• The Journal of Korean Philosophical History
• /
• no.53
• /
• pp.191-214
• /
• 2017

Zhangshi(張?) is a distinguished Chinese scholar, who is known as the South-east Three sages with Zhuxi(朱熹) Luzujian(呂祖謙). He is well known for his influence through exchanges of ideas with Zhu xi, but the research on his ideas is rather poor. This paper aims to understand the ideology in general by looking deeper into the study of Zhangshi's self-cultivation. Contents of his self-cultivation especially emphasized the subject of the mind in the way establishing the unity of heaven and human within the theory mind based on metaphysical foundation. It would be very meaningful to study his theory of self cultivation in his ideological tendencies. this essay Based on the unity of heaven and human, especially uniting the ways of heaven and morality, this essay is approaches to the way of self-cultivation. This paper first examines the meaning of heaven and human for Zhangsi, and presents a self-cultivation method as a unified method in two categories of relationships This not only emphasizes the subject of the mind in the process of realizing the unity of heaven and human, but also to highlight the possibility of human becoming one with the heaven. This research will be an important research work in understanding Zhangshi's own philosophical system.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.8
• /
• pp.255-266
• /
• 2019

This paper examines the ink on paper technique that is being used in the animation works by the Canadian filmmaker Michēle Cournoyner from the National Film Board of Canada. It also discusses how in her animated film "Soif"(2013) this technique has been applied to compose the narrative significance and symbols through the use of metamorphosis as a form of artistic expression. Cournoyner had used the ink of paper technique as a means to abandon realistic representations of movement, and in "Soif" through expressive use of metamorphosis, portrayed changes of images in character and object not through chronological order of narrative flow, but through the body of the female character, which had been represented by the improvisation of the ink on paper technique in order to express the surrealistic and unconscious state of mind in animation. Also, the use of Surrealist automatism had been incorporated to evoke the film towards a form of abstract and metaphysical expression, which in terms of expression and technique connects with the character in the animation to give emphasis to its relevancy with the subject matter of the work.

• Korean Journal of Social Welfare Studies
• /
• v.42 no.3
• /
• pp.121-155
• /
• 2011

The purpose of this study as a research of experience of sexual offenders who are in confinement in prisons and forensic facilities is to theoretically investigate fundamental structures of their experiences and to practically construct basic data to present intervention programs of sexual offenders. This study was conducted by hermeneutical and phenomenological methods invoked of the analytic framework of Van-Manen (1990) about seven sexual offenders. The data were collected through in-depth interviews, and the results of the interpretation are shown as perception that they were victims of public opinion, the mark of Cain, loss of opportunity of examination caused by show window, collective differentiation through distinction, expression of metaphysical being that wants to slip out of the skin, counterplot of scientific management techniques, undifferentiation from the Imaginary, sexual acts shown as inverted communication, discovering dominant domain as forming reaction to being controlled, not being free from capitalistic attributes in which even children's sex is commercialized, distortion in socialization of sexual identity, paternity stamped as embodiment of suppressed desire, recovery of lost virginity of mother through children, and family as a name broken to pieces.

• Industry Promotion Research
• /
• v.9 no.2
• /
• pp.137-151
• /
• 2024

This study analyzes the feng shui characteristics of the location of Seon-un Temple in Do-sol Mountain, Gochang from a metaphysical and selfish perspective through field research and literature review.A characteristic element of feng shui was that it prioritized harmony with nature and made it a reference point for selecting a location through a reasonable method. In the Silla Dynasty, adherent monks studied in the Gangseo area, where the Hyeongsepungsu first appeared, and this Hyeongsepungsu of the Gangseo District Law flowed into Korea and played a leading role in selecting the location of the temple and arranging Garam. Seon-un Temple was located under Do-sol Mountain and had no choice but to have great significance, and it was a practice of the desire to achieve Buddhist perfection through Do-sol Stream and Do-sol Small Temple, which enter the kingdom of Buddha. A s a result, the location of Seon-un Temple under Do-sol Mountain in Gochang reflected a variety of feng shui characteristics. In particular, the location of Sun-un Temple in Do-sol Mountain logically used the characteristics and meanings of feng shui and practiced becoming one with nature, which is aimed at spreading Buddhist doctrine and ideology, which has the holiest meaning of Buddhism.

• The Journal of Art Theory & Practice
• /
• no.1
• /
• pp.109-144
• /
• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• Journal of the Korean earth science society
• /
• v.21 no.4
• /
• pp.398-407
• /
• 2000

We investigated people's patterns of reasoning regarding the Korean traditional interpretation of Planet Occultation by the Moon. A questionnaire survey was administered to the sample which consisted of 632 participants: middle school students(n=164), high school students(n=157), university students(n=172), and the public(n=139). It was revealed that 15.7% of the participants agreed, 38.1% disagreed, and 46.2% were neutral to the traditional interpretation. A comparatively large portion of the university students made a scientifically correct judgement by disagreeing with the traditional interpretation. On the other hand, a relatively small proportion of the middle school students disagreed. Participants' views of nature and views of science were the major reasons for making their judgements. Most participants were fixed with similar views to the Korean traditional view of nature. Most of the participants valued using more extensive evidence and experimental proofs in science. High school and university students considered their metaphysical beliefs, such as view of nature and view of science, more important than other groups did. In contrast to this, middle school students and the public depended more strongly on their personal experiences. Participants' social experiences and their scientific knowledge were also important reasons for making their judgement. However the differences in their scientific knowledge seemed to exert different influences on their reasoning. The results of this study show differences in how an individual thinks as well as differences between communities. Thus, science education and research considering multicultural settings are needed. In addition, science educators and researchers should pay attention to pupils' metaphysical beliefs such as their views of nature and views of science.

• Journal of Korean Philosophical Society
• /
• v.148
• /
• pp.239-267
• /
• 2018

In the matter of ethical and moral practice, Thomas Aquinas's thought is called "intellectualism". It does not mean only that intelligence is more important than will in moral practice, but that it has epistemological, metaphysical, and psycho-psychological implications significance. The first means affirming "the first principles of knowing" as the problem of certainty of knowing. In Thomism, there are surely above suspicion notions in the domain of practice as well as in the domain of reason, which are obviously self-evident, and because of that certainty, they become the basis of certainty of all other knowings that follow. The principle to know these knowings is the first principle of knowing, reason and Synderesis(conscience). Therefore, the "intellectualism" of Tomism is the basis for providing the ground of metaphysics. In the case of reason, it is classified into superior reason and inferior reason according to whether it is object. The object of higher reason is "metaphysical object" which human natural reason can not deal with. This affirmation of superior reason provides a basis for human "autonomy" in the moral and religious domain. This is because even in areas beyond the object of natural reason, it is possible to derive certain knowledge through self-reasoning, and thus to be able to carry out the act through their own choosing. Likewise, for Thomas Aquinas, "Synderesi" as the first principle of good and evil judgment can be applied to both the superior reason and the inferior reason, and thus, except for the truth by the direct divine revelation, precedes any authority of the world, scrupulous Act always guarantees truth and good. This means "subjectivity" that virtually in the act of moral practice, it can become the master of one's act. Furthermore, "consciousness(conscientia)", which means the ability to comprehend everything in a holistic and simultaneous manner, is based on conscience(synderesis). So, at least in principle, correct behavior or moral behavior in Tomism is given firstly in correct knowledge. Therefore, it can be said that true awareness (conscious awareness) in Thomas Aquinas's thought coincide with practical practice, or at least knowledge can be said to be a decisive 'driver' for practice. This will be the best explanation of the definition of "intellectualism" by Thomism.

• The Research Journal of the Costume Culture
• /
• v.9 no.4
• /
• pp.574-591
• /
• 2001

This study reviews the concept and characteristics of the deconstruction philosophy in order to analyze the major aspects of the fashion world called the deconstruction fashion based on the deconstruction philosophy, and analyzes the works of Jean Paul Gaultier in terms of Derrida's deconstruction theory. The scope of this research is from 1980 to present, and this study fashion on the many kinds of literature on philosophy, aesthetics and literary criticism, and the domestic and international fashion journals and magazines. The deconstructionism is the philosophical theory which denies the traditionally recognized logocentric metaphysical theory and refuses the closed world and pursues the open world, opposing the dichotomic theory which is the deep-rooted tradition of the Western philosophy. The results of analyses centering on the internal deconstruction trend expressed in the works of Jean Paul Gaultier are as follows. 1 The past style combined with the present appears in the form of the entirely new trace, not the past emotion and meaning in Gaultier's works transcending the time and space. 2 Gaultier presents the unconventional intermeaning of meanings, producing various possibilities according to the wearing method of the wearer by layering several clothes. 3. Gaultier breaks from masculinity and femininity in the intertextuality of gender, and decomposes the fixed idea of men's or ladies'wear through the design sharing bisexual text. 4. In the intertextuality of T.P.O., Gaultier presents the problem of how to wear by mixing different items through obscuring the division of the nature of time, space, and purpose. Especially Gaultier can be called the first designer who, worthy of the father of the deconstructionism, has introduced in the fashion making inner wear like outer wear. 5. In the intertextuality of coordination, Gaultier presents a new perspective of coordination through free combination and contrast, raising a question about the man-made harmony criterion and deconstructing the clothes. On the other hand, Gaultier expresses the intertextuality of the material through the heterogeneous combination of the material. 6. The decomposition trend expressed in the many works of Gaultier reflects an open mind presenting a new perspective through the distortion of the form, exaggeration, and break from the existing construction method. 7. The decentering trend in the works of Gaultier is found to deconstruct the Western-dominated elements against the background of subcultural elements, the elements borrowed from the minority race, md the Oriental culture. 8. The discontinuity clothes of Gaultier present the disordered principle of design without the uniform rules, and express the unrestrained freedom without captivation by the preconceived idea through the disruption of the dress and its ornaments just like Gaultier.

• Cartoon and Animation Studies
• /
• s.24
• /
• pp.25-48
• /
• 2011

The fantastic has had various semantic layers between 'the Marvelous' and 'the Uncanny', these has been assorted by historical and synchronic aspects. The Marvelous has been harmonious and abundant world of fantasy which includes metaphysical system and all tradition of magical fence. The Uncanny has been a subversive fantasy world which shows absurdity and negative truths of this very world by modern consciousness. In comics, because of the media features, it is more useful the fantastic than the realistic. However, the relationship about comic and fantasy has rarely discussed in detail. So we has wanted to understand the specificities of affiliation with the Marvelous and with the Uncanny. Then it has been necessary to check the works of You, Sijin the comic book writer, for we ought to know how the affiliations with fantasy could influence each works' styles, and themes. You, Sijin started her works with sensibility of uncanny, but she tried to develop the theme "uptight" and devoted to establish "the Secondary World" stably. However, at Shin Meoung Ki(神明記) fantasy world overwhelmed the theme. After that, in The Closer and On, she crashed down the uptight feeing and made new self-consciousness by mixed fantasy style. The Closer and On has been the turning point of writer You, Sijin. Since than her works has showed a propensity for the Uncanny.

• Proceedings of the Korea Society of Design Studies Conference
• /
• 2004.05a
• /
• pp.44-45
• /
• 2004

With the development of informational machinery and tools in the modern industrial society, the image is expressed diversely as tools of informational transmission and artistic communication. This image is revival equipment and transmissional media in which sound and light are comprehensively formed. The image's intuitive and sensational expressivity can revive subjects and express a fiction, a reality, a nonfiction, and a virtual reality as a communication tool that has synchronicity and the medium of meaning. Because of this, the domain of the image will be gradually extended in the future, and the world of cognizance that can be detected across our living space will absorb the image diversely and react. In this context, the investigator examined what influence image media and equipments have in space as spatial equipments, based on the recognition of cerrelation among the image, space, and mankind, namely, the environmental meaning the mage and the space contain. Therefore, this study was conducted from the aspects of relationship establishment between image equipments that are ever expansive to a variety of domains and the space that accommodates the equipments. As study findings, the influences the image equipments have on space and their expressional features are presented in three aspects: 'the expressional medium of mutual synergy','metaphysical ultra-epithelial space constituent',' and 'object'. This study seems to be meaningful in that we can expect the spatial approach method by purposes and spatial layout of image structures, with this study, through analyzing the meaning of relationship between image equipments and space.