• The Journal of Art Theory & Practice
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• no.1
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• Research in Community and Public Health Nursing
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• v.10 no.2
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• pp.291-306
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• 1999

Health promotion has come to the fore through new concept approach in consequence of the increase of chronic diseases. increase of medical cost and social trend of putting more emphasis on the individual responsibility for health. Studies of health promotion can be classified into two types: one is micro intervention method which is mainly focused on modifying individual life style and the other. macro intervention method in which they put another emphasis on the environment the individual is surrounded. in addition to modifying individual life style. This study belongs to the later. This study aims to develop nursing activities and program it for the purpose of community health promotion. The process of the study can be briefed as follows: to draw out nursing contents to intervene for community health promotion: to promote community health to develop nursing action indicators; to develop nursing action indicators for the development of main nursing activities. And those developed nursing activities are programmed systematically. The community health promotion program is composed of a hierarchical structure with nursing process that the nurses are supposed to apply to perform professional nursing. the level of nursing perform. the main items of nursing process. health promotion nursing indicators. health promotion nursing activities. The conclusion of this study according to objectives are as follows. First. community health promotion contents at individual and community level are remained revised and complemented and those at organizational level are developed. The developed main contents of community health promotion nursing are as follows. 1) Revised individual level nursing contents: 35 items. 2) Developed organizational level nursing contents: 24 items. 3) Revised community level nursing contents: 36 items. Second. for the development of the health promotion nursing action indicators. principles were set up and applied as follows. 1. Developed indicators should be provided with such qualities as comprehensiveness. diversity. developability, availability. practicability. 2. Developed indicators should be provided with functional abilities to measure the conditions and changes in any phenomena or state. inspect the development of the states. control the implementing program. evaluate the result of program and grasp what nurses should do. 3. Developed indicators should be provided with relevance and sequence. 4. Developed indicators should be undergo inspections from the expert. The developed community health promotion action indicators developed in this study. observing above mentioned principles. are total 330 indicators of 95 items. Third. when the main nursing activities were developed for each nursing action indicator. five priciples were set up in accordance with each nursing action indicators to decide main nursing activities. Main nursing activities developed observing those principles. are total 1273. Forth. for the programming of the developed nursing activities. three principles were set up. 1. The nursing activities are systematized in line with (nursing process) (nursing client) (key items of nursing process) (nursing action indicators for health promotion) (nursing activities). 2. The program is constructed in downward and hierarchical order. 3. The program is constructed not in relation to same level activities but in relation to high and low level activities. The process step of programming of developed main health promotion nursing activities are; Step 1. The Developed nursing action indicators are classified into nursing process. Step 2. The main nursing activities are allocated per each nursing action indicators. Step 3. The statement of main nursing activities are inspected. Step 4. The items of main nursing activities allocated by a certain nursing action indicators are sequenced. taking into consideration the elaborateness of activity. the sequency of activity. familiarity of activity. the difficulty of activity. the interest of activity. the frequency of activity. Step 5. The whole developed program should undergo comprehensive and critical inspections.

• Journal of Korean Ophthalmic Optics Society
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• v.7 no.1
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• pp.45-50
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• 2002

The 'hands-on' craftsmanship of the 20th century has came and gone. Today, we are dealing with whole new, 'cerebral approach,' to concept and design with this new approach, design and function are very much dependant upon planning, sales, promotion, and the formative technique of the design industry. The innovative process of design constantly change as it reflects the needs and wants of society. It is and industry that constantly change as it reflects the needs and wants of society. It is and industry that constantly remakes and reshapes itself to suit current trend and outlook. The current idea being that consumers are looking for quality over quantity. Due to the 20th centuries dominant philosophy of functionalism, production intended to standardize the individual's purchasing choice. Aesthetic, or philosophic qualities played a second fiddle to the functional bias of a product, With production, Marketing, and research and development are integrated into the management process. This translates as good which include efficiency, quality, durability, and credibility an trademark and style. There is a definite 'post-modernist' movement and style in 21st century. Every possibility is available as the old boundaries of the 20th century are laid aside. There is a new, transformative quality to the current paradigm of design. The old "should" and "should not" of design no longerapplies. The integrated rative of design solves the usual disparity between aesthetic qualities and production. Design and profirability need not be stranger to one another. It can differentiate the image perceived of both enterprises and consumers by making use of integrated goods services. With an integrated system. both producers and designers win. While design gets full access to design in turn. All consumers make decisions based upon the evaluation of quality, service, and image ; even though it may not be a conscious decision to do so. Consumers are fully integrated human beings ; therefore producers who apply the new, integrated paradigmatic approach to concept, design, and production will reap the harvest of making a true relationship with individual buyer.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.37-47
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• 2018

This study was attempted to understand present status and characteristics of landscape components of the domestic Korean Gugokwonlim created by the classical scholars in the Joseon Dynasty. The results are as follows. First, Distribution of Gukokwonlim in Korea shows that 55(51.4%) are located in Daegu and Gyeongsangbuk-do, and 22(20.56%) are located in Chungcheongbuk-do. Concentrated locations of Gugok are on the part of Baekdudaegan, from Sobaeksan mountain to Sokrisan mountain via Wolaksan mountain, and the Nakdong River basin of the Nakdong vein in the right bank. This consideration seems to be closely related to the academy of Yeongnam Confucianism and the their trend of Wonrim enjoyment. Second, according to the result of examining the distribution of Gugok according to the basic local government authority, The biggest number of the Gugok places(10 places, 9.35%) are located in Andong, which is called 'the capital of Korean spiritual culture.' Additionally in order, 9 places(9.45%) is located in Goesan, 8 places(7.48%) in Mungyung, 6 places(5.61%) in Bonghwa, and 5 places(4.67%) in Yeongju. Third, in order to the creating time of Gugokwonlim, 33 (33.0%) were created in $18^{th}$ century, and other 33 (33.0%) were created in $19^{th}$ century. In addition, 14 were created during $20^{th}$ century, while 13 were created in $17^{th}$ century. And 4 were created in $16^{th}$ century. Respectively. great number of $18^{th}$ and $19^{th}$ centuries shows that many(66.0%) Gugokwonrim were created between late 18th to 19th centuries. Fourth, There were 97(90.65%) of 'Gugok' in the form of collecting type, and a total number of bottom-up style Gugok were 99(92.5%) while top-down style Gugok were 8(7.5%). Fifth, Among the contents of Gugok, 67 were found in pome of Gugok(64.49%), 29 caved letters in rock(27.10%), and 16 in painting of Gugok(14.95%). Sixth, The most emerged landscape components of Gugok was Dae(臺) 124(13.05%), followed by Am(巖) 115[11.2%, including of Am(岩)] 115(11.2%), and Dam(潭) 73(7.68%), Jeong(亭) 48(5.05%), Dong(洞) 39(4.10%), San(山) 36(3.78%), Am(岩, rocks) 31(3.26 %), Bong(峯, peaks) 27(2.84%), Yeon(淵) 23(2.42%) and Chun(川) and Tan(灘) 22(2.31%). Mostly, common landscape components of Gugok are entrusted natural things. It is expected that more studies about the analysis of characteristics of Gugok's positioning types considering total distance and a gradient are required to understand more clearly characteristics and location distribution of true Gugok and its landscape components.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.6 s.165
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• pp.985-996
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• 2007

The purpose of this study is to analyze the symbolism of traditional Korean patterns which reflect an emotional cultural background of Korean people, to apply modernized and developed patterns to Textile Design for fashion cultural products, and to explore productive direction of developing designs of fashion cultural products. The process of developing Textile Design of fashion cultural products which applied symbolism of traditional Korean patterns was conducted as follows. Firstly, based on '05 S/S-'07 S/S fashion trends, a design concept wat decided(man-urban ethnic style, woman-romantic ethnic style). Secondly, motive was abstracted from selected traditional patterns to develop into modem patterns. Thirdly, items were selected according to symbolic meaning of traditional Korean patterns. Man's items included shirts, necktie, and handkerchief which were highly preferred by Korean and foreign visitors. Finally, developed textile designs were diagrammed by item using textile CAD and an illustrator 10 and presented as images. The following results were obtained. First, textile designs for fashion cultural products, in which apply traditional patterns may reflect the understanding of traditional aesthetic beauty and philosophical approach by applying symbolic significance inherent in patterns as well as the aesthetics of the patterns. Second, traditional patterns have been recognized as old fashioned to consumers because they have been often used for traditional handicrafts or folk products. If their unique shapes are changed or simplified, emphasizing images, and trend styles and colors are used, they will be recreated as a modem design. Third, textile designs using traditional patterns may provide various images and visual effects according to techniques and production methods. Then, the method will be applied to many items. Finally, since traditional patterns in fashion cultural products can be used as our unique design elements, they can be utilized as the source of design inspiration for the development of value-added products.

• Journal of Families and Better Life
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• v.24 no.1 s.79
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• pp.129-140
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• 2006

The purpose of this study was to understand the labor division between men's housework and market work and to research the change of men's contribution to housework. And it was also examined what kinds of valuables work on a change in men's market work and housework. The information about men's change in the labor division was collected from the biggest 5 news papers in Korea for last five years for this study. And either men's new participation trend to household work did. Words searched for this study were men, labor, family, home, housewife, work, household work, father etc. Korean men have experienced a overloaded breadwinner role and have worked most in the world since 1960s. But Korean men's working time was continuously decreased a little every year. As Korean Companies had fired many worker during IMP economic crisis period, Korean men had to work more than before because of decreased fellows and they should have concentrated on their work at the sacrifice of private life and family-sharing time. On the other hand, some men were started to participate to do housework as a results of long-unemployment and early retirement after this periods. 5 day working system be in forced gradually since 2003 especially make men come back home and interest on housework. So Korean men's housework participation is gradually increasing by the practical application of sex-equitable politics such as 5 day working system and men's suspension regime for baby care. father's increased participation to children education and care, men's new family-oriented life style, dual-sexuality education system, and socially changed perception to husband housemaker. These interrelated trends demands us to shape a new labor division pattern in the family that make change the breadwinner/homemaker conception by the gender role. Now, all of family, men, women, and children have to join housework. It would help women, men, and all families make more human and equitable relationship.

• Journal of Korean Society of Rural Planning
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• v.18 no.2
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• pp.47-56
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• 2012

Recently urban areas have been advanced in the aspects of convenience, traffic, and cultural environments, but they have faced various problems including environmental issues, traffic congestion, and increasing stress. In contrast, rural areas are in charge of various functions, conservations of natural environments and traditional cultures. Rural life style may be beneficial to urbanites. As urbanites are increasingly interested in leisure activities, such as experiences of tradition cultures and education, safe foods and rural tourism are gaining attention as alternative ways of satisfying their desires. In other words, the rural tourism not only provides urbanites with leisure spaces by playing a role in relations between urban and rural areas, but also acts as a nonfarm income to the rural residents. With the changes of time, the number of current rural experience tourism on a nationwide is increasing and competition among locations is getting intensive. Particularly, despite various rural tourism villages in operation, there is not a standard in the dice for experience cost and accommodation costs. Accordingly, the aim of the study was to estimate urbanites' willingness to pay(WTP) for rural experience tourism and to provide basic data for qualitative growth and revitalization with regard to the tours. The estimated WTP for rural experience tourism was found to be 5,600won for experience, 5,600won for food, 42,000won for accommodation, and 13,000won for purchasing farm products, respectively. This trend could be similarly found (there were slight differences in food cost) on all analyses, such as the research of the current situations of rural tourism villages in Gyeongnam province, the pilot survey and the estimation depending on whether or not urbanites experienced the tours. In other words, the WTP for urban hands-on experience tours estimated by this study is considered highly significant in terms with possibility of its application in the sites. It is concluded that the urbanites' WTP for rural experience tourism obtained by this study will contribute to the setup of standard index of rural tourism, the qualitative development of rural hands-on experiences, and the raise of nonfarm income.

• Journal of the East Asian Society of Dietary Life
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• v.25 no.5
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• pp.860-866
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• 2015

Three types of Korean style fried rice sauce, 'Kimchi-tomato sauce', 'Doenjang butter sauce', and 'Seafood sauce' were developed in this study. Physicochemical properties such as pH, soluble solid content, acidity, salinity, and texture of sauces were analyzed after application of three different sterilization conditions ($110^{\circ}C/50min$, $115^{\circ}C/30min$, and $121^{\circ}C/20min$). However, no trend was observed in physicochemical properties of each sauce by sterilization conditions. The lightness (L-value) of doenjang butter sauce was higher than the other two sauces. Redness (a-value) and yellowness (b-value) of doenjang butter sauce and seafood sauce were greater than those of kimchi-tomato sauce due to different ingredients. Total viable cells were not detected under all sterilization conditions of the three types of sauce. The sensory evaluation results showed that $121^{\circ}C/20min$ of sterilization scored better than $110^{\circ}C/50min$ or $115^{\circ}C/30min$ sterilization in terms of overall preference of kimchi-tomato sauce and doenjang butter sauce. Overall, the preference of the three types of sauce showed that seafood sauce was best, followed by doenjang butter sauce and kimchi-tomato sauce.

• The Research Journal of the Costume Culture
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• v.19 no.2
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• pp.283-295
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• 2011

This study deals with the interchange with art that is contained in the works of Yves Saint Laurent, and it is disclosed through his works that modern fashion is part of expressive art while pursuing creative function as a work of art. The study has been performed on the basis of the references, the pictures of his works and interviews posted in domestic and overseas fashion magazines such as Vogue, Fashion News, Mode & Mode, Gap, Collections, etc. Regarding the scope of this study, it specifically deals with works he created from 1958 until 2002, when he announced his last collection. The results of the study show that with respect to Post-Impressionism, his works were greatly affected by van Gogh(who had used colors as active media in depicting his internal mental state) which gave birth to gorgeous and handicraft-like 'Couture-style clothes'. With respects to Fauvism, the works of Matisse also had an impact on Yves Saint Laurent, who added a sense of fauvism in his works through the use of colors, motif, or full reproduction of images from paintings. We see the influence of cubism upon Laurent when we examine his works of 'clothes with artistic value,' which utilized applique, beaded decoration, patchwork, embroidered patterns, relief-like ornaments, etc. using motif or objet much as we see in the works of Picasso and Braque, artists who expressed a new dimension of the formative arts. Laurent's use of neoplasticism, or plainness of painting, demonstrates a new formative art on the three-dimensional human body by using the works of Mondrian, which consist of black lines and primary colors, although generally Laurent's 'neoplastic'works differed from the works of Mondrian by more actively utilizing the lines and colors when designing dress and its ornament. In addition, the paintings and poems of surrealism artists and poets were directly used in the clothes or their images were sometimes borrowed. In order to express respect toward the spirit of surrealism and its artists, the human body motifs such as lips and eyes(which were frequently used by the surrealism artists) were applied to embroidery, printing and beaded decoration. Finally, being inspired by such Pop artists as Andy Warhol, Roy Lichtenstein and Tom Wesselman, Laurent further emphasized the aesthetic value of the popular consumer image in his own work, resulting in the wide recognition of the designs of Yves Saint Laurent as representing the new wave of the Pop Art school.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.8 no.6
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• pp.159-163
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• 2008

Recently, typography in Korea has been varied. Among them, after 2005 a new trend caligraphy has appeared and in reality people discussed that this has been occurred as a coincidence. However, as a view of one who is interested in Hangeul typography, born of Hangeul caligraphy is not a coincidence. It is because computerizing of Hangeul has been later than U.S. or Japan. Korea was colonized by Japan and experienced the Korean War and economical independence got late and cultural independence got late as well. Our language, Hangeul was independenced in the beginning of 1990's after computer was introduce and original letter of Hangeul was scanned and basic standard was built. From the end of 80's there were many efforts for independence of Hangeul but there were problems on hardware side than software side. In the beginning of 90's basic fonts such as Myungjo or Gothic of Choi Jung-ho's fonts were set for computer hardware, but later 90's can be called as a time for distributing designed fonts for that new fonts that were planned and applying new ideas on fonts were done. In 2000 the two major font company in Korea Sandoll Communication and Yoon Design Institute made a fonts such as When branding had to be done by designer, typo must be written so adjusting size and moving baseline made old style and caligraphy fonts to be born. These cycling process has been natural motive for nowadays' caligraphy and these two major companies' role has made caligraphy to be popular.