. This study was led by Marxists with their methods and viewpoints. Even though the acceptance and understanding of Modern Neo-Confucianism was limited in a short period, the study on Modern Neo-Confucianism in the 1980s propagated Modern Neo-Confucianism. Modern Neo-Confucianism also played an important role to grow the argument about the critical succession of Chinese tradition and to reconsider the fact that modernization does not mean only westernization.

• Journal of the Speleological Society of Korea
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• v.31 no.32
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• pp.82-89
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• 1992

지구상에 인류가 있은 후로부터 인류는 생존을 위하여 끊임없이 자연을 개조하고 이용하였으며 자연계에서 자원을 찾아 내여 자기의 새로운 생존조건을 창조하였다. 생산력이 발전됨에 따라 인류가 자연을 이용 개조하는 능력이 계속 높아짐으로써 자연환경의 원래의 면모도 개변되고 있다. 중국 현대 자연환경관에 대한 인류활동의 영향을 고찰하기 위해 우선 중국 현대경관의 형성부터 보기로 하자.(중략)

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.1
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• pp.99-109
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• 2009

한 후란 중국의 전통 복장을 말하는 것이다. 한 장 (漢裝) 이라고도 하며 고대 복장이라고도 한다. 영어로는 silk robe라고도 한다. 한 후는 한 나라 이후 명나라까지 만주가 정복하기 전인 1644년까지 입혀졌던 중국의 전통복장이다. 최근 중국에서도 전통복장에 대한 새로운 모색이 일어나고 있다. 중국 전통복식으로 대표되는 치파오는 만주족의 한족 말살 정책의 일환으로 간소화시킨 복식이다. 따라서 중국 전통의복은 만주족에 의해 사양길을 가기 전 고대 한 조의 복식이 중국전통을 대표한다고 할 수 있다. 전통적인 한 후 스타일은 벨트를 매며 여밈이 있고 좁은 소매 혹은 넓은 소매가 특징이다. 한 족이 한 나라, 상 왕조, 송나라, 당나라때 입었던 한 후가 중국의 복식을 대표하는 복식이며 주나라의 쉔의는 튜닉과 스타일의 결합으로서 아직도 상류그룹이 입고 있다. 당나라에서는 동방의 문화와 혼합되어 화려하거나 사치스럽게 수정되었고 만주가 침범하여 한 후는 더 이상 전통복으로 입히지 못하였다. 한 후의 현대적 의미를 볼 때 역사적으로는 베트남에서 기모노에 이르기까지 그 원형을 볼 수 있고 한 후를 통해 중국전통 복식의 원류를 찾을 수 있다. 연구방법으로 문헌과 시각자료를 활용하였다. 한 후의 현대적 의미는 전통의 새로운 자각과 세계화 현대화의 노력이라 할 수 있다. 치파오로 규정된 중국복식에 반해 전통 한 후에 대한 올바른 인식과 활용은 세계화와 오리엔탈이미지에 녹아 있는 한 후 디자인 디테일을 통해 현대적 모색을 활용하고 있다. 충분한 시각 자료가 부족하지만 현대적 노력이 앞으로의 중국이미지의 재고를 가져올 것이다.

• The Journal of Korean Philosophical History
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• no.23
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• pp.393-421
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• 2008

This thesis has an intention to reorganize the topic of Ontology that has not unnoticed, investigating the symbolic signs of Zhuxi. The symbols in Ontology visualize in an anthropomorphic form or a form of animals that we can usually find in the nature. The visible symbols have characteristics of the dynamic rather than the stillness. The symbols of human and a horse have developed as different interpretations depending on the relative importance. The movement of stream symbolize the Movement of Daoti that manifests thorough all things in the Dao and have a structure of 'Ti-Xiang-Yong'. The Substance of Metaphysics embodies an action thorough 'Metaphysics' or 'with Metaphysics'. Accordingly, 'a stream' symbolizes 'the Movement of Daoti' in that it manifests the form of Daoti makes body. A kite and a fish symbolize the form of a kite flies up into the sky and the shape of a fish plays in the pond. These not only represent an outlook on the world, but also symbolize the stage of the Movement of Daoti. 'Human', 'a stream', 'a kite' and 'a fish' include activeness, domination, dynamics, manifestation, visibility, naturalness.

• The Journal of the Korea Contents Association
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• v.18 no.3
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• pp.330-341
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• 2018

In recent years, a number of Chinese artists are interested in 'Chinese-style'. 'Chinese-style' can be understood as an art form in which Chinese elements are combined with modernized sensibilities. This paper analyzed how Chinese traditional elements can be effectively implemented in fashion photography, focusing on Chen Man, a leading fashion photographer in China. Our research shows that Chen Man looks to the traditions and history of China to inspire her modern work, which makes her unique as a Chinese fashion photographer. She tried not to repetitively express typical images of Chinese elements but to visualize the symbolic meaning of traditional elements as new images of modern China. Through this practice, she were able to effectively communicate the images of products and brands promoted in fashion photos. Furthermore, her works are being recognized by not only the fashion industry but also the international art elite as they contribute to building and promoting Chinese fashion identity. Research on Chen Man's work is significant in providing a new way for 'Chinese-style' fashion photographers to reinterpret Chinese traditional elements without following Chinese tradition.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.389-390
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• 2019

본 연구의 목적은 현대 빅데이터 시대에서 급격히 발전하고 있는 사회적 배경아래, 현대 디자인 문화가 내포된 건축사상을 바탕으로, 중국의 4개 현대 상업건축 사례에 대한 디자인 문화 표현 특징에 대해 분석을 진행하였다. 현대 상업건축 실내 공간의 문화성은 주로 다섯 가지 측면에서 나타난다. 전통, 지역, 대중, 기술, 생태, 이것을 복합적으로 통합하여, 상업건축의 지속가능성과 다양성을 촉진한다.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.65-73
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• 2021

This research analyzes the characteristics of Chinese tragic films with Chinese traditional ethical ideology as the core, analyzes its specific performance in the plot and ending setting of the film , and analyzes the director's tragic narrative strategy of cultural reconciliation in the face of political environment to understand the characteristics of Chinese contemporary tragic films.The film is a Chinese contemporary tragic film with The Great Cultural Revolution as its historical background. This film is a representative film of Chinese contemporary tragic films. The classic plot has played a certain role in the expression of Chinese traditional ethical ideology such as fatalism and optimistic attitude to life. The male lead's thought changes interpret the Chinese-style tragedy characteristics containing Chinese traditional ethical ideology. In the setting of the ending, the film broke through the "happy ending" model of Chinese traditional tragedies, and chose the open ending of "one tragedy to the end", further showing the time feature of Chinese contemporary tragic film. The euphemism and tenderness of the film as a tragic film is not only due to the compromise with the political culture of power, but also the result of the director's in-depth understanding of the aesthetics of Chinese tragedy. Through the use of symbolic signs in the film language, it has formed the implicit characteristics of the film narrative in the tragic aesthetic experience. In this paper, the author conducts text analysis for the film and discusses presentation of Director Yimou Zhang's tragic feelings and using the tragic narrative strategy of cultural reconciliation to show his creative wisdom in pursuing artistic breakthroughs under political pressure.

• The Journal of the Convergence on Culture Technology
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• v.9 no.3
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• pp.509-518
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• 2023

Although German Neo-expressionism and Chinese modern ink painting are separated by thousands of miles in geographical space, they have a similar origin time, and there are many commonalities between them. In the aspect of creative attitude, artists of both styles can absorb and resist foreign styles, return to the past and conquer the tradition. In the aspect of formal expression, the objects of both paintings are representational rather than realistic, and the material characteristics of the media are emphasized. At the inner spiritual level, both expressionism and modern ink painting pay attention to social concern, and show the uncertainty of postmodernism together. The commonality between German neo-expressionism and Chinese modern ink painting does not mean to eliminate the difference, but to maintain the coexistence of difference and commonality.

• 중국학논총
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• no.72
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• pp.161-177
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• 2021

鄧小平1978年12月在中央工作會議閉幕會上的講話中提出民主和法制問題以后, 中國共産党着力加强法制建設。最近習近平上台以后, 看來中共正試圖進一步收緊法律。中國傳統思想包括諸子百家長期存在, 對社會的各个領域都産生了影響。我認爲中國人對現代法制的認知基础是受一定的法家思想影響的。本文探討了新中國成立以來中共的加强法制的過程及与法家思想關連性。主要探討了毛澤東时代最高領袖的權力和法家思想中的統治術, 改革開放以來社會秩序的建立和法家思想尋求的大一統, '新时代中國特色'和法家思想的与时俱進的歷史觀。

• International Commerce and Information Review
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• v.13 no.4
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• pp.151-176
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• 2011

Recently, the importance and requirement for Corporate Social Responsibility(CSR) is continuously growing in both korea and foreign countries. This paper tried to analyze on the theoretical trend of CSR and to draw out managemental implications for Korean firms' global CSR strategy by means of comparative case study for the CSR activities of Toyota and Hyundai Motor in China. The results and implications of this study are as follows. First, this study showed that these companies had carried out a systemic legal and ethical responsibility. Second, according to the model of Porter & Kramer and Ibuki Eiko, these companies had recognized the importance of CSR and had recently begun to implement their strategic CSR Third, Toyotas' CSR activities in China are more closely related to auto industry and more strategic in compare with Hyundai Motors' CSR activities in China. Fourth, therefore, the more strategic and long-term planned effective CSR activities of Korean firms in China will be needed in the future.