• Archives of design research
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• v.18 no.2 s.60
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• pp.335-344
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• 2005

This paper aims to examine how the history of modern design has been described and what has been turned out to be shortcomings and limitations in its description. Traditionally, description of the history of modern design shows over generalization, which means that it suppresses or distorts various and individual designs, stressing on the mainstream of design history. Also it, focusing on some selected designs in hegemony, depicts their characteristics and relations too lineally, and regards a hero-centered history as universal or absolute one. As this tradition is generalized, we are ofter reminded of 'modern design' when touched by ‘design,’ and of colonial heroes and heroism when touched by ‘modern design.’ In this context, this paper will argue that we need to accept various design histories, keeping the subjective attitudes toward history.

• The Journal of Korean Philosophical History
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• no.58
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• pp.337-356
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• 2018

Zhangshi established his own ideal system in the process of self-cultivation in the Southern Song dynasty period, where academic exchanges were active. A common feature in the process of self-cultivation is the transformation of ideas. In the case of Zhangshi, his academic exchanges with contemporary mainstream scholars had a major impact on them, and Zhangshi was also able to systematize his own ideas. However, while there have been a lot of researches on the mainstream schools of the Southern Song period, there has been little research on the ideological trends and trends of the time when mainstream schools could have occurred. This paper attempts to understand the ideological trends of the Southern Song era by examining the formation process of the his theory of self-cultivation, and to examine the process of exchanging of mainstream schools through the field of self-cultivation. This work will be a meaningful process for understanding the philosophy of the Song era and for examining the tendency objectively. This paper examines the formation process of self-cultivation in the first half and the second half. In the first half, this paper refers to the ideological impact of schools that had influenced Zhangshi's thought, in the second half, this paper deals with the process of change of his theory of self-cultivation and then examines how his ideas had changed. This work will help to understand Zhangshi's own ideas and to understand how Zhu Xi's theory of Zhu xi, who had an ideological exchange with him, could be established.

• International Journal of Costume and Fashion
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• v.13 no.2
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• pp.65-77
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• 2013

The purposes of this study were to document the fashions adopted by young women in the United States in the 1980s and to explore if and how the dynamic shifts toward postmodernist values influenced those fashion trends. Fifteen U.S. women who were college students in the 1980s were interviewed for the study. In analysis of the data, we focused on social changes during the 1980s and the cultural impact of postmodernism vs. modernism as influential factors. Both postmodern and feminist ideas challenged the mainstream cultural framework of capitalism. U.S. women's styles and behaviors concerning dress reflected characteristics of postmodern consumption patterns, which include nostalgia, ethnic dress, androgyny, eclectic and novel clothing combinations, surprising or humorous appearance, and nonconformity. Despite the critique of conformity and conservatism in dress that had emerged in the 1960s and remained in at least minority or subversive trends, the importance of brand names and designer labels increased in mainstream fashion. This study helps us better understand the dynamics of fashion as it reflects societal and value changes in a transitional time in history.

• The Journal of the Korea Contents Association
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• v.16 no.2
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• pp.106-116
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• 2016

What made stand out among these police procedurals was its focus on the importance of history to understand both the past and contemporary society and culture. Many of the cases involve aspects of history that are not part of mainstream narratives and constitute the unfinished business of America. The flashback sequences throughout the show visually and affectively transport the viewer back to an earlier historical moment. What all the victims have in common is that they refused to be silent or passive in the face of circumstances they believed were wrong, or they refused to conform to dehumanising and destructive social and cultural expectation. Those promoting these lies have the power to establish their version as the power to establish their version as the "truth" of what happened in context, but viewers are positioned to see the truth as the victims experienced it and to identify with them and against the power abusers. The Cold Case detectives pursue the ghosts of American history, restoring to our view stories of lives and experiences rendered invisible and unspeakable by dominant forms of knowledge and power. The series invites viewrs to empathize with the victim and to develop an ethical commitment to social justice in the future.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.5
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• pp.582-593
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• 2002

Metal materials have been used in the clothing design on the spirit of ingenious experiment by fashion designers, and they have been put to practical use by several designers who work out a scheme of popular fashion merchandise. This current starting from the 1960s was weakened in the 1980s, but it was appeared with various shapes of metal materials in the 1990s due to a popularity of techno/cyber fashion. Recently, textile engineering technology causes to develop new-materials which are practical and sanitary. The development of fashionable metal materials brings about the popularization of fashion with metal materials, and it induces that mainstream of modem fashion has been changed into designers of pursuing the spirit of ingenious experiment. This study examines the formative characteristics of metal materials that are based on the spirit of ingenious experiment. As a result, it is evaluated that the formative of metal materials shown in modern fashion is futurism, visual concentration, avast-garde, resistance, precious.

• Korean Journal of Oriental Medicine
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• v.16 no.2
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• pp.1-31
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• 2010

Objective : The objective of this study is to verify the characteristics of acupuncture methods of Joseon Dynasty by looking into the relationship between five viscera diagnosis and acupuncture methods. Material & Method : In the process, I've reviewed the relationship between meridian/exterior and viscera/bowels, along with a thorough comparison of the academic tendency in acupuncture of Ming-China, Qing-China and Joseon. Result & Conclusion : The two fields of meridian and exterior, and viscera and bowels had been theoretically merged, and based upon that, foundation methods applying the five viscera diagnosis were designed. Joseon acupuncture exceeded the existing concept of viscera which simply related itself to the exterior meridian and exterior by integrating the concepts from the visceral manifestation theory. With this, large proportions of medicine related to the visceral manifestation theory were invited into acupuncture, expanding therapeutic boundaries for acupuncture treatment. A historical review on medical texts starts from the Hyangyakjipseongbang("鄕藥集成方") which familiarized the public with mainstream acupuncture knowledge up until the Song dynasty, followed by Uibangyuchwi("醫方類聚"), which sparked up interest on the acupuncture methods based on viscera and bowels. Donguibogam("東醫寶鑑") organized the medical theories up until then, building a foundation upon which viscera/bowel-based acupuncture was able to develop further. In Chimgugyeongheombang("鍼灸經驗方"), viscera/bowel-based acupuncture methods started to blossom, integrating the meridian and exterior theory with the viscera manifestation theory, which in turn provided various methods through five viscera diagnosis. In the Saamdoin acupuncture method(舍岩道人鍼法), diagnostic criteria moved on to the five viscera diagnosis, and new methods resulting from the inter-complimentary and inter-prohibiting relationships between the five phases were introduced, opening a new world of acupuncture.

• KDI Journal of Economic Policy
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• v.30 no.1
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• pp.171-209
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• 2008

The Great Depression is one of the most important economic incidents in the twentieth century. A significant and long-lasting impact of this event is the rise of the government intervention to the economy. Under the catastrophic downturn of the economic condition worldwide, people required their government to play an active role for economic recovery, and this $mentalit{\acute{e}}$ prolonged even after the Second World War. Social science textbooks taught at Korean high schools mostly referred to the Great Depression for explaining the reason of government intervention in economy. However, the mainstream view commonly found in the textbooks provides a misleading theological interpretation. It argues that inherent flaws of the market economy causes over-production/under-consumption, and that this mismatch ends up with economic crisis. The chaotic situation was resolved by substitution of the governments for the market, and the New Deal was introduced as the monumental example ('laissez-faire economy ${\rightarrow}$over-production${\rightarrow}$the Great Depression${\rightarrow}$government intervention${\rightarrow}$economic recovery'). Based on economic historians' researches for past three decades, I argue that this mainstream view commits the fallacy of ex-post justification. Unlike what the mainstream view claims, the Great Depression was neither the result of the 'market failure', nor the recovery from the Great Depression but was due to successful government policies. For substantiating this claim, I suggest three points. First, blaming the weakness or instability of the market economy as the cause of the Great Depression is groundless. Unlike what the textbooks describe, the rise of the U.S. stock price during the 1920s cannot be said as a bubble, and there was no sign of under-consumption during the 1920s. On the contrary, a new consensus emerging from the 1980s among economic historians illustrates that the Great Depression was originated from 'the government failure' rather than from the 'market failure'. Policymakers of European countries tried to return to the gold standard regime before the First World War, but discrepancies between this policy and the reality made the world economy vulnerable. Second, the mainstream view identifies the New Deal as Keynesian interventionism and glorifies it for saving the U.S. economy from the crisis. However, this argument is not true. The New Deal was not Keynesian at all. What the U.S. government actually tried was not macroeconomic stabilization but price and quantity control. In addition, New Deal did not brought about economic recovery that people generally believe. Even after the New Deal, industrial production or employment level remained quite low until the late 1930s. Lastly, studies on individual New Deal policies show that they did not work as they were intended. For example, the National Industrial Recovery Act increased unemployment, and the Agricultural Adjustment Act expelled tenants from their land. Third, the mainstream view characterizes the economic order before the Great Depression as laissez-faire, and it tends to attribute all the vice during the Industrial Revolution era to the uncontrolled market economy. However, historical studies show that various economic and social problems of the Industrial Revolution period such as inequality problems, child labor, or environmental problems cannot be simply ascribed to the problems of the market economy. In conclusion, the remedy for all these problems in high school textbooks is not to use the Great Depression as an example showing the weakness of the market economy. The Great Depression should be introduced simply as a historical momentum that had initiated the growth of government intervention. This reform of high school textbooks is imperative for enhancing the right understanding of economy and history.

• The Journal of Art Theory & Practice
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• no.14
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• pp.125-158
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• 2012

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People's Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of 'Korean' we usually consider ambiguous, and prompts careful attention to the silence of 'some Koreans' forced to live against their will in the blurred boundaries between nation and people. This dissertation regards 'Koreans' who came to live in the border of nations, especially 'Korean-Japanese third generation women artists'who are marginalized both Japan and Korea. It questions the category of 'Korean women's art' that has so far been considered, based on the concept of territory, and presents a new perspective for viewing 'Korean women's art'. Almost no study on Korean-Japanese women's art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of 'Korean women' and 'Korean women's art'considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority's diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist's cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual's historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with postcolonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women's art.

• (The)Study of the Eastern Classic
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• no.36
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• pp.203-228
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• 2009

ChaeHo Shin's major interests were in the ancient history, among other periods of the Korean history. Shin's depiction of history is characterized by having nation in the heart of history, whose tendency of nationalism was purposefully strong. In general, the nationalism of those times was emphasizing a 'strong' nation, just as in the case of Shin's theory, and at the same time stood for the theory of social evolution with a view to raising the nation in the front line of history. The nationalism, in association with the theory of social evolution, ended up having a propensity that criticizes imperialism on the one hand, and envies it on the other. This inclination is literally shown in Doksasillon (A New Guide to Reading History), which is ChaeHo Shin's research on the ancient history. Doksasillon is a historical essay that was published serially in 50 installments from August 27th through December 13th in 1908. Unlike the existing views in the late 1900s on the ancient history, among other ages of the Korean history, Doksasillon can be called a treatise with a focus on nation. Doksasillon is an incomplete study which can be divided into two parts, introduction and ancient times that is the first volume. It, nevertheless, shows the aspect of a powerful nation activist who tried to surmount the life-and-death crisis of nation by 'recalling' the nation in the period of the late-Joseon and the Korean empire in 1908 and 'rediscovering' the territory. It also reflects a slice of a historian's anguish that attempted to cope with the national crisis by virtue of the 'power' of history. It is ChaeHo Shin who 'rediscovered' the Buyeo tribe as the mainstream of the ancient history of Korea, and recomposed and materialized the ancient history. Shin chose the 'Buyeo tribe' as a principal race, and used it as a representative of the Korean nation in the ancient era, which was because Buyeo and Goguryeo were the strongest. The emphasis laid on the powerful nation in the history of Korea well reflects the efforts of a powerful nation activist in the age of the late-Joseon, and on the other hand, it shows how nationalism came to be formed in Korea. ChaeHo Shin is regarded as a person who lived in the age in which nationalism, which underscores the homogeneity of a nation, had to be stressed as a sole weapon for a nation who was left behind in modernization and whose rights were disseized. Dosasillon shows a process of reconstructing the history of DanKun and the Buyeo tribe and unearthing a hero who was valued as a savior of the nation, which was the reason that ChaeHo Shin wrote a history.

• Journal of architectural history
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• v.26 no.4
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• pp.35-44
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• 2017

The purpose of this study is to classify three-Kan hipped and gable-roofed Buddhist temples with the construction of their eave curve of part chunyeo and examine the characteristics and causes. The conclusions have been drawn as follows: First, there are largely three ways to secure symmetry in eave curve of part chunyeo. One is to obtain symmetry in eave curve of part chunyeo by making the size of eaves curves on well sides the same and forming symmetric curves in the front section along with the side roof and then forming the straight line in the central part (hereinafter referred to as the long straight line section method). The second is a method to enlarge eaves curves in the front and form eaves curves on the roof section to be symmetric (hereinafter referred to as the front is larger than side eaves curves method). The third is the method to make eaves curves in the roof section to be symmetric by adjusting the roof length and making difference between the front and side roof's length minimum (hereinafter referred to as the roof length-controlling method). Second, there are 16 cases applying two or more methods, and they are the mainstream. Third, there are 12 cases applying the front is larger than side eaves curve method and roof length-controlling method both, which seems to be the most universal. To sum up, they secured symmetry in roof edges considering the construction of seonjayeon and pyeongyeon according to the size of the structure, recognition on the directions of entrance into the area of the building, forms of planes, harmony with structures around, recognition on roof curves in accordance with the size, and also structural faults in the chunyeo part.