• Journal of the Korean Society of Costume
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• v.18
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• pp.111-131
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• 1992

This thesis was designed to study Symbolics of Chinese Liturgical Vestments. Chinese who regarded the life of human beings as the combination of heaven and earth considered garments as the traditional product of the movement of nature. Accordingly, they thought human beings are the center of the universe composed by heaven and earth and the chief of all things; therefore man only can utilize clothes to distinguish from all of the colours. This views of clothes led to the development of liturgical vestments esteemed courtesy than anything else, especially the thought of courtesy associated with Conficius who regarded courtesy as the highest things and since then the theory of Five Elements and courtesy were inherited by all the adherents of Conficius. Yin and Yang Five Elements in the liturgical vestments was given absolute symbolics in both formative side and in colourful side. results of research studied in this was can be summed up as follows : 1. The crown of rites was made imitating after the system of head, horn, beard, bread of birds and beasts and that form of crown is front-circ-ular and back-rectangular meant to be towards light and dark. That the upper part of faceplace is black represented the way of heaven and lower part of red symbolized the way of earth. 2. Upper vestment of liturgical rites symbolizes heaven and outskirt represented earth. So front of outskirt is YANG and back is Yin. It is why then are going to harmonize positive and negative making front part three width and back part four width. Therefore, emperor who symbolizes heaven made the subjects recognize high and low and wore Dae-gu(大 ), Kon-bok(袞服), Bel-bok, Chui-bok, and Hyonbok according to the object and position of rites so that he may rule the country based on courtesy. 3. As an accessory of liturgical vestments, Bul, Pae-ok, Su, Dae-dai, Hyok-Dai, Kyu, and Hol were used. Before Bul was used man dressed skirt as the first waist-dress in order to conceal intimate part of the body. Pae-ok, as decoration blended with jade was worn by men of virtue, so men of virtue symbolized morality and virtue by Pae-ok. Su began from Yeok, connected with Pae-su , in Chou-dynasty is said to be originated by practical needs and they are divided into large Su and small su, and maintained as decoration to signify the class positions. Dae-dai did the work as not to loose the liturgical vestments and leather belt hang Bul and Su to begin as the function of practical use are in later years it became decoration to symboliz e the class position. Kyu was a jade used when empeor nominated feudal lords and observe ceremony to God and Hol, was held in hands to record everything not to forget. These Kyu and Hol became to offer courtesy during the time of rites and in later years it became used according to class position rather than practical use. 4. As far as colours are concerned, colours based by five colours according to YIN-YANG Five Elements theory and they were divided into a primary colour and a secondary colours. Primary colours corresponded with the theory of Five Elements each other, Blue, Red, Tellow, White, and Black symbolized ive Elements, five hour space, five directions, and five emperors. Secondary colours contradict with Blue, Red, Yellow, White and Black and another as a primary colour and they are Green, Scaret, Indigo, Violet, Hun colour, Chu colour, and Chi colour. This primary colour was used in liturgical vestments, that is, upper-vestments used black colour. This primary colour was used in liturgical vestments, that is, upper-vestments used black colour as primary colour and outskirt was used Hun colour as secondary colours. Thus symbolism in chinese liturgical vestments mainly began with heaven and earth and corresponded with YIN-YANG Five Elements Scool. They were developed as the scholary theory and Conficius and his followers in the later days and continued up to Min-dynasty.

• The Journal of Art Theory & Practice
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• no.4
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• pp.33-56
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• 2006

The cultural debates between conservatives and liberals at the end of the 1980s and in the early 1990s were termed as "culture wars." The "culture wars" involved a diverse range of controversial issues, such as the introduction of multicultural curricula in educational institutions, prayers in schools, whether to allow gays to serve openly in the military, and whether abortion should be permitted. The most heated debates of the "culture wars" regarding art raged over the NEA and the question of whether Andres Serrano's works should have been publicly funded, in addition to the exhibition "Robert Mapplethorpe: The Perfect Moment" which were charged as projecting "obscene" or "blasphemous" images. This paper examines the development of culture wars in art and focuses on several issues invoked by the NEA debates. However, it is not a detailed chronological investigation. Rather it pays attention to the several phases of the debates, analyzing and criticizing the clashes of the political and esthetical points of views between conservatives and liberals. How could NEA funding, a mere fraction of the federal budget, have become so critical for both sides(conservative and liberal), for politicians and artists' groups, and for academics and the general public? The art community was astounded by this chain of events; artists personally reviled, exhibitions withdrawn and under attack, the NEA budget threatened, all because of a few images. For conservative politicians, the NEA debate was not only a battle over the public funding of art, but a war over a larger social agenda, a war for "American values and cultures"based on the family, Christianity, the English language, and patriarchy. Conservative politicians argued the question was not one of "censorship" but of "sponsorship," since the NEA charter committed it to "helping museums better serve the citizens of the United States."Liberals and art communities argued that the attempt to restrict NEA funding violated the First Amendment rights of artists, namely "free speeches." "No matter how divided individuals are on matters of taste," Arthur C. Danto wrote, "freedom is in the interest of every citizen." The interesting phase is that both sides are actually borrowing one another's point of view when they are accompanied by art criticism. Kramer, representative of conservative art critic, objected the invasion of political contents or values in art, and struggled to keep art's own realm by promoting pure aesthetic values such as quality and beauty. But, when he talked about Mapplethorpe's works, he advocated political and ethical values. By contrast, art experts who argued for Mapplethorpe's works in the Cincinnati trial defended his work, ironically by ignoring its manifest sexual metaphor or content although they believed that the issues of AIDS and homosexuality in his work were to be freely expressed in the art form. They adopted a formalistic approach, for example, by comparing a child nude with putti, a traditional child-angel icon. For a while, NEA debates made art institutions, whether consciously or unconsciously, exert self-censorship, yet at the same time they were also producing positive aspects. To the majority of people, art was still regarded as belonging to the pure aesthetic realm away from political, economical, and social ones. These debates, however, were expanding the very perspective on the notion of what is art and of how art is produced, raising questions on art appreciation, representation, and power. The interesting fact remains: had the works not been swiped in NEA debates, could the Serrano's or Mapplethorpe's images gain the extent of power and acceptance that it has today?

• Journal of Intelligence and Information Systems
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• v.24 no.3
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• pp.21-44
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• 2018

In recent years, the rapid development of internet technology and the popularization of smart devices have resulted in massive amounts of text data. Those text data were produced and distributed through various media platforms such as World Wide Web, Internet news feeds, microblog, and social media. However, this enormous amount of easily obtained information is lack of organization. Therefore, this problem has raised the interest of many researchers in order to manage this huge amount of information. Further, this problem also required professionals that are capable of classifying relevant information and hence text classification is introduced. Text classification is a challenging task in modern data analysis, which it needs to assign a text document into one or more predefined categories or classes. In text classification field, there are different kinds of techniques available such as K-Nearest Neighbor, Naïve Bayes Algorithm, Support Vector Machine, Decision Tree, and Artificial Neural Network. However, while dealing with huge amount of text data, model performance and accuracy becomes a challenge. According to the type of words used in the corpus and type of features created for classification, the performance of a text classification model can be varied. Most of the attempts are been made based on proposing a new algorithm or modifying an existing algorithm. This kind of research can be said already reached their certain limitations for further improvements. In this study, aside from proposing a new algorithm or modifying the algorithm, we focus on searching a way to modify the use of data. It is widely known that classifier performance is influenced by the quality of training data upon which this classifier is built. The real world datasets in most of the time contain noise, or in other words noisy data, these can actually affect the decision made by the classifiers built from these data. In this study, we consider that the data from different domains, which is heterogeneous data might have the characteristics of noise which can be utilized in the classification process. In order to build the classifier, machine learning algorithm is performed based on the assumption that the characteristics of training data and target data are the same or very similar to each other. However, in the case of unstructured data such as text, the features are determined according to the vocabularies included in the document. If the viewpoints of the learning data and target data are different, the features may be appearing different between these two data. In this study, we attempt to improve the classification accuracy by strengthening the robustness of the document classifier through artificially injecting the noise into the process of constructing the document classifier. With data coming from various kind of sources, these data are likely formatted differently. These cause difficulties for traditional machine learning algorithms because they are not developed to recognize different type of data representation at one time and to put them together in same generalization. Therefore, in order to utilize heterogeneous data in the learning process of document classifier, we apply semi-supervised learning in our study. However, unlabeled data might have the possibility to degrade the performance of the document classifier. Therefore, we further proposed a method called Rule Selection-Based Ensemble Semi-Supervised Learning Algorithm (RSESLA) to select only the documents that contributing to the accuracy improvement of the classifier. RSESLA creates multiple views by manipulating the features using different types of classification models and different types of heterogeneous data. The most confident classification rules will be selected and applied for the final decision making. In this paper, three different types of real-world data sources were used, which are news, twitter and blogs.

• The Korean Journal of Financial Management
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• v.10 no.1
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• pp.249-280
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• 1993

Recent financial theory views insurance policies as financial instruments that are traded in markets and whose prices reflect the forces of supply and demand. This article analyzes individual's insurance purchasing behavior along with capital market investment activities, which will provide a more realistic look at the tradeoff between insurance and investment in the individual's budget constraint. It is shown that the financial economic concept of insurance cost should reflect the opportunity cost of insurance premium. The author demonstrates the importance of riskless and risky financial assets in reaching an equilibrium insurance premium. In addition, the paper also investigates how the investment income could affect the four established theorems on traditional insurance literature. At the present time in Korea, the price deregulation is being debated as the most important current issue in insurance industry. In view of the results of this paper, insurance companies should recognize investment income in pricing their coverage if insurance prices are deregulated. Otherwise. price competition may force insurance companies to restrict coverage or to leave the market.

• Culinary science and hospitality research
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• v.22 no.5
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• pp.214-230
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• 2016

This study was carried out to create a momentum for interest and understanding of local foods and provide base line data for the presentation of future effective development direction by investigating and researching cognitive characteristics, intake frequency, and preference about local foods targeting Pohang citizens. As a result of the investigation on intake frequency and preference of Pohang's local foods, in almost every item such as "gwamegi", "mul-hoe", "Guryongpo daege", "sashimi noodles", "mori noodles", "pidegi cuttle fish", "mulgomtang", "homchibap sikhae", "jesabap sikhae", "whale meat", "gaebokchi", "duchichijjim", "octopus sashimi", "roundnose flounder sashimi", "round flounder jorim", "fried round flounder", "gunsu sorasanjeok", "raw mustard muchim", "miyeongui dish", "sigeumjang", "chives dish", "rolled chives egg", "gokgang spinach", "pine dish", "yellow bean leaves muchim", "pickled green bean leaves", "green bean leaves watery kimchi", "Pohang sunrise bread", "black stone eel dish", "chili jjim", "red-pepper leaves namul muchim", "wild greens bibinbap", "acorn jello muchim", "oimiyeok changuk", "dongdongju", etc., significant differences were shown at the significance level of p<0.05~p<0.001. About understandings, views, development prospects, and development value and so forthof Pohang's local foods, more than 80% of respondents were positive, and in the questions asking concerns about local foods, more than half of the respondents gave a positive opinion, citing that they "have a little interest", and "tend to have an interest". Therefore, it can be seen that the future of local foods is bright. In the future, it is required that various cultural events related to local foods are held, a number of promotions are carried out, specialization of stores is distributed, and, at the same time, local foods are developed and generalized to suit modern sense, maintaining traditional taste in order to become global foods, as well as thedeformation of recipes.

• The Journal of Art Theory & Practice
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• no.8
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• pp.33-58
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• 2009

This paper examines four genre paintings on the subject of child education by Jean-Baptiste-Sim${\'{e}}$on Chardin(1699-1779). The Governess, The Diligent Mother, Saying Grace, and The Morning Toilette garnered critical attention after they were exhibited in the Salon from 1739 to 1741. After the exhibition, the paintings were made into prints and frequently sold to members of the bourgeois class in Paris. The iconographical details of Chardin's genre paintings have, thus far, been compared to Dutch genre pictures of the seventeenth century. Further, most studies conducted on Chardin's paintings focus on formal analysis rather than the historical and social contexts. Through attempting social-contextual readings of Chardin's educational series, this paper argues that the significance of Chardin's painting series of child education lies in his representation of the ideal French bourgeois family and the standard of early childhood education in the eighteenth-century French Enlightenment period. In each of the four child education paintings, Chardin depicted a mother with children in a domestic space. Even though this theme derives from traditional Dutch genre paintings in the seventeenth century, the visual motifs, the pictorial atmosphere and the painting techniques of Chardin all project the social culture of eighteenth century France. Each painting in the child education series exemplifies respectively the attire of a French gentlemen, the social view on womanhood and the education of girls, newly established table manners, and the dressing up culture in a 'toilette' in eighteenth century France. Distinct from other educational scenes in previous genre paintings, Chardin accentuated the naive and innocent characteristics of a child and exemplified the mother's warmth toward that child in her tender facial expressions and gesturing. These kinds of expressions illustrate the newly structured standard of education in the French Enlightenment period. Whereas medieval people viewed children as immature and useless, people in the eighteenth century began to recognize children for their more positive features. They compared children to a blank piece of paper (tabula rasa), which signified children's innocence, and suggested that children possess neither good nor bad virtues. This positive perspective on children slowly transformed the pedagogical methods. Teaching manuals instructed governesses and mothers to respect each child's personality rather than be strict and harsh to them. Children were also allotted more playtimes, which explains the display of various toys in the backgrounds of Chardin's series of four paintings. Concurrently, the interior, where this exemplary education was executed, alludes to the virtue of the bourgeois's moderate and thrifty daily life in eighteenth century France. While other contemporary painters preferred to depict the extravagant living space of a French bourgeoisie, Chardin portrayed a rather modest and cozy home interior. In contrast to the highly decorated living space of aristocrats, he presented the realistic, humble domestic space of a bourgeois, filled with modern household objects. In addition, the mother is exceptionally clad in working clothes instead of fashionable dresses of the moment. Fit to take care of household affairs and children, the mother represents the ideal virtues of a bourgeois family. It can be concluded that the four genre paintings of child education by Chardin articulate the new standards of juvenile education in eighteenth century France as well as the highly recognized social virtues between French bourgeois families. Thus, Chardin's series of child education would have functioned as a demonstration of the ideal living standards of the bourgeois class and their emphasis on early childhood education in the French Enlightenment period.

• Journal of Korean Philosophical Society
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• v.141
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• pp.1-42
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• 2017

This paper's purpose is to seek to grasp how Descartes demonstrates proofs of God's existence on the basis of his works especially Meditations. To consider these points, I shall explore first, second, third proofs that are present in his works, and contents related to God. Descartes argues that there is idea of God within me, but it is God, which is first proof. On the basis of this fact, Descartes shows only God is the cause of thinking self who has idea of God(second proof), both of them are called Cosmological argument. To investigate this, at first he states that representative reality that is different from formal reality sets a kind of hierarchy, the degree of this reality is equally applied to cause and effect, consequently to the cause of my idea or existence(God). From Meditation V, third proof which is called Ontological argument, Descartes examined a supremely perfect God can't be separated from God's existence(perfection) just as surly as the certainty of any shape or number, for example triangle, namely it is quite evident that God's existence includes his essence. Through these processes I shall examine following points: the way of having Descartes' proofs of God's existence itself is not only exposed, God's existence who guarantees cogito ergo sum which is never doubted, despite doubting all things that is outside, is but also postulated; Proofs for the existence of God are an ultimate source of ensuring the clear and distinct perception of human reason, Descartes uses reason suitable for non-christians instead of faith suitable for Christians for these methods, which are similarities with the traditional views on the one hand, but nevertheless there are some of discontinuities establishing authority or power of the first philosophical principle to which God is subjected, on the other.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.36-59
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• 2021

This study infers the origin and production period of the , which is in the Onyang folk museum, through analysis and interpretation of the Haeju Palgyeong and exploration of the landscapes and traditions contained in the painting. The first collection of landscapes to Haeju was identified as Haeju Palgyeong by Ku Sa-meng (1531-1604). Yoo Man-ju, writing in 1782, referred to it as Go-palgyeong in 『Heumyeong』 while Haeju Palgyeong was defined as Geum-palgyeong (今八景), which is the Haeju Palgyeong in the earliest period confirmed by literature. is 'Boating on the Nam river (南江泛舟)', 'Lotus viewing at Buyongdang (芙蓉賞蓮)', 'Foot washing at Gwangseokcheon (廣石濯足)', 'Seokbyul at Haeunkyo (泣川送客)', 'Fishing at Haeunjeong (東亭釣魚)' and 'Sea view at Namsan( 南山望海)', and the final two contain a picture that contains 'Viewing the moon at Yeonghaeru (瀛海玩月)' and 'Writing contest and Archery at Baeklimjeong (栢林觀德)' The Suyang Chaemi(首陽採薇), Shingwang-jeoljeol (神光霽雪), and Jiseong falls (池城瀑布) of Gopalgyeong, which were excluded from Haeju Palgyeong, are all landscapes unfolding as a grand site of Suyangsan Mountain. is a result of the reorganization of Seunggyeong centered on Eupchi (邑治), away from the Suyangsan area. It has emerged as a seunggyeong of Haeju. The elaborateness of trying to contain the detailed prizes representing Haeju, such as the specialty sake of Haeju, is revealed. Most of the landscapes depicted in are historic and outstanding spots in Haemok, but the scenes of life related to daily life are properly arranged. In addition, Foot washing (濯足), Fishing(釣魚), Doing laundry (漂母), Lotus viewing (賞蓮), Sending guests (送客), Drinking (飮酒), sea viewing (望海), Moon viewing (玩月), Archery (射藝), Poetry (詩作), Drinking tea (飮茶), and Dancing (歌舞) are of various styles. Compared with the Gopalgyeongs, Haeju Palgyeong did not take into account the distribution of landscapes in the four seasons, and the small-sized view was also broken. When considering the time of the construction of Haeunjeong and the deterioration of Yeonghhoeru, it is believed that was produced in the early- to mid-18th century. is considered to be a painting that contributed to strengthening the sense of intimacy with the local people and promoting the pride of Haeju by showing the representative scenery of Haeju, such as scenic spots and customs, away from the ideal utopia.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.2
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• pp.128-140
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• 2021

This study applied the theory of Landscape Ecology to representative resources of Jeju Olle-gil, which is a representative subject of walking tourism, to identify ecological characteristics and to establish a technique for landscape ecological analysis of Olle-gil resources. Jeju Olle Trail type based on the biotope type, major land use, vegetation status around Olle Trail and roads were divided into 12 types. Based on the type of ecological tourism resource classification, the Jeju Olle-gil walking tourism resource classification was divided into seven types of natural resources and seven types of humanities resources, and each resource was characterized by Geotope, Biotope, and Anthropopope, just like the landscape ecology system. Geotope resources are strong in landscape characteristics such as coast and beach, rocks, bedrocks, waterfalls, geology and Jusangjeolli Cliff, Oreum and craters, water resources, and landscape viewpoints. The Biotope resources showed strong ecological characteristics due to large tree and protected tree, Gotjawal, forest road and vegetation communities, biological habitat, vegetation landscape view point. Antropotope include Culture of Jeju Haenyeo and traditional culture, potting and lighthouses, experience facilities, temples and churches, military and beacon facilities, other historical and cultural facilities, and cultural landscape views. Jeju Olle Trail The representative resources for each type of Jeju Olle Trail are coastal, Oreum, Gotjawal, field and Stonewall Fencing farming land, Jeju Village and Stone wall of Jeju. In order to learn about the components and various functions of the resources representing the Olle Trail's ecological culture, the landscape ecological technique was interpreted. Looking at the ecological and cultural characteristics of coastal, the coast includes black basalt rocks, coastal vegetation, coastal grasslands, coastal rock vegetation, winter migratory birds and Jeju haenyeo. Oreum is a unique volcanic topography, which includes circular and oval mountain bodies, oreum vegetation, crater wetlands, the origin and legend of the name of Oreum, the legend of the name of Oreum, the culture of grazing horses, the use of military purposes, the object of folk belief, and the view from the summit. Gotjawal features rocky bumps, unique microclimate formation, Gotjawal vegetation, geographical names, the culture of charcoal being baked in the past, and bizarre shapes of trees and vines. Field walls include the structure and shape of field walls, field cultivation crops, field wall habitats, Jeju agricultural culture, and field walls. The village includes a stone wall and roof structure built from basalt, a pavilion at the entrance of the village, a yard and garden inside the house, a view of the lives of local people, and an alleyway view. These resources have slowly changed with the long lives of humans, and are now unique to Jeju Island. By providing contents specialized for each type of Olle Trail, tourists who walk on Olle will be able to experience the Olle Trail in depth as they learn the story of the resources, and will be able to increase the sustainable use and satisfaction of Jeju Olle Trail users.

• Journal of Korean Philosophical Society
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• no.116
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• pp.251-281
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• 2017

The Parmenidean tradition of logos which previous researches fail to fully appreciate has three dimensions of reality-knowledge-discourse. Parmenides is not just an ontologist, as the traditional view emphasizes, but also an epistemologist, as the revisionist view begins to emphasize, and, at the same time, a meta-discourser, as those two established views fail to embrace. In order to reach the third view which fully grasps such a dynamic and integrated feature of Parmenides, we should closely pay attention to the organic interconnectedness of three discourse parts of truth-doxa-proem, especially the significance of proem and meta-discourse. In the Eleatic tradition of discourse, the figure who clearly appreciated and further developed such an authentic feature of Parmenides' discourse is not, as one might easily expect, one of the second-generation Eleatics, but Gorgias who has commonly been positioned at the opposite side of Eleatism. This paper investigates how he actually both innovated and succeeded the Parmenidean tradition of logos; especially, it characterizes his discourse as an antilogy(antilogia) from within the tradition: as a 'devil' advocate' who complemented and completed Parmenidean persuasion by positing the Parmenidean tradition of logos as an arena of a huge intellectual discipline and cultivation, offering himself as a sparring partner to it, and bringing up an antilogy. In the process of this antilogy he performed in his rhetorical speeches such as the Encomium of Helen and the Defense of Palamedes he experimented and examined a possibility of persuasion operating independently from truth, which, however, is not merely sacrificing truth in favor of persuasiveness and probability (to eikos) as Plato criticized mainly focussing on his 'philosophical' writing On not-being. Rather, it was an 'opposition for opposition's sake' and serious play which purported to provide balance and flexibility to contemporary intellectual society which had too much inclined towards truth and knowledge and become stiff and to put weight on the opposite side of mainstream. It is wholly our eranos (i.e. our share of contribution) to summon and examine such sophistic tradition for the sake of the task of our times, not for the sake of Plato's task, that we should build up a healthy culture of discourse where we can share serious play.