• Journal of architectural history
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• v.13 no.4 s.40
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• pp.55-74
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• 2004

This study researched the art-educational thoughts as a modern idea influenced with the social and philosophical transitions in the 19th century. Moreover, this study focused on Frank Lloyd Wright's educational thoughts, because those educational revolutions had appeared as one of the results that Western society's character was rapidly changed by those revolutions, so called, Industrial Revolution, American and French Revolution, and Cultural Revolution of Romanticism, from late 18th century, and eventually because that revolutionary educational ideas had closely and basically many relations with Wright's thought. As a result, even though Wright's education such an apprenticeship was a traditional shape, which was not the old-fashioned educational method discipling to the skillful man, but against the existing education through the self-learning from experiences in nature. That is similar to transcendentalists such as Emerson who searched for having an inspiration in Nature. Namely, Wright himself had struggled against the existing dualistic educational concepts through Wright's monistic thoughts on art-education including architecture based on not naturalism but the philosophy of nature by romantic idealistic philosophers such as Shelling, Fickle, Kant, Hegel including with his Master, Sullivan, and by revolutionary educators such as Freobel, Ruskin, Dewey, and above all by his Unitarian doctrine. However, Wright's thoughts was at that time so radical, and as Wright himself acknowledged that, 'because the philosophy back of it, of course, as you know, is midway I guess between East and West', such all philosophical objects to influence on Wright were so abstruse idea which is usually called 'Romantic' or 'Mystic' that is mingled with East's and West's essence. That is, because Wright himself catched that the theories and methods of the art-educational thoughts would not be easily perceived, and he judged that in a word as a character which could not be taught. After all, Wright's romantic progressivist art-educational thoughts have not been perceived, disseminated in general and widely.

• Journal of Technologic Dentistry
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• v.21 no.1
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• pp.189-208
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• 1999

This is a study of view of college life on 1002 students in the dept. of the dental laboratory technology of 8 colleges in the country. Made a question survey on conclusion of college life, such as purpose of entering college and satisfaction, college life and sense of values and relationship to professors and analysed it through statistics. 1. Purpose of entering college and satisfaction of college. Most students motive to enter college was a preparatory step for future job as 73.3% of reponse rate. The dissatisfaction of college after entering was 42.5%, students of the metropolitan area showed 47.1%(p<.01) of response rate and college woman showed 48.2%(p<.05) of response rate. As for the datils of dissatisfaction of college than expected, the absence of romanticism and academic atmosphere was 38.1% and poor practice(facilities) was 32.4%. the students of the metropolitan area showed rater high rate(p<0.1) and sophomore students showed high rate(p<.05) as 40.6% 2. College Life and sense of values. Students showed the greatest interest in employment(27.0%) during attending and in deciding future plan(26.9%) after graduation. They responded a desirable attitude as a college students was a active and autonomous attitude as 34.0%. The best image of a college student was a student helping his/her peers with deep interest as 65.5%. The greatest trouble in college life was still future plan(27.7%). 3. Relationship to professors. Most responded they did not have professors to consult in the department as 72.4%. As a reason for this, insufficient oppartunity to talk with professors was the highest as 29.8%. They wanted any professor with much interest in employment of students as the best image of a professor(40.7%) and wanted to come into close relation with professors(30.9%).

• Journal of the Korean Society of Costume
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• v.65 no.5
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• pp.14-34
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• 2015

The aim of this paper is to analyze the relationship between the inspirations and designs of Dries Van Noten's women's collections from 1994 S/S to 2014 F/W. From the research purpose the following questions arise: how are the brands of Dries Van Noten developed and what are the important features? What are 'the roots of inspiration' for Dries Van Noten's women's collections from 1994 S/S to 2014 F/W, and what are the aesthetic criterions of Noten's works? How are the roots of inspiration categorized, what are the features of each category, and how do these roots of inspiration influence the Noten's designs? The paper is a practical reference of how ideas turn to practical works and what is the relationship between inspiration and design. Researchers utilized a qualitative research method to provide a systematic review of the previous studies. To sum it up, roots of inspiration of Dries Van Noten's women's collections can be classified into seven categories: 'ethnic', 'trend & style', 'flowers', 'artists', 'interpretation', 'fabric & pattern' and 'multiple contents'. Through the roots of inspiration, sensibility of Belgium, inquiry of ethnic & oriental, Artists, England, longing of street fashion, 1920's & 1950's trend & style of French high fashion, romanticism, atmosphere of medieval, gypsy, punk and hippie are extracted and applied to the designs through cross impact. The identities of Dries Van Noten's women's collections are fusion and harmony of cross culture and diversity.

• Korean Institute of Interior Design Journal
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• no.8
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• pp.3-15
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• 1996

Friedensreich Hundertwasser , born in Vienna 1928, is a painter, an architect and an environmentalist. His architecture is radically different from the traditional , straight -lined, functional architecture practised, for example, by the Bauhaus Masters. From the very beginning , he has tried by various means to show that radical change in thinking are necessary , possible and realized. Hundertwasser's goal in this architecture is to make and give human dwelling in harmony with nature. his architecture is characterized by avoidance of straight lines, " Window Right", irregular arrangement of windows, onion dom, a wealth of colours and such environmentally -friendly consideration as planting of roofs and realizing of "tree-tenants". hundertwasser sees houses as evolving creations which are to be shaped by their inhabitants. He hates Uniformity. The irregularity is always the guiding principle in his architecture. The Hundertwasser's architeucture express his fundamental belief that we may not simply rob nature of her resources, but that we must also return territory to nature which we habe stolen from her. Roofs, terraces and courtyards planted with vegetation and " tree-tenants" build bridges between man and nature. They influse the architecture with vitality and romanticism and are a statement of a quality rather than a standard of living. It is quite possible to value the architecture of Hundertwasser as an important inspiration, as a sort of turning point in the thoughts and actions of city planners. It's success could be healing shock for the international architectural community, which is hypnotized by technology and abused by the shortsighted interests of ren.tability . Under this pressure, today's architects trend to reduce people to a mere part of the " Dwelling machine", without acknowledging that in the long run such machines eat away at people's souls.uch machines eat away at people's souls.

• Cross-Cultural Studies
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• v.50
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• pp.283-311
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• 2018

The Russian poet A. C. Pushkin left more than a hundred self-portraits in his lifetime. These self-portraits are the subject of a special research project. Pushkin liked to sketch himself disguised in various shapes in his manuscripts. Besides Pushkin, many authors have portrayed themselves, but in terms of their quantity and fame, it is difficult to find self-portraits that transcended those which are as detailed and revealing as that of Pushkin's. Focusing on this point, this paper first examines the position of the poet's self-portraits in the context of the tradition of the self-portrait, as a painting genre full of romanticism as manifested and revealed in the 19th century. Subsequently, this article explains the meaning of the Pushkin's typical self-portraits in profile, which were mostly drawn in his manuscripts. Finally, in order to explore the philosophical implications contained in this poet's self-portraits, this paper attempts to read poet's self-portrait in comparison with Rembrandt's self-portrait, and Montaigne's Essais as well for a comprehensive comparison of the three entities.

• Journal of Society of Preventive Korean Medicine
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• v.22 no.3
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• pp.45-60
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• 2018

Background : There have been a variety of healthcare systems related to CAM practitioners developed in each country. However, the European cases have not been widely introduced in Korea so far. In the case of Germany, CAM practices have been developed in the frame of "Heilpraktiker" system. Objectives : The objectives of this study were to review the historical development and current situation of German Heilpraktiker system and its conflicting relationship with Western medical doctors, in order to utilize it as basic data for the conflict resolution between Western- and KM doctors in Korea. Methods : The historical development, current regulations and education system of Heilpraktiker were assessed. Research articles, reports, government publications and websites dealing with this issue were searched for and analyzed. Results : Heilpraktiker system was developed within German historical and cultural situation where naturopathic traditions were reilluminated in connection with modernization process of the state under the influence of romanticism formulating German nationalism. Between the concept of "Kurierverbot"(prohibition on medical treatment by non-physicians) and "Kurierfreiheit"(freedom of medical treatment), Heilpraktiker achieved a limited but legitimated right to conduct non-biomedical treatments from the state in the process of the formulation of modern German medical system. In this process, the conflicts between medical doctors and heilpraktikers have been also growing up to now. Conclusions : Heilpraktiker system, officially recognized with the legislation of Heilpraktiker law in 1939, stands at a crossroads between the continual development through strengthening its professionality, and abolition of the system due to its lack of quality control and medical evidence mostly argued by Western medical doctors, which has considerable implications for Korean situations in terms of the conflicting relationship between KM- and Western medical doctors. In this regard, it is necessary to discuss the debates on the concept "Kurierfreiheit"(freedom of medical treatment) developed within German tradition of medical pluralism.

• Proceedings of Korean Society of Archives and Records Management
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• 2019.05a
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• pp.11-16
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• 2019

Records Management Act of a country is the basis for understanding its archives management system. Germany is regarded as a country that achieved remarkable development of the system in the process of nationalism and unification based on romanticism in the 19th century. In addition, the federal and local governments enacted and operated their own laws based on the administrative system of the federal structure. Recently, the National Archives of Korea is discussing ways to improve its expertise and the system of operation in conducting national records management. Therefore, it is meaningful to analyze Germany's Records Management Act, which has a management system of long-standing historical records and examine its features. In this study, we analyzed and derived the characteristics of the Federal Records Management Act, which is the standard for the management of Federal Records in Germany.

• The Journal of the Convergence on Culture Technology
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• v.5 no.2
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• pp.225-231
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• 2019

This study was carried out to find a way to apply Kye Rak Choi, a representative writer of romanticism, to the early childhood education. For the study, the analysis was performed on 95. First, Kye Rak Choi study related to Kye Rak Choi and Kye Rak Choi work were examined. Next, I examined the implementation plan of simultaneous class which is being used in early childhood education and searched how to apply Kye Rak Choi work. The subject of the work was analyzed in order to apply Kye Rak Choi 's concurrent to early childhood education. There were many works utilizing the four seasons and nature, and these works were suitable for use in early childhood education. There is a way to apply Kye Rak Choi's work to early childhood education, to utilize sheer, to write a reply, to share stories by context. Kye Rak Choi had written many works emphasizing lyricism, and these works can be a good medium to connect with the child's sensitivity.

• Journal of English Language & Literature
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• v.56 no.1
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• pp.79-101
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• 2010

In "The Animal That Therefore I Am (More to Follow)," Derrida notices that he is being watched by his cat. He becomes ashamed of being naked in front of his cat. The sense of shame is a response to being reduced to the level of an animal. He is ashamed of being as naked as an animal. His next move is, therefore, to cover his nakedness from the gaze of his cat. By contrast, he realizes, the animal is not self-conscious of being naked and so does not shield its nudity. In a truer sense, then, the cat is not naked. Humans do not see animals for what they really are but what they project on them. Whereas the gap between man and animal is clearly identified by Derrida's philosophical discourse, the possibility of going beyond the gap can be suggested by fantasy stories in children's literature. Children's literature in Britain arose in the eighteenth century with the revival of traditional fairy tales and growth of literary fairy tales. Romanticism in the early nineteenth century contributed to opening up a new horizon for the concept of the child, in which the child is no longer defined as the object to be tamed and childhood imagination is glorified as a powerful means to reach the higher state, the spiritual origin prior to separation of Man from the 'thing-in-itself.' In The Wind in the Willows, animals talk and behave like humans. The anthropomorphic figuration of animals can be understood as a result of the one-sided projection of anthropocentric perspectives on animals rather than an interaction between humans and animals. Significant contradictions also emerge in this story, however, as traits particular to animals are vividly delineated even as the main didactic theme of good triumphing over evil reflects an anthropocentric projection on animals. An attempt to capture the true characteristics of animals and locate them in the text constitutes a remarkable achievement in The Wind in the Willows. This can be evaluated as an important step toward a more ecopocentric perspective on animals which appears in later children's fantasies like Charlotte's Web.

• Journal of English Language & Literature
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• v.55 no.3
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• pp.399-413
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• 2009

Pointing out the reality of criticism done mostly on Carlyle s original structure and rhetoric in his Sartor Resartus, this research paper focuses on Carlyle s dualistic philosophy revealed in the work, limiting its focus mostly to the dualistic theme of descendentalism and transcendentalism. The essence of Caryle s descendentalism is his irony and satire on human civilization, not for criticism itself, like other satirists, but rather out of his deep, secret humanism behind his mask. Roughly the two objects of his social criticism in the contemporary, descendentalisitc world, are mechanism and materialism in a variety of new ideologies. To diagnose the Zeitgeist and disillusion man living in contemporary civilization, Carlyle in this work uses a very original metaphor, the clothes-symbol. According to Carlyle, human history and progress can be said to be originated from man s adventitious invention of clothes that was not for biological need or social decency, but for decoration, the instinct of which implies man s innate vanity and desire. Interestingly enough here, however, Carlyle uses the same metaphor of clothes for his vision of transcendence, the world of Everlasting Yea. Man is also God s apparel and Matter is that of Spirit. Carlyle s Everlasting Yea world stresses especially the two attitudes, belief in God and love of man, which have been recently jeopardized in the socalled descendentalistic world. But Carlyle s transcendental and religious vision in Sartor Resartus is, as critics also have agreed, a unique and mysterious vision as something different from orthodox Christianity or other Victorian ideologies, as more like an amalgamation among Calvinism, Romanticism, Platonism and German Idealism. All in all, reading Sartor Resartus is still a valuable experience of an idiosyncratically original vision along with his warning against dehumanizing forces lurking in the name of civilization and with his ultimate eulogy on man, proving descendentalism as just part of transcendentalism, although the reader from time to time can be embarrassed by his male-centered, politically conservative, and individual-oriented dynamism.