• Korean Journal of Culture and Social Issue
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• v.10 no.2
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• pp.1-15
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• 2004

The drastically changing society has brought diverse types of families, and these diversities are changing the concept of the word 'family' itself. Inevitably, these changes cause different viewpoints among family members, developing into conflicts and social issues. In this paper, generational family problems, which are caused by changes within the family as a result of the variously, diversely changing society, are observed to suggest a resolution. Looking into the functional variety that today's structural change within a family demands, several positives changes described below have been observed; Firstly, the change in the way of interaction among family members; Secondly, the demand for continuance on relational functions including love, care, etc, as a psychological resource of family; Thirdly, the conversion from form's sake relationship to actual relationship; and Lastly, the usage of a clearer communications network. The interaction between the parent-children relationship, according to the changes in family life cycle, is also re-focused to seek resolutions for intergenerational conflicts. The results are as follows; Firstly, the changeability of various family types today must be accepted, and the functional aspects of changing families must be emphasized ; Secondly, the mutual-exchanging value of each generation must be accepted, strengthening relational functions between generations; Thirdly, it is necessary to refocus filial piety. In other words, though the intergenerational transmission of family functions may become the basis of lineage and clan formation, it won't be possible without interaction between generation.

• The Research Journal of the Costume Culture
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• v.13 no.6 s.59
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• pp.960-976
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• 2005

Classicism pursued beauty comprised of a perfect form, and beauty was perceived as a state of sufficiency. Accordingly, a completed and permanent beauty was sought after; as a result, a perfect and flawless form became the mainstream, and there was an effort to visualize the eternal proportional perfection. In classicism, forms were perfectly embodied with systematic inevitability and absolute inflexibility, by which an extremely clear aspect appeared. This study analyzes a classical construction paradigm in modern fashion according to the five categories: 'Harmony and order by numerical proportion', 'Clear form', 'Simplification of form and two-dimensional Seh-form', 'Completed contracture structure', and 'Pluralistic unification', and the respective formative characteristics are as follows. First, in terms of the formative aspect of modern fashion,'Harmony and order by numerical proportion' results from thorough observance of extreme and golden section (proportion of 5 :8) which was an aesthetic standard of beautiful body in classicism. Second, 'Clear form' appears in clothes as individual clearness of structural elements expressing each part of body, and shows a well-established form possible to be grasped with equal and clear contour line. Third,'Simplification of form and two-dimensional Seh-form' comes out as form composition, single line, single layer structure, two-dimensional form and arrangement of elements of clothes through the front viewpoint caused by 2D diagramming work while fashion-designing and producing. Also, it is seen that two-dimensional proportion which is composed of sections through various harmonious lines and sides according to the simple two-dimensional compatibility principle is accomplished. Fourth, 'Completed contracture structure' emerges as an expression of stationariness, in other words, fixation of an overall impression. This is a tendency that the overall form is grasped as a fixedly intact shape without a big change of the silhouette of clothes. Fifth, 'Pluralistic unification' means that it respectively emphasizes all the parts composing clothes by making them individually independent at the same time as each element is inclusively shown with the harmony of the overall silhouette of clothes and many other details. This study examined classical formative characteristics through a theoretical research on a formative paradigm revealing the classical style. Also, the significance of classical or rational value of art was illuminated by observing what characteristics a classical formation paradigm shows in modern fashion. As a result, classical characteristics in modern fashion prove that classicism is not a merely past construction style separated from the present but a construction paradigm deeply involved in our reason system.

• Journal of Korean Philosophical Society
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• no.120
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• pp.217-250
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• 2018

Subjekt oder $Selbstbewu{\ss}tsein$ ist ein grundlegendes Prinzip neuzeitlicher Philosophie. Das $Selbstbewu{\ss}tsein$ ist bei Kant $Selbstbewu{\ss}tsein$(analytische Einheit der Apperzeption als klare Selbstbeziehung) in Objekts $bewu{\ss}tsein$(synthetischer Einheit der Apperzeptuion). Dabei zeigt er ein Reflexionsmodell des $Selbstbewu{\ss}tseins$. Aber er $erkl{\ddot{a}}rt$ nicht systematisch ein $Verh{\ddot{a}}ltnis$ zwischen synthetischer Einheit und analytischer Einheit der Apperzeption, und auch $l{\ddot{o}}st$ er nicht theorienimmanente und formale Schwierigkeiten von Zirkelargument bzw. unendlicher Iteration in der Reflxionsstruktur des $Selbstbewu{\ss}tseins$. Aufgrund der Voraussetzungen seiner eigenen Fundamentalontologie kritisiert der $fr{\ddot{u}}he$ Heidegger, $da{\ss}$ Kants $traditionsabh{\ddot{a}}ngige$ $Subjektivit{\ddot{a}}tstheorie$ Symptome der Seins vergessenheit zeigt, transformiert Kants $Selbstbewu{\ss}tseinstheorie$, interpretiert Kants transformierte Theorie als $subjektivit{\ddot{a}}tstheoretische$ $Begr{\ddot{u}}ndung$ der traditionellen Ontologie von Vorhandenheit, und versteht sie als ersten Schritt und erstes phlosophisches Modell seiner Fundamentalontologie. Durch kritische Interpretation von Kants Lehre von Selbstaffektion und $Selbstbewu{\ss}tsein$ deutet er ein Modell des $Selbstbewu{\ss}tseins$ als des $ph{\ddot{a}}nomenologischen$ $Horizontsbewu{\ss}tseins$ an. In diesem Modell der vorreflexiven und unmittelbaren Selbstbeziehung entstehen Schwierigkeiten von Zirkelargument bzw. unendlicher Iteration nicht. Apel kritisiert Kants $selbstbewu{\ss}te$ Apperzeptionstheorie in dem Sinne, $da{\ss}$ sie solipsistisch sei, und in seiner Transzendentalpragmatik $vervollst{\ddot{a}}ndigt$ er Kants transzendentalphilosophische $G{\ddot{u}}ltigkeit$ in der Dimension von $Intersubjektivit{\ddot{a}}t$ diskurierender Menschen. Hierbei ersetzt die Kommunikationsgemeinschaft Kants Apperzeption oder $Bewu{\ss}tsein$ ${\ddot{u}}berhaupt$. In der transzendentalpragmatischen Sicht, die auf den sprachlichen Bezug des Denkens und Erkennens und die Kommunikationsgemeinschaft geht, beruht das $Selbstbewu{\ss}tsein$ oder die Reflexion des Subjekts wesentlich auf seinem sprachlich vermittelten sozialen Bezug. Also geht es nicht um Zirkelargument und unendliche Iteration in denkender Selbstbeziehung des Subjekts. Ebeling hebt Heideggers Daseinsanalytik auf das Niveau von Apels Transzendentalpragmatik an und entwickelt Fundamatalpragmatik ${\ddot{u}}ber$ $Widerstandsbewu{\ss}tsein$ gegen allgemeinen Tod. Dieser $Widerstandsbewu{\ss}tsein$ ist fundamentalpragmatische Transformation von Kants $Selbstbewu{\ss}tsein$. Der $Widerstandsbewu{\ss}tsein$ der Vernunft bleibt in der solipsistischen Dimension nicht und ist ein $Bewu{\ss}tsein$, das in der Widerstandsgemeinschaft durch Argumentation universalisiert werden kann. Hierbei geht es nicht um Zirkelargument und unendliche Iteration.

• Journal of the Korean Home Economics Association
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• v.37 no.5
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• pp.61-84
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• 1999

The purpose of this study is to understand the context of cosumers' lives in Korea with a narrative analysis method. The epistemological orientation of eh narrative analysis is Interpretivism, which blends the two polar philosophical perspectives, Empiricism and Rationalism, and includes Narrotology, Hermeneneutics, Semiotics, and Structural Criticism. Narrative analysis takes as its object of investigation the story itself. This study collects eleven narrative plots from four housewives, into which Labov's structural approach is applied. This study shows clearly that the socio-cultural environment in which consumers live has strong influence on their consumption behavior and also reveals that narrativization tells not only about past actions but how individuals understand those actions, that is, meaning.