• Journal of Korean Academy of Nursing
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• v.17 no.2
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• pp.145-152
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• 1987

The problem addressed by this study was to reveal what people of Korean rural villages think about the cause, treatment and prevention of illness. The purpose was to contribute to the building of a concept of health toward the development of Korean Nursing Theory. Subjects were residents of five districts among four counties in a farming area of Chonbuk province recommended by health workers as appropriate informants. They were interviewed in their homes, using ethnoscientific methods developed in anthropology. The research tool consisted of open questions developed through the literature and preliminary exploratory interviews. Data were analyzed by classifying each concepts of cause, treatment and prevention of illness or illness symptoms collated by frequency and percentage. The causes of illness are conceived as primarily concrete physical and natural, for examples, overeating, lack of energy, changes in the season and extreme temperatures. Compared to others studies, few supernatural causes related to traditional view of illness were identified. Concepts of the treatment of illness included formal treatments used by modern western or oriental physicians and traditional therapists. But folk medicine used by traditional healers or by the family in the home was most prevalent. The concept of illness prevention originated in the concept of the cause of illness, thus primarily physical and natural, for examples, nutritious food, limiting the amount of food, avoiding becoming cold. When the concept of illness of rural Korean is researched from a sociocultural aspect, the traditional views of an evil cause of ill health and treatment by supernatural methods is not found to be prevalent but folk medicine still occupies a large place in treatment which si often a complex mixture from many mysterious sources. The significance of this study lies in the fact that ethnonursing research can contribute basic data toward the development of Korean nursing theories. Modern western medical concepts have not been accepted unconditionally: traditional concepts are alive and dynamic in Korea and must be recognized in Korean nursing.

• Journal of Educational Research in Mathematics
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• v.10 no.2
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• pp.263-277
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• 2000

mathematics holds a key position among the subject-matters of school education. Nevertheless, beyond Its Instrumental one, humanity-educational value of mathematics for the general public has been under estimated. For the past fifty years, in the our country there has not been enough systematic and profound examination and discussion concerning the goals of mathematics education in order to establish the philosophy of mathematics education. Thus, in this thesis we argue how mathematics education could contribute to the humanity education. For this, we examine how western educational theorists have emphasized the value of mathematics as humanity education and how their theories have been reflected in the goals of the modern mathematics education. First of all, we discuss Platonism as a philosophical basis of the traditional mathematics teaching mainly with Euclid's "Elements" since the ancient Greece and the relationship between mathematics education and humanity education in the light of this traditional thought. Next, we examine the thoughts of Pestalozzi, Harbert, Froebel who provided the theoretical basis for the public education since 19th century, and discuss the value of mathematics teaching in their humanistic educational thoughts. Also we examine the humanistic value of mathematics education in Dewey's educational philosophy, which criticized the traditional western ethics and epistemology, and established instrumen talism. Further, we analyze how such a philosophy of mathematics teaching is reflected mathematics education of 20th century, and confirm that the formation of Dewey's rational intelligence is one of the central aims of mathematics education of late 20th century. Finally, we discuss the ideals of humanistic mathematics education ; develop ment of the rational intelligence via 'doing knowledge'and change of mind via 'looking knowledge'. In this paper identify the humanistic values of mathematics education through the historical examination of the philosophies of mathematics education, and we could find significance as a fundamental study for one of the most important problems which Korean mathematics educational society confronts, that is establishing the philosophy of mathematics education.

• The Journal of Korean Medicine
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• v.18 no.2
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• pp.148-154
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• 1997

In the pharmacology of traditional Korean medicine, each drug has its own specific characters. The different characters of drugs are employed to treat diseases, rectify the hyperactivity or hypoactivity of yin or yang, and help the body restore its normal physiological functions, consequently curing the diseases and restoring health. The various characters and functions of these drugs concerning medical treatment include drugs' properties, flavours, actions of lifting, lowering, floating and sinking, channel tropism, toxicity, etc. Among these theories, theory of properties and flavours of drugs provides the basis for drug analysis and application. 'Property' refers to the cold, hot, warm or cool nature of a drug. These properties of drugs are so sorted out according to the different actions of the drugs on the human body and thier therapeutic effects. Drugs which cure heat syndrome(yang syndrome) have a cold or cool property, whereas drugs which cure cold syndrome (yin syndrome) have hot or warm property Drugs of cold and cool-natured and drugs of warm and hot natures are of opposite properties. A cold-natured drug is different from a cool-natured on only in degree, and so is a warm-natured drug from a hot-natured drug. Most of the cool- or cold- natured drugs have the effects of clearing heat, purging fire, removing toxic substances, and nourishing yin, and are uese to cure heat syndromes. On the contrary, drugs of warm or hot nature usually have the effects of dispersing cold, warming up the interior, supporting yang, and treating collapse, and are therefore used to treat cold syndromes. We thought that the property of drug may be related to the autonomic nervous system in western medicine. In other words, drugs of warm or hot nature increase heart rate or acts like sympathomimetics, and drugs of cool or cold nature decrease heart rate or acts like para sympathomimetics . According to this hypothesis, we administrated some drugs to isolated rat right atrium in magnus tube. But there is no correlation between 'property' in traditional Korean medicine and autonomic nervous system in western medicine.

• The Journal of Art Theory & Practice
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• no.5
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• pp.83-107
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• 2007

The continuous struggle to establish virtual reality on the stage during the history of Western Theater has been centered upon the development of scenographic setting and devices. It began with the Classical Greek drama where the place of performance became separated from the place of the audience. These two places were united as the orchestra - the place of the Dionysiac festival in the earliest stage of the Greek theater. And the skene, once a storage building outside the theatrical area, became an essential factor of the scenic space to provide illusion of the other world where the actors dwell. As a natural consequence it followed the structural change of Roman theater where the stage became a high and wide platform and the skene converted into the permanent stone scaenae frons. Such a tradition of the Classical theater was revived in Italian Renaissance and Baroque theater, which succeeded Vitruvius' concept of scaenographia as well as the vestiges of Imperial Roman theater. The cases of Serlio, Palladio, and Andrea Pozzo reveal the way how Western theater conjured the fictional space by traditional representational scenery, including architectural background setting and painted devices. It resulted in the physical and emotional division of actors' space and audience's space. The rejection of representational scenery upon the stage by avant garde artists like Edward Gordon Craig in the early years of the twentieth century should be interpreted as an attempt to recover an emotional attachment of actors and the audience, which was the case of Greek antiquity. This new scenogrpahic endeavor in modern theater is to challenge the main purpose of traditional scaenae frons to establish the boundary of the illusional 'scene' of performance where the audience should remain as passive spectators, and instead, to try to unite the action of actors and the audience upon the stage as a 'place'.

• Journal of Physiology & Pathology in Korean Medicine
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• v.23 no.4
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• pp.751-760
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• 2009

Yoon Gil-Young(1911-1987) was a frontier of the field of Traditional Korean Medical Physiology(TKMP) who was academically active since mid 1950s until early 1970s. He wrote several important papers and books. Among his writings, "A Study on the Methodology of Traditional Korean Medical Physiology", which was published serially in the "Korean Oriental Medical Journal" from June 1966 until March 1967, played an important role in establishing the contemporary TKMP and showed his academic stance on Traditional Korean Medicine(TKM). This review will evaluate this paper's contribution to the establishment of TKMP in historical context, summarize the unique characteristics of his understanding of TKMP by analyzing the text, and then based on those information, examine his view on TKMP and TKM. Historically, this paper was written in transition period from the traditional TKM knowledge system to the modernized one. Aim of this paper was to provide a methodology for establishing TKMP as a scientific knowledge system like that of the western medicine. Based on his study of Yin-Yang theory and theory of five circuits and six qi in Huangdi's Internal Classics, he suggested those theories as methods to observing life phenomena and systematizing the observations. And he regarded these methods as of great value in determining the unique characteristics of TKM compared to those of western medicine. Through re-reading this paper, it was found that he had pride and confidence in the methodology of TKM, and also that he thought in scientizing and modernizing TKM it was very important to understand and efficiently put in use the methodology of TKM. It was also found that his view on TKMP and TKM was pro modernization.

• Korean Journal of Culture and Social Issue
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• v.22 no.2
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• pp.165-182
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• 2016

Happiness research has primarily been conducted based on the American model of happiness. The agentic concept of happiness in the West emphasizes the positive feeling state stemming from individual achievement and positive interpersonal relationships. However, previous studies on lay theories of happiness in other East Asian countries, such as China and Japan, have suggested that these meanings of happiness differ from those of the Western cultural context. The present study examined the lay theory of happiness among Koreans using qualitative and quantitative approaches. Furthermore, the authors compared the Korean model of happiness with that of the Japanese and Americans from Uchida and Kitayama (2009). The findings from the present research indicate that the Korean model of happiness involves both positive and negative states and consequences of happiness, unlike the uniformly positively connoted happiness in Western cultural contexts. The paper concludes with a discussion of the implications of the current findings on happiness research in the Korean culture.

• The Journal of Art Theory & Practice
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• no.16
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• pp.7-40
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• 2013

Historian Eric J. Hobsbawm once said "the task that historians have is to analyze the meanings of the past within the context of society and to track the changes and implementation." It would not be too far of a stretch to apply Hobsbawm's quote to art historian since art history, although quite specific, is still history. In addition, Hobsbaum also asserted that, "a mold called the past continuously forms the present or at least thought to be." It is my recognition that the major westernization of the last century took place under the Japanese colonization which served as the channel to usher in western art; however, the current 20thcentury Korean art history fails to recognize that the mold of the past, namely western art in this case, has formed the modern art of the present. Based on this recognition, attention was given to what lacked in the analysis of the current 20th-century Korean art history in terms of "Informel" which was identified as the turning point towards "modern art" in the Korean art history as well as the following "experimental art." My belief is that the art history of Korea has to be reassessed from, a socio-cultural perspective as well as adopting multi-level and diachronic understanding. However, the existing Korean art, especially the one between the end of 1950s to the 1970s was based on the perspective of "severance"; thus, raising the needs for the starting point of a new perspective. It is my conviction that meta perspective on writing is most essential in order to lay a solid basis for the Korean art scene to have a productive discussion. I feel the utmost necessity to reinterpret the typified history analysis and criticism which stemmed from the trauma under the Japanese colonization. The most urgent task is to avoid academic closeness and to share the research. Painting is an individual expression of the artist, but the act of expression is not free from the cultural and societal influence to which the artist belongs.

• The Journal of Art Theory & Practice
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• no.3
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• pp.173-192
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• 2005

Yoo Youngkuk started his career as an artist when he entered Bunkagakuin of Tokyo in 1935 he actively participated in the Japanese art scene as a young Korean artist until 1943. In his earliest works, Rhapsody and Work B, Surrealist and abstract influences are manifested as these were prevalent in Japan at the time. With the exception of Rhapsody and Work B, all works available that were executed between 1937 and 1940 are abstract, which points to the fact that Yoo intended abstraction from the beginning. Surviving works in relief suggest his early style was founded on the abstractions similar to Russian Avant-Garde, Neo-plasticism and Bauhaus simplicity. His early abstractions were not the ideational images derived in the process of the abstraction of the representational image, but they arose from the constructive attitude in composing the already stylized non-representational geometries. It is worth noting that his early emphasis was on the pure and absolute geometric abstraction, rather than the images motivated from the figurative representation. Yoo differentiates himself from Kim Whan Ki in the following aspects: one, he eliminated the subject matter i.e. human figures and the nature; two, he maintained the constructivist attitude in creating a strict and absolute abstraction; three, he experimented with different styles without combining them. He manifests direct influences from the prevalent Western art influences, such as Futurism and Russian Avant-Garde, unlike Kim who vaguely references. In both paintings and reliefs, Yoo's attempt in the realization of the pictorial depth and space seems cerebral and conceptualized compared with the other artists of the time who resolved abstraction via the constructive dimension. Uemura, a contemporary critic to the geometric abstractions in Japan, disapproves the stylistic bent in the adaptation of the abstract painting without the comprehension of its spiritual movement. As witnessed in other criticisms as well, contemporary Japanese critics' interest lie mainly in the superficial observation such as the presence of representational elements, composition and use of color. Such formal and superficial understanding of the geometric abstraction resulted in

• Korean Institute of Interior Design Journal
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• v.18 no.6
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• pp.150-157
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• 2009

In the 1970's the Interior Design Associations was established and the activity of youth designers who werecalled the "first generation of Korean interior designers" were created. This study is aimed to analyze characteristics and trends of commercial interior design in the 1970's. The design methods include the documentary research and the actual proof research conducted. The frames of analysis were made by the background theories about Korean interior design, and the annual case studies were analyzed and estimated according to the design types. The design types were analyzed by the geometrical simplicity research, the romantic emotional expression, the Korean identity expression, the machine technical asthetic expression and the eclectic style with western classics. In the early 1970's, the abstract, brief, and simple expression were presented most frequently by the geometrical form and the repetition of the pattern. From the mid-1970's the romantic and emotional atmosphere of the youth culture that was popular at that time were expressed as vernacular design by the rough finishing of the natural materials such as plaster, brick, and wood floorings etc. The space such as a Korean food restaurant relates to the Korean traditional culture aims to be different through the expression by the Korean traditional patterns, furniture, and materials. In the late 1970's the metals and glass were used for the expression of the machine aesthetic form but was not popular because of the rare application. The type that revived the past western traditional form was presented by using the arch, dome, and the curved and luxurious moldings.

• The Journal of Art Theory & Practice
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• no.4
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• pp.57-76
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• 2006

From the late 1920s to the 1930s, Korea's fine art community focused on traditional viewpoints as their main topic. The traditional viewpoints were discussed mainly by Korean students studying in Japan, especially oil painters. Such discussions on tradition can be divided into two separate halves, namely the pre- and post-Sino-Japanese War (1937) periods. Before the war, the modernists among Korea's fine art community tried to gain a fuller understanding of contemporary Western modern art, namely, expressionism, futurism, surrealism, and so forth, on the basis of Orientalism, and borrow from these schools' in order to create their own works. Furthermore, proponents of Joseon's avant-garde fine arts and artists of the pro-fine art school triggered debate on the traditional viewpoints. After the Sino-Japanese War, these artists continued to embrace Western modern art on the basis of Orientalism. However, since Western modern fine art was regressing into Oriental fine art during this period, Korean artists did not need to research Western modern fine art, but sought to study Joseon's classics and create Joseon's own avant- garde fine art in a movement led by the Munjang group. This research reviews the traditional view espoused by the Munjang group, which represented the avant-garde fine art movement of the post-war period. Advocating Joseon's own current of avant-garde fine art through the Munjang literary magazine, Gil Jin - seop, Kim Yong-jun and others accepted the Japanese fine art community's methodology for the restoration of classicism, but refused Orientalism as an ideology, and attempted to renew their perception of Joseon tradition. The advocation of the restoration of classicism by Gil Jin-seop and Kim Yong-jun appears to be similar to that of the Yasuda Yojuro-style restoration of classicism. However, Gil Jin-seop and Kim Yong-jun did not seek their sources of classicism from the Three-Kingdoms and Unified Silla periods, which Japan had promoted as a symbol of unity among the Joseon people; instead they sought classicism from the Joseon fine art which the Japanese had criticized as a hotbed of decadence. It was the Joseon period that the Munjang group chose as classicism when Japan was upholding Fascism as a contemporary extremism, and when Hangeul (Korean writing system) was banned from schools. The group highly evaluated literature written in the style of women, especially women's writings on the royal court, as represented by Hanjungnok (A Story of Sorrowful Days). In the area of fine art, the group renewed the evaluation of not only literary paintings, but also of the authentic landscape paintings refused by, and the values of the Chusa school criticized as decadent by, the colonial bureaucratic artists, there by making great progress in promoting the traditional viewpoint. Kim Yong-jun embraced a painting philosophy based on the painting techniques of Sasaeng (sketching), because he paid keen attention to the tradition of literary paintings, authentic landscape paintings and genre paintings. The literary painting theory of the 20th century, which was highly developed, could naturally shed both the colonial historical viewpoint which regarded Joseon fine art as heteronomical, and the traditional viewpoint which regarded Joseon fine art as decadent. As such, the Munjang group was able to embrace the Joseon period as the source of classicism amid the prevalent colonial historical viewpoint, presumably as it had accumulated first-hand experience in appreciating curios of paintings and calligraphic works, instead of taking a logical approach. Kim Yong-jun, in his fine art theory, defined artistic forms as the expression of mind, and noted that such an artistic mind could be attained by the appreciation of nature and life. This is because, for the Munjang group, the experience of appreciating nature and life begins with the appreciation of curios of paintings and calligraphic works. Furthermore, for the members of the Munjang group, who were purists who valued artistic style, the concept of individuality presumably was an engine that protected them from falling into the then totalitarian world view represented by the Nishita philosophy. Such a 20th century literary painting theory espoused by the Munjang group concurred with the contemporary traditional viewpoint spearheaded by Oh Se-chang in the 1910s. This theory had a great influence on South and North Korea's fine art theories and circles through the Fine Art College of Seoul National University and Pyongyang Fine Art School in the wake of Korea's liberation. In this sense, the significance of the theory should be re-evaluated.