• Proceedings of the Korean Institute of Interior Design Conference
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• 2004.05a
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• pp.116-122
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• 2004

Since the 18th century the museums in Europe have accepted the social demand of the publicity and have played a role of social education and it lasted to the present. Recently, the society began to change it's direction. It is from the Universalism to the Pluralism. The Universalism is due to democratic society after 'the Civil Revolution' and standardized social system after 'the Industrial Revolution' The Pluralism that starts with the decrease of the modern society is about the diversity and the activation of identity which has been disregarded since the Modernism. This study is to analyze and to clarify how the museum's educational environment which had begun since the 18th century has been changed since 1990 and how these are related to the social alteration from the Universalism to the Pluralism. As a result of this study, it was confirmed that there had been a simple circulation system and a unified spatial experience in the museum of Europe since 18th century to 1980's(phl) while there had been a complex circulation system and a diverse spatial experience in the museum of Europe after 1990's(ph2). These mean that the museum of phl gave a unified social education to the visitors and they came to have a similar knowledge and emotion after their seeing the exhibition material while the museums of 'ph2' gave a diverse one and the visitor came to have a different knowledge and emotion to the same exhibition material. The museum which gives a unified social education is to produce a unified thoughts of people and it is because the social direction is the Universalism. In addition to this, the museum of diverse social education is to produce people of diversity and it is related to the Pluralism.

• Journal of the Economic Geographical Society of Korea
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• v.17 no.3
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• pp.567-584
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• 2014

This paper attempts to analyze labor politics under the Kim Young-Sam regime. The labor politics transformed from conflictual pluralism to social partnership. The transition was triggered by the 'IMF economic crisis,' and the transitional direction was determined by the character of political regime and the pattern of social coalitions. These findings imply that the transitional direction of labor politics is not determined by an economic crisis or international pressure, but by the relational dynamics of social coalitions forcing social actors to new perception and strategic choice.

• Korean Institute of Interior Design Journal
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• v.21 no.3
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• pp.76-86
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• 2012

21st century has different characters from 20th century which was an era of machine and rationality based on the industrial revolution. With the advent of the digital revolution, it became an era of pluralism, culture, and emotion. The digital technology made it possible to connect the whole world together in real time and brought about the entirely new notion of time and space. It also dramatically altered the world view. Now we have a different set of social and cultural values from the past. This paper researched the influences of these social and cultural changes on public designs. The leading trends of public designs were analyzed and the successful cases were studied. The main research methodologies were the document review and the instrumental case study. The major social & cultural paradigms of a present era were classified as 'pluralism', 'digital & information revolution', 'human-centered value (against machine-centered value of 20th century)', and 'organic world view'. Each of the classified paradigms was analyzed more to find out the influences on the various trends of public designs. 'Pluralism' has influence on 'experiential public design', 'community art', and 'public design of local values'. 'Digital & information revolution' has influence on 'content-centered public design', 'smart public design', 'immaterial public design', and 'performance in public design'. 'Human-centered value' has influence on 'universal design approach in public design', and 'emotional public design'. 'Organic world view' has influence on 'sustainable public design', and 'ecological public design'.

• Journal of Contemporary Eastern Asia
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• v.20 no.1
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• pp.120-133
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• 2021

This paper proposes an interpretation of Charles Ess's pros hen pluralism, especially concerning what constitutes the single end point (hen) toward which the pluralistic viewpoints converge (pros). The single end point, I argue, is constituted by an empirical social reality that obtains in the world at a particular period. In other words, it is the fact that we happen to agree largely and broadly on several ethical issues that serves as the end point in Ess's theory. The reason is that humans happen largely to share the same goals and values qua human beings, such as the desire for communication and cooperation with one another. It is not their rationality, or any other permanent and ideal characteristic, that serves as the source of normativity for human beings, but rather the contingent facts that obtain at a particular place and time, facts that humans happen to agree on. This raises an obvious objection of what to do with those who might cherish a very different set of values. The answer is that the globalized nature of the world today, especially deepened by information technology, makes it increasingly difficult for any groups to remain isolated. This does not imply, however, that disagreements are not possible. On the contrary, disagreements are a part of the whole process from the beginning. At the theoretical level, there is always a need for those who disagree on the theoretical issues rationally to persuade one another. This is also part of the empirical reality referred to earlier.

• Journal of the Daesoon Academy of Sciences
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• v.17
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• pp.239-279
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• 2004

이 글에서 나는 세 단계의 다른 종교이해 방식을 구분하여 세 가지 형태의 종교다원주의 정의하고 그 특징을 설명하고 있다. 그 첫째는 차별적 다원주의인데, 현존하는 혹은 앞으로 그 모습을 드러낼 종교들 사이의 차별성을 그대로 인정하는 형태이다. 둘째는 상보적 다원주의로써 현존하는 또는 앞으로 출현할 종교들은 각각의 종교적 실천과 그 믿음이 그 내용상 상호보충적인 성격을 지니고 있다고 보는 것이다. 셋째는 통합적 다원주의이다. 이 관점은 모든 종교를 인류와 인간의 세계이해의 전체론적 발전 과정의 필수적 부분들로 보는 것이다. 이 가운데 통합적 형태의 다원주의가 가장 중요하다. 왜냐하면 이 관점은 각각의 다른 종교들에게 그것 고유의 이질적 역사적 관점에 의한 하나의 토대를 제공하기 때문이다. 이 관점은 또한 각기 다른 종교들의 차이점들을 창조적 전체와 연관시켜보는 개방적이고 창조적인 통찰력을제공함으로써 그 종교들이 인간의 앎과 실천에 가장 중요한 비젼과 관련하여 각각이 궁극적으로 적절한 위상을 성취할 수 있도록 하며, 상호간에 배우고 더욱 발전할 수 있는 존재로 서로 이해되고 격려하도록 하는 기능을 수행한다. 이와 같은 종교적 통찰력의 면에서 나는 상호보충적인 다원주의 이론을 발전시킨 존 콥과 데이비드 그리핀의 업적에 심심한 고마움을 전한다. 그러나 동시에 각 종교의 독특성은 유지하면서도 상대주의는 피하기 위해서는 어떻게 이 상호보충적인 다원주의가 화이트헤드의 창조성 철학의 관점에 의해 부분의 개성을 유지하면서도 전체를 감싸 아우르는 통합적 다원주의로 반드시 한 걸음 더 나아가야 하는지를 강조 설명하고 있다. 이 글의 후반부에서는, 나는 또한 통합적 다원주의 관점의 종교적 진리와 믿음의 고양이 중요함을 이해하기 위하여 서로 연관된 네 가지 주제를 논한다: (1) 지역적으로 상대적인 인류의 필요에 동시에 응하고자 하는 동서의 세계종교의 목표에 부응하기 위해서는 화이트헤드적 사유의 틀과 역경의 철학이 보여주는 사유의 틀이 어떻게 통합되어야 하는가 (2) 어떻게 상대주의의 내적 논리에 의해 제기된 논쟁점들이 세계종교 안에서 동시에 극복되고 고려되어 종교가 계속 발전하는데 도움을 줄 수 있는지 (3) 어떻게 인류가 창조성의 또는 창조자로써의 신의실존-우주론적 견해의 풍부함으로 인도 되는 신적 개별화의 근본 은유적 존재로 역할을 해왔는지 (4) 유가와 도가의 통합적 조화의 역사적 모범에 기초해 볼 때, 기독교와 불교 이 두 세계종교의 통합적 조화가 가능한지, 그리고 왜 이 두 종교가 세계의 종교들이 서로 다른 종교적 믿음과 행위의 통합적 조화의 상태로 나아가는 미래의 변화를 이루는데 유효한 종교가 되는지.

• Fashion & Textile Research Journal
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• v.2 no.4
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• pp.317-324
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• 2000

Pluralistic and diverse values exist in the realm of post modernism society. In this context, one particular outlook does not have the same meaning across the whole society. The creation and sharing of a new meaning do not necessarily need the consent of every member of the society. There have been a few attempts to delve into the relationship between sociocultural phenomenon and fashion trends in the pluralistic cultures. However, there has been little research on the theoretical framework in order to analyze a pluralistic phenomenon itself. The purpose of this study is to provide the theoretical paradigms to analyze and interpret various pluralistic phenomena in postmodernism fashion. Theories developed by Gilles Deleuze have been utilized to analyze and interpret the duct tape fashion which is in vogue among the young generation in the USA. The analysis based on the paradigm of Gilles indicates that the duct tape fashion shows pluralistic features of as in the other postmodern cultural activities.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.8
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• pp.1325-1336
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• 2009

This study is to find the interpretation of Korean aesthetics with emotional, relative, synthetic thinking in the ambiguity of characteristics of multi-culturalism and ambivalence in contemporary beauty design. Beauty design incorporates makeup and hair design to complete the total images with clothing in fashion shows and Korean aesthetics based on Korean religion and art that include the symbolism of humor, irregularity, moderation, harmony, unification, and emptiness. This study analyzes 864 works of make-up and hair design from 2001 S/S to 2009 F/W to understand the beauty design to summarize the natural, eclectic, classic, poor, humor, and decadent tendencies. The characteristics of aesthetics sense of Beauty Design are summarized as artless naturalism, integrate pluralism, de-constructive deviation, and temperate poverty.

• The Research Journal of the Costume Culture
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• v.13 no.3 s.56
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• pp.469-480
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• 2005

The purpose of this study is to analyze the meaning and the value of the cultural collage expressed in men's fashion. As for the research methodology, literary research was under taken to study psychoanalytical and socioeconomic contexts in which cultural collage has been formed. In addition, demonstrative studies in men's fashion were undertaken through the analysis of pictures. The cultural collage is defined as a phenomena of making creativity by combining cultures which have no relevance. In psychological and sociological aspects, the rise of the cultural collage is caused by multinational corporation, pluralization of identity, information society, consumer oriented production, consumer society and inundation of kitsch. On the basis of the characteristics and social backgrounds of cultural collage, the aesthetic values of men's fashion can be explained by pluralism de-generalization and relativity.

• The Research Journal of the Costume Culture
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• v.11 no.3
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• pp.387-403
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• 2003

This study aims to analyse a trend of exoticism which is often mentioned in the contemporary western fashion. I analyse the internal elements of the exoticism in the fashion. By applying these elements to the exoticism of modern fashion, I intended to make it a useful instrument fur interpreting modern fashion. The results of this study are as follows. The internal elements of exoticism are summarized as escapism, curiosity, fantasy, hybridism and pluralism. 1. From the 19th century to the 1960s . The exoticism shown in the western fashion are influenced by such elements as curiosity and escapism. And diverse and plural exotic elements added a fantastic element to the exoticism. 2. After 1960s : Escapism acted much more because people thought exoticism offer a refuge from overall social problems of modern consumer society. Late in the 20th century, fantastic and hybrid element became more prominent in exoticism. And I found pluralistic view point was the other element of exoticism.

• Journal of the Korea Furniture Society
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• v.12 no.1
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• pp.103-112
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• 2001

This study explored the background of contemporary furniture design called New Design furniture, which newly expresses the aesthetics of communication in the postmodern era. Qualitative conceptual analysis as the principle methodology was used to explore the background of the decorative and meaningful contemporary furniture in postmodernism. Thereby, the postmodern concepts of Charles Jencks, Robert Venturi, and Michael Graves were analyzed in terms of their postmodern architecture and furniture. As initiatives of postmodern architecture and furniture, Jencks, Venturi, and Graves explored the pluralism and eclecticism, the decoration, the semantics, and the materials reestablished from the traditions of craft. As a result, their furniture was expressed by various wood and color; the furniture was beautiful, decorative, pluralistic, and eclectic for communicating symbol, metaphor, narrative, and/or humor with people; the furniture has influenced the communicative elements on the contemporary furniture design called New Design furniture design, which shows the blurring of fine arts and craft distinctions.