• Cross-Cultural Studies
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• v.33
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• pp.53-75
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• 2013

It is well-known that Chinese saw themselves as the centre of the world until the early 20th century. Since the Opium War 1840, however, belong to the 'general world' the past century. The Opium War made China break away from the Sinocentric spirit. This writing(essay) examines movies from China and the World concern the historical event 'the Opium War.' It also discusses desires that are inherent in narration of each movie and how accord with the real world. The movie The Opium War(1997) directed by XieJin is a work that intended: to wash off the memory of history of disgrace and; to successfully put a disparate piece, Hong Kong, of a puzzle named China together. The Japanese movie Wànshìliúfāng(1943)and The Opium War(1943) were also made for the victory of the Pacific War. They were part of project for uniting the domestic Japan and the colonial outlands - Manchuria and Joseon - that reenacted humiliating history of China, which had been the suzerain of the East Asia The Korean movie The Opium War(1964) was not recalled due to the demand for a lesson from China's painful history, but was recreated by imitating Hong Kong, into where capitalism was transplanted through the Opium War before Korea. History is eventually recalled to the present and the histories, that each different present invokes, are recreated in respective fashion. From their plan to wash off the history of disgrace and successfully return Hong Kong to its native country, China, Japan, and Korea portrayed China, once their cultural suzerain, as impotent East Asia. From their proposition that they should resist the present enemy, the West, together, they imitated the west of the East, which lead the way to achieve modernity. Finally, from their ambition to deviate from their status as developing country, they recalled and reorganized the history, the Opium War.

• Journal of Haehwa Medicine
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• v.22 no.2
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• pp.57-66
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• 2014

Objectives : Features of military medicine and war pattern at the time Methods : "Haeng Gun Bang Pyeon Pyeon Bang", military medicine literature, that allows pattern of ancient war to be inferred was considered. First, background of this literature formation was examined, and the contents included were arranged based on table of contents. Lastly, pattern of war at the time and role of military medicine were studied through the meaning of times and medicine in this book. Results : This book was written by Naseyo(羅世瑤, of an unidentifiable period), an intellectual of Qing Period(淸代) in the 2nd year of Emperor Xianfeng(咸豊 2, 1852). It was composed of total 3 volumes and a book, and 684 prescriptions were written under 6 large sections(大門). Conclusions : This book was written in the middle of spirit of the times of national prosperity and military power caused by defeat in the Opium War and popular publication in a series, an academic current of the times. Though there were many treatments about external wound in this book, thoughts of armed forces and combat by people of the time were reflected, including drying method(乾法) making portable foods, drinking control method(戒酒法) to resolve drinking(飮酒) problem in the armed forces, treatment method of infectious disease, information collection method from enemy troops by confession, and various treatments for diseases of military horse. It is expected that this book will be good material for studies in the field of military medicine and used as material for diverse combination studies such as history and military science.

• Journal of the Korean Society for Library and Information Science
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• v.4
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• pp.27-42
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• 1975

Usage and scope of the word Bibliography in comparison with in conventional Chinese Catalogue (中國 在來 目錄學) (1) Usage of the word in connection with the study of books in the West has been changed from 'writing of books' (17th century) to the meaning of 'study of a book as an object'(l8th century), and this meaning of the 18th century has been transmitted up to the present. (2) In its scope, 14 branches(eight in physical aspect, six in content of books) were set up independently for the study of a book as an object. On the other hand, the term Textual Bibliography(校수學) was in use in China before the Opium War, however the word Catalogue (目錄學) has been a current word for the subject study as in the case of Bibliography in the West. And in the scope of study of a book as an object, although some of its aspect is somewhat similar to the Occidental Bibliorgraphy, the main stream of learning is regregarded as the root and the physical aspects as branches and lea leaves, thus the latter has been treated with less importance.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.12
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• pp.75-82
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• 2019

After 1840 the first opium war, that changed the social nature and living habitats in China. The purpose of this study is to observe the influence of the war on the plan layout of traditional Chinese residential houses in Beijing Siheyuan. To find out the changes that were made after 1840, and reservation of the past, the space syntax model is used to analyze different social contexts and also compare the ancient and modern residential buildings. The result of the study indicate the following: Before the war, the ancient Siheyuan people's way of life strictly abide by the hierarchy system; External emphasis shows the host's status. However, in modern times, the social status became equal, efficient and harmonious relationship internally, while externally, it arranged the orientation and position of buildings to adapt to the natural environment. However, the boundaries between family members and visitors the emphasis on the courtyard and respect for private life remain unchanged.

• The Korean Journal of Pain
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• v.35 no.4
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• pp.361-382
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• 2022

The third opium war may have already started, not only due to illicit opioid trafficking from the Golden Crescent and Golden Triangle on the international front but also through indiscriminate opioid prescription and opioid diversion at home. Opioid use disorder (OUD), among unintentional injuries, has become one of the top 4 causes of death in the United States (U.S.). An OUD is defined as a problematic pattern of opioid use resulting in clinically significant impairment or distress, consisting of 2 or more of 11 problems within 1 year, as described by the Diagnostic and Statistical Manual for Mental Disorders, Fifth Edition. Observation of aberrant behaviors of OUD is also helpful for overworked clinicians. For the prevention of OUD, the Opioid Risk Tool and the Current Opioid Misuse Measure are appropriate screening tests before and during opioid administration, respectively. Treatment of OUD consists of 3 opioid-based U.S. Food and Drug Administration-approved medications, including methadone, buprenorphine, and naltrexone, and non-opioid-based symptomatic medications for reducing opioid withdrawal syndromes, such as α₂ agonists, β-blockers, antidiarrheals, antiemetics, non-steroidal anti-inflammatory drugs, and benzodiazepines. There are at least 6 recommendable guidelines and essential terms related to OUD. Opioid stewardship programs are now critical to promoting appropriate use of opioid medications, improving patient outcomes, and reducing misuse of opioids, influenced by the successful implementation of antimicrobial stewardship programs. Despite the lack of previous motivation, now is the critical time for trying to reduce the risk of OUD.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.1
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• pp.1-9
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• 2021

The purpose of this study is to analyze Zhangjingxiu(張敬修 1823~1864), who made Keyuan(可園) in Lingnan, China, to find out how traditional gardens were created. This study focused on the analysis of the relationship between garden designer and space creation. To this purpose, the analysis was divided into garden designer life analysis, garden making background analysis, garden analysis as a space for interaction with local artists, garden analysis as art activity space for garden designer, and garden designer's unique garden creation. the results are as follow. Zhangjingxiu was born in Dongwan City in 1823, participated in the civil war at the age of 22(1845), returned home at the age of 26(1849) and made Keyuan. However, he again went through the Opium War(1856), and at the age of 38(1861) he returned home with a war-illness. A garden designer Zhangjingxiu died at the age of 41(1864). Since Zhangjingxiu was a soldier, he healed the wounds caused by the war and created a garden in order to realize the ideal world that Zhangjingxiu normally had. The garden making background can be found in the garden's name Keyuan(可園). Zhangjingxiu tried to express in the garden the meaning of 'there is nothing possible and nothing impossible in the world' learned through the war. Therefore, Zhangjingxiu named the garden housing and the lake as Gadang(可堂), Gaheon(可軒), Gajeong(可亭), Galu(可樓), and Gaho(可湖). In addition, he returned from the war and making a garden with love and filial piety for his mother. Zhangjingxiu left many poetry and oriental paintings in Keyuan with local artists. The places created as a base as a space to interact with local artists in the garden are 'Gaheon(可軒) and Galu(可樓)', and 'Chuwoljigwan(雛月池館) and Gajeong(可亭)'. In particular, Jasudae(滋樹臺), which can produce various miniascapes of orchids, is considered to be the core space of Zhangjingxiu's artistic space. Zhangjingxiu is considered to have become a famous garden by creating a very characteristic garden using Jasudae, Sokgasan(石假山) and Baewoldae(拜月臺) on the court in front of Gadang.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.336-342
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• 2012

Chinese society, which maintained the feudal social system, has taken an isolationist policy in response to the Western aggression since $20^{th}$ century. However, in the wake of the Opium War of 1840, China had actively accepted Western culture, not in just politics and economy, but in diverse area of social property. Since these process, the modernization of China had begun and the Chinese museum has been erected and evolved through the process of it. And it can be deducted that the philosophy of socialist society had a considerable influence on the spatial configuration of the Chinese museum since it was at the heart of china's modernization. And another social shift has been made since 2000 that is regarded as the internationalization of China. It brought a new point of de-structuralism to the society since 2000 and it is leading the changes of various areas of culture and arts, including museology in Chinese society. The purpose of this study is to understand what changes have been made to the museums in China since 2000 and how the internationalization of China is engaged with this it, in terms of the spatial structure of a museum. To do this the study examined the spatial changes of the museum in the mathematical approach including Space Syntax tool and it was engaged with the changes of museum type. Throughout the study, it was concluded that spatial structure of museums in china has been changed from structural organization to de-structural one since 2000 of China's internationalization.

• The Journal of Korean Philosophical History
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• no.27
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• pp.223-254
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• 2009

This thesis is aimed at researching the formation of democracy in socialist China. Due to a sense of cultural superiority on the basis of their developed civilization, they already formed a strong cultural nationalism, which has come to firm up into "Sinocentrism" through long periods of time. However, there arose a sense of crisis due to the Western invasion after the Opium War and the intellectuals in China happened to seek the solution to rescuing their mother land from ruin; in the midst of this process, the theory of social evolution of the West was introduced and accepted. The acceptance of this theory of social evolution gradually transformed in confrontation with a logical limit that China defeated in international competition could not but be plundered by imperialism after all, but it contributed to Chinese intellectuals' forming the concept of the modern state nationalism of the West deviating from cultural Sinocentrism. After the Russian Revolution, a large number of Chinese progressive intellectuals developed their socialist movement with the recognition that Marxism was a practicable alternative to rescue China from its crisis. The Chinese Communist Party was under guidance of the Comintern from the early process of its formation, in which they emphasized the fact the national liberation struggle in colonialized countries was an indispensable element in the world communist movement under the condition of the control of the world by imperialist capital at that time and subsequently, Marxism characterized by resistant nationalism in China gained its cause. Afterwards, the People's Republic of China was established by the Chinese Communists which came to get widespread support from the Chinese through anti-imperialism &feudalism in the process of the Sino-Japanese War, and thus China equipped with a full-blown socialism system set sails. However, with the relations with the Soviet Union getting worse under the international conditions of a cold war, the development of the Chinese socialism couldn't but resort to the concentrated power of its people, which was linked to the boost of continuous patriotism of the Chinese Communists. Particularly, due to the newly-emerging contradictions after reform & opening [gig kifng], China underwent disruption; thus, as an ideology to integrate such disruptive elements, Sinocentrism based on China's cultural pride re-appeared. Recently, a very strong form of Sinocentrism has come to the fore as their superiority of traditional cultures is emphasized in China whose international position as an economic power has been raised.

• Cross-Cultural Studies
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• v.47
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• pp.191-216
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• 2017

Among 20th century Western ideologies (Western civilization), existentialism is a spirit of the times to restore humanity as rationality and advanced technology have driven mankind to impoverishment and death, experiencing the First and Second World War, Great Depression, Fascism and the Spanish Civil War. In his literature, $Andr{\acute{e}}$ Malraux records his existential agony of how mankind lives and faces death by questioning the fateful life and death of characters. For Malraux's characters, the absurdity of existence related to the human identity means self-examination. Malraux explores existential consciousness and actions of characters in the presence of a concept known as death relative to terror, revolution, and adventure. Malraux deftly addresses the concept of death in his literary works, and it has being emphasized as a central subject for philosophical speculation. In Les $Conqu{\acute{e}}rants$(1928), La Voie Royale(1930), La Condition Humaine (1933), L'Espoir(1937), Malraux suggested a philosophical thesis of the meaning of life through characters in tragic situations, and sought out the consciousness of being and the existential meaning through how the characters control their fate. Malraux, in such a tragic perspective of the world, portrays humanity, affirmation of life, and characters' consciousness and actions in denying death. The agony of death triggers escapist behavior such as having unpredictable instinctual desires such as gambling or smoking opium, but these are desperate struggles to flee from frustration and related to the question of one's existence. What is always emphasized with respect to Malraux's existentialism is the tragic metaphysics of the inevitable destiny of the human condition eventually leading to the question of how humans ultimately confront death. But as characters unite in times of war, revolution and adventure in the novel, such cooperative actions symbolizes a keen sense of solidarity reflecting a camaraderie that transcends individualism. Fellowship among people who voluntarily gather for the common cause of philanthropy and restoring humanity is possible because of the underlying human greatness to sacrifice for such a noble cause. Therefore, Malraux's camaraderie includes the victory of existentialism in creating a world of humanism.

• Journal of Korean Philosophical Society
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• v.137
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• pp.33-56
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• 2016

This article criticizes the dichotomous world view in which the East and the West are absolutely divided from each other and asserts that the East and the West should be understood as 'we' who ought to acknowledge each other not only as subjects but also reciprocally as 'others'. If the East is 'I', then the West is 'You' and vice versa and as such, the East differs from the West. Hence, supposing that they both regard themselves as subjects and if they realize that they can also be others against the other subject, they as different subjects should be understood as 'others in us'. Since the 19th Century the East has made efforts to learn and accept Western culture and thought. But it seems that the East has never regarded the West as an 'other in us', but rather as either an 'other outside of us' or as 'the real I that it should develop into'. This shows the self-contradictory perspective of the East. It can be thought that such an attitude was revealed as typical of the Far East in the 19th Century, in which the Opium War broke out and Sinocentrism collapsed. On the other hand, the West has never recognized the Eastasan 'other in us'. Nowadays we pursue the most actual value, that is, 'globalization'. In order to realize that value for the development of the whole human, it is necessary that both the East and West should first recognize each other as the 'other in us'.