• Journal of the military operations research society of Korea
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• v.6 no.1
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• pp.93-101
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• 1980

An effectively designed budget system in the poor resources environment necessarily has three design criteria : (i) to be both planning-oriented and control-oriented, (ii) to be both rationalistic and realistic, (iii) to be sensitive to the variations of resources environment. PPB system is an extreme (planning-oriented and rationalistic) and conventional OEB/OUB system is the other extreme (control-oriented and incrementalistic). Generally, the merits of rationalism are limited because of the infeasibility of applications. Hence, mixtures of the two extremes such as MBO, ZBB, and RZBB have been examined and applied during the last decade. The classical mathematical models of capital budgeting are the starting points of the development of the Budget-Mix Model introduced in this paper. They are modified by the followings: (i) technological-resource constraints, (ii) bounded-variable constraint, (iii) the exchange rules. Special emphasis is laid on the above (iii), because we need more efficient interresource exchanges in the budget-mix process. The Budget-Mix Model is not based on optimization, but a heuristic approach which assures a satisficing solution. And the application fields of this model range between the incremental Nonzero-Base Budgeting and the rational Zero-Base Budgeting. In this thesis, the author suggests 'the budget- mix concept' and a budget-mix model. Budget-mix is a decision process of making program-mix and resource-mix together. For keeping this concept in the existing organization realistic, we need the development of quantitative models describing budget-mix situations.

• Journal of architectural history
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• v.15 no.4
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• pp.23-36
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• 2006

Since he was a leading figure in nineteenth century architecture, Viollet-le-Duc's architectural theory is crucial to the foundation of modern architecture. He has been called a Gothic Revivalist, a Structural Rationalist and a Positivist. The first title was perhaps due to his vigorous restoration of Gothic works such as $N\hat{o}tre$ Dame, but he did not adore the Gothic style just for itself. Rather, he hoped to deduce some principles from the style. So how did he manage this? In his book "Entretiens sur l'Architecture (Lectures on Architecture), published between 1864 and 1872, he mentions using Descartes' four rules for reaching architectural certainty in contrast with the chaotic situation during that modernising period. Furthermore Viollet-le-Duc's theory can be seen as a serious attempt to translates Descartes' philosophical rules into systems of architectural speculation. Descartes' four rules of doubt are anchored in mathematical propositions, and without mathematical distinctions, none of these rules are valid. In other word, mathematics for Viollet is the yardstick of judgement between distinctness and indistinctness. Many architectural problems arise from this view. In this paper, the validities of applying Descartes' method of doubt to architectural discourse will be discussed in order to address the question:-Did Viollet-le-Duc clearly grasp Cartesian method by which memory was erased from the world?

• The Journal of Natural Sciences
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• v.10 no.1
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• pp.175-197
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• 1998

High quality-oriented consumers, new rationalism and concept-oriented consumption followed by high sensitivity fashion market are embossing the importance of fashion M.D. This study has a purpose to make practical and general approach to consumers' taste, trend receptivity, the propensity to consume, and how they are practically connected with market strategy. As a results of this study, First niche market, targeting a new consumer group, is embossed as consumers have new fashion lifestyle. Second, we need a strategy to fractionize fashion by developing concepts suitable for consumers' each scene, not by following radical trends for mature consumers. Third, to satisfy consumers' propensity to originally, we need to establish the identity of Korean original goods which can compete with world-famous brands.

• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2007.10b
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• pp.107-112
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• 2007

This study had the purpose to restore imaginary environment involved to symbolic thinking system of Eastern culture discontinued by scientific and reasonable rationalism of Western. To restore imaginary environment, this study selected example places such as Seoul, Beijing, Kyoto which were ancient cities of Korea, China, Japan each and used hermeneutics and phenomenological access method to draw out the element of imaginary environment by analyzing historical and cultural view of example cities. Through comparison and re-interpretation of historical and cultural view of three countries[Korea, China, Japan] in Northeast Asia, as the result of drawing imaginary environment involved within it, it was structured that the spirit and the factor of natural environment of places involved to each cities were reflected as the factor of civilized environment, organized that each element was united, and more sanctified the spirit of place step by step. This study has the meaning as first trial which comparatively analyzed city spaces of existent place of human life by new concept called imaginary environment. It may has the meaning that verifying the universality of imaginary environment involved to historical and cultural view of three Northeast Asian countries, however, there was limitation to examine specificity up to detailed elements of each city.

• Korean Institute of Interior Design Journal
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• v.15 no.3 s.56
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• pp.14-23
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• 2006

As a proto-modernist work the Amsterdam Exchange has been regarded as a specimen of Structural Rationalist's architecture. Because of its ma]or steel structure, use of geometry, and reminiscence of Gothic the designer of the building was labeled by Kenneth Frampton as one of the apostles of Viollet le Duc. The architect was Hendrick Petrus Berlage. Contrary to above Nicolaus Pevsner claimed that Berlage's architectural discourse was 'Anti-Rational' because of its anachronistic formal language, Expressionism. In terms of structure Berlage's idea is rational, whilst formally 'Anti-Rational'. These polarised view points were due to the legacies of Modern Architecture that was controled by hegemonic figures in terms not only of practical field but of historiography. The hegemonic figures wanted to see Berlage as what they wanted to see. With this idea, this paper is one of endeavours to collect fragmented history in the early modern architecture. The Amsterdam Exchange has a long term story until the opening. Without understanding the story we have to withhold an evaluation of Berlage's architecture.

• The Journal of the Korea Contents Association
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• v.9 no.6
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• pp.145-152
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• 2009

We are surrounded by so many images these days. These images have their own meanings and have an effect on our subject, whether consciously or unconsciously. Michel Foucault disclosed that upon closer examination the rationalism deeply rooted in Western society was not made autonomously but involuntarily by heteronomous power. Because the emotion of image within this relationship can be effectively conveyed just through its being seen, the image has been used for controlling and mustering people through the adjustment of its meaning by power. With the advance of technology and media of today, the image in this visual power is out of the object for reproduction, and then forms a new paradigm of manipulation, transformation and reproduction and is being changed to the formation of Panopticon power and its corresponding relationship.

• Cross-Cultural Studies
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• v.22
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• pp.151-175
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• 2011

In this article, I have analyzed the signification of the death of Don Quijote from the oriental religious and philosophical point of view, comparing with the novels of Kim, DongRi. We are able to read Cervantes' hope for his absolute ideal to be lasting forever via the death of Don Quijote, in the base of a strong will named of Gukyeong's life. In the same time, we can also discovery death as lasting of life in the basis of buddhist idea and death as the unification with nature via the meeting between the living and the dead in the Montesinos Cave. Montesinos Cave symbolizes a unclassified and chaotic space, which the Shamanist can meet the dead with a extatic ceremony and both supernatural life and daily life coexist. Therefore, the symbolic death of Don Quijote in Montesinos Cave is abe to be explained by approaching to absolute freedom named of Hatal, in other words, voluntary and conscious death to escape from the yugo of being. Considering the fact that Kim, Dongri emphasized on the unification of sky, earth and human being, keeping a racial identification in the face of the stream of occidental materialism in the time of Japanese conquest, we can look for the similarity with Cervantes' ideal. Contrary to the religious dogmatic ideal, Cervantes treated to recover the human nature and vitality, transcending the occidental rationalism and religious ideology in the time of Counter-reformation.

• Journal of English Language & Literature
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• v.55 no.6
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• pp.1221-1244
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• 2009

The death scenes are the culmination of both Doris Lessing's "To Room Nineteen" and Toni Morrison's Sula. Lessing's Susan, an intelligent white English woman, gradually loses the meaning of life as awealthy housewife in the patriarchal society and commits suicide as her solution in Room Nineteen of Fred's Hotel. Morrison's Sula, an African-American woman, grows up without having the normal ego under Eva's matriarchy in a black community named the Bottom. Sula, after Nel's marriage, becomes a symbol of evil to her community and drifts down to death in Eva's bed. Reading these two death stories from the perspective of Jung's archetypal psychology, Susan is not able to continue to live a meaningful life because her life energy is cut off from its source which is in the unconscious. According to Jung, the symbol is the medium of the psychic energy from the unconscious to consciousness. In modern society which is represented by intelligence, the religious and mythical symbols are removed by rationalism, which means disconnection of the flow of life energy from the unconscious. Susan's death can be read as a kind of creating symbol to connect the modern people to the source of life energy. Sula's case is the opposite of Susan's. She remains in the unconscious world without having the proper ego in the absurd reality of racial and sexual problems. Sula finally rises again in Nel's awareness, becoming a symbol of the feminine goddess like goddess Inanna.

• Journal of architectural history
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• v.15 no.3
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• pp.43-57
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• 2006

The Villa Mairea (1937-39) designed by Alvar Aalto (1898-1976) has been studied by many researchers from various viewpoints. However, few studies have devoted their attention to the major issue raised by Aalto at the Yale University lecture and "Mairea" article in arkitekten in 1939. The issue is to fuse art with life in the living room with mobile partition walls that can function both as art exhibition walls and as art storage cabinets at the same time. Through this device, he maintained, the client can change displayed pictures easily according to the situation and so "painting and everyday life can evolve in a more direct manner." This paper argues that Aalto's concept originated from Japanese 'tokonoma' in Tetsuro Yoshida's Das japanische Wohnhaus (1935), which he referred to during the project. Differently from other Japanese features in the house, this tokonoma idea is more than formal, but more decisive than passing in driving the plan. And, whether coincidently or not, his idea exactly corresponds to Japanese aesthetes' and critics' own interpretation of the tononoma as the symbolic centre of Japanese people's everyday life. More importantly, however, this art display concept discloses secret strata of modern architecture during the time when the petrified rationalism was still at its power Even through the tokonoma motif alone, we see diverse trails in modern architecture: fusion of the East and the West, fusion of the traditional and the modern, to say nothing of fusion of art with life.

• Korean Journal of Childcare and Education
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• v.11 no.1
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• pp.435-459
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• 2015

It is generally agreed that the 21st century is the era of postmodernism. Postmodernism emerged with opposition and resistance to modernism which pursued values like the absoluteness of truth and knowledge, the Enlightenment, rationalism, objectivism and consequentialism among others. Now postmodernism is currently given a great deal of attention as it is considered a new ideology that can help explain many of the different and continuous changes which are occurring in a variety of fields including politics, economy, society and culture, not to mention education. In this sense, this study's purpose is to examine postmodern aspects found specifically in the field of early childhood education. As a result, this study found that those aspects could be briefly described by four main phrases, or 'early childhood education whose contexts are based on relativity', 'early childhood education operating under the system of rhizome' 'early education in which inter-directionality is pursued' and 'early education in which process-orientation is being intensified'. In the chapter of conclusion, finally, this study discusses how those aspects are correlated with one another and what implications they may have for the field of early childhood education.