• Journal of Fashion Business
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• v.9 no.4
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• pp.127-144
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• 2005

The aim of this study is to find out the symbol of clothing decorations in Elsa Schiaparalli's design works and there are four major points due to the aim of this study. Firstly, a fantasy is represented through Surrealistic Arts which creates mysterious, secrete, and surprising spirits. In Surrealistic Arts, the fashion of schiaparelli demonstrates a fantasy spirit by using the methods like metaphor, transformation, and re-positioning. Secondly, In Surrealistic paintings, normally double image or different image from symbol immanent were expressed. However, Elsa Schiaparelli used double and multi-image decorations instead that has well-organized formative effect. The mixture of double images can be separated as symbolic mixture, design mixture and expressive mixture. Thirdly, the body parts has represented symbolism and sensuality in Surrealism Arts. Elsa Schiaparelli has demonstrated the expression of modern clothing as passionate, desirable, and powerful. This is the reason why her designs were absolutely different from the previous sihouette-focused clothing. Fourth, there are lots of intentional decoration that are different from actual images, such as transformation, exaggeration, minimization and repettion, as well as, re-location, re-arrangement, line-up arrangement, collage and odd materials.

• Journal of the Korean Institute of Landscape Architecture
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• v.21 no.4
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• pp.55-68
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• 1994

It has been generally agreed that the city form especially in the preindustrial age resembled their own world view, either in the western or the eastern cultural sphere. So, we aimed to redefine the characteristics of oriental world views compared with the western one, in order to find the relative nature of the Korean townscapes. It is said that the both world views(of western and oriental) are composed of the contrastive binary concepts in common, but there seems to have been nearly contrary differences in these two world views. Wheareas the former was based on the passively segregational and oppositional dualism, the latter, on the dynamically harmonious and complementary dualism, called generally as 'Yin(陰) and Yang(陽)'. Thus, the oriental world view can be thought as the 'philosophy of the relationship', which aim to unify the dualism ultimately with the help of this relationship. So, we can assume a certain third and intermediate concept between these dual concepts of the world view, which can unify these two into the one holistic whole. And the focuses of the most traditional oriental philosophies were concentrated on this, so called, 'the third concept', namely Taoistic 'Tochu(道樞)', Buddhistic 'Kong(空)' or Confucian 'Chung(中)'. And this triple concept, including the third one, of the oriental world view revealed a more concrete form of the cosmological relationship, as the triple structure; 'Heaven(天), Earth(地), and Man(人)', in which the 'Man' is thought as the middle or the center of the world. In this manner, we could found this oriental 'triple world view' was revealed in the real topology of most places in the Korean traditional city and the whole townscape itself. So, in the scale of houses and the roads around them, we can construe the 'Maru(a central board-floored room)' and the 'Madang(a inner court)' as the 'third and intermediate space(中)' between the interior space(陰) and exterior space(陽) in the former, and between the private house(陰) and the public residential road(陽) in the former case, and between the dual parts(陰,陽) of the city representing the contrary social classes and the contrastive visual landscapes. So, we insist that this 'triple world view' represented in the townscape can be one of the most important characteristics of Korean traditional townscape. And this third intermediate spaces, which generate the active social contact and the harmonious relationship among the people, can be the most important cues, as the central places, in the interpretation of the Korean townscapes even in contemporary circumstance, which inherits its spatial and social frame more or less from the preceding one.

• Journal of Korean Philosophical Society
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• v.148
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• pp.357-377
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• 2018

In order to concludes that human being is in the making, not a being already perfectly made, this paper goes through four steps. The first step raises a question that human being is only a being of reason. The Kant's assertion that human being has a moral capacity of 'good will' seems to be distorted portrait of human being. The second step calls into a question that human being can obey universal moral laws. Any universal moral law can't be obeyed by moral agent, because he can't exclude his external situations which are ceaselessly changing. Nevertheless imperatives of reason which require to obey the universal moral laws seems to be a 'unfortunate legacy' to human being. The third step demonstrates that imperatives of reason are originated from dualism which have dichotomize "mind vs. body" as "internal capacity vs. external situation". According to dualism, imperatives of reason require internal capacity to exclude emotions or desires which are sensitive to external influences. The fourth step discusses that interacting of inner and outer is to be necessary for human being. Then, reason is to be really in one glove with emotions which are beginning form externals, otherwise reason can't stop being powerless to any external situation. Concludingly any human being is to be processing to a new being, not situating any extreme antagonism of "reason vs. emotion". Because of emotional human animal, not a perfect god, humans being is in the ceaseless process into the making a new self.

• Journal of the Daesoon Academy of Sciences
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• v.22
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• pp.433-469
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• 2014

Identifying the ontological characteristics of "ultimate reality" is highly important in a specific religion or thought because it is believed to contain the logic that explain the wholistic phenomenon in the entire universe. The "ultimate reality" is called "Lee(理)", "Dao(道)", "Taegeuk; the Great Ultimate(太極)", "Mugeuk; NonUltimate(無極)", "Gong(空)", "Haven", "SangJe(上帝)", "God" in many different religions or thoughts. Taegeuk(太極), Mugeuk(無極) and Daesoon(大巡) are believed to contain the logic that explain the wholistic phenomenon in the entire universe in Daesoon Thoughts which we can see in the GooCheon SangJe(九天上帝)'s saying that "Even if the logic is so high, it comes from the surface of Taegeuk and Mugeuk and cannot be separated from every phenomenon in our life(理雖高出於太極无極之表 不離乎日用事物之間)" and Doju(道主) Cho, Jeong San's saying that "The reasion that Dao is called Dao is that it is settled to be Mugeuk and moved to be Taegeuk(道之謂道也者定而无極 動而太極)" and Dojeon(都典) Park Wu-dang's saying that "Daesoon(大巡) is circle(圓), circle is Mugeuk(無極), Mugeuk is Taegeuk(太極)". Mugeuk contains the logic of transcendence and Taegeuk contains the logic of immanance. And Nae-confucianism admit the Ultimate Reality or logic have both characteries of Mugeuk and Taegeuk and don't admit that Taegeuk comes from Mugeuk. Therefore, Mugeuk and Taegeuk are in complementary relations. These Nae-confucianism's idea about Mugeuk and Taegeuk corresponds with Deasoon Thought. Daesoon Thoughts also admit that Ultimate Reality, GooCheon SangJe can be understood with both Mugeuk and Taegeuk. That is, GooCheon SangJe, the Suprime God is transcendent from this world(Mugeuk) and also manage the whole universe using the logic of Taegeuk(太極). Daesoon(大巡) unite Mugeuk and Taegeuk using the concept of circulation. The logic of Mugeuk and Taegeuk is both two as well as one, and one as well as two. It is not dualism nor monism. It is non-dualism and super-dualism. These logic of coexistence is the core of Mugeuk and Taegeuk. And this logic is reflexed in Daesoon Thoughts' core proposition that "Daesoon(大巡) is circle (圓), circle is Mugeuk(無極), Mugeuk is Taegeuk(太極)".

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.81-96
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• 2006

Fashion is very superficial. However, it is expressed through the culture that is a cause of internal change and therefore its contents are defined by the cultural features. In this study, to study the aesthetic properties of the French fashion, the internal fashion contents are defined according to the cultural characteristics of France and based on the definition, the external features are investigated. The cultural characteristic was analyzed based on the reference literatures on the French culture. Based on the cultural characteristics of France, the aesthetical properties of the contemporary French fashion can be analyzed as follows: ${\cdot}$Dualism is the internal contents of the French culture with multiple sources, and it implies that opposing values such as female and male, traditionalism and modernism, simplicity and decoration are coexisting. Simplicity is pursued but decorative elements are in harmony and new phase of time is reflected while certain style has lasted for a long period of time to become a tradition. Furthermore, a rational trend combining masculinity and femininity, simultaneously exist with a trend that emphasizes feminine image. ${\cdot}$Multiculturism is a mysterious feature that has adapted the oriental or other cultural factors into the forms, patterns, colors and material of costumes. It has also been reconstructed with the French and the modern tastes. ${\cdot}$Avant-gardism is pursuing a novel aesthetic value against the former value system. It recognizes the human body as an object of figurative arts therefore emphasizes the body with geometric shapes to deny the fixed-idea, or engraft new materials and technologies to express the futuristic aspects.

• Journal of Science and Technology Studies
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• v.8 no.2
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• pp.1-26
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• 2008

This essay explores the possibility of risk epistemology based on STS perspective. The starting point is the modern society's dilemma that the more technoscience has been developed, the more modern society has become riskier. The conventional risk epistemology, based on modernist dualism, has a tendency to be negligent of the relationship between risk society and technoscience, since it has only paid attention to either side of objectivity of risk or context of risk. In contrast, STS perspective on risk makes a point of focusing on the need of constructing the comprehensive risk epistemology, instead of the traditional approach based on modernist dualism. Now, this perspective goes ahead through "bridging" between objective risk(nature) and contextual risk(society) toward co-production of risk, as a result that we can no more turn our head from the emergence of new hybrids and, in turn, increase of complexity of heterogeneous networks. As such I suggest the concept of technosphere so as to reflect and display these characteristics of this perspective, and assess the potentiality of the concept.

• The Journal of the Korea Contents Association
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• v.13 no.10
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• pp.151-159
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• 2013

Formalism narrative theory adopts the dualism of Fabula, story material and Sujet, story substance. The recent theories of storytelling convert the dualism into story and storytelling. This essay delves into the mechanism of contemporary storytelling by comparatively analyzing the storytelling of two films, A Korean film, Family Ties and A Hollywood film, Little Miss Sunshine, which are considered to represent contemporary storytelling. While the latter builds its structure through desire usually shown in the classical Hollywood films, the former has the structure which has nothing to do with causality by displaying fragmented stories. And the latter has typical characters, while the former shows totally different reality, using the obscure characters. In conclusion, Little Miss Sunshine has a storytelling which puts audience feeling in tune by controlling it, and Family Ties has one which delivers director's intention.

• Journal of Digital Convergence
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• v.17 no.12
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• pp.337-344
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• 2019

The purpose of this study is to explore the uncertainty as the healing function in the poetry of Robert Frost. One of the therapeutic functions in poetry therapy is to make us look into life from a new perspective, which appears in the uncertainty of his poetry. His uncertainty is based on his peculiar poetic theory and philosophy of dualism. This paper reviews these things and deals with aspects of the uncertainty in detail through his poems. The result of this study shows that Frost conveys elements of ambiguity, illogical development and unpredictability in our society and fear, loneliness and anxiety in our daily life, and also offers realistic depictions of complex life as a therapeutic medium for overcoming these problems. So it seems that his poetry provides us with a recovery of psychic health and a possibility of healing and personal growth. Furthermore we need a practical in-depth study on the healing function of English poetry.

• Journal of English Language & Literature
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• v.55 no.3
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• pp.399-413
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• 2009

Pointing out the reality of criticism done mostly on Carlyle s original structure and rhetoric in his Sartor Resartus, this research paper focuses on Carlyle s dualistic philosophy revealed in the work, limiting its focus mostly to the dualistic theme of descendentalism and transcendentalism. The essence of Caryle s descendentalism is his irony and satire on human civilization, not for criticism itself, like other satirists, but rather out of his deep, secret humanism behind his mask. Roughly the two objects of his social criticism in the contemporary, descendentalisitc world, are mechanism and materialism in a variety of new ideologies. To diagnose the Zeitgeist and disillusion man living in contemporary civilization, Carlyle in this work uses a very original metaphor, the clothes-symbol. According to Carlyle, human history and progress can be said to be originated from man s adventitious invention of clothes that was not for biological need or social decency, but for decoration, the instinct of which implies man s innate vanity and desire. Interestingly enough here, however, Carlyle uses the same metaphor of clothes for his vision of transcendence, the world of Everlasting Yea. Man is also God s apparel and Matter is that of Spirit. Carlyle s Everlasting Yea world stresses especially the two attitudes, belief in God and love of man, which have been recently jeopardized in the socalled descendentalistic world. But Carlyle s transcendental and religious vision in Sartor Resartus is, as critics also have agreed, a unique and mysterious vision as something different from orthodox Christianity or other Victorian ideologies, as more like an amalgamation among Calvinism, Romanticism, Platonism and German Idealism. All in all, reading Sartor Resartus is still a valuable experience of an idiosyncratically original vision along with his warning against dehumanizing forces lurking in the name of civilization and with his ultimate eulogy on man, proving descendentalism as just part of transcendentalism, although the reader from time to time can be embarrassed by his male-centered, politically conservative, and individual-oriented dynamism.

• Journal of the Korean Home Economics Association
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• v.44 no.9
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• pp.1-8
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• 2006

The purposes of the present article are to suggest pragmatism as offering a philosophical paradigm for mixed methods research, to explain the fundamental principles of mixed methodology, and to present examples of research for understanding how to apply it to family studies. Mixed methods research is the class of research where the researcher mixes or combines quantitative and qualitative techniques, methods, approaches, concepts or language into a single study. Mixed methodology has its roots in pragmatism, which is a new philosophical paradigm to criticize the traditional dualism and to endorse eclecticism and pluralism. The present article argues that mixed methods research has the potential to answer a broader and more complete range of research questions, and to provide strong evidence for a conclusion through convergence and corroboration of the qualitative and the quantitative methods.