• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.184-200
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• 2013

In post-industrial society, the ability to feel and express emotion is becoming ever more important. In diverse areas of our lives such as economic, social, political and cultural activities, we are witnessing an increased application of the emotional dimension. This paper deals with the human experiences in emotional designs. Literature reviews and case analyses have been used as the main research methods. I first examine the aspects of emotional experience in designs, and then go on to analyze the components of each aspect. Emotional experience in designs has three basic aspects : (a) initially there exist user's emotional needs (b) then these emotions are delivered through design, (c) finally, emotions expressed in designs are experienced by the user. Followings are the related components for each aspect : (a) Physiological, psychological, social and cultural factors cause one to feel emotional needs. (b) Emotion is delivered either through visual symbols, experience, interaction and participation. (c) Emotion is experienced by sensing, feeling, thinking, acting and relating.

• Archives of design research
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• v.14 no.4
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• pp.127-136
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• 2001

The decay of the Old Chinese Dynasty, Tang in the 10th century caused the collapse of the political order of Southeast Asia and the neighboring countries began to try to go their own way. Japan abolished the system called "Yudangsa" and nourished the culture of Japanese style. The fang age had a respect of the′Japanese Character Culture", in which when we expressed the sound, they developed the Japanese letters ,that is, reduced Chinese characters, and systematized them as linguistic symbols and developed them into one of letter design styles. The Japanese letters which was mainly the media of the expression of the female literature were delicately shaped ′as natural materials, which finally resulted in Japan′s oldest letter modeling, Asite Letter Design Style. The Japanese letters were blended with ′Reeds around the Lake", "Sea Birds", "Birds′flying", and "Rocks", mixed with the overall shapes of the objects and assimilated into one part, and became a means for the main entertainment of the nobility such as "Singing Festival", "Conference", and "Ceremonial Events" According to the relics, the Japanese feeling of a small cosmos was represented with the fabulous skills of artifacts. In audition, "Play Painting"in the countryside is also a kind of Asite the ordinary people accepted as wit and satire. What we will have to notice is about exchange of the Chinese letter designs, when the thought focused ′on the letter design, Jobcheso was popular. The letter design Jobcheso is -a kind of letter design which represents -natural objects and was popular at the time of Yukjo Dynasty, and there are some documents of that period left both in Japan and Korea. "Hyojedo" in Korea is supposed to have been influenced by the letter design. Asite- is also considered to have been "Japanese Letter Jobcheso." Therefore, the purpose of this study is to look into the origin of the letter designs in the Chinese character culture circle, in terms of the letter design of Jobcheso.

• The Research Journal of the Costume Culture
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• v.10 no.6
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• pp.633-647
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• 2002

The purpose of this study is to observe the symbolic meaning and the values of the costume which express bisexuality through the definition from a culture point of view. The research method is to contemplate the documentary records such as world history, art history and clothing history, and to recognize the symbolic meaning of a bisexuality in modern fashion design. A definition the word´man and woman´restricted the human being for a long time. This restrict is enforced by the costume, but this traditional fixed idea is retarded by the liberal sense of the human being and the design expresses a sex ambiguity This study inspects the sex ambiguity and the meaning of that through a cultural background and a historical costume. The results are as follows: The first, the cultural background about bisexuality is classified into the etymological point, the mythologic point. the art and philosophical point, the political and economic background, the mass media, and the custome and the regulation. A bisexuality is a concept in existence from ancient times. we have an open-minded attitude about bisexuality in the present than the past. The second, the function of costume is sex classification before 20th century, but since 20th century the costume expresses sex ambiguity. The third, the symbols of the bisexuality are the interminacy, the unity and the dismantling. The costume which expresses bisexuality means coexistence of male sex and female sex. this is a kind of motion to embody a ideal body of the human being. This study makes a contribution to recognize the dignity of human body and to understand the phenomenon of modern society.

• Journal of Daesoon Thought and the Religions of East Asia
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• v.3 no.2
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• pp.71-92
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• 2024

The world we live in is becoming more convenient thanks to the inventions of science and technology. Still, the world is also becoming more and more unpredictable with the current situation of VUCA (Volatility, Uncertainty, Complexity, Ambiguity). The Covid-19 pandemic brought the biggest global disaster ever with 774,631,444 infected people and 7,031,216 deaths (WHO on February 11, 2024) but it seems that humanity is gradually forgetting this disaster. Meanwhile the economic stimulus packages worth trillions of dollars from governments after the pandemic have further caused the world debt bubble to swell. The bubble burst scenario is something that many economic experts fear. Apparently, in the transitional period of the early decades of the 21st century, the world's economic, cultural, political, social, natural, and environmental aspects have undergone profound transformations: from the real estate and finance crises in the United States since 2008; through the melting of the Arctic ice over the past several decades; to the double disaster of the earthquake and tsunami in Japan in 2011. Especially, in the context of the world economic crisis after the COVID-19 pandemic, the human achievements of the past thousands of years are in jeopardy of being wiped out in an instant. Many people are predicting a bad scenario for a chain collapse. Facing the signals of an imminent economic catastrophe based on the appearance of "the Gray Rhino, Black Swan and White Elephant," many drawn in by Eschatological thought declare that Doomsday will occur shortly. This is the time for many other people to hope for the incoming Messiah. The Messiah is said to appear when people feel despair or suffer a great disaster because faith in the Savior can help them overcome adversity mentally. This research will find out how adherents of Buddhism view and deal with civilizational crises by examining history via symbols associated with Maitreya as based upon the Buddhist Messiah, Maitreya.

• International Journal of Costume and Fashion
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• v.11 no.1
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• pp.15-33
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• 2011

The late $19^{th}$ and early $20^{th}$ centuries of Korea were the times when the Confucianism (牲理學) ideology was shaken heavily under the influences of modernism and capitalism by Western and Japanese military and political-economic forces. Under such circumstances, alteration of clothing was much influenced by ideologies than changes in social structure or technological advance. In this study, an ideology was defined as "the force which drives people into a particular social order". Ideologies were postulated as an ongoing process of socialization with dialectic features rather than being a static state. Comparative analyses on conflict structures and different clothing patterns symbolizing the ideologies of the Ruling (支配) and the Opposition (對抗) were conducted. Investigating dresses as representations of ideologies is to reconsider the notion of dichotomous confrontation between the conservatives (守舊派) and the progressives (開化派) and a recognition of Koreans' passively accepting modernity during the Japanese occupation. This may also have contributed to enlightening Koreans about modernization. Here are the results. First, the theoretical review found that ideologies were represented by not only symbols of discourse, but also dresses, and that dresses embodied both physical and conceptual systems presenting differences between ideologies and their natures, Second, during the late 19th century Korea, conflict between conservatives' Hanbok (韓服) and progressives' Western suits (洋服) was found. Moderate progressives showed their identity by "Colored Clothing" (深色衣), and radical progressives by black suits with short hair (黑衣斷髮) or by western suits (洋服). The ultimate goal of both parties was a "Modern Nation". With these efforts, pale jade green coats and traditional hats symbolizing the nobleman class was eliminated within 30 years from 1880 to 1910, and then simple robes and short hair emerged. However, the powerful Japanese army had taken over the hegemony of East Asia, and Korea was sharply divided into modernization and pro-Japanese camps. Third, during the time of Japanese colonial rule, the dress codes having set by the modernization policies during the time of enlightenment were abandoned and colonial uniforms for the colonial system was meticulously introduced. During this period, Western or Japanese-style uniforms were the symbol of the ruling ideology. In the mean time, Hanbok, particularly "White Clothing (白衣)", emerged as a representation of the opposition ideology. However, due to Japan's coercive power and strong zeal for "Great orient (大東亞)", white clothing remained as a mere symbol. Meanwhile, Reformists (實力養成論者) movement toward improving quality of life followed a similar path of the Japanese policies and was eventually incorporated into the ruling ideology. Fourth, dresses as representations of ruling ideologies were enforced by organizational powers, such as organizations and laws, and binding policies, and changes in such dresses were more significant when the ruling ideologies were stronger. Clothing of the opposition ideology was expressed as an aggregation of public consciousness. During the period, the subjects of ruling ideology and the objects who were granted modernization benefits were different although their drives for colored clothing with short hair (色衣斷髮) for modernization were similar.

• Journal of Korean Academy of Nursing Administration
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• v.4 no.1
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• pp.89-105
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• 1998

Modern organizations, both complicated and complex, operate in an economic climate of· turbulence and rapid change. And Today's healthcare environment is changing, driven by demographic, environmental. social, political and technological forces. In actual practice, the organization usually depend on several factors such as economic state of organization, managerial strategies, a synthesis of several theories that reflect individual biases, specific circumstances, and practical realities. These rapidly changing healthcare environment and professional nursing practice need a strategy for the organizational development and goal attainment. An understanding of organizational culture could help managers enhance or expand their management strategy, thus increasing the probability of their success in the organization. Organizational culture is an abstract, yet potent managerial concept. With roots in several disciplines, several perspectives and definitions of organizational culture have emerged. The concept of organizational culture has been rapidly introduced into the academic and organizational world, with the much attention to the excellent companies that have continued rapid grow th despite the overall world economic recession in the late of 1970s. Organizational culture is the combination of the symbols, language, assumptions, and behaviors that overtly manifest an organization's norm and values. It is the taken-for-granted and shared meanings people assign to their social surroundings that can have a profound effect on an organizaitonal decision making and performance. For attaining a organizational goal and developing organization, it is necessary to put emphasis on developing organizational culture. It has to set organizational culture well understood by its members as an instrument to achieve the organizational goals. Both Manager and staff can focus and act on the values identified. Also, managers will exhibit better decision making capabilities because they are guided by perception of the organizational values. Therefore, understanding of organizational culture could give a strategy for organizational development that assist hiring personnel, orienting new comers, facilitating organizational change and promoting learning and so on. But their is few study on nursing organizational culture in Korea. Moreover they have not had a clear definition of Korean nursing organizational culture. Therefore, it is necessary to lay down definition of Korean nursing organizational culture and fine out real factor of Korean nursing culture. For defining a definition of Korean nursing organizational culture, this study assessed several definitions of organizational culture, factors of culture, types of culture, and functions of culture through book review.

• Journal of the Korean Geographical Society
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• v.42 no.4
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• pp.560-581
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• 2007

The purpose of this paper is to present a conceptual framework and a stage of development of trust building and to study the factors affecting on the trust building in economics space. Conceptual framework on trust building in economics space is combined of in the three approaches. The macro(structural and institutional) approach includes normative and regulative factors(laws, norms), and positionality in social and economic systems(beliefs, political ideologies, institutions). The meso(intersubjective) approach contains the personal fronts(expressive factors, social cues, significant symbols) and settings(physical space, intermediary such as technologies & knowledges). The micro(subjective) approach comprises the willingness(internalization of value) and calculation(risk and uncertainties analysis) of economic actors. According to sustainable cooperation among economic actors, trust building to the macro(structural and institutional) level, the meso(intersubjective) level, and the micro(subjective) level develop by stages. The factors such as long-term and repeated interaction, information sharing and reciprocity, interdependence and asset specificity, uncertainty, proximity, and culture & norm of corporate and formal institution are determinants on the trust building across economic actors in economic space.

• Cartoon and Animation Studies
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• s.45
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• pp.479-512
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• 2016

This is a practice-based research, aiming to explore the experiments of Animated Documentary, which is a unique form can explore the mysteries and complexity of memories. Animated Documentary is a medium through which one can reveal an individual's memories within the context of a narrative that is historically situated and influenced. The marriage of animation and documentary gave birth to a new form of film. How to category this new form? Is it an animated short or documentary short? In fact, this raises issue that questioning the nature of animation and documentary. From Shuibo Wang's works, more young Chinese artists began to experiment with symbols (related to the Political Pop Trend) in visual narration, which could also be seen as a reflection of structuralism and semiology in the contemporary Chinese art field. As a case study, this paper demonstrates how animated short "Ketchup" revealed the problems of youth and social turmoil through the memories of a six-year boy. On the Festivals and conferences, the publics were shocked to know "Ketchup" based on true memories, and they were more curious why the crucial things almost be forgotten. Actually forget fulness is one of the layers of memories and Animated Documentary will offer a new way to explore how our memories are shaped.

• The Journal of Korean Philosophical History
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• no.57
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• pp.57-90
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• 2018

In this discussion, as a way to verify the existence of the system to regulate Zhou dynasty's $z{\bar{o}}ng-mi{\grave{a}}o$(宗廟) numbers, the discussion was focused on '$mi{\grave{a}}o$ (廟)' and '$g{\bar{o}}ng$(宮)' in the records of "$Ch{\bar{u}}n-qi{\bar{u}}$(春秋)". As for the parts where the contents of scripture sentences were not specific, the context of the case was investigated through the writings in "$Zu{\breve{o}}-zhu{\grave{a}}n$(左傳)" and other materials. In the cases of the usage of the letter, '$mi{\grave{a}}o$(廟 : a ruler's house, a nation's royal court)', in the scripture sentences in "$Ch{\bar{u}}n-qi{\bar{u}}$(春秋)", the followings need to be noticed. In $t{\grave{a}}i-mi{\grave{a}}o$(太廟) of State $L{\check{u}}$(魯), nationwide events and a ruler's political ancestral rite, $d{\grave{i}}$(?) ritual, were performed, and fancy tools for ancestral rites used in those rituals were equipped. As for the $z{\bar{o}}ng-mi{\grave{a}}o$(宗廟) of a ruler of those times, a ritual of royal court, $ch{\acute{a}}o$(朝) rite, was performed. The usage case of the letter, '$g{\bar{o}}ng$(宮 : house)', is as the following. In $g{\bar{o}}ng$(宮) where a ruler's personal family lived was a family ancestral rite for them carried out. The record about the ornate decorating for the $hu{\acute{a}}n-g{\bar{o}}ng$ house(桓宮), which can be said to have been the political base of $s{\bar{a}}n-hu{\acute{a}}n-sh{\grave{i}}$(三桓氏), three politically noble families of State $L{\check{u}}$(魯), is outstanding. The $x{\bar{i}}-g{\bar{o}}ng$ house(西宮) during $X{\bar{i}}-g{\bar{o}}ng$(魯 僖公)'s reign and a $x{\bar{i}}n-g{\bar{o}}ng$ house(新宮 : a newly built house) destroyed by fire at the third year of $Ch{\acute{e}}ng-g{\bar{o}}ng$(魯 成公), are assumed to have been a ruler's another house, such as the $ch{\check{u}}-g{\bar{o}}ng$ house(楚宮) in which $Xi{\bar{a}}ng-g{\bar{o}}ng$(魯 襄公) used to enjoy staying, which is different from the viewpoint that it might be a $m{\acute{i}}-g{\bar{o}}ng$ shrine(?宮 : a house constructed as a shrine for the deceased father or the deceased grand father) that had been formed since Han dynasty. It has been discussed that, regarding the records that the '$w{\check{u}}-g{\bar{o}}ng$ house(武宮) was built' and that the '$y{\acute{a}}ng-g{\bar{o}}ng$ house(煬宮) was built', certain buildings were established with the symbols of '$w{\check{u}}$(武 : martial arts and force of arms)' and '$y{\acute{a}}ng$(煬 : to burn and get rid of everything)', and the events that a lord stood as its lord continued. Therefore, its main goal was not the performance of a dutiful ancestral rite by a ruler of those times for deceased rulers, for instance, $W{\check{u}}-g{\bar{o}}ng$(魯 武公) or $Y{\acute{a}}ng-g{\bar{o}}ng$(魯 煬公), but display of certain political symbolism through the ritual. This symbolism is most obvious with the $hu{\acute{a}}n-g{\bar{o}}ng$ house(桓宮) and the $x{\bar{i}}-g{\bar{o}}ng$ house(僖宮). As a consequence, all $mi{\grave{a}}os$(廟) and $g{\bar{o}}ngs$(宮) in scripture sentences had the functions of a shrine in some part, but it has been verified that they were not the buildings set up as a shrine to follow '$z{\bar{o}}ng-mi{\grave{a}}o$(宗廟)'s number regulation system' of '$ti{\bar{a}}nz{\check{i}}-7-mi{\grave{a}}o$(天子七廟 : an emperor owns seven $mi{\grave{a}}os$(廟))' or '$zh{\bar{u}}h{\acute{o}}u-5-mi{\grave{a}}o$(諸侯五廟 : a lord owns five $mi{\grave{a}}os$(廟))'.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.63-73
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• 2014

This study was intended to analyze the correlation between the builder's intentions and the colors that are revealed through the analysis of the manifestation of symbolic colors as the signs and symbols that are shown in the traditional space of Soshaewon as one of the representative retreating villa gardens of Chosun Dynasty and the interpretation of the meanings. The research on the traditional colors and the intended background of Soshaewon and so on was conducted by examining the relative literature and the contents as the objects for the empirical analysis were the scenic beauties and spatial elemnts that are shown in the plan of Soshewon and the poems about Soshewon 48 scenes as well as the contents of the poems related to Five Primary Colors that are used based on "the Ideology of Five Elements of the Positive and Negative". Espectially, this study was conducted by dividing the spatial elements shown in Soswaewon broadly into the visual, synesthetic and symbolic & cognitive spaces in order to classify the locations and directions of the spaces and natural objects as the visual space, the seasons, the points of times and the five sensory organs as the synesthetic space and the "Four Moral Begginings" & the "Seven Emotions" of New Confucianism as the symbolic and cognitive space and by analyzing if there are any correlation between the decided intentions and the spatial meanings that are revealed by analyzing the system of five primary colors which are used in each spatial element.7) As a result from the analysis of the colors that are used based on the three spatial components of Soshaewon, it was found that one of Five Primary Colors were used 74 times in total. First, in the visual spatial component, one of the colors was used 18 times in total including 2 times of blue, 1 time of red, 6 times of yellow, 4 times of white and 5 times of black. The fact that yellow symbolizing the source of everything and white symoblizing cleanness and pureness are used relatively more often than blue and red symbolizing nature and life respectively can be interpreted that the builder, Mr. San-bo Yang's intention to build Soshaewon is related to the meaning symbolizing the pure will of the builder who wanted to seclude himself from society rather than to give priority to enjoying nature. Second, in the synesthetic spatial component which are selected from the 48 scenes of Soshaewon, one of Five Primary Colors was used 38 times in total including 11 times of blue, 8 times of red, 4 times of yellow, 5 times of white and 10 times of black. Since blue and red symbolizing nature and life respectively are used more often than yellow and black symbolizing the source of the world and pureness & knowledge respectively, it was interpreted that the builder means to be faithful to the unique basic functions of the retreating villa with which the builder wanted to enjoy his passion for enjoying nature and exploring knowledge even though the builder built the villa garden for the purpose of keeping himself pure while being unstained by the world. Finally, it was analyzed that one of Five Primary Colors was used 18 times in total including 4 times of blue, 5 times of red and 9 times of white in the symbolic and cognitive spatial components of the 48 scenes. Since it was found that white symbolizing the builder's political pureness is used at the same frequency as blue and red symbolizing nature and life respectively are used as a result from the analysis, it was interpreted that the intention of creating Soshaewon was emotionally revealed at the same percentage in the aspects of his political pureness and enjoyment of nature through his poems. Especially, as a result from such 3 kinds of analyses regarding to the frequency of using Five Primary Colors, it was found that the number of times using Five Primary Colors in the synesthetic spatial component was 38 as the highest percentage, around 51% followed by each 18 times as the24.5% respectively in the visual and cognitive & symbolic spatial spaces. Based on such results, it can be interpreted that the builder, Mr. San-bo Yang's intention of creating Soshaewon sympolizes that his intention for enjoying the basic nature and the vitality of nature within the retreating villa garden is hidden at the same proportion as his intention for keeping himself pure from the unrightful world. It was intended to reveal the traditional colors which are hidden in a traditional retreating villa by analyzing the correlation between the symbolic meanings and the spatial components of Soshaewon based on the Five Primary Colors which are originated from the "Ideology of the Five Natural Elements of the Positive and Negative", but it is thought that it is possible to explore whether such a theory can be generally applied to other kinds of retreating villa gardens or not through a study on other retreating villa gardens as other examples in which the builder's apparent pure intentions, such as enjoyment of nature and persuit of study, etc., unlike Soshaewon are hidden.