• Archives of design research
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• v.20
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• pp.1-10
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• 1997

In 1990s with the increasing of consumers' standard of life and change of life style, there has been an increase of import from overseas license brands and a new participation of big enterprises, as well as small and medium enterprises in local fashion market. As a leading fashion company with a long tradition and technique, the INDIAN brand of Sejung Inc. needs to establish a new image to preoccupy relative superiorty in the competition with other brands and satisfy future consumers in the present situation of 1990s. Therefore, for developing of its image, we made an investigation of three-dimentional marketing about business environment, and after setting up the B.I concept, we initiated to express a visual image. Through a made-up question after the completion of those works, we decided our logo mark and completed the entire design system, including the basic and applied elements of main design items of INDIAN B.I Finally, to maximize the effect of the brand identity, it is necessary for us to keep the principles in making the shape of design, to take care of them thoroughly, to make all the members' thinking and behavior unite concerned with the brand, and to execute continuous educational programs for practice of B.I. conciousness with the public relations when B.I. will be appeared on the market.

• Asian Journal for Public Opinion Research
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• v.4 no.3
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• pp.123-165
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• 2017

In this paper, we look at mediation of public policies in different areas of governance. Editorials appearing in an Indian English language newspaper during the period of an intense public debate on the issue of affirmative action in favor of a section of the population, the Other Backward Classes (OBC) - a popular reference to the socially and educationally backward classes of citizens under India's constitution constitute the sample for the study. Apart from editorials on the public policy of reservation of seats in admission to higher education institutions for the OBC, editorials on three other areas of governance, namely, development, economy, and public administration appearing in the same newspaper, are also consulted to understand media framing of social issues and more specifically, issues of social justice. Inductively identifying the various frames used in its editorials by the newspaper, I detect predominant use of 'personalized' frame in respect of editorials pertaining to the policy area of social justice; and distinguish it from the 'generic' frame of 'characterization' found in theory. The study concludes that the sample editorials in respect of other public policies did not use the personalized frame found in editorials on social justice.

• The Journal of Art Theory & Practice
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• no.4
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• pp.181-202
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• 2006

"When it comes to art, nationalism is a goodticket to ride with", says the title of a report in the Indian Express (Mumbai, 29 Oct 2000). The newspaper report goes on to say that since Indian art was kept "ethnic" by colonialism, national liberation meant opening up to the world on India's own terms. Advocacy, at the tail end of the 20th century, would contrast dramatically with the call by Rabindranath Tagore, the founder of the academy at Santiniketan in 1901, to guard against the fetish of nationalism. "The colourless vagueness of cosmopolitanism," Tagore pronounced, "nor thefierce self-idolatry of nation-worship, is the goal of human history" (Nationalism, 1917). This contrast is significant on two counts. First is the positive aspect of "nation" as a frame in art production or circulation, at the current point of globalization when massive expansion of cultural consumers may be realized through prevailing communication networks and technology. The organization of the information market, most vividly demonstrated through the recent FIFA World Cup when one out of every five living human beings on earth watched the finals, is predicated on nations as categories. An extension of the Indian Express argument would be that tagging of artworks along the category of nation would help ensure greatest reception, and would in turn open up the reified category of "art," so as to consider new impetus from aesthetic traditions from all parts of the world many of which hereto fore regarded as "ethnic," so as to liberate art from any hegemony of "international standards." Secondly, the critique of nationalism points to a transnational civic sphere, be it Tagore's notion of people-not-nation, or the much mo re recent "transnational constellation" of Jurgen Habermas (2001), a vision for the European Union w here civil sphere beyond confines of nation opens up new possibilities, and may serve as a model for a liberated sphere on global scale. There are other levels of collectivity which art may address, for instance the Indonesian example of local communities headed by Ketua Rukun Tetangga, the neighbourhood headmen, in which community matters of culture and the arts are organically woven into the communal fabric. Art and collectivity at the national-transnational level yield a contrasting situation of, on the idealized end, the dual inputs of local culture and tradition through "nation" as necessary frame, and the concurrent development of a transnational, culturally and aesthetically vibrant civic sphere that will ensure a cosmopolitanism that is not a "colourless vagueness." In art historical studies, this is seen, for instance, in the recent discussion on "cosmopolitan modernisms." Conversely, we may see a dual tyranny of a nationalism that is a closure (sometimes stated as "ethno-nationalism" which is disputable), and an internationalism that is evolved through restrictive understanding of historical development within privileged expressions. In art historical terms, where there is a lack of investigation into the reality of multiple modernisms, the possibility of a democratic cosmopolitanism in art is severely curtailed. The advocacy of a liberal cosmopolitanism without a democratic foundation returns art to dominance of historical privileged category. A local community with lack of transnational inputs may sometimes place emphasis on neo-traditionalism which is also a double edged sword, as re kindling with traditions is both liberating and restrictive, which in turn interplays with the push and pull of the collective matrix.

• Journal of People, Plants, and Environment
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• v.23 no.5
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• pp.577-587
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• 2020

Background and objective: Plants in temples are the results of cultural symbolization that embraces the experience and enlightenment of humans about life. As a way to improve the acceptance of the foreign religion, China gave cultural symbolization to plants in temple gardens through integration with traditional cultures and the understanding of the nature of plants themselves. This study aimed to identify cultural symbolism and signs of acculturation associated with Buddhist plants, targeting Bolisu, the most essential and symbolic plant in temple garden forests in China and Korea. Methods: The morphological and ecological characteristics of plants, functions, the texts that contained the history of Buddhism and literary works were examined through literature review, and the relation of Ficus religiosa with its planting conditions and nature, and Buddhist culture was explored. In addition, the cultural value of Buddhist plants themselves in establishing temples and the reason why Bolisu was planted in temples were reviewed through time series analysis. The obtained results were interpreted using an inductive method to identify substitutes for F. religiosa, cultural symbolism and signs of acculturation. Results: F. religiosa as one of the three holy trees and the five trees and six flowers in Buddhism is known as the original Bolisu. Since it grows well and is widely distributed in regions that accepted Indian Buddhism, it became the most representative holy tree in Buddhism. From the perspective of tree shape and nature, F. religiosa is in line with the Buddhist spirit of saving those in need with mercy and redeeming mankind, and figuratively shows that perfection can be attained like the fruit of Bolisu. Chines Buddhism had adopted highly symbolic plants for a long period of time as a means to spread the same belief and doctrines as Indian Buddhism. In China, however, there were only limited areas suitable for the growth of F. religiosa, and for this reason, borrowed Bolisu trees including Tilia. miqueliana, T. mandshurica and T. amurensis and other plants such as F. virens Ait. var. sublanceolata, G. biloba and M. alba were planted as a substitute in most regions, having been given with symbolism and belief as Bolisu. Conclusion: Chinese Buddhism planted the same plants as Indian Buddhism in order to enhance symbolism and also similar substitutes to express the same symbolism. This is a kind of acculturation and its influence and customs were not limited to China, but were introduced to Korea, The difference between China and Korea was that G. biloba was excluded from the substitute for Bolisu in Korea.

• Journal of the Korean Society of Costume
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• v.57 no.6 s.115
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• pp.101-111
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• 2007

The purpose of this study is to examine the features of the conversational patterns presented on the fashion in the early 2000's and analyze it from cultural view. The expression of the patterns is a result of a creative aesthetic activity, mental activity, and the reflection of the common cognition. And the fashion is a part of the life environment. So the patterns presented on the fashion provides a clue to figure out the common unconscious sense for explaining the culture. The patterns have been expressed with different methods belonging to each culture such as weaving and prints. And those of the each cultural group have been communicating each other. The silk came to the Europe in the 6th century. The textile industry which flourished since 15th century. And they shows the chinoiserie or indian prints, not only the european culture. We can observe that the exchange of the techniques and cultures between cultural groups like the east and the west, and the presentation of the patterns is a way to express their own desires. The patterns presented after 2,000 can be classified by the form and the contents. But, more specifically, the patterns classified by the contents, which is Conversational design, can be categorized as followed according to the origin; reflecting cultural identity, Popular culture, Lohas lifestyle, and art movements. Which can be summarized as that the people have more interest on the different cultural group, diversity, retrospectiveness, and exoticism, which the patterns originally belonged to than on the form itself.

• Korean Journal of Human Ecology
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• v.3 no.1
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• pp.1-14
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• 2000

This paper is on the Kasaya that reveals conspicuously the religious meaning among the Korean Buddhist costumes. The Kasaya has the most special meaning among Korean costume culture. It has the most important historical value, for Buddhism is the oldest religion that begins at 4th century A.D.. It has the most unordinary shape that we could not find any other costume culture. It has very important meaning to study on the Kasaya in the religious and cultural history of Korean costume. We have to study Korean Kasaya from surveying Indian Buddhist Kasaya diachronicaly. Buddha establishes himself the rules of weaving, coloring and wearing Kasaya. Bunso costume(분소의)is the first shape of Kasaya that he has worn during his ascetic practice. Bunso costume was a kind of shari. It is made with diapers those clean ordure of baby It symbolizes the life of ascetic practice. However Buddha could not stick to it as the only costume of monks. From his age Buddhist devotees have thought Buddha and monks as sacred beings. So they eagerly want to Provide the sacred beings with foods. clothes and other things that samgha(승가) need to live and accomplish their duties. At that time there are many kings, aristocracies and rich merchants among the devotees. They often offered them the luxurious silk Kasaya. that the ascetic monks could not wear. to express their deep faith. So the rules of the samgha has been distorted. The samgha has enlarged day by day as a great huge religious association. There are many different shapes of Kasaya. The Buddhist samgha need to establish a minute and rigid rules of Kasaya to order living of monks and to teach the moral and educational life to ordinary people. That book of rule is Vinaya pitaka(율장) . There are many kinds of Vinaya pitaka. This paper surveys the rules of Kasaya from Southern Vinaya pitaka(남전율장). This study will be the basic ground to research the Korean Buddhist Kasaya.

• Strategy21
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• s.37
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• pp.144-176
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• 2015

In September 2013, President Park Geun-hye announced her controversial "Look North" policy, of which the most salient aspect is the "Eurasia Initiative". This comprises various proposals designed to overcome existing constraints by developing new markets and creating new economic partners in continental areas from which South Korea has been alienated since the end of World War II, and this dovetails nicely with China's One Belt, One Road Initiative. The concepts of the "Silk Road Rail Express (SRX)" and the "East Sea Rim Maritime Community (ESRMC)" have also been discussed. SRX is at present a purely symbolic railroad project intended to encourage individual, cultural, trade and diplomatic exchanges. ESRMC is a model for establishing an ad hoc community to promote regional economic cooperation around the East Sea. President Park's Eurasia Initiative will provide South Korean investment for the Northeast to complement Russian plans, like the "Northern Energy Road" being built by Gazprom, and Chinese plans, like the Chang-Ji-Tu Development Plan for the North Korean port of Rajin. China's trade, as well as its energy and food supplies, pass through the Strait of Malacca and the Indian Ocean, and are thus vulnerable to interdiction by India or the US. China is therefore trying to reduce its exposure geopolitical risk by establishing a network of corridors between the Belt and the Road to provide alternative paths. The "China-Pakistan Economic Corridor" and the "China-Myanmar Economic Corridor" provide such connections, and South Korea hopes that SRX and ESRMC can become part of a "China-South Korea Economic Corridor". This concept could do much to revitalize the underdeveloped northern provinces of China and Russia's Far East, not to mention North Korea. By linking up the Trans-Siberian Railway, the Trans-China Railway, the Trans-Mongolian Railway and the Trans-Korean Railway all these Asian countries will be connected to one another, and ultimately to Europe. An interim connection between China and South Korea using a rail-ferry has also been proposed.

• Journal of the Computational Structural Engineering Institute of Korea
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• v.36 no.5
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• pp.295-305
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• 2023

This study introduces a smoothed finite-element implementation into the phase-field framework. In recent years, the phase-field method has recieved considerable attention in crack initiation and propagation since the method needs no further treatment to express the crack growth path. In the phase-field method, high strain-energy accuracy is needed to capture the complex crack growth path; thus, it is obtained in the framework of the smoothed finite-element method. The salient feature of the smoothed finite-element method is that the finite element cells are divided into sub-cells and each sub-cell is rebuilt as a smoothing domain where smoothed strain energy is calculated. An adaptive quadtree refinement is also employed in the present framework to avoid the computational burden. Numerical experiments are performed to investigate the performance of the proposed approach, compared with that of the finite-element method and the reference solutions.

• Asian Pacific Journal of Cancer Prevention
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• v.16 no.10
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• pp.4291-4295
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• 2015

Background: Chemokines and their receptors influence carcinogenesis and cysteine-cysteine chemokine receptor 5 (CCR5) directs spread of cancer to other tissues. A 32 base pair deletion in the coding region of CCR5 that might alter the expression or function of the protein has been implicated in a variety of immune-mediated diseases. The action of antiviral drugs being proposed as adjuvant therapy in cancer is dependent on CCR5 wild type status. In the present study, distribution of CCR5${\Delta}32$ polymorphism was assessed in North Indian esophageal cancer patients to explore the potential of using chemokine receptors antagonists as adjuvant therapy. Materials and Methods: DNA samples of 175 sporadic esophageal cancer patients (69 males and 106 females) and 175 unrelated healthy control individuals (69 males and 106 females) were screened for the CCR5${\Delta}32$ polymorphism by direct polymerase chain reaction (PCR). Results: The frequencies of wild type homozygous (CCR5/CCR5), heterozygous (CCR5/${\Delta}32$) and homozygous mutant (${\Delta}32/{\Delta}32$) genotypes were 96.0 vs 97.72%, 4.0 vs 1.71% and 0 vs 0.57% in patients and controls respectively. There was no difference in the genotype and allele frequencies of CCR5${\Delta}32$ polymorphism in esophageal cancer patients and control group. Conclusions: The CCR5${\Delta}32$ polymorphism is not associated with esophageal cancer in North Indians. As the majority of patients express the wild type allele, there is potential of using antiviral drug therapy as adjuvant therapy.

• Korean Journal of Human Ecology
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• v.16 no.5
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• pp.1061-1068
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• 2007

The study has sought to explore how fashion emerges as a comprehensive tool of dress for increasing its brand appeal and express one's artistic sense and fashion by using everything from make-up to hair to trappings. Therefore, when it comes to fashion trends reflected in collections, the study is designed to improve understanding of make-up as one of the elements of total fashion and to help create diverse ideas in expressing creative and free make-up that can help perfect fashion concept in harmony with all the other elements. The study has pondered upon collection, trends and fashion make-up through literature study, and has gathered image data via the Internet. It also has conducted analysis of Ethnic style reconstructed combining past and the future, East and the West, and futurism style using asymmetrical forms without no defined patterns and hi-tech textures, which emerges as a result of post-modernism. The results of the study are as follows. Ethnic fashion that pursues strange and exotic beauty is characterized by its simple and idyllic images of traditional costume in Asia or primitive clothes in Africa. Make-up represent images of matt and pale skin, tanned yellow, glossy and thickly powered squeaky white skin. Point make-up highlighted eye lines, red chick, small and voluptuous red lips. Hair and accessory seeks diversity combining various ethnic styles together such as oriental, Indian, Islam and Africa. In addition, future-oriented fashion of the 21st century, twists in texture, various kinds of materials and changes in technique help give impressions of freedom and bizarreness.