• The Journal of Korean Medicine
• /
• v.34 no.1
• /
• pp.160-169
• /
• 2013

Objectives: This survey was performed to investigate attitudes of western medicine doctors (WMD) and Korean medicine doctors (KMD) toward Korean medicine education (KME) to provide basic data for developing effective KME programs. Methods: We selected study objects in western medicine (WM) - Korean medicine (KM) collaborative institutions and structured questionnaires were administered to both WMD and KMD for comparison. The data from 167 WMD and 135 KMD were analyzed statistically by frequency, ${\chi}^2$ test and T-test analysis. Results: 61.1% of WMD have never experienced KME and 15% were not interested in cooperative practices and research. Most KME was done in medical schools (45%) and only 5% in residency education. WMD interested or experienced in cooperation have had more KME than the uninterested and inexperienced groups. Intentions of WMD to cooperative practices and research made a difference on the willingness to take KME, while relevant experiences didn't. WMD and KMD differed in ideas about major KME topics; WMD put the greatest emphasis on the herb-drug interaction, while KMD did on KM diagnosis and treatment. They also have different views on the optimal KME course load. Conclusions: For successful collaboration, more continuing KME and motivation for cooperation is required for WMD. Improvements are also needed in the form and contents of KME to meet the demands of learners.

• Journal of architectural history
• /
• v.12 no.4 s.36
• /
• pp.27-48
• /
• 2003

This paper aims to identify the meaning of architectural form of the East and the West. Ordinarily, we know the visual differences of architectural form between the two cultural families, and the technical reasons of such differences. However, the East and the West have their own views of architectural form that are derived from their own views of architecture, and again the views of architecture are rooted in their own views of the world. The paper maintains a comparative stance between the two cultures in analyzing the different concepts of architectural form, and employ the ideas of 'Form(形象)' and 'Energy-Form(氣形)' as a kind of representative concept of the two views of architectural form. It is discussed that the idea of Form pursued the realization of ultimate substance which is less materialistic but more ideal., while, the idea of Energy-Form pursued the realization of oneness and health through mutual interaction between man, architecture and nature. Architectural form in the West has been the purposeful expression of human ideal, while in the East, it was an expediential device for better energy condition. It seems important to understand such differences of the meaning of architectural form between the East and the West, since, in present time, we tend to think that the Western conception of architectural form is the only possible one. But it is not generally known that the Western conception of form has very particular background reason of its own which is unique to Western culture, and on the other hand, the nature of East Asian conception of architectural form is generally unknown.

• Journal of Families and Better Life
• /
• v.22 no.3
• /
• pp.75-93
• /
• 2004

This study examined discourses on “wise-mother and good-wife” in the 1920s - 1930s by analyzing the magazine “Shinyeosung.” This study found the following: 1 “Wise-mother and good-wife” was the ideal type for the “new women” during the colonial period. Hut the role of a mother was far more important than that of a wife. 2. The dominant discourse at the time was that the “genuine” new woman was defined by her motherhood, and she could not have a job because raising children was the most Important task for her. Hut in fact, new women wanted to be a wife through free love and marriage. They wished to be a good-wife in the “new (modern) family” for their loving husbands. 3. The Ideas of “wise-mother” and “good-wife” arose from disparate backgrounds. A woman had to nurture her maternal aptitudes; but had to suppress her passion for free love and marriage. Although she had to learn Western methods of bringing up children instead of the traditional one, she was expected to practice traditional virtues of a wife, not Western attitudes. The role of a mother was decided by experts, but that of a wife was decided by husbands. The function of a good-wife was merely a clever handling of her husband, whereas the function of a mother was considered to require professional knowledge. 4. New women could differentiate themselves from “old women” through the roles of wise-mother and good-wife; nonetheless, those roles were forced by society. They did not have any other viable choices.

• Journal of Fashion Business
• /
• v.4 no.1
• /
• pp.73-85
• /
• 2000

The purpose of this study is for considering about Zen fashion in the point of view of culture transition. Through this research, the Far-East including Korea will be confirmed as a center of fashion culture in 21st century. The contents are the meaning of culture transition in Post Modern period, the meaning of Zen and changing of fashion trend as the background of Zen Fashion, and the characteristics of Zen fashion design. The results are as follows: Anti-western movement or dismantlement of culture has been represented the limitation of western centered culture. So the interesting about East means the changing to east from west in ideas. To make new creation in fashion field, the comprehension about the western fashion which has been preceeded and new trials using the our tradition will be needed. Zen is a kind of Buddhism and the essence of it is to find myself and express individual experiences. The change of one's sens of value, new age movement and concerning of environment and ecology make more comfortable, simple and healthy elements in clothing. The fusion style is under a vogue in life style and Zen is the core of this trend. The characteristics of Zen fashion are flat dismantlement which has been know as a Japanese style, oriental minimalism and nature beauty of ecology. This characteristics are found not only the shape, color but the will of the behind. The pursing temperance and naturalism are represented the fashion culture transition from the West to Far-East. Therefore multi points of fashion research is very important and the identify about Korean fashion is required in lately for new fashion paradigm.

• Journal of the Daesoon Academy of Sciences
• /
• v.16
• /
• pp.151-166
• /
• 2003

Contemporary Buddhist scholarship in Korea has been strongly affected by its origins in the Victorian era, when Western religious scholars sought to rationalize and historicize the study of religion. Modern Korean scholars, trained within the Western scholarly paradigm, share this prejudice which tends toward the rational. The result is a skewed understanding of Buddhism, emphasizing its philosophical and theoretical aspects at the expense of seemingly "irrational" religious elements based on the direct experience of meditation practice. This paper seeks to look at the historical context in which modern Korean Buddhist scholarship had been shaped during the colonial period of Japan. Two case studies will be examined particularly in the light of post-colonial perspectives of Buddhist studies: the case of Jonghong Bak(1903-1976) and the case of Donghwa Gim(1902-1980), two pioneering scholars in the field of Buddhist studies. They share similarities as well as differences. Both were born and active at almost the same period, during which Korean peninsula experienced modernization forced upon by Japanese colonialism. And thus, the experience of colonialism and modernization brought them into conflict between tradition and modernity. Their responses, however, were different. Pak, originally trained in Western philosophy, especially German philosophy, wanted to study Korean Buddhism in the context of the so-called Korean Philosophy per se. He was motivated to seek for the national and cultural identity of Korea. And thus his scholarship on Korean Buddhism naturally led him to look for an original Korean Buddhism distinct from the Buddhism of India, China and Japan. On the other hand, Gim, who became a monk in his youth, later went to Japan for college where he was exposed to modern Buddhist scholarship. He was the first to introduce modern Buddhist scholarship to Korea, and since then, contemporary Korean Buddhist scholarship owes much to his contributions. Despite his contributions to contemporary Korean Buddhist scholarship, if we look at his efforts in the light of post-colonial perspective, his ideas need to be reevaluate.

• The Journal of Korean Philosophical History
• /
• no.39
• /
• pp.53-83
• /
• 2013

This paper aims to examine how issues related to the heaven-human relation (or nature-culture relation) affected Joseon intellectuals in the eighteenth century by considering Huang Yun Seok as a reference. As a significant indicator, the heaven-human relation issue has traditionally been a critical theme in the history of Confucianism. Since Huang Yun Seok accepted Western Learning based on Zhuxi Learning, he is a good example for examining this issue. Huang's ideas didn't depart too much from Confucianism, but he naturally became interested in Western Learning because of the enthusiastic admiration he had of Ancient Learning since he was a child. Principle-Number was consistent with Ancient Learning and Western Learning, and this was somewhat different from the original notion of numerology. It was used for understanding and explaining astronomical phenomenon. In understanding astronomical phenomenon, Huang used both fact-determined and value-centered approaches. Western astronomy allowed him to make an advance in terms of fact-determined approach while the value-centered approach gave him a portentological perspective on astronomical variation such as solar and lunar eclipses. This indicates one of the ways to keep Zhuxi Learning's identity itself amidst an inflow of new learnings.

• Korean Journal of Human Ecology
• /
• v.13 no.1
• /
• pp.185-194
• /
• 2004

This study examined the characteristics of 45 sects of seven new aboriginal religious groups in Korea including Jeungsan sect, Tangun sect, Soowoon sect, Won Buddhism, Bongnam sect, Gahksedo sect, Shamanism sect that had given a considerable influence on the modem Korean society since the end of 19th century through the field study and the review of documents. The purpose of the study was to elucidate how their religious ideas were reflected in their ceremonial costumes and what characteristics these costumes had. The results were as follows: 1. The new religious groups in Korea modified or mixed the designs or the names of existing outfits to convey their ideas or beliefs through their costumes. 2. The costumes of new religious groups had common characteristics of the times, Korean tradition and ancestor worship. 3. All the ceremonial costumes symbolized the creeds and ideas of each religion in their names, designs, and colors. The names of the costumes such as Way-Robe, Law-Robe, and Ceremony-Robe, and of the headpieces such as Sky-Crown, Lotus-Crown, Ceremony-Crown, and Sevenfold-Crown, for instance, were related with Buddhism, Taoism, and Confucianism. The most common design of costume was consisted of traditional hanbok and some type of headpiece and robe for men, and hanbok modified to Western-style for women. Most sects adopted hanbok as their ceremonial costume, but they tend to simplify its design. The color scheme of the costumes reflected the influence of the Yul-Yang and Five Elements idea but the colors varied depending on seasons and occasions to suit their creeds and philosophy. 4. These religious costumes were worn at various ceremonies, ritual, and various anniversary services for the master and other dignitaries of the sect to render greater piety to those gatherings, to distinguish the sect from other religious groups, to clarify the meaning of the ceremony, and to heighten the devout feelings of the participants. Thus, the structure (the symbol, names, and types of the outfit, and their color scheme) and religious background of the costumes of the new aboriginal religious groups in Korea turned out to have inherited and mixed various elements of traditional Korean outfits and those of existing religions to symbolize their religious ideas.

• (The)Study of the Eastern Classic
• /
• no.41
• /
• pp.385-406
• /
• 2010

Lee Byeong-hun was introduced to Hanjuhak when he was taught by Myeonwoo Gwak Jong-seok. It is assumed that Hanjuhak circles had a certain influence on formation of his ideas in that they had liberal tendency at that time. Lee Byeong-hun accepted Geummungyonghak developed by Gang Yu-wee of China and participated in Confucian Science Movement while excluding Confucianism. After he accepted western civilization and the ideas of Gang Yu-wee, no traces of Hanjuhak was found in his writing, but it is assumed that Hanjuhak might work as a nutritious element for his ideas. He thought that religious nature of Confucianism could be revived only when he left Neo-confucianism which changed Confucianism into a philosophy by insisting reason instead of God. So, he respected Confucius as a religious founder and left such concepts as reason and respect which were considered important in Neo-confucianism and valued disposition and faith in "Jungyong", a doctrine of the Mean. He considered Confucianism as religious and joined in religious practices such as praying and reciting scriptures. He insisted that filial piety indicates a filial son of the Heaven when interpreting the following passage: Shun (Chinese leader) is a filial duty, which is assumed that he was influenced by Christianity. He respected Confucius as the only religious founder and God as the God to make Confucianism a religion. It is believed that he considered only Confucius as a founder instead of traditional Confucian sages as religion such as Buddhism and Christianity has one founder. God he thought is related with the God in Christianity and furthermore accepted reincarnation of Buddhism which is contrary to Confucian ideas. According to "Gyeongseol" by Lee Byeong-hun, it was believed that he was engaged in religion based on a faith that Confucianism is a religion rather than he pursued Confucianism as a religion to find out a way of its survival.

• Architectural research
• /
• v.12 no.1
• /
• pp.15-23
• /
• 2010

This paper will discuss three different ways of framing relationships between identity and built forms mainly through the theoretical frame works of David Harvey, Christine M. Boyer, Jane M. Jacobs, Doreen Massey, Paul Rabinow, and Michel Foucault. From these scholars, this paper will argue the relationships between identity and built forms are categorized as such: "Becoming", "Politics of Difference", and "Construction of Self". Besides these three approaches of framing identity and built forms, relevant ideas will be drawn from the work of other scholars in so far as their theoretical positions relate and support these three key frameworks. To approach the critical points of each debate, these three categories are further analyzed by juxtaposing the epistemological positions between them. Through the comparisons, this paper illustrates the interrelationships and interdependence of these three categories whose discursive power gains rapid popularity in Western scholarships. By incorporating the three ways to view the relationship between built form and the identity of social groups, drawn is a suggestion for a broader imagining of new spatial identity.

• Korean Institute of Interior Design Journal
• /
• no.20
• /
• pp.78-83
• /
• 1999

The purpose of this study is to find out the symbolic meaning of interior color a the chosun dynasty's upper class houses, and to review it from a point of view of the Western coloring harmony theory. from this study, the Oriental philosophy, the ideas of Confucianism, and the ethnic traits influenced the interior color of the Chosun Dynasty's upper class houses like an-bang or sarang-bang. The results indicated that main color, auxiliary color, accent color were harmonized with similar harmony by hue and with contrast harmony by value and chroma. Therefore, interior color image of Korean traditional houses should be applied to the various design field as well as modern interior desigv.