• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.1
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• pp.78-88
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• 2018

The purpose of this study is to establish a utilization plan according to the cultural value of Placenta Chamber of King Sejong's Princes. We used SNS to analyze various public perceptions and opinions, collected data and analyzed it. The collection period is from June 01, 2007 to June 30, 2017 (for about 10 years), We gathered data from blogs, cafes, and Knowledge IN that contain keywords related to 'Placenta Chamber', 'Placenta Chamber of Seongju', 'Placenta Chamber of King Sejong's Princes'. and Analyzed using the text mining method of the big date program. Based on the main results of the big data analysis, Placenta Chamber's method of utilization was derived. As a result, major keywords such as King Sejong Great, Prince, Sungju, Feng Shui, culture, preservation, blessing etc were derived. The association of 'world', 'heritage', 'cultural heritage' is high, and the connection of 'Placenta Chamber', 'Gyeongsangbuk-do', 'cultural property' is high, and it was able to confirm the value of Placenta Chamber as a world cultural heritage. and It is necessary to induce visitors to feel stimulation or change of surroundings through facility refurbishment and environmental improvement around Placenta Chamber.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.8
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• pp.1364-1377
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• 2010

Although the human body is a biological subject with definite and distinctive physical features, its actualization and perception differs among societies. The aesthetics of the human body are based on diverse cultural perceptions that must be considered prior to design development. This study establishes the foundations of newly adopted concepts of beauty that are presumed to have been established in the first half of the twentieth century that continue to affect our mindset even now. The research includes human figures in the articles of women's magazines and cosmetic advertisements in the early $20^{th}$ century. The results are as follows: First, the change of perception in the human body: Instead of being a subject of preservation, the body has become a subject of sculpture with emphasis on health in the 1920's and on beauty in the 1930's. The recognition of the importance of the body has created intensive attention on physical training and an increased sense of hygiene. The body exposed to the public perceives itself through the eyes of others that alter one's own perception of oneself as well as become a target of evaluation. There is an additional emphasis on the exotic eroticism of a passive subordinate. Western culture became the standard for modernization along with the dissociation of traditional standards and values. Through the effect of education and western thinking, the awareness of women's rights and self-appreciation was developed. Second, ideal beauty can be summarized as follows: Unprocessed natural beauty was extolled as ideal in the 1920's, but the 1930's, it highlighted big eyes and an aquiline nose that are the characteristics of western women. Taking care of one's appearance was recognized as an important value for every social class. Cosmetics and skin care treatments promised soft and white skin. In contrast to western cosmetics, dark and shiny hair was highly favored. Exercising and traveling, differing seasonal and regional skin treatments were also widely accepted. In its initial stages, the research had originally assumed that the beginning of the twentieth century would be a time in which traditional concepts of beauty and new, westernized aesthetics coexisted. However, as the research progressed, it was clear that the idea of beauty had already adopted occidental ideals by that time. Thus, it seems necessary to continue the study on the shifting paradigms of beauty that must have occurred in the nineteenth and late twentieth century.

• Korean Journal of Culture and Social Issue
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• v.14 no.1_spc
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• pp.319-348
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• 2008

Self-efficacy, achievement goals, task value, and attribution are some of the representative motivation constructs that explain adolescents' cognition, affect, and behavioral patterns in achievement settings. These constructs have won researchers' recognition by demonstrating explanatory and predictive utility that transcends various social and cultural milieus learners are exposed to. Korean adolescents' motivation is generally in line with this universal trend and can be described adequately with these constructs. Nonetheless, there also exist a host of indigenous factors that shape these motivation constructs to be uniquely Korean. The purpose of the present article was to explore some of the socio-cultural factors that appear to wield particularly determining effects on Korean adolescents' academic motivation. Review of the relevant literature identified interdependent self-construal, traditional morals of filial piety, familism, educational fervor, academic elitism, and the college entrance system as important cultural, social, and policy-related such factors. Also discussed in this article were the roles of these factors in creating more immediate psychological learning environments for Korean adolescents, such as parent-child relationships, teacher-student relationships, and classroom goal structures.

• Archives of design research
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• v.19 no.4 s.66
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• pp.31-40
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• 2006

For a long time, we have been good at the static image, 'the country of calm morning' as reminding Korea. But, it became a chance that we were recognized newly and actively through the success of the Olympic games in 1988 and World cup games in 2002 all over the world. And foreigners' interest and expectation for Korea becomes much higher by these reasons. Moreover, the importance of our cultural industry, recognition for new cultural improvement have been changing step by step by the oriental trend in Asia in these days. So, this study intends to realize the Korean symbol with showing Korean Identity and its image's applying to the street furniture design through the making of special street which expresses well the Korean Image. There is a purpose of this study not to use as just street furniture but to make characterized Korean culture through showing examples which are based on Korean culture. The way of the improvement for the street furniture design using Korean image are these we analyze the character of Korean international image with the previous data for the change of Korean Image. We understand the symbol of changed Korean international Image, and extract the design elements. We analogize the shape, material and color image of the street furniture which is joined with both the Korean national image and formative traditional elements. At last, we formalize its symbolic image by applying to the street furniture according to the design improvement process with the analogized image. The formal study using Korean image makes more cleary the Korean Identity, and it doesn't influence only the actual change but also Korean cultural value equipment.

• Archives of design research
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• v.17 no.4
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• pp.211-222
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• 2004

During the 1980s, Textile design achieved a remarkable growth in creating aesthetic effect and in establishing its standing by responding to demands of the time effectively and seeking changes proactively. This was a period when Textile design constructed its modern concept as it was attempting a qualitative improvement through advanced technology, high class, and differentiation. The advent of advanced materials through the development of textile engineering, employment of craft techniques to further cultural and artistic orientation, and restoration of decorativeness in pursuit of sensitivity, all these developments of the 1980s contributed to the rise of above characteristics. In this study, attempts are made to grasp the new trend of Textile design during the 1980s and to review diverse methods of aesthetic creation and plastic possibility which this trend presented for the Textile, and thus to recognize the role of Textile design and its importance in a new light. The new trend of Textile design during the 1980s can be summarized as follows: 1) An appreciation of the creative aspect of the Textile. As attempts are made to emphasize visual and sensitive aspects of the medium, Textile tended to become an object of art itself. 2) A new awareness of the representative and plastic capacity of the fiber material. As attempts are made to develope the creative potential of the Textile, representation of the material tended to become more diversified. 3) A recognition of the Textile as a proper means to deliver the spirit of the time. As the medium accommodates and fuses diverse cultures including traditional culture, more emphasis was place on cultural contents of the Textile. In the process of pursuing these changes, Textile design of the 1980s has also contributed to the creation of new values, laying the groundwork for its emergence as an advanced high value-added industry.

• Journal of Science of Art and Design
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• v.11
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• pp.221-249
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• 2007

Today, photography is facing to the crisis of identity and dilemma of ontology from the digital imaging process in the new technology form. It is very important points to say rethinking of the traditional photographic medium, that has changed the way we view the world and ourselves is perhaps an understatement and that photography has transformed our essential understanding of reality. Now, no longer are photographic images regarded as the true automatic recording, innocent evidence and the mirror to the reality. Rather, photography constructs the world for our entertainment, helping to create the comforting illusions by which we live. The recognition that photographs are not constructions and reflections of reality, is the basis for the actual presence within the contemporary photographic world. It is shock. This thesis's aim is to look for the problems of photographic identity and ontological crisis that is controlling and regulating digital photographic imagery, allowing the reproduction of the electronic simulations era. Photography loses its special aesthetic status and becomes no more true information and, exclusively evidence by traditional film and paper that appeared both as a technological accuracy and as a medium-specific aesthetic. The result, photography is facing two crises, one is the photographic ontology(the introduction of computerized digital images) and the other is photographic epistemology(having to do broader changes in ethics, knowledge and culture). Taken together, these crises apparently threaten us with the death of photography, with the 'end' of photography and the culture it sustains. The thesis's meaning is to look into the dilemma of photography's ontology and epistemology, especially, automatical index and digital codes from its origin, meaning, and identity as the technological medium. Thus, in particular, thesis focuses on the analog imagery presence, from the nature in the material world, and the digital imagery presence from the cultural situations in our society. And also thesis's aim is to examine the main issues of the history of photography has been concentrated on the ontological arguments since the discovery of photography in 1839. Photography has never been only one static technology form. Rather, its nearly two centuries of technological development have been marked by numerous, competing of technological innovation and self revolution from the dual aspects. This thesis examines recent account of photography by the analysis of the medium's concept, meaning, identity between film base image and digital base image from the aspects of photographic ontology and epistemology. Thus, the structure of thesis is fairy straightforward to examine what appear to be two opposing view of photographic conditions and ontological situations. Thesis' view contrasts that figure out the value of photography according to its fundamental characteristic as a medium. Also, it seeks a possible solution to the dilemma of photographic ontology through the medium's origin from the early years of the nineteenth century to the raising questions about the different meaning(analog/digital) of photography, now. Finally, this thesis emphasizes and concludes that the photographic ontological crisis reflects to the paradoxical dynamic structure, that unsolved the origins of the medium, itself. Moreover, even photography is not single identity of the photographic ontology, and also can not be understood as having a static identity or singular status from the dynamic field of technologies, practices, and images.