• Korean Institute of Interior Design Journal
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• no.11
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• pp.20-25
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• 1997

The purpose of this study is to find out the correlation between Truth(道) and dimension through the understanding of architectural point of value in the aspect of correlation between modern western thoughts and the thoughts of Truth and also through the reading of what kind of composite trend of the Truth can be seen in a Korea traditional house. This stduy takes the following procedure with reference books and traditional house that we have. 1) Making foundation for this study by finding out the fundamental meaning of the thoughts of Truth through the comparing and analyzing between modern western thoughts and the thoughts of Truth. 2) Reviewing the understanding of dimension in the thoughts of Truth. 3) Traslation of the organic correlation through the analysis of composition, placement and characteristics of dimension in a real present traditional Korea house. 4) Finding out the meaning of each dimension through the adaptation of the fundamental rules of nature of Jane(藏:store), Sang(生:life), Jang(長:long), Su(收obtain) to the dimension composite of a traditional house and concluding that the cyclical process in the oriental thoughts could be made.

• English & American cultural studies
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• v.14 no.2
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• pp.127-157
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• 2014

Among many literary isms, impressionism is often regarded as the most frank expression of personality. As a masterpiece of modernism, Ford Madox Ford's The Good Soldier is a celebration of the subjectivity which reflects the writer's experiential reality. For Madox Ford, art is not to achieve the true objectivity of human society, but to seize the momentary perception in personal life. As the beginning of modernism, Madox Ford's impressionaism was mostly devoted to give fictive life to subjective impressions. And his heroes are usually the egoless person who can absorb the intense rapidity of consciousness without any prejudice. However, the innocent mind's receptions of myriad impressions, like those of the protagonist John Dowell or his idealized version of Major Ashburnham in The Good Solidier, were described as the enjoyable yet deceptive ones in Madox Ford's works. To engrave more sold perceptive impressions into life, Madox Ford often contrasts or mixes truth with deception, life with death as he did in his real life. Speicially as the result of thick application of real-life subject matters to his writings, Madox Ford's literary works get more vivid colors and penetrating forms. Thus, his literary impressionism based upon his harsh and passionate realities overcomes the limitations of shifting moments of senses, demolishing the boundaries between what is objective and what is subjective, like post-impressionism or expressionism. Namely, as Walter Lowenfels said, Madox Ford did not follow the impossible objectivity passively, yet instead "knew how to invent the truth."

• Journal of Distribution Science
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• v.16 no.6
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• pp.37-53
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• 2018

Purpose - There have been not enough studies on the ways customer Moment of Truth(MOT) activities are structured along with consumption chain and their influences as well as the relative influences of service quality at Moment of Truth on customer performance. Therefore, customer service needs needed at Moment of Truth may differ depending on whether these distribution services are at introduction-growth stages or maturity-decline stage already, but there is no study which illustrates this. Research design, data, and methodology - This study selects VoIP and IPTV as the household telecommunication and distribution services at introduction-growth stages as well as high speed internet and wire telephone as those at maturity-decline stages. Then it identifies which experiences that customers have at Moment of Truth by each service as well as the influences related to what the customers consider as important. Results - As the result of demonstration with the target of 858 respondents, customers' experiences and requests differ at Moment of Truth. For service quality, what takes the positive roles in customer performance includes corporeality and certainty for the services at introduction-growth stages as well as reliability, sympathy, and mutuality for those at maturity-decline stages. Conclusions - Implications of these results as well as further directions for study are suggested.

• Journal of Korean Philosophical Society
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• v.137
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• pp.193-223
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• 2016

This research examines the recognition of nature as identified by Zhuangzi through the man of truth. Zhuangzi defines inactivity as an act of nature and personifies it as the man of truth, a holy man who achieves salvation. It is the stage that is united with nature by breaking out of secular restriction and achieving the absolute liberal spirit. The man of truth is the origin enabling all the acts of nature. And since the existence of all living things is connected, the change of life and death complies with the operation of nature. It is an irresistible destiny for all human beings. Therefore, the duty of nature recognizes the life and death of all creation into a single perspective. In this sense, the feelings of joy and sorrow that human beings feel are unnecessary. When following the duty of nature and destiny, which is to break out of secular desire and empty the mind, it is possible to go to the stage of futility and enjoy a silent and comfortable life. Zhuangzi explains it as living free from worldly cares, which is the stage of 'Soyoyoo(逍遙遊)'. In this thesis, the principles of courtesy and the virtue of Confucianism are stated and are contrary to the concept of futility asserted by Zhuangzi. But, a different approach could be attempted which recognizes a superman who is even more evolved from the man of truth. The philosophical ideology of Zhuangzi could be a necessary factor for modern people and his oriental natural spirit should be highly appreciated.

• The Journal of the Korea Contents Association
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• v.13 no.1
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• pp.137-146
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• 2013

Anton Chekhov was able to deliver a significant influence to the 20th realist drama types and styles, because his deep thoughts about diverse aspects of human life were realistically expressed on stages. Western realistic actors endeavored to embody their routines based on their words, behaviors, and habits. Chekhov used his outstanding talent to identify the characteristics of people, created unforgettable drama characters, and focused on their behavioral motives. From his philosophical point of view, Chekhov argued that secrets are hidden in life itself, and that everything, shown on the stage, should be as it is in our actual daily life. The realistic acting, recognizing the difference between the daily truth and the truth mentioned in works, pursued acting styles by which audiences regarded play characters as the real people.

• Journal of Hospice and Palliative Care
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• v.16 no.4
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• pp.232-241
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• 2013

Purpose: This study was conducted to do preliminary report of differences and similarities between Koreans residing in Korea and Korean Americans residing in America regarding their awareness of end-of-life care, attitudes toward advance care planning, truth telling, and preferred decision-making model. Methods: Two participating groups were selected: a) Koreans residing in Korea, and b) Koreans Americans who had resided in the United States for at least 20 years. 25 Koreans and 23 Korean Americans who were older than 65 years old participated in this study. They were asked via a self-administered questionnaire that contained demographic questions and questions about end-of-life decision making regarding awareness of end-of-life care, attitudes toward advance care planning, truth telling, and preferred decision-making model. A Chi-square was used to measure differences between Koreans' and Korean Americans planning. A P value of less than 0.5 was considered significant. Data analysis was performed using SPSS 18.0. Results: In some aspects of awareness of end of life care, attitudes toward advance care planning, and truth telling, both groups had similar opinions. However, there were significant differences between groups in the necessity of end of life documentation, preferential informing the truth, and preferred decision making model. Conclusion: There were similarities and differences regarding some end of life issues between the Koreans and the Korean Americans.

• Cartoon and Animation Studies
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• s.50
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• pp.215-237
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• 2018

I analyze orange that is consistently used, even though not consciously, in the films whose function and meaning are clear. In detail, there are examples of color in films, psychological phenomena of colors expressed in posters and opening titles, color characteristics of clothes and costumes, and semiotic analysis of color names in film titles. (1) Fact and Truth; civilization and criticism. The film tries to tell the truth than the fact. It represents facts as it is, but it presupposes truth. This is a unique characteristic of media films. The truth of the fact is not important. The film tells the truth believing and wanting to show off. The film, which has inherent characteristics of the gap between fact and truth, represents nature and civilization. It carries nature as it is and criticizes the harm of civilization. Orange is nature and civilization. Realistic films such as Hong Sang Soo and Kim Ki Duk, fall into this category. For example, there are A Taxi Driver(2017) and I Can Speak(2017). (2) Virtual History; fake images and memories. In Hollywood SF genres like The Matrix(1999), orange was dealt with virtual reality. However, in Korean films they are replaced by historical dramas. The representation of history becomes a virtual reality. Films such as The Fortress(2017), Masquerade(2012), and Roaring Currents(2014) deal with virtual history. In these films, orange is a fake image and memory. (3) Light=color; Aura. The color and light of orange is aura. At sunrise and sunset, the orange of the incandescent light is almost similar to that of the artificial light. Orange of tungsten makes the real characters surrealistic and mysterious. For example, there are The City of Madness(2016), The Man from Nowhere(2010), and Coinlocker Girl(2014). (4) Fantasy; communication with other worlds. Orange is a sweet fantasy. In our daily life, we go to a supermarket, share a chat with friends in a coffee shop, and spend time in front of a television. Orange makes our life free and dreams. It is the communication between the former being and the other world. This can be found in the sexual fantasy scenes of all genres. For example, there are Sunny(2011), Welcome To Dongmakgol(2005), and 200 Pounds Beauty(2006).

• English Language & Literature Teaching
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• v.13 no.3
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• pp.99-116
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• 2007

Indeterminacy, along with the traces of the unknown identity V, plays a crucial role in building a new possibility in the narrative V. While the characters search for the single identity of V, Pynchon never lets readers and critics reach any final destination or goal in analyzing the novel. Exploring the multiple possibilities and meanings of life, the characters merely keep traveling and searching, without ever reaching any final conclusion or destination. The journey without ever reaching a final destination equals going beyond the boundary and embracing the margins of various possibilities. It concerns the Others and breaks off the hierarchy of Western metaphysics, which is quite similar to what the theorists of deconstruction seek to do. The search without ever reaching a final destination not only designates the multifarious aspect of truth, but it also suggests the possibility of the multiple meanings of words that the characters create. Just as their stories are abundant, the meaning that they produce with their stories can be open-ended. The notion of indeterminacy and broadness in this text, which can be well explained by Derrida, makes it possible for one to search for something other than the fixed meanings or truth claims. The text becomes multifarious in meaning as well as in structure, thus rejecting any kind of singular signifying act.

• Lingua Humanitatis
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• v.1 no.2
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• pp.91-104
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• 2001

Ford Madox Ford, the early twentieth-century writer most famous for his novel The Good Soldier, perceived his "business in life [as an] ... attempt to discover and to try to let you see where you stand." With this grand purpose in mind, Ford disregarded distinctions of genre in his prolific output of what we would consider novels, memoirs, literary criticism, travel writing, and history. Claiming that "the Novelist ... [is a] historian of his own time," Ford sought his own version of the "truth," a truth that was more faithful to his own subjective impressions than to verifiable "fact." Among these works that depict his age are a series of "memoirs" or "reminiscences," works published from the 1910s to the 1930s which carry out his Impressionistic purpose. What lies behind these memoirs is Ford′s view that his own individual history can be understood as his contemporary society′s collective history. This article explores Ford′s experimentation with boundaries of fact and fiction, and history and narrative, as he employs and expands the memoir form. In particular, 1 focus on two works, Memories and Impressions (1911) and It Was the Nightingale (1933), and Ford′s techniques in these memoirs, such as 1) the adoption of fictional personae from which to comment on his society at large and 2) the use of emblematic "parables" to encapsulate larger lessons of life within the minutiae of existence. Current theorists on the memoir form share interests in these questions of genre and of the social role of the memoir Nancy Miller, for instance, terms the memoir "the record of an experience in search of a community." This article engages these current discussions of the memoir genre by examining Ford′s early twentieth-century examples as innovative experiments that play with the boundaries between fiction and history, and personal impressions and collective truth.

• Journal of Korean Philosophical Society
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• no.116
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• pp.79-103
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• 2017

According to Heidegger, the world is disclosed in dependence on Dasein, whose existence is different for each of us. Then it is questioned how the common world can be established in spite of the individual existence of Dasein. After reviewing the preceding researches on this question, I would like to elucidate the individual and common world-disclosure based on Heidegger's lecture in 1928/29. Heidegger, in this lecture, has a vast discussion of the relationship between the common being (Mitsein) and truth. According to him, since truth is essentially communal so that it can not be privatized by individual Dasein, the space of truth encountered by a Dasein is already open to all other Dasein. The fact that the space of truth held by each of Dasein is open to all others implies a common open area that encompasses it. And this common open area is no different to the world. The world is already ontologically disclosed in common, and on the basis of this common world-disclosure, each Dasein discloses its own world according to its life history and situation.