• Journal of the Korean Society of Costume
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• v.40
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• pp.151-170
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• 1998

The purpose of this study is to examine the value of grotesque fashion and to predict the future fashion trend. The grotesque originates the formative art. It emerges towards of a century or transitional period in most case. In particular, it was used as the expressive method of an individual's inside and a satire on society through the work of artists in the Middle Age, the renaissance, the sym-bolism, the dadaism, the surrealism, the pop art, the technology art, and the post-modernism, etc. The grotesque in fashion is represented in the work of avant-garde fashion designers who lead the high fashion. The grotesque fashion which was combined with an image of non-formality, non-rationality, an absurdity and reality. It has been begun shape of female dress in the renaissance. Afterwards, it was represented in extremely exaggerated and distorted pop art, hippies' fashion in the 1960's. In the 1970's, it was reflected in genderless rock star and destructive punk fashion. It was also represented in the androgynous fashion which was combined with both sexes, the goth/gothic fashion which was expressed with a realistic and fanciful shape and the tattoo of skin-head in the 1980's. In the 1990's, the grungy look which was dirty and the cyber punk fashion. In general, it was also expressed by the avant-garde fashion designers. To sum up, a grotesque fashion which is expressed by experimental designers is classified into four shapes. 1, Union of some extraneous is expressed as different kinds of fashion theme, such as abnormality of texture, uses of surrealistic elements and chaos of sex. Although it appears that the abnormal union of grotesque has only discord and collision, it also shows a feeling of freedom for the tension. 2. Introduction of real and fanciful image is expressed as a cyborg, realistic description of disgusting animal skin and aggressive shape. Especially, it is worth while to notice Tierre Mugler and Alexander Macqueen's work which expressed the shape of mingling human of Middle Age. 3. distortion or exaggeration is expressed as an unformed shape, the exaggeration of a clothing size, the abnormal exaggeration of human body and the ignorance of clothing form. 4. Introduction of a disgusting image is expressed as an extremity of reality, motifs of death, clothing material of disgusting hair and the ostentation of sex. Motto which leads modern fashion is something new and shocking. The grotesque fashion is an expression of eagerness for something new. It often show something ironic in the form of humor which is embedded in an abnormal and shocking pattern. The grotesque fashion is represented as an extreme beauty. It will stand as an important element of the future fashion and as a particular style with the change and fluidity.

• Journal of Society of Preventive Korean Medicine
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• v.21 no.2
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• pp.1-13
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• 2017

Objectives : This paper serves to explore current trends of systems biology in Traditional Chinese Medicine (TCM) and examine how it may influence the Traditional Korean medicine. Methods : Literature review method was collectively used to classify Introduction to systems biology, diagnosis and syndrome classification of systems biology in TCM perspective, physiotherapy including acupuncture, herbs and formula functions, TCM systems biology, and directions of academic development. Results : The term 'Systems biology' is coined as a combination of systems science and biology. It is a field of study that tries to understand living organism by establishing a theory based on an ideal model that analyzes and predicts the desired output with understanding of interrelationships and dynamics between variables. Systems biology has an integrated and multi-dimensional nature that observes the interaction among the elements constructing the network. The current state of systems biology in TCM is categorized into 4 parts: diagnosis and syndrome, physical therapy, herbs and formulas and academic development of TCM systems biology and its technology. Diagnosis and syndrome field is focusing on developing TCM into personalized medicine by clarifying Kidney yin deficiency patterns and metabolic differences among five patterns of diabetes and analyzing plasma metabolism and biomarkers of coronary heart disease patients. In the field of physical therapy such as acupuncture and moxibustion, researchers discovered the effect of stimulating acupoint ST40 on gene expression and the effects of acupuncture on treating functional dyspepsia and acute ischemic stroke. Herbs and formulas were analyzed with TCM network pharmacology. The therapeutic mechanisms of Si Wu Tang and its series formulas are explained by identifying potential active substances, targets and mechanism of action, including metabolic pathways of amino acid and fatty acid. For the academic development of TCM systems biology and its technology, it is necessary to integrate massive database, integrate pharmacokinetics and pharmacodynamics, as well as systems biology. It is also essential to establish a platform to maximize herbal treatment through accumulation of research data and diseases-specific, or drug-specific network combined with clinical experiences, and identify functions and roles of molecules in herbs and conduct animal-based studies within TCM frame. So far, few literature reviews exist for systems biology in traditional Korean medicine and they merely re-examine known efficacies of simple substances, herbs and formulas. For the future, it is necessary to identify specific mechanisms of working agents and targets to maximize the effects of traditional medicine modalities. Conclusions : Systems biology is widely accepted and studied in TCM and already advanced into a field known as 'TCM systems biology', which calls for the study of incorporating TCM and systems biology. It is time for traditional Korean medicine to acknowledge the importance of systems biology and present scientific basis of traditional medicine and establish the principles of diagnosis, prevention and treatment of diseases. By doing so, traditional Korean medicine would be innovated and further developed into a personalized medicine.

• Cross-Cultural Studies
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• v.29
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• pp.113-131
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• 2012

In our days, we live in the world of image and imagination. Now we think that the images and imaginations are no more selective but indispensable elements in our life. The status of imagination is dramatically changed since 20 century. Many philosophers like G. Bachelard, G. Durand, Paul Ricoeur, H. Corbin, G. Deleuze made great contributions and we think that the studies of imagination began since 20 century. But the change of the status of imagination was not made in one day. In the long history of human life, the imagination kept his own value, and never stopped to give his influence to the human mentalities. The concept of imagination was born from the Plato's notion of phantasia. Plato thinks that the phantasia is a kind of drawing capacity in mind in the process of recognition. But the image which phantasia makes is not real one but pseudo one. So it is necessary to banish those false images from our recognition. Aristotle thought phantasia as an afterimage of object of sense. The sense is always true, but the phantasia is very possible to be an error. After Plato and Aristotle, the notion of phantasia developed into that of imagination, but it was always a problem full of contradictions. According to G. Durand, we can say, in some sense, the history of western philosophy is a kind of struggle against the image and imagination. In Middle Age, the iconoclasm tried to exclude image from their religion. Thomas Aquinas tried to explain the image by the rationalistic christianisme. In 16-17C Galilei and Descartes solidified the exclusion of imagination from the philosophy in the name of science and reason. The empiricism and positivism was the final and the most conclusive philosophies which exclude the imagination definitively from the field of philosophy. But the imagination continued his influence in the field of art. In the age of Renaissance, the imagination found his way of liberal expression, and this trend was inherited to Baroque. From the middle of 17c many philosophical theories supported the imagination by many philosophers like J.-B. Dubos, Baumgarten, A. Becq, J.-J. Rousseau etc. The Romanticism was the first significant wave which made the imagination come forward in front the art. The romanticism broke the narrow frame of rationalism and expand human's view of the world to the cosmos. From the romanticism, the imagination became a faculty which expresses the unity of human and nature. That was impossible by the rational thinking of rationalism. The concept of new imagination made a new future of human, 'the imagining conscious' and this imagining conscious provided a solid base of next generation's symbolism and surrealism.

• The Southeast Asian review
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• v.21 no.2
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• pp.43-75
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• 2011

The article focuses on the impact and Acceptance of Hindu culture in Modern Southeast Asian Buddhism. The purpose of this study is to examine critically the influential epic Ramayana on Siam culture, Thai Ramayana version 'Ramakien', reveal instances of Buddhist Modification. The Ramayana by the great sage Valmiki is considered by Indians to be the first great literary work to be produced in India. The influence of this work is to be seen not only through centuries but even in other countries, such as Thailand where there are modified modern versions. In this paper, I have three objectives : (1) I may discuss the epic Ramayana of India gave birth to the Ramakien of Thailand. In modern times Valmiki's epic was made to fit the spiritual trends current in the new Chakri dynasty, which were themselves based on Brahmanic tradition and Theravada buddhism. With regarding to the structure of the Traibhumi cosmography, and the relationship between merit and power implied by this cosmography ranks all beings from demons to deities in a hierarchy of merit which accrues according to karma the actions of past lives. (2) I analyze how to have attempted to dissect the Hindi and Thai version of the Ramayana. The Hindu concept of kingship is also depicted in the life of Rama. The Hindus see in Rama the norm of a true Hindu life characterized by the Caste and Dharma. In Thai transformed version, it does not preach Hindu values of personal or social life. The Ramakien emphasized that the Buddhism were higher than all other laws, and that the King is regarded as the incarnation of Phra Ram, and thus is also the narration of the righteous buddhist ruler. (3) I discuss how cultural or social contexts can influence the structure of the royal Wat. The whole epic was painted by the order of Rama I in the galleries of the Wat Phra Keo. In other words, it is the very centre of the dynastic cult enshrining the Emerald Buddha, the most iconic expression of the Ramakien tradition were officially amalgamated. Rama I was continued the process of elaborating and stabilizing the complex religious pattern, with Buddhism at the pinnacle. My finding will support the idea that the Ramakien is particularly appealing to the Thai people because it presents the image of an ideal king, Rama, who symbolizes the force of virtue or dharma while Thotsakan represents the force of evil. Eventually the force of good prevails. Being Buddhists, the Thai poets bring into the story the Buddhist philosophy(especially, the law of cause and effect, karma). This paper examines the role of the Hindu epic Ramayana in the historical and cultural contact between Hindu India and Buddhist Southeast Asia. It should now be possible to evaluate what elements of Hindu culture were transmitted into Thai through the Rama story.

• Korean Institute of Interior Design Journal
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• no.14
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• pp.82-89
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• 1998

During the boom of museum building in the 1970s-80s two museum wee erected in Germany. They are James Stirling's Neue Stattsgalerie Stuttgart and hans Hollein's Stadtisches Museum Abteiberg Monchengladbach, These two museums share the folowing point of similarity : Stirling's Neue Stattsgalerie Stuttgart and Hollein's Staditisches Museum Abetiberg Monchenbladbach both manifest the conditions of the times in light of their respective cities' local characters and historical contexts without being bound to traditional formality. Stirling and Hollein attempted to grasp the meaning of the 기nuseum as a city in miniature." Taking into account the t two museums’s territorial characteristics of being situated on a slope, both Stirling and Hollein made the walker to pass t through their building complex and introduced the concept of a public square within them. As a result, the museums are not j just two large buildings but are architecture composed of a collage of various structures. S Stirling’s architecture employs the method of attaching additional elements on top of basic constituents, which is suggestive '||'&'||'#61551; of the historical fragment from Shinkel's Altes Museum. On the other hand, Hollein applies a collage-style method as if he w were doing urban planning, maintaining the distinctiveness of each of the various forms and materials of buildings. T The object style buildings of the two museums actively demonstrate the contrast of double meaning to represent the a ambiguous and multifarious characteristics of the modern times. Stirling explores the theme of opposition and coexistence in h his Neue Stattsgalerie Stuttgart by placing a series of opposing concepts, such as the past and present and histor${\gamma}$ and t technology, in one space. Thereby, the contradiction and its appeal are manifested. Hollein made use of the visual illusion and c contradiction in alluding to the irony of the modern reality induced by nature and culture and history and technology. F For the above reasons and methods, James Stirling ’ s Neue Stattsgalerie Stuttgart allowed the penetration of art into daily l life and became the general public’s favored museum for its free and unrestrained environment. Likewise, Hans Hollein’s S Stadtisches Museum Abteiberg Moncbengladbach contribute to the development of museum function as it an expression of art i in the form of a complex piece of scupture on its own.ts own.

• Korean Chemical Engineering Research
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• v.53 no.1
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• pp.46-52
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• 2015

A leaching kinetics was conducted for the purpose of recovery of praseodymium in sulfuric acid ($H_2SO_4$) from REE slag concentrated by the smelting reduction process in an arc furnace as a reactant. The concentration of $H_2SO_4$ was fixed at an excess ratio under the condition of slurry density of 1.500 g slag/L, 0.3 mol $H_2SO_4$, and the effect of temperatures was investigated under the condition of 30 to $80^{\circ}C$. As a result, praseodymium oxide ($Pr_6O_{11}$) existing in the slag was completely converted into praseodymium sulfate ($Pr_2(SO_4)_3{\cdot}8H_2O$) after the leaching of 5 h. On the basis of the shrinking core model with a shape of sphere, the first leaching reaction was determined by chemical reaction mechanism. Generally, the solubility of pure REEs decreases with the increase of leaching temperatures in sulfuric acid, but REE slag was oppositely increased with increasing temperatures. It occurs because the ash layer included in the slag is affected as a resistance against the leaching. By using the Arrhenius expression, the apparent activation energy of the first chemical reaction was determined to be $9.195kJmol^{-1}$. In the second stage, the leaching rate is determined by the ash layer diffusion mechanism. The apparent activation energy of the second ash layer diffusion was determined to be $19.106kJmol^{-1}$. These relative low activation energy values were obtained by the existence of unreacted ash layer in the REE slag.

• Journal of the Korean Society of Manufacturing Process Engineers
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• v.7 no.2
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• pp.52-59
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• 2008

The objective of this study is to develop an automatic object changer unit to improve processing problems existed in the conventional horizontal machining center. To achieve this goal, this study designed a horizontal transfer as the second project continued to the first project that designed a upward and downward traverse unit. A horizontal traverse unit shows a symmetric structure and consists of frame, which consists of four unit tools, motor and reducer, which are fixed at a frame, operation unit with pinions, first traverse unit, and second traverse unit. Constraint conditions based on the operation mechanism with these elements were configured and obtained following results after modeling a model for a traverse motor. In the kinematic expression of sliding motion with one degree of freedom, the sliding motion is constrained. Also, the rack 3 installed at a frame is used to configure possible kinematic constraint conditions of the rack 2 according to the rolling motion of the pinion 2 in the first traverse unit. In addition, the moment of inertia that is a type of kinetic energy in a converted horizontal traverse unit in the side of the reducer can be applied to introduce the moment of inertia of a converted horizontal traverse unit in the side of the reducer by using the sum of kinetic energy in the rack and pinion, which is a part of the horizontal traverse unit. Also, the equation of motion of the converted upward and downward traverse unit in the side of the motor using the equation of motion of the motor. Furthermore, the horizontal traverse unit predetermines the mass of the first and second traverse unit and applied load including the radius and reduction ratio of the pitch circle in the pinion 1 and applied load to the rack 2. Then, a proper motor can be determined using several parameters in the upward and downward traverse unit in order to verify such predetermined specifications. In future studies later this study, a simulation that verifies the results of the previous two stages of studies using a finite element method.

• Herbal Formula Science
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• v.11 no.1
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• pp.57-90
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• 2003

The result of Bibliographic studies on the pathological mechanism of the sudden coma, we got the conclusion like this. 1. The sudden coma is an acute syndrome that refers to be a sudden fainting, an unconsciousness, an aphasia or a cold clammy limb, and immediately awakes or dies, and awakes in a short time, and if we awake, it doesn't leave over and above a sequela. 2. The clinical presentation of the sudden coma can be summarized as follows : The 1st is a disease raising the sudden death due to unconsciousness accompanied by wry mouth & sudden syncope with coma. The 2nd is simply the state of cold limbs. The 3rd is the meaning of the physique and symptomes of the six meridians. The last is the ancient method of expression in contrast of the beriberi. 3. The pathological mechanism of the sudden coma consists of the toxoid from outside, Qi and Xie, fatigue, damp phegm, the damage from seven emotions and the damage from five mental elements, especially the mental disorder due to the angry energy, causes the problems when the fleming-up of liver fire and the depressed of liver qi raise the physiological disorder. 4. Therapeutic methods of sudden coma are soothing the liver and remove stasis, soothing depression and circulating of the qi, calming the liver and suppressing yang. When that is early stage, at first, we must checking upward adverse flow of the qi after promoting the circulation of qi and awakening, and then, we must regulate excessive deficiency of yin yang by therapy that is based on differentiated in symptoms according to heat & cold, deficiency & excess, and use invigorating herb medicine for supporting vigour.

• Journal of the Korean Society of Costume
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• v.55 no.4 s.94
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• pp.62-78
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• 2005

The modern period was the time that the most radical and extensive social and mental changes were occurring throughout the history, and modernism was prevailing as a general cognition system of people. Modernism, which carries principles of progress, belief in application of scientific technology, worship of reason, ideal of liberty as a col-e value of civilization, was plated as a leading ideology in the realm of society, culture and art In the early 20th century. In this study, the formative characteristics of modernism seen in architecture and fashion are analogized and analyzed in four ways ell the basis of the theory of p. Greenhalgh. First, 'Standardization for mass-production', which is analogized which P. Greenhalgh's 'Decompart-mentalisation', 'Social Morality', and' Technology'. Standardization for mass-production in architecture focuses on the development of a design prototype in order to mass produce; the development of ready-made clothes is actively done ill the fashion area for the same purpose as well. Second, 'Rational functionality' coming from P. Greenhalgh's 'The total work of art' and 'Function'. While rational functionality in architecture puts an emphasis on the rational operation of all the functions in regard to the relation between each part and the whole, rational functionality in fashion call be mainly seen in a dramatic increase in physical activity which could be hardly found before the modernism period. Namely, all the fashion design elements are developed for a certain rational and functional design on each part as well as on the whole in order to greatly increase physical activity. Third, 'the pursuit for genuineness of objects and universality of beauty' is on the analogy of P Greenhalgh's 'Truth', 'Anti-historicism', 'Abstraction', 'Internationalism/Universality'. This idea is adopted in architecture in the form of design of geometrical abstraction. In the same way, design using geometrical abstraction comes to have a significant meaning in fashion of the modernism period. So to speak, modernism architecture and fashion can be reborn to become an inter·national style by giving up the decorative and regional design prevailing before modernism and by expressing universal aesthetics in the form of simplicity and abstraction instead. Fourth, 'Expression of progress through a change in a viewpoint' stems from P. Greenhalgh's 'Progress', 'Transformation of Consciousness', 'Theology'. In architecture, this concept appears by using new construction materials and methods and by representing new aesthetical idea. As a result, it makes it possible for people to make progress for better lives. Like in architecture, new attempts for material application and processing are made in fashion. This gives rise to a general change in a viewpoint related to fashion, so that a flew fashion design which there has never been before can come out.

• The Research Journal of the Costume Culture
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• v.2 no.2
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• pp.395-413
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• 1994

Costume is mirror of diverse life styles and attitudes in human life. It has a meaning beyond "clothing" . Fashion illlustration is to express these costumes with a picture. So, it can be said that it is a ′mirror of costumes′ in historical side. The purpose of this study is to find the meaning of fashion illustration of 17th century, which called its first one and to look into its characteristics and costumes of 17th century respotlighting fashion illustrators and painters related with fashion illustration in those days. This study is based on Western Europe by literatures. The fashion illustration in 17th century designed by painters and fashion illustrators. They are Wenceslaus Hollar, Abraham Bosse, Jacques Callot, Jean de st Jean, N. Bonar, A. Trouvain, A. Arnoult in France and so on. The characteristics of fashion illustration in 17th century are as follows : 1. There was a quickening of modern civil consciousness in 17th century. As the subject of costume culture moved from noble class to the working class which began to have a free, the fashion illustration changed to the direction of informing their social class and job. 2. The fashion illustrations of 17th century showed storng realism which was a base of modern picture. 3. The most of them showed costume plates. It was not to transmit adding intended forecast but to describe sincerely in costumes′ record. However, the fashion illustration since the middle of 17th century was designed considering fashion. 4. It could be said that the fashion illustration of 17th century was the forest one of today. It was expressed by Wenceslaus Hollar′s ones. And it is found in his suggestion of popular costumes before and behind and delicate description like accessories. 5. They were transmitted by fashion magazines internationally. Le Mercure Galant, which printed mode plates in 1678, was the first modern fashion magazine aiming at general readers. The fashion illustration of 17th century can divide into ones for court, for working classes, costume plates. The fashion illustrations for court designed by court painters. There were court costumes of early time, spanish Mode and of lately time, French Court Culture. They had baroque elements with a bunddle of ribbons and race decoration. On the other hand, the fashion iooustrations for working class were under the influence on Netherlands styles. They were designed for the purpose of god function and much use. That′s why was under the influence of puritanical life creed. In this situation, the costume plates directed the fashion in those days. At that time, they were supplied widely and it amy be an attempt of popularization. The fashion illustrations of 17th century appeared that they had transmissible character and artistics expression. On the basis of them, we can look into the fashion illustrations of today.