• Human Ecology Research
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• v.55 no.1
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• pp.67-80
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• 2017

This study develops an the ideal portrait of a human being pursuing in home economics education from a critical science perspective. The practical problem is 'what should the ideal portrait of a human being pursuing in home economics education with a critical science perspective be?' was addressed through a practical reasoning research method with the stages of valued ends, context, alternatives, consequence, and a final plan. The sequential flow of understanding values and contexts established the setting of three valued ends by organizing issues and categorized areas of individuals, families, society, and cultural from a critical science perspective. The ideal portrait of human being was specifically stated, in the self-formation, independent, inter-subjectivity, social participation, and enculturation according to subcategories; in addition, the stated ideal portrait of human being was modified through expert consultations. Alternatives and consequences were reexamined for the validity of the statement and restated as a comprehensive statement of ideal portrait of a human being that included a restatement of the five areas. An ideal portrait of a human being pursuing in home economics education from a critical science perspective was made from alternative ideal portraits of the proposed human being and stated as 'a person who can continually act autonomously in one's life-world.'

• Journal of Korean Home Economics Education Association
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• v.29 no.2
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• pp.85-111
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• 2017

The purpose of this study was to examine the need of the ideal human being and to establish ideal desirable state of affairs in the ideal portrait of a human being for pursuing in the home economics education. This study analyzed the deducted issue from the discussion about the human being in the educational research through the national curriculum and literature review. The desirable state of affairs established in this research are (1) it needs to reflect the feasibility aspect for actual implementation, (2) it needs to consider the contextual subject aspect, and (3) the curriculum view containing the philosophy of the subject, that is, critical science perspective shall be reflected on the desirable human being. The ideal portrait of a human being was stated, in the individual family, society nation, cultur e world according to subcategories. In addition, the stated ideal portrait of a human being was modified through expert consultations. The proposal was reexamined for the validity of the statement and restated as a comprehensive statement of an ideal portrait of a human being that included a restatement of the three areas. An ideal portrait of a human being pursuing in home economics education from a core value of curriculum stated as 'a person who has solved the practical problem actively'.

• The Journal of Art Theory & Practice
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• no.15
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• pp.51-79
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• 2013

This paper examines the characteristics of post-modern self-portrait photography. Characteristics of postmodernism associated with the "loss of centeredness," such as the death of the author, interdisciplinarity, and intertextuality, brought about a number of changes within the self-portrait. The distinction between post-modern and modern self-portraiture can be characterized by the following qualities: appropriation, the use of photography, and the utilization of the human body as an art. The characteristics of post-modern self-portrait photography can be represented through the works of Cindy Sherman, Orlan, and Morimura Yasumasa. By presenting prototypical women in her works, Cindy Sherman not only represents images of those women, but also exposes her fictitious role in the work. She creates a distance between herself in the works and herself in reality and discloses a paternalistic gaze. Meanwhile, Orlan transforms her face into a distorted image and presents it as an alternative identity that is representative of postmodernism. She corrodes the standard concept of identity through plastic surgery and treats the face not as a place where the identity stays, but as a simple body part or fragment of skin. Orlan's post-human face is malleable according to the artist's desire to raise the issue of what the human face is, and opposes the structure of modernism. Morimura Yasumasa also appropriates images from masterpieces and presents a hybrid identity between Eastern and Western, male and female, original and replica, and subject and object. In order to dissect social prejudice, he puts forth every single structural dichotomy that coexists in his self-portrait and suppresses a strong ego. He also studies the relationship between 'seeing' and being 'seen' by trading the painter's role from that of the subject to that of the object.

• Journal of Korean Library and Information Science Society
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• v.44 no.1
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• pp.333-355
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• 2013

This paper is to examine the issues of the right of portrait and to suppose practical guideline for performing arts archives. The right of portrait protects external looks of the human beings based on the constitutional human dignity, privacy of a secret and freedom. But sometimes these rights are limited in case of the right to know of the public shall have precedence to the interests of the privacy of individuals. It is hard to regard Performing Arts as a private life in two respects: first, Performing Arts is just one of societal expressions, two, performers are conducting a given role as a performing character. Producing database with the photos and videos under the reasonable agreement from the performers and making it available as a service can be disclaimers of the right of portrait. It is hard to be acknowledged, however, as disclaimers in case of being undermined sameness in the course of using the portraits of the performers.

• Journal of Korean Philosophical Society
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• v.148
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• pp.357-377
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• 2018

In order to concludes that human being is in the making, not a being already perfectly made, this paper goes through four steps. The first step raises a question that human being is only a being of reason. The Kant's assertion that human being has a moral capacity of 'good will' seems to be distorted portrait of human being. The second step calls into a question that human being can obey universal moral laws. Any universal moral law can't be obeyed by moral agent, because he can't exclude his external situations which are ceaselessly changing. Nevertheless imperatives of reason which require to obey the universal moral laws seems to be a 'unfortunate legacy' to human being. The third step demonstrates that imperatives of reason are originated from dualism which have dichotomize "mind vs. body" as "internal capacity vs. external situation". According to dualism, imperatives of reason require internal capacity to exclude emotions or desires which are sensitive to external influences. The fourth step discusses that interacting of inner and outer is to be necessary for human being. Then, reason is to be really in one glove with emotions which are beginning form externals, otherwise reason can't stop being powerless to any external situation. Concludingly any human being is to be processing to a new being, not situating any extreme antagonism of "reason vs. emotion". Because of emotional human animal, not a perfect god, humans being is in the ceaseless process into the making a new self.

• The Journal of Art Theory & Practice
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• no.16
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• pp.139-174
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• 2013

Pliny the Elder said that multiple cultures agree that the painting began as a shadow trace. A daughter of Butades, the potter in Corinth, traced an outline around a man's shadow, and it was the very beginning of painting. In this anecdote, the profile, i. e. the portrait substitutes body of the absent lover. It makes the absent body present and replaces his place. In this context Hans Belting put the anthropological value to this visual practice. Human being made images to cope actively with the shock of death and the disappearing of body. With the aid of the representation of the bodily presence, the image struggles to resist the death. This paper is a study on the critical meaning of representation in the context of bodily survival by image. The representation is the paradoxical trick of consciousness, an ability to see something as 'there' and 'not there' at the same time. So the connection between image and the body would be suspicious. Although this relation was tight in the ancient shadow painting and the medieval effigies, the modern visual practice forsakes this connection and exposes the trick of representation. It insists that image was not real and even expels the medieval visual practice from the boundary of fine arts. The genealogy of the portraiture is formed by two different visual practices. The belief and the disbelief in the image are observed in the process of representation and anti-representation, and this ambivalence transforms the ontological meaning of portrait in the visual representation.

• Journal of the Korean Institute of Intelligent Systems
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• v.27 no.1
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• pp.29-34
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• 2017

Recently, studying chaotic dynamic have been concerned by many researchers in areas of physics, chemistry, mathematics, engineering and social science. Especially, model of addiction, happiness, family and love become major research subjects in the social science. Among these models, love is one of the four emotions that human being have. There are many definitions for love, however, each definitions of love does not coincide with each other. Recently, one of the most important efforts for research is love and it is represented by derivative equation. Then they try to find nonlinear or chaotic behavior from this derivative equation. This paper propose Gaussian fuzzy membership function in order to make external force that are close to action and awareness of human based on love model of Romeo and Juliet with external force. This paper also confirms the existence of nonlinear characteristics through time series and phase portrait.

• The Journal of the Korea Contents Association
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• v.18 no.9
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• pp.34-43
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• 2018

The purpose of this study is to develop measurement program model for a human being-oriented product through the between the evaluation factors of portrait and general preferences of portraits. We added new items that are essential to the image evaluation by analysing previous studies. In this study, We identified the facial focus for the first step, and the portraits were evaluated by dividing it into objective and subjective image quality evaluation items. RSC Contrast and Dynamic Range were selected as the Objective evaluation items, and the numerical values of each image could be evaluation items, and the numerical values of each image could be evaluated by statistical analysis method. Facial Exposure, Composition, Position, Ratio, Out of focus, and Emotions and Color tone of image were selected as the Subjective evaluation items. In addition, a new face recognition algorithm is applied to judge the emotions, the manufacturer can get the information that they can analyze the people's emotion. The program developed to quantitatively and qualitatively compiles the evaluation items when evaluating portraits. The program that I developed through this study can be used an analysis program that produce the data for developing the evaluation model of the product more suitable to general users of imaging systems.

• Journal of the Korean Society of Industry Convergence
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• v.1 no.2
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• pp.31-40
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• 1998

The aim of this study is to examine the expression of the meaning of tradition and the archetype of korean image in it in order to find out korean image on reflection of the meaning of tradition. The results are as follows. 1) The nature of tradition illuminates the past, and lights up the present. It cannot be a portrait which enable to have a future prospect and also a cornerstone a tutore pave the way for of the better direction. 2) It's meaning like to say that korean style it self is considered as an expression of tradition. But it korean tradition has a tradition course in a dialectical way, new creation will be possible, 3) The social and cultural aspects change as time goes by through the tendency of society and it's culture we can get some imformation about the inner spirit of human being. The inner spirit of human being is the spirit of our nation so that we can get oringinality from the culture of our nation. 4) On the aspect of idea oganic system must be visualized on the basis of scale whichs accustomed to our emotion. 5) We can also find out the growing tendency that architects are willing to express the typological image as spacial arrangement and ideology of the Korean image to their works recently. It can be defined that it is a progressive tendency for the expression of Korean image in contemporary architecture. This study is needed to have move practical and concrete examination in order to approach more ideologically the expression of the sense of tradition.

• Journal of the Korean Society of Costume
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• v.62 no.1
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• pp.120-136
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• 2012

This thesis takes an aim to investigate the relationship between the costume and enlightenment ideology by studying the change of costume, and reviewing the portraiture of Queen Marie Antoinette. The method of this research is to select the 29 pieces among the portraitures from 1770 to 1793, and to analyze the headdress, shape of robes and ornaments. The results are as follows. The first period(1770-1774): The costume in this period of Dauphin of France is described as vivid, and simple like her characters, and also represents her active lifestyle. The ideology of equality between the two sexes from the enlightenment slightly influence the costumes seen inside the portrait of Dauphin. The second period (1775-1779): This is the early period of the Queen's enthronement and also before her childbirth. The relatively small number of portraits showed her as an authoritative figure because her skirts were expanded with huge panier, the waist were tightened with corset, and her headdress was enlarged. Thus, this period could not be defined as the one of enlightenment philosophies in light of the persistent unsanitary construction of costumes distorting the body. The third period(1780-1789): There are many portraits depicting the Queen and her children. It is noteworthy that the English style picturesque garden was illustrated as a background while the costume was simple and sanitary, both being affected by the enlightenment. The last period(1789-1793): This is the period between the French revolution and the death of the Queen. The form of costumes was transformed into the neoclassic style, headdress was reduced in size, and was simplified as a result of complete change of costume for the enlightenment. This research is to be interpreted as a tool of study about the relationship of costume, society and ideological streams and also be a means of elucidating the contemporary times in view of the past ones.