• Journal of Haehwa Medicine
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• v.11 no.1
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• pp.73-83
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• 2002

This thesis was written in order to help set groundwork of the mutuality between brain hormon and Shin-myung(神明) activity. 1. Shin-myung(神明) means all spritual functions, and Shin(神) represents thinking, myung(明) represents consciounsness. 2. As a origin of Shin-myung(神明) activity, in ancient times Heart(心) was regared as one, but since Chung-Dynasty(淸朝), Brain(腦) is regared as a main controller to manage Shin(神) in human body. 3. Shin-myung(神明) activity would should between Brain(腦) and Shin-Sin(心神) 4. Hormon is chemical substance to serve convey infomations and stimuiate them. In Present day Western medical science, make an attempt to understand Shin-myung(神明) activity of Brain(腦) as a activity of hormon doings. In conculusion, Shin-myung(神明) represent that Brain(腦) inculde Mind-Sprit(精神) activety, and it can be able by the function of brain hormon activety.

• International Journal of Advanced Culture Technology
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• v.10 no.3
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• pp.174-183
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• 2022

The abstract should summarize the contents of the paper and written below the author information. Use the word "Abstract" as the title, in 12-point Times New Roman, boldface type, italicized, centered relative to the column, initially capitalized, fixed-spacing at 13 pt., 12 pt. spacing before the text and 6 pt. after. The abstract content is to be in 11-point, italicized, single spaced type. Leave one blank line after the abstract, and then begin the keywords. All manuscripts must be in English. When it comes to the issue of "virtual and real" in traditional Chinese painting, the first impression is to describe the problems of painting strokes and ink, layout of pictures, etc., but it runs through the initial conception of the work, creation in the middle and aesthetic appreciation of the work. It exists in the whole process of artistic creation and appreciation. In essence, it is a problem of aesthetic thinking and philosophical thinking. Because the traditional Chinese painting theory is influenced by Taoism, when the concept of "virtual and real" is implemented in the specific picture of Chinese painting, it is contained in the specific shape of "physics", that is, the painting theory research of "blank space" in the picture. Based on the traditional Taoist philosophy of China, this paper takes the "virtual and real" view in Lao Zhuang's thought as the research object, deeply analyzes and compares its relationship with the "virtual and real" in Chinese landscape painting, and finds out their artistic spirit, essential characteristics and how to present them. This paper mainly discusses the internal relationship between Taoist philosophy and "virtual and real" in Chinese landscape painting from the following aspects. The introduction expounds the origin, purpose, significance, innovation and research methods of the topic. This paper analyzes the philosophical thoughts about landscape in the philosophical thoughts represented by Lao Tzu and Zhuangzi. The development of Chinese traditional aesthetics theory is closely related to Taoist philosophy, which has laid the foundation and pointed out the direction for the development of Chinese painting theory since ancient times. It also discusses the influence of the Taoist philosophy of "the combination of the virtual and real" on the emergence and development of the artistic conception of landscape painting. Firstly, through the analysis of the artistic conception of landscape painting and its constituent factors, it is pointed out that the artistic conception is affected by the personality and the painting artistic conception. Secondly, through the Taoist thought of "the combination of the virtual and real" in landscape painting, so as to reflect that it is the source of the artistic conception of Chinese landscape painting. It is the unique spiritual concept of "Yin and Yang" and "virtual and real" that creates the unique "blank space" aesthetic realm of Chinese painting in the composition of the picture. Finally, it focuses on the "nothingness" in Taoist philosophy and the "blank space" in Chinese landscape painting. The connotation of the "blank space" in Chinese painting exceeds its own expressive significance, which makes the picture form the aesthetic principle of emotional blending, virtual and real combination and dynamic and static integration. Through the "blank space", it deepens the artistic characteristics of the picture and sublimates the expression of "form" in Chinese painting.

• Journal of Korean Philosophical Society
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• v.139
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• pp.81-104
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• 2016

Given that the goal of study lies in the pursuit of truth and that philosophy asks questions about the origin of being, dealing with existence rather than essence is distant from the original meanings of philosophy. In spite of this, people talk about existence because it is closely related to the academic goals of phenomenology. It is true that phenomenology is Wesenswissenschaft ("the science of essences") in that it tries to restore the original nature of philosophy and establish philosophy as a strict science, but it cannot be ignored in phenomenological research that essence starts from existence. The purpose of this study is to examine the issues that traditional philosophy has sought after and missed by focusing on the issue of "existence." Existence is man's participation in the world, thus being expressed as being-to-the-world. All that has been perceived is understood in total unity and accordingly cannot be restored to ideological essence. In the end, the issue of existence should make a new start at the root of perception. Man is a thinking being and, at the same time, acting being. Here, an attempt to determine the priority between thinking and acting will be meaningless, indeed, and make an issue where there is none. Human beings will not thus stay at Descartes cogito argument' and try to go out into the world through the door opened by cogito. With these reasons in mind, this study examines the issue of existence with a focus on a phenomenal field and body.

• The Journal of the Convergence on Culture Technology
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• v.8 no.1
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• pp.313-320
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• 2022

Recently, the keyword 'convergence' has emerged in the education field. The voice of demand for the humanities is also increasing. The range of convergence of the humanities is gradually spreading to various fields such as science, technology, engineering, and the arts field. And also, the trend is to nurture the future creative convergence talent with logical, comprehensive, and creative thinking through the fusion of humanities, scientific, and empirical theories. Myths and legends contain the content of humanity's culture creation and deal with matters such as religion, philosophy, art, and science. Therefore, through the consciousness of the ancients who lived in the so-called convergence era when academic differentiation did not occur, it will be possible to reflect on the appearance of sages. In this paper, we propose a method for educating Chinese culture through the analysis of by Wen Yi-Duo, a famous Chinese scholar. He sought to find the origin of Chinese culture through myths and legends and to find national identity by restoring the concept of national culture in the period of origin. The myths and legends of China are closely related to the cultural phenomena of modern China, which will further enhance our understanding of China.

• Journal of muscle and joint health
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• v.6 no.2
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• pp.226-241
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• 1999

This study was undertaken to find out the causal perception of rheumatoid arthritis patients, and to understand the typology. The Q-population consisted of 236 statements of causal perception were collected. Thirty eight Q-samples of causal perception were selected. The P-sample for this study were made up of 28 first visiting female rheumatoid arthritis patients from a rheumatoid arthritis specialty hospital. Each respondent responded Q-set of causal perception according to 9-point scale. The result of Q-sorting were coded and analyzed using QUANL PC program. 1) Typological Observation on Causal Perception (1) Physical Fatigue Type : Type 1 perceived that the illness occurred due to excessive work requiring physical labor or strain that had occurred from not resting after excessive physical labor, therefore, thinking the origin of the illness was from physical strain. (2) Physical origin Type : Type 2 perceived that the major cause for the illness is not only excessive physical labour but also fecundity and old age. (3) Causality to Environment Type : Type 3 perceived that rheumatoid arthritis occurred from injury to the joints or bad and humid weather. (4) Conscience of Guilty Type : Type 4 consisted of people with guilty conscience for lack of religious commitment. They perceived that the illness was a punishment from God for not praying or because of bad luck. (5) Rationally Perceiving Type : People who belong in type 5 perceived the cause of illness in light of scientific facts such as genetics, unbalanced diet or lack of exercise. (6) Psychological Stress Type : People who belong in type 6 believed that excessive stress was the cause of the illness. 2) Emotions of Rheumatoid arthritis patients Rheumatoid arthritis patients' positive emotions included determination, courage, coping, acceptance, hope, and adoption ; and their negative emotions were prostration, worry, stupor, conflicts, grievance, giving-up, resignation, depression, loss, solitariness, fear, anxiety, avoidance, anger and loneliness. Rheumatoid arthritis patients experience different level of emotions from their suffering experience from the severe pains. Rheumatoid arthritis patients also experience negative emotions when they could not perform self-care and lose their self-esteem from painful suffering ; however, they regain positive emotions when they recover from pain with the use of drugs, physical therapy or exercise. Their emotional states are closely connected to level of and presence of pain.

• Journal of Korean Philosophical Society
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• v.142
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• pp.75-97
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• 2017

This study purpose is to discuss critically the conception of history in Hegel and Marx by drawing on Merleau-Ponty's existential theory of history, finishing with concluding remarks. Merleau-Ponty insists that history is always history experienced. This thesis is his own principle in investigating human history. From this perspective, he begins to flesh out problems with history which Hegel and Marx had understood idealistically and materialistically respectively. He criticised that if Hegel grasps history in terms of teleology, he failed to explain the source and origin of historical meaning from which history makes sense. He failed to think that what gives history meaning comes from embodied consciousness. This means that history is not made of dialectical thinking. The thing is different from such an imaginative construal. History as it stands is not like that. It is not running around like Hegelian dialectical thinking. Marx understood historical behavior wrongly when he explained class struggle in terms of productive relations. He disregarded how class was sedimented or embodied in the minds of proletarians. Owing to this, Marx could not suppose that class consciousness is determined not causally or externally but by incarnated experience. It is affected in so far as it is affected by somebody, that is, the worker. At that moment only Class consciousness begins to work. Marx did not catch sight of this hidden fact.

• Journal of the Korean Society of Costume
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• v.54 no.2
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• pp.105-119
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• 2004

Cultural hybridization and global cross-fertilization, begun since the 1990s, mean the hybrid mixture of the low-class popular arts and the high-class fine arts and have found expression in intertextuality by means of the thinking system of de-constructuralist post-modernism. This study was intended to investigate the artistic intertextuality between fashion and art frontiere, especially between such fields as 'animation', 'music', and 'performing arts' and 'fashion', which shows the greatest characteristic of the phenomenon that the non-mainstream culture flows into the mainstream culture. It also aimed to investigate the intertextuality between 'technology' and 'fashion' as the delivery room of the youth culture and copycat culture due to the benefit of technologies since the 20th-century digital revolution. Animation as the neo-pop art with the popular code coming to the forefront in the 21th century integrated high-class fashion and low-class fashion into one through the combination of fashion and humor, and the musical element referring to the social difference of the cultural field and the social strata is becoming the 21th-century fashion icon through its fusion with the pictorial tendency along with the leisure-time life of the non-mainstream strata. In terms of intertextuality in performing arts, fashion style performs an important role in the presentation of performing arts and since the de-construction of the fin-de-ciecle form and its fusion with media have taken place, fashion works become and element of the origin that has an influence on a series of film, dance, dramatic elements and the like. The paradigm of technology made it socially and culturally possible to achieve the architecture of clothing system necessary for fashionable technical clothing by allowing the possibility of imitation, the function of technology to form popular culture. The intertextual tendency in the 21th-century fashion began from the de-constructive phenomenon of existing norms and now takes the multicultural character of surpassing a certain domain or concept. And it positions itself as the total art of spearheading the low-class culture and the non-mainstream culture as the hybrid domain of mainstream and non-mainstream cultures or high-class and low-class cultures.

• Journal of the Korea Fashion and Costume Design Association
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• v.3 no.1
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• pp.57-76
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• 2001

This study was intended to make a comparative analysis of the plastic features of Korean and Japanese dragon patterns found in the process of recreating traditions in comtemporary fashion based on the investigation into the style of expression in relation to the origin, formative evolution, symbolism and traditional costume of the dragon. The form of the dragon has evolved with some similarity and peculiarity between both countries and been changed into many kinds and diverse forms such as the humorous dragon pattern of the Yi Dynasty and the simplified and designed dragon pattern symbolizing the Japanese family crest and the like, Its symbolism has lasted in terms of the sacrificial object, royal power, good omen, Buddhist guardian and the like. There is a difference in the aesthetic sense due to the different traditions and cultural background between Korea and Japan, and the dragon pattern found in the process of recreating the tradition in comtemporary fashion manifested itself as the peculiar aspect. An attempt was made to make a comparative analysis of the dragon pattern found in comtemporary fashion between Korea and Japan. The following results were obtained: First, the commonality between both countries was to make a contemporary expression of the dragon pattern, which was expressed in a realistic form because of a traditionally inherent strong image of the dragon. On the other hand, the designed dragon pattern rarely found expression. It can be said that carefully treating the dragon pattern is attributed to the Oriental thinking like this. Second, Korean people have arranged one or more simplified dragon patterns taking on a form of the coiling dragon in the composition of the scattered point and made a comtemporary expression of them by the contrast of black and white shading in Korea. And the humorous form of the dragon pattern manifested itself in the Yi Dynasty. On the other hand, the case of printing the dragon pattern in the black dragon sword of all over the Kabuki costume in a pictorial composition has frequently appeared in Japan. And Japanese people have expressed its lightness and briskness rather than the dignity and strength that the dragon pattern gives with the use of strong color tones and new materials.

• Journal of architectural history
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• v.20 no.6
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• pp.57-76
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• 2011

This study is on the pedagogical convention of architectural history in Korea, especially that of Western Architecture. Recent institutional change in architectural school in Korea has caused overall restructuring of academic program. In spite of extension in the field of history there was no progress of method and way of thinking. There is no change in the point of view to see the western architecture and its history as a unique and specialized phenomenon in the civilization of mankind. Because of no recognition about for what, for whom, and how to, and because of orientalism, the cultural position of western architectural history and its narrative was not asked. With the help of post-colonialism, de-constructivism and critical historiography this paper tries to show the fundamental premise of western architectural history as a myth and show its prejudice as not being justifiable. The background of the discourse there has been a representation effect with regard to knowledge as a power. we need to escape from this kind of cognitional frame With the analysis of the its premise and narrative we can find it is a historical construct that was made in the age of imperialism. In fact it has a lot of false information and problematic point of view. The Identity and originality of western architecture and its history has no logical reason or foundation if we think that it depends on the difference and comparison with other civilization. For example the explanation of its historical origin western architecture has big difference with Islamic architecture in spite of the resemblance each other. This paper try to show several reasons that discourse of western architectural history can not be survived any longer. So we need to reconstruct new pedagogy with deconstruction for the students of non western, or Korean students. Because it has important effect to see and think about architecture and its history.

• Journal of the Korea Convergence Society
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• v.9 no.8
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• pp.185-198
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• 2018

This paper was written for the purpose of using as the theoretical basic data of judgment in the situation that there is a growing demand for intelligent design theory to be taught in public schools along with evolution theory. In order to verify the possibility that intelligent design theory, which has little empirical evidence unlike evolutionary theory, could be a scientific theory, what intelligence is and whether the trace of intelligence is actually found in nature was confirmed through literature. If intelligent elements, which are traces of intelligence in nature, are discovered empirically in nature, then intelligent design theory can be recognized as a scientific theory and can also be taught in public schools. The identity and traces of intelligence were found in relevant literature and the traces are found not only in various artificial products derived from human beings such as thinking, knowledge, and civilization, but also in all phenomena of nature. Based on these results, this paper provides a discussion on how the evolutionary theory and intelligent design theory should be handled in the field of school education, as well as how to resolve the conflicts between evolutionary theory and intelligent design theory.