• Archives of design research
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• v.18 no.3 s.61
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• pp.117-128
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• 2005

The French Belle Epoque is a period where the literary and artistic movement was very activated. The birth of the cubism reflects this atmosphere of the times and the change of paradigm in all fields. The Bergsonism is often designated as one of the important backgrounds of cubism. The problem consists in knowing if Bergsonian ideas gave real influence on the cubist movement and up to what point. Our analysis will show that it is not homogenous and very variable according to painters. In the case of Picasso and Braques it seems be a simple inspiration of Zeitgeist. But the influence upon Metzinger and Gleizes is explicit. The text of 1912, Du cubism, prove their attachment to his thought. The key concept of cubist theory, influenced by Bergsonian philosophy, is the concept of simultaneity. Cubist simultaneity is in one hand a reflection of an artist's psychological experience and the other hand a synthesis of multiple views for grasping the object in itself by the way of conceptual representation. The temporal simultaneity could be identified with the notion of memory, which is a temporal continuity connecting the past to dynamic present. The spatial simultaneity is a juxtaposition of multiple views obtained by the movement around the object. But the dose reading of Bergson's text shows that there is a divergence between the notion of cubist simultaneity and his ideas. The biased interpretation is often, as well as the strict understanding, like the history shows us well, a great source of inspiration and creativity. The cubist mouvement is not far from this case.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.39-45
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• 2012

The purpose of this research is to look into the tea-drinking pictures of the Joseon Dynasty in order to find the unique landscape traits of tea-drinking spaces of the era. A number of tea-drinking pictures were drawn during the Joseon Dynasty period and in most cases, the names of the painters are stated as well. These factors make tea-drinking pictures a seminal source that illustrates the landscape traits of the last Dynasty of Korea. For those pictures contain the main components of landscape such as the tastes of 'Yangban'(noblemen), natural characters, and space traits. Since tea was first introduced in Korea during the Three Kingdom Period, tea-drinking culture has a long history in the country. There have been various studies about tea and many study results have been presented. Few research, however, have looked into tea culture from the point of landscape. Under the premise that tea-drinking pictures of Joseon Dynasty can be a cultural code that explains Korean tea-drinking culture, this thesis looked into those pictures from various angles and analyzed them in order to elucidate the attributes of scenery components of tea-drinking spaces that Koreans have forged and developed, and following results could be found. The Landscape components illustrated in tea-drinking pictures of the Joseon Dynasty can be divided into the element of architecture, the element of water, stone and plants. First, for the element of architecture, it was found that tea-drinking took place in anywhere in Korea without specific tea-drinking buildings or gardens unlike the case of Japan. This has to do with traits of Koreans who were not bound by formality and truly loved nature. Second, for the element of water, water contributed to making harmonious landscape. Third, for the element of stone, it was clear that stone had a practical role in providing comfortable place for lying and enjoying tea-drinking and scenery. Fourth, plants made elegant figure in the landscape and were planted in accordance with their inner meaning. Tea-drinking pictures of the Joseon Dynasty elucidates that when it comes to tea-drinking, Koreans were not obsessed with a formality of tea-drinking, or a set of tea ceremony, which is profoundly different with Japanese, and Koreans did not put a limit on a place for tea-drinking because for Koreans any place they sat could be a great place for tea-drinking.

• Restorative Dentistry and Endodontics
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• v.30 no.1
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• pp.38-48
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• 2005

The purpose of this study was to compare and evaluate the shaping ability of the three different Ni-Ti file systems used by undergraduate students. Fifty undergraduate students prepared 150 simulated curved root canals in resin blocks with three Ni-Ti file systems - $ProFile^{(R)}$ (PF), Manual $ProTaper^{(R)}$ (MPT), Rotary $ProTaper^{(R)}$ (RPT). Every student prepared 3 simulated root canals with each system respectively. After root canal preparation, the Ni-Ti files were evaluated for distortion or breakage Assessments were made according to the presence of various types of canal aberrations. The pre- and post-instrumented canal images were attained and superimposed. The instrumented root canal width were measured and calculated for the net transportation (deviation) and the centering ratio. Under the condition of this study, both $ProTaper^{(R)}$ systems allowed significantly more removal of root canal wall than the $ProFile^{(R)}$ system. In the important other aspects such as the centering ratio, there was no significant differences between the systems. Novice dental students were able to prepare curved root canals with any kinds of Ni-Ti file systems with little aberration and great conservation of tooth structure. Students want to learn effective methods and at the same time simple rotary procedures. The rotary $ProTaper^{(R)}$ systems were one of the most compatible to these students from the point of view of cutting ability The $ProFile^{(R)}$ system was also compatible in safe and gentle shaping.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.1-8
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• 2010

"Dokseoyeoga Do"(An Enjoyable Pleasure with Reading) is a work included in a collection book of both poems and works called as "Gyunggyo Myungseung Cheop"(Collections of Beautiful Scenary in the Suburb of Seoul) with a promise that a great painter Gyumjae Jung-Sun(謙齋 鄭敾) and his lifelong friend, Sacheon Lee Byung-Yeon(李秉淵) should hopefully exchange their poems and painted works. So far, general perspective of art history toward this work is either self-portrait of Gyumjae himself or genre painting of the aristocrat. The purpose of this study is to interpret in-depth meanings implied in this work with various considerations of plant elements appeared in this work. As a result of this study, We could draw newer and additional meanings beyond the existing perspectives of art history research categories, and the details can be summarized as following below. First of all, we could approach a new interpretation implying that Gyumjae and Sacheon hopefully wished their well-being, friendship, and reunion. Second, as a means of expressing this meaning, plant elements like old juniper(Juniperus chinensis L.), orchid(Orchidaceae), and peony(Paeonia lactiflora var. hortensis) were used. Third, each plant element can be literally seen as an icon implying message that Gyumjae desired to give to Sacheon. To be more detailed, experience and greenness of old juniper imply well-being of two people, and orchid implies fragrant friendship, and peony implies the feeling that Gyumjae hopefully desired to make a reunion with a parted friend. The significance of this study is that throughout old paintings, we could observe substantial examples of recognizing the meanings of plant elements in a category of traditional landscaping and utilizing them. Moreover, adding various point-of-views of many professional categories like Korean Landscaping history in the traditional painting research, we could also recognize the potentials for making rich interpretation toward implicated meanings of old paintings.

• (The)Study of the Eastern Classic
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• no.35
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• pp.415-445
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• 2009

A well-known historian, Ahn Jeong-Bok(Sun-Am, 1712~1791) was an expert on the country village community. He was a scholar of the "Nam-In" group, who was excluded from the corridors of power in those days. He kept on the move in various parts of country villages from his childhood. After settling down in Deok-Gok, Kwang-Ju, he stayed in the place devoting himself to the self-culture and the literary works. By his surrounding of environment, he had an academic interest in a concrete science rather than metaphysics and country villages rather than the central city. He considered the country villages as the link holding between a family and a country and had the conception of a confucianist community based on country villages, emphasizing the practice of confucianist virtues in everyday life. First of all, his confucianist community was the community based on country villages. He thought that the enlightenment was a matter of great importance for solving problems in country villages. As a solution to those problems, he suggested Hyang-Yak, the self-governed regulations of country villages. In his own village he made the self-governed rules Dong-Yak. When he was a provincial governer of Mok-Cheon, he put Hyang-Yak, the self-governed regulations of country villages in operation. It aimed for a kind of gentry-centric country village community. But Hyang-Yak was the regulations based on the agreement with each other, stressed the regard on the popular mind and the setting the pace of the gentry, and aimed for the harmony and order in a community through the practice of moral virtues in daily life. On the other hand, he had a conception of a country village's academic community. He thought of the development of educational intuitions as a pressing need of the enlightenment of country village. With young people he read confucianist books with comments in a village school, Seo-Jae. In his seventies, he made and put the self-regulations for academic community, Hak-Yak, in operations. It is considered that Hak-Yak was an example of his idea of academic community and his point of view on learning, which emphasized on the coincidence with reading and practice.

• Journal of Christian Education in Korea
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• v.67
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• pp.301-337
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• 2021

The researcher looked at the differences in views and various controversies surrounding Korean youth sexuality education in the wake of the Nth Room incident, which had a great impact on modern Korean society. Sex education for adolescents in Korea can be divided into public sex education through school sex education and the Youth Sexuality Center, and conservative/traditional Protestant sex education. Public sex education is partly influenced by feminist sexual ethics and comprehensive sex education abroad. Based on gender sensitivity and the right to sexual self-determination, four major projects are prevention of sexual harassment, prostitution, sexual violence, and domestic violence. However, the school sex education standard was criticized for stereotypes of gender roles and gender-discriminatory content, reinforced distorted myths about sexual violence, and exclusion of sexual diversity and various family types. Conservative/traditional Protestantism is based on the normal family ideology such as bisexual marriage, premarital chastity, and sexual ethics recognized only within marital relationships. It is a form of confrontation with public sex education while strongly opposing it. The researcher first analyzed the characteristics of public sex education, conservative/traditional Protestant sexual ethics and sex education, feminist sex ethics and sex education, and overseas youth sex education, respectively, while composing the curriculum for Korean youth sexuality education. And as a more fundamental solution to youth sexuality education, I pointed out that there are limits to asceticism, premarital chastity, gender sensitivity and sexual self-determination education, and found an alternative to the concept of body and sex in feminist theology. The researcher pointed out that it is necessary to reconceptualize the body and sex under the recognition that the most fundamental cause of distorted sexual culture is dualistic sex and understanding the body, centering on the research of various feminist theologians. And this was conceptualized into three concepts: holistic sexuality, mutual solidarity understood in relationships with others, and sexuality as a spirituality that extends to the global community. And with each curriculum, 1) Holistic Sexuality: Breathing, Narrative, Making the Shape of One's Body and Mind 2) mutual solidarity : Feeling the Breath of Others, Media Literacy through Conscientization, Sending a Good Wind 3) Sexuality as a spirituality that extends to global concern: It was proposed to pay attention to nature and to co-cultivate it, to listen to the earth's moans and create a new way of life, and to write a prayer with the earth and fellow living beings.

• Cross-Cultural Studies
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• v.48
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• pp.31-66
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• 2017

This study examines ways of recognizing and aspects of describing Korean modern literature revealed by each literary history from the viewpoint of 'transculturation', focusing on Lim Jeon-Hye's "History of Korean Literature in Japan until 1945", Shirakawa Yutaka's "Footsteps of Korean Modern Literature", and Saegusa Toshikatsu's "Taste of Korean Literature" from the history of Korean literature written in Japan. First, Lim Jeon-Hye periodically examines Korean literature written in Japan, focusing on literary activities of Korean students in Japan and the proletarian literature movement, and addresses points of active cultural negotiation, mutual understanding and political solidarity between Korea and Japan. Shirakawa Yutaka focuses on the concurrency and connection of Korea, China, and Japan in the process of modern literary formation, covering Japanese language literature and pro-Japanese literature with great care, and describes the middle-layer position as a mediating researcher in the conflicting boundaries between Korea and Japan. Saegusa Toshikatsu provides interesting transcultural momentum in exploring internal logic and denotation of Korean literature via comparative literature review encompassing East Asia, implementation of literary forms and themes connecting tradition and modernity, and an out-of-boundary point of view to overlook 'pro-Japanese literature', etc. Transcultural aspects in this literary history to examine are as follow. First, the history of Korean modern literature based on 'national literature history' is catabolized in the magnetic field of the 'colonial experience' and 'national nationalism' and considered in multifaceted context. Second, they provide the possibility of three-dimensional and micro-narrative description of literature that complement the narrative aspect of existing Korean literature history. Third, they provide an opportunity to expand and open the description of literature history through acceptance of comparative literary perspectives encompassing East Asia. Fourth, through discovery of Korean-Japanese literature and Japanese language literature, they contribute to broadening the history of Korean modern literature and enriching foundations.

• The Korean Journal of Archival Studies
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• no.23
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• pp.141-178
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• 2010

The Administration of Labor was responsible for the technical and practical functions like policy-making of labor matters and implementing the relevant laws. However, there has been a few record transferred to the National Archives to help find out the labor policy-making process. This is one of the typical examples that shows the discontinuity and unbalance, and disorderly filing of the administrative records in Korea. Naturally it is almost impossible to retrieve the appropriate content through the records file-name. Users should be at the trouble to compare the record items and their content one by one. For the re-organization of the Administration of Labor' records, this research suggests the four-level analysis of functions of the Administration. The Administration of Labor' survived records could be linked to each level function. And the publication of the 'Records Abstract Catalog' providing users with more information about the records would pave the way for easier access to the records. In addition, it also suggests the logical re-filing of the survived records of which we cannot find the order or sequence. This re-organization of the survived records would help to establish the acquisition and appraisal policy of the labor records as well as the new way of description and finding tool hereafter. Drawing up labor history map is a starting point for the acquisition strategy of the labor records, which could allow users to gain systematic access on the survived records. Of course, extensive investigation and research on the survived records is a prerequisite for the map. It would be required to research on the survived records of the other government agencies, including economic-social area ministries and investigation agencies and the National Assembly as well. It is also needed to arrange and typify the significant incidents and activities on thematic and periodic frames in the labor history. If possible to understand or connect the survived records and these accomplishments comprehensively, it would be of great help for the acquisition of the labor records and the related oral records projects.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.152-171
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• 2009

The Dancheong(丹靑) of the main building of Mihwangsa Buddhist Temple(美黃寺) in Haenam(海南) is the leading work of the Jeolla Dancheong style, which was created in the 18th century and has been passed down to the early modern days, and boasts its excellence and originality. On the outside, one can only see the traces of the Dancheong due to the colors that fell off and deteriorated severely. On the inside, however, the general Dancheong pattern is accompanied by the painting of 1,000 Buddhas(千佛圖), which is hardly found in other Buddhist temples, and the Arahan painting, which is truly magnificent in technique and can pass as an independent painting. The Dancheong also has unique methodological characteristics that can't be found in other Dancheong works such as the painting and attaching technique. The Dancheong inside is estimated to have been created in 1754 considering the records of "Dalmasan Mihwangsasa Daebeopdang Jungsusangryangmun(達摩山美黃寺大法堂重修上樑文)", the calligraphical writings of "Mudeungsanindanhwakya(無等山人丹?也)"and "Geonryungshipgu(乾隆十九)" left in the Jungryang, and the style characteristics reflected in the Dancheong patterns and the painting of 1,000 Buddhas. The fact that there are no traces of re-Dancheong also supports the estimation that the Dancheong was created in the absolute age of 1754. The absolute age will be the reference of deciding the chronological years of Dancheong patterns and be helpful in examining the characteristics and changes by the periods. There were certain style characteristics in Dancheong by the periods and regions. The Dancheong of Jeolla region also had its own style, which includes the tendency of finishing with two- or three-fold green belts without giving meokdanggi to the meoricho and the huge jar decoration of huigol. Treating the baetbadak of all materials, whether it's Geumdancheong or morodancheong, with lines of certain thickness and colors is another style of Jeolla Dancheong from the 18th to the 20th century. The Dancheong of the Geukrakbojeon(極樂寶殿) of Cheoneunsa Buddhist Temple and Daewoongbojeon(大雄寶殿) of Naesosa Buddhist Temple in Jeolla is especially noteworthy in that it bears similar patterns and techniques to that of the main building of Mihwangsa Buddhist Temple in addition to the characteristics mentioned above. The Dancheong of Mihwangsa Buddhist Temple must have exerted so great influences on that of the two temples that it's called "the style of Mihwangsa Buddhist Temple."When adopting a broader point of view, it can be classified as one of the Dancheong styles of Jeolla. The common icons and techniques found in the Dancheong of Mihwangsa, Cheoneunsa, and Naesosa Buddhist Temple provide some clues about the influential relationships among painters of the days. They may have been created by the painters of the same school or the painters affected by those who created the Dancheong of Mihwangsa Buddhist Temple.

• The Korean Journal of Archival Studies
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• no.33
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• pp.155-206
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• 2012

Interests in archives management are getting expanded from the public sector into the cultural and artistic field for the ten years after legislation of "Act on the Management of Public Archives" in 1999. However, due to lack of recognition on the importance of archives in the cultural and artistic field, it is rather frequent that information is kept scattered or archives are lost. As an example, absence of precise contract documents or notes of bestowal keeps people from locating great amount of cultural properties, and because of it these creative properties are in the risk of thefts, the closed-door auctioning, or trades in unofficial channels. As how a nation manages cultural and artistic creation inside the nation reflects its cultural level, it can be said that one of the indexes to notice the extent of a nation's cultural level is to take a look at how they are circulated. This study started from this point. Growing economy and rising interests in culture and art made the society more cognizant of the importance and value that visual artworks have, but the archives and information which are showing the context of these artworks and are produced in the course of social interaction are relatively disregarded because too much emphasis lies on the work itself. It is harder to find archives or documentations in Korea than in other advanced countries about the artists themselves or philosophical discourse on the background of the artworks. There is not so much interest to preserve the archives and information produced after the exhibition also, and they are used for no more than promotion or reference. Hereupon, the researcher recognized the importance of visual arts archives and believed that systemic management on them are high in need. And metadata is an essential way for the systemic management, as recently management on artworks or their archives are conducted using the system of the agencies even though they are not produced electronically. The objective of this study is to manage visual arts archives systematically by designing a data model reflecting traits of visual arts archives. Metadata are needed in the every course of archives from acquisition to management, preservation and application. Visual arts archives find its rich value only when a systemic relationship is established among information on artist, artwork and events including exhibition. By establishing a Multiple Entity Data Model, in which artworks, artists and events (exhibitions) make relationship all together, metadata for management on visual arts archive gets more efficiency and at the same time explanatory trait of the archive gets higher. For this reason we, in the study, tried to design a data model by setting each as an independent entities and designating relations between them, in order to find a way to manage visual arts archives more systematically.