• Cross-Cultural Studies
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• v.29
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• pp.113-131
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• 2012

In our days, we live in the world of image and imagination. Now we think that the images and imaginations are no more selective but indispensable elements in our life. The status of imagination is dramatically changed since 20 century. Many philosophers like G. Bachelard, G. Durand, Paul Ricoeur, H. Corbin, G. Deleuze made great contributions and we think that the studies of imagination began since 20 century. But the change of the status of imagination was not made in one day. In the long history of human life, the imagination kept his own value, and never stopped to give his influence to the human mentalities. The concept of imagination was born from the Plato's notion of phantasia. Plato thinks that the phantasia is a kind of drawing capacity in mind in the process of recognition. But the image which phantasia makes is not real one but pseudo one. So it is necessary to banish those false images from our recognition. Aristotle thought phantasia as an afterimage of object of sense. The sense is always true, but the phantasia is very possible to be an error. After Plato and Aristotle, the notion of phantasia developed into that of imagination, but it was always a problem full of contradictions. According to G. Durand, we can say, in some sense, the history of western philosophy is a kind of struggle against the image and imagination. In Middle Age, the iconoclasm tried to exclude image from their religion. Thomas Aquinas tried to explain the image by the rationalistic christianisme. In 16-17C Galilei and Descartes solidified the exclusion of imagination from the philosophy in the name of science and reason. The empiricism and positivism was the final and the most conclusive philosophies which exclude the imagination definitively from the field of philosophy. But the imagination continued his influence in the field of art. In the age of Renaissance, the imagination found his way of liberal expression, and this trend was inherited to Baroque. From the middle of 17c many philosophical theories supported the imagination by many philosophers like J.-B. Dubos, Baumgarten, A. Becq, J.-J. Rousseau etc. The Romanticism was the first significant wave which made the imagination come forward in front the art. The romanticism broke the narrow frame of rationalism and expand human's view of the world to the cosmos. From the romanticism, the imagination became a faculty which expresses the unity of human and nature. That was impossible by the rational thinking of rationalism. The concept of new imagination made a new future of human, 'the imagining conscious' and this imagining conscious provided a solid base of next generation's symbolism and surrealism.

• The Journal of Art Theory & Practice
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• no.6
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• pp.27-50
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• 2008

This thesis examines contemporary Chinese painting after the Cultural Revolution(1966~76), focusing upon so-called "Chinese Pop art", which I termed as "Socialist Pop art". I considered the art of this period within the broader context of social changes especially after the Tienanmen incident of 1989. After the Cultural Revolution during which idolization of Chairman Mao was at its peak, one of the major changes in communist China was that an anti-Mao wave was generated in almost every social class. For example, novels that revealed the hardships during the Cultural Revolution were published. Posters that openly criticized the Maoism were also produced and displayed on the walls, and demand for democracy spurred widespread activist movements among young generations. These broad social changes were also reflected in art. A variety of art movements were introduced from the West to China, and after a period of experimentation with the new imported styles, artists began to apply the new artistic idiom to their works in order to visualize their own social and political realities they lived in. It was a shift from earlier Socialist Realism to a new expression either directly or indirectly, "Socialist Pop", an amalgam of Socialist Realism and Pop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communist government quelled with brutal measures the students, workers, and ordinary people who rose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This time coincided with the gradual emergence of art using Pop art vocabulary to satirize the social reality, the Socialist Pop art, along with many other art forms all with avant-garde spirit. One of the most frequent subjects of Chinese Pop art was visual images of Chairman Mao and his Cultural Revolution, and new China that was saturated with capitalism, which tainted the Chinese way of life with a Western way of consumerism and commercialism. The reason for the popularity of Mao's image was spurred by the "Mao Craze" in the early 1990's. People suddenly began to fall in a kind of nostalgia for the past, and once again, Mao Zedong was idolized as an entity who can heal the problems of modern China who had been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is no more an object of worship of almost religious nature but he has become an iconography symbolizing the complex nature of present Chinese society. During this process of depicting the social reality, Chinese artists are making the authority and sanctity of Maoism ineffective. Dealing with this new trend of contemporary Chinese art in view of "Socialist Pop art" two manners of re-creating Pop art can be illustrated: one that incorporates the propaganda posters of the Cultural Revolution; the other borrows from Chinese traditional popular imagery or mass media, such as photos taken during Mao era. What is worth mentioning is that these posters and photos of the Cultural Revolution can be identified as 'popular' media, as they were directed to educate the popular mass, thus combination of this ingenuous pop media with Western Pop art can be fully justified as a genre unique to China. Through this genre, we can discover a new chapter of the Chinese contemporary painting and its society, as their Pop art can be considered as self-portraits true to their present appearances.

• Cross-Cultural Studies
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• v.23
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• pp.33-55
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• 2011

In the late Japanese colonial period, from the Sino-Japanese War until the Pacific War, critical discourses on the modern were prevalent in Japan and the Joseon. Despite the absence of a consensus about the specific definition of the modern, most thinkers agreed that the modern was something to be overcome. While some regarded naturalism and capitalism of the West as the essence of the modern, some others named scientism and humanism as the nature of the western modernity. Additionally, some criticized the temporal concept of historicism and brought new meanings of 'tradition' into relief, and some others advocated overcoming 'the West inherent in us'. This study is to consider the temporality of the theory of overcoming the modern focusing on the following three notions-world history, tradition, and emergency-, and examines the antinomy of them. The first notion to consider is 'world history'. The theorists of overcoming the modern, including the Kyoto school, discarded the progressive ideology that had led the Western modern history, and instead introduced 'world history' as a new notion. Although this resulted from the imperialistic embracement of the theories of Ranke, a major positivist historian from Germany, it contained antinomy of remaining in 'history' which was the modern temporal view. The second notion is 'tradition'. While the critical mind of 'world history' brought 'time of world' into question in the context of temporal realization, the notion of 'tradition' was to understand 'time of history' itself as the modern and overcome it. The critical mind of the notion involves the attempts to criticize regarding history as a 'progressive' process and to discover tradition as 'the present past' or 'the eternal present'. However, it also contained antinomy; the 'tradition' here was a notion that was created in the modern times, not passed down from ancient times. The third notion to consider is 'emergency', which was a method to define the present time as a transition period toward a new era, relating to states of war. However, the theorists of overcoming the modern did not regard 'emergency' as a particular time that strayed from normal states, instead they thought is as 'a regularized exceptional state', namely 'a state in which exceptions have become regulations'. However, the notion also contained antinomy since the word 'emergency' connotes abnormality.

• The Journal of Art Theory & Practice
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• no.10
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• pp.183-202
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• 2010

The term "philosophizing art" was coined by Arthur Danto, who tried to define new forms of art, especially Andy Warhol's pop art appeared in New York after 1960's, which could not be explained by traditional concept of "representation". As Danto said "the term 'philosophizing art' is unclear, whether art discusses philosophical issues or art is the object of philosophic discussions", it does not seem like Danto himself had a specific idea when he used this term. The background for Danto coining this term derives from the fact that the old art concept such as denotation and connotation could not fully explain phenomenalistic aspects of concept art which appeared frequently at that time. Many articles in his book "philosophizing art", in which many of his criticism are included, mainly say that art begins philosophizing by dealing with not mimesis or representation but concepts. According to his argument, the history of western art, which has been consisted of mimesis and representation, has come to end when art is about physically embodied with meaning. Of course, as Danto say so, what goes to end is not art itself, but the narrative of art. It means master narrative saying art should be shown different from nature or artificial daily product is over. Danto could not find principals of mimesis and representation which had been main logic in the western art history, when he saw Andy Warhol's Brillo Boxes at Stable Gallery, New York in 1964. Danto questioned "if we can not distinguish Brillo box's artistic aspects visually from other factory-made products, how can we distinguish art from non-art", By answering those questions, he discovered two facts which made him realize the end of Art: One is there is no special way in which works of art have to be shown or has to exist. Therefore, art history has proven that commercial boxes, trashes and files of underwear can be a work of art. The other is we have fully recognized it at the end of 20thcentury. Danto confessed that through Brillo Boxes, he realized the works of art are decided by something can not be seen by eyes, not by distinguished differences by looking at it. This thesis is trying to show personal understanding about art, philosophy and discourses surrounding them and to figure out how Dante opened a new world to art criticism by using new definitions such as 'end of art' and 'philosophizing art' which Danto used to explain inner aspects of art.

• The Journal of Korean Philosophical History
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• no.32
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• pp.7-41
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• 2011

Theories of Li-Ki mutual dynamism and piety represent philosophical thoughts of Toege School. The theory of Li-Ki mutual dynamism reflects conflicts of Heavenly Law and Human Desire or Principled Mind and Selfish Mind on the private level, but conflicts of Virtuous Gentleman and Materialistic Person on the social level. The theory of piety is for establishments of Heavenly Law's Superintendence and Virtuous Gentleman's Leading Power in life. Toege's followers keep this theoretical stream Their perception of reality has two distinct features: one is that they focus on the fundamental distinguished from the incidental: the other is that they don't tolerate any compromise between righteousness and interest, They think they can make a beautiful world without any compromise between righteousness and material interest if trying hard on the fundamental. Their propensities are very different from those of Yulgok school who sought an appropriate compromise between principle and reality or between the Eastern and the Western party distinguishing an argument of the fundamental from an argument of the incidental.

• Journal of Fashion Business
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• v.11 no.4
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• pp.183-203
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• 2007

This study aims at providing useful fundamental information to re-establish the theories of modern fashion by examining the origination and genealogy of street style. The street styles focusing on caucasoid have a variety of genealogies such as western type, beat, teddy boy, hippie, skinhead, punk, neuron-mantic, indie kid, riot grrrl, grunge and techno cyber punk. In the same period, on the contrary, the streets styles focusing on negroid are zootie, hipster, modernist, rude boy, two-tone, rastafarian, funky, B-boy, fly girl, raggamuffine, bhangra, and acid jazz, which are seen as the culture of the large cities formed along Atlantic Ocean and Caribbean sea like England, America and Jamaica. These have root as the main fashion in western society. Ironically, most of the subculture concentrated on the whites were racists. Because of such a reason, the street styles have been formed as resistance culture that was unable to sympathize with their society and characteristics by distinguishing the whites and the colored people. Zootie or hipster that is one of the street fashion styles was formed in the 1940-50s, while the colored people who lived in the west Indies migrated to England or America. As a minimal modernist style called Ivy look in US, in that time, anti-culture formed by teenagers in whitey, teddy boy and mods fashion can be strictly different from the zootie and hipster. The colored people's street styles of the 1960s developed into aggressive and hard forms from the rude boy and two-tone while their resistance toward the whites was stronger. The rastafarian style researched the peak as the colored people's traditional ethnic characteristics or resistance intention for their freedom in the 1970s. In that time, The colored people's street styles of the 1960s developed into aggressive and hard forms from the rude boy and two-tone while their resistance toward the whites was stronger. The rastafarian style researched the peak as the colored people's traditional ethnic characteristics or resistance intention for their freedom in the 1970s. In that time, the street styles of the whites were mostly the skinhead or hippie. Most of them were racists toward the colored people. The punk type on shown on the whites focused on luxury and exaggerative costume. On the contrary, the funky style of the colored people focused on aggressive nihilism and form. With B-boy, fly girl, reggae, rap music, and break dancing in the 1980s, the subculture gradually told on the high fashion as well as the culture between the whites and the colored people. From such aspects, the colored people tried to maintain their unique traditional characteristics. However, their individual values surged by the coming young generation excluded the colored people's characteristic street styles. Focusing on gender, violence and private success among their major concerns, the raga muffin style that represents multi-races and multi-cultures was formed. The jazz style in the 1990s showed cold post-modernistic eclecticism different from that of the 1940s-50s. Simultaneously, the various classes appeared their street styles by emphasizing on each personality. Now that we are living in multi-cultural society, a human race or nationalism concept is getting obscurer. There is no obvious boundary line in the differences between human race and its fashion.

• Journal of The Geomorphological Association of Korea
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• v.18 no.4
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• pp.17-33
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• 2011

This study summarizes the research history of fluvial terraces in Korea and examines the geomorphic properties of fluvial terraces in Korea based on the previous works. The research history of fluvial terraces in Korea can be divided into the three periods. The theories of fluvial terraces were spread by the early geomorphologists during the period of Japanese colonial era to mid-1980s. The dissertations on the fluvial terraces were intensively published during the late 1980s to 1990s and their discussions were the center of geomorphology researches in Korea. Since 2000s, the discussions have become more mature and researches have been quantitatively increased as the various methodologies have been developed. The fluvial terraces in Korea are mostly developed in the western and eastern parts of the Taebaek Mountains, upper and middle reaches of Han and Nakdong River, and in the western slopes of Sobaek Mountains, middle reaches of Namhan River, upper and middle reaches of Geum and Seomjin River. Along these rivers in actively uplifted areas, fluvial terraces with much higher altitude from riverbed are observable and incision rates are relatively high. In the sense of the formation ages, they have developed in not regular patterns by the climatic changes during the Quaternary, but in more complicated aspects by the environmental conditions such as climate, hydrology, geology and geomorphology in the specific drainage basins.

• The Journal of Korean Medical History
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• v.30 no.2
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• pp.63-71
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• 2017

Traditional Asian medicine has an extensive evidence base built upon thousands of years of experience within Asia, of curing various diseases. Only recently, within the past two centuries, have modern medical scientists developed interest in traditional Asian medicine. Asian Medicine seems to be regarded only as an adjunctive medicine and viewed as alargely un-proven alternative medicine to complement western medicine, used in some cases to establish a new paradigm of "integrative medicine". This article reviews how Korean herbal cosmetics emerged by applying traditional Asian medicine to the science of cosmetics. The characteristics of Korean herbal cosmetics are examined through examples of history, concepts and traditions. With the advancements in biotechnology, studies are now being conducted on the dermatological effects and processing methods of herbal ingredients, including ginseng. The authors explain the current research on the identification on the active ingredients of herbs, extraction methods, and bio-processing of ingredients to improve the biological efficacies of herbs on the skin. A summary of studies focused on modern reinterpretations of ageing theories, such as 'Seven year aging cycle', are provided. In conclusion, the development of Korean cosmetics products are based on the accumulated knowledge of thousands of years of experience including; 1) practical heritage of traditional Asian medicines such as Donguibogam; 2) excellent medicinal plants, such as ginseng, which are native to Korea; and 3) innovative attempts to modernize materials, processes, and principles.

• The Journal of Korean Medicine
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• v.41 no.2
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• pp.9-22
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• 2020

Objectives: The purpose of this study is to consider the concept of Meridian Points(經穴) and to establish the directions in further research. Methods: First, based on the latest results from the researches of Meridian and Collateral(經絡), it was to infer the original concept of Meridian Points(經穴). Second, the meaning of Meridian Points(經穴) has been investigated and its directions in further research was studied founded upon Symbolic Mathematical Study(象數學). Results ＆ Conclusions : Firstly, Meridian Points(經穴) are considered to be the source of information that contains 365 numbers of human physiological information which includes physiological information of Viscera and Bowels(藏府) and Meridian and Collateral(經絡). Secondly, advanced researches are required further to clarify the meaning of Meridian Points(經穴) as Symbolic Mathematical Study(象數學) has established the systems of Meridian Points(經穴). In addition, the efficacy of each Meridian Points(經穴) needs to be revised through literature studies. Clinical studies are essential to practically verify the results from the former theoretical research. Thirdly, the contention to oppose the presence of Meridian and Collateral(經絡) and Meridian Points(經穴) was acknowledged to be incorrect. Lastly, for broadening the theoretical systems of Korean Medicine(韓醫學) with integration of Western scientific knowledge, a paradigm shift is necessary to revise the concepts of Viscera and Bowls(藏府), Meridian and Collateral (經絡) and Meridian Points(經穴) in Korean Medicine(韓醫學). In order to accomplish the shift, the ambiguity in theories of Korean Medicine(韓醫學) should be clarified through the study of Symbolic Mathematical Study(象數學).

• Journal of Physiology & Pathology in Korean Medicine
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• v.25 no.1
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• pp.1-7
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• 2011

The aim of the present study was to investigate the development of theory of the deficiency of yin-yang in the spleen-stomach(脾胃). The spleen-stomach theory is a very valuable composition of the oriental medicine. Its first theoretical basis was established by Li Dong Yuan(李東垣) who wrote Piweilun("脾胃論"). He insisted the importance of spleen yang(脾陽) which is the "postnatal base of life" by transforming and transporting of food essence and fluids and raises the clear. After him, his theory had influenced many descendant medical men. one of them, Ye Tian Shi(葉天士) found out the differences of between stomach and spleen. Especially he focused on the stomach yin(胃陰) which is easy to be exhausted by dry-fire(燥火). And he also made another remedy, "the stomach yang should be moved well(宣通胃陽)", which emphasize on that cold and stagnant cause the deficiency of the stomach yang. After that, spleen yin(脾陰) theory was set up by Tang Zong Hai(唐宗海). His spleen yin(脾陰) was deeply related with digestive enzymes and pancreas, because his theory was established by comparing oriental and western medicine. These four theories became the theoretical basis of the deficiency of yin-yang in the spleen-stomach(脾胃), and similar symptom of the spleen-stomach(脾胃) could be categorized according to the pattern identification(辨證) which was developed from these four theory.