• Journal of Communication Design
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• v.66
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• pp.284-296
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• 2019

Thinking mode, as the condensation of the internal spirit of a nation, has been inherited till now through abundant historical precipitation, and is also a thinking tool for people to think and solve problems. Different from traditional styles and materials, the way of thinking not only has a more essential impact on design, but also makes traditional culture more vital in design. Taking the influence of Chinese mode of thinking on design thinking as the main research object, in the first place, this paper sorts out the concepts and development of thinking mode and design thinking, and summarizes three characteristics of Chinese mode of thinking: relational, collective and perceptive. Furthermore, it puts forward the influence of thinking mode on design thinking, mainly focusing on the definition of design problems, sub-problem sequencing and solution construction. Last but not least, through a series of Chinese design cases, this paper concretely analyzes how Chinese thinking mode provides national design language for Chinese design.

• Journal of Korean Philosophical Society
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• v.144
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• pp.1-15
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• 2017

As early as three thousand years ago, Chinese philosophers had discussed the metaphysics. Ancient Chinese philosophers call the "superficial" problem "Dao", as opposed to the specific thing.Accordingly, and come out as many everyday transaction processing "the way", "the law", and even intellectual proposed, they constructed themselves of repair, and the law of life skills such as "truth" were called "Dao". Therefore, the Chinese traditional culture, in fact, formed a "Dao culture". Among them, the "Dao" of Confucianism and Daoism, plus the later, the "Dao" of Buddhism, are the most far-reaching impact, become two thousand years, leading the vast majority of Chinese people "values", "moral standards" and "thinking mode" of the three invisible forces. This article aims to outline description "Overview of Chinese Dao cultural formation", and in the most simple way, the main spirit of "Confucianism", "Daoism" and "Buddhism", And then summed up the characteristics of the Chinese traditional "Dao" culture centered on Confucianism, Daoism and Buddhism. This paper is hoping to let the world have a clearunderstanding of the traditional "metaphysical" culture of China.

• Korean Journal of Child Studies
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• v.6 no.2
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• pp.21-33
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• 1985

This study was conducted to ascertain whether a didactic mode of instruction, favored students who indicated a preference for left hemispheric information processing. The subjects were 50 fifth grade students whose California Achievement Test score percentile ranks were between 50 - 80. They were randomly selected from one elementary school in Chapel Hill, NC, USA. All Ss completed the Form CC of "Your Style of Learning and Thinking" (Torrance and McCarthy, 1980) which is a paper/pencil inventory designed to categorize the subjects according to their hemispheric preference for processing information; right hemisphere, left hemisphere, and integrated. Then all Ss received a didactic mode of instruction, a verbal question/answer followed by teacher's reading of a fictional animal story, "The Chinese Bee-eater". After completion of instruction, the Ss were asked to respond to eighteen open-ended questions about the animal. Eight of the 50 subjects were found to fall into the right hemisphere style of information processing group; fourteen into left; and fourteen into integrated. The remaining fourteen could not be assigned to either of these three categories and were not included in the analysis of the results. the mean scores of the comprehensive test among hemispheric groups and among sex groups. A two way analysis of variance also presented no significant differences among the hemispheric preference combined by sex groups. These results failed to prove the research hypothesis that students who indicate a preference for left hemispheric information processing will have higher scores on a comprehensive test after receiving a didactic mode of instruction, the so-called left style of instruction. Some limits in research process and conceptual confusion about hemisphericity were discussed. Finally, it was suggested that educators need to be more careful in drawing educational implications from neurological hemispheric research.

• Journal of the Daesoon Academy of Sciences
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• v.35
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• pp.509-539
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• 2020

Daesoon Jinrihoe makes use of The Canonical Scripture as the main body to explain their thinking regarding divine beings and humankind as it relates to doctrine, sacredness, religiousness and other such contents. The traditional meaning of divine beings and humankind through the interpretation of The Canonical Scripture, transcends ethics, tradition, sociality, and the ultimate concern of secularity. The analysis from the perspective of The Canonical Scripture can help readers to understand the purpose of Daesoon Jinrihoe's implementation of its policies and their future direction. The local church takes the Bible as its main body and connects God with man as an implantation of divine life and temperament that harmonizes itself with human life and nature. The divine life is constantly reconciled with one's human life to make one a holy person, or a humanistic diviner. This is the rationale of the 'God-Man,' those whose human lives become lives of God-men. This style of living enables divine nature to mingle with human nature as an explicit behavioral act, mode of character development, and lifestyle. Therefore, the expression "the Blending of God and man" is an interpretation of the relationship between God and man which focuses on their sacred connection. Engagement in this extends to the scope of the local church. The different divisions between Daesoon Jinrihoe and the local church appear on the basis of things such as history, culture, language, and religion, but both posit a theology of "Harmonious Union between Divine Beings and Human Beings" and "the Blending of God and man" according to a transcendent interpretation of God and man. Through dialogue, they can discover similarities and differences in this shared notion with both systems of theological thought.

• (The)Study of the Eastern Classic
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• no.56
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• pp.35-73
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• 2014

This paper examined the poem world of Simjae(深齋) Cho Geung-seop(曺兢燮: 1873-1933) in the turning point of the modern era, focused on his Hwaunsi (和韻詩: Poems written by using the rhymes of other poets' poems). In his poems, there are lots of Hwaunsi on the poems of Tu Fu(杜甫) and Su Shi(蘇軾), especially. This makes him regarded as a medieval poet, engaged in Chinese poem creation in the most traditional method in the turbulent period. Looking at the Hawunsi(和韻詩) alone, Simjae's creative life became the starting point of turnaround at around 40 years old. Before the age of 40, the poets in the Tang Dynasty and Song Dynasty and Ming Dynasty and Qing Dynasty and Korean figures like Lee Hwang(李滉), as well as Tu Fu and Su Shi were the subjects of his Hwanunsi. After the age of 40, some examples of writing poems using the rhymes of other poets' poems, especially Korean figures related to regions, are often found, reducing Hwaunsi on Tu Fu and Su Shi. Simjae called Tu Fu the integration of poets, talking about the integrity of poetic talent and his being highly proficient in mood and view. As reflecting such an awareness, the themes and moods and views are demonstrated diversely in Simjae's Hwaunsi. Although, he did not reveal his thinking about the poems of Su Shi, he seemed to love Su Shi's poems to some degree. The closeness to the original poems, the poems of Tu Fu are relatively higher than those of Su Shi. Roughly speaking, Simjae tried to find his own individuality, intending to follow Tu Fu, but, he seemed to attempt to reveal his intention using Su Shi's poems, rather than trying to imitate. To carefully examine, Simjae wrote Hwaunsi, but he did not just imitate, but revealed the aesthetics of comparison and difference. In many cases, he made new meanings by implanting his intentions in the poems, while sharing the opportunity of creation, rather than bringing the theme and mood and view as they are. The Hwaunsi on Su Shi's poems reveal the closeness to the original poems relatively less. This can be the trace of an effort to make his own theme and individuality, not being dominated by the Hwaun(和韻: using the rhymes of other poets' poems) entirely, as he used the creative method having many restrictions. However, it is noted that the Hwaunsi on Tu Fu's poems was not written much, after the age of 40. Is this the reason why he realized literary reality that he could not cope with anymore with only his effort within the Hwaunsi? For example, he wrote four poems by borrowing Su Shi's Okjungsi(獄中詩: poem written in jail) rhymes and also wrote Gujung Japje(拘中雜題), in 1919, while he was detained. In these poems, his complex contemplation and emotion, not restricted by any poet's rhymes, are revealed diversely. Simjae's Hwaunsi testifies the reality, in which Chinese poetry's habitus existed and the impressive existence mode at the turning point of the modern era. Although, the creation of Hwaunsi reflects his disposition of liking the old things, it is judged that his psychology, resisting modern characters' change, affected to some degree in the hidden side. In this regard, Simaje's Hwaunsi encounters limitation on its own, however, it has significance in that some hidden facts were revealed in the modern Chinese poetry history, which was captured with attention under the name of novelty, eccentricity and modernity.