• Journal of the Korean Society of Costume
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• v.61 no.10
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• pp.1-15
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• 2011

Constructivism is an avant-garde movement that began in 20th-century Russia, which rapidly turned into an industrial society. This was one of the most experimental art movements, that wanted to be at the center of social and political-ideological change as it pursued a unique style, which portrayed the true essence of art and humanity. Russian constructivism greatly influenced modern fashion and suggested a new artistic standard. First, the artistic elements of Russian constructivism include photo montages, geometrical structures, color abstraction, and an asymmetrical order, through which the ideals of the Russian Revolution were substantiated, idealized, and materialized into an artistic form. Second, the different forms of Russian constructivism have various artistic characteristics such as popularity, spatiality, structuralism, decorativeness, and mobility, which were then expressed in modern fashion elaborated below. This study intends to reconstruct the meaning of Russian formalism and reflect it on fashion; thereby reconsidering the characteristics and the meaning of Russian constructivism in the context of today's fashion. This will broaden the meaning of constructivism and suggest a new direction for modern fashion.

• Journal of Digital Contents Society
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• v.9 no.3
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• pp.413-422
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• 2008

On Expressional Feature of by Art Spigelman who won the Pulitzer Prize in 1992, first in the works background of Spigelman, $60{\sim}70's$ the author sends an adolescence the ideological background of the work investigated a periodic situation and the environment where becomes the creation background of <> and researched. Second, in narrative special quality it was researched about fablelic narration, narration of documentary, doublespeak, frame formula configuration. Third, in formal quality, <> being based on Scott McClould's cartoon theories analyzed with structure. Last, <> was investigated in form.structural completion degrees with Spigelman peculiar expressive techniques, photos, informality illustrations, maps that were expressed the realism strongly were analyzed.

• The Journal of Korean Medical History
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• v.27 no.1
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• pp.51-60
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• 2014

Objectives : Actually Wongi did not exist in "Neijing(內經)" as a word. Wongi is one of specific features that distinguish "Nanjing" from "Neijing". I have researched for the foundation of history and thought. Methods : I have looked into cognitive variation for Heaven (天), that is from Chinese ancient times through the period of the Han (漢) Dynasty. Results : 1. Before the period of the Yin (殷) Dynasty : There was some worship. 2. The period of the Yin Dynasty : The Lord (上帝) was respected and idolized. 3. The period of the Zhou (周) Dynasty : That the origin of existence is also in human was recognized through Doctrine of Heaven (天命思想). 4. The period of the Han Dynasty : Doctrine of Heaven was transfigured as ideological instrument for politics. The spiritual and physical human's independence was flowed into even though it was not separated from Heaven. Conclusions : As concerned above, the variation shows that consideration for the origin of existence flowed from the outside of human being, like the progenitor of human race, nature, and Heaven, through inside gradually. In the other words, the origin of existence was come to inquire inside of human being. As an aspect of medical science, it can be showed that the term of Wongi was influenced of these process.

• Journal of the Korean association of regional geographers
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• v.22 no.2
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• pp.287-306
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• 2016

This paper aims to explain the Korean urbanization, which can be characterized by the development of apartment complexes and new towns, in relation to urban ideology in Korea. In particular, it examines the impacts of the ideological processes of Gangnam-ization on the ways in which 'the urban' has been represented, imagined, aspired, and consumed by the Korean urban middle class in particular ways. For this research, we interviewed 22 urban middle class people living in three important urban centers (Gangnam, Bundang, and Haeundae).

• Korean Institute of Interior Design Journal
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• no.32
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• pp.90-96
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• 2002

Laying stress on the upper classes of Western Europe until from the seventeenth to the eighteenth century, the chinese mode in the fields of architecture, interior design and fashion was widely liked. It is called as ‘chinoiserie’into the French language. The chinese design with its quantity and ornamentation exerted an influence upon‘Rococo’in France and upon ‘Chippendale’ in England. The chinese mode that was made best use of the furniture design is the one of Ming dynasty. This was developed in relation to the interior design of ‘Siheyuan’ that is the architectural mode in those days. The furnitures at the times of Ming dynasty was raised to the position of the golden era in the history of chinese furnitures. The furniture has the technique laying stress on symmetrical proportion, simplicity. This technique showed as the formative modeling. also on the part of decoration ornamental designs showing the china ideology of Taoism, Buddhism and Confucianism it was used. In this formative modeling the ideological background of those days forms the groundwork. The combination of reason and sentiment and of heart and mind emphasizes that our emotion should be in control by the ration and our emotion and ration should be harmonized.

• Journal of Korean Society of Rural Planning
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• v.25 no.4
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• pp.129-149
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• 2019

This study is to give a three-dimensional view of the concept of rurality and ruralness in terms of time-span, perceived object and awareness level. In the precedent studies ruralness or rurality has been approached as the category of usefulness resources called amenity. This overlooked the perceived representation, institutional reference and rurality of ideological values. Rurality appears as a cumulative representation of being rural from the past to the present, but ruralness exists as a desirable form or value for the future. Through this study, it has been analyzed that ruralness consists of six realms such as environment, community, self-reliance, aesthetics, enjoyable amenity and settlement, and of three or four sub-realms by each amounting to 20 in total. According to the vocabulary listing by the survey to 30 experts, rurality for the past-present is mainly imagined as of natural environment, agriculture, landscape, and community history, while ruralness for the future is frequently described as of communities, settlement and self-reliance by number of references. Through the vocabulary extraction, 17 words in the level of mid-conception are induced including ecology, comfort, history, agriculture, landscape, place, culture, convenience, etc. In conclusion the concept of ruralness along with rurality could be organized into three different layers of perception consisting of representation, norms and usefulness.

• Cross-Cultural Studies
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• v.34
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• pp.259-284
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• 2014

$Ren{\acute{e}}$ Char and Yi Yuk-Sa have similarities to be accepted as representative poet of resistance in France and South Korea's history of literature. These similarities lead us to make a comparative study on two poets not having any positive influencing relationship. Their experiences as a independence fighter have a great effect on their whole works. This study applies concept of "Po-ethica" to compare features and values about their works. This concept anticipates ethical and existential throwbacks not an aesthetic throwback. Their poems are remarkable that they not only present a ethical perspectives surpassing the "lettrism" but also show the lyricism in poems of resistance surpassing patriotic and ideological appeal. This lyricism results from the pursuits of a true life not a confidence of the goodness. The similarities and differences in their works can be a clue for rediscovering the meaning and values of poems of resistance. Rilke said, "The Poem is the experience". Char's poems are more experiential than any other poet's poems. His poems of resistance show a personal life than deconstruction of discourse such as nationality and father land. On the other hand, Yuk-Sa's poems show a prospect of nature and the macrocosm. This naturalization of a resistance surpass a pastoral attitude of forgetting their phases of the times and reality. Therefore, their "Po-ethica" of resistance is valid today.

• Cross-Cultural Studies
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• v.34
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• pp.173-199
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• 2014

This study was attempted to suggest a new viewpoint to regulate foundation myth as Akijangsu legend narrative's antistructure. The problem is that Akijangsu legend has been regulated as reversed narrative of foundation myth in precedent research history. Following this viewpoint, it is impossible to explain context that Gangchaeyoon's Akijangsu narrative is collected in Sejong's sovereign myth. But Gangchaeyoon is changed as helper to found ideology order and his Akijangsu narrative is collected in sovereign myth's context. Therefore in this point it is necessary to sound out foundation possibility of new thesis the found myth is reversed narrative of Akijangsu legend. Choosing this standpoint, it is possible to regulate Sejong's sovereign myth as narrative dramatization of successful Akijangsu legend. At the same time it is possible to regulate Cheongkijun as Akijangsu that was situated in Sejong's sovereign myth as antagonist, competing and failing with Sejong to replace existing order by own ideological order. This study investigated that found myth is reversed narrative of Akijangsu legend.

• Journal of Korean Society of Industrial and Systems Engineering
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• v.8 no.11
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• pp.57-68
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• 1985

Theories of capital have historically been amongst the most fertile sources of economic controversy. Many aspects of the modern debate, if not the techniques employed in its exposition, would have been as familiar to Marx, Ricardo, Bohm-Bawerk or Wicksell as to any present-day Cambridge economist. That conotroversies should arise in the course of theorizing cm the concept of capital and the function of profit is not surprising: that these debates have been so vigorous and virluent cannot be divorced from the general ideological and specific implications associated with the theories. In the context of a textbook on the theories of economic growth, the central question associated with capital that must he faced is whether the existence in the real world of heterogeneous capital goods inevitably invalidate; the conclusions of simple theories of "parables" which incorporate no more than a conception of a single, malleable, capital good. All the Cambridge writers have, to a greater or lesser extent, been concerned to deny that any unit can be found in which heterogeneous capital goods can be aggregated so as to simultaneously satisfy the pair of neoclassical requirements described above. Some of them have been more prepared than others to countenance such a possibility or, for practical purposes, to use some concept of aggregate capital in their models, but they are all deeply suspicious of attempts to use aggregate production function, incorporating aggregate "capital", so as to explain the flow of output, relative factor prices and the distribution of income.tribution of income.

• Cross-Cultural Studies
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• v.39
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• pp.83-95
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• 2015

Every country has a dark history in the process of transition to a modern state. Many countries have until the 21st century, especially in East Asia, colonialism, has experienced conflict influenced, racial discrimination, the trauma of such massacre. Such a dark history in many countries are also still in progress. Dark History of China, which maintains the proletarian dictatorship is the 'Cultural Revolution(Wenhua da Geming)'. 'Cultural Revolution' is neither the outer aspect of the ideological struggle, but in fact it was not even class struggle ideology and class struggle. Put an end to the feudal intellectuals in China in the course of the tragedy stood and lead to build a new China suffered the humiliation of being betrayed from state power. Chinese writers after the 'Cultural Revolution' ended, was created in the process of creation reflects the tragedy of the 'Cultural Revolution' in the country(national memory) is suffering from the pain and suffering the same growth process as it saw this novel growth experienced in the personal growth process. "Road leaving at 18 years" of WiHua has ruled out the pain of growing national attention wholly to personal growth and pain. Such "Road leaving at 18 years" in the sense suggests the possibility of a typical growth story in China Contemporary Literature.