• The Journal of Art Theory & Practice
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• no.1
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• pp.71-92
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• 2003

This study examined the condition of an educational discourse, relating the concept of creativity, culture, culture-centered, and critical thinking, to explore Culture-based Art Education(CBAE). In particular, art education practice was examined using interpretations of creativity and critical theory positions from the field of education. Discourse analysis was used as the research method to contextually situate and analyze the ways in which art education theory and practice of creativity and of critical studies encoded meanings. The study helped build an understanding that creativity was formed as a modernist discourse in the humanistic stance. In education, creativity became the fundamental concern for progressive educators who pursued innate ability of individuals. The way to enhance creative potential of students was to induce their motive, as was the same case in art education, while in artist training, free expression was its main method. In this way, as creativity was intimately connected with the concept of expression, in art education art making is the only course for enhancing creativity. However, because creative process cannot intelligently be regarded as logically distinct from the creative product, and creativity can only be said by product, it seems valid to think that creativity is the quality not to be achieved by teaching. Furthermore, its emphasis on art making resulted in unbalance of art making and art appreciation in art education. It was the late sixties when several alternatives for creative education were made their appearance. Critical studies in art adopted critical theory as its theoretical background has developed as an alternative of creative art education, when research and theory for creativity could not be adequate to deal with the problem of practice. Critical theory is a broad and diverse field of theory and practice drawing on aspects of the modernist perspective of the later Frankfurt School, feminism, Freirean pedagogy, postcolonial discourse as well as postmodernism to construct a practical approach to education. It is very this eclectic nature to provide the mosaic that need to experience cultures from different perspectives in a pluralistic society. Because one's personality is formed by multiple aspects of culture which is very complex and is made up of what we do and value, creativity cannot make part of educational discourse with the philosophy of culture centered. On the other hand, critical studies, as a school art program of critical theory, can perform the role of CBAE, because it would have to deal with the investigation of social and cultural issues form multiple personal, local, national, and global perspectives.

• The Journal of Korean Philosophical History
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• no.38
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• pp.129-162
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• 2013

Noju Oh Hui-sang was a Confucian who was active during the reign of King Sunjo in late Joseon Dynasty and he also was a master of the Sallim faction. Though he is known as an eclectic Neo-Confucian, he had profound knowledge in the study of Confucian classics as well through succeeding the family study handed down by his father Oh Jae-sun and his oldest brother Oh Yun-sang. This thesis hereby examines Noju's Confucianism doctrine and its characteristics. Noju's Confucianism doctrine is characterized significantly with the following aspects. First, its analyses are detailed overall and it annotates chapters and verses mostly related to Neo-Confucian theories on interpretation of the Confucian classics. Second, it conducts in-depth study not only on Chu Hsi's annotation but also on the small commentaries (小注) in Compendium of the Commentaries on Four Chinese Classics (四書集註大全). In terms of Chu Hsi's theory, however, Noju interprets Confucian classics while supplementing shortcomings on Chu Hsi's theory rather than opposing it. For opinions of all philosophers and scholars on small commentaries, it expresses rather critical theories than supporting ones. Third, it quotes many theories not only of Chinese Confucians but also of Korean ones. It mainly introduces theories of Namdang Han Won-jin, including those of Yi Yulgok. Among them, it particularly has frequent quotations from Han Won-jin's Kyoungyigimunrok (經義記聞錄). Fourth, Noju actively acknowledges senior Confucians' theories many times in quoting them but he also daringly points out their errors when a theory is thought not to be appropriate. He indicates errors one by one in theories not only of Uam and Yulgok but even of Mencius. Fifth, it especially discusses Book of Changes (周易) in depth. It tends to criticize Chengzi's I-Chuan (易傳) but accept Chu Hsi's Benyi (本義). It roughly explains Book of Changes in general but seldom directly accounts for trigrams of it other than Qian trigram and it has detailed explanation especially on Xicizhuan (繫辭傳).

• The Journal of the Korea Contents Association
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• v.10 no.10
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• pp.161-171
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• 2010

Peter Brook has been often referred to as the most important contemporary theater director in the West. The fact that he has directed many plays without being tied to a single theatrical theory occasionally makes people think he is a eclectic imitator. But when you carefully observe his work, you can understand that his openness is nothing else but the pursuit and examination of theatrical communication. In this context, Brook's idea reminds us of Bricolage. Bricolage has been widely known after the publication of "The Savage Minds". L$\acute{e}$vy-Strauss used the word to describe characteristic patterns of mythological thought in compared with modern scientific thought and regarded it as a system of thought that we need to restore. Director Peter Brook have sought effective ways to fill the empty space with his broad view of theatre and life. His consistent attempt reveals positive theatrical idea with the expansive possibilities of Bricolage thought.

• MISULJARYO - National Museum of Korea Art Journal
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• v.100
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• pp.50-80
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• 2021

This paper critically examines the history of the theories connected to the Wongaksa Temple Pagoda that have developed over the last 100 years focusing on the original number of stories the pagoda would have reached. Part II of this paper retraces the dynamic process of the rediscovery of the Wongaksa Temple Pagoda by Westerners who traveled to Korea during the port-opening period. Koreans at the time viewed the Wongaksa Temple Pagoda as an object of no particular appeal or even as an eyesore. However, Westerners appreciated it as a wonder or magnificent sight. Since these Westerners had almost no prior knowledge of Buddhist pagodas, they were able to write objective travelogues. At the time, these visitors generally accepted the theory common among Joseon intellectuals that Wongaksa Temple Pagoda once had thirteen stories. Part III focuses on Japanese government-affiliated scholars' academic research on the Wongaksa Temple Pagoda after the proclamation of the Korean Empire and the Japanese Government-General of Korea's subsequent management of the pagoda as a cultural property during the colonial era. It also discusses issues with Japanese academic research and management. In particular, this portion sheds light on the shift in theories about the original number of stories of the Wongaksa Temple Pagoda from the ten-story theory supported by Sekino Tadashi (關野 貞), whose ideas have held a great influence on this issue over the last 100 years, to the thirteen-story theory and then to the idea that it had more than thirteen. Finally, Part IV addresses the change from the multi-story theory to the ten-story theory in the years after Korea's liberation from Japan until 1962. Moreover, it highlights how Korean intellectuals of the Japanese colonial era predominantly accepted the thirteen-story theory. Since 1962, a considerable quantity of significant research on the Wongaksa Temple Pagoda has been published. However, since most of these studies have applied the ten-story theory suggested in 1962, they are not individually discussed in this paper. This retracing of the history of theories about the Wongaksa Temple Pagoda has verified that although there are reasonable grounds for supporting the thirteen-story theory, it has not been proved in the last 100 years. Moreover, the number of pagoda stories has not been fully discussed in academia. The common theory that both Wongaksa Temple Pagoda and Gyeongcheonsa Temple Pagoda were ten-story pagodas was first formulated by Sekino Tadashi 100 years ago. Since the abrasion of the Wongaksa Temple Stele was so severe the inscriptions on the stele were almost illegible, Sekino argued that the Wongaksa Temple Pagoda was a ten-story pagoda based on an architectural analysis of the then-current condition of the pagoda. Immediately after Sekino presented his argument, a woodblock-printed version of the inscriptions on the Wongaksa Temple Stele was found. This version included a phrase that a thirteen-story pagoda had been erected. In a similar vein, the Dongguk yeoji seungnam (Geographic Encyclopedia of Korea) published by the orders of King Seongjong in the late fifteenth century documented that Gyeongcheonsa Temple Pagoda, the model for the Wongaksa Temple Pagoda, was also a thirteen-story pagoda. The Wongaksa Temple Stele erected on the orders of King Sejo after the establishment of the Wongaksa Temple Pagoda evidently shows that Sekino's ten-story premise is flawed. Sekino himself wrote that "as [the pagoda] consists of a three-story stereobate and a ten-story body, people call it a thirteen-story pagoda," although he viewed the number of stories of the pagoda body as that of the entire pagoda. The inscriptions on the Wongaksa Temple Stele also clearly indicate that the king ordered the construction of the Wongaksa Temple Pagoda as a thirteen-story pagoda. Although unprecedented, this thirteen-story pagoda comprised a ten-story pagoda body over a three-story stereobate. Why would King Sejo have built a thirteen-story pagoda in an unusual form consisting of a ten-story body on top of a three-story stereobate? In order to fully understand King Sejo's intention in building a thirteen-story pagoda, analyzing the Wongaksa Temple Pagoda is necessary. This begins with the restoration of its original name. I disprove Sekino's ten-story theory built upon flawed premises and an eclectic over-thirteen-story theory and urge applying the thirteen-story theory, as the inscriptions on the Wongaksa Temple Stele stated that the pagoda was originally built as a thirteen-story pagoda.

• Journal of Korean Academy of Fundamentals of Nursing
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• v.6 no.2
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• pp.288-309
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• 1999

This survey was done to construct a nursing theory according to Korean culture and to identify the Korean traditional view. From ancient time until now, shamanism has played an important role as determinant of Korean culture and of the personality formation of Korean people. The subjects are 321 patients and member of their families who were over 18 years old, and who are living in five large cities and two rural communities in Korea. Data collection was done from March, 8th to April, 29th in 1999. SPSS The tool developed by the investigator through literature review was used to measure the perception and the attitude of patients and their families to Korean shamanism. Collected data were analyzed by frequency, percent and $x^2$ test with SPSS program. The results are summarized as follows ; 1) While 35% of respondents answed that the destiny or fate(八字) was only relied on the abilities and endeavor of individual, 65% of respondents were fatalists(運命論者) or eclectic(折衷主義者) are compromised between the fate and endeavor. 2) While half of the respondents belief in divination(占) to some degree, the rest of them reported hardly any belief in divination. 3) There were almost twice as many respondents who directly consulted fortune-tellers were as respondents who did not consult fortunetellers. 4) The reasons for consulting fortunetellers were job problems, home problems, health problems by in that order. 5) The respondents almost always interpreted the cause of physical disease and mental disease as being psycho-sociological, but 1% of them explained mental disease as a shamanistic manitestation. 6) In case of disease, the reasons for consulting a fortuneteller was a) no hope of recovery from the sickness in any other way, b) the chronic disease in that order. 7) Of the respondents, 65% answered that diseases could not be cured by a 'Gut' (the performance done by the shaman), but 27% of respondents thought that disease could be cured by a 'Gut' in the case of mental disease. 8) Sixty six percent of the respondents answered that they have experienced praying for their wishes with clean water(井華水). 9) While 54% of the respondents answered that they have seen or heard the 'Beung Gut'(the performance to pray for recovery of sickness done by the shaman), 46% responded that they have never seen or heard it. 10) To the question 'do you intend to have a 'Beung Gut', 51.7% of respondents answer 'no' strongly, but 48% of them say 'yes' or took a compromising attitude. 11) Generally the respondents differed in perception and attitude to shamanism. In short, females more than males, old aged more than younger aged, lower educated more than higher educated, believers in Buddhism more than believers in any other religion, and blue color more than white color have more positive attitudes to shamanism. Also men living in rural communities have more positive attitude to shamanism than men living in the large cities. Consequently, Shamanism can be understood as an anxiety relieving cultural system even though Shamanism itself looks like a cultural complex.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.12 s.159
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• pp.1768-1777
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• 2006

As the fashion industry comes under the influence of globalization throughout all fields of industry, the globalization and the market entry strategies are required for Korean fashion firms. This study attempted to analyze the factors influencing foreign entry mode of Korean fashion business based on Eclectic Theory. Data collection has been carried out from November 25 until December 25, 2005. The questionnaires were sent through e-mail or fax to 622 trading companies. 67 questionnaires were returned for a response rate of 10.7%. Of these returns, 61 usable questionnaires were employed for data analyses. Descriptive analysis, factor analysis, discriminant analysis, and t-test were used for data analysis. First, the most important venture motivation was price competitiveness and many firms were engaged in both production and sales in their target countries, which were mainly in Southeast Asia. Second, the firm's ability and experience were found out as ownership advantage factor, investment stability and market potential as location advantage factor, and contract stability as internalization advantage factor. Third, the result of discriminant analysis showed that location advantage factor was a significant factor in predicting the entry of fashion firms into foreign countries.

• Review of Culture and Economy
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• v.17 no.2
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• pp.29-62
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• 2014

Game industry, one of cultural-content industry which is considered as a typical knowledge-based industry and creative industry, is not like the overseas expansion of traditional manufacture, and has different strategy and performance of export expansion through product or project-based strategy. Therefore, it should be approached by each content unit, and necessary to look at the factors that make their decision makings of foreign market entry vary. This study focuses on discovering creativity, absorptive capacity and strategic orientation(market orientation and innovation orientation) which affect the difference of distribution's decision making of entry into foreign market in game industry This paper examined 252 cases of online games in order to investigate creativity, absorptive capacity and strategic orientations for each foreign market and what entry type(among licensing, joint distribution, exclusive distribution) they chose according to the products developed in team level. This helps us analyze the factors affecting market orientation and innovation orientation in the perspectives of creativity and absorptive capacity in comprehensive way, and notice the phenomena which use different foreign distribution strategy though there are company incorporated abroad and their results. This study supplements the limit of the existing Resource-Based View, Resource-Dependent View, and traditional international business theories such as Transaction Cost Theory or OLI Paradigm(Eclectic Framework), and proves how company could reduce asymmetry of uncertainty and information in creative industry and whether they accomplish successful overseas expansion according to strategic orientations.