• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.21-31
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• 2014

This study aims to comparison of spatial composition that Okhojeong garden and Seokpajeong garden. Construct background and space structure in both of Okhojeong garden and Seokpajeong garden is analyzed. The results were as follows. First, Okhojeong garden and Seokpajeong garden of the nobles gardens in late Joseon dynasty. They had the advanced techniques of contemporary based on their political power and wealth, and therefore could built garden and enjoy the garden culture of the upper layer. Furthermore, composition of the Okhojeong garden can be assumed that it is related to construction of the Seokpajeong garden through analysis of the relationship between builders. Secondly, Space structure of Okhojeong garden and Seokpajeong garden is divided into pavilion unit of small gardens with living space as the center. Construction pavilion in each garden space imbues certain landscape theme. In addition, authorization of characteristics of a place in each area is attempted through boundary establishment and selective garden culture of varied seasonal landscape. Thirdly, In Seokpajeong garden, most of construction characteristics of Okhojeong garden are appeared. This indicates that Seokpajeong garden was affected by space-configuration-technique of Okhojeong garden such as acceptation or modification recreation. Fourth, In many cases, fanciers regarding floriculture are expanded to enthusiasts in late Joseon dynasty. In Okhojeong garden and Seokpajeong garden, herbaceous ornamental is considered to be precious and garden materials such as water tray, stone couch, oddly shaped stone, potted plant, artificial hill, wisteria trellis are diversified at the time.

• Journal of the Korean Association of Geographic Information Studies
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• v.20 no.3
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• pp.153-169
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• 2017

The purpose of this study was to determine a suitable site using GIS for solar energy harvesting for an administrative district in Daegu, which aims at becoming a solar-powered city. From this result, the ecological housing complex was planned on a solar theme in the real site. For this analysis, various indicators and standards were selected based on previous studies and the indicators were divided into the location, exclusion, and class condition. The results showed that the suitable area was $153.95km^2$ and 17.6% for Daegu area, and the highest suitable area appeared to Dalseong-gun. Finally, using suitable site analysis results, we selected the site of Sinseo housing area in Dong-gu and we planned the ecological housing complex for solar energy. This study can be used as base data for the Daegu solar business and its establishment by considering various indicators for analysis of suitable areas in solar energy. Also, the result of the ecological housing complex plan would be helpful in promoting Daegu as a solar-powered city.

• Therapeutic Science for Rehabilitation
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• v.9 no.4
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• pp.55-67
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• 2020

Objective : This study aimed to understand the burnout experience of hospital occupational therapists through phenomenological research. Methods : We conducted in-depth interviews with 6 occupational therapists working at hospital for 8 weeks. The data were analyzed using the Palangsae 2.0 software to derive meaning through the process of transcription and data entry, coding, and topic creation. Results : From the collected data, 14 sub-themes, 9 theme clusters, 3 categories were identified. The cause of burnout was confirmed as being due to therapy-related work and workplace conditions. The impacts of burnout on individual life were psychological in nature and also included being an adverse, influence on others. The coping strategies to deal with burnout were enrichment of personal life, self-awareness and philosophy, conscious approach, social support, and setting new goals for life. Conclusion : We suggest that spontaneous efforts are needed by occupational therapists in order to alleviate the conflicts of job identity. In addition, organizational regulations and programs and the establishment of horizontal organizational cultures are required to overcome and prevent burnout of occupational therapists.

• The Journal of Art Theory & Practice
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• no.4
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• pp.77-104
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• 2006

The propaganda paintings in oil colors or in forms of posters made from 1949 to 1966 have gone through some changes experiencing the influence of the Soviet Union Art and discussion of nationalization, while putting political messages of the time in the picture planes. The propaganda paintings which have been through this process became an effective means of encouraging the illiterate people in political ideologies, production, and learning. Alike other propaganda paintings in different mediums, the ones which were painted in oil colors and in the form of posters have been produced fundamentally based on Mao Zedong's intensification of the literary art on the talks on literature at Yenan. Yet, the oil paintings and posters were greatly influenced by the socialist realism and propaganda paintings of the Soviet Union, compared to other propaganda paintings in different mediums. Accordingly, they were preponderantly dealt in the discussions of nationalization of the late '50s. To devide in periods, the establishment of People's Republic of China in 1949 as a diverging point, the propaganda paintings made before and after 1949 have differences in subject matters and styles. In the former period, propaganda paintings focused on the political lines of the Communists and enlightenment of the people, but in the latter period, the period of Cultural Revolution, the most important theme was worshiping Mao Zedong. This was caused by reflection of the social atmosphere, and it is shown that the propaganda painters had reacted sensitively to the alteration of politics and the society. On the side of formalities, the oil paintings and posters made before the Cultural Revolution were under a state of unfolding several discussions including nationalization while accepting the Soviet Union styles and contents, and the paintings made afterwards show more of unique characteristics of China. In 1956, the discussion about nationalization which had effected the whole world of art, had strongly influenced the propaganda paintings in oil colors more than anything. There were two major changes in the process of making propaganda paintings in oil colors. One was to portray lives of the Chinese people truthfully, and the other was to absorb the Chinese traditional styles of expression. After this period, the oil painters usually kept these rules in creating their works, and as a result, the subject matters, characters, and backgrounds have been greatly Sinicized. For techniques came the flat colored surface of the new year prints and the traditional Chinese technique of outlining were used for expressing human figures. While the propaganda paintings in oil colors achieved high quality and depth, the posters had a very direct representation of subject matters and the techniques were unskilled compared to the oil paintings. However, after the establishment of People's Republic of China, the posters were used more than any other mediums for propagation of national policy and participation of the political movements, because it was highly effective in delivering the policies and political lines clearly to the Chinese people who were mostly illiterate. The poster painters borrowed techniques and styles from the Soviet Union through books and exhibitions on Soviet Union posters, and this relation of influences constantly appears in the posters made at the time. In this way, like the oil paintings, the posters which have been made with a direct influence of the Soviet Union had developed a new, sinicised process during the course of nationalization. The propaganda paintings in oil colors or in forms of posters, which had undergone the discussion of nationalization, had put roots deep down in the lives of the Chinese people, and this had become another foundation for the amplification of influences of political propaganda paintings in the following period of Cultural Revolution.

• Journal of the Daesoon Academy of Sciences
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• v.42
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• pp.45-73
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• 2022

The phenomenon of veneration for Queen Mother of the West [西王母 Chn: Xiwangmu Kr: Seowangmo] is a 'cultural flow' that has garnered great interest not only in China but also in Korea for many years. To properly understand the cultural trend regarding the Queen Mother of the West, it is essential to view the related mythology as it corresponds to East Asian women as well as the transformation of society's view of women. In addition to the outcomes that result from the establishment of a patriarchal society, the relationship between goddesses and gods gradually becomes a relationship of discrimination based upon differences. Accordingly, as women change into objects that are given meaning rather than subjects that give meaning, the de-sacredization of the goddess occurs. This paper focused on the changes in the perception of the Queen Mother of the West from the view of Yin-Yang theory. This approach shows a transition process of transforming wherein she has morphed into an assistant or spouse of a god as part of a trend that deemphasizes the divinity of her as a stand-alone goddess. Yin-Yang theory is the key to understanding culture, history, and art as well as Chinese philosophy. This key can be further applied to the theme of women in mythology. What is particularly noteworthy about the process by which the Queen Mother of the West was defined as a goddess is that she was original described as half-human and half-beast and yet by the time her depictions became fully human and fully woman, she was described instead as an absolute beauty endowed with great artistic talent. In this paper, it will be revealed that the perception of the Queen Mother of the West, as an absolute beauty and artistic talent, is embedded with the male societal desire for an image of the feminine as understood via Yin-Yang theory. Queen Mother of the West as she was depicted in the Classic of Mountains and Seas (山海經 Chn: Shanhaijing Kr: Sanhaegyeong) had a half-human half-beast form that instilled people with fear of disasters and punishments from heaven. However, in the Han Dynasty, her religious significance became that of an object to ward off evil and attain blessings. By the time of the novel, Tales of the Strange (志怪小說 Chn: Zhiguaixiaoshuo Kr: Jigoesoseol), from the Wei, Jin, Southern and Northern Dynasties, she was transformed into a goddess in the image of beautiful woman in charge longevity and immortality. From the perspective of Yin-Yang theory, the changes in the perception of Queen Mother of the West was found to contain the following meaning: as an extension of the establishment of a patriarchal system and subordinate laws, her new form was made to be pleasing to the male gaze and Yin-Yang theory was brought in to support those changes later.

• The Journal of Art Theory & Practice
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• no.1
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.307-319
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• 2019

This study aims to provide the basic materials for the development of leisure and tourism contents in connection with Osaek cableway for the revitalization of Osaek District. For such a purpose, the following policy directions were presented through the analysis of the present situation and conditions of Osaek District, the direction of development of leisure and tourism contents of Osaek District, etc. The first is increasing the participation of local residents and reinforcing their capabilities. The suggested promotion plans are ① establishing organizational system and strengthening support, ② reinforcing the capabilities of local residents and ③ constructing networks with external human resources. The second is setting the guidelines for contents development. It was proposed to prepare contents for leisure experience using the natural environment of Osaek District in response to the trend of increase of people who enjoy "contents using culture and arts" and leisure. The third is typological approach to contents. It was proposed to develop cultural contents with the theme of Osaek such as "Osaek Light Festival", "Osaek Concert", "Osaek Photo Exhibition" and "Osaek Good Men and Women Contest" for the promotion of the brand of the place name of Osaek and the creation of the "Picture Book Village" for the compilation of the history and culture of Osaek District with pictures. The fourth is securing marketing channels. For this, it was proposed to produce the website of Yangyang County or a website tentatively named as "Osaek-ri with Beautiful Osaek" and introduce an integrated travel product (transportation + lodging + foods + experience (hot spring, mineral water therapy, leisure experience, etc.) + purchasing local specialty products, etc.) composed of the leisure and tourism contents, transportation, lodging, foods, etc. of Osaek District through travel agencies. The final policy direction presented was phased implementation of the development and operation of the contents. Proposed policies include support of a consulting project to upgrade the organization of local residents; implementation of "Tourism Dure (Cooperative)" project for the solution of the problem of tourism in Osaek District by the residents themselves together using the space of culture and arts made by remodeling idle public and private facilities after benchmarking exemplary places; system improvement for the introduction of leisure and tourism contents appropriate for local conditions; and the establishment of a master plan for the introduction of various leisure and tourism contents in Osaek District.

• Management & Information Systems Review
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• v.30 no.4
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• pp.293-314
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• 2011

The current study investigated the position of future strategy analyzed from the perspective of design management in relation to 10 strategic industries implemented through 3 steps based on promising growth and advancement of Busan industries and evidence provided from a study on the development program of design industry in Busan. It elucidated the role of design industry as a key role from the perspective of design management in an age of creative revolution of futures values. It analyzed the associations between composition of future strategy and design industry in 10 strategic industries of Busan, and explained the relationships with the strategic industries. The perspective of design management involves that design as a ground of values is an industry of the future values, which performs a key strategic function and role, and a theoretical investigation examined the relationships between main functions of design management and business management. Chapter 3 organized items proposed in the design development program in Busan and examined goals and systems which become basic formation of establishment of design strategy in Busan and conditions for design industry in the associations with strategic industry. Chapter 4 described priorities of practicability by step through analyzing and grouping top 30 projects in Busan industry including meanings as key strategy, position relations, and policy priorities by analyzing elements of design management of strategic industry and describing and analyzing the concept of promoting Busan design. The theme of the present study is to change perception of design management as a key value and a condition to decide creativity industry into future industry and to evaluate vision of Busan design industry and meanings proposed as proceeding strategy. The early 21st century is an age when agrarian society has changed into industrial society is dominated by knowledge economy of the information revolution and one should prepare for the growth phase of creative innovation based on creative revolution of the 4th wave of creative society by design management which has become a center in 2000s on the whole. With the advent of creative paradigm and based on the function and role of the current creative economy age new innovation DNA of design management will be created. Design process has changed through information and knowledge-oriented trends of digital through convergence between industries from industrial design to convergence of industries, and it is expected that integrated design of value creation using information and technology will play a key role in Busan design industry development and top 10 strategic industries.

• Journal of Science and Technology Studies
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• v.6 no.1 s.11
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• pp.119-152
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• 2006

This paper deals with the historical development of research community in Korea. As the former studies of the korean scientific community show, the government supported institutes played an important role in the formation of research community. Therefore the theme of this study is concerned with the historical development of the government supported institutes and the features of their researcher group. In this paper following questions will be answered: How the social status of these researcher group is changed, what kind of response on social problems or national politics they had, and which characteristic they showed with regards to the identity problem. After the korean liberation the government institutes, such as the Chungang Kongop Yonguso(industrial research center)and the Korean Atomic Energy Research Institute, contributed to the development of the first generation of research group. However this research group could hardly identify themselves as researcher, because they spent much time on testing, evaluation or education. The identity problem is also resulted from the deficiency of authority as research institute. The status of researcher had no difference from that of civil servant. With the establishment of KIST the korean research community came into blossom. The government supported institutes, which were founded after the model of KIST, allowed quantitative and qualitative growth of research community. Thanks to the guarantee of institutional authority and the new reward system, the researcher could get respect and improve its social status. During this period the researcher volunteered to help the government policies. We can find often the nationalistic statements in the research community. During 1990s the research group demonstrated different behaviors and attitude toward the government. The nationalistic ideology disappeared. Instead of that, the research group criticized the government policies and took actions against the government. Those changes are related with the lowered position of government supported institutes.

• Journal of Hospice and Palliative Care
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• v.10 no.3
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• pp.145-153
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• 2007

Purpose: This study was to analyze the research trend centering on the theses to hospice released in Korea. Methods: The researcher collected the academic degrees and theses published on the book of the academic society from 1991 to 2004, and examined 110 domestic papers of hospice. Results: 1) The number of articles increased 3 years after 1997, 52 (47%) theses were published in $2000{\sim}2002$. 97 (88%) articles were quantitative studies, and 13 (12%) were qualitative studies. 2) As for the subject, the results were: patients with end stage 44 (40%), nurse 18 (16%), hospice care system, facilities, and literature review 12 (10%). 3) As for main concepts of correlational studies 15 (13%), the results were: quality of life, activities of volunteers, suffering experience of nurse, and so on. 4) The subjects and contents of survey, the results were: pain control and need for nursing care in patients, need for spiritual and physical care in family, and so on. 5) The treatment of experimental research, the results were: hospice nursing, educational program, informational support, spiritual nursing, supportive nursing intervention, home hospice care, information services for control of cancer pain, and so on. 6) In the theme of the qualitative studies, the results were: experience of dying patients, perceive of hospice care and death, experience of family of terminal ill patients, meaning of dying in Korean. 7) In the instrument in studies, the results were: MQOL, EQOL, QOL, NIC, Need Scale, Spiritual Well-being Scale, Spiritual Perspective Scale, Coping for Grief Scale, K-CPAT, VAS, BPI, Depression Scale, Strait-anxiety Scale, Care-giver Burden Inventory, Burnout Inventory, Mental quality. Conclusion: More research needs to be encouraged in experimental and qualitative research fields. Researches should be conducted for the establishment of the basis of practical and theoretical framework and hospice polices.