• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.726-738
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• 2016

This study selected the Marine Corps camp accident in 2013 as its subject and analyzed it in order to explore the relevance of media framing on discourse on the safety of outdoor experience activities. Data were collected from search sites provided by news coverage data from March 26, 2010 when the sinking of the South Korean Navy corvette Cheonan occurred in South Korea, which had seen a surge in Marine Corps experience camps, to July 21, 2013, a few days after the Marine Corps camp accident. Data about a total of 211 cases 138 cases before the Marine Corps camp accident, and 73 cases after the accident were inductively analyzed. According to the results, news coverages on the Marine Corps camp were largely divided into positive framing that glamorized outdoor experience activities before the accident and negative framing after the accident. To put it concretely, the framing before the accident tended to glamorize outdoor experience activity as the best educational program which helped the participants to enhance their patience and sense of independence through boot camp experience, thereby increasing their self-esteem and arousing their cooperative spirit as members of society. However, after the accident media framing tended to publicize insensitivity to safety. The media framing characterized by dualistic coverage is considered to be an obstacle to the spread of safety culture, which is required in South Korean society. Therefore, media need to maintain more cool-headed and objective attitudes when reporting news.

• Journal of the Korean Society of Costume
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• v.14
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• pp.99-117
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• 1990

The purpose of this study was to investigate the change of clothes in modem Korean women in terms of a socioeconomical background, the introduction to western clothes, and the improvement of clothes between the opening period of ports in the early 1900's and 1960's. In addition, the study investigated how western clothes became popular in a Korean society along with the traditional' Korean clothes, Hanbok. The radical social change since the opening of ports motivated the change in the way of Korean women's thinking, and consequenty the improvement of Hanbok which developed into the clothes-improvement-movement. It was not until 1905 that the improvement of clothes was hotly debated particularly in the matter of abolishing Jangeui and the extreme length of Jeogori and Chima. The Tongchima-Jeogori style which lengthened Jeogori and shortened Chima was widely accepted as everyday wear until the western clothes substituted them after the Independence from Japanese Conquest. As the length of Chima shortened, there occurred a change in Boson and Jipsin as well. There appeared shoes and Gomoosin in place of Jipsin, socks in stead of Boson and were popularized until after the Liberation in 1945. The popularity of Gomoosin diminished markedly with the diversification of shoes styles, due to the improvement of the standard of living with economic development in the 1960's. The traditional Hanbok was gradually differentiated according to the social status, for instance student, teachers, ordinary women, girls and Kisaeng. Especially since the white clothes caused much trouble in washing and sewing, there came into being the movement of wearing colorful clothes. The Movement of abolishing white clothes and promoting of wearing colorful clothes was enforced during the period of Japaness conquest from the 1920's to the Liberation, which consequently stimulated an interest for colors of clothes. The period under the war between 1937 and 1945 was especially noted for the extreme regulation over the clothes. The Japanese government forced each group of women, e.g., girl students, a young women's association, school teachers, and ordinary women and girls, to wear their own uniforms. Also, It recommended the use of Tongchima in stead of long skirts, and buttons in place of Coreum so as to conserve textile encouraging the use of other substitutes to save resources. The western clothes, a model of clothe's improvement was deemed as a symbol of modernization and enjoyed general popularity. The supply of relief clothes after the Korean war accelerated the expansion of western clothes even further and the trend of westernization along with economic progress in the 1960's resulted in wearing of western clothes as everyday dress. The expansion of western clothes as casual wear rapidly diminished wearing of Hanbok which in turn took the position of ceremonial dress worn in special cases only. Hence the Korean women's clothes were dualized into traditional Hanbok and western clothes and the western clothes that stems on its convenience was settled as everyday wear where as the Hanbok appeared as ceremonial dress stressing on ornamental features. As mentioned aboved, we are able to discovered an orientation in the course of transitional process of modern Korean women's clothes admist diversified changes, which is a consistent pursuit of convenience and practicality based upon progmatism. The trend such as this carne into a finale' as women's dress became dualistic in forms of Hanbok and western clothes, and the change since then is supposed to proceed in two forms of dress featuring its own style.

• The Journal of Art Theory & Practice
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• no.13
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• pp.97-132
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• 2012

1799 Francisco de Goya published Los Caprichos with 80 aquatint etchings. On 6 February he advertised it on the front page of the Diario de Madrid. The long advertisement which began with "a collection of prints of capricious subjects, invented and etched by Don Francisco Goya" informed purpose, themes and methods of this collection of prints. According to this advertisement Goya "has chosen as subjects for his work, from the multitude of follies and mistakes common in every civil society and from the vulgar prejudices and lies authorized by custom, ignorance or self-interest, those that he has thought most fit to provide material for ridicules, and at the same time to exercise the artist's imagination." The text emphasized that the 'author' of this series didn't to want to criticise any individual and to be a copyist. From his phantasy Goya invented many creatures like the anthropic, humanized animals etc.. With Los Caprichos he stood on the threshold to Romanticism. The early researchers of Los Caprichos classified its author, Goya as an enlightened intellectual. The similarity of the themes of the series with the subjects of the Enlightenment, his some enlightened 'friends' and the idea to avoid the prevalent mystification of his life supported this theory. But this trend became revised since the 80's of the last century. This made possible to research Goya's works in new perspective and to see that Goya didn't criticise the Spanish society and his contemporaries. Rather he showed its reality and parodied through creatures which are mixtures of the reality that he observed, and visions that he invented. Characters and scenes in Goya's prints are ambiguous and equivocal. They have the values which are defined by the dualistic metaphysic in Europe as oppositional, like good and evil for example, at the same time. Goya himself also appeared in various types in this series. This ambiguousness, or "polyphony", as Jennis Tomlinson defined, is a symptom of the decay of the belief in the Enlightenment which spreaded in Europe as a result of the attack of Bastille and the French Revolution. Goya's self-portrait in pl. 43 of this series, "El sue$\tilde{n}$o de la razon produce monstruos" shows the complex psychology of him and his contemporaries as well. As the rest etchings after this print show witchcraft and monsters reside in the world in which the reason of the Enlightenment and the through the reason weakened God's rule lost their authority. In this thesis I will examine and analyse how Goya represented in Los Caprichos the nature of man and its society, as complex being in which the 'antagonistic' value couple as good and evil couldn't be divided, but are united.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.8
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• pp.1353-1364
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• 1997

The purpose of this study is to present a theoretical framework for analysis and interpretation of medieval look in fashion by investigating its aesthetic values. Accordingly, it would provide a better understanding of the medieval culture with its composite aspects. Modernism sought to make the Middle Ages in its own image.'New Medievalism' has on the whole tried to avoid reading the Middle Ages onto the modern world. Instead it designates a predisposition about the discipline of medieval studies broadly conceived. Consequently, it has changed the viewpoint of medieval culture from the one-sided angle into the diversified one. As recent studies based on New Medievalism have argued, a close look at the medieval culture revealed the dualistic nature of it, with contradictory aspects such as piety and secularity, ideality and formality coexisting. The characteristics of the medieval culture are categorized to asceticism, naturalism, mysticism and secularism. Asceticism, which is responsible for the melancholic and heavy atmosphere of the medieval culture, is related to christianity and despair of life. It is expressed in medieval dress in forms of body-concealing semi-fitted silhouette, coarse texture and dark color. As a reaction to the extreme splendor and exposure of recent fashion, the ascetic medieval look is attracting attention. The monastic look is characterized by body-concealing silhouettes and minimalized usage of colors and details. Naturalism is the feature seeking for purity of the nature and the human itself. It appears in terms of line as a smooth curve flowing along the body contours, or as a revival style of the Greco-Roman drapery in the medieval dress. Naturalism in the medieval look of the late 20th century fashion is expressed as a pure image with the use of sheer and soft fabric to form a smooth curve flowing along the body contours. Mysticism symbolizes the authority of the Christ and the glory of heaven. It is presented in the medieval dress of the body-concealing straight silhouette made of gorgeous fabrics, brilliant colors and decorations by gems and gold. The insecurity caused by the fin-de-siecle mood is creating a strong interest in religion and it is reflected in fashion as a medieval look reviving the solemn and magnificent style of the medieval dress. Secularism is a reflection of the medieval mind of indulging in the beauty of the mundane world. Heraldry and excessive decorations of the medieval dress are forms of this secularism. These styles of gorgeousness are being refined into a new medieval look of the 1990's. The medieval look of the modern fashion is featured in various styles, reflecting the pluralism of the postmodern society.

• International Commerce and Information Review
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• v.16 no.2
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• pp.47-67
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• 2014

Since the global financial crisis, criticism against the integrity of financial institutions proposed new financial regulations such as Basel III. These systems are expected to have impacts multilaterally on management and structure of mid- and long-term financial industry. It is also believed that financial institutions will inevitably review business model to respond to these enhanced regulations. The ongoing global financial regulation pursues regulation scope extension, introduction of global regulatory capital system, introduction of global liquidity, etc. As for quantitative index, Basel Committee on Banking Supervision is promoting QIS which is discussed mainly on implementation time from the juridical point of view. This study aims to present domestic banking industry's structural changes depending on regulation enhancement of foreign countries after global financial crisis, and suggest strategy that improves competitiveness of products. Looking at the research result, global financial regulation requires compliance with the regulations through treaties but it shows negative time center around banks. Furthermore, it is also pointed out financially advanced countries' passive attitude on regulation enhancement is problem. Therefore, regulations differentiated between developing and developed countries, dualistic regulations on financial industry, participation of advanced nations, etc are the postulation to change the structure of financial industry.

• Korean Journal of Social Welfare
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• v.58 no.3
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• pp.51-79
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• 2006

This study is to explore how the bondage of street homeless is made and what it implies. In order to do so, this study does participation-observation for the life of the homeless on the street and drop-in-center according to the ethno-graphic research tradition. Starting from the August of 2005, during the period of six months, we did a field study on the actual conditions of facilities for the homeless in the major parts in Seoul and collected the interview data through the interview-in-depth with 8 homeless people. Following the data-analysis procedures of Spradley(1979), we identified the main domains related to the factors for the bonding of street homeless. These domains show us how the homeless people who were left in the whole new world of homelessness just manage to tide over the crisis of identity and survival. The bondage of street homeless in the situation of street homelessness has been shown to have these following meanings: (1) the cultural significance as their second home, (2) the meaning of an alternative group to be admitted, (3) the maintenance of self-identity by way of distinction in the group. According to these, the self-identity of homeless is dual and, therefore, the meaning and interpretation of their relationship is also dual. This dualistic attitude comes from the process in which the homeless acquire the alliance-resource for the very survival and self-existence. The results of this study confirm that the homeless suffer from the lack of true relationship as well as resources. This study suggests that the supporting policies and services for the street homeless should be achieved qualitatively and integrated under a long range plan.

• Sijohaknonchong
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• v.19 no.1
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• pp.179-205
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• 2003

The purpose of this study is about to consider the structure of dualistic recognition between "Gang-Ho"(ideal sanctuary) and real world in the "Songs of Fisherman" written by Lee Hyeon Bo. In order to do this job, I analized the arrangement of the contents and extract the exact in and outward meaning of elements and expressions; usage of them between lines of this Song. Based on these works, I tried to explain the confronted recognitions of the two worlds. At the first, about the arrangement and contents of this poem, It is consisted of 5 independent sub-poems and each of them are describing the value of fisherman's life(at the poem 가), separation from mundane world(나), satisfaction of fisherman's life(다), nature of "Gnag-Ho"(라), domiciliation in the place(마). It looks like that the writer intended to have the arrangement probability and likelihood connecting poems. Secondly, It contrast the nature of the "Gang-Ho" and real world. The sanctuary is a place of 'absence of worldly desire' and 'cordiality' that could afford one's harmonious life. On the other hand, the real world is a troublesome place which always conflicts political confrontations. For those reasons, the writer wants to satisfy with his living in "Gang-Ho" separating himself from the real world. Thirdly, The nature of "Gang-Ho" is 'absence of worldly desire' and 'cordiality' that one could be deserved his diligency becoming a part of the harmonious idealistic living place. Fourthly, on the character of story teller. Originally he is a incomer of "Gang-Ho" from real world. so that reason, he is showing dualism not to deny the loyalty oath to his king, while he intends to satisfy with the life in "Gang- Ho" separating himself from real world. As a gentry, at that time, the loyalty oath is inevitable one and that is found from writer's other works either. Fifthly, Characters of the different world recognition. The main reason of his intention to "Gang-Ho" roots on out of worldly confrontations, his separation from real world is on a joyous peaceful life just like in "Gang-Ho". this study believes the writer imply that 'absence of worldly desire' and 'cordiality' of "Gang-Ho", be a key role to resolve the confrontation of real world. Lee Hyeon Bo himself regards the two elements as a advisable attitude of life. At last, Seeing the writer's other work and literature's educational effect, this study defines that even if the poem outwardly express one's lyricism but inside it warns governors ruling attitude.

• Ecology and Resilient Infrastructure
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• v.2 no.2
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• pp.108-117
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• 2015

This study was carried out to assess problems related to legislative regulations and guidelines concerning some biological assessment systems applied to stream corridor in Korea. We comparatively reviewed the law of stream corridors and the guidelines for master plan concerned, and the law of water quality and health assessment criteria for the aquatic ecosystem concerned. Stream environments were not managed effectively due to the absence of detail regulations and the criteria for stream assessment. A biological assessment system was not equivalently integrated within the management of water resources in process implementation of projects resulting from the dualistic management system for stream corridors in Korea. The current biological assessment system was reflected to mainly physical habitats or only oriented to some aquatic species correlated with water quality. This system was also recognized as part of environment impact assessment based on an intensive survey method of most biological taxa. Conclusively rapid and quantitative assessment techniques based on advanced organisms, such as vegetation, fish and birds, etc. should be urgently provided for considering as representative indicators of stream conditions in Korea.

• Cross-Cultural Studies
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• v.42
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• pp.419-449
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• 2016

The Russian icon and Korean tangwha (幀畵, altar portrait of Buddha) are based on the similarity of the divine Being. Each has the characteristic index that forms an existential connection with the object and at the same time, implies the symbolic meaning of the scriptures and doctrines of the Russian Orthodox and Buddhists. Russian icon and Korean tangwha with these attributes have origins in the Byzantine, India and China. Unlike most religious art, Russian icon and Korean tangwha clearly reveal profane orientation and mystical elements. This artistic phenomenon has evolved from the mystical religious culture in Russia and tantric rituals of the early Joseon period. Iconostasis, created from historical figures of the Old Testament, Jesus, the New Testament represent the principles of the macrocosm. Each icon of iconostasis has integrity, while each floor has another narrative and a meta-discourse on the entire composition. Three-Platforms of amrtakundalin can also have a huge epic that is directed from the Low-Platform to the High-Platform for the purpose of salvation. While the narrative of iconostasis has a time structure, from the beginning of the universe up to date in chronological time, amrtakundalin have pictorial transitions of time and space that rises from this life to a heavenly world. Despite the different world views of the Russian Orthodox and Buddhists, iconographical format and symbolism of heaven and hell in the Iconostasis, Last Judgment and amrtakundalin are similar. There is a constant antagonism between heaven and hell, light and darkness, water and flame. Iconographical contents include the water of life and nectar, the book of life and 'eoppu', and the scales and mirror of Karma that discriminate between the good and evil before judgment. The dualistic coordinate concept such as light and darkness, life and death, or heaven and hell that appears in the narrative structure of iconostasis, the Last Judgment and amrtakundalin leads the people to spiritual awakening.

• Journal of Korean Philosophical Society
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• v.142
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• pp.145-164
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• 2017

In his Phenomenology of Perception, Merleau-Ponty raises a question of why he has to ask what phenomenology is again. This study assumes that the question can be answered in a new understanding of the "nature" concept and finds its possible grounds in the nature concepts of Schelling and Merleau-Ponty. Schelling and Merleau-Ponty develop philosophical thinking from a critical point of view on the Cartesian and Kantian philosophies "Thing-in-itself" by Kant is, in particular, one of important questions that has to be answered in the philosophy of Schelling since Kant further solidifies a dualistic world by leaving thing-in-itself. Schelling solves the question with the concept of identity and Merleau-Ponty solves the question with body-subject. What we notice in this article is the understanding of Shelling and Merleau-Ponty about nature. Schelling believes there are the creative activities of unconscious intelligence in nature, but spirit or intelligence in his nature concept cannot induce an existential being. Here we see that Schelling is still beyond the traditional epistemological framework. To restore the original nature of nature, we must begin with an understanding of the totality of nature. Nature must also be explained through relationships with humans. Merleau-Ponty shows the entanglement of nature and spirit through the body-subject. In Merleau-Ponty's phenomenology, the body is the equivalent of nature. Understanding the forces of nature that Schelling and Merleau-Ponty are trying to show, and at the same time explaining the problem of how the mind or human beings emerge from nature, we will be able to discover the true nature of nature.