• 한국체육학회지인문사회과학편
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• v.56 no.1
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• pp.99-110
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• 2017

The purpose of this study was to focus on the social influence of the movie , to review the meaning and symbolism of Koreans living in Japan (ざいにち) and rugby in the movie, and to eventually reveal the messages from the movie. The research method was text analysis. As a result, Koreans living in Japan were represented in 2 ways. Koreans living in Japan were represented as Homo Sacer, the contradictory being, located inside society by Japan's sovereignty but considered as outsiders. Meanwhile, the identity of Koreans living in Japan were represented clearly as Korean and they were acknowledged in Japan as proud and capable. The rugby in the movie has 2 symbolic meanings. First, it was the most important and effective way to prove Korean existence in Japan by representing the struggle for recognition, additionally it also carried an important message about their ideal society.

• The Journal of Natural Sciences
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• v.7
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• pp.133-162
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• 1995

Paderborn's companies, Wameling and Cassau, produce the liturgical vestments, which have much traditional artistic merit. And Kevelaerer Fahnen + Paramenten GmbH, located in Kevelater which is a place of pilgrimage of the Virgin Mary, was known to Europe, Africa, America and the Scandinavia Peninsula as the "Hidden Company" of liturgical vesments maker up to now. Paderborn and Kevelaer were the place of the center of the religious world and the Catholic ceremony during a good few centries. The Catholic liturgical vestiments of these 3 companies use versatile design, color, shape and techniques. These have not only the symbolism of religion, but also can meet our's expectations of utilization of modern textile art, art clothing and wide-all division of design. These give the understanding of symbolic meanings and harmony according to liturgical vestments to the believers. And these have an influence on mental thinking and induction of religious belief to the non-believers as the recognition and concerns about the religious art. The liturgical vestments are clothes which churchmen put on at the all ceremonial function of a mass, a sacrament, performance and a parade according to rules of church. These show the represen-tation of "Holy God" in silence and distinguish between common people and churchmen. And these represent a status and dignity of churchmen and induce majesty and respect to churchmen. Common clothes of the beginning of the Greece and Rome was developed to Christian clothes with the tendency of religion. There were no special uniforms distinguished from commen people until the Christianity was recognized officially by the Roman Emperor Constantinus at A.D.313. The color of liturgical vestments was originally white and changed to special colors according to liturgical day and each time by the Pope Innocentius at 12th century. The color and symbolic meaning of the liturgical vestments of present day was originated by the Pope St. Pius(1566-1572). Wool and Linen was used as decorations and materials in the beginnings and the special materials like silk was used after 4th century and beautiful materials made of gold thread was used at 12th century. It is expected that there is no critical changes to the liturgical vestments of future. But the development of liturgical vestments will continues slowly by the command of conservative church and will change to simple and convenient formes according to the culture, the trend of the times and the fashion of clothes. The companies of liturgical vestments develop versatile design, embroidery technique and realization of creative design for distinction of the liturgical vestments of each company and artistic progress. The cooperation of companies, artists and church will make the bright future of these 3 companies. We expect that our country will be a famous producing center of the liturgical vestments through the research and development of companies, participation of artists in religeous arts and concerts of church.

• Cartoon and Animation Studies
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• s.30
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• pp.169-199
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• 2013

In various directions of cartoon, vertical stroll direction is opposite to the page direction of existing published cartoon with the popularity of webtoon and established new genre. Lots of studies on published cartoon focus on the cut direction by page, but webtoon doesn't have any concept of page. The pivot of cartoon oriented people is changed from paper to computer monitor as times go by, characteristics of media are changed and media is gradually diversified. Like the strengthening of mobile caused by smart phone's popularity, tablet PC's propagation in public education, etc. cartoon is included to the environment of media which is rapidly changed. In this situation, one of cartoon's unchanged important identities can be the direction made by harmony between picture and text. This thesis analyzed symbolic characteristics and effective value of hyogwatae, mimetic words of cartoon, focusing on works of Heo, Young Man. Hyogwatae just delivers not only sound but also shape, feeling, status, etc. and has significant characteristics by invoking the imaginary structure of literature. Strengths of modern Korean, various linguistic expressions and syllabic systems, let people feel minute feeling of language and difference of emotion and remember the memory through the direct and indirect experiences, so it makes it nuance. Because of the characteristics, representative works of Heo, Young Man have commercialization and writer characteristics, have communicated with people for a long time and have plentiful knowledge of Korean cartoon. The characteristics of hyogwatae in Heo, Young Man's cartoon make a lot of effects for the expression and delivery of cartoon more than the general expectation. When conducting the study focusing on the symbolic process of language, uncertainty and vague standard of judgement caused by the wide factors of study on the direction of general cartoon could be endured. And, through the Heo, Young Man's deep analysis on hyogwatae's direction, readers enjoy the process while inferring actually and intellectually between pictures and sentences. In the process, the equipment stimulating imagination more than pictures, effects and dialogues is hyogwatae. It's reader's equipment of active participation and its strength is symbolic structure.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.6 s.165
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• pp.985-996
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• 2007

The purpose of this study is to analyze the symbolism of traditional Korean patterns which reflect an emotional cultural background of Korean people, to apply modernized and developed patterns to Textile Design for fashion cultural products, and to explore productive direction of developing designs of fashion cultural products. The process of developing Textile Design of fashion cultural products which applied symbolism of traditional Korean patterns was conducted as follows. Firstly, based on '05 S/S-'07 S/S fashion trends, a design concept wat decided(man-urban ethnic style, woman-romantic ethnic style). Secondly, motive was abstracted from selected traditional patterns to develop into modem patterns. Thirdly, items were selected according to symbolic meaning of traditional Korean patterns. Man's items included shirts, necktie, and handkerchief which were highly preferred by Korean and foreign visitors. Finally, developed textile designs were diagrammed by item using textile CAD and an illustrator 10 and presented as images. The following results were obtained. First, textile designs for fashion cultural products, in which apply traditional patterns may reflect the understanding of traditional aesthetic beauty and philosophical approach by applying symbolic significance inherent in patterns as well as the aesthetics of the patterns. Second, traditional patterns have been recognized as old fashioned to consumers because they have been often used for traditional handicrafts or folk products. If their unique shapes are changed or simplified, emphasizing images, and trend styles and colors are used, they will be recreated as a modem design. Third, textile designs using traditional patterns may provide various images and visual effects according to techniques and production methods. Then, the method will be applied to many items. Finally, since traditional patterns in fashion cultural products can be used as our unique design elements, they can be utilized as the source of design inspiration for the development of value-added products.

• Cartoon and Animation Studies
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• s.9
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• pp.112-126
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• 2005

This study investigates how 'multi-perspective' can be utilized in animation. For this goal, 1 used the traditional techniques of Korean folk paintings called 'Minhwa.' Most 'Minhwa' works, employ 'multi-perspectives', instead of linear perspective of the Western tradition that has been only taught to students under the formal education system. In Minhwa parts of reality are not only stylized but also fragmented and combined within the same frame. Other common techniques of 'Minhwa' include frontal view, bird's eye view, and inverse-perspective, which are of ien combined in one single work. The purpose of this study is to develop a working principle and practically apply it to , an animation piece based on the Korean folktale of the same title. In doing so, I have proposed a way to reconstruct and revitalize the traditional art form in the age of digital technology and have concluded that 'Multi-perspective' in 'Minhwa' can be utilized in other contents such as animation.'Multi-perspective' in 'Minhwa' is a rich source that has numerous cultural applications.

• Archives of design research
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• v.14 no.2
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• pp.67-76
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• 2001

Children's Picture Book is the literature with which children face for the first time as a form of close harmony between text and picture. The picture book shows what is happening and also what may happen mn the children's surroundings and takes great Influence on their creativity, thinking ability, emotion, and Intellectual ability by delivering affluent story through the pictures. The color expressed in the children's picture book is as much important as other formative elements such as shape and texture, and the expression of color on the basis of color emotion is much more Important In that It appeals to the children's feeling. The color which is expressed through the illustration of children's picture book conveys distinctly the motion and feeling of characters who are expressed un the picture book as well as distinction of theme and background and expresses persuasively the whole process of plot and atmosphere so that it might convey various emotions such as delight, sorrow, pleasure, wonder, and fear to children. This thesis alms at analyzing various effects of color contrast, process of color, hue variation, and use of color according to the atmosphere of each cut and the process of plot by selecting the children's picture books which were published abroad and home on the basis of color concept, emotion, and image association which children feel In order to Investigate and analyze the symbolism of color and emotional effect expressed through the illustration of children's picture book, and presenting a direction of color use to produce high-level children's picture book with illustrators individuality and artistry.

• Sijohaknonchong
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• v.19 no.1
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• pp.85-106
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• 2003

Recently, the sonnet and the shijo, each representing French and Korean formal poetries, are tend to be read with the eyes only, as were more accustomed to written literature. But even after almost three millennia of written literature and increased use of digitalized poems, poetry retains its appeal to the ear as well as to the eye. To read a poem only by eyes might be wrong because it is designed to be read aloud by mouth and understood by ear, and will decrease the aesthetic sense otherwise. It is essential to find the right way to recite a poem in this dramatically changed society, and is especially important when many shijos are changing into digitalized forms to adapt the new wave of our society. The sonnet and the shijo emphasize the importance of the harmony of sounds and rhythms with certain structure, and have their own prosodies. The emotions of the speaker in poems are expressed with words. When they are pronounced. each phoneme has its own phonemic characteristics. When comparing the The Broken Bell(Baudelaire) and Chopoong ga (Jong Seo Kim) in terms of prosody and phonetics. the speakers emotions are closely related with the phonetic structure of each word. In The Broken Bell, the phonetic value of rhymes, repeated phonemes, concentration of front and back vowels. rhythms of onesyllable words shape the overall image of this poem describing the productivity of bells as appose to the sterility of the soul. Chopoong ga also shows the determined and strong will of the speaker by frequent glottalized sounds. distribution and concentration of certain vowels. and frequent use of plosives. As you see in these examples, phones, beats, and rhythms are not the mere transmitter of meaning but possess their expressive values of their own and should be the first to be considered when reciting a poem.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.4
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• pp.44-55
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• 2012

This study is to interpret how landscape aesthetic characteristics of moderation, which is the point of human-oriented neo-confucianism vision, are projected to the landscape organization of a Dodong-SeoWon, known for its overflow to neo-confucianism grounds and standards among domestic SeoWon. The aspects of neo-confucianism discussion in the shape of Dodong-SeoWon with the beauty of from and contents dominating the landscape of Dodong-SeoWon different from constructive completeness as 7 external and internal landscape organization including placement, circulation, setting, vista, fencing, naming, and decoration are as follows. The left direction of Dodong-SeoWon, part of external organization, is the result of landscape organization that emphasized the stage of moderation through the unification of man and nature by naturalizing natural direction to human-oriented directions. Important aspects to rule external orders and standards of Dodong-SeoWon are principles of one classes based on ranks and bilateral symmetry that is the unity of setting and circulation landscape organization from penetrating the spirit of moderation with no bias. By securing territoriality by fencing the unity of verticality and horizontality, the landscape organization to reach moderation is expressed. Meanwhile, Suwoloo(水月樓) perceived on the floor of central assembly hall, the formation of time frame from roof piles of Hwanjumun(喚主門) as well as pilars of Jungjeongdang(中正堂), and rime link method inducing visual balance and openness through segment, combination, and others are vista organization that show the ideality of unique neo-confucianism building. Also as part of landscape organization contents. semantically, building name including arrangement from Taegukdoseol, ideological naming following the name of Ssanggye-SeoWon, which is the former body, the name of the hall symbolizing the transfer of neo-confucianism enlightenment, impartiality with no bias, as well as Geoinjae(居仁齋) and Geoijae(居義齋) based on olympic, are also results of applying neo-confucianism standards. Additionally. the SeoHoe(瑞花) expressing the change of IleumIlyang(一陰一陽) on the stylobate of Jungjeongdang, Saeho(細虎) which goes up and down, as well as Simul made of four dragons, are artistic expression of the moderation that symbolizes the harmony of ying and yang with no exceeding or insufficiency. Humorous and unique rocks and stones evenly arranged in all spots of Dodong-SeoWon are to promote anti-strict organization by offsetting the image and external order of the lecture hall as strict as it is, and this is very ironic as it is the other landscape organization in different dimension as well as the expression of moderation.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.12
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• pp.1883-1896
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• 2009

This paper explores the use of Korean wrapping cloths (bojagi) in the late Joseon period and the types of decorations applied to them. Korean wrapping cloths called bojagi are pieces of cloths used by households of all social classes for practical purposes such as wrapping presents and covering food. In addition to the basic purposes, the making of bojagi was also an activity to express the down-to-earth wishes and the satisfaction of creation by the designer. With regard to the decorative feature of Korean wrapping cloths, five types of, patchwork, embroidered, painted, printed, and oiled-paper wrapping cloths, were examined. The patchwork wrapping cloths (jogakbo) show the frugality of Joseon women in addition to the well-developed composition skill of lines and colors. The embroidered wrapping cloths were prepared for special rituals and ceremonies such as weddings. Painted wrapping cloths were decorated with a Chinese-colors technique (called dangchae) or sometimes with black ink painting. For printed wrapping cloths, various sizes of woodblock printings and roller printings were used. Although monotone black ink was the main color applied to the printing, there was also wrapping cloths made from chintz having brilliant fast colors. Oiled-paper wrapping cloths called sikjibo were in use only for covering food. Cut-out work was employed to decorate it.

• Science of Emotion and Sensibility
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• v.21 no.1
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• pp.99-114
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• 2018

Saekdong is a unique Korean fabric that has been used since ancient times, and it is woven with the plain or satin weave so that vertical stripes appear by various colored warp threads of equal spacing. Saekdong means pleasure, joy, serenity, heavenly blessing, spirituality, wind, and abundance, expressing the optimistic and positive sentiment of Korea's forefathers. This study investigated how ancient Saekdong occurred with meanings. As a research method, this study used literature review and surfing newspapers and photographs, museum and internet search, even from other fields such as earthenware, bronze, and traditional dance. We collected Saekdong and the lifestyles of ethnic Koreans living in China, investigated the Asuka culture of Japan, and the tomb murals of Takamatsu-Chong, which are Baekje and Goguryeo settlement areas. The results are as follows: First, it expresses happy occasion, pleasure, and joy, and expresses a desire for good things to be repeated and lasting. Second, it symbolizes simple beauty, order, equality and harmony of many tribes. Third, Saekdong is life and power which represent a sacred, heavenly, mysterious bird. Fourth, it symbolizes abundance and wealth, rain, wind or fields. Finally, this study showed the brilliance and pride of Korean hanbok through Saekdong. The significance of this study is to examine the symbolism and inherent aesthetic characteristics of Saekdong and to show the unique value and spiritual heritage of the Korean people.