• Journal of Korean Philosophical Society
• /
• no.113
• /
• pp.61-92
• /
• 2016

In the Western civilization, the concept of culture has traditionally the meaning of education or forming the moral humanity. However, this meaning of culture has recently changed since the advent of cultural relativism which lays stress on the cultural diversity. The current meaning of culture lies in the ways of life, whatever they are. It indicates that culture has nothing to do with universal human nature and morality, as the new concept of culture is only based on the historical and contingent life-situations of people in the each special area. Against this current view of culture, this paper contends that culture and humanity(human nature) are closely connected with each other and that every culture is rooted in the universal human nature. So culture could have a great influence on humanity and forming of moral community. This thesis might be justified by Husserl's view on the philosophical culture of the ancient Greece. According to Husserl, the philosophy in the ancient Greece intended to realize the idea of true humanity and to build the moral community. Husserl's interpretation of the philosophical culture is based on his belief that philosophy as an ideal culture transcends the cultural diversity and historical contingency and strives for a universal human community, in which all mankind are harmonized and live well. The philosophical culture would -so Husserl- result in the moral community. Against this conception of the moral cultural community, could man argue that the idea of the moral community be an ideal dream which could not be realized considering the irrational and immoral character of community. However, this argument should be refuted, because it has overlooked the moral and open-minded character of culture with the feeling of solidarity.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.38 no.5
• /
• pp.638-653
• /
• 2014

The structure of noble centered social status of the late Joseon Dynasty collapsed due to the commoner's higher status and increased level of consciousness caused by the growth of commerce and agriculture. In art, the a Korean and ethnical style dominated; however, with a diversity in the depiction of human figures in portraits, Buddhist paintings, genre paintings and folklore paintings. This study examines the diversity in human figures expressed in the paintings of the late Joseon Dynasty by expanding the common aesthetic fixed to the typical Joseon style of renowned painters. The conclusion of this study is as follows. The human figure is categorized into three different types of 'realistic', 'ideal', and 'distortion' based on the aesthetic category. First, the realistic type is defined literally by its realistic and detailed depiction of noble class portraits classified as extreme type and general type. The extreme type's formative element is hypersubtlety which includes a simultaneous aesthetic of aptness and ugliness. The general type shows subtlety with aesthetic of aptness. Second, the ideal type is defined by representing the standard form of time and criteria classified as beautified type, absolute type, and dignified type. Each shows a different character of gender of femininity, androgyny, and masculinity. Third, distortion types are defined by a characteristic expression of humans by transshaping the features in various methods categorized as grotesque, abjection, friendly, rustic, and caricature type. Each shows different formative elements of bizarre, patheticness, voluptuous, inartificial, and immaturity.

• Journal of the Korean Home Economics Association
• /
• v.43 no.12 s.214
• /
• pp.79-96
• /
• 2005

The purpose of this study is to explore the conceptions of children and their activities in everyday lives during the late period of the Goryo Dynasty. The historical method was used and the materials for analysis were the literatures written from the late thirteenth century to the fourteenth century in the Goryo Dynasty, such as 'the Ikjaijip'(익재집), 'Mokeunjip'(목은집), 'Yangchonjip'(양촌집). According to the results, the perspective on the nature of a chad was that children were inherently good with the true character which was given from natural laws and that each child was born with different natural endowment. Also, the notions on child development were that the infancy was a pure and perfect period which us not contaminated by temperament and worldly desires, instead of the developmental model that childhood is as a stage and the child must develop from the state of incompetence to the state of maturity. In addition, there were the principles for development that were keeping the innate ideal state and fostering it from the earliest time as infants were born with innate ideal state or ability. The concepts of children's characteristics were considered that they were inclined to make much noise and movement, but to have the plain and straightforward expressions and consistency in their feelings and everyday activities. And intelligent abilities for learning were often considered as desirable traits. In everyday lives, children did the household chores such as caring for livestock and silkworms or embroidering. Among their games were exploring activities, free plays using natural materials, pretend-plays, bamboo-stilts riding, and Yutnori.

• The Journal of the Korea Contents Association
• /
• v.22 no.2
• /
• pp.682-694
• /
• 2022

This study analyzed the characteristics of masculineness reproduced in Korean cop films and their deep meaning, mainly in the 2010s. This analysis work will be a work that embodies the masculine ideal type and true masculinity recognized in Korean society. Also, through this, we will be able to approach the ideals and operations of Korean society. As a result, Korean cop films are mysteriously obsessed with masculinity and masculinity behavior through the main character in the film, which shows off masculinity with mental and physical superiority. Korean cop films also show a desire for patriarchal normality through an ending that shows the moment of masculine recovery through the physical victory of a rough and strong man. And the Korean cop film includes the claim that the implementation of social justice requires the existence of masculineness, which is essential, and that the implementation of social justice must be sacrificed to some extent.

• Journal of English Language & Literature
• /
• v.57 no.5
• /
• pp.757-786
• /
• 2011

Seneca, the most influential classical Stoic and Justus Lipsius, the founder of Renaissance Stoicism suggest constancy, an unmovable strength of the steadfast mind based on reason and sound judgment, as a practical way or attitude in life full of both public and private evils. As a member of the Sidney family, Wroth is very much likely to have been influenced in molding her concept of constancy by Senecan and Lipsian Stoicism, which was introduced into England through Sir Philip Sidney's friendship with Lipsius. This paper explores Wroth's concept of constancy in Urania as a Stoic ideal in the context of the major Stoic writings of Seneca and Lipsius. While the titular character of the romance Urania shows some inherent attributes of Stoic constancy from the beginning of the romance, Pamphilia as the pattern of constancy gradually perfects the virtue through the ordeals of her love of Amphilanthus and her queenship. Her frequent retirements into private and secluded places are the essential occasions for her disciplining in Stoic constancy through self-examinations of her psychological and emotional disorders and poetry writing. Amphilanthus, a constantly inconstant lover, fully understands the importance of constancy in love as well in life only after his marriage to another woman and Pamphilia's marriage to another man. At the end of the romance they come to accept the vicissitudes of life in Stoic constancy. In Urania, Wroth transforms the strongly masculine Stoic constancy into a female heroic ideal. Thereby she presents those female characters as important political, ethical and cultural subjects and their constancy as a thread through the labyrinths of love and life.

• Journal of English Language & Literature
• /
• v.56 no.2
• /
• pp.357-382
• /
• 2010

Motherhood as an ideological construction has been regarded as an oppressing apparatus enforced by patriarchism. On the one hand, demystifying motherhood helps expose dehumanization of women, and accordingly liberate women from being an ideal mother. On the other hand, however, feminists' attempts to unearth the distorted images of mothers result in devaluation of such values as love and sacrifice attached to motherhood. "Tell Me a Riddle" by Tillie Olsen, who is a declared socialist as well as a feminist, occupies a significant position in a sense that it neither condemns motherhood as evil nor idealizes it. Through the main character, Eva, it examines the meaning of motherhood in a way that a real mother experiences it in a real life, and thus Olsen challenges the readers to ponder upon the mothers' dilemma: a conflict between a desire for self-fulfillment and sacrifice for others. Eva, a mother of seven grown-up children, and now dying, shows an ambivalent attitude toward motherhood. She realizes that she is a victim of idealized motherhood in that, toward the end of her life, she feels uncomfortable accepting her personal desires as they are. Yet at the same time, she appreciates her experiences as a mother in that she could consume her passion for the ideals as she has spent her youth working toward, trying to construct an idealistic socialist country. Eva's real ideal, as a human being, is to live "with" others, not just "for" others. In other words, she does not want to allow herself to live only for others in the name of the mother because she does not have any alternatives to do otherwise. Rather, she desires to live a life of voluntary sacrifice and love. In this way, through Eva, Olsen tries to help us to construct a community where we--not just mothers-can live "with" others.

• Journal of Computational Design and Engineering
• /
• v.3 no.1
• /
• pp.37-52
• /
• 2016

To injection mould polymers, designing mould is a key task involving several critical decisions with direct implications to yield quality, productivity and frugality. One prominent decision among them is specifying sprue-bush conduit expansion as it significantly influences overall injection moulding; abstruseness anguish in its design criteria deceives direct determination. Intuitively designers decide it wisely and then exasperate by optimising or manipulating processing parameters. To overwhelm that anomaly this research aims at proposing an ideal design criteria holistically for all polymeric materials also tend as a functional assessment metric towards perfection i.e., criteria to specify sprue conduit size before mould development. Accordingly, a priori analytical criterion was deduced quantitatively as expansion ratio from ubiquitous empirical relationships specifically a.k.a an exclusive expansion angle imperatively configured for injectant properties. Its computational intelligence advantage was leveraged to augment functionality of perfectly injecting into an impression gap, while synchronising both injector capacity and desired moulding features. For comprehensiveness, it was continuously sensitised over infinite scale as an explicit factor dependent on in-situ spatio-temporal injectant state perplexity with discrete slope and altitude for each polymeric character. In which congregant ranges of apparent viscosity and shear thinning index were conceived to characteristically assort most thermoplastics. Thereon results accorded aggressive conduit expansion widening for viscous incrust, while a very aggressive narrowing for shear thinning encrust; among them apparent viscosity had relative dominance. This important rationale would certainly form a priori design basis as well diagnose filling issues causing several defects. Like this the proposed generic design criteria, being simple would immensely benefit mould designers besides serve as an inexpensive preventive cliché to moulders. Its adaption ease to practice manifests a hope of injection moulding extremely alluring polymers. Therefore, we concluded that appreciating injectant's polymeric character to design exclusive sprue bush offers a definite a priori advantage.

• Archives of Craniofacial Surgery
• /
• v.13 no.2
• /
• pp.95-98
• /
• 2012

Nowadays, plastic surgical operations are increasingly being performed in Korea. We have gained added interest in this because some professional pictures contain plastic surgery in their venue. In the films, we intend to see the recognition of society for plastic surgeons and which field of plastic surgery. The list of movies for analysis were 'Plastic Beauty (1975)', 'Penthouse Elephant (2005)', '200 Pounds Beauty (2006)', 'Cinderella (2006)', and 'Time (2006)'. The TV dramas were 'She is looking (2005)', 'Lovers (2006-2007)', and 'Before & After Plastic Surgery Clinic (2008)'. Films were analyzed according to the following: the chief complaints and names of the operations, character of plastic surgeons, result of the operation and its possibility in reality, and its effect of plastic surgery on the life of the patients. Most of the film contained facial transplantation or the change of the face or body different from the original shape. Character type of the plastic surgeons was mostly medical realism, rather than ideal humanism. Most of the plastic surgeons have capability as a doctor; however, some of them had extramarital affairs. The surgery was successful in most of the cases, but were the patients happy with the results? This was not the case in the movies. In only one movie, '200 Pounds Beauty', the patient became happy; rest of them were eminently unhappy with the outcome. Why the discrepancy? It is difficult to analyze the minds of the people in the films, but considering that the majority of the characters in the films were rather unsavory, one may deduce that a crooked mind functions differently. Perhaps it is too much to hope for a day that will come when we will see a film that portrays the mental anguish that accompanies each and every procedure the Korean plastic surgeons make.

• Journal of the Korean Society of Costume
• /
• v.32
• /
• pp.101-116
• /
• 1997

The purpose of this study is to survey the system of the Korean Shaman's costume and its formative character and to find out the symbolic meaning of it. This study focuses on a shaman's costume in Seoul-Gut Seoul-Gut belongs to 'Gangsin-mu' Therefore a shaman's costumes in Seoul-Gut remains even today. Korean shamanistic ritual is gut. Its basic structure generally consists of 12 'Geori(a process is made up Gut)' In Gangsin-mu a shaman changes his/her spirit's costumes in each Geori so that a shaman's costumes means the spirit. The shaman's costumes of 12-Geori in Seoul-Gut has only 5 or 6 kinds be-cause shamans wear the same costume when the spirit's characters are similar with each other. Therefore shaman's costumes in Seoul-Gut are consistsof Poungsangbok pulsajang-sam cjulik Kugunbok Monduri and Wonsam There are some differences between modern shaman's costumes in Seoul-Gut and traditional costume in the basic pattern and the wearing method,. Modern shaman's costumes in Seoul-Gut has become simpler in the basic pattern and more gergeous in the color or adornment and more various in the kinds of shaman's costume than that of Yi Dynasty. This tendency in modern shaman's costumes reflects modernized folk's viewpoint in dress. which thinks highly of their individuality and function and variety in it. Korean shaman's costumes means the extintion of the earthly world and symbolizes the holy symbolizes the holy symbolizes the spirits character, Ying Yang Theory and represents shaman's wishes. The wishes are the desire of prefection and stability in this world the desire of ideal love and rebirth and the desire of lofty life in this world.

• The Journal of the Korea Contents Association
• /
• v.19 no.8
• /
• pp.35-43
• /
• 2019

There has been not the research on the reason of success based on the characteristic of narrative and characters of , I defined the major characteristic of this genre as family animation, and aimed at researching strategic character and narrative. The characteristics of each characters are identified, and compared with other animation, soap opera, and sitcom. The portion that characters participated in the narrative was analyzed, and the relationship between the point and viewers was also researched in the specific episodes. 1) The characters against the ideal ones function to satirize the fixed idea pursued by the mass, and stimulate the viewers' desire. 2) All the characters are protagonist and sometimes antagonist, or advisor. The circulating position expands the target of viewers, and decreases the cultural discount. 3) It produces a couple of layered narrative, then children, teenagers, and adults enjoy the each different depth of the narrative, resulted in the target expansion. Considering on the limit of theme and target in Korean animation, I expect the findings above will enable to produce more valuable and consistent contents. Later, characters in the Korean family animation is to be researched and the expandability and sustainability would be ensured.