• The Journal of Korean Philosophical History
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• no.42
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• pp.39-70
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• 2014

Neo-Confucianism of Myungjae Yoon Jeung either accepted Yulgok Neo-Confucianism as it was or modified it. In this study, his Neo-Confucianism was divided into acceptance and modification in Yulgok Neo-Confucianism and examined. In the acceptance of Yulgok Neo-Confucianism, it was clarified that Neo-Confucianism of Myungjae Yoon Jeung thoroughly inherited characteristics of Yulgok Neo-Confucianism, including 'Yiguijimyo', 'Yitongguiguk' and 'Guibalyiseungildo'. However, Myungjae was not just satisfied with inheriting Yulgok Neo-Confucianism as it was, but modified and inherited the theory of Yulgok by suggesting his own original preaching. There were three original preaching of his in overall; 'emphasis on the control of Li', 'argument method on a theory of gaining knowledge by the study of things', and 'perception on moral mind, human mind and human desire'. Ultimately, it is concluded that Myungjae modified, inherited and developed Yulgok Neo-Confucianism to adjust a theory of Neo-Confucianism in a position of 'Yiguijimyo', based on 'a theory of Guibalyiseungildo' of Yulgok as a Confucian scholar of Giho school. It is consistent with his life philosophy that he avoided speculative arguments on Neo-Confucianism and pursued solid study(實工) with solid mind(實心). It is also consistent with his view of learning that he believed that theories of ancient sages were already rich that we should read them and practice their true knowledge(眞知), and making an effort on writing regardless of them was not a study of Mushil(務實). However, due to his younger students, he was classified as a scholar who emphasized the control of 'Li' the most in Yulgok school, and a new academic tie of Giho Soron was created. It is the most important significance that Neo-Confucianism of Myungjae has in that of Giho.

• Journal of English Language & Literature
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• v.57 no.3
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• pp.367-389
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• 2011

The aesthetic attitude, in general or in particular, represented in matters of taste through aesthetic ideas and value judgments postulates a certain literary logic. And this literary logic reveals itself a sense of morality, philosophy, or moral aesthetic consciousness through the moments of act and thought demonstrated in the characters invented in literary works. Henry James, among many others, offers a very special cultural paradigm for transnational argument because of his diverse ways of shaping transatlantic relations in terms of aesthetic consciousness. And this international paradigm produced varied expressions referring to Henry James as "an American expatriate," "an Anglicized American artist," "a Europeanized aesthete," "a cosmopolitan intelligence," "a bohemian cosmopolitan" to designate his literary career and its characteristics shaped in Europe. Such expressions resonate with Transatlantic Sketches, James's first collection on travel and cultures in 1875 which heralded his long "expatriation" in terms of self-distantiation. James's temperament of mind, far from being always identified with shared values within an ideological framework, never avoided friction with fixed ideas but rather absorbed it fully for another friction which intervenes in his house of fiction. My question arises here regarding his cultural belonging or dislocation: where is the place of his mind or what could be his ultimate destination? In this essay, I'd like to define a place or rather the place of James's literary mind by proving a certain "sympathetic justice" for his literary logic. For this purpose, I'll try to examine: how James used transatlantic perspective, a spatio-temporal assessment to formulate his moral aesthetic consciousness; and how the aesthetic framework functions in assessing his literary logic of aesthetic consciousness. To start with the first argument, I'll analyze some essential aspects of aesthetic attitude of his characters to postulate a persona capable of theorizing James's aestheticism conditioned by the transatlantic context. And for the second argument, I'll examine how the persona functions in formulating a proper cultural stance of James's aesthetic consciousness in transatlantic perspective to illuminate the way of how Jamesian individuality reflects the American mind. This process of theorizing a place of James's own will lead, I hope, to our discovering James's ultimate destination on the assumption that it'll prove or create a certain "sympathetic justice" for his humanist aestheticism, a Jamesian absolute morality.

• The Journal of Korean Physical Therapy
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• v.2 no.1
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• pp.95-101
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• 1990

The numbers of older patients increase year by year as the effect of care in illness prolongs the average life span, and it will be quite common to find octogenarians and nonogenarians. The philosophy and technics used in the rehabilitation of older patients are essentially the same as those in general rehabilitation, modified to comply with the physiology of the aging patient. Rehabilitation of the elderly is essentially a matter of teamwork and an attitude of mind. Mo one of us can accomplish a cure by ourselves and there must be confidence and continuing consultation between all members of the team.

• The Research Journal of the Costume Culture
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• v.9 no.4
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• pp.574-591
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• 2001

This study reviews the concept and characteristics of the deconstruction philosophy in order to analyze the major aspects of the fashion world called the deconstruction fashion based on the deconstruction philosophy, and analyzes the works of Jean Paul Gaultier in terms of Derrida's deconstruction theory. The scope of this research is from 1980 to present, and this study fashion on the many kinds of literature on philosophy, aesthetics and literary criticism, and the domestic and international fashion journals and magazines. The deconstructionism is the philosophical theory which denies the traditionally recognized logocentric metaphysical theory and refuses the closed world and pursues the open world, opposing the dichotomic theory which is the deep-rooted tradition of the Western philosophy. The results of analyses centering on the internal deconstruction trend expressed in the works of Jean Paul Gaultier are as follows. 1 The past style combined with the present appears in the form of the entirely new trace, not the past emotion and meaning in Gaultier's works transcending the time and space. 2 Gaultier presents the unconventional intermeaning of meanings, producing various possibilities according to the wearing method of the wearer by layering several clothes. 3. Gaultier breaks from masculinity and femininity in the intertextuality of gender, and decomposes the fixed idea of men's or ladies'wear through the design sharing bisexual text. 4. In the intertextuality of T.P.O., Gaultier presents the problem of how to wear by mixing different items through obscuring the division of the nature of time, space, and purpose. Especially Gaultier can be called the first designer who, worthy of the father of the deconstructionism, has introduced in the fashion making inner wear like outer wear. 5. In the intertextuality of coordination, Gaultier presents a new perspective of coordination through free combination and contrast, raising a question about the man-made harmony criterion and deconstructing the clothes. On the other hand, Gaultier expresses the intertextuality of the material through the heterogeneous combination of the material. 6. The decomposition trend expressed in the many works of Gaultier reflects an open mind presenting a new perspective through the distortion of the form, exaggeration, and break from the existing construction method. 7. The decentering trend in the works of Gaultier is found to deconstruct the Western-dominated elements against the background of subcultural elements, the elements borrowed from the minority race, md the Oriental culture. 8. The discontinuity clothes of Gaultier present the disordered principle of design without the uniform rules, and express the unrestrained freedom without captivation by the preconceived idea through the disruption of the dress and its ornaments just like Gaultier.

• The Journal of Korean Philosophical History
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• no.37
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• pp.47-70
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• 2013

The purpose of this paper is to figure out T'oegye's philosophy and its characteristics in comparison with Zhuzi's. T'oegye is well-known as the representative of Neo-confucianism in Korea. But his posterior scholars and even contemporary scholars have various viewpoints about his philosophy. So they give him some different evaluation. After Zhuzi's death 300 years later, T'oegye has accepted Zhuzi's philopophical thoughts. In addition, he has added his own philosophical insights on them. First, he indicates concretely the metaphysical activity of li through lidong that Zhuzi has mentioned in some measure. Second, under the ontological aspect of li, he explains that Four beginnings come from li. It implies that li manifests and qi follows. Finally he points out lidao--i.e. li manifests itself, about wuge in his epistemology. Here we can say that whatever his metaphysics/the theory of mind and heart, and epistemology, the whole system of T'oegye's philosophy has its theoretical coherence. He has succeeded Zhuzi's philopophical thoughts thoroughly and furthermore developed Neo-confucian theory in East Asia that has not made before.

• Journal of Sasang Constitutional Medicine
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• v.4 no.1
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• pp.5-29
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• 1992

In this study, the author researched the process in which the philosophical basis of 'Sa Sang Medicine (四象醫學)' and its methodology build up the principles of Sa Sang Medicine, and then, examined how the principles were applied to the theoretical system of Sa Sang Medicine. The conclusion would be summarized as follows. 1. 'Nae Kyung Medicine (內經醫學)' was developed under the concept that the cosmos's order and its moving rule could be directly applied to that of human body, which corresponded to the 'Theory of Hwang-No (黃老之學)'. On the contrary, Sa Sang Medicine is a thoroughly human-oriented theory formed in the Confucianism system. 2. Lee Jae-Ma's Substantialism can be briefed into 'Mind 心' (Tae Keuk 太極), 'Mind-Body 心身' (Yang Eui 兩儀) and 'Activity-Mind-Body-Matter 事心身物' (Sa Sang 四象), which respectively represents one-elemented substance, two-elemented substance and four-elemented substance. Especially, Sa Sang was used as a basic framework in which he recognized all the objects and phenomena. So, most critical significance of his substantialism consists in the intention of Sa Sang type classifying. 3. By the method of Sa Sang type classifying, Lee Jae-Ma not only redefined the main concepts of confucianism and developed a unique philosophy of his own, but also, in the field of medical science, resystemized and re-explained the structure and function of human body. 4. From the recognition that Activity-Mind-body-Matter (Sa Sang) are four different existence forms of energy 氣 (or four variation types of energy), Yi Jae-Ma thinks that the viscera of human body have a vertical structure of 'four parts 四焦' (upper, mid-upper, mid-lower and lower parts) and its physiological function is operated by the rising and falling action of four energy presentations (sorrow 哀, anger 怒, joy 喜 and pleasure 樂). 5. In "Gyuk Chi Go 格致藁", Lee Jae-Ma understood the concept of joy, anger, sorrow and pleasure on the basis of nature-emotion theory 性情論 from the philosophical viewpoint. But, from the medical viewpoint of "Dong Eui Su Se Bo Won 東醫壽世保元", he understood them on the basis of vital energy theory. That is, sorrow, anger, joy and pleasure are expression of advance or reverse of nature vital-energy 性氣 and emotion vital-energy 情氣. 6. The rising and falling action principle of four energy presentations (sorrow, anger, joy and pleasure) which produces and helps each other is an identical principles of Sa Sang Medicine, distinguished from the Oh-Haeng 五行 circulating principle in Nae Kyung Medicine. Through this principle, Lee Jae-Ma explained the viscera physiology of human body, pathology & diagnosis and pharmacology.

• The Journal of Korean Philosophical History
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• no.35
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• pp.131-164
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• 2012

This paper is to make a generalization of Keyongyegimunrok(經義記聞錄) by Namdang Han Wonjin(1682~1751) whose historical positions of philosophy were contained, and to examine its established periods and the summaries of Ligi-Simseong Doseol(理氣心性圖說, illustrated Account of principle, Vital force, and Heart-mind) given in Appendix of Chap. 6. Total seventeen explanatory diagrams cover over the theory of principle and material force, theory of Heart-mind, theory of cultivation. These explanatory diagrams were produced systematically and easily to understand the pursuits of study, so-called Ho-hak(湖學), since Namdang becoming a member of the Yellow River(黃江) school. The philosophical argumentations of Namdang was usually succeeded by the orthodox stream of Ki-ho(畿湖) School transmitted from Ii, Song Si-yeol, Gwon Sang-ha. Ligi-wollyu-do(理氣源流圖), Ligi-dongjeong-do(理氣動靜圖), irwon-bunsu-do(一原分殊圖, 4 diagrams) are diagrams equivalent to Ki-ho School's ontology. As Ki-ho School's theory of Heart-mind, there are Seongjeong-hoenggan-do(性情橫看圖), Seongjeong-sugan-do(性情竪看圖), Seongjeong-chonghwoi-do(性情總會圖), Oseonghoju-do (五性互主圖), Oseongchubon-do(五性推本圖), Simseongmyohap-do (心性妙合圖), Simseongiji-do(心性二岐圖), Jungyongcheonmyeong-do(中庸天命圖), Insim dosim-do(人心道心圖), focusing on Simtongseongjeong-do(心統性情圖), and last diagram is Wihakjibang-do(爲學之方圖), which adapted from the diagram established by Ii and Song Si-yeol. The significance of Keyongyegimunrok(經義記聞錄) is comprehensive of the pursuits of the Yellow River school's studies, and provides evidence of a leading figure in Ho-hak.

• (The)Study of the Eastern Classic
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• no.35
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• pp.329-358
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• 2009

A general idea and the structure of Wangshouren's philosophy is intimately associated with "Daxue". Systemicity of Wangshouren's Xinxue stand on the basis of a mind, intention, innate knowledge and things. "Daxuewen" is a series of a process of gongfu. It stand on the basis of a mind, intention, innate knowledge and things, same as Four-Sentence Teaching. Wangshouren's gongfu theory of "Daxue" changes from gewu to chengyi, from chengyi to zhizhi again. It is deepening of Wangshouren's philosophy and is the change of education. It is also that Wangshouren's gongfu theory internalize anything. He spent his younger life in pursuit of Zhuxi's gewu. Through a lecture of LongChang, Wangshouren's gongfu theory of "Daxue" changes from extroversion to introversion. According to Wangshouren' opinion, "Daxuewen" is the tenet of the XinXue, same as Four-Sentence Teaching. This papers mainly emphases two points: one, to analyze the thinking system of Wangshouren's "Daxuewen", make a comparative study of befour "Daxuewen" and after "Daxuewen". another, through this work we can understand thoroughly Wangshouren's viewpoint of "Daxue".

• (The)Study of the Eastern Classic
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• no.41
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• pp.445-476
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• 2010

In this essay I aimed to analyze the concept of cultivation in east asian aesthetics. Most people regarded traditional asian paintings as an artwork that was obviously an artwork by artists. Moreover, they emphasized the cultivation of artists in their creation and used to accept the concept of cultivation which means cultivating one's mind. Generally speaking, to cultivate one's mind meant enlarging one's ethical behavior and he or she became a better person. And in creation, it meant considering all things more deeply. In this point of view, it was too vague to notice the meaning. What is an accurate meaning of cultivate artist's mind? What was the relation between creation and cultivation? In confucian philosophy, the concept of cultivation had two meanings. One was to enlarge one's ethical behavior and the other was to improve one's knowledge about things. The knowledge implied all of the one's experiences about things. Thus, the knowledge meant what he communicated with under his surroundings and created. In this perspective, to analyze the case of "Dohwaguenmungi" and "Limchungochi", cultivation was related to 'you(游)' and 'jing(精)'. It implied all of the artist's efforts to make communication with his objects deeper and wider, at last, he created his own meaning about object that he experienced. Therefore, I suggest that when we use the concept of cultivation in the context of creation, it should be used as the meaning related with improving one's knowledge about things.

• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.93-106
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• 2008

Asia Folk Costumes are certainly different from the Western Costumes. This distinction is based upon the effect of environment, technology, and social structure, and especially, which was generated by religion, ideology, and philosophy. The ideas of fundamental ground of this eastern features are religions such as Buddhism, Taoism, and Confucianism. The religion of the East has determined the form of traditional costumes, affecting the costume up to now. This study aims at the investigation of the effect of religion on the formation of East Asia Traditional Costumes around Korea, China, and Japan and its figurative beauty. Study was carried out by chiefly referring to literatures. Eastern Aesthetics was formed by accepting aesthetic concepts, acquired from the idea of Three Religions. Especially, the ideas of non-duality(不二), emptiness(空), five aggregates(五蘊), mind control(心法), derived by Buddhism, and nature theory(自然論) and creationism(創造論) of Taoism, and abstinence theory(節制論) and decorum(禮法) and the principles of Yin and Yang(陰陽) of confucianism have had great effect on the aesthetics of costume. The figurative features of costume, affected by three religions are described by the factors; First, non structural feature, second, the beauty of abstinence and chastity of ample silhouette, third, the feature of natural color and achromatic color, fourth, the figurative feature of costume by the principles of Yin and Yang, and fifth, bright ornaments. The aesthetic values of the East Asia Costume are 'A Beauty of Vacancy', 'A Beauty of Concealment', 'A Beauty of Nature', and 'A Beauty of Symbolism'. As philosophy, culture, and ethnics itself, the religions of Asia have had effect on the overall culture, which is inclusive of social structure, as well as art and aesthetics, and have decided the style of costume.