• Journal of Science of Art and Design
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• v.12
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• pp.65-96
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• 2007

Today, the modern art is extremely diverse. It is denying its own boundary through chaos, extreme, abjection. In fact the diversity of the modern art can be best described as questioning and challenging to the essence of the reality, rather than the artistic pursuit of the beauties. The pursuit of the reality has been a long lasting discourse since the ancient. Through the history, the reality (referent) and representation (image) has been complementing and disposing each other in a relationship of a meaningful construction until the modern times. The limit of modernistic self-reference and the emergence of the figure leads to the emergence of Post-modernism in a trend of experimenting new visual arts. The return to the figure is clearly distinguished from existing representation's system and it brought new meanings to approaches and interpretations of the reality. In the case of Pop arts of 1960's and the following the modern sculptures, which is covered by this thesis, I put an emphasis on the diversification of those via changed strategies on the reality. In a situation where the reality is dictated by signified, the modern arts can no longer stay on a classic concept of representation, rather it pursuits new system and diverse strategies. I provide three types of strategic characters of the reality and the diversification of reality: the transition of the reality. These three types can be used as a frame work, which is supporting new aspects of the modern arts in reflecting on existing system. Therefore, the reason of categorizing is to distinguish modernistic arts and post modernistic arts, and to propose new post-modernistic discourses. Adapting J.F, Lyotard's view, absence is used to trace down the diversification of the reality thorough the sublime on the deconstruction of the mega discourses and the relationship of representation. Based on H. Faster's theory of the appropriation, the appropriation is used to exemplify the strategies of visual arts are in variations and being delayed. Lastly, in the transition, J. Baudrilliard's simulacre is used in terms of the concept of post modernistic representation. Based on the core of his theories, the deconstruction of existing concepts and simulation as the post modernistic representation, and the world of hyperreality based on simulacre are explained. These allows us to deny that representation is the expression of reality through mimesis. My aim is to work on the definition of the arts and representation in the modern era, and go further from there in order to clarify meaning and extension of the modern sculptures. Now two artists are reviewed based on their own art works: George Seagal; Jeff Koons. They are selected among numerous artists from the Post Modern era. Epic contents and emphasis on daily life of Seagal's works show good examples to artists from Pop Arts and following time period and may have served as a start point for Postmodernism. Indeed, he tried to show a newly defined relationship between art works and daily life experience. On the other hand, J.Koons used the strategies of fabrication and appropriation, which shows characteristics of the postmodernism. Through his four individual exhibitions, he shows the diversification of the reality based on art works as fetishistic merchandises, and newly defined concept of Ready-made since M Duchamp. Lastly, the diversification of the reality is analyzed again in context of my art works. I focused on the return to the figure among a variety of trends of late 20 th century modern sculpture. It showed the post modernistic point of view on the reality. Post modernistic diversified strategies are adopted as a method of distinguishing each art works via the diversification of the reality. This is the result of contemporary social and cultural situations.

• Research in Community and Public Health Nursing
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• v.8 no.2
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• pp.211-224
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• 1997

The purpose of this study is to find a solution to effectively nurse elderly people in the aging society of next generation by analyzing relationship among the social problem of elderly people in the future society, their preferred life style, and their understanding level of an asylum for the aged. Data for this study were collected by questioning 316 persons(257 visitors at C University hospital and 59 residents in Chun - Ra Nam Do) from December 1996 to March 1997. The results were as follows: The assumption that an individual's preferred life style at old age depends on his /her understanding level of the social problem of elderly people was verified ($X^2=9.75$, p<0.00). The assumption that one's understanding of an asylum for the aged depends on his /her understanding level of the social problem of elderly people was verified ($X^2=4.40$, p<0.05). The assumption that one's understanding of an asylum for the aged depends on his/her pre-ferred life style at old age was verified($X^2=34.51$, p<0.01). Among those who want to live together with children when they get old, the following differences in their conception were noted: Elderly people who has lost his /her wife /husband should marry again(p<0.01). Children should take care of their parents(p<0.01). Children should live with their parents(p<0.01), A desirable living style for an elderly people. An undesirable living style for an elderly people. Among those who want to live alone when they get old, the following differences were observed: It is okay for children to live separately from their parents as long as they provide financial support(p<0.01). Any child, regardless of the distinction of sex or the order of birth among siblings, can take care of his/her parents(p<0.05), It is desirable for an elderly people to live alone (p<0.01). It is undesirable for an elderly people to live in an asylum for the aged(p<0.05). It was verified that those who view an asylum for the aged in a negative way believe that children should take care of their parents. Also, it was verified that those who view an asylum for the aged in a positive way believe that children should provide financial support to their parents even though they do not live together(p<0.01). Regardless of the subjects' opinions on seriousness of the social problem of elderly people, the assumption that any child, regardless of the distinction of sex or the order of birth among siblings, can take care of his/her parents was verified(p<0.01) (p<0.05). Regardless of the subjects' view on asylum for the aged, the assumption that it is undesirable place for an elderly people to live was verified (p<0.01). The assumption that one's understanding of an asylum for the aged depends on the distinction of sex among general characteristics such as sex, age, educational background, occupation, and religion was verified(t=-2.82, p<0.01). The assumption that an individual's preferred life style at old age depends on the distinction of sex among general characteristics such as sex, age, educational background, occupation, and religion was verified(t=l.68, p<0.l).

• Journal of the Korean Society of School Health
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• v.10 no.1
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• pp.87-97
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• 1997

The purpose of this study is to examine the importance of family environment for middle school student's health behavior. In order to do this we collected data through the questioning of 543 male students and 512 female students in 4 Pusan middle schools. The results of this study are summarized as follows. The score on their family cohesion and adaptability was 57.8, 43.5 on the average for male students and 59.8, 44.8 in female students. The score on their family adaptability and cohesion was higher in fema1e students than male students. The score of their Breslow health behavior was 4.20 from a total of 7.00, the total score of health behavior was 131.4 from a total of 176.0 scores. The students had a 43.9 out of 60.0 in personal hygiene and daily habits, 32.8 out of 40.0 for infectious disease preventive behavior, 30.2 out of 40.0 in accident prevention, 24.5 out of 36.0 in mental health. In the cases of males, the score for Breslow health behavior was higher the lower the school grade, the younger the parents, the higher the educational level of parents, the more comfortable the family, and the higher the economic state. There was a statistically significant difference with regard to family cohesion and adaptability. In the cases of females, The total score for health behavior was higher. However, the difference was not significant in other fields. With the multiple regression analysis, the health behavior of middle school student was associated significantly with sex (female students), grade, family cohesion, and adaptability. In Breslow health behavior, scale sex (male students), father's age, family cohesion and the harmony of parents were significant variables. From the results of this study, a good family environment fur middle school students is very important.

• Journal of The Korean Association For Science Education
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• v.24 no.6
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• pp.1118-1130
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• 2004

This article aims to (a) investigate children's images of a scientist's life style by comparing children's drawings about a scientist's schedule with those about a company employee's schedule in a weekday and on Sunday; and (b) examine the usefulness of 'Drawing A Scientist's Schedule (DASS)' test as a new instrument of learners' conceptions of a scientist and his/her work. To do those, thirty sixth- grade children participated in this study. The children, 15 boys and 15 girls, were selected from a classroom of an elementary school located in Gongju city. The children's drawings were analyzed in conjunction with individual interviews. The interviews facilitated the clarification of any ambiguous attributes of the drawings by questioning after their completion. Several significant conclusions can be drawn from this work: First, the children conceived that a scientist has more mandatory time, and less necessary and leisure time than does a company employee. Interestingly, many children thought that a scientist has similar life style on Sunday to that in a weekday, unlike a company employee. Second, in case of necessary time use in a weekday and on Sunday, the difference between a scientist and a company employee results from their sleeping time. Also, the children showed more various conceptions of a scientist's sleeping time than those of a company employee's sleeping time. Third, in case of mandatory time use, the children conceived that a scientist spends more time for his/her occupational work and less time for his/her housework activities than does a company employee. Fourth, the children's drawings showed that there is difference between a scientist's and a company employee's leisure time use and activities. Finally, the DASS test indicated its possibility and usefulness as an instrument for investigating learners' images on a scientist and his/her work. The instrument exhibited several distinctive children's conceptions that is difficult in identifying by using the DAST, a popular instrument.

• Asian Pacific Journal of Cancer Prevention
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• v.13 no.10
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• pp.5011-5017
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• 2012

Background: Overexposure to sunlight in childhood and the adolescent period and associsated sunburns significantly increase the risk of skin cancer in adulthood. In Turkey, the incidence of skin cancer in the general population is 0.8%. The incidence is 0.6% and the mortality rate is 0.4% for men, while these rates are 1.0% and 0.7%, respectively, for women. If skin cancer is found early, its treatment is facilitated. Therefore, personal skin examination is important for early diagnosis. Objectives: Our aim was to determine the effects of training for raising consciousness among adolescents to protect against skin cancer by influencing skin self examination behavior. Method: This quasi experimental intervention study was conducted between February and April 2012 in Izmir. The study population consisted of students attending $6^{th}$, $7^{th}$ and $8^{th}$ classes of a primary school (n:302). No sampling was performed. Data were collected with a form developed by the researchers based on the literature. The first part of form is aimed to determine demographic characteristics of adolescents (3 questions) and their risk status of skin cancer (6 questions). The second part was prepared for skin cancer risks of adolescents (8 questions) and indications of skin cancer (12 questions). The last part was intended to determine their knowledge about skin self examination (4 questions) and behavioral stages of skin self examination (1 question). Data collection was achieved with a questionnaire form in three phases. In the 1st phase, data about demographic characteristics of students, risk status of skin cancer, knowledge level of skin cancer and behavior stages were collected. In the $2^{nd}$ phase, skin self examination training based on the transtheoretical model was performed within the same day just after obtaining preliminary data. In the $3^{rd}$ phase, adolescents were followed up three times to establish the efficacy of the training (on the $15^{th}$ day after training program and at end of the $1^{st}$ and $2^{nd}$ months). Follow-up data were evaluated by questioning skin self examination performing behavior stages through electronic mail. Results: Half of the adolescents (50.5%) are male, and 58.4% of them are 13 years old with a mean age of $12{\pm}1.15$ years. About 29.4% of adolescents had brown hair color, 37.9% had brown/hazel eye color, 29.4% had white skin, and 47.2% had fewer than 10 moles in their body. The pretest mean score on knowledge level about risks of skin cancer was found to be $4.19{\pm}1.96$, while the post-test mean score was $6.79{\pm}1.67$ (min:0, max:8).The pretest mean score about indications of skin cancer was $7.45{\pm}3.76$, while the post-test mean score was $10.7{\pm}2.60$ (min:0, max:12). The increases were statistically significant (p<0.05). The behavior "I do not perform skin self examination regularly in every month and I do not think to perform it in the next 6 months" was reduced from 52.8 to 35.5% after training. Conclusion: The training program organized to raise consciousness among adolescents for protection against skin cancer increased the knowledge level about risks and indications of skin cancer and it also improved the behavior of performing skin self examination.

• 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.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.37-48
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• 2019

This study, which starting from Yangyang Jukdo's topography formation and questioning revealed in landscape guide and landscape commentary board, is to sort out the characteristics of Jukdo natural landscape through literature research, field observation research and stakeholder interview as part of the proper recognition of Jokdo landscape and search for landscape resources, and pursued a review of nominations and criticism. The results of this study are summarized as follows. Yangyang Jukdo is an island named because it was full of blue bamboo. From before the first half of the 14th Century. to the middle of the 18th Century., there was a Gwanlan-pavilion to see the sea and the bamboo in the west. The time when the original island, the Jukdo, have been a land-tied island connected with the land by the tombolo formed by the erosion of the sand. It is located at the end of the 14th Century. and before the middle of the 18th Century. In Jukdo, colorful weathered terrains, coastal terrain, and structural terrain formed by long-time weathering are found. Among them, the type of weathering, the tafoni style and the gnamma style are the scenic landscapes with the key stories of legend and poetry that are brought to Jukdo. In addition, there are seven kinds of letters caved in the rocks in Jukdo. The rocks found on the coast, basketball cannons, shrines, and sutras are seen as shrouds based on a Taoist hermit motifs and style. In addition, it can be interred from the photography of "jeongssisejeog" that the souvenir of Jukdo was the family of Chogyejeong of mid 18th Century. In terms of observational geography and poetry, Jukdo has been handed down a great deal of missionary color with key motifs such as 'Jukdo-seongoo', 'Jukdo-Dolgooyoo', or 'Stone mortar of Taoist hermit' It is proved that the pearl which is called 'The stone of the Taoist hermit' is a porthole formed in a separate space rather than the topography of the geomorphology in terms of shape, size and function. Currently named Shun-tang is a product of the ridiculous 'naming' of interest. The present landscape guide and commentary is not only incompatible with the place of Jukdo, but also does not match the traditional cultural landscape. Future scenery information such as guide signs and commentary boards should be improved in the direction of positively highlighting the stories and motifs related to the present that are present in order to enhance the landscape identity of Yangyang Jukdo.

• Journal of The Korean Association For Science Education
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• v.33 no.2
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• pp.425-443
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• 2013

We developed problem-solving type inquiry learning programs reflecting scientists' research process and analyzed the activities of science-gifted high school students, and the understanding and the effects of the programs after implementation in class. For this study, twelve science-gifted students in the 10th grade participated in the program, which consisted of three different modules - making a cycloidal pendulum, surface growth, and synchronization using metronomes. Diet Cola Test (DCT) was used to find out the effect on the improvement of the ability to design experiments by comparing pre/post scores, with a survey and an interview being conducted after the class. Each module consisted of a series of processes such as questioning the phenomenon scientifically, designing experiments to find solutions, and doing activities to solve the problems. These enable students to experience problem-solving type research process through the program class. According to this analysis, most students were likely to understand the characteristics of problem-solving type inquiry learning programs reflecting the scientists' research process. According to the students, there are some differences between this program class and existing school class. The differences are: 'explaining phenomenon scientifically,' 'designing experiments for themselves,' and 'repeating the experiments several times.' During the class students have to think continuously, design several experiments, and carry them out to solve the problems they found at first. Then finally, they were able to solve the problems. While repeating this kind of activities they have been able to experience the scientists' research process. Also, they showed a positive attitude toward the scientists' research by understanding problem-solving type research process. These problem-solving type inquiry learning programs seem to have positive effects on students in designing experiments and offering the opportunity for critical argumentation on the causes of the phenomena. The results of comparing pre/post scores for DCT revealed that almost every student has improved his/her ability to design experiments. Students who were accustomed to following teacher's instructions have had difficulty in designing the experiments for themselves at the beginning of the class, but gradually, they become used to doing it through the class and finally were able to do it systematically.

• The Journal of Art Theory & Practice
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• no.5
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• pp.43-80
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• 2007

PASKYULA was formed in September, 1923 through the union of artists involved in two art groups: Kim Ki-Jin, Kim Bok-Jin, Yeon Hak-Nyeon who had previously participated in the ToWolHoi, and Park Young-Hi, Lee Sang-Hwa, An Seok-Ju, former members of the BaeckJo. After its founding, the PASKYULA artists had been searching for the social function of art to reform the harsh reality of Minjung and the nation with criticism toward society as well as art world. Their art theory for MinJung could grow relatively ease in relation to changing social and political conditions in the early 1920s. In August, 1925, PASKYULA organized the Korea Artista Proletaria Federatio with the YeomGunSa, and laid the groundwork for Proletariat art movement which was regularized in the late 1920s. From PASKYULA up to the early state of KAPF, the theory of art advocated by Kim Bok-Jin and An Seok-Ju could be summarized as "art for MinJung". At that time, widely ranging discourses on MinJung, however, was spawned in art theory, because many intellectuals-including artists and writers-begun to pay more attention to MinJung, who emerged as one of the social forces after the Samil Independent Movement. Sometimes, MinJung was construed as the target of enlightenment from a negative viewpoint. On the other hand, several intellectuals under the influence of individualism asserted that the discussion itself on MinJung exerted an evil influence on art. In contrast of these cases, the PASKYULA artists including Kim Bok-Jin, An Seok-Ju perceived that MinJung had the potential to change society, and regarded them as "a creator of genuine civilization and art". In the PASKYULA artist's writings, the concept of MinJung was often overlapped with the meaning of the Choson nation suffering under colony. Although their concept of MinJung was transformed gradually into the proletariat as they were under the strong influence of socialism, it did not change that they grasped the realities of the whole Choson Peninsula through the proletarian consciousness. In the early state of PASKYULA, the methodology for social function of art was presented in a twofold manner. First of all, Kim Bok-Jin emphasized on the necessity of education to improve MinJung's way of life through art, and it was embodied by the organization of ToWol Art Workshop and public lecture. Also, he championed "the popularization of art", which was one of methods to distribute art to MinJung. According to the PASKYULA artists, art should be not art for art' sake but art for MinJung. That was why they advocated the convergence of art and MinJung's life. Especially Kim Bok-Jin affirmed a link between art and industry because he considered industry the field inextricably linked with MinJung's life. In this context, his idea could be read as the generalization and equalization within the framework of possession. Kim Bok-Jin thought that the social ramifications of capitalism deprived MinJung of their right to enjoy art, and emphasized the artist' social role to return the right to them. That is, the even distribution of art was mainly discussed than the contents of art in the half of 1920s. By 1925, the contents of art itself became an issue in the PASKYULA art theory, and it was based in realism. Kim Bok-Jin and An Seok-Ju insisted that art should be reflection of real life. At that time, realism acquired the representation of MinJung and the nation's realities not realistic style. In fact, the various Western art styles including Futurism, Constructivism, Cubism etc. were exploited in the PASKYULA's visual images. Western art, target of criticism on theory, was selectively adopted in the works which were produced by Kim Bok-Jin and An Seok-Ju. Kim Bok-Jin's MoonYeUnDong cover design was conceived of as the example in which Western art was adopted with it's ideology under the influence of MAVO, while Western art shown in An Seok-Ju's illustrations served as a decorative function in many cases. Especially, An Seok-Ju attempted the various styles of Western art simultaneously, which may be seen as representing that PASKYULA did not have a firm ideology for their style. Also, it can be read as showing his hasty zeal to overcome Western art rapidly. The wish to establish "art for MinJung" as soon as possible was accompanied with the will to jump over the all steps of Western art though it was superficial. This aspiration of PASKYULA was expressed through the mass media, which had the potential for communicating to MinJung. At this point, there was a significant disparity between PASKYULA and another art groups in the first half of 1920s. However, the PASKYULA's method on the basis of the mass media could not but have a certain limitation because of the medium's properties. Nevertheless, PASKYULA' attempts may be considered to be valuable in sense that they expended the boundaries of Korean modern art into the commercial art questioning the matter of the distribution for art.

• Cross-Cultural Studies
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• v.47
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• pp.191-216
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• 2017

Among 20th century Western ideologies (Western civilization), existentialism is a spirit of the times to restore humanity as rationality and advanced technology have driven mankind to impoverishment and death, experiencing the First and Second World War, Great Depression, Fascism and the Spanish Civil War. In his literature, $Andr{\acute{e}}$ Malraux records his existential agony of how mankind lives and faces death by questioning the fateful life and death of characters. For Malraux's characters, the absurdity of existence related to the human identity means self-examination. Malraux explores existential consciousness and actions of characters in the presence of a concept known as death relative to terror, revolution, and adventure. Malraux deftly addresses the concept of death in his literary works, and it has being emphasized as a central subject for philosophical speculation. In Les $Conqu{\acute{e}}rants$(1928), La Voie Royale(1930), La Condition Humaine (1933), L'Espoir(1937), Malraux suggested a philosophical thesis of the meaning of life through characters in tragic situations, and sought out the consciousness of being and the existential meaning through how the characters control their fate. Malraux, in such a tragic perspective of the world, portrays humanity, affirmation of life, and characters' consciousness and actions in denying death. The agony of death triggers escapist behavior such as having unpredictable instinctual desires such as gambling or smoking opium, but these are desperate struggles to flee from frustration and related to the question of one's existence. What is always emphasized with respect to Malraux's existentialism is the tragic metaphysics of the inevitable destiny of the human condition eventually leading to the question of how humans ultimately confront death. But as characters unite in times of war, revolution and adventure in the novel, such cooperative actions symbolizes a keen sense of solidarity reflecting a camaraderie that transcends individualism. Fellowship among people who voluntarily gather for the common cause of philanthropy and restoring humanity is possible because of the underlying human greatness to sacrifice for such a noble cause. Therefore, Malraux's camaraderie includes the victory of existentialism in creating a world of humanism.