• Journal of Korean Philosophical Society
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• v.137
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• pp.193-223
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• 2016

This research examines the recognition of nature as identified by Zhuangzi through the man of truth. Zhuangzi defines inactivity as an act of nature and personifies it as the man of truth, a holy man who achieves salvation. It is the stage that is united with nature by breaking out of secular restriction and achieving the absolute liberal spirit. The man of truth is the origin enabling all the acts of nature. And since the existence of all living things is connected, the change of life and death complies with the operation of nature. It is an irresistible destiny for all human beings. Therefore, the duty of nature recognizes the life and death of all creation into a single perspective. In this sense, the feelings of joy and sorrow that human beings feel are unnecessary. When following the duty of nature and destiny, which is to break out of secular desire and empty the mind, it is possible to go to the stage of futility and enjoy a silent and comfortable life. Zhuangzi explains it as living free from worldly cares, which is the stage of 'Soyoyoo(逍遙遊)'. In this thesis, the principles of courtesy and the virtue of Confucianism are stated and are contrary to the concept of futility asserted by Zhuangzi. But, a different approach could be attempted which recognizes a superman who is even more evolved from the man of truth. The philosophical ideology of Zhuangzi could be a necessary factor for modern people and his oriental natural spirit should be highly appreciated.

• Journal of the Korean Professional Engineers Association
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• v.43 no.1
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• pp.58-59
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• 2010

• Korean journal of communication and information
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• v.61
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• pp.118-133
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• 2013

Lee Yeung-Hi is one of the most influential journalist in the modern history of Korea. Nevertheless, the judgement about him has been parallelized by opposite sides. He is called 'the Master of ideology', while the other calls him 'the culprit of theorization'. This thesis deduced the contemporary meaning of person Lee Yeung-Hi in order to promote communication for both sides. I compared their logical arguments and pointed out the error they missed. Also, I clarified that the criticism and anticriticism for Lee Young-Hi in the fields of both journalism and academia have fallacies, such as the fallacy of straw man, and the fallacy of question-begging. I criticized their arguments through the view of 'struggling to seek truth', which is the core value of Lee Yeung-Hi's thought. The necessity of communication between advocators and it's critics is due to the condition of Korean Journalism. Korean Journalism does not have much space to accept Lee Young-Hi in only one side. Paradoxically, the contemporary meaning of the truth that Journalist Lee Young-Hi had sought is profound and deep because of the condition where Korean Journalism is being dominated by political parallelism.

• Archives of design research
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• v.12 no.3
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• pp.29-40
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• 1999

Walter Gropius, famous architect of Bauhaus, once treated of pure mind which was revealed in the system of object and its phenomena through sense of sight while examining material being and illusive being. And Thomas Aquinas said that man can have a creative power only with modest mental state void of prejudice saying that he expected God to come to him after his soul went out of him. The same thing was said by so many great philosophers and thinkers other than him. I think his saying, "God comes after Soul's escape from the body for a new creation", has a real truth for all times and places and beauty itself beyond expression. Why\ulcorner The reason why the saying is so true is because it has a Yin and Yang Idea, that is, the Soul means a dark spirit correspondent to Yin between both oriental ideas and God does a bright spirit correspondent to Yang between them. By reason of this idea, I would like to assert that we should take it granted that we stand in need of the same bright Yang's spirit as God has for the new creation, and let the Yang's bright spirit come to our minds. We can call it divine 'Providence', or call it God's guidance, which we cannot help accepting as a man's fatality. As God was pleased after he made man and all the creatures by dint of his design, so man was pleased after he made everything he needed by the same design that he accepted from God. In spite of pleasure of different dimensions from what God and Man has each other, their way of empathies were all the same. In this paper I compared a worldly lower conception by which man designed his products for his sensuous satisfaction with a higher conception by which God designed his creatures for his mental satisfaction. I intended to infer what destined relation there must be between both God's and man's creations, trying to remind designers that they have to confess to have not so divine a providence as God has for creation because I think the real truth is that they had regarded their works of product design as a routine occurrence for their physical convenience in the industrial plans.ial plans.

• Cartoon and Animation Studies
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• s.50
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• pp.215-237
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• 2018

I analyze orange that is consistently used, even though not consciously, in the films whose function and meaning are clear. In detail, there are examples of color in films, psychological phenomena of colors expressed in posters and opening titles, color characteristics of clothes and costumes, and semiotic analysis of color names in film titles. (1) Fact and Truth; civilization and criticism. The film tries to tell the truth than the fact. It represents facts as it is, but it presupposes truth. This is a unique characteristic of media films. The truth of the fact is not important. The film tells the truth believing and wanting to show off. The film, which has inherent characteristics of the gap between fact and truth, represents nature and civilization. It carries nature as it is and criticizes the harm of civilization. Orange is nature and civilization. Realistic films such as Hong Sang Soo and Kim Ki Duk, fall into this category. For example, there are A Taxi Driver(2017) and I Can Speak(2017). (2) Virtual History; fake images and memories. In Hollywood SF genres like The Matrix(1999), orange was dealt with virtual reality. However, in Korean films they are replaced by historical dramas. The representation of history becomes a virtual reality. Films such as The Fortress(2017), Masquerade(2012), and Roaring Currents(2014) deal with virtual history. In these films, orange is a fake image and memory. (3) Light=color; Aura. The color and light of orange is aura. At sunrise and sunset, the orange of the incandescent light is almost similar to that of the artificial light. Orange of tungsten makes the real characters surrealistic and mysterious. For example, there are The City of Madness(2016), The Man from Nowhere(2010), and Coinlocker Girl(2014). (4) Fantasy; communication with other worlds. Orange is a sweet fantasy. In our daily life, we go to a supermarket, share a chat with friends in a coffee shop, and spend time in front of a television. Orange makes our life free and dreams. It is the communication between the former being and the other world. This can be found in the sexual fantasy scenes of all genres. For example, there are Sunny(2011), Welcome To Dongmakgol(2005), and 200 Pounds Beauty(2006).

• Cross-Cultural Studies
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• v.31
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• pp.197-216
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• 2013

This thesis analyzes various becomings of female characters in Rose Gate written by Tie Ning. By this analyzation, we can pick out what identity the female characters eager to have decomposed, what identity they hope to create, and what do these procedures mean. Si Qiwen's 'becoming male' presents strong desire to shift from periphery to center. However, it is meaningless when her tragic life can not be justified by those same female people. Zuxi's 'becoming wanderer' shows that Tie Ning refuses usual reality of woman's life which vest in man. Sumei's 'becoming mother' is the exact point where torn female ego gets to consolidate, and it means Tie Ning takes 'mother-becoming' as ultimate truth of woman's life. Besides, Tie Ning finds women's becoming something new as escaping from the other and she denies equation of man with savior.

• English Language & Literature Teaching
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• v.9 no.spc
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• pp.167-184
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• 2003

This paper is to analyze how Walt Whitman developed the theme and structure of Leaves of Grass with his ideal of democratic vistas. Whitman established his identity as an inspired poet, having faith in the divinity of man based on transcendental belief. After being awakened to the transcendental truth, he practiced his own common world view--his democratic vistas. Whitman searched for the unity with nature and identified his self with "common man and his nation." The poetry expresses "cosmological and national ideology" dedicated to the creation of an ideal nation united in eternal freedom and peace. By portraying common cosmic and national theme in terms of his individual personality, he brought various paradoxical and controversial ideas into one thing, namely "democracy", fusing diversity into unity. As in the symbol of the grass, there is a unity in variety reflected by democracy in a cosmological and political compound. With the form of free verse, he could express his liberal unrestrained and mystical thoughts of democracy. This new form has been associated with the poet's strong consciousness of the need for modernization in his country. He willingly assumed "the role of prophet and public voice for American democrat" with the rolling catalogues and I-persona which formed a sense of the common man and common things of America. Whitman pioneered a democrat literature with simple and dynamic tone and style. He successively pursued the democratic vistas in his Leaves of Grass.

• Journal of English Language & Literature
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• v.58 no.6
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• pp.1193-1213
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• 2012

This essay "Twain's Contestation of Emersonian Transcendental Manhood in Huckleberry Finn" explores how Mark Twain's Adventures of Huckleberry Finn (1884) manifests his postwar contestation of Ralph Waldo Emerson's transcendental manhood that endorses the dogmatic, egocentric, and decorporealized position of the Cartesian subject, who believes his being's unity, elevation, and centrality through his fantasy of possessing direct access to divine truth. The connection between Emerson and Twain is based not on Emerson's influence on Twain but on their common interest in American landscape as a site for the redefinition of manhood and masculinity. I examine different types of manhood in their association with nature in Huckleberry Finn by comparing them with the two fundamental concepts of Emerson's philosophy: "a true man" in "Self-Reliance" (1841) and transparent eyeball vision in Nature (1836). Twain's use of Huck's ambivalent position-his centrality as a protagonist in the novel in spite of his marginality in society-renegotiates Emerson's valorization of nonconformity, wholeness, and nonchalance as the characteristics of both boyhood and "a true man," Emerson's term for the ideal individual in "Self-Reliance." I also read Twain's satire of two different types of masculine characters-Bob and the Child of Calamity, boatmen of the Southern frontier, and Colonel Grangerford, patriarch of a Southern aristocratic family-as Twain's denouncement of the antebellum desire for transcendental vision, which Emerson crystalizes into his notion of transparent eyeball in Nature.

• Korean Institute of Interior Design Journal
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• v.20 no.4
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• pp.155-162
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• 2011

In order to pursue the traces of truth, boundaries set by man for convenience were crossed or Integrated leading to the discovery of new paradigms. Such phenomena including collaboration, convergence, crossover and etc. are expressed in various forms across the society and culture. In particular, development of digital technology is moving away from its previous color based on scientific, statistical and quantitative perspective by using diverse variables. Also, as the borderlines of genres become increasingly more ambiguous, various concepts of color blending developed rapidly. Thus These chaosmos-like color blending have created new contents. This research aims to understand the principle of color blending in Karim Rashid's work, which advocates the world of design in diverse fields from industrial products to architecture. The principle of color blending such as information change, source color and destination color, interaction, and etc. makes it possible to extract the expressed element and method of color blending. Meanwhile, the features of color blending such as integrated space and time, vague form, and narrative genre can be inferred from case analysis.

• Korean Journal of Remote Sensing
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• v.19 no.5
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• pp.363-370
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• 2003

This paper describes a rectification procedure that relies on a polynomial model derived from the imaging geometry without loss of accuracy. By using polynomial model, one can effectively eliminate the iterative process to find an image pixel corresponding to each output grid point. With the imaging geometry and ephemeris data, a geo-location polynomial can be constructed from grid points that are produced by solving three equations simultaneously. And, in order to correct the local distortions induced by the geometry and terrain height, a distortion model has been incorporated in the procedure, which is a function of incidence angle and height at each pixel position. With this function, it is straightforward to calculate the pixel displacement due to distortions and then pixels are assigned to the output grid by re-sampling the displaced pixels. Most of the necessary information for the construction of polynomial model is available in the leader file and some can be derived from others. For validation, sample images of ERS-l PRI and Radarsat-l SGF have been processed by the proposed method and evaluated against ground truth acquired from 1:25,000 topography maps.