• Journal of Popular Narrative
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• v.25 no.1
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• pp.281-313
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• 2019

This paper was written to investigate the narrative traits of Lee Ae-rim's Comic Books. Lee Ae-rim arrived on the scene with the boom of comic book magazines in the 1990s. Although she started her career as a Comic Book writer, she expanded her own area gradually and has been working actively as an animation director as well. The superficial characteristics of Lee Ae-rim's works can be summed up as sexuality, grotesqueness, and fantasy. In other words, Lee Ae-rim's comic books are mainly characterized by the visualization of sexual, grotesque, and fantastic shapes. Lee Ae-rim has faced challenges with her own overwhelming and compelling images like no one else. For that reason, it is true that people haven't paid careful attention to the hidden stories behind her pictures. This paper considers that looking back on the narratives that Lee Ae-rim has been interested in, from early days to recent days, that is to say, the contexts of stories, is a shortcut to reveal a point of contact between her past, present, and future. Especially, this paper focused on the properties of the circulated and repeated stories, the stories ruled by fate and coincidence, and the stories in which elements of fantasy encounter an attempt of violation. As a result, it was found that the narratives of Lee Ae-rim's comic books demand us to face suppressed desires in a new way, by wrapping up the most fundamental aspects of human being in universality and constancy with specificity and grotesqueness. The reason why Lee Ae-rim has continued the avant-garde and omnidirectional works thus far explains what our society suppresses, inversely. Moreover, the narratives of Lee Ae-rim are significant, by being devoted to the right function of art not only to disclose suppressed desires but to satisfy them. Making an in-depth investigation of the narratives of Lee Ae-rim's comic books in various contexts, this research is intended to establish a diversity of Korean comic books, by adding meaning to the creative values of individual writers.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.2
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• pp.58-68
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• 2017

The conclusion of this research after analyzing and interpreting the landscape structure and meaning of Yeongsajeongpalkyung (永思亭八景) that appears in Yeongsajeongpalyeongsi(永思亭八詠詩) of Cheonggye(靑溪) Yang, Dae-bak(梁大樸, 1544~1592) and through document studies, poetry and painting analysis and interpretation, and site investigation, is as follows. Yeongsajeong and its nearby lands are the area of "Yeongsa", where the builder, Ahn, Jeon(安?, 1518~1571) worshipped towards the grave of ancestors, and Yeongsajeongpalkyung oversees a family burial ground in Namwon, centering around Yeongsajeong such as Yocheon, Geumseokgyo and Cheonggyedong, and Sunjagang River and Mountain Jiri, which are the foot hold and key points of advantageous scenic views in Namwon. Yeongsajeongpalkyung, unlike general Jeongjapalkyung, shows a panoramic bird's-eye structure overseeing the landscape and scenery of the Yocheon area and Sunjagang River, in addition to Yeongsajeong, while show in a transition of location, a multi-view structure and time. The trace of visual unity with Sosangpalkyung of China can be seen in many places in Yeongsajeongpalkyung, which seems to be a transitional feature of composing poems regarding Palgyeong during the mid-Joseon dynasty, which pursues harmony with the local landscape of the Namwon area. The 'Changsongchwijuk(蒼松翠竹)' appearing in each of the first and second scenic views of Palgyeong and Yeongsajeongpalyeong can be understood as an incarnation of Yang, Dae-bak, the author of Palyeongsi or Ahn, Jeon, the builder of Yeongsajeong. On the other hand, as a result of interpreting the yin-yang features of poetic diction and picture elements appearing in the subtitle of Yeongsajeongpalyeong, Palyeongsi seems mostly full of yin-like elements and Palgyeongdo. Moreover, as a result of comparing and analyzing the acts expressed in and acts described in Yeongsajeongpalyeong, based on the fact that the reis almost no common ground between the two media except for Soongangmowoo, the third scenic view, the formal similarity between the two media can be acknowledged, however, it is difficult to discover any substantive 'integrity of poetry and painting'.

• Archives of design research
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• v.13 no.1
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• pp.103-110
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• 2000

Hangul came to life as part of the East Asian culture of the Chinese ideograph. Korean letter-culture is starkly different from that of Western letter-culture. In the Orient, letters were sacred and incantory; they were objects of awe, which incorporated elements of the majestic, mysterious, and of ritual. Here we had cultural tradition that acknowledged the intrinsic value of the letters. And it was in this context that Hangul was born as a completely phonetic system of writing. However, the characteristics of Hangul are quite different from those of Chinese ideographs, which are designed to convey a certain meaning. Despite the fact that Hangul is phonetic, its roots lie most definitely in the image of Chinese ideographs. This is something that contrasts with the roots of the Latin alphabet, which have been lost in its long journey of evolution. As a phonetic writing system, a notable characteristic of Hangul is that it has this and the attributes of image. In other words, in that Hangul is a compound, it shares some of the same attributes as Chinese ideographs, but also in that it is a phonetic writing system it is dose to the Latin alphabet. Hangul is definitely a visual writing system that has its origins in the visual culture of Chinese characters as well as being functionally a highly developed phonetic writing system. In short, Hangul has both of these attributes in one writing system. These characteristics of Hangul, for us living in the era of the image, are parts that awaken us to the meaning of existence in our visual culture. Unique among the world's writing systems, the identity of Hangul typography will become none other than the essence of our visual culture.

• Strategy21
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• s.43
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• pp.89-124
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• 2018

평화를 전쟁의 부재라고 정의할 때 현재 전쟁이 없다면 지금 이 시간은 안전하고 평화로워야 한다. 그러나 지금 현 세상은 비록 공식적으로 선포된 전쟁은 없다고는 하지만 그래도 결코 평화롭다곤 할 수 없을 것이다. 흑해의 크림반도가 노골적인 군사적 침략이 없었지만 결과적으로 러시아의 수중에 떨어졌다. 남중국해의 여러 섬이나 암초들이 정규 군사작전 없이 사실상의 중국의 소유로 기정사실화 되고 있다. 전시 군사적 침략을 통해서만이 확보 가능한 전략적 목표들이 전시도 아니고 그렇다고 평시도 아닌 어중간한 시기에 적 또는 상대의 수중에 떨어지고 있다. 즉, 전시와 평시 사이의 회색지대에서 소위 회색지대전략이라고 부르는 공세적 전역을 통해 이러한 전략적 목표들이 달성되어 지고 있다. 소시지가 너무 커 한입에 다 먹을 수 없으면 잘게 썰어 하나씩 먹으면 결국 전체를 다 먹을 수 있듯이 소규모의 절차적 행동을 단계적으로 실행, 대규모 전투를 통해서만이 확보 가능한 거대하고 중대한 목표를 확보하는 게 회색지대전략의 한 특징이다. 이를 전략적 점진주의(strategic gradualism)라고 한다. 또한 단계적 행동은 누구나 인지할 수 있지만 그러한 점진적 행동의 결과에 대해선 쉽게 간파할 수 없기 때문에 대응자의 입장에선 대부분 특별한 대응책을 세우지 못하고 방치하고 만다는 게 이 전략의 또 다른 특성이다. 즉, 회색지대전략은 특성상 반드시 애매모호성(ambiguity)을 띄고 있다는 것이다. 회색지대에서의 도전자의 행위는 일종의 속임수일 수도 있다. 전략의 본질은 위계, 즉 상대로 하여금 오인, 착각, 부지를 일으키도록 하여 소기의 목적을 달성하는 것이다. 그래서 회색지대전략(gray zone strategy)이라고도 한다. 양육강식의 논리가 작용되는 현실 세계에선 힘이 곧 정의이고 국익이 최고의 선이다. 국가이익은 오직 과정보다는 결과만을 놓고서 정당화된다. 이에 회색지대전략에서도 결과에 대한 유용성만 거론되지 과정상 불법성이나 비도덕성 등은 따지지 않는다. 대부분 이 전략의 애매모호성 때문에 과정 자체를 식별하기가 쉽지 않다. 그래서 대응자의 입장에서도 사전에 예방할 수 있는 선제적 대응전략을 구사하기가 어려운 게 사실이다. 한국도 예외가 아니다. 중국이 해상민병을 이용한 회색지대전략을 구사, 이어도에 대한 도발을 감행할 수도 있다. 일본이 민간 극우파 등을 이용한 회색지대 전략을 구사, 독도에 대한 도발을 감행할 수도 있다. 평화는 거저 존재하지 않는다. 확전을 각오한 사전대비차원의 억지책이 마련되어야 상대의 회색지대전략을 단념시킬 수 있다. 그것도 신뢰성 있는 억지력만이 진정한 평화를 담보할 수 있다. 전략이 있어야 대응계획을 세울 수 있고, 상대는 이럴 때 도발을 단념하게 된다. 대응전략이 없다는 것은 대응계획이 없다는 것을 의미하고, 이러한 무계획은 늘 실패만을 계획하고 있다는 것을 명심해야 할 것이다.

• Journal of Food Hygiene and Safety
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• v.21 no.4
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• pp.269-273
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• 2006

Potassium Sorbate (PS) is a potassium salt version of sorbic acid, which has antimicrobial and fungistatic features in foods. Therefore, PS is used as a food preservative against fungi and mold. PS has been found to be non-toxic even when taken in large quantities given its trait to be broken down in the body into water and carbon dioxide. Gap Junctional Intercellular Communication (GJIC) is essential in the maintenance of tissue homeostasis during development and differentiation. This study was made of the effects of PS on GJIC in WB-F344 rat liver epithelial (WB) cells. We found dramatic decrease of cell viability in time- and dose-dependent manners when WB cells were treated with PS. The effect of PS on GJIC is strong inhibition, and it took place in parallel with a hyperphosphorylation of connexin 43 expression. The finding that PS interferes with gap junction functionality should be considered with respect to the mechanism of PS-induced hepatotoxicity.

• Journal of Korea Entertainment Industry Association
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• v.15 no.2
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• pp.83-97
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• 2021

This study started with curiosity about theatre without its three elements and would reveal its possibility through performance and experiment and promote the expansion of each element and the development of a new form at the same time. After the occurrence of COVID-19, theatre has come up against a big limitation of contact-free, untact communication due to its inherent characteristic of 'presence.' For the survival of theatre in the rapidly changing world, it is desperately necessary to check the existing performance method and to be concerned about its development for the future. Thus, this researcher started from a more fundamental exploration of theatre focused on an "experiment of theatre without its three elements" and would sort out the three elements (actors, audience, and a play) from a macroscopic perspective. Also, the researcher would investigate the impacts of these elements on the performance and the possibility of theatre even after removing the elements through performance and experiment. This study consists of one performance and two experiments and is based on the interviews and progress details conducted by the planner and experimenter and the survey with the experiment participants. The significance of this study is its reflection on the essence of the genre, theatre, and the roles of all elements constituting that, not from a narrow perspective that would simply define the concepts of the elements but through the expansion and change of them. Furthermore, hopefully, it will be connected to the discovery of a new theatrical format that has not been considered through its combination with another genre.

• Journal of Science of Art and Design
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• v.7
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• pp.150-172
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• 2005

This is the one concept of the Korea paintings which defines the korea Art sprite. The line of korea painting is very important. It is impressions, korea artist had mastered the difficult art line of representing movement. That offers the important motive, that is discovery of Identity. this korea painting's line is like to meditation. To meditate is to think and ponder about the same holy truth for many hours on end, to fix an idea in one's mind and to look at it from all sides without letting go of it. That is the purpose behind the greatest of the korean landscape paintings Futhermore that is the purpose Shui-Mo paintings. This is the most important. What the korean value most highly in art. There is something wonderful in this restraint of Korea art, in its deliberate limitation to a few simple motifs of nature. But today, anyone did not interested in this motif. So that Shui-Mo paintings did not concerned too. Therefore, we consider it childish to look for details in pictures and then to compare them with the real world. We masters to acquire such a facility in the handling of brush and ink that write down their vision while their inspiration was still fresh.

• The Journal of the Korea Contents Association
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• v.10 no.4
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• pp.397-405
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• 2010

This study proposes visualization methods of the diurnal passenger flows on the Metropolitan Seoul Subway system (MSSs) and examines the passenger trip behaviors of major central business districts (CBDs). We mine the MSS passenger flow information from a single day T-card passenger trip transaction database. It is practically intractable to analyze such flows, involving huge, complex space-time data, by means of general statistical analysis. On the other hand, dynamic visualizations of the passenger flows make it possible to analyze intuitively and to grasp effectively characteristics of the passenger flows. We thus propose several methods to visualize the passenger flow information. In particular, we visualize dynamic passenger flows of each link on the subway network and analyze the time-space characteristics of passenger ridership for the three major CBDs. As the result, we can ascertain the strong association between CBD and subway line and clarify the distinction among three major CBDs in the diurnal patterns of subway passenger flow.

• Journal of the Korea Convergence Society
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• v.11 no.9
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• pp.73-81
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• 2020

The purpose of this study was to analyze the recognition of 20s~30s' young people in marathon activities using Q methodology. P-sample was composed of 30 young marathoners. The selected Q samples were arranged in the normal distribution form. The collected data were analyzed by factor analysis through varimax rotation using QUANL 1.2PC program. Three distinct were emerged throughout the analysis: the first type is 'the type of giving special meaning.' which is improving their physical fitness, healthy and enjoying runner's high. The second type is 'the enjoying leisure' which is releasing stress and enjoying their common interest.' The last type is 'the type of enjoying crew activity.' which is enjoying marathon festival and managed their healthy and life. This result hints that young marathoners' sports culture trends.

• Cartoon and Animation Studies
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• s.33
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• pp.31-53
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• 2013

In the early twentieth century, history of animation began by modern artists, they produced various experimental images with the newly invented film and cameras. Artists in the field of movie, photography, paintings and others manipulated images in motion. But as some animated movies won industrial success and popularity, they became the trend but experimental style of early animation preserved by so-called non-mainstreamers or experimental animators, counteracting commercialism. Disney animation also followed the trend by applying realistic Hollywood film style, the worse critics placed a low value on the animation and it tarnished the image, although it was profitable investment from a business standpoint. To make images realistic, they opened a drawing class that animators developed skills to imitate motions and forms from subjects in real life. Also some techniques and gizmos were used to mimic and simulate three dimensional objects and spaces, multiplane camera and compositing 3D CG images with 2D drawings. Moreover, they brought animation stories from fairly tales or folk tales, and Walt's personal interest in live-action movies, they applied Hollywood-film-like narratives and realistic visual, and harsh criticism ensued. On the surface early disney animations' potential seems to be weakened, but in reality it still exists by simplifying and exaggerating forms and color as modern arts. Disney animation employs concepts of the modernism paintings such as simplified shapes and colors to a character design, when their characters are placed together in a scene, that visual elements cause mental reaction. This modification gives a new internal experience to audiences. As conceptual colors in abstract paintings make images appeared to be flat, coloring characters with no shading make them look flat and comparing to them, background images are also appeared to be flat. On top of that, multi-perspective at background images recalls modernist paintings. This essay goes in details with the animation pioneers' works and how Disney animation developed its techniques to emulate real life and analyses color schemes, forms, and spaces in Disney animation compared with modern artists' works, in that the visual language of Disney animation reminds of impression from abstract paintings in the beginning of the twentieth centuries.