• Journal of Science of Art and Design
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• v.11
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• pp.201-220
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• 2007

From two viewpoints the writer investigated the beauty of space by overall arrangement and composition of a picture in Oriental painting. In particular, she examined the expanded representation and significance of space use which had not properly been recognized in the field of a colored picture contrary to a painting in India ink. She studied that the boundary for the representation and appreciation of space was unlimited to one field of painting by studying and analyzing it in connection with other fields of art which had something in common with it in techniques or languages of representation. The writer considered the aspects of similar forms and spirits as the methods of understanding and representing the essence of an object in creating a work. She generally considered the aspect of perfecting knowledge by studying the principle of an actual thing for the representation of revealed forms corresponding to the aspect of similar forms, and tried to reach the stage of 'materialization' united with the spirit of the subject of creation for the formless forms corresponding to the aspect of representing an artist's inner world as well as the external shapes of things. She tried to reach the stage of spiritual cultivation in pursuit of the boundary between 'mental vanity' and 'sitting quietly and attaining the state of perfect selflessness', which were presented by Chuang-tzu, to express the spirituality internal to it. She recognized that the projection of the cultivation on a work could convey internal essence as well as external forms to a picture. It was because the image of the form represented in a picture was based on the aesthetic experience got from realty. In the concept of space and a method of representing it, she explored and analyzed the basic concept of space, arranged the concept of space shown in Oriental ideas dividing it into the concepts of space in Confucianism, Taoism and the Zen sect. What she felt acutely through this study was that she should establish the identity of her work by succeeding to, changing and re-creating tradition based on the historical heritage left by successive excellent painters and theorists. Putting together all these things showed that establishing the identity in the world of work pursued and oriented by her required searching the direction in future works by mixing tradition with modern times in a creative way, which is just the purpose of study in this thesis.

• Cartoon and Animation Studies
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• s.34
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• pp.81-104
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• 2014

Self-reflexivity means consciousness turning back on itself and breaks with art as illusionism and exposes their own factitiousness as textual construct. Self-reflexivity in media deals with the media's condition and process itself and tends to pull viewers out of the reality represented on screen by reminding them that is a media's construction or illusion on the screen. Representation aesthetics has been recognized with an essential theory of the art since Ancient Greek, but it has encountered crisis with the invention of the photography and the cinema in the early 1900s. The supreme transparency of the new media induced a new perspective for the representation aesthetics, which had dominated the art world. The art derived from the representation stood on the crossroad of changing direction. Modernism aesthetics wanted to search for the self-referentiality in order to the replace the past principal. This essay focuses on self-reflexivity in animation and their methodology. First, the change of representation aesthetics in visual arts will be discussed. Second, animations exposing their process of production and components will be analyzed, and lastly, intertextuality in animation will be dealt. I hope to provide the vision of the expanded animation media with this study.

• The Journal of Art Theory & Practice
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• no.8
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• pp.89-119
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• 2009

Kim, Jun-Geun(Gisan) was a late 19th century Chosen dynasty painter who created numerous genre paintings for West European clients in the newly opened treaty ports of Wonsan, Busan and Inchon. The treaty ports in the late 19th century Chosen represented of the crossroads the economy, values, and the institutions of the West European powers. In particular, the agriculture-based economy, Confucianism, and land-owner noble class started being eroded by a commerce-based economy, the values of Christianity, West European institution, and a new class of people who amassed wealth from commerce. As Kim, Jun-Geun's paintings were created for sale to West European clients, they exhibit characteristics that are distinct from the traditional genre paintings in terms of presentation style and the selection of the subject matters. The export genre painting originated in the 18th century around Guangdong, China. Broadly, there are two styles of genre paintings: the Guangzhou style and Ningbo style. Kim, Jun-Geun's paintings resemble the Ningbo style. The Ningbo style tends to highlight the main subjects, form an album of small paintings, and provide a simple treatment of the scenes without the background. Kim, Jun-Geun's paintings cover most aspects of life of common people of his time, ranging well beyond the subjects matters of the traditional genre paintings. His subject matters include the scenes of funeral, folk games, Buddhist and ancestor worship, prison and punishment, shaman custom, debauchees, government officials' formal trips, beggars and handicapped, etc. Many of the subjects are the neglected and the oppressed of the society. And he presents in detail the dress and its ornament that the subjects wear, and all the utensils and things around them. Besides, his subjects' faces are generally expressionless, and their postures are stiff; as such, the feeling of liveliness or movement is lacking. It may be the results of Kim, Jun-Geun's taking the other perspective, namely of his West European clients, rather than his own. The adoption of the other perspective may in turn be a product of the Social Darwinism and the new sense of values that accompanied the infusion of Christianity and West European institutions. Kim, Jun-Geun's portrayals of his subjects appear to reflect the attributes with which the West European Orientalists' of the period characterized the people of the Far East, namely, backwardness, barbarity, irrationality, violence, and mysticism.

• Journal of Korean Philosophical Society
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• v.141
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• pp.263-286
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• 2017

It is well known to us that in its enlarged sense Deleuze's philosophy has confrontation with platonism that has dominated the whole western ideas, and in a narrow sense it is confrontation with representative thinking and representative arts. In other words, it's obvious what Deleuze has considered the most important in his whole of ideas is to think not in a representative way but in a non-representational way and to disentangle thinking from its representative image. To examine the way how Deleuze criticize representation, and how he overcome modern ideas is not just to make a clean breast of platonic inheritance. Because they are essential for facing up to the actual circumstances of our contemporaries who have degraded servility of totalitarian thoughts under the thinking of identity, and furthermore, it is essential for overcoming this situation and proceeding to nomadic thinking, liberating thinking. This study is not intended to be a definitive account of all his criticism of representation. Because, as is well known, Deleuze's criticism of representation contains a wide variety. And so this study were limited a relatively small number of points in Deleuze's position on representation as follows. How does Deleuze's criticism of representation has been developed in his theory of paintings? And what does it mean to us today? In this paper, I paid special regard to make sense out Deleuze's concept of 'figure' in his important writings that pertains to an analysis of his criticism of representation, Francis Bacon: The Logic of Sensation. And having traced the development process of the concept of 'figure', I want to understand the implicit meaning of the concept in constant flux of his critical thinking.

• Art History and Visual Culture
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• no.22
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• pp.254-279
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• 2018

This essay traces the origin and the social function of medieval knights in Edwin Austin Abbey's murals ${\ll}$The Quest of the Holy Grail${\gg}$ in the Boston Public Library. Medieval knights in the Arthurian legend appeared in American novels at the end of 1850s and in political cartoons in the 1870s. They are featured in American Renaissance murals as well. ${\ll}$The Quest of the Holy Grail${\gg}$ painted in 1895 was the first of its kind. In Britain, the Pre-Raphaelites frequently painted medieval knights. Abbey fused the visual idiom of the Pre-Raphaelites and that of the Royal Academy of Arts in his depiction of knights. Unlike the Pre-Raphaelites, who usually focused on knights' activities, he emphasized their virtue. His representation of knights reflect the social and economic crises in America in the 1890s. After the Civil War, American society enjoyed economic prosperity but suffered from government corruption, economic inequality, and class conflict. Serious social problems such as poverty and inequality decayed American society. Writers and artists brought attention to these issues. This essay argues that Abbey criticized capitalists and expressed his hope for progress through the figure of Galahad as the iconic representation of civic virtue in ${\ll}$The Quest of the Holy Grail${\gg}$. Installed in the Boston Public Library, Abbey's murals performed a public function to warn the viewers of economic and social chaos resulting from government corruption. Abbey's American knights not only emphasized moral responsibility but also promoted patriotism. The artist refashioned medieval knights into American citizens, whose civic virtue became essential to an ideal leader in American society.

• The Journal of Korean Philosophical History
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• no.32
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• pp.309-336
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• 2011

There were various linking points that connect Li xue(Neo-Confucianism) to aesthetics in Song Dynasty as following. 1. The traditional moral as "pursuing pleasure of Kong-zi and Yan Hui" 2. Esteem of "life and vitality". Scholars of Li xue in Song regarded the pleasure of acting up to "benevolence" as a beauty, and this benevolence originated in the "heaven and earth; the universe". "Benevolence", that is to say, is name of the nature that continuous reproduction breed in an endless succession by "Yin-Yang the universe", thus the natural "life and vitality" of the "heaven and earth" as the matter of course is the perfect beauty. 3. An idea of "serene contemplation". Originally the "serene contemplation" belongs to discipline of "Li xue", however simultaneously this conception was entirely applicable to aesthetic point of view. 4. Cosmological consciousness. In the same manner, the "pleasure" which is moralistic and moreover aesthetic is indivisible from cosmic contemplation itself. Because of this point, the art and aesthetics of Song Dynasty self-consciously had the cosmological consciousness in its fullness. 5. Respect of beauty of nature. Scholars of "Li xue" considered as : no matter what "Li" or "Qi" that producing all things is "coming of itself", that is by no means artificially operated or prearranged in advance. Such standpoint was applied to creative art and made art of Song Dynasty esteem beauty of nature (coming of itself) exceedingly. 6. Laying stress on "disposition". Scholars of "Li xue" ordinarily valued much of "disposition of a sage", consequently this tendency influenced on aesthetics. "disposition" indicates the whole impression that one who has appearance and the inside(personality, temper, thought, etc.) gives to others. By putting that impression into practice of art and literature, it is to materialize the works of art as a unity of form and subject, also as an expression of human existence that breathed into one's sensibility on the whole. 7. Principles of "completing inquiry", "study the laws of nature by close access" of "Li xue". These principles made art and literature of Song Dynasty take a serious view of "Li" of all over the universe, so made them close investigate things, and after all have achieved very remarkable characteristic in art and literature, especially in paintings of Song Dynasty. Theory of painting in Song Dynasty had occupied considerably high position in Chinese aesthetic history. It was positively superior to former generations no matter what in quantity or in theoretical minuteness and its systematic level. Undoubtedly the Chinese theory of painting had been achieving development time after time since Song Dynasty. However if we could make a comparison it with every single period (ex. Yuan, Ming, and Qing Dynasties), there is no prominent period than Song Dynasty in theory of paintings. Song period had number of essays of Landscape painting.

• (The)Study of the Eastern Classic
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• no.55
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• pp.223-264
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• 2014

Yeoncheon Hong Seok-joo(淵泉 洪奭周: 1774-1842) faithfully followed a policy of restoration of literary style of king Jeongjo. He was an young vassal after 1794 and influenced by Jeongjo because Yeoncheon was around the king. Furthermore, he had comparatively favorable working period as a vassal(仕宦期, 1795-1836) after death of Jeongjo(1800) while establishing his own academic viewpoint. Therefore, a study about art theory of Yeoncheon Hong Seok-joo is one about logical system to accept various desires for change of then while not getting rid of scope of Neo-Confucianism after Jeongjo. It is catched that exchange of Hong Seok-joo and Jeong Yak-yong was made relating to study of Sangseo. Hong Seok-joo and Jeong Yak-yong absorbed in study of Sangseo, which is come from putting importance on 6 scriptures (經) among studies of scriptures by both of them. Through this, they aimed to re-discover ideology of original Confucian studies as one for cultivating oneself and governing people (修己治人之學). Dasan and Yeoncheon have something in common that they were young vassals who were cultivated as a guarding power for Jeongjo centered on Gyujanggak. They were largely fit to view of literature(文體觀) of Jeongjo. Hong Seok-joo distinguished function of prose(文) and poetry(詩) into teaching moral(明敎) and moving people(感人) in the category of Mun-yi-jae-do(文以載道) based on thoughts of 'literature is linguistic device for Taoism '(道本文末)' which is a core concept of literature theory based on Neo-Confucianism. He gave a careful attention on instructional and social function in prose while on emotional understanding that puts importance on temper and the secrets of nature in poetry. Hong Seok-joo regarded moral impression and edification through this as a core of artistic creation based on Segyoseol(世敎說). Furthermore, expressions such as 'Heunggwangunwon(興觀群怨)' or 'Yeohangguyo(閭巷謳謠) which are mentioned as important elements in his artistic works put importance on actual existence of objective things in artistic activity and this is connected to an attitude to require description fit to fact. So, it is assumed that such expression style aimed for features of genre painting in painting arts. Understanding of the study of ancient documents by Yeoncheon developed from critical perspective. He criticized the study of ancient documents, saying it as first, Pasoijisul(破碎之術), second, Dotaekjisul(塗澤之術), third, Hoimojisul(毁侮之術). Jeong Yak-yong criticized ' theory on the Odes' from viewpoint of theory of Mun-yi-jae-do(文以載道) based on Neo-Confucianism. He stressed political and social function of Sipeon and general poetry in "the Odes" and reinterprets discourses about poetry of Zhu Xi based on his own opinion. He says that poems of national fashion do political and social criticism. The theory of national fashion by Jeong Yak-yong clearly discloses his thoughts that stress practical role of noblemen in the social and political context.

• Journal of Korea Multimedia Society
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• v.17 no.3
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• pp.373-384
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• 2014

Humankind longed for an image like the sense of sight and has developed history of image on the basis of the will toward record and reproduction. A long period of time was required for accumulation of technology for reproduction of an object, but directing point has always been impression experienced by the 'eyes.' But it has not all been pointing in the realistic image. This study aimed to discuss about its process and directing point of the paradigm of image creation that has been continued together with progress of humankind based on the academic outcomes achieved by Platon. 'Mimesis' classified by Plato required techne how far it may be distant from 'Idea.' Techne went forward in the direction of securing rationality according to accumulation of civilization in the end and reality, the history of mimesis was the process toward 'realistic image' and 'fantastic image'.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.640-644
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• 2008

In this paper, firstly, I take the concept of korean traditional cultural archetype and cultural content, and discuss about methodology that the cultural archetype can be cultural content. As the methodology of making cultural content of cultural archetype, analyzing media art which used material of the painting and korea traditional dance in the Chosun Dynasty, the photograph in the era from the end of the Chosun Dynasty to modern age, and a folk play, etc. And then I would like to suggest that the method of making cultural content of the cultural archetype using new media.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.5
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• pp.3172-3179
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• 2015

This study suggests one of English teaching methods to improve English speaking proficiency for adult English learners. Contrary to the traditional English conversation teaching trends such as memorization of specific patterns or grammar-focused practices, the study introduces a storytelling based teaching of English speaking. To theoretically support the storytelling based English speaking teaching, the study investigates the possibility of the teaching method in three ways. First, the 12 speaking strategies focusing on contents of a story are introduced in the way of securing speech amounts as much as possible. Next, the five rhetoric components by Aristotle are introduced to relate to the storytelling teaching for the purpose of achieving the goal of speaking, which is to deliver what a speaker want to say more persuasively. Finally, through the investigation of the learner strategy uses, the possibility of storytelling English speaking teaching can be expected regardless of learners' low level of English proficiency.