• International Journal of Advanced Culture Technology
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• v.9 no.4
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• pp.1-8
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• 2021

Since the late 20th century, various projects in the public domain where local communities and art organizations collaborate have been attempted in miscellaneous ways. In terms of anticipating an active attitude of the community, socially engaged project focuses on proactively changing everyday life and environment of people. An art collective, Assemble who won the Turner Prize in 2015 for one of their projects named Granby Four Streets (2013) has been admitted as an exemplary of this phenomenon, and it appears frequently in discussions about community-led projects. We investigate Granby Four Streets, as well as the documentation formed by the perspective of third parties based on the surveillance and criticism aspects. It asserts that the limitation of socially engaged projects that are kept ephemerally and easily forgotten could be overcome with the concept of documentation and its practice.

• Sim-seong Yeon-gu
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• v.36 no.1
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• pp.1-54
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• 2021

Princess Bari, the seventh daughter of the King and Queen, is abandoned at birth. She one day embarks on a solitary journey into the underworld to seek the antidote she needs to save her ailing father. The shamanic myth then depicts terrible ordeals, after which the Princess manages to obtain the elixir of life to bring her parents back to life, leading to her deification as the Queen of all shamans. The life of Princess Bari as the ancestor of shamans incorporates the necessary rite of passage to become a shaman, persevering through all manner of trials and tribulations until death and then being reborn. Princess Bari's story of deification as the goddess of shamans constitutes the archetype or the primitive image of the collective unconscious, the mytheme. From the perspective of analytical psychology, Princess Bari, who became the Queen of shamans after undergoing a process of pain, death, and then rebirth demonstrates a facet of the individuation process, evident in heroic mythology. Princess Bari not only cured her parents of disease but also brought them back to life. What enabled her to obtain the elixir to resurrect her parents was her love and compassion for them based on self-sacrifice, enduring all the trivial and repetitive undertakings of everyday life. She viewed the world and behaved from the perspective of a broader Self. Making herself a powerful healer through the ordeals in the underworld, Princess Bari is the psychopomp as well as the healer archetype. The sacred power of healing that goes beyond the Princess' sufferings represents the Self Archetype inherent in the mentality of the Koreans, in other words, a symbolic power that indicates the divine representation of a healer.

• Cartoon and Animation Studies
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• s.27
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• pp.1-30
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• 2012

Oshii Mamoru attempts to project the perception of reality about his own modern world as it is through animation. The precedent studies on Oshii Mamoru put their focus on the point that his works have a tendency to represent the devastation of reality as the image of 'a ruin.' In addition, they gave an impression that Oshii Mamoru's animation has gradually developed to expose the 'realistic taste[beauty]' from the design perspective. However, this study is going to put its focus on the point that Mamoru's works were created as an attempt at finding the subversive possibility of the suppressed modern world under the modern capitalism in the aspect of 'everyday life' of the modern world. First, for its analytical purpose, this study intends to do that by dividing the work into the three layers such as space, body and everyday life. In Chapter II, this study, in relation with the issue of 'space' representation, analyzed the space in into the modern, mechanical, compactly capitalized space and also the space just like a closed circuit having the nature of 'repetition.' In Chapter III, this analyzed that suggests the body moving freely between a human named 'Kildren' and the inhuman from the aspect of character's body, through which Mamoru represents the capitalized, reified body of the modern world. In addition, this analyzed the extreme anxiety facing the body into the reflection of the phenomena of 'anxiety' and 'placelessness' consequent on the labor flexibility of the modern world. In Chapter IV, this study, on the basis of the analysis of layers of space & body, analyzed that the 'everyday life' of the modern world was represented in the respects of 'memory' and 'habit', and in the aspects of Mise-en-Sc$\grave{e}$ne, design and direction. In Chapter V, this rooted out the fact that Mamoru suggested the attempt at 'appropriation' based on his perception of reality about such a modern world. Such a finding includes unearthing the fact that Oshii Mamoru's work is raising a question about how to desert and appropriate the modern space. In conclusion of Chapter VI, this drew the conclusion that Oshii Mamoru's work represented the layer of 'everyday life' while dealing with the post-modern themes shown by the existing modern SF genre, provided the 'window' through which people can perceive the 'modern world radically by recommending an attempt at 'appropriation', and blazed a trail in a new realm of creation for animations.

• Journal of the Korea Furniture Society
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• v.20 no.3
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• pp.205-212
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• 2009

Through this study, I explored a creation of the postmodern furniture aesthetics through the transformation by student's interpretation in experiencing the art/craft/handmade/studio furniture aesthetics in postmodernism theoretically for 'wood culture experience class' or 'wood love experience class' by the Korea Forest Service because the class tends to focus on making simple wood works involved just in the practical part. Qualitative conceptual analysis as the principal methodology was used to achieve the theoretical context in the experience programs. Following the lesson one on defining the postmodern aesthetics in New Design furniture as metaphor and the lesson two on interpreting an aesthetics of art and everyday life with the wood furniture which expresses the metaphorical and symbolical aesthetics appeared as New Design furniture in postmodernism in the previous papers, I developed lesson three on creating an object using eco-friendly materials like wood in transforming an aesthetics of postmodern furniture as the final stage of the study. Therefore, the students will be able to create a piece of eco-friendly wood furniture for our environment as metaphor transformed by his/her perspective regarding a piece of selected New Design furniture.

• Journal of the Korea Furniture Society
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• v.19 no.6
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• pp.498-506
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• 2008

This study explored interpretation of the symbolical and metaphorical aesthetics in experiencing art/craft/handmade/studio furniture theoretically for 'wood culture experience class' or 'wood love experience class' by the Korea Forest Service because the class tends to focus on making simple wood works involved just in the practical part. Qualitative conceptual analysis as the principal methodology was used to achieve the theoretical context in the experience programs. After the lesson one on defining the postmodern aesthetics in New Design furniture as metaphor in the previous paper, I developed lesson two for an aesthetics of art and everyday life with wood furniture which expresses the metaphorical and symbolical aesthetics appeared as New Design furniture in postmodernism. As statement of objective in the second lesson, I explored that students in elementary schools personally transform and interpret the postmodern aesthetics of New Design furniture metaphorically with the meanings of symbol. As a result, the students will be able to write about the aesthetics of New Design furniture as metaphor in interpretation transformed by his/her perspective of a piece of selected New Design furniture.

• Human Ecology Research
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• v.51 no.6
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• pp.603-612
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• 2013

With the increase of single-parent families in the Korean society, the perception of the function and structure of the family is changing. Thus, a public transition toward embracing single-parent families as another form of family is necessary. This study focuses on the families of divorced female single-parents using Walsh's family resilience framework with a strengths-based perspective. It aims to provide the basic data necessary for deducing policy-related and practical ways of supporting the families and for developing programs that help divorced female single-parent families maintain and reinforce resilience. Qualitative analysis was used as the research method. A preceding literature review was also carried out to collect data. The major findings of this study include the following: First, it was found that the average age of divorce is around 30-40, with children of school age. The mothers' level of education was relatively high, ranging from high school graduates to graduate school students. On Rothwell and Cohen's happiness scale, their objective level of happiness was higher (74.1) than that of the average Korean (64). Second, it was found they were very careful to avoid violence in everyday life as an after-effect of domestic violence, which was the major cause of their divorce. Third, their positive and optimistic attitudes about life even in adversity can be interpreted as Walsh's belief systems taking a more important role among other characteristics of family resilience.

• Fashion & Textile Research Journal
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• v.18 no.6
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• pp.812-824
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• 2016

Morning grooming is a ritual daily held for transition from private to public life of an individual. Based on the previous literature's definition of the ritual characteristics, this study aims to identify the meaning of grooming rituals that are repeatedly performed every morning. Although many studies have conducted ritualistic analysis of the behaviors that are closely related to daily life, few studies analyze grooming from a ritualistic perspective. Establishing the ritual - that is, a person's distinct behavioral pattern-as the core concept, this study reveals the relationship between ritual performers and the ritual's composition to identify the meaning of the grooming ritual. The study conducts qualitative research with ten participants to identify the ritual characteristics of every-morning grooming and the factors that influence this ritual. Considering everyday grooming as a behavioral pattern that possesses mostly ritualistic elements, the study examines both the external characteristics that are shown through the methods of grooming and the internal characteristics that reflect the inherent symbolic meaning. This study contributes to extending the scope of the field. By understanding the factors that influence grooming rituals, companies can communicate their marketing messages regarding the step-by-step approach to grooming, thereby supporting consumers to effectively use various grooming products.

• Journal of the Korean Institute of Rural Architecture
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• v.25 no.2
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• pp.43-50
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• 2023

This study is an architectural and landscaping analysis view to rural landscape paintings painted by Vincent van Gogh in the late 19th century. The purpose of this research is to discover the expressive techniques of Western art that Van Gogh's landscape paintings have, and to understand the characteristics of the architectural object in his landscape paintings from February 1888 to April 1889 in Arles, southern France. The method of this study is to analyze the landscape paintings of Van Gogh painted during 15 months in Arles. Among the total paintings in Arles, 47% of the paintings he made were landscapes. The following conclusions have three views. First, Vincent van Gogh was born into a Protestant family in the Netherlands and become an artist in his late twenties. While living in Arles, he painted prolific landscapes. Farming, farmers, and rural area related to normal living are the main subjects of paintings. It can be seen as showing the view that everyday life is sublime and should be included as a unitary value. Second, Gogh's rural landscape paintings were painted with linear and aerial perspective with other the expressive techniques, and plane painting structure that leads to two dimension. Third, from an architectural point of view, Van Gogh's paintings depicted simple vernacular architecture such as traditional rural house, mas, thatched houses, and mills in southern France. This means the normal value of the rural landscape through the eyes of the painter.

• Journal of the Korean Geographical Society
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• v.49 no.4
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• pp.546-562
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• 2014

This research attempts to investigate the geographical approaches on healing, which have been neglected in geography relatively, comprehensively and to examine the meaning of healing in daily life from the viewpoint of the managers of psychological counselling caf$\acute{e}$s. According to the results of this research, exposed healing spaces such as mental clinics or counselling centers are regarded as cultural stigmatic spaces; besides, psychological counselling caf$\acute{e}$s decrease psychological distance or resistance and people calling for healing can access these healing spaces easily. Second, healing spaces from a perspective of modern people mean geographical boundaries as refuges for a brief time; accordingly, the users' activities in psychological counselling caf$\acute{e}$s as instant or unexpected healing spaces in daily life are interpreted as special experiences without any emotional burdens. And these psychological counselling caf$\acute{e}$s are regarded as the spaces where can experience healing repeatedly and continuously. Third, psychological counselling caf$\acute{e}$s were changed into general caf$\acute{e}$s as open spaces; therefore, they can penetrate deeper into daily life rather than others.

• The Journal of Korean Philosophical History
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• no.29
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• pp.179-202
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• 2010

In addition to the emphasis on filial piety ethics in everyday life, filial piety obtained a further significance in Confucianism which had the strong sense of ancestor worship. This paper focuses on filial piety as a mechanism of continuity within Confucianism and points out that it owed its development to its connection to agricultural culture. The sedentary life with less mobility forged a relative intimacy among people and filial piety was the actual expression of that kind of intimate affection. Yet, filial piety in Confucianism created a unique culture in terms that it not only stipulated material and emotional support for parents but also expected one's piety to the further ancestors through a memorial service and made its connection to the infinite posterity through sons. From the perspective of Confucianism that established filial piety at the turning point from life to death, the self existing in present was not an isolated self anymore. Yet, one can see another characteristic of Confucianism from that filial piety, based on blood bonds, could move beyond paternalism to broaden itself. It could be expanded to the care for strangers. The aged experience and wisdom through agricultural life begot the insight that the nature made its infinite connections with everything through circulation. As a stone thrown in a pond would enlarge its boundary by drawing larger and larger concentric circles, this thought enabled people to enlarge their affection to their parents to universal humanity. In this enlarged network, though it was natural to make distinctions between the closer and the farther, Confucianism sought to overcome it by establishing oneself upright. Confucianism emphasized the moral cultivation with its filial piety concept that contained the diachronic thought penetrating life and death and the broadened perspective relating everything around. In Confucianism, filial piety provided an important medium in forming a moral subject that penetrated life and death and related self and others. Inherent in it is the Confucius thought of continuity that searched for a paragon of a moral human being regardless of time and space.