• The Journal of Korean Philosophical History
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• no.28
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• pp.155-182
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• 2010

When we divide Environmental Ethics education into the elements of 'knowledge - emotion - behavior', we need to focus on 'knowledge' at high school level. In general Moral Education, 'knowledge - emotion - behavior' is a circular link, but as Environmental Ethics is a matter of 'consciousness', it is desirable to instruct with the process of 'knowledge>emotion, behavior'. Teaching 'Consciousness on Nature' is not recommended at elementary or middle school level because it demands higher inference. On the contrary, considering the reality in high school it is not recommended to teach the necessity and method of recycling or to go field trip to the polluted area. Rather, it is better to inform the students of Environmental Ethics' viewpoints and let them know the ways of moral judgments. The view of nature in Orientalism is well explained through the Environmental Ethics' viewpoint. To explain the view of nature in Orientalism we should concentrate on the theory, not on the attitude of life. And we should rather compare the viewpoints of nature in Confucianism, Taoism and Buddhism respectively than explain in Orientalism all together. That is, if we compare with the viewpoints of Environmental Ethics and explain similarities & differences in Confucianism, Taoism and Buddhism, we can complement Environmental Ethics or present the third approach.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.2 s.161
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• pp.280-291
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• 2007

The purpose of this study is to research characteristics of costume which is expressed in Gustav Klimt's Paintings. In the end of 19th century and the beginning of 20century Vienna, considered to be the fashion Mecca after Paris, the creativity of such artists allowed the 'Anti-Fashion Movement' to set itself up against the frippery of the costume of the time. The Secession Movement received the effect of Art Nouveau and Symbolism and Klimt led of this movement as a forerunner in Vienna. Many women appealed in Klimt's Painting with unique costume which contrast to traditional fashion that period time. The characteristics of costume in his paintings are as follows. Firstly, Klimt drew in the women's costume which made by designers of Vienna Workshops, at one of motive of his work of art. Costume got a opportunity became a new art field, because there was no conceptual thinking of a fashion designer at that time. Secondly, the costume of Klimt' paintings had both anti-fashion design and elements of fashion, so he gained considerable support from leaders of high fashion who was the upper classes. Thirdly, both anti-fashion and fashion appeared in his painting at first period. Costume which made at the Vienne Workshop appealed portraits of Klimt paints at the second period. Klimt interested in Naturalism, Japonism, Orientalism and Greece style and expressed his characteristic techniques at the last period. Lastly, Klimt liberated the woman from a physical and spirit restriction through his various artistic presentations.

• Journal of architectural history
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• v.20 no.6
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• pp.57-76
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• 2011

This study is on the pedagogical convention of architectural history in Korea, especially that of Western Architecture. Recent institutional change in architectural school in Korea has caused overall restructuring of academic program. In spite of extension in the field of history there was no progress of method and way of thinking. There is no change in the point of view to see the western architecture and its history as a unique and specialized phenomenon in the civilization of mankind. Because of no recognition about for what, for whom, and how to, and because of orientalism, the cultural position of western architectural history and its narrative was not asked. With the help of post-colonialism, de-constructivism and critical historiography this paper tries to show the fundamental premise of western architectural history as a myth and show its prejudice as not being justifiable. The background of the discourse there has been a representation effect with regard to knowledge as a power. we need to escape from this kind of cognitional frame With the analysis of the its premise and narrative we can find it is a historical construct that was made in the age of imperialism. In fact it has a lot of false information and problematic point of view. The Identity and originality of western architecture and its history has no logical reason or foundation if we think that it depends on the difference and comparison with other civilization. For example the explanation of its historical origin western architecture has big difference with Islamic architecture in spite of the resemblance each other. This paper try to show several reasons that discourse of western architectural history can not be survived any longer. So we need to reconstruct new pedagogy with deconstruction for the students of non western, or Korean students. Because it has important effect to see and think about architecture and its history.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.5
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• pp.808-820
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• 2008

The costume of Islam cultural area has been affected by the strict social structure, formed by religion, and traditional costume of Islam has been maintained up to these days under the influence of religion. Islam Traditional Costume, which is the succession of the traditional costume of southwest Asia region, became armed with the form of closed costume due to the chastity and oppression. There are figurative features of Islam Folk Costume; first, the dimensional form due to the ampleness, covering the body, second, the reinforcement of closed form such as chador and burqa, third, the symbolism such as the adornment or incantational ornament, which has been inherited from the former times of Islam era, fourth, the color, simplified with black and white. The aesthetic values of Islam folk costume are represented with 'The beauty of abstinency', suppressing the ornamentation and color, caused by the strict social atmosphere under the influence of the form of traditional costume and religion, 'The beauty of concealment' due to the closeness, with affluent costume forms, covering the body and even concealing the face, and 'The beauty of symbol' which is demonstrated with incantational ornamentation of face and interior decoration. In some nations amongst Islam nations, the wearing of hijab is strictly regulated but black chador and burqa are regarded as negative symbols, representing the closeness and oppression of Islam. It is the product of Orientalism from the western perspective. The Islam Hijab culture is the symbol of oppression towards women, but, on the other hand, it is the device to protect women and the traditional culture, symbolizing the identity.

• The Journal of Korean Philosophical History
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• no.59
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• pp.425-453
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• 2018

This paper study about the Perception of Orient in Huangseong-Shinmun(皇城新聞). The Orient as a Non-Western is recognized as a geographical concept which represented Japanized culture and which breaked up Sinocentrism. Huangseong-Shinmun thought Korea, China, and Japan as the main countries which constitute Orient. And this paper regarded these three countries which is Yellow race are main area which countervail Western. Especially this paper thought Japan as the leading power which fulfilled Oriental peace. So Huangseong-Shinmun theorized nations of the same race, region and language(同種同州同文論). But Orientalism is just means which Japan used to rationalized the imperialistic invasion. Nevertheless Huangseong-Shinmun thought that periods are the era of racial competition. This is the limit Huangseong-Shinmun did'nt recognize the strategy which Japan concealed the imperialistic invasion.

• English & American cultural studies
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• v.18 no.3
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• pp.1-29
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• 2018

Nadine Gordimer's The Pickup, published in 2001, well shows how the social issues have been changed in a way to reflect the South African society which is more complicated in the post-apartheid era. Examining the two different geographical territories between Johannesburg, South Africa and an unnamed nation in Middle East, putting aside the domestic racism between white and black, she extends her issue of racial other to global one with new rising issue of immigration in South African society. It seems that Gordimer's such issue is well represented by two main characters: Julie Summers who comes from a wealthy family and falls in love with Abdu, an illegal immigrant who was born from a poor country in Middle East and is now working at a garage in a downtown of Johannesburg with hiding his real name Ibrahim ibn Musa. Having an official relationship with Ibrahim and joining the regular meeting at the El-Ay (L.A.) Cafe where all participants can enjoy the freedom of expression/speech except for Abdu, she begins to have interest in his silence and his presence, orientalized as the Arab Prince for her imagination. Arriving at Abdu 's nation later, she also keeps projecting the 'less civilized' images to his nation where there are only desert, uneducated people, and dirty houses and streets. In doing so, Gordimer leads reader to a never-ending issue of Orientalism in the Western literature. Moreover, the writer attempts to create a female-centered community at the male-centered Islam community by marginalizing the presence of Abdu who finally leaves to America alone. As Julie is successfully acculturated to the unknown Abdu's community, she begins to place herself at the center of the community and plays a role as a mediator/communicator who can change/civilize it with her western knowledge of language and culture. By replacing the male-centered with the female-centered through Julie, Gordimer seems to be creating an idealized community with the notion of matriarchy. However, Gordimer places Abdu as an unstable subject who has to endlessly move back and forth for his undetermined national and cultural identity while Julie achieves the determined identity in both nations.

• Journal of Ethics
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• no.78
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• pp.61-88
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• 2010

This study focuses on the problems of traditional ethics in the textbooks of 7th Moral Education Curriculum. As the fact that Traditional Ethics is an advanced elective of high school curriculum shows, 'traditional ethics' is an important part of moral education curriculum. Unfortunately, many have maintained that there are significant problems in the contents of traditional ethics described in moral education curriculum. The problems mentioned are: encyclopedic enumeration of the contents, incorrect information, content repetitions, placing too much one-sided emphasis on confucianism, lack of organic link between Korean and oriental ethics, and unlikeliness of accomplishing subject's objectives. This study raises more fundamental problems. The problems pointed out are as follows. First, the definition of traditional ethics in the textbooks is problematic. Second, there is a lack of examination on 'tradition'. Third, there exists a naive understanding that western ethics or thoughts are the causes of all problems and oriental traditional ethics is the cure-all for them. Fourth, viewpoints of orientalism or occidentalism are widespread in describing traditional ethics.

• Journal of the Korean Society of Costume
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• v.53 no.2
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• pp.137-151
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• 2003

Fashion photographs from leading monthly fashion magazines in 1990s were analyzed. The types and the formative feature characteristics and the aesthetic values of domestic retrospective fashion were studied. The major conclusions of the study are as follows 1. The types of domestic retro fashion were historicism, ethnic, ecology. Retro fashion was expressed through applying and reappearing silhouette, detail. fabric and image of the costumes of the past. 2. Renaissance. Baroque, Rococo styles and the costumes and styles of 1960s and 1970s were mainly applied in domestic fashion. 3. Orientalism was emphasized and Korean traditional styles and Chinese costumes were expressed mainly in domestic fashion. Fashion trends recurrent and intimate to the nature were expressed in patterns, fabrics, dyeing and silhouettes of nature. 4. The formative feature characteristics of domestic retro fashion were recurrence, purity. tradition and decoration. As retro fashion applies costumes of the past newly, it supplies unlimited possibilities to the present fashion which seeks versatility.

• Journal of Korean Library and Information Science Society
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• v.25
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• pp.143-166
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• 1996

Recently Orientalism becomes the center of public interest. So many books related to Cheon Pu Kyung(천부경) are published in Korea. But the present writer thinks that such literature doesn#t communicate us, as it is, the original meaning of Cheon Pu Kyung. Most specialists concentrate on not so much the original text interpretation as annotation in reference to Cheon Pu Kyung. If so, it is difficult for us to find out precisely the real intention of it. Consequently the present writer in the interpretation of Cheon Pu Kyung makes plans to carry out the real intention interpretation and annotation based on Cheon Pu Kyung interpretation of Seok-Kok(석곡) Lee, Kyu-Jun(이규준). Together, the contents on which this article is based on were investigated as follows: 1. words go into 2. the limit of the original text interpretation 3. why does it need the real intention interpretation of Cheon Pu Kyung 4. the interpretative limit of Cheon Pu Kyung literature 5. Cheon Pu Kyung interpretation of Seok-Kok(석곡) Lee, Kyu-Jun(이규준) 6. words go out.

• The Research Journal of the Costume Culture
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• v.9 no.3
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• pp.501-510
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• 2001

This study is focused on apparel textile design process applying pre-developed Korean traditional motifs. Since the fusion culture is in trend, Orientalism or Oriental look is the center of attraction in fashion. Under the circumstances, developing the traditional resources as sophisticated Korean-style is the goal of the BK21 team. This study makes a move to achieve the goal. As a method of accomplishing this study, 4 trendy motif samples such as stylized letter, butterfly, peony, and female face are selected after investigating fashion magazines and fashion related websites. As a result, pre-developted Korean traditional motifs are elected and revised using Adobe Illustrator 9.0. The newly revised motifs are applied to the textile pattern repeat form. The completed textile patterns are simulated on the simulated on the shawls to show their usages as one of souvenir items since the year of 2001 is the year of “Visit Korea”.