• The Research Journal of the Costume Culture
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• v.12 no.4
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• pp.663-675
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• 2004

The plastic arts is used when designers draw inspirations to create fashion design. The author referred to fashion magazines for designing ideas of Mondrian＇s geometrical abstract painting in practical applications used by designers in Paris, Italy, London and New York during the 10-year period(1991-2000). The collections of data were analyzed as following: ◇ Fashion Designing Idea 1. Matching Idea The art is reproduced in the design as how it is with no transformation. First, the painting＇s complete figure is reproduced on the entire or parts of clothing. Second, the painting＇s partial figure is reproduced on the entire or parts of clothing. 2. Contrasting Ideas The composition elements in Mondrian＇s geometrical abstract painting, for example, structures of shapes, vertical and horizontal lines and different colors are applied in the design. First, one particular shape in painting is transformed into different shape of square, circle or triangle and reproduced in designing. Second, one particular shape in painting is disassembled and then reshaped into different form in reproduction. Third, additional lines are put in to create different look from the original painting. Forth, existing lines are extended over the boundary to create different look from the original painting. Fifth, achromatic colors: black and white, and three basic colors: red, blue and yellow in the original painting are modified into different shades or color scheme is increased in broad range.

• Journal of Korean Philosophical Society
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• v.137
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• pp.131-149
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• 2016

The main purpose of this paper is to inquire into Johnson's defence of naturalistic ethics, and show how it could escape the intractable conundrum that has bothered moral philosophy ever since the early 20th century. Johnson shares the deconstructivist stance in claiming that moral theories are largely metaphorical constructs, and thus their claim to absoluteness is ungrounded. However, Johnson breaks with deconstructivist philosophers by offering a need for a constructive inquiry into "moral understanding." Then, Johnson's recent discussions are more concerned with moral fundamentalism in which he argues, is not only cognitively incorrect but immoral. It is incorrect in that it relies on the false assumptions on human cognition, and is immoral in that it shuts off any moral discussions. Instead, Johnson sees moral experience as a matter of moral deliberation in which we attempt "dramatic rehearsals" in Dewey's terms. Johnson's constructive offer in moral philosophy reminds us of "the size of moral theory," which fits human moral understanding as an embodied being, and this presents a third constructive way over the dichotomous conundrum of moral philosophy between traditional absolutism and nihilistic deconstructivism.

• Korea and Global Affairs
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• v.3 no.1
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• pp.5-38
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• 2019

After the democratization movement in 1987, korean politics was transformed into three kim's politics by y Kim Yeong-sam, Kim Dae-jung and Kim Jong-pil. Before the time of three kim's politics, korean politics lasted for one long term, but three kim's politics made possible the peaceful regime change through political party integration and party coalition. The evaluation of three kim's politics coexist both positive and negative. The Positive political effects are diversification of political party composition and stabilization of regime change. Three kim's politics transformed the political party composition of Korea from a two-party system to a multi-party system, made possible a peaceful regime change through the unification of three parties and the DJP coalition. However, the negative political distortions of three kim's politics are the shortening of political parties and the concentration of political ideology. In three kim's politics, political party in Korea has a very short life due to the creation of political parties, the dissolution of political parties, the reorganization of political parties and the integration of political parties. Conservatism and progressive tendencies related three kim's politics were stabilized through Yeongnam region and Honam region. Therefore, three kim's politics means that the proportion of Korean politics is very high. Political effects and distortions derived from three kim's politics have become a challenge for Korean politics to overcome.

• Journal of Korean Philosophical Society
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• no.95
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• pp.59-93
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• 2011

Die vorliegende Abhandlung beschäftigt sich mit der Frage, ob Jacque Derrida das Problem des Global-Terrorismus im politisch-theologischen Sinne mit seiner Philosophie der Gastfreundschaft lösen kann. Fur Derrida ist der '11. September' das 'Ereignis', und das Symptom einer autoimmunitären Erkrakung der westlichen Welt. Derrida findet im '11. September Ereignis' die Struktur der Aneignung des Eignen und der Enteignung im Heideggerschen Sinne. Das 'major event' wird nicht in einer vergangenen Aggression bestanden haben, die präsent und wirksam ist und noch schlimmer in der Futur sein wird. Derrida versucht einen philosophischen, politisch-theologischen Ansatz zur Bedingungen der Möglichkeit der absoluten, vollkommenen Auflösung des Globalen Terrorismus zu programmieren. Dafür fordert er das Postulat Verwirklichung des 'Messianischen ohne Messianismus'. Die Gegenüberstellung zwei politischer Theologien zwischen der Europäischen Demokratie und der Islamischen Vereinigten Staaten kann erlöst werden, wenn die 'neue religiöse Spiritualität', die gegenüber der dogmatischen Religionswahrheit frei ist, mit der 'Wiederkehr der Religion' im echten Sinne vorkommt. In der 'Neuen Religion' Derridas ist der Begriff der 'Gastfreundschaft' wichtiger als der der 'Toleranz', den er als 'abrahamitisch' definiert. Die von Derrida postulierte neue Religion ist eine offene Religion, in der das Unvergebbare unbedingt zu vergeben ist. Ihre politische Transformation ist der Begriff der 'Neuen Europäischen Gemeinschaft' und des 'Anderen Kaps'. Derrida postuliert diese neue Idee des Kosmopolitismus als die notwendige Bedingung der vollkommenen Auflösung des autoimmunitären Global-Terrorismus.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.9-41
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• 2020

Park Jong-won's debut film "Guro Arirang," based on a short story of the same title by Lee Moon-yeol, is the first commercial film to deal with labor struggles from a worker's point of view in the wake of the 1987 democratic movement, and a pioneering work in terms of representing female workers the Korean cinema has traditionally turned away from. In this film Park Jong-won tried to win the sympathy of the middle class for labor movement in spite of the red scare which still stood firm in the Korean society at that time. To convey its progressive message in a form acceptable to the middle class public, the film portrays labor issues in the light of universal humanity and ethics, not in terms of class hostility or struggle. Park Jong-won calls this point of view "common sense of normal people" and emphasizes its universality and objectivity. This study critically examines the cinematic strategies to deal with labor issues in a form acceptable to the public in a conventional and commercial film and the ideological implications of the "common sense of normal people" reflected in such strategies. The first chapter of the study reveals that the film destroys the irony of the original story and reduces the complex constellation of the characters to the conflict between pure good and evil, creating a melodramatic composition in which the good falls victim to evil. The tragedies suffered by the workers in the film are of course intended to arouse the audience's strong sympathy and solidarity with them. The second chapter shows that the film's various scenes and episodes converge on the them of compassion and grief, and are mostly based on cultural and real experiences and events that caused great public sensations at that time. Especially in the last decisive scene of the movie, the memory of the June 1987 uprising is strongly recalled. So "Guro Arirang" can be seen as a patchwork of proven cases of compassion and grief. The third chapter examines the implications of the scene where the workers turn back demands for wages and put the issues of human treatment and trust to the forefront at the crucial moment of their struggle. It appeals to universal moral values and sentiments that everyone has to acknowledge and removes the political dimension from the workers' campaign. While the film tends to become a pure story of humanity marginalizing irreconcilable conflicts of class interest, the workers fall to the position of passive victims who can be deeply sympathetic on the one hand, and on the other, are idealized as leaders with noble attitude keeping themselves aloof from the hard reality. As a result, the movie loses its realistic ground and weakens its narrative probability. The scenes reminiscent of the 1987 uprising which evoke the solidarity between working and middle class fail to integrate harmoniously into the whole story of the film and remain only as fragmentary parts of the patchwork of compassion and grief.