• Journal of The Korean Association For Science Education
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• v.38 no.5
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• pp.721-738
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• 2018

Nature of Science(NOS) has been a well-organized focus of science education and one of the key elements in defining and cultivating scientific literacy for more than a century. In recent years, a specific description of NOS, which is often known as 'the consensus view of NOS', has become very influential and has gained ready acceptance as an arrangement for both curriculum building and research into understanding of NOS by students and teachers in many countries around the world. This study has two purposes; one is to review some debates and criticism on the consensus view of NOS which consists of a list of sentences to describe nature of refined and general science, which have been heated up for the last few years by many prominent science education researchers, and the other is to consider alternative perspectives on NOS for the purpose of a new direction of NOS education. As a result of an investigation into such views as 'Teaching about NOS', 'Critical NOS', 'Critical Thinking-NOS', 'Whole Science', 'Features of Science' and 'Reconceptualized Family Resemblance Approach to NOS', some implications which focus on the generality and plurality of content knowledge of NOS based on current philosophy of science and sociology of scientific knowledge are suggested for the improvement of teaching and learning NOS.

• Journal of the Korean Society of Costume
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• v.14
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• pp.167-183
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• 1990

As an attempt to view Chason costume from a aesthetic perspective, the aesthetic values of the Choson people, as expressed through the aesthetic characteristics of costumes, are pursued in this study. To appreciate the beauty of the traditional Korean costume, the following aesthetic characteristics of Choson costumes are investigated: form, color, pattern, material and ornament. From the view point of aesthetics, this study shows that Choson costume had comfortable and voluminous forms with beautiful curved lines and rhythm. The most favored colors were white and natural colors of materials. However unusual combination of colors such as the contrast of black and white, the harmony of the primary and rainbow colors were often used. Patterns revealed two aspects : while subdued patterns generally prevail, at times the unexpected beauty of primary colored patterns draws our attention. Smooth natural materials were preferred. Ornaments both for practical and decorative purposes were used together with certain colors and patterens, indicating wearer's status and warding off the evil's spirits. The aesthetic values in costumes as expressed through the aesthetic characteristics can be classified into the following categories: the beauty of nature, the beauty of personality, the aesthetics of evil's eye and the beauty of tradition. The beauty of nature, as appreciated by the Chason people through their prevailing nature, the "Pung-rew Spirit" and through their Worship of Heaven, produced aesthetic characteristics in harmony with nature. The beauty of personality influenced by the ethical standard of Confucianism produced aesthetic characteristics in costumes, through which the appropriate personality was shown for the appropriate social status. On the other hand, the aesthetics of evil's eye, rooted deeply in Folk religion and Shamanism, contributed to various aesthetic characteristics, which strongly inclined to sorcery and symbolism through choice of patterns, colors and ornaments. Finally, the beauty of tradition, which was based on the ethics of Confucianism and the Choson people's conservative tendencies, demonstrated the strong tendency to adhere to the external characteristics of the Choson costume. These aesthetic values were the yardsticks of the aesthetic judgment of the Choson people. These values influenced Chason people in designing costumes and in appreciating the beauty of costumes. The aesthetic experience and attitudes of the Chason people, which were based on these aesthetic values, represented their aesthetic consciousness and desires.

• Cross-Cultural Studies
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• v.21
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• pp.7-29
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• 2010

Young Tolstoy, when he was an already well-known writer, accomplished his first overseas travel in 1857, which gave him imaginable opportunities to compare his country's social strata with others such as serfdom, monarchical Russia and industrial and capital Europe. The present story is, indeed, the work which is influenced by those experiences by young Tolstoy during his first journey into Europe. Written in the form of booklet-like-small-piece, rather than an artistic work, the text presents the writer's severe criticism on the world of nature and civilization. Close to the nature itself, narod are those common people for Tolstoy, and they represent love, while the nature creates a necessity to love, hope and bottomless happiness of life. On the contrary, the civilized or civilization itself is considered artificial, willy, reasonal, and erotic congruity among people. For the writer, the most unsafe and ugly, seamy side of the westernized society is a lack of necessity to unify people to people. Though in its early embryonic stage, young Tolstoy's worldview is reflected in this work, especially his sharp tongue on the western people and their society is also detected when the write imposes his message under the mask of a gypsy singer. In addition, the narrator who seems an obvious Tolstoy's mouthpiece delivers his own ideas and impression on the western world, history, art, and literature. For this very reason, the present work contains numerous signs from which the reader is able to interpret, understand, and figure out what young Tolstoy imposes for his work.

• Korean Institute of Interior Design Journal
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• v.26 no.6
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• pp.13-23
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• 2017

The purpose of this study is to analyze the expression method according to the planning of townhouse and the healing method that affects residents for communicating with natural environment, in order to propose resident-focused communication with nature for healing. The results are as follows. First, the expression of nature elements can be divided into 'direct' and 'indirect' and healing effects through nature can be divided into 'body' and 'psychology'. The healing method of residents through nature was classified into physical and psychological healing through openness, familiarity, comfort, and stability. Second, as an expression method according to townhouse planning, the arrangement plan induced active communication with nature through the arrangement according to topography and a common garden. In terms of construction plan, a bigger window or door than that of other residential spaces was installed on a wall, ceiling or opening to directly bring the nature of outside visually for more communication. Third, with regard to healing methods of townhouse, 'openness' which reduces depression and increases self-esteem, expands the view of residents. 'Familiarity', the healing method that can relieve the fatigue of eyes and bring psychological warmth and comfort, makes us feel familiar through the pattern and texture of woods and stones that are natural materials. 'Comfort' which heals residents by creating an outside space and bringing the nature elements through a huge window can provide psychological healing such as eased tension in daily life as well as physical healing such as vitamin D synthesis and the recovery of physiological function. Also, 'Stability' gives a comfortable feeling by applying the colors of finishing materials inside or seeing the colors of surrounding nature as it is through big windows. Finally, in order to support the results of this study more objectively, a follow-up study conducting a survey on the residents of townhouse is needed.

• The Journal of Korean Philosophical History
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• no.29
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• pp.231-253
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• 2010

Xiang-xiu(向秀) tried to find compromise between naturalness(自然) and Confucian ethical code(名敎), the individual consciousness and the group consciousness in the Wei-Jin(魏晋) dynasty. He made his views on the human nature through the revealing of desire and morality of human. Xinag-xiu considered that the human nature comes from the ultimate principle of the nature(自然之理), so it's possible to provide reasonable basis to the meaning of the 'desire' and 'morality'. Furthermore, the 'desire' is regarded as the driving force of human life through the reasonable cognition, at the same time he insisted that we should control our passions by sociality and the social norm. So in the view of Xiang-xiu, the human nature has two characteristics, such as the principal of the driving force of human life and the control of the base desires and the negative desires. It could be confirmed by his opinions about the following human's nature and sticking to our last in the his Zhuangzizhu( 莊子注). Through the perspective of the human nature, Xiang-xiu emphasized the unification of the unaffected human nature and morality(sociality), the desire and the social norm.

• The Journal of Art Theory & Practice
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• no.15
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• pp.7-30
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• 2013

This is a study on the ecological view of Robert Smithson's reclamation projects. Smithson was a pioneer of Earth art in the late 1960's. Robert Smithson believed that he could transform industrial wastelands, such as an abandoned oil rig and a no longer used quarry, into "Earth Art." In the early seventies, he conceived of land reclamation as a new art form and called this art "Reclamation Projects." His attention regarding industrial ruin started from the American political and social situations in the 1960's. In the late 1960's, American society was in chaos from the right of movement of African Americans, the women's rights movement and from the strike for renunciation of the Vietnam War. The intellectual class seemed to believe that it was the destiny of a closed system's society to run in the direction of entropy. Smithson, who was skeptical about the system of American society, also thought that entropy was the proper diagnosis to describe America's situation in the 1960's. The 1960's civic movements like the civil rights movement and antiwar movements expanded into the environmental movements based on ecological views of the 1970's. The government had also started to worry about environmental pollution. Thus, the reclamation act was also established in 1972. Smithson believed that the relation between art and social background are closely related and affect each other. He was concerned with how art can join society, and the result was reclamation projects. Such reclamation projects lie on man-made wastelands, like abandoned oil rigs and no longer used quarries, which was an allegory of entropy. He also thought that Frederick Law Olmsted was a pioneer of earth art. The aesthetic category of Olmsted's view of landscape is to be based on the picturesque of Uvedale Price and William Gilpin. So Smithson, who considered Olmsted as his touchstone, also accepted the picturesque. Such reclamation projects aim to change with nature by adapting the creative power of artists to the ruin which has the highest level of entropy in industrial society. Smithson wanted this to become the bridge between man and nature. His reclamation project's aim, which shows the system interacting between man and nature as a network, is not different from the ecological view of the 1970's environmental movement.

• Journal of Physiology & Pathology in Korean Medicine
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• v.16 no.1
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• pp.1-7
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• 2002

The development of life science has given many insights into life phenomenons to mankind. Nevertheless, many questions for various phenomenon in life has not been satisfied. Recently, scientific development in human's knowledge showed the limitation of science comparing With the variety of life phenomenon. The fundmental reason of the limitation is thought that the subject of study in life science has been material, and so life has been thought a matter of material in life science. The thought of Hu Jun about this problem, the nature of living things is an important interest in Korean Traditional Medicine, Haneuihak(韓醫學). In this study, the view of human body and disease of Hu Jun(許浚) about the nature of living things which was appeared in 『Donguibogam』 was illuminated. The content of 『Donguibogam』 was edited in the order of Naekyung(內景篇; internal part of the body)ㆍOuihyung(外形編; external part of the body)ㆍJabbyung(雜病篇; diseases)ㆍTangaek(湯液偏; medicinal decoction)ㆍChimgu(針灸篇; acupuncture and moxibustion). The part of Naekyung(內景篇; internal part of the body) is thesis about basic theories and his thought about human body and life, which was seen in ‘Shinhyungjangbu-do(身形臟腑圖; figure of body and shape, and the organs and viscera)’ㆍthe part of ‘Jeong(精)’ㆍ‘Gi(氣)’ㆍ‘Sin(神)’ theory. In this study, the parts which were related with his view of life were selected and compared with the China philosohy of those days to elucidate what is his thought of life appeared in 『Donguibogam』.

• Informatization Policy
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• v.23 no.2
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• pp.3-18
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• 2016

Radical paradigm shift is being expected due to the coming of the so-called intelligent society. In the intelligent society, things or machines are able to use intelligence for the first time in history and this will bring about fundamental changes at every corner of human society. This article analyzes views of the world in order to figure out basic directions of this paradigm shift. A dualistic view of world mediated by technology is suggested for a new world view of the intelligent society, based on comparison of a traditional dualistic view of world between human-nature and a tripartite view of world between human-machine-nature. This article summarizes paradigms of the intelligent society into four ; externalization of intelligence, productivity explosion, platform society, and self-organizing society. These new paradigms will provide lots of benefits such as intelligence augmentation, production capacity increase, and self-organizing effect. But at the same time, it will increase risks of system failure because of loss of human control on technologies. In conclusion, it is argued that human choices and efforts will decide the future of the intelligent society becuase the paradigm shift is value neutral in essence.

• Lingua Humanitatis
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• v.6
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• pp.51-75
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• 2004

Is there a pattern in history? How and why does social change occur? Are we to distinguish between the methods to be employed in the study of man and the study of nature? How does linguistic, or 'philological', knowledge contribute to unearthing historical facts? These are the queries that Vico grappled with throughout his life. Vico, however, was an outsider to the intellectual atmosphere of his own day, dismissed as obscure, speculative, and unsound. Only after his death did he begin to inspire enthusiasm among diverse readers, and as long as we remain concerned with the queries mentioned above, Vico's reflections will come alive with contemporary relevance. Actually he has been regarded as the founder--unrecognized by his contemporaries--of the philosophy of history and as a thinker whose ideas anticipated such later intellectual movements as historicism, pragmatism, existentialism, and structuralism. There are many among modern minds who find Vico fascinating for his view of myth as concrete thought and of an age of myth as a necessary age in the intellectual evolution of the human race. James Joyce, for one, was deeply impressed by Vico's view on myth, on metaphor, on Homer, on language, on psychology, and much else besides. 'My imagination grows when I read Vico,' he once confessed, 'as it doesn't when I read Freud or Jung.' Some philosophers, critics, psychologists, social scientists and even geographers would describe themselves as 'Vichians', sharing the view that Vico was a poet and a lawyer, a platonist and a baconian rolled into one. His refusal to be confined within any one discipline, his imaginative effort to understand different cultures, and his insight in dealing with some fundamental problems in the study of humanity all compel admiration and deserve to be emulated in our age--an age when the split between the literary and the scientific approaches to the understanding of society is widening into a chasm. Vico has left some of his most important ideas underdeveloped or even undeveloped, to be excavated and polished by us afier our own fashion. It is surprising that Vico is still a man of obscure name in the academia of our country, Korea.

• Journal of Korean Philosophical Society
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• v.139
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• pp.239-263
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• 2016

Today manny contemporaries struggle to live because they disregard essential matters and indulge in materialism. They should not pursue wealth and prosperity and ought to find true meaning of life by studying death where one can reveal the essence of life. Zhuang Zi transcended death. His view of death is magnificent. This dissertation has ruminated on how contemporaries live and established righteous view of life and death on the basis of that. In addition, this study has researched what implications his view of death suggests to us today. There is no study as good as death. There is no great teacher as good as death in life. Studying death is studying a life. We can find life meaning and value through death. The matter of death is prone to be thought that a solution can be got only though existing religions. However, when it comes to Zhuang Zi's death, the matter of death can be resolved, not relying on religions. Zhuang Zi has played a role of our taking death in a positive way and relieving the fear of death. He has taught us that it is well off to adapt to the change of nature, leading to meeting our death in comfort.