• 한국디자인학회:학술대회논문집
• /
• 한국디자인학회 2002년도 봄 학술발표회 논문집
• /
• pp.16-17
• /
• 2002

• 한국디자인학회:학술대회논문집
• /
• 한국디자인학회 2004년도 춘계 학술발표대회 논문집
• /
• pp.20-21
• /
• 2004

• 복식
• /
• 제40권
• /
• pp.51-65
• /
• 1998

In this study the features expressed by the Korean dresses and its ornaments have been examined through the objects of this thesis, the concept of the pair, under the basis of Korean myths, from which esthetic and spiritual values have been derived. At first, the beauty of the balance pursuing the neatness. Since the pair is made with two piecess, at the time of the placement, the sense of the balance is obtained by the arrangement acccording to the dichotomous principle such as up and down or left and right. Sometimes, the pair could yield the natural pictorial composition, but almost of the time symmetrical composition. This kind of composition is made symmetrical like the structure of the human body, and it is resulted in a neat beauty, which visually presents a harmony, stability and intimacy. At second, the beauty of the harmony in the spirit of the oneness. From the dualistic combination basing on Korean myths, the common features and the significance of the co-existence, obtained from the combination of the pair of the pieces, could be found. By the oneness of the both elements, the creation principle, which is the basic one for a new life, could be established, and the mystery of the creation and the sense of the harmony could be found in it. At third, the wholeness of the completeness concept. The completeness could be felt rather by two than by one, and is provided with a room to be filled with the other one. Consequently, the outer dress is completed with the under dress, and its own beauty could only be made out when the two elements are harmonized. So, it is called as the pair. Like this, the concept about the pair taken roots in the ground of Korean emotions, is basing on the creation principle of the dualistic elements formed from the tradition of Korean myths, and the fact that the mental meaning pursuing the harmony dwells in Korean dress and its ornaments could be confirmed.

• 감성과학
• /
• 제17권4호
• /
• pp.51-60
• /
• 2014

This double-blind study, as a human experiment of nonlocality, investigated the effects of senders' intention on the central nervous system of a distant human receiver and it explored the roles that motivation might have in modulating these effects. Whole brain activity was measured in the receiver whom was asked to relax in a distant room for 16 minutes; the sending person directed intention of oneness toward the receiver during repeated variable-second epochs separated by variable-second non-intention epochs. The total length of intention epochs and that of nonintention epochs were balanced. Eighteen sessions were conducted. In 9 of those sessions, the sender was the receiver's lover. In another 9 of those sessions, the sender was just acquainted with the receiver before the session. The receiver's whole brain activity recorded during the intention epochs were compared with the same measures recorded during the nonintention epochs used as controls. The statistical difference between the intentions versus controls across 18 sessions was examined by paired-t test. In addition, subgroup analysis for the 9 couple sessions and 9 non-couple sessions were additionally examined by the same test. The effect of distant intentionality decreased slow waves or increased EEG fast waves mainly in frontal regions, and increased EEG coherence during the intention epochs. The effects was not statistically significant after Bonferroni correction, but the couple sessions combined showed the largest effect followed by all sessions combined. Non-couple sessions combined showed the smallest effect. The changes in EEG power mean that receiver participants became more alert during the intention epochs and the change in EEG coherence might be evidence of coherent heart influence on EEG activity. Planned comparison with specific hypothesis testing for the suggested changes in this study have to be followed for an evidence of electroencephalographic changes in isolated subjects for the distant mental intention.

• 복식
• /
• 제56권6호
• /
• pp.114-131
• /
• 2006

An Asian Ethnic Look is based on its own values of traditional costumes and the fashion accessories that are influenced by its own genre within their own culture. In this thesis, it contemplates the study of visual values and the traditional influences of the Modern Western Designers and Asian Designers' definitions and the considerations of an Ethnic look in the countries like Middle East, India, Korea, China and Japan. The standard procedure to understand their Visual and Aesthetic values is acknowledgement of body. From that foundation, an Asian Ethnic Look and its Visual and Aesthetic Values were researched through out the Middle East Asian Look, Indian Look, Korean Look, Chinese Look and Japanese Look which effective after 1990's. The studies are further researched to the comparisons and interpretations of the Western Designers and the Asian Designers, and the definitions of an Asian Ethnic Look and its Visual and Aesthetic Values in between those. According to each country's religious attitudes, a beauty of concealment and a beauty of negative space appeal which emphasize an ethics on humanity and non-materialistic attitudes. It takes meanings of a phenomenon of nature's worship, Yin-Yang five elements of principles, oneness of body-mind and oneness of universe-mankind. Following the studies of Visual and Aesthetic Values of an Asian Ethnic Look, in 1990's Western Designers' interpretations were prominent use of the Asian Traditional Motif3. However, the interpretations of the Asian Designers were based on their own traditional ethics and they minimized decorative elements but enhanced naturalism, feminism, calm and sober designs compare to the past. The Asian Designers' interpretations of their visual values were based on their Asian mentality, beauty and its straightforward genuine perspective and respects of their own culture.

• 동양고전연구
• /
• 제66호
• /
• pp.251-276
• /
• 2017

이 논문은 주돈이가 "태극도설"에서 제시한 천인합일사상과 권근이 "입학도설"에서 제시한 천인심성합일사상을 비교하여 그 차이를 규명하고자 한 시도이다. 수양론 중심의 실천적인 사상으로 발전해 온 천인합일사상은 송대 주돈이가 "태극도설"에서 형이상학적 우주론과 인성론으로 정리하면서 철학적 깊이와 논리적 체계를 갖추게 된다. 그는 천(天)에 상응하는 무극(無極)의 개념을 세워 무극-태극-음양-오행-인간-만물의 일원적 우주론을 제시한다. 그의 우주론은 만물의 창조자인 천(天)은 피조자인 인간과 명(命)과 성(性)을 매개로하여 결부되는 합일의 관계라는 인식이다. 따라서 본성을 회복하여 자기의 본성이 천명(天命)임을 알면 곧 천인합일이 실현되고 성인도 될 수 있다고 말한다. 주돈이의 사상은 약 120년 뒤 주희에게 와서 이기론 으로 융합된 주자학으로 집대성 된다. 이에 따라 주돈이는 주자학의 시조로 후대에 평가된다. 고려 말 권근은 그의 "입학도설"에서 천인심성합일사상을 제시한다. 권근의 천인심성합일사상은 그의 스승인 이색의 천인무간사상에 주자학적 요소를 가미하여 내 마음의 작용과 리(理)가 일체라고 정리함으로써 논리적 정합성을 이룬다. 주돈이가 주로 우주와 만물의 생성원리에 대해 관심을 기진 것에 반해 권근은 주로 심성론적 관점에서 천(天), 인(人), 심(心), 성(性)에 대해 관심을 가진다. 또한 경(敬)중심의 수양으로 천인심성합일을 이룰 수 있다고 제시한다. 권근의 이런 사상은 조선조 주자학이 심성론 중심으로 발전하는 단초가 되었다. 그의 사상은 약 150년후 퇴계 이황에게 와서 사단칠정론과 경(敬)사상으로 집대성 된다. 그러나 주돈이와 달리 권근은 그의 학문적 업적에도 불구하고 제대로 평가 받지 못하고 있다.

• 한국콘텐츠학회:학술대회논문집
• /
• 한국콘텐츠학회 2009년도 춘계 종합학술대회 논문집
• /
• pp.584-586
• /
• 2009

Dualized program for building Public Administration scholarship in Korea has been, in a sense, a result of theoretical tension between the two positions, politics/administration dualism vs. politics/administration monism. The program has maintained its integrity by its dependence on a foundational question, "Is administration a different field of action from politics?" Korean community for the study of public administration has maintained its oneness by internally asking this question even though the two external philosophical positions were relatively indubitable. Strating from the well-known changes in the community, this brief outline for the future full exegesis tries to read carefully one point shown in the second chapter of one of the most seminal proposals for foundation of modern Public Administration, one paragrahp in the second chapter of "The Study of Administration" by Woodrow Wilson. What was the contemporary meaning of Wilson's classic distinction made in 1887? Keeping this research question in our mind, we will attempt to prepare for the full understanding of a kind of internal distinction Wilson explicitly draws between the constitutional and the administrative.

• 한국의류학회지
• /
• 제20권5호
• /
• pp.801-816
• /
• 1996

The study is in depth an analysis of the consciousness structured in unisex, androgyny, punk and postmodernism fashion in order to explain the dominant bisexual trend in fashion since the 1960's. Bisexuality in fashion can be interpreted as an effort in recovering the attitude within commentarialism, as opposed to the dichotomous split of the sexes. It is a reflection of the fundamental desire to be as one and implies "freedom" as an expression of feminism and postmodernism furthermore. Bisexuality is a reactionary movement in fashion which encompasses adaptive ways to the world we now inhabit. It is also a clear picture of the necessity of destroying the dichotomous sexuality in order to achieve the freedom and the importance of realizing as a whole the oneness of human kind. Bisexuality in fashion primarily is the pursuit of a new perspective on the human entity required in the modern world. Namely a communitarian spirit devoid of sexual prejudices. And secondly, it is a phenomenon reflecting the transitional woes of the pluralistic society experiencing deconstructivism and reconstructivism.ructivism.

• 조형예술학연구
• /
• 제8권
• /
• pp.63-94
• /
• 2005

ChangSayng-Do in the late Chosun dynasty was a kind of traditional painting which sublimated the philosophy and emotion of everyday life into an aesthetic consciousness through a long history of Korean people . It would represent a human wish and desire to live a long and healthy life, which was implicated by way of Taoism. The major themes of ChangSayng-Do - mountains, the sun, cloud, water, rock, deer, tortoises, cranes, pine trees, bamboos, peaches, and herbs of eternal youth - were all symbols used. to wish for a long-life and immortality in real world. All or some of these items were represented in paintings, which resulted in the various kinds of ChangSayng-Do. The main concern of this thesis will be centered around the naturalistic subjects shown in ChangSayng-Do. This thesis consists of four chapters. The first chapter describes the purpose of and need for the research, and its method and scope. The second chapter deals with the origin and style of ChangSayng-Do, and the background of its formation. It is found out that the formative characteristic of ChangSayng-Do lies in the archetype, the unity of man and nature following the traditional view of nature. It is also found out that ChangSayng-Do implied the notions of Supernatural Being, Yin-Yang and Five Elements, Taoism, and Confucianism as well as Korean shamanism. Third chapter is largely about an analytic investigation into symbolic visualization of ChangSayng-Do. Firstly, the subject matters shown in ChangSayng-Do consist of items of wishful omen for long-life and good luck, and any motif in a picture implies a symbolism of eternal youth and long-life. Secondly, the view of colors shown in ChangSayng-Do is closely connected to Five Elements and Five Direction, a traditional oriental philosophy of universe, and these symbolic colors are based on shamanism and Yin/Yang-Five Elements. According to an iconological analysis, it is confirmed that these viewpoints are consistent with formative principles and expressive methods of ChangSayng-Do to some extent. The fourth chapter is one of the most important elements for visualization of ChangSayng-Do. The symbolic meaning of long life and good luck is the major source of its popularity inside the palace as well as among the people in general. The fact that ChangSayng-Do was used to ornament the palace was documented in $\lceil$UiGuey(documents about Chosun dynasty$\rfloor$. Also during the late period of Chosun dynasty, the appreciators of arts had begun to spread from high level class to lower level class, and many pictures represented in $\lceil$Hanyang-Ga$\rfloor$ were the ones produced and circulated for those increased consumers. As for the folk-artistic characteristics, the anonymity and arbitrary naturalness of ChangSayng-Do demonstrates that the folk-artistic elements were fully soaked into the life styles of people in general. ChangSayng-Do further shows that a human being is located in the center of the universe, and that all the natural phenomena and ecology are observed to happen around human beings, and that the results of those happenings are connected to man's course of life. It is discovered that the subject matters of ChangSayng-Do in the late Chosun dynasty imply another idea inside metaphors and symbols. With regard to the arrangement of time and space, the unity or oneness of oneself with the world is more highly regarded than one's individual subjectivity: there exist multiple times and spaces in a single picture This reveals a wholistic view of oneness which does not permit the division between phenomenon and substance. To conclude, this thesis inquired into ChangSayng-Do in the late Chosun dynasty focusing on the expression of archetype-symbols. And through the analysis and demonstration, this thesis re-established constructional principles and formative characteristics of ChangSayng-Do and then settled a new phase of ChangSayng-Do, with a deep under-standing of fundamental thoughts of Korean people underlying ChangSayng-Do.

• 한국철학논집
• /
• 제58호
• /
• pp.279-305
• /
• 2018

공자는 "논어" '학사장(學思章)'에서 '학'과 '사' 둘 모두를 강조하였으니 양자는 상호 보완적인 관계이다. 그러나 엄밀하게 둘 사이의 경중을 따진다면 '사'보다는 '학'이 더 중요하다. 그런데 공자는 "논어"에서 주로 3단계를 말하고 있다. 즉 '학사장'에서 공자는 표면적으로 2단계를 말하였으나 실제로는 3단계로서 구성되어있다는 것이다. 그렇다면 그 3단계는 과연 무엇일까? 이는 공자사상의 핵심을 파악하는데 있어서 지극히 중요한 문제이다. 공자사상의 궁극적인 목표는 일찍이 정이천이 강조한 바와 같이 '배워서 성인에 이르는 것'이니 이상적인 인간상으로서의 성인이다. 본 논문은 그 성인이 되기 위한 공자의 수양방법으로서의 '학사합일(學思合一)' 3단계와 그 이중 구조까지 고찰해 보고자 하는 것이다. 성인의 특성을 한마디로 말하면 '통(通)'이다. 즉 배우고 생각하여 통하는 것이니 이는 학- 사- 통의 3단계인 것이다. 또한 이 단계는 그 자체로서도 한 과정이지만(知) 더 나아가 행의 실천을 통해서만(行) 진정한 완성(이중 구조)임을 강조하였다. 결국 공자의 수양방법은 경전을 배우고(學) 이를 기초로 생각하며(思) 더 나아가 이 모두를 통한 바탕으로(通) 행이란 실천을 통해서(行) 이루어지는 것이다. 즉 지(학- 사- 통)- 행의 3단계, 이중구조인 것이다.