• Title/Summary/Keyword: 변용방식

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A Study on the Imitation and Transformation of Gugok-Wonlim Culture through Management of the Myungam Jeong Sik's Muyi-Gugok in Sancheong (명암(明庵) 정식(鄭拭)의 산청 무이구곡(武夷九曲) 원림경영을 통해 본 구곡문화의 모방과 변용)

  • Rho, Jae-Hyun
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.33 no.3
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    • pp.84-94
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    • 2015
  • This study is to examine how the admiration for Chutzu(朱子)'s achievement while he was preaching his policies after renouncing the world in Wuyi-Gugok(武夷九曲), Mt. Wuyi and Joseon-style transformation culture were unfolded and developed through Gugok management cases such as position, name, poetic diction, Jungsa(精舍) architecture and engraving of Muyi-Gugok set in Mt. Gugok, Snacheong. The results were as follows: Myungam(明庵) Jeong Sik(鄭拭, 1683~1746)'s Muyi-Gugok, which consists of Suhongkyo(垂虹橋, gok 1) - Oknyeobong(玉女峰) - Nhongwhaldam(弄月潭) - Nacwhadam(落花潭) - Daeeunbyeong(大隱屛) - Gwangpyungryea(光風瀨) - Jaewhaldae(霽月臺) - Gorooam(鼓樓巖) - Wharyongpok(臥龍瀑, gok 9) is the representative case where Chutzu's Wuyi-Gugok was exactly copied and fulfilled to the Joseon Dynasty. In a large frame, Gugok Wonlim culture, Myungam's Muyi-Gugok management has a will of succession of Dotong(道統) through admiration for Chutzu in a rigid way. Another name of Mt. Gugok is Mt. Muyi and Gugok's name is Muyi-Gugok and the residence existed between gok 4 and gok 5. In addition, the name of Jeongsa for Gugok management is also 'Muyi Jeongsa(武夷精舍)' and Gugok name and contents of Poetry are also similar and all of these are clear evidence that Myungam tries to copy Chutzu's Wuyi-Gugok to Mt. Gugok. Also, Gugok set before Myungam were located in Mt. Gugok and among them, verified four Gugok names are corresponded to those of Chutzu's Wuyi-Gugok and it tells that conforming behavior as one of admiration ways for Chutzu already arrived at Mt. Gugok before Myungam and this was an oppotunty to widen Mt. Gugok Muyi-Gugok's tradition and horizon. Also, considering that Myungam's gok 6, Gwangpyungryea and gok 7, Jewoldae are names from 'Gwangpungjewol(光風霽月)' Based on Chutzu's poem and they are closely related to Joseon's classical scholar spirit, they are associated with Joseon-style transformation of Chutzu's Muyi-Gugok. Meanwhile, gok 5 'Daeeunbyeong' was transformed to 'Nangaam(爛柯巖)' in gok 5 - "Deoksan-Gugok(德山九曲) of Jooko(竹塢) Ha Beom-Woon(河範運, 1792~1858) and those characters's engravings are handed down. In "Pome of Deoksan Gugok" transformed from Myungam's Muyi-Gugok, respect and admiration for Chutzu is weaken while Ha Beom-Woon admires Nammyeong(南冥) Cho shik(曺植, 1501~1572), a symbolic character of himself's school and from this, a movement to promote partisan unity is identified. After Myungam died, Muyi-Gugok in Mt. Gugok was transformed from a space to succeed Chutzu's Dotonga to one to commemorate the memory of ancient sages, but, it is a typicality case that widen the spectrum of Joseon's Gugok-Wonlim culture through Muyi-Gugok's imitation and transformation.

A Study on the Characteristics of Narrative Transformation in Fairy Tale : Focusing on Victor W. Turner's 'Social-Drama' Theory (동화 <빨간 구두>의 서사 변용 특성 연구: 빅터 터너의 '사회적 드라마' 이론을 중심으로)

  • Choi, Young-hee
    • The Journal of the Convergence on Culture Technology
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    • v.8 no.2
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    • pp.243-249
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    • 2022
  • Fairy tales are rooted in folk tales and contain human unconsciousness and universal emotions. It also plays a role as original content in various narrative transformation works. Andersen's brings numerous signification through symbolic signs of red shoes, dance, and ankle amputation. Victor W.Turner's theory of social drama broadens the perspective of narrative analysis. In addition, this theory makes us realize the conditions of the social community required by society at the time. As a circular content, Andersen's shows the double entry narrative of growth as a woman and incorporation into the social community. In this process, the social conditions accepted and rejected are symbolically revealed. In Koo Byung-mo's novel , achromatic color and red color are contrasted. The red world is full of vitality and represents the meaning of human existence. Yoon Mi-kyung's fairy tale is divided into different characters from the girl's growth narrative and the outsider's entry into the women's society. This work accuses preconceived notions and prejudices against multicultural families and strangers.

Factors of Mental Model Generation on Touch Screen Mobile Phone (터치스크린 모바일 폰의 멘탈모델 형성요인에 관한 연구)

  • Park, Ye-Jin;Kim, Don-Han
    • Proceedings of the Korean Society for Emotion and Sensibility Conference
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    • 2008.10a
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    • pp.34-37
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    • 2008
  • 본 연구에서는 기존의 키패드 조작방식에 익숙해져 있던 모바일 폰 이용자가 새로운 터치스크린 모바일 폰으로 기종을 변경하였을 때 생성하는 멘탈모델의 특징에 대하여 고찰하였다. 먼저, 터치스크린 모바일 폰의 기능 가운데서 가장 사용 빈도가 높은 상위 7개의 기능에 대한 실험과제를 설정하여 비디오 관찰실험을 실시하였다. 다음으로 수집된 데이터를 프로토콜 분석법을 이용하여 사용자의 조작과 관련된 사고의 변용과정을 분석하였다. 분석결과 키패드 조작방식에 익숙해져 있던 피험자들은 실험이 거듭될수록 새로운 터치스크린 모바일 폰의 조작과정에 적응하기 위하여 버튼이나 화면에 탭, 더블 탭 등 컴퓨터 운영시스템(윈도우)과 웹 브라우저 상의 내비게이션과 관련된 지식을 이용하여 멘탈모델을 수정하려는 경향이 있었다.

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The Aesthetic Transformation of Shadow Images and the Extended Imagination (그림자 이미지의 미학적 변용과 확장된 상상력 :디지털 실루엣 애니메이션과 최근 미디어 아트의 흐름을 중심으로)

  • Kim, Young-Ok
    • Cartoon and Animation Studies
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    • s.49
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    • pp.651-676
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    • 2017
  • Shadow images are a representative medium and means of expression for the imagination that exists between consciousness and unconsciousness for thousands of years. Wherever light exists, people create play with their own shadows without special skills, and have made a fantasy at once. Shadow images have long been used as subjects and materials of literacy, art, philosophy, and popular culture. Especially in the field of art, people have been experimenting with visual stimulation through the uniqueness of simple silhouettes images. In the field of animation, it became to be recognized as a form of non - mainstream areas that are difficult to make. However, shadow images have been used more actively in the field of digital arts and media art. In this Environment with technologies, Various formative imaginations are being expressed more with shadow images in a new dimension. This study is to introduce and analyze these trends, the aesthetic transformations and extended methods focusing on digital silhouette animation and recent media art works using shadow images. Screen-based silhouette animation combines digital technology and new approaches that have escaped conventional methods have removed most of the elements that have been considered limitations, and these factors have become a matter of choice for the directors. Especially, in the display environment using various light sources, projection, and camera technology, shadow images were expressed with multiple-layered virtual spaces, and it becomes possible to imagine a new extended imagination. Through the computer vision, it became possible to find new gaze and spatial images and use it more flexibly. These changes have given new possibility to the use shadow images in a different way.

A Study on Traditional Ideology and the 'Tradition' of the Theatre company Minye in 1970s (1970년대 전통 이념과 극단 민예극장의 '전통')

  • Kim, Ki-Ran
    • Journal of Popular Narrative
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    • v.26 no.3
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    • pp.45-86
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    • 2020
  • In this article, the "modernization of the tradition" constructed on the cultural politics and the way in which it appropriated in the korean theatre in the 1970s were analyzed. It is trying to reveal its implications. It is also a work to critically review the aspects of self-censorship in the korean theatre in the 70s. To that end, we looked at the theatre company Minye Theatre, which preoccupied the traditional discussions in the 1970s by creating national dramas. Until now, the evaluation of the theatre company Minye Theatre in the 1970s has focused on the achievement on the directing of Heo Gyu, who promoted the succession and transformation of tradition. However, the traditional ideology constructed in the state-led cultural politics in the 70s and the way in which it was operated cannot be evaluated only in terms of artistic achievement. The ideology of tradition is selected according to the selective criteria of the subject to appropriate tradition. What's important is that certain objects are excluded, discarded, re-elected, re-interpreted and re-recognized in the selection process of selected traditional ideology. This is the situation in the '70s, when tradition was constantly re-recognized amid differences between the decadent and the disorder that were then designated as non-cultural, and led to a new way of appropriate. The nation-led traditional discussion of the '70s legalized the tradition with stable values, one of the its way was the national literary and artistic support. Under the banner of modernization of tradition, theatre company Minye preoccupied the discussions on the tradition and presented folk drama as a new theatre. As an alternative to the crisis of korean theatre at the time, the Minye chose the method of inheriting and transforming tradition. It is noteworthy that Heo Gyu, the representative director of the theatre company Minye, recognized the succession and transformation of traditional performance as both a calling and an experiment. For Heo Gyu, tradition was accepted as an irresistible stable value and an unquestionable calling, and as a result, his performance, filled with excessive traditional practices, became overambitious, especially when it failed to reflect the present-here reality, the repeated use of traditional expression tools resulted in skilled craftsmanship, not artistic creation. The traditional ideology of the 70s unfolds in a new aspect of appropriation in the 80s. In 1986, Son Jin-Cheok, Kim Seong-nyeo, and Yoon Mun-sik, who were key members of the theatre company Minye Theatre, left the theatre to create the theatre company Michu, and secured popularity through Madangnori(popular folk yard theatre). Son Jin-Cheok's Madangnori is overbearing through satire and humor. It gained popularity by criticizing and mocking state power. On the other hand, not only the form of traditional performance, but also the university-centered Madanggeuk movement, which appropriated on the spirit of resistance from the people to its traditional values, has rapidly grown. In the field of traditional discussions of the 70s, Madanggeuk was self-born through appropriation in which the spirit of resistance of the people is used as a traditional value. Madanggeuk as well as Michu that achieved the popularization of Madangnori cannot be discussed solely by the artistic achievement of the modernization of tradition. Critics of korean theatre in response to state-led traditional discussions in the 70s was focused only on the qualitative achievement of performing arts based on artistry. I am very sorry for that. As a result, the popular resistance of the Madanggeuk and the Madangnori were established in the 'difference' with the traditions of the theatre company Minye Theatre. Theatre company Minye Theatre was an opportunity for the modernization of tradition, but the fact that it did not continuously produce significant differences. This is the meaning and limitation of the "tradition" of the theatre company Minye Theatre in the history of korean theatre in the 1970s.

An analysis of the Space as a Narrative Element in the Horror Game (공포게임의 서사적 요소로서의 공간 분석)

  • Lee, Young-Soo
    • The Journal of the Korea Contents Association
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    • v.11 no.6
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    • pp.116-126
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    • 2011
  • In this paper, the horror game is defined as a game that is aimed at causing fear reactions to user. And this paper analyzed narrative elements for studying what causes fear reactions beyond the existing experimental study. This analysis is significant at the point of determining narrative principles in the horror game. So this paper has extracted horror elements from gothic horror novels that established as the 'horror' genre and has considered how these horror elements would be transformed actually in the horror game. So it analyzes how the space and narrative elements as the distinctive characteristics of game are transformed centrally in the case of the 'Silent hill' series(published by Konami Corporation). Furthermore this study will be expected to be a help for clarifying not only the horror game as a peculiar genre but also the relationship between the space and narrative elements in the game.

A Study on the Expression Transformation of Visual Information in 3D Architectural Models (3차원 건축모델정보의 표현변용방식에 관한 연구)

  • Park, Young-Ho
    • Korean Institute of Interior Design Journal
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    • v.22 no.1
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    • pp.105-114
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    • 2013
  • This study investigated the application and the change of various architectural models by analyzing expression viewpoint media, which were applied to the visual information of digitalized 3D contemporary architectural models. The purpose of this study was to specify how modern architects have changed 3D architectural models to conceptual, logical, and formational visual information in the process of design. This study discovered a framework of analyses by theoretically investigating a relationship between expression media and expression change in the process of visualizing architectural models. Using the framework of analyses, this study analyzed how the expression viewpoints of architectural model information have been changed and applied. The transformation media of the visual information of digitalized 3D architectural models can be classified into conceptual, analytical, and formational information: 1) Contemporary architects used author-centered subjective viewpoints to express architectural concepts, which were generated in the process of their design. They selected a perspective viewpoint and a bird's eye view in order to present their architectural concepts and to depict them with one architectural model by expanding the visual scope of conceptual information. 2) Contemporary architects adopted observer-centered objective bird's eye view expression media to effectively present their architectural information to building owners and viewers. They used transformal media, which integrate architectural information into 3D and change it to different scales, in order to express their architecture logically. 3) Contemporary architects delivered model information about the generation and change of forms by expressing the image of a project from an author-centered viewpoint, instead of objectively defining formational information. They explained the generation principle of architectural forms via transformal media which develop and rotate an architectural model.

A Study on the Culture Transformation about "Takyung-Takjok" in Traditional Landscape Ruins (탁영·탁족의 문화 변용을 통해 본 정원유구)

  • Rho, Jae-Hyun;Suh, Hyo-Suk;Choi, Jong-Hee;Han, Sang-Yub
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.34 no.1
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    • pp.97-106
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    • 2016
  • This study is to suggest the necessity of landscaping alternatives for succession of Takjok(濯足) culture by considering the background and meaning of Takjok's cultural phenomenon shown in old literatures, paintings and ruins of landscape architecture as a front morphemes. Its result is as follows. 1. An old idiom, 'Takyung Takjok(濯纓濯足)' implying a disinterested living attitude from the mundane world and an attitude complying with the nature, has been sublimated to 'Takjokjiyu(濯足之遊)' which means living in comfortable retirement through life in seclusion(隱逸). 2. The meaning of Takjok did not expand into, not only Takyung Takjok, but also into Takcheong(濯淸), Tako(濯吾), and Taksa(濯斯) with continued expansion in its meaning. The spaces the meaning of Takyung Takjok is implied on have also newly expanded into the artificial spaces, including Jeong(亭-pavilion) Jae(齋-house) Heon(軒-eaves), and Ji(池-pond), as well as the natural spaces, including Am(巖-rock) Dae(臺-flat foundation) Dam(潭-deep pond) Ban(盤-dish rock) Seok(石-stone) So(沼-shallow pond) San(山-mountain) Bong(峰-peak), and Cheon(泉-water hole). 3. As seen here, the cultural phenomenon of Takyung Takjok, which have derived from the Dangho(堂號) of buildings, the names of natural objects in Palgyung and Gugok(eight sceneries and nine curves), facilities of Byeolseo garden and Seowon, and the Amgakseo in nature, is worth noting. 4. It should be considered that Takjok includes ordinary people's wisdom to resist the hot weather as well as classical scholar's ideal and the veneration of antiquity. From this perspective, water space, Takjok rocks, and use of water based on the environmental supportability should be newly focused as a recreational space and it reminds us that the spirit of Takjok is a classical mental healing method.

Optimal Electrode Displacement for Motion Analysis using Bio-impedance (임피던스 방식의 동작분석을 위한 최적전극 선정)

  • 송철규;변용훈;윤대영;이명권;김거식;송창훈;김경섭;김수찬;김덕원
    • Proceedings of the IEEK Conference
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    • 2003.07c
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    • pp.2887-2890
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    • 2003
  • This paper describes the possibility of analyzing gait pattern from the variation of the lower leg electrical impedance. This impedance is measured by the four-electrode method. Two current electrodes are applied to the thigh, knee, and foot, and two potential electrodes are applied to the lateral, medial, and posterior position of lower leg. The correlation coefficients of the joint angle and the impedance change from human leg movement was obtained using electrogoniometer and 4ch impedance measurement system developed in this study. We found the optimal electrode position for ankle, knee and hipjoint movements based on high correlation coefficient, least interference, and maximum magnitude of impedance change. The correlation coefficients of the ankle, knee, and the hip movements -0.87, 0.957 and 0.80. respectively. From such features of the lower leg impedance, it has been made clear that different movement patterns exhibit different impedance patterns and impedance level. This system showed possibility that lower leg movement could be easily measured by impedance measurement system with a few skin-electrodes.

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60cm 광시야 탐사망원경 설치 밀 성능 시험 관측

  • Kyung, Jae-Man;Yuk, In-Su;Yoon, Yo-Na;Han, Won-Yong;Moon, Hong-Kyu;Lim, Hong-Seo;Byeon, Yong-Ik;Yoon, Jae-Hyuk;Jin, Ho;Kim, Ho-Il;Kim, Jung-Mi;Yoo, Seong-Ryeol
    • Bulletin of the Korean Space Science Society
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    • 2004.04a
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    • pp.34-34
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    • 2004
  • 국가지정연구실 사업인 "인공위성 및 지구접근천체 감시연구"에서는 2003월 한국천문연구원 전파연구동에 60cm 광시야 망원경을 설치하여 시험가동중이다. 이 광시야 망원경의 광학계는 초점비 F/2.92로 직초점 방식이며 3개의 보정렌즈를 이용하여 보정된 초점면의 시야는 2.7도가 되도록 설계되었다. 독일에서 제작하였으며 광학계를 구동할 마운트는 국내 제작하였다. Apogee사 AP10, FingerLake 사 2K CCD 카메라, Pentax 67사진 카메라와 같은 다양한 관측기기를 이용하여 광학계의 성능을 검사하고 광축조정을 하고 있으며 발생한 문제점을 파악하여 해결하고 있다. (중략)

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