• The Journal of Art Theory & Practice
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• no.16
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• pp.107-137
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• 2013

This paper examines a number of Korean artists-Whanki Kim, Po Kim, Byungki Kim, Lim Choong-Sup, Min Byung-Ok and etc-working in New York in the 1960s and 1970s, focusing on their motivations to head for the U.S. and their life and activity in the newly-emerged city of international art. The thesis was conceived based upon the fact that New York has been one of the major venues for Korean artists in which to live, study, travel and stay after the Korean War. Moreover, the United States, since 1945, has had a tremendous influence upon Korea politically, socially, economically, and, above all, culturally. This study is divided into three major sections. The first one attends to the reasons that these artists moved out of Korea while including in this discussion, the long-standing yearning of the Korean intelligentsia to experience more modernized cultures, and American postwar cultural policies that stimulated them to envision life beyond their national parameters, in a country heavily entrenched in Cold War ideology. The second part examines these artists' pursuit of abstraction in New York where it was already losing its avant-garde status as opposed to the style's cutting edge cache in Korea. While their turn to abstraction was outdated from New York's critical perspective, it was seen to be de rigueur for Koreans that had developed through phases from Art Informel in the 1960s to Dansaekhwa (monochromatic paintings) in the 1970s. The third part focuses on the artists' struggle while caught between a dualistic framework such as Korea/U.S, East/West, center/margin, traditional/modern, and abstraction/figuration. Despite such dichotomic frames, they identified abstract art as the epitome of pure, absolute art, which revealed their beliefs inherited from western modernism during the colonial period before 1910-1945. In fact, their reality as immigrants in America put them in a diasporic space where they oscillated between the fixed, essentialist Korean identity and the floating, transforming identity as international artists in New York or Korean-American artists. Thus their abstract and semi-abstract art reflect the in-between identity from the diasporic space while demonstrating their yearning for a land of political freedom, intellectual fulfillment and the continuity of modern art's legacy imposed upon them over the course of Korea's tumultuous history in the twentieth century and making the artists as precursor of transnational, transcultural art of the global age in the twenty-first century.

• Journal of the Korean Society of Costume
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• v.58 no.7
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• pp.76-91
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• 2008

The purpose of this study is to prescribe formative perspectives as a framework where the aesthetic taste and demands of a certain period are embodied and to develop new analytical tools to examine the beauty of dress in terms of form. First, the theoretical tools selected for this study are Heinrich Wolfflin's formative perspective theory derived from art and Marilyn R. DeLong's framework for visual analysis of dress. Second, several issues that limited the development of a new framework for analyzing the form of dress were identified and addressed. Third, the selected aspects of dress form to be analyzed are specified. They are: silhouette, inner form, structure form, materials and patterns based upon the relationship between the body, dress and space in order to develop new formative perspectives. Based upon these theories a new framework for analyzing dress aesthetics in terms of form is developed. This reconstructed framework consists of three sets of antagonistic representational styles: closed form/open form, linear form/painterly form and multiplicity/unity. Closed form/open form represented in dress can be classified by the clear or obscure silhouette shown not only in the relationship between the dress and space around the dress, but also from changeability or invariability of dress in relation to the body. The material, pattern and various design elements are used as the central criteria to determine the linear/painterly characteristics in dress representations. Finally, the multiplicity/unity can be found in the relationship between the whole and the parts. Multiplicity is represented in dress when the parts have a visual priority over the whole, whereas unity is represented when a dress as a whole has visual priority over the parts. A dress represented with closed form, linear characteristic and multiplicity is perceived as a clear form. In contrast, a dress with open form, painterly characteristic and unity is understood to be an obscure form. It can be said that this study is the first attempt to establish the formative perspectives for analyzing the form of dress in various periods, cultures and races for the future studies.

• Journal of the Korea Convergence Society
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• v.11 no.9
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• pp.109-115
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• 2020

With the continuous development of automobile design industry, fastback design style has become the main popular trend of automobile appearance design, and it has an important impact on the future automobile appearance design. This study summarizes the basic rules and characteristics of the design style base don combing, analyzing and verifying the data of the fastback design style. It provides the necessary basic research for the better application of the fastback design style in the future automobile design. Firstly, through the literature research method to sort out and analyze the de finition, origin and history of fastback design style. Secondly, through the comparative study, the author compares and analyzes the characteristics, advantages and disadvantages of the fastback design style and the step back design style. Thirdly, through case analysis, it studies the classification and characteristics of fastback design style. Finally, this paper summarizes the influence of the fastback design style on the future automobile appearance design, and the specific design methods. Forecasts the development trend of fastback design style in the field of automobile exterior design in the future. Through this research, we sorted out the related historical development of fastback design and the characteristics and advantages of fastback design style (from the perspective of functionality, economy and aesthetics).The fastback design style has formed a more systematic research theory, which provides basic research materials for future fastback design research. In the next stage, this study will be further subdivided, focusing on the different design features of different automobile manufacturers which subdivide the fastback design style into different design features according to their own needs.

• The Journal of Korean Philosophical History
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• no.53
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• pp.63-100
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• 2017

In this article, I researched Nam Dae-nyeon's(1887~1958) thought of Neo-confucian theories, interpretation of confucian canons, and evaluation of historical figures. First, from the side of Neo-confucian theories, he asserted that Qi(氣) had behaviors and Li(理) had not. About his teacher Jeon Wu's(田愚) theories, he thought that those were in tradition of Confucius(孔子) and Mencius(孟子), but not emphasized presidence of mind. And he criticized the theory of mind was Li(理). Second, from the side of interpretation of Confucian canons, Nam Dae-nyeon's study centered on Four Books(四書). This showed he was in tradition of Neo-confucianism. Through this studies he emphasized the importance of Confucian Ren(仁) and Filial piety(孝), self-consciousness as gentry(士). Third, from the side of evaluation of historical figures, Nam Dae-nyeon evaluated many Chinese and Korean scholars, for example, Qu Yuan(屈原), Lu Zhong-lian(魯仲連), Zhen De-xiu(眞德秀), Lu Long-qi((陸?其), Zhang Lu-xiang (張履祥) of China, and Jeong Mong-ju(鄭夢周), Zho Kwang-jo(趙光祖), Yi Hwang(李滉), Yi Yi(李珥), Jeon Wu(田愚) of Korea. And his criteria for evaluation of historical figures was fidelity and insight.

• The Korean Society of Law and Medicine
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• v.16 no.2
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• pp.159-193
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• 2015

Owing to causes such as population aging, increased use of various medical devices, long-term hospitalization of various patients with reduced immune function such as cancer, diabetes, and organ transplant patients, and the growing size of hospitals, hospital infections are continuing to increase. As seen in the MERS crisis of 2015, hospital infections have become a social and national problem. In order to prevent damage due to such hospital infections, it is necessary to first strictly implement measures to prevent hospital infections, while, on the other hand, providing proper relief of damage suffered due to hospital infections. However, the mainstream attitude of judicial precedents relating to hospital infection cases has been judged to in fact shift responsibility over damages due to hospital infections on the patient. In light of the philosophy of the damage compensation system, whose guiding principle if the fair and proper apportionment of damages, there is a need to seek means of drastically relaxing the burden of proof on the patient's side relative to conventional legal principles for relaxing the burden of proof, or the theory of de facto estimation. In relation to such need, the German civil code (Burgerliches Gesetzbuch), which defines contracts of medical treatment as typical contracts under the civil code, and has presumption of negligence provisions stipulating that, in cases such as hospital infections which were completely under the control of the medical care providers, if risks in general medical treatment have been realized which cause violations of the life, body, or health of patients, error on the part of the person providing medical care is presumed, was examined. Contracts of medical treatment are entered into very frequently and broadly in the everyday lives of the general public, with various disputes owing thereto arising. Therefore, it is necessary to, by defining contracts of medical treatment as typical contracts under the civil code, regulate the content of said contracts, as well as the proof of burden when disputes arise. If stipulations in the civil code are premature as of yet, an option may be to regulate through a special act, as is the case with France. In the case of hospital infection cases, it is thought that 'legal presumption of negligence' relating to 'negligence in the occurrence of hospital infections,' which will create a state close to equality of arms, will aid the resolution of the realistic issue of the de facto impossibility of remedying damages occurring due to negligence in the process of occurrence of hospital infections. Also, even if negligence is presumed by law, as the patient side is burdened with proving the causal relationships, such drastic confusion as would occur if the medical care provider side is found fully liable if a hospital infection occurs may be avoided. It is thought that, alongside such efforts, social insurance policy must be improved so as to cover the expenses of medical institutions having strictly implemented efforts to prevent hospital infections in the event that they have suffered damages due to a hospital infection accident, and that close future research and examination into this matter will be required.

• Journal of architectural history
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• v.3 no.1
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• pp.83-99
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• 1994

Ch'ang-Ts'al-Ts'un is a rural Village near Lung-jing City in Yen-pien Korean Autonomous Province of China. It was formed about 100 years ago by Korean Immigrants and has been developed maintaing the characteristics of traditional Korean architecture. Therefore investigating the spatial structure of this village is a meanigful work to confirm and explore one branch of Korean architecture. This study aims at analyzing the spatial structure of the village using direct data collected from the field work and indirect data from books and maps. The field work consists of on-the-site survey of the village layout, interviews of residents, observation notes and photography. Ch'ang-Ts'ai-Ts'un is located 360-370 m high above the sea level and at the side of a long valley. A river flows in the middle of the valley and relatively flat arable land exists at the both sides of the river. The location of the village related to the surrounding river and mountains suggests that the site of the village was chosen according to Feng-Shui, Chinese and Korean traditional architectural theory. The main direction of the house layouts is South-western. The village has been growing gradually until today. Therefore it is meaningful to make the village layout before Liberation(1946 A.D.) because the characteristics of Korean architecture prevailed more in that period. The area of the previous village is limited to the west side of the creek. New houses were later added to the east of the creek, forming a 'New Village'. Previously the village was composed of 3 small villages: Up, Middle and Down. Also the main access roads connecting the village with the neighboring villages were penetrating the village transversely. Presently the main access road comes to the village longitudinally from the main highway located in front of the village. The retrospective layout shows the existence of well-formed Territory, Places and Axes, thus suggesting a coherent Micro-cosmos. The boundary of imaginery territory perceived by present residents could be defined by linking conspicous outside places sorrounding the village such as Five-mountains, Front-mountain, Shin-dong village, Standing-rock, Rear-mountain and Myong-dong village. Inside the territory there are also the important places such as Bus-stop, Memorial tower of patriots, Road-maitenance building and the village itself. And inside it 5 transverse and 1 longitudinal axes exist in the form of river, roads and mountains. The perceived spatial structure of the village formed by Places, Axes and Territory is geometrical and well-balanced and suggests this village is fit for human settlement. The administrative area of the village is about 738 ha, 27 % of which is cultivated land and the rest is mountain area. Initially the village and surrounndings were covered with natural forest But the trees have been gradually cut down for building and warning houses, resulting in the present barren and artificial landscape with bare mountains and cultivated land. At present the area of the village occupied by houses is wedge-shaped, 600 m wide and 220 m deep in its maximum. The total area of the village is $122,175m^{2}$. The area and the rate of each sub-division arc as follow. 116 house-lots $91,465m^{2}$ (74.9 %) Land for public buildings and shops $2,980m^{2}$ (2.4 %) Roads $17,106m^{2}$ (14.0 %) Creek $1,356m^{2}$ (1.1 %) Vacant spaces and others $9,268m^{2}$ (7.6 %) TOTAL $122,175m^{2}$ (100.0 %) Each lot is fenced around with vertical wooden pannels 1.5-1.8 m high and each house is located to the backside of the lot. The open space of a lot is sub-divided into three areas using the same wooden fence: Front yard, Back yard and Access area. Front and back yards are generally used for crop-cultivation, the custom of which is rare in Korea. The number of lots is 116 and the average size of area is $694.7m^{2}$. Outdoor spaces in the village such as roads, vacant spaces, front yard of the cultural hall, front yard of shops and spacse around the creek are good 'behavioral settings' frequently used by residents for play, chatting, drinking and movie-watching. The road system of the village is net-shaped, having T-junctions in intersections. The road could be graded to 4 categories according to their functions: Access roads, Inner trunk roads, Connecting roads and Culs-de-sac. The total length of the road inside the village is 3,709 m and the average width is 4.6 m. The main direction of the road in the village is NNE-SSE and ESE-WNW, crossing with right angles. Conclusively, the spatial structure of Ch'ang-Ts'ai-Ts'un village consists of various components in different dimensions and these components form a coherent structure in each dimension. Therefore the village has a proper spatial structure meaningful and appropriate for human living.