• Design Convergence Study
• /
• v.16 no.6
• /
• pp.169-184
• /
• 2017

There is a lot of needs that are not expressed as much as the expressed needs in familiar products and services that are used in daily life such as a smartphone. Finding the 'Inconveniences in familiar use' make it possible to create opportunities for value expanding in the existing products and service area. There are a lot of related works, which have studied the definition of hidden needs and the methods to find it. But, they are making it difficult to address the hidden needs in the cases of familiar use due to focus on the new product or service developing typically. In this study, we try to redefine the hidden needs in the daily familiarity and approach it in the new way to find out. Because of the users' unability to express what they want and the complexity of needs which can not be explained clearly, we can not approach it as the quantitative issue. For this reason, the basic data type selected as the user behavior data excluding all description is the screen-shot of the smartphone. We try to apply the integrated rules and patterns to the individual data using the qualitative coding techniques to overcome the limitations of qualitative analysis based on unstructured data. From this process, We can not only extract meaningful clues which can make to understand the hidden needs but also identify the possibility as a way to discover hidden needs through the review of relevance to actual market trends. The process of finding hidden needs is not easy to systemize in itself, but we expect the possibility to be conducted a reference frame for finding hidden needs of other further studies.

• Journal of Science of Art and Design
• /
• v.10
• /
• pp.5-50
• /
• 2006

The terminology "human body" simply means a physical body but also more often, as an object in art works, carries symbolic concepts incorporating the whole history of human lives. Human body has been employed as an artistic object capturing physical body, delivering artist's idea expressing life indicators from different standpoints of times and places. This point of view about human body in art works has in fact rather short history since 1960's when modern thinking paradigm focusing upon rationality and reasoning has begun declining and on the contrary when the body used to be the servant of the mind and soul for a long time has begun attracting artist's attention as a real entity from the viewpoint of dichotomy. During the 1960's, frequent performances in Pop art and of Fluxus showed that the human body has been an important media for artistic communication after importance of body performances had been raised in Action painting in 1940's. The human body became a more determined media in body art works that had got into stride after Yves Kline's conceptual works applying body and its traces. These kinds of art works have continued and consolidated into the Feminism came into blossom in 1980's and into fragmentated and disembodied body art trend in 1990's. Through development of trends in body works, human body now might well be regarded as a clue provide from individual identity with implication over the world. This thesis is to analyse in semiotic way main works of Kiki Smith who is a representative artist devoting to Feminism and proposing extended significance of human body. In the analysis process of works done by two great artists with histrorical background of art trend in order to find and open an significance horizon of human body, semiotics and bodism are therefore perceived as pertinent and applied as basic tools. The first stage of analysis is to get the significances emerged in between expression part and contextual parts, which are separated structually from the most basic level. The study deals with body works furthermore in the way of structual cohesion of the expression and the context from the view of A J. Greimas' Structural Semantics and tried to build up a basic frame for the extended significances of human body. This thesis is, on the other hand, to attempt to contribute for extension of disembodied and fragmentated body discussed in the structural semantic frame earlier by Julia Kriesteva who delivers abjection concepts and phenomenology of Maurice Merleau-Ponty who enables to overview relationship between the body and the world from the viewpoint of Bodism, further into interpretation level. The other works are Kiki smith's that showed epics about death in mid-1980's, detailed humbleness of vulnerable human body exposed to dichotomy and fragmentation in 1990's and religion and mythology incorporating wouln healing in 2000's and henceforth. Through the analysis of Kiki Smith's representative work 'Pee body', it is verified and confirmed that fragmentated body showed beyond boundary gap of the human body and ultimately tends to imply human healing owing to divine maternity. Bodily symbols in Kiki Smith's are extended to the universal world to imply human life and death on the one hand and religion and mythology of human wound and divine healing one the other hand. This thesis through these process and results of analysis is in a broad context, to emphasize that human body as objectified text has a key indicator role to understand world as well as semiotic extension in art works in late 20th century so that we might confirm bodily symbol as a cultural context constitutes a section of contemporary visual arts.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.31 no.6 s.165
• /
• pp.974-984
• /
• 2007

The purpose of this study was to find differences in evaluation criteria and to find differences in preferred images based on benefits segmented groups of jeans products consumers. Male and female Korean university students participated in the study. Quota sampling method was used to collect the data based on gender and a residential area of the respondents. Data from 492 questionnaires were used in the analysis. Factor analysis, Cronbach's alpha coefficient, cluster analysis, one-way ANOVA, and post-hoc test were conducted. As a result, respondents who seek multi-benefits considered aesthetic criteria(e.g., color, style, design, fit) and quality performance criteria(e.g., durability, ease of care, contractibility, flexibility) more importantly when evaluating and purchasing jeans products. Respondents who seek brand name considered extrinsic criteria(e.g., brand reputation, status symbol, country of origin, fashionability) more importantly than respondents who seek economic efciency. Respondents who seek multi-benefits such as attractiveness, fashion, individuality, and utility tend to prefer all the images: individual image, active image, sexual image, sophisticated image, and simple image when wearing jeans products. Respondents who seek fashion are likely to prefer individual image, and respondents who seek brand name more prefer both individual image and polished image. Mean while, respondents who seek economical efficiency less prefer sexual image and polished image.

• Journal of Korean Classical Literature and Education
• /
• no.39
• /
• pp.221-246
• /
• 2018

In this text, the author examines the aspects and characteristics of the three forms that were created and enjoyed when the upper-class nobles of Japan "combined(混淆)" waka(和歌) and Chinese poetry(漢詩) between the 10th and 17th centuries. The three forms are the "Collection of Japanese and Chinese poems for singing"(和漢朗詠), "A collection of Japanese and Chinese poems" (詩歌合), and the "Renku renga"(聯句連歌). "Collection of Japanese and Chinese poems for singing" appeared in the 10th century, "A collection of Japanese and Chinese poems" appeared in the 12th century, "Renku renga" appeared in the 14th century, and all three continued to influence the history of Japanese literature after that time. As the combination of literary Japanese and Chinese progressed, the gap between waka and Chinese poetry decreased until they finally combined to create a single work. That is, waka and Chinese poetry converged in one place in multiple ways: as a work that was appropriate to be recited("Collection of Japanese and Chinese poems for singing"), facing each other work against work in a competition("A collection of Japanese and Chinese poems"), and, in the end, they reached the point where they were interchangeable as lines making up long poems(長詩)("Renku renga"). The combination of literary Japanese and Chinese can be said to be the Japanese version of the common movement in East Asian literary history during the Middle Ages to make songs from one's own language flawless in Chinese poetry. Meanwhile, by examining the status changes that appeared as Chinese poetry paralleled, fought with, replaced, and combined with waka, we can find clues to explain the attitudes of the Japanese people on Chinese poetry during the period when the three forms existed, as well as the characteristics of Japanese Chinese poetry that appeared in response to that. The preferences not of "myself" but of the "audience," content and expressions that revere the period rather than the inner self of the poet, and the fact that it is a means for enjoyable pleasure rather than having the original characteristics of lyrical poetry for self-expression are all characteristics of Chinese poetry in Japan during the early and late Middle Ages period. These characteristics can be said to be the current that flows in the underbelly of the history of Chinese literature in Japan. This author believes that the key to discussing the history of Chinese literature in Japan during the Middle Ages period from the perspective of East Asian literary history can be found here.

• Sijohaknonchong
• /
• v.20
• /
• pp.113-139
• /
• 2004

This article intends to illuminate how the men. leading agents in Saseol-sijo - musical performers. writers of lyrics, patrons. composers. compilers of Sijo anthologies, audience. etc. - In the Late Choson period, viewed or recognized women and how their understanding of women was reflected in the texts. Working with texts with the theme of 'Love,' this article starts with categorizing two types of love: the first type, 'lovelorn heart' focusing on unilateral pining for a single lover who is absent now and the second type. 'physical love' concentrating on bilateral sexual intercourse. In addition to the types of love, the gender of poetic speakers, distinct from real poets is vital to characterize the discourse of love. According to these two factors. texts in question fall into four groups: texts that a female speaker displays her lovelorn heart('Type 1'), those where she speaks about her sexual experiences('Type 2'), those where a male speaker sings his lovelorn heart('Type 3'), and those where he describes his sexual experiences('Type 4'). Of these. 'Type 2' and 'Type 3' are key to understanding of the men's view of women. With respect to the configuration of the theme of 'Love,' it should be noted that in Korean literary history, the nim or a 'sweetheart' had signified the totality of value or a perfect entity which makes one's life meaningful and that 'Type 1,' the pattern that a female subject expresses her love toward male min, had constituted a traditional way to convey the theme of 'Love.' In terms of this connotation of min. a remarkable increase of 'Type 3' implying the increase of male speakers, reveals the extent to which women, the male speakers' min, accomplished their entry into a 'sacred area' -the position of mm-in which only men had occupied; females are focused and centralized. This article considers this phenomenon as an exhibition of the upgrade of women's significance and weight in the Late Choson society and as an index of 'modernity.' Meanwhile, given that most of the Saseol-sijo poets are men, the emergence of the 'Type 2' texts in which male poets have female speakers disclose their sexual experiences, demonstrates a representative example that women are degraded to be a means of men's pleasure; for this situation gives men more pleasure than when male speakers reveal their sexual experiences. Not only 'Type 2,' but texts group which basically belongs to 'Type I' and conveys the theme of 'Loyalty' through the female voice by substituting rulers-subjects relation for men-women relation, also falls under the same case. For men employ female voice as a poetic device in order to stress the theme of 'Loyalty' This article regards this phenomenon as an index of 'pre-modernity,' in the sense that in a pre-modem society, specifically in Early Choson, male-oriented value system dominates, thereby alienating women. As it is well known, the Late Choson is marked by a transitional period from a pre-modem society to a modem society. Therefore the ambivalence of the premodern and the modem can be found mixed in every segment of the society. The dual aspects of the masculine view of women in Saseol-sijo constitutes one example. The significance of the Saseol-sijo in Korean literary history can be found in this phenomenon.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.35 no.4
• /
• pp.1-13
• /
• 2017

This thesis aims to research the original landscape of an area in Chirwon by comparing and interpreting the current and the former landscape of the time around 1860, in which was created. Inside the painting, MuGi-YeonDang(舞沂蓮塘), its nearby garden facilities and landscape are described. The conclusions of the research are as follows. Around the inner garden(內園) called Gukdam(菊潭), core spaces of Mugi-YeonDang were Hahwanjeong(何換亭) and Pungyongnu(風浴樓). After 1971, Chunghyosa(忠孝祠), Yeongjeonggak(影幀閣) which was built as inheritance of Giyangseowon (沂陽書院), and other buildings were added. On the opposite of Hahwanjeong, there is a designed pond inside Gukdam, in which three pieces of bizarre stones and colorful flower plants and trees reside. In the middle of the pond, there is an center island(中島), constructed with Bonghwangseok(鳳凰石) and Napduseok(衲頭石). Two different kinds of trees are settled on top of the stones, and one of them is identified as a maple. In the external scenery(外境), Jakdaesan Mountain and Cheonjusan Mountain are located at the upper part of Mugi-Yeondang, and Bibo Forest(裨補林), which does not exist anymore, was located at the lower part of it. A notable achievement in own research was to discover the Ju family's graveyard(朱氏墓群) consisted of more than 10 murals at the lower part of Mt. Jakdaesan in the outer space and the remains of 'Byeoreop(別業) Yuhoejeong(有懷亭)' at the nearby Sanjeong-ri(山亭里) area, which was the Ju family's gravesite(Seonsan, 先山). The discovered remains showed the presence of a square pond(方塘) and an island in the center of it(中島) in the form of Seokgasan(an artificial mountain made with stones), a stone monument called Mangchudae(望楸臺), etc. The Seokgasan was consisted of processed natural stones, and layers of the stones were piled up for it. On the side of the layered stones, 'Gyeongam(敬嵒)' and 'Sesim(洗心)' are engraved. Especially, Gyeongja(letter Gyeong, 敬字) is a copy of the Gyeongja Rock(敬字岩) of Sosu-Seowon(紹修書院), which is a symbolic garden language mutually used in the signboards of Pungyongnu and Musansa(武山祠), a place built to enshrine Ju, Sebung(周世鵬). Through the written names of the building found in , it can be assumed that the name of the square pond with Seokgasan was Taehwaji or Jeongwudang, and the name of the Seokgasan was Sogeumgang(小金剛) or Sobangjang(小方丈). The names correspond to the names of the Seokgasan of Gukdam, which was Yangsimdae(養心臺) and Bongnaesan(蓬萊山). By means of the corresponding names, it can be inferred that the relations between the spaces were intended. was originally created as 'a manor painting(莊園圖)', led by the 15th generation of the Ju family who moved into Chirwon-ri, Haman. The painting describes not only the back garden but also the external scenery, thus it provides important evidences for understanding Mugi-YeonDang and its nearby landscape, and is helpful to its maintenance and restoration.

• Korean Journal of Heritage: History & Science
• /
• v.42 no.4
• /
• pp.112-131
• /
• 2009

The Trikaya Banner Painting in the Suta-sa Temple at Hongcheon-gun, Gangwon-do draws attention as it was painted not on flax but on paper, and used the water color painting technique on the sketch rather than the deep color painting technique, which is most common in Buddhist paintings created during the Chosun Dynasty. Nevertheless, there is not any information on the creation of the Trikaya Banner Painting in the painting record on the painting, in Sutasasajeok(壽陀寺史蹟), or in Sutasagogirok(壽陀寺古記錄), so it is uncertain when the painting was created. Furthermore, because it was not drawn by the deep color painting technique, it has been difficult to compare it with other banner paintings. For these reasons, the Trikaya Banner Painting has been studied little except brief introduction. In recent preservation treatment that removed multiple-layered paper from the back of the painting, however, an inked inscription written on Korean paper 118cm high and 87.5cm wide was discovered on the back. It is a kind of placard notifying a number of acts prohibited in order to follow Buddha's teachings correctly, and was found to have been written on April 15, 1690. The inked inscription is a very valuable material for estimating the creation date of the Suta-sa Trikaya Banner Painting, and provides crucial clues for approaching the contents and nature of the painting more precisely. When the image, form, and style of the Suta-sa Trikaya Banner Painting were examined and its creation date was estimated based on the inked inscription, first, the painting is presumed to have been created in around 1690 as suggested by 'the placard' attached on the back instead of a painting record. Second, the painting is highly likely to be the first standing Trikaya banner painting showing the basic icons of Trikaya banner paintings in the Chosun Dynasty since the Trikaya Banner Painting in the Gap-sa Temple in Gongju (1650). Furthermore, considering the shape of the Trikaya in the painting, screen composition, background treatment, solemn and affectionate facial expression, harmonious and adequate body proportion, etc., the painting is believed to have had a considerable influence not only on Trikaya banner paintings of similar style in the 18thcentury but also on deep-color Trikaya banner paintings in the 19thcentury. Third, although the Suta-sa Trikaya Banner Painting is not acompleted work but a sketch, it exhibits the typical water color painting technique in which the strokes are clearly visible. Thus, it is considered highly valuable in understanding and analyzing stroke styles and in studying the history of Buddhist paintings. As there are not many extant banner paintings of the same style in form and expression technique as the Suta-sa Temple Trikaya Banner Painting, this study could not make thorough comparative analysis of the work, but still it is meaningful in that it laid the ground for research on standing Trikaya banner paintings in the 18thand 19thcenturies in the Chosun Dynasty.