• 대한한의학원전학회지
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• 제32권2호
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• pp.147-163
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• 2019

Objectives : Morning Sickness, or Nausea and Vomiting of Pregnancy(NVP) is a frequently experienced phenomenon among pregnant women whose cause is still unknown. While the key trait of this symptom is its temporality, it is hardly considered in existing studies on the cause of NVP based on Korean Medical(KM) literature. We hope to remedy this. Methods : We looked for contents on fetal development in Korean Medical literature from the Siku Quanshu as well as other key literature of KM and examined the results together with contents on NVP to find any correlation. Results : We found that the beginning stages, namely the third month marked a significant change in the course of fetal development where the fetus's own Shen(神) is first developed by work of the mother's Heart(心). In other words, the third month is when the mother's and child's Shen first encounter. Conclusions : We hypothesized that NVP whose symptoms are closely linked to the functions of the Heart, is likely to be related to this event, which was supported by the common involvement of the Heart which was involved in both fetal development and NVP during the third month of pregnancy.

• 한국의류학회지
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• 제45권1호
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• pp.73-93
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• 2021

This study typifies fashion mobile plays in a digital environment and explores the experiential value created by them through a case study of a fashion brand mobile app. For the case analysis, mobile plays were divided into four types: intrinsic motivation/active participation, intrinsic motivation/passive participation, external motivation/active participation, and external motivation/passive participation, depending on the mobile players motivation and level of participation. Among the global fashion brand mobile apps released from 2009 to 2019, 16 cases suitable for the analytical framework were used for final analyses. The main results are as follows. First, mobile play value include characteristics such as networkability, immersion, hyper-spatiality, and super-temporality in addition to the attributes of a traditional play such as spontaneity, uncertainty, regularity, and playfulness. Second, the four types of mobile play provide participants with an experiential value such as creative value, emotional value, social value, and exploitative value. This study has academic implications in terms of introducing a new framework that can typify mobile plays and suggest practical implications for what experiential value fashion companies can give consumers through mobile app marketing.

• 인문언어
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• 제2권2호
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• pp.163-182
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• 2002

In Origin of the German Mourning Play(1928), the critic Waltre Benjamin strongly criticized the German Romantic concept of the symbol, according to which the universal and ideal can be represented wholly in the particular and empirical by virtue of an ontological connection between them. Yet this criticism did not prevent Benjamin, in his epistemological preface to the book, from availing himself of the same monadological model (derived from Leibniz and Goethe) on which the Romantics had relied. Although he specifically rejected their insistence on the fusion of the phenomenal and the ideal in the symbol, his own theory of Ideas and their presentation in criticism nonetheless requires just such a fusion. This is not immediately apparent for two reasons: first, Benjamin proposes, in contrast to Platonic and Romantic theory, that Ideas themselves are subject to historical change, and therefore not capable of manifesting themselves fully in any given historical phenomenon; and second, he proposes that Ideas rather than phenomena are monads, individually representing the whole of the world in which they participate. The task of the critic, which Benjamin calls Darstellung("presentation"), consists in revealing Ideas by reducing historical phenomena to their constituent elements and reassembling those elements in what amounts to a mosaic of quotations. But this task is possible only if the critic has a preconception of the Idea he is trying to reveal-a possibility that Benjamin′s theory of knowledge does not allow for at all- or if he can discern the Ideas in the individual phenomenal fragments from which he creates his mosaic, in which case phenomena and Ideas must be related monadologically after all. Benjamin seems to admit the latter possibility in a cryptic sentence in the manuscript draft of his preface to the Origin, but he does not do so in the final printed version. Thus he effectively deprived the critic of an epistemological basis for the presentation of Ideas.

• 대한간호학회지
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• 제38권5호
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• pp.739-747
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• 2008

Purpose: This study aimed to uncover the fundamental nature of living alone in female elderly. Methods: The phenomenological research approach developed by van Manen was adopted. Results: The theme was 'taking a firm stand alone on the edges of life'. The composition elements of living alone experienced by elderly women were as follows: 1) Corporeality: participants perceived their bodies by their health status. Unhealthy participants were suffering with diseases and dependant on other persons, while healthy participants were free from family responsibility and kept on moving. 2) Spatiality: participants felt both freedom and loneliness while they stayed home. 3) Relationality: participants felt pity and yearning for their bereaved husband and sometimes talked to his picture. According to their children's filial piety, participants were pleased or displeased. However, they incessantly devoted themselves to their children. 4) Temporality: participants considered the rest of their life as extra-time which was proceeding to death, and tried to keep themselves busy before they died. Conclusion: A nurse should understand the multifarious aspects of elderly women's life, and then intervene to consolidate their strengths for self-supporting the final years of life.

• 한국실내디자인학회논문집
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• 제22권2호
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• pp.48-57
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• 2013

With the environmental changes of the times, consumers expect new experiences and seek hotels with various leisure facilities and sensuous design rather than existing static and conservative ones. In particular, boutique hotels connected to all the aspects of lifestyle including architecture, culture, art and fashion are trying out a variety of designs through collaborations in the ways of enhancing their brand images in the design industry. Design through collaboration between different fields has an infinite possibility of breaking from classicism and creating a new type of space in hotel design. Thus, this study attempts to analyze a few cases of boutique hotels by collaborative design that has recently been vitalized and to seek for a direction by suggesting the methods of utilizing design by collaboration for the hotel industry that will further be expanded in the future. For this purpose, first, the theories of collaboration and boutique hotel will be reviewed and the characteristics will be drawn out based on the examples of boutique hotels to which collaborations have been applied by enterprises and designers. By analyzing and classifying the cases of the domestic and foreign boutique hotels through practical experiences among the hotels recently designed by the collaborations between enterprises and designers based on the basic frame of the five characteristics drawn out: identity, symbolism, temporality, locality and interaction, objective values will be drawn out and data for presenting the future orientation will be built. In the Korean hotel industry that is gradually expanding, boutique hotel designs through the appropriate collaboration between enterprises and designers should be considered for the extensive development of the future hotel industry.

• 한국콘텐츠학회논문지
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• 제18권3호
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• pp.578-591
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• 2018

본 연구는 이용자의 융합적 TV시청경험에 영향을 미치는 요인이 무엇인지를 밝히고자 한다. 선행연구의 검토 결과 TV시청경험은 시간성, 선택성, 상호작용성, 사회성, 그리고 공간성 등 5개 차원으로 도출되었다. 독립변인은 인구사회학적 요인, 미디어 이용요인, 그리고 TV시청방식 등 3개 요인으로 도출하였다. 실증분석 결과 첫째, 융합적 TV시청경험 전체를 설명하는데 가장 큰 영향을 주는 변인은 인구사회학적 변수들로 밝혀졌고, 그 다음으로 TV시청방식, 미디어 이용요인의 순으로 나타났다. 둘째, TV시청경험의 세부 차원간의 차이를 비교해 보면, 시간성과 선택성은 상대적으로 TV시청방식의 영향을 크게 받는 반면, 사회성과 상호작용성, 그리고 공간성은 인구사회학적 변인의 영향을 상대적으로 더 크게 받는 것으로 분석되었다. 본 연구는 컨버전스에 따른 시청경험의 변화를 실증적으로 보여주는 탐색적 시도라는 점에 그 학문적 의의가 있다고 하겠다.

• 한국실내디자인학회논문집
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• 제22호
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• pp.61-68
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• 2000

This paper illustrates what the reality of architectural concepts, materials, notions and phenomena are as central questions of contemporay space design. These issues form the goal of modern space design which should attain to the reality of an era when non-real values prevail. Despite the trends of an everchanging and ephemeral dominating quality in architecture for the last ten years, architects still aim to contruct everlasting space on earth. The trends of dematerialization in today's space design can be substantiated in spatial-temporal dimensions as follows. First of all, ephemeral architecture with concepts of hypothetical temporality, everchanging architecture in fluidity, and the transparent architecture with the floating and overlapping image can be analyzed in the dimension of 'time'. In terms of 'space', void quality for the expression of emptiness, neutral space by the simplified and summarized forms, expanded space through ambiguous boundaries and spatial repetition can becharacterized and also be intended strategies for lightness, state of flux, ambiguity, paradox etc., lead modern space design along that path. As this point, we need to pay attention to the so-called 'hypersurface' concept proposed by Stephen Perella. Hypersurface is a sort of cladding sheathing existence independent from the primary structure. With it, the integration between form and image can be achieved. Sometimes hypersurface can be a strategical screen for image projection, a cognitive receptor for surroundings as well as a catalyst for information and communication systems. When the situation dematerializes more and more as the years go on, the concept of hypersurface can be an inclusive method between the phenomenological form in architecture and its self recipient image. Permissive atmospheres created between them in contemporary space design and new paradigms emerged with digital technology will further reinforce the human space's dynamism.

• 한국실내디자인학회논문집
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• 제24권2호
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• pp.78-87
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• 2015

This study aims to grasp the vital rhythm of the Chapel at Ronchamp by analyzing its rhythm through Henri Lefebvre's 'rhythmanalysis' in an effort to show the possibility of approaching the presence of this chapel. For the purpose of this study, Lefebvre's thought of rhythmanalysis was first contemplated, and a case study analysis was conducted on the concept and presence of the chapel in the design process. On this basis, examples of the chapel's rhythms were analyzed through Lefebvre's dialectical analysis of the triad of time(melody), space(harmony) and energy(rhythm). The results of analysis are as follows: First, the concept intended by Le Corbusier in the process of designing the Chapel at Ronchamp is expressed as the acoustic form, the modulor corresponding to the scale of the music, the light and shadow of counterpoint, and the opposite composition of musical changes. Consequently, the concept-mediated presence of this chapel is the presence of music. Second, at the Chapel at Ronchamp, a Lefebvre's rhythmanalyst experiences, or rather senses, two vital rhythms of an antithetical unity (i.e., acoustic curved rhythm and modulor-generated linear rhythm), with reference to his/her own rhythms. These rhythms are a dialectical union of spatiality of melodies temporalized through continuity, (i.e., acoustic curved form and modulor-generated linear form), and temporality of harmonies spatialized through simultaneity (i.e., light and shadow, materials and color, form of interpenetration, and stairs or windows/doors). These rhythms carry the measures generated by music-specific repetitions and differences in movements(energy). Consequently, the rhythm-mediated presence of this chapel is also the presence of music. In conclusion, the Chapel of Ronchamp indicates that an approach toward its presence can be realized through vital rhythms derived from Lefebvre's 'rhythmanalysis'. This study holds significance as an analysis of spatial rhythm and presence, employing a philosophical thought.

• 미술이론과 현장
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• 제13호
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• pp.185-213
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• 2012

Charles Stankievech's 2011 installation LOVELAND includes a wall-sized screen depicting video footage of a barren arctic landscape in an enclosed room, painted and bathed in white light, that appears as an extension of the imaged environment. A melodic and industrial musical score emanates from multiple sound panels and as the music increases a cloud of purple smoke becomes visible on the horizon line in the distance and gradually advances toward the viewer until it completely fills the screen. The smoke then remains, rushing about madly and lapping at the border between the screen and the room before it suddenly subsides and the spectator is again left with the desolate landscape. The entire process takes a mere five minutes and then, fixed on an endless loop, begins again. This paper positions LOVELAND as an attempt to simulate a sublime experience of the end of the world through a transposition of the Arctic atmosphere into the gallery space. Encompassing a discussion of the historical and contemporary significance of the Arctic in popular culture, aesthetics and environmental politics, it is suggested that Stankievech employs an apocalyptic trope in reference to the unstable position of the North in the current political and ecological climate. Revisiting critiques of modernist exhibition practices and investigating the perceptual and temporal dimensions of the work, this analysis focuses primarily on the experience of the installation's spectator. Visually, aurally and phenomenologically immersed, the viewer is made subject to, and implicated in, the events unfolding on the screen and within the space. Due to the looping of the video footage, this paper argues that the apocalypse imaged in LOVELAND is presented as an endless event - incessantly enacted, yet infinitely deferred - and that the spectator is enveloped in an uncertain and unceasingly extended present moment.

• 한국실내디자인학회논문집
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• 제22권5호
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• pp.135-142
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• 2013

This research regards that experiencing certain space according to looking through sensations of body will finally make visual perceptional experience to happen. Our bodies incorporate sensible experience along with interactions with surrounding environment while making movements. The analysis of Seongyojang in Gangleung through top and bottom, depth, movement and experience space which are Merleau Ponty's phenomenological space elements has led to the following conclusions. First, the up and down directivity inherent in Seongyojang has different directions in movements by the axis of plane. Second, the depth by the correlation between things and bodies shows the interactions with things and the depth of space rendered by the servants' quarters of '一字形' and the overlapping effect from the movement between buildings can be seen and felt. Third, mobility is focused on the surroundings for the movements of body and thing. Fourth, the experienced space remains as what it is and is experienced through the experience of traditional cultures. The temporality where the past and the present subsist is given with the application of the modern living pattern in the traditional space. That is, the space from the point of phenomenological view makes the visual-perceptual experience possible through the senses of body, with which the space is experienced and sensed. In other words, the space from the phenomenological viewpoint makes visual-perceptual experience possible through the senses of body so that the space may be experienced and perceived. Through this study, a new viewpoint toward Korean traditional space is expected to be discovered.