• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.1
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• pp.10-20
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• 2023

Zhū Xī, the representative of Confucianism, and Báiyùchán, the representative of Taoism in the South Song Dynasty, showed different sense of appreciation and enjoyment on the same space that was Mountain Wǔyí in their ideologically cultural ways. Based on the temples Wŭyíjīngshè(武夷精舍) where Zhū Xī stayed and Zhĭzhĭān(止止庵) where Báiyùchán resided, this study revealed their lives in such temples to look into their appreciation on ideology and space. Then, based on the words 'YiBoEumYeong [移步吟詠]' shown on the poetry they chanted in relation with Wǔyíjiǔqū from its 1^st valley to its 9^th valley, this study examines their understanding of scenery and system of appreciation that appeared in dynamic ways to conclude: First, even same scenery shows different understanding of scenery and appreciation of space in accordance with the viewers' thinking ways of culture. Second, as the Confucianism and Taoism influenced in ideologically cultural ways to develop each other in the Song dynasty, they absorbed their merits each other to supplement shortcomings in their own. In this process, they made it clear that their own propositions were different between them in their essential meanings although they used common terms for such propositions. Third, as the Confucian master who compiled the Neo-Confucianism of the South Song dynasty, Zhū Xī regarded Wŭyíjīngshè and Wǔyíjiǔqū as a place of learning and a place of seeking the truth to go for 'being unified with nature' so that everyday life can be united with Tao of Li [理] everywhere beyond the limited appreciation of the scenery. That is, this thought works for 'recovery of nature of our own [復其性]', the learning goal of Confucianism, and is aimed to 'cultivate the essential nature of our own(性情涵養)' through such beautiful nature. Fourth, as the master of Keumdan family of the South Song Taoism, Báiyùchán regarded Zhĭzhĭān and Wǔyíjiǔqū as a Taoist temple that has a long history rooting from Taesangwon temple, a clean place of discipline to become a Taoist hermit through hard training. He, therefore, directly referred to Zhĭzhĭān and Wǔyíjiǔqū in relation with the Taoist legends remaining in Wǔyíjiǔqū such as hermits' dinners, female hermits, leaving the human world as a hermit and so on as ways for becoming a hermit so that he went for the level of perfectly going out of human world and becoming a hermit. He, therefore, defined Mountain Wǔyí as a world and universe of hermits where he himself too hovered between outside and inside of poetry literature as a hermit through the mood and attitude of keeping himself enjoying the scenery as a hermit.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• 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.

• Journal of Digital Convergence
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• v.12 no.9
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• pp.237-244
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• 2014

Pathogenic fungal infections are predominantly occurred in patients with severe immune or metabolic defects. In the present study, we aimed to investigate the last five years (2007~2011) 190,250 cases clinical specimens of yeast 3,487 results that had shown positive culture and to look at the significance of regional difference and identify relationship between provide the characteristics about association between clinical isolates and gender, age, and type of specimens. The yearly strain-specific isolation frequency of yeast separated was 1,925(55.2%) for C. albicans the largest of them. All kinds of clinical specimen was 1,495(42.9%) in urine, 998(28.6%) in sputum. Strain-specific gender differences in C. albicans for males was 1,177(57.8%) of the total of 2,037 and 748(51.6%) of 1,450 and as for age, those between 70 and 79 were the largest with 639(55.1%) of the 1,925 strain. In this study, well presented the general characteristics of pathogenic yeast seen in diverse specimens. This limitation has been implemented in a single area, Future research is expected to examine more on nationwide distribution chart, dynamic characteristics and future antibiotic sensitivity.

• Journal of Korean Academy of Nursing
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• v.28 no.2
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• pp.498-509
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• 1998

The phrases such as elders' powerless soliloquy or stammering and their positions unadjusted to the real world are, so far, one of negative views on elder's reminiscences. In other words, it means that elders can get psychological consolation from the getting themselves absorbed in their past. The starting point of this study is, however, that elders' reminiscence are their own mode of the existence. This dissertation is studied through Van Manen's phenomenological research method. The aim of this study is to examine the nature of Korean elders' reminiscences by both observing and describing the reminiscing content in everyday life of elders. The research participants consist of the ten elders who are community elders, hospitalized elders and nursing home residents. The period of the research is about a year from Jan., 1996 to Feb., 1997. The results of this study are as follows : The natures of elders' reminiscences are the regrecting on their life, mitigating the regrects, the confirmation of the powers and the confirmation of their life's mark. The regrecting on their life is the starting point of elders's reminiscences. Elders have tried to examine their life through reflection on their life that they did not live good life as son and daughter for parents and as parents for children and that they have foolishly lived, on dream that they did not come true, on their learning that they did not unsatisfied. But elders mitigate the regrects. They have felt their limitations of power in the conflict of human relation, the economic matter and the difficult predicament, and have finally accepted their life as it is by conquesting from their tenacity. It is dynamically found that both the regrecting on their life and mitigating of the regrection. And they pursuit the powers. It means the pursuit of the vital powers, the vigorous powers and the competency. Elders have pursued their vitality, vigor and competency through their reminiscences and have wanted to be recognised by others as a powerful being. These have dynamic and compounded aspects. The confirmation of their life's mark refer to through their own situation of health, condition, children, neighbourhood and doing their duty as a human. Elders have confirmed the present value of their being through the reflecting the present, past self, other men around themselves, children, neighborhood and the doing their human duty as a good men. Therefore the results of this study can offer new view on the elders' reminiscences that we have to understand them as a process as what they are, escaping from the simple logic that elders' reminiscence have a positive or a negative effects. Also, this study which have examined the natures of Korean elders' reminiscences can cast a new light on elders' nursing proper for Korean culture.

• Journal of the Economic Geographical Society of Korea
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• v.14 no.3
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• pp.407-418
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• 2011

The southern region including Guangzhou(黃州), the capital of Guangdong Province, was called "South of the Mountain Range" (嶺南) because it is located south of the Five Mountain Ranges (五嶺) which made mobility difficult prior to unification of China by Qin dynasty (秦) in 221 BCE. The Guangdong region of the South of the Mountain Range (嶺南) was an administratively independent unit and, as such, called the Nanyue kingdom (南越國). This is the origin of the Chinese character "yue", and terms such as yueyu (Cantonese), yuecai (Cantonese cuisine), yueju (Cantonese opera) are still in use today. Guangzhou, called Panyu (番禹) during the Nanyue kingdom period, was settled early in the northern part of the Pearl River (珠江, Zhu Jiang) delta. It became the first port to open its doors to the great powers of the West during the Qing period. Although it has now fallen behind Shanghai which developed later, Guangzhou is still the third largest city after Beijing and Shanghai, and thus, it is an influential open coastal city. Today, not only is Guangzhou the world center of the light textile industry, it also spurs development in various manufacturing industries. Along with nearby Hong Kong, Macao, and Shenzhen, it plays the role of cradle of the Pearl River delta economic zone. Firmly established early on as the greatest central city in southern China, Guangzhou is simultaneously a hub in various aspects such as regional politics, economics, and culture; it was also the center of revolution and resistance which attempted to challenge the northern political powers. Guangzhou is known for the history of the rise and fall of its port, but with developmental efforts, it still maintains its influence. Guangzhou's dynamic development of today brings with it issues such as the environment and moral system which must be dealt with.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.2
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• pp.194-205
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• 2012

Historically, garments have been spontaneously made with human instinct in order to warm and decorate the body using textiles that have been made and used by various peoples in different cultures. Contemporary garments have been used as a means of warming as well as express individual personality and a desire to pursue beauty. They have a unique formativeness and a symbolic nature according to cultural phenomena that reflect a cultural outcome that expresses contemporary thinking and ideology as well as their aesthetic consciousness. This study globally promotes Chinese opera mask culture and proposes the possibility of creative thinking through the introduction of Chinese opera mask elements into contemporary fashion, expressing them as patchworks. In order to endow artistic value (required in contemporary fashion) this study creates works by analyzing and applying a formative sense seen in patchwork techniques and the characteristics of Chinese opera masks; in addition, it sought the possibility of new expressions in garment designs. The results obtained from the research involve the following. First, the introduction of the traditional patchwork technique to contemporary garments may be a dynamic theme of garment expression and exceed stereotypical ideas that enable the creation of designs attuned to the globalization era. Second, it was possible to pursue independent formativeness which is in harmony with a modern sense through the restructuring of the harmony of colors and practical characteristics found in patchworks. Third, it was possible to demonstrate their artistry and unique effect in the expression of contemporary garments by the expression of the analyzed results of characteristic patterns of Chinese opera masks with a patchwork technique in creating works. Results show that it is necessary to conduct research into a patchwork technique that applies diverse materials as a new method to develop contemporary garment design also as a creative design. In addition, if the analyzed results of the characteristic patterns of Chinese opera masks can be expressed with a patchwork technique, they may be able to exhibit a genuine effect along with the artistry of expression in contemporary garments; thereby, relevant follow-up research should be further continued.

• KIISE Transactions on Computing Practices
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• v.22 no.11
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• pp.619-624
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• 2016

Social-aware video displays not only the relationships between characters but also diverse information on topics such as economics, politics and culture as a story unfolds. Particularly, the speaking habits and behavioral patterns of people in different situations are very important for the analysis of social relationships. However, when dealing with this dynamic multi-modal data, it is difficult for a computer to analyze the drama data effectively. To solve this problem, previous studies employed the deep concept hierarchy (DCH) model to automatically construct and analyze social networks in a TV drama. Nevertheless, since location knowledge was not included, they can only analyze the social network as a whole in stories. In this research, we include location knowledge and analyze the social relations in different locations. We adopt data from approximately 4400 minutes of a TV drama Friends as our dataset. We process face recognition on the characters by using a convolutional- recursive neural networks model and utilize a bag of features model to classify scenes. Then, in different scenes, we establish the social network between the characters by using a deep concept hierarchy model and analyze the change in the social network while the stories unfold.

• Journal of Distribution Science
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• v.11 no.12
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• pp.13-23
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• 2013

Purpose - There is a dominant opinion that medium and small enterprises in the Korean economy have not developed qualitatively but only towards quantitative growth and, therefore, the unbalanced structure between large enterprises and those that are medium and small has worsened. In particular, this rapid industrialization causes after-effects such as polarization as well as anti-business sentiment, the collapse of the middle class, and hostility against the establishment. The consensus contends that it is difficult for Korea to be an advanced nation without resolving these problems. This paper attempts to suggest a co-prosperity model by limiting the focus to business relations with medium and small manufacturers (with regard to investment among the various co-prosperity institutions of POSCO). These co-prosperity institutions have been established in POSCO; however, it is thought that the development of a co-prosperity model regarding investment in medium and small manufacturers will help many needy investment manufacturers. Research design, data, and methodology - This study analyzes research on the co-prosperity model, using it to examine Korean cases and foreign cases. The co-prosperity model has been continuously extended but is determined to be seriously insufficient. The purpose of this study is to develop the Korean co-prosperity model by reinterpreting it in various aspects. In order to develop the Korean co-prosperity model, this study suggests the case of the establishment of the co-prosperity model by POSCO with medium and small manufacturers with regard to investment. This model is expected to be presented to many enterprises as the future co-prosperity model. Results - To date, analysis of the co-prosperity model itself and the co-prosperity model through the case of POSCO have been suggested. As empirical studies on co-prosperity in Korea are not sufficient, successful models of co-prosperity should be developed in various aspects in future. It is expected that through this study, medium and small manufacturers would have an opportunity to find various growth engines by actively using the cooperation platform and establishing optimized competitiveness of steel material through a steel business model. The ecosystem of enterprises may evolve and be healthier by making more joint products through productive business relationships between large enterprises and those that are medium and small. From the enterprises' ecosystem viewpoint, cooperation between such businesses rather than one-way support is identified as an essential element for the security of inter-competitiveness. Conclusions - Infrastructure should be established to form a dynamic industry ecosystem not by transient efforts in co-prosperity, but by an entire culture of co-prosperity across industries. In this respect, the leading role of public institutions needs to be intensified initially. In addition, the effects of co-prosperity should be extended to blind spots of policies such as third party companies and regions. A precise co-prosperity monitoring system should be established to continuously conduct and extend these efforts.

• Journal of Science of Art and Design
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• v.12
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• pp.5-41
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• 2007

As public attention on Well-being culture increases, it is now considered to be a new trend of modern society. The purpose of this study is to publicize the necessity of design products which are advanced in quality and encourage the use of it. The researcher judged that study on design of lighting product to adopt well-being trend is in preliminary level and aims to research on the tendency of well-bing trend and lighting design which the consumer of this age is demanding. As the result of changes in modern consumption trend, design is considered to be a factor of capricious cultural phenomenon. In addition to this, as high technology such as ubiquitous develops with the degitalisation and informatization, the consumer are paying attention to dynamic products rather than static products or products which respond to external stimulus. Products which adopt well-being trend pursuing nature friendly life are particularly preferred It means that not only the basic function of products but also design which satisfy the five sense is required. Modern consumers use products in various way. However, the pro-environmental and human-centered tendency is tried only in very limited area and general study on this matter is extremely rare. This study analyzes the factors which intercepts the adoption of well-being trend to lighting products and seeks for an alternative to solve the problem. Interaction design with well-being trend was adopted to lighting design and the result presented that there is a possibility to differentiate existing lighting design by adding interaction design to the existing lighting design. Therefore, the need for further study on this matter is presented.