• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.15 no.5
• /
• pp.3176-3182
• /
• 2014

In the early 1920s Japan, a new concept of architecture emerged abruptly. Comprised of six new college graduates, Japanese Secessionist Architects, so called Bunriha Kenchikukai, proclaimed that they reject any historical baggage that Japan had so far inherited, and decided to build a brand new way for modern Japanese architecture. Their modernism differed from eclectic measurement done by earlier generations. For them, contemporary modern Japanese architecture was only copious to historic monuments of Western civilization. Bunriha architects' statement not only advocates an escape from nationalist historicism and Westernization, but also intends to resolve the dilemma in that it substitutes a technical syncretism inherent in all avant-garde movements. This paper intends to elucidate that Japanese Secessionist architecture is greatly indebted to German Expressionist architecture in terms of its formal language and avant-garde utopian idealism.

• Journal of Korean society of Dental Hygiene
• /
• v.21 no.3
• /
• pp.301-310
• /
• 2021

Objectives: The purpose of this study was to identify the types of ethics, professional intuition, and ethical competencies of students majoring in dental hygiene and to provide appropriate dental hygiene education by confirming the relationship between them. Methods: A survey was conducted from March 2 to March 30, 2021 using a questionnaire, and the data were analyzed using chi-square test, one-way analysis of variance, and Pearson's correlation analysis. Results: Regarding the ethics type, absolutists accounted for 36.1%, relativists for 33.8%, subjective for 16.5%, and exceptionalists for 13.5% of the respondents. Dental hygiene professional intuition scored 3.53 points, and ethical competence scored 3.52 points. The points for professional intuition and ethical competence according to the type of ethics were 3.64 and 3.61 for the absolutist, 3.55 and 3.53 for the relativist, 3.47 and 3.53 for the exceptionalist, and 3.27 and 3.37 for the subjective, respectively. The propensity of idealism showed a positive correlation with dental hygiene professional intuition and ethical competence (p<0.001). The tendency of relativism correlated with ethical competence, and ethical competence correlated with dental hygiene professional intuition (p<0.05). Conclusions: The implication of this study is that students majoring in dental hygiene must have clear and high dental hygiene professional intuition and ethical competence in order to demonstrate their potential positively. Therefore, ethics education and proper decision-making training must be included in the dental hygiene curriculum.

• Journal of English Language & Literature
• /
• v.57 no.4
• /
• pp.529-552
• /
• 2011

My essay aims at reading Ginsberg's "Howl" and "Kaddish" with the concept of 'shaman-prophet-poet' to illustrate the dynamic relationship between his poetics and radical politics. Throughout his widely-ranging career, Ginsberg represents himself as a poet-prophet and commands a typical rhetoric of revelation as a way of decentering Cold War orthodoxies. While well aware of the oppressive and pervasive power of the dominant post-war ideologies, he adopts 'madness' to oppose conventional political, social, and religious institutions; by way of entering into the madness of this world and actively engaging himself as a victim, he can finally heal both himself and the world. This dual function of poet characterizes his rhetoric of revelation, but it doesn't appeal to the mainstream of American critical ideology where the post-structural approach to language and subject gives a skeptical look at any account of active human agency and humanistic belief in the possibility of language. In "Howl" and "Kaddish," Ginsburg persuades the reader of the truth of his own vision through the convincing and realistic portraits of his contemporaries as well as his own mother and family. Different from his visionary predecessors such as Emerson and Whitman, Ginsberg knew the difficulty of a negotiation between history and divine vision, and attempted to imbricate his family, friends, and even the larger social and political units within his visionary experience in order to avoid naive idealism, escapism, or solipsism. Furthermore, he deconstructs the Logos of Western prophecy and replaces it with the groundless identity and the nontheistic epistemology of Buddhism, which, in turn, leads to emptying his powerful language of absolutist meaning and prevents his prophecy from becoming re-reified as divine essentialism. Ginsberg's idea of poet and poem revitalizes the skeptical view on language and literary representation of our contemporary critical community which is unwilling to engage the experimental scope of his radical prophecy.

• Journal of English Language & Literature
• /
• v.55 no.3
• /
• pp.399-413
• /
• 2009

Pointing out the reality of criticism done mostly on Carlyle s original structure and rhetoric in his Sartor Resartus, this research paper focuses on Carlyle s dualistic philosophy revealed in the work, limiting its focus mostly to the dualistic theme of descendentalism and transcendentalism. The essence of Caryle s descendentalism is his irony and satire on human civilization, not for criticism itself, like other satirists, but rather out of his deep, secret humanism behind his mask. Roughly the two objects of his social criticism in the contemporary, descendentalisitc world, are mechanism and materialism in a variety of new ideologies. To diagnose the Zeitgeist and disillusion man living in contemporary civilization, Carlyle in this work uses a very original metaphor, the clothes-symbol. According to Carlyle, human history and progress can be said to be originated from man s adventitious invention of clothes that was not for biological need or social decency, but for decoration, the instinct of which implies man s innate vanity and desire. Interestingly enough here, however, Carlyle uses the same metaphor of clothes for his vision of transcendence, the world of Everlasting Yea. Man is also God s apparel and Matter is that of Spirit. Carlyle s Everlasting Yea world stresses especially the two attitudes, belief in God and love of man, which have been recently jeopardized in the socalled descendentalistic world. But Carlyle s transcendental and religious vision in Sartor Resartus is, as critics also have agreed, a unique and mysterious vision as something different from orthodox Christianity or other Victorian ideologies, as more like an amalgamation among Calvinism, Romanticism, Platonism and German Idealism. All in all, reading Sartor Resartus is still a valuable experience of an idiosyncratically original vision along with his warning against dehumanizing forces lurking in the name of civilization and with his ultimate eulogy on man, proving descendentalism as just part of transcendentalism, although the reader from time to time can be embarrassed by his male-centered, politically conservative, and individual-oriented dynamism.

• Journal of Korean Society of Forest Science
• /
• v.104 no.1
• /
• pp.127-132
• /
• 2015

Aim of this study was to investigate the influence of forest experience program on depression, anxiety, and self concept in adolescents living in urban area. A total of 47 adolescents living in Seoul, South Korea were recruited for the study and participated in a series of forest experience programs that the Korea National Park Service had developed. Before and after applying the program, their depression, anxiety, and self concept were evaluated using Children's Depression Inventory (CDI), Revised Child Manifest Anxiety Scale (RCMAS), and Offer Self Image Questionnaire-Revised (OSIQ). The outcome measures were analyzed using paired-t tests. CDI score was significantly reduced after the program (before:$12.41{\pm}8.34$, after:$8.65{\pm}9.48$). Excluding 16 participants whose scores of Lie Scale in the RCMAS were more than 8 on the analysis, the total RCMAS score showed significant reduction after the program (before:$14.87{\pm}7.30$, after:$10.81{\pm}7.81$). There was no significant difference in the total score of the total self-image scale in the OSIQ. However, the Self-confidence (SC) which was used as subscale of the OSIQ was significantly higher after the program (before:$29.94{\pm}3.71$, after:$38.11{\pm}6.45$), and the Idealism scale (I) in the OSIQ increased significantly after the program (before:$21.03{\pm}3.80$, after:$23.17{\pm}3.89$). On our analysis, the forest experience program showed considerable positive effects on depression and anxiety in adolescents. This result leads the postulation that the program might be helpful for adolescents to adapt to their surrounding experiences and to achieve improvement in interpersonal relationship.

• Journal of Popular Narrative
• /
• v.25 no.1
• /
• pp.165-191
• /
• 2019

The purpose of this article is to elucidate why the motif of time travel is repeated in the science fiction narrative by examining the functions of this motif in the SF movie series of Star Trek in its narrative and non-narrative aspects. Star Trek IV: The Voyage Home (1986) aims to attract the audience's interest in the story through the use of plausible time travel in the form of the slingshot effect which causes the spacecraft to fly at very fast speeds around an astronomical object. The movie also touches upon the predestination paradox that arises from a change of history in which it describes a formula of transparent aluminum that did not exist at the time. The film also serves as an evocation of the ideology of ecology by including humpback whales in the central narrative and responding to the real issue of the whale protection movement of the times. Star Track VIII: First Contact (1996) intends to interest the audience in the narrative with the warp drive, a virtual device that enables travel at speeds faster than that of light and a signature visual of Star Trek, at the time of its birth through time travel. The film emphasizes the continuation of peaceful efforts by warning the destruction of humanity that nuclear war can bring. It tackles with the view of pacifism and idealism by stressing the importance of cooperation between countries in the real world by making the audience anticipate the creation of the United Federation of Planets through encounters with the extraterrestrial. Star Trek: The Beginning (2009) improves interest through the idea of time travel to the past, this time using a black hole and the parallel universe created thereby. The parallel universe functions as a reboot, allowing a new story to be created on an alternate timeline while maintaining the original storyline. In addition, this film repeats the themes pacifism and idealism shown in the 1996 film through the confrontation between Spock (and the Starfleet) and Nero, the destruction of the Vulcan and the Romulus, and the cooperation of humans and Vulcans. Eventually, time travel in three Star Trek films has the function of maximizing the audience's interest in the story and allowing it to develop freely as a narrative tool. It also functions as an ideal solution for commenting on current problems in the non-narrative aspect. The significance of this paper is to stress the possibility that the motif of time travel in SF narrative will evolve as it continues to repeat in different forms as mentioned above.

• Archives of design research
• /
• v.18 no.4 s.62
• /
• pp.215-224
• /
• 2005

With the recent increase of sensitivity to decors, there has been an ever-increasing significance of exhibiting the beauty of the outer looks of an article. This trend has necessarily led to the diversification and also specialization of the color scheme activities. And so, it is inevitable that we should form the substantial ideas of the color scheme and further on, enhance the efficacy of its orientation under the prevailing circumstances. Now, we come to a realization that we must first take a glance at the whole picture of the arrays of color embedded in a variety of articles in the sixties and seventies of the 20th century, a bold introduction of color designs, thereby tracing the birth of color designs and finding a meaning in its mechanism. This study begins with the obtaining of a large collection of articles in those days, along with the literature on the commercial effects color suggest, and looking into the background of their trend and finding a meaning that underlies what these colors suggest. The general idea of those color designs exemplifies that the color selection was none other than the simplicity and convenience in the making of things in doser relation to the easy selling. With the advance of material quality and enhancement of the industrial idealism, it has been proved that color plays an important role in depicting the image of quality and tastes of class. In that role color has been given the indicator of visual delights and differentials in quality articles. All this has been reflected in a diversity of articles: for instance, white for household appliances, prime color for living necessaries and natural color for the decore like furniture. Formerly, after all, people used to have little regard for color. What is color for, it was thought, in relation to the selling image of articles? That is wily our preceding generation pays attention only to the first-hand looks of articles, neglecting the intensive study on color. We are beginning to understand what image a certain color scheme evokes in our feeling.

• Archives of design research
• /
• v.17 no.2
• /
• pp.403-412
• /
• 2004

Animation has been developed with trying a transformation of a reality continuously. The animation's trio is needed to study how the reality is expressed, transform, and developed through postmodernism, which the culture characteristic is one of culture phenomenons. First of all, to study, it s need to define what is animation and postmodernism. And then, the characteristic of postmodernism is studied to figure out how to relate with the reality in animation by the definition, and the reality is classified and expressed properly by a animation film. According to the study, the theory of simulation in animation based on Jean Baudrillard is to express the reality of post modern animation. 11 also shows what master narration is collapsed by the disorganization an outlook on consideration of an idealism and an absolutism and by the reality based on the implication aesthetic through the stream of the times. Finally, according to the combination of the genre such as the mixing 3-Dimensional and 2-Dimensional images, the appearance of the new genre is a result of the autogenous efforts in the animation which makes up the lack of the narrative due to the magical character of the hyper-realism image and the external image caused by the rapid development of technology. In this paper, the post modern reality is analyzed by a animation film such 'Animatrix', and the paper discusses how to express and re-analyze post modern reality in the animation.

• The Journal of Art Theory & Practice
• /
• no.6
• /
• pp.101-121
• /
• 2008

An artist, Oh Yun(1946~86)'s theory of people's art during his final period is summed up in his essay 'Expansion of Artistic Imagination and World' (1985). Emphasizing the mystic and traditional characteristics of Oh Yun's artistic oeuvre during his final period, some critics focus on Oh Yun's experience of medical treatment and shamanistic custom at Jin Do island, and his belief in Jeung San Do, the dao of Jeung-san, the Ruler of the Universe. However, they forget the practical intention and implication of his theory of art during his final period, which aimed to overcome the contradiction of revelation itself. Oh Yun's essay criticized the loss of artistic imagination and the ignorance of traditional culture that resulted from the elevation of science to a religion, and insisted that the stereotyped idealism, scientism and elitism in art should be overcome in order to recover the full reality in realism and to continue traditional cultures. The essay is comprised of 18 paragraphs. Oh Yun criticized monochromatic art, conceptual art, hyper-realistic art, objet d'art, and neo-dadaist art, saying that they were simply mechanical forms of modern art derived from scientism and a fetishistic lens culture. In addition, he criticized naturalism in art, which had continued as a tendency in the development of western art, for the same reason. He pointed out that even the world of realism had been diminished by elite stereotypes and diagrams. He declared the need to overcome the imitation of shells or stereotyped propaganda, and recover full realism, which seems to have started with a reflective examination of current problems in 'Reality and Utterance', in which he participated. Especially, he thought that universality and the extension of full realism could be achieved by building on the views of traditional cultures, which is meaningful. This logic is same as the theory of epic theatre that Bertolt Brecht(1898~1956) has developed under the ancient Greek masque and Pieter Bruegel the Elder(1525~69)'s story-like picture style. The universality of realism and the extension of acquisition to include incantation art, rather than move toward incantation art, is what Oh Yun intended to propose in 'Artistic Imagination'. This attitude is same as Bertoh Brecht's aesthetic viewpoint in the 1930s. But regrettably, Oh Yun's style wording, which seems covert and far-sighted, is often misunderstood as 'mysticism'. In the flow of people's art in the 1980s, Oh Yun was a traditionalist in a narrow sense, and an realist in a broad sense. However, his critical mind, which comprehends tradition and reality, was attempting to expand universality and extend full realism, and this attempt found many sympathizers and had an influence on the next generation of people's artists, such as "Levee" which is field-centered, to which we should pay attention. This means that while their works thought about 'tradition', we should be careful not to connect them with 'aesthetic conservatism' or 'classical art'. This is the why the meaning of Oh Yun's theory of art during his final period should be closely examined again.

• Korean Journal of Social Welfare
• /
• v.57 no.1
• /
• pp.147-167
• /
• 2005

In the West, the model for provision of services to the disabled has shifted from a focus on the individual to that of a social model. This shift reflects a movement away from a materialist approach to one that is grounded in idealism. In the context of themultiple service paradigm movement this paper explores trends in the provision of social services to the disabled in Korea. In order to accomplish this task the writer conducted an analysis of Korean Community Chest proposals, existing legislation and legislative systems as well as the disability movement in Korea. Data was collected from the 2003 program proposals submitted to the Korea Community Chest. This data was classified using Priestly's Multiple Service Paradigm of Disability. The results suggest that the Korean Community Chest favored an individual idealist approach. There was only limited support given to proposals that reflect the social model approach and thus issues of accessibility, independent living and inclusion are given short shrift. This paper argues the need for a reversal of this trend through the Korean Community Chest supporting issues mentioned above and that the social model should be given greater attention by this funding body. Implications for practice using the multiple paradigm model are discussed.