• Sim-seong Yeon-gu
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• v.26 no.2
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• pp.149-188
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• 2011

This thesis presents the research of analytical psycholoy in respect of Jindo Dasiraegi. In a funeral of Jindo, situated in the southern island of Korea, there is a theatrical performance which is called Dasiraegi(rebirth). This research manifested a basic, universal meaning of psychological approach related the implicit of death in performing theatre from a analytic psychological point of view. The characteristics of this theatrical feast are like these ; 1) funeral festival 2) entrance of clown(the existence of antipole and conflict) 3) eroticism 4) active participation of female character 5) difficulty in her delivery 6) the moment of joy thanks to childbirth. The prerequisite of this feast should be a propitious mourning of person dying old and rich. That is, after having a complete life, it could be an entire death. Three main roles in Dasiraegi ; a bat-blind buddhist devotee, a strolling actor teasing men, an apostate monk, theses characters lock horns in a form of triangle conflict relations, then they keep a balance with a fake mourner as a protagonist , modulator and narrator. These characters are indeed clowns who manifested a metaphor as a decent, sacred and reasonable part of shadow regards group consciousness. The alive and the deceased, mourner and fake mourner, piety and confusion, wail and laugh, silence and grumble, death and birth, diverse antipole all coexist then theses are in harmony. The blind devotee and the monk are in antipole, the entertainer(anima) provokes a conflict between them. The infant is a solution as same as a result of conflict. This conflict seems to be eased by birth of a baby which is a symbol of wholeness(ganzheits) but the conflict of antipole is reenacted as insisting his parental right so this solution is leaving the baby to the chief mourner who is fourth character and the first beginning. Unconsciousness, hereby, is negotiating with appeared reality. The Images in unconsciousness are conscious and this new energy in unconsciousness is proceeding towards consciousness, then it became a therapeutic power for the loss of consciousness. Dasiraegi is the play of consolation much more for the alive than the deceased. The death signified not a loss but a resurrection and this intends a transition of new leading independent role for the alive. These make us have more prudent consideration concern the double sense of renewal for the dead and the alive. It is preserved as only a form of drama on stage after disappearance of Dasiraegi in a funeral recently. Dasiraegi was a manifestation of unconsciousness for compensation about the unilateral attitude of group consciousness to the strict death excessively. Therefore, this will enable reflect the relativeness and the attitude which regards the death as the end today.

• Archives of design research
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• v.16 no.4
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• pp.37-46
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• 2003

About 18th century in the late Chosun dynasty, various kinds of 'Min-Wha' had played a significant role and had an important meaning in the lives of the people in that period. Therefore, both in material and in technique, so many diversified 'Min-Wha' were mass produced in that time. Starting from those backgrounds, 'Hyuk-Wha', is considered as one of unique style of expression. Though, 'Hyuk-Wha', in techniques, was originated from 'Bibaekseo' classified as one of the style of expression in Oriental drawing and writing art. 'Hyuk-Wha' shows and expresses visual differentiation from rough 'Bibaekseo', in substance, written by brush made from the skin of a willow tree or the stem of a sort of reeds. 'Hyuk-Wha', in mode, has very dose relation to the process of the development of 'Min-Wha'. Judging from this point of view, 'Hyuk-Wha' has deep relationship to Taosmic character painting of 'Gilsang: an auspicious sign' or Confucian character painting of 'Hyojae: filial piety. Accordingly, 'Hyuk-Wha' has been developed to that character painting designed by another type of creative differentiations. For these reasons, 'Hyuk-Wha' which significantly shapes and contains the meanings of Chinese Character also has been esteemed to have interrelation with Pictography in application of Word mark or Brand logotype in graphic areas. 'Hyuk-Wha' which was prevalent in use of home decorations for the people existed in the past has been ceased to exist nowadays in use of home decorations by appearance of all sort of decoration articles. All these days, 'Hyuk-Wha' which was diversified as a part 'Min-Wha' and developed together with oriental drawing and writing art and character painting is to be necessarily relighted. And 'Hyuk-Wha', which is also vigorously in practical application in Western Europe is desirable to be reconsidered.

• Archives of design research
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• v.18 no.1 s.59
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• pp.233-244
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• 2005

Fashion is one of the characteristics which represents the comtemporary sociocultural signifiant. A style that a certain stream of fashion brings is not just limited in fragmentary tendencies and fads. That can be a code to communicate and function as a medium in itself. Music has been displaying it's power to fashion while fashion has been exercising it's influence over the music. There is an inseparable relationship between music and fashion in terms of expressing our images of the world: fashion delivers them through visuality and music does it by sound. Both fashion and music are reflecting our society as well as they are influencing on sociocultural aspects generally. Whenever music has been changed new youth culture has been made and this culture has been expanded with forming some distinct fashion trends. The study focuses on identifying the relations between pop music and fashion styles which are occupying positions firmly on the bases of youth culture through analysing the relations between the fashion styles and music genres which are used in sub-culture groups to express their own identities and consciousness from a point of semiotics. In conclusion, subculture is the exit of their escaping from the compelling inconsistency cause by the condition of people's life and the way for them to solve through cultural sublimating for themselves. People come up with distinctive style of music and fashion to express their resistant signifie in their symbolic way. In addition, a particular music trend has much to do with a contemporary fashion style. In the relationship between music and fashion, there have been the subtle mechanism to boost and influence and some crucial similarity each other to signify inner values of the times. This study lets us realize that fashion is not only a popular style of clothes, hair, etc. at a particular time or place but also a medium to communicate and to guarantee polysemous identity by functioning as a flexible tool to exchange contemporary sociocultural meanings.

• Journal of Digital Convergence
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• v.16 no.3
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• pp.429-438
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• 2018

Brad Bird, a screenwriter and animation director in the United States, criticized the situation in which most animations were produced and released for the children since the early 2000s. He said that animation is an art form capable of conveying messages not only to children but also to adults, and that their development potential is high. In this study, I analyzed overall components such as narrative structure, character, subplot, symbol, and foreshadow of Brad Bird's animated feature films , , and examined his narrative features and strategies. As a result, the narrative features of animation as an art form are as follows: First, conveying the message of a serious subject that will deeply sympathize with adults as well as children. Second, expressing the social agenda which criticizes the contradiction of the real world and the periodic mistakes. Third, solid narrative structure through a dense plot based on realistic situation setting. I hope that this study will be used as basic research material for various animation production in the future.

• Korean journal of communication and information
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• v.48
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• pp.109-134
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• 2009

This study explores the political parody, which has become an active art form in order to express Korean Internet users' political practices, especially, during the politically turbulent periods from the presidential election of 2003 to the recent candlelight vigil protest of 2008. This study investigates the rise and fall of a parody culture by online users from the mid-2000s, and also examines aesthetical aspects of parodic artworks relying on amateurism culminated in 2004. Specifically, the current study questions an aesthetical lack shown in 'appropriation', by which most of the online users simply produce imitations of original image. This study rather notes 'photomontage' as an aesthetic prototype, the political aesthetics made by John Heartfield, through which this study intends to observe how his aesthetical legacy of political art could be realized in the contemporary form of political parodies produced by online users. The present paper concludes that online users' political participations in producing critical works of art could allow us to negate the dichotomy between the elite and the mass, professional artists and amateur parodists, and a radical politics and the politics of style.

• Cartoon and Animation Studies
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• s.22
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• pp.17-30
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• 2011

This paper analyzes Blood: the Last Vampire (2009) in comparison with the original Blood: the Last Vampire (2000). This digital movie, released in 2009, faithfully re-presents the visual of the original animation using more budget and more developed technology. Though these two movies share very similar visual style, they have slightly different modes of expression that can be easily detected in their opening scenes. The original Blood chooses to tell its story in more indirect way. Some shots are intentionally vague and forcefully separated by black credit screen, leaving audience guessing exactly what happened. The remake version of Blood provides faster, more diverse, and more sophisticated images. It also uses invisible and slick editing, leaving no room to guess. These differences comes mainly from the difference of media. However, since the differences between two movies lie mainly in their narratives, we can ascribe the box office slump of the digital movie version of Blood: the Last Vampire to its narrative flaws. The heroin's inner conflicts were not convincing enough, supporting roles were not probable enough, and the whole story was not unique enough. As a result, the new Blood: the Last Vampire became another bad example that shows the importance of narrative in films.

• Archives of design research
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• v.14 no.3
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• pp.177-186
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• 2001

Modern times is called the age of image. It means that our society's importance is transferring from the commodity-centered industrial society to intangible culture-oriented society Therefore, it is becoming very important that what kind of image, concept and psychological factor act upon the space, things, incident and time (event) which is constituted around our environment. As regards this standpoint, from the early period, that advanced countries have been taking advantage of the national symbol image very positive way and function for domestic things and place and event and so on which make a standout for the nation's positive image and taken an effort for promoting a pride of their fellow countrymen through this. This study approaches the basic images of national symbol which includes the country's name, national anthem, national flag through the design principle which could express some certain above level of pattern and composition. I suggested various applicative motif based on basic expressions of each individual image and the applied sample goods of this idea, and through the introduction of the process of image development, and I tried to offer a moment of more prosperity and development at a later time. This is for encouraging fellow citizens to use national symbol in the free and positive way which make them to increase a national pride, and give a familiar image in the citizens'daily life. I intended to offer basic materials for promoting ourselves whenever we need it. And also by the offering information on our nation for foreigners which make them to have a favorable impression of our nation. I tried to promote a positive national image.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 1997.11a
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• pp.22-27
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• 1997

특정 제품이 가진 "감성 이미지"란 그 제품의기능과 함께 제품의 감각적 요소 그리고 사용자가 제품에 대해 가진 개념적인 사고 과정의 산물이다. 감성이미지의 국제 비교 연구는 사용자가 특정 제품에 대해 가지고 있는 이미지를 국가나 문화의 맥락 속에서 상호 비교 평가하여, 각 국가나 사회집단을 특팅지울 수 있는 문화적 감성 요소를 추출하고자 하는 것이다. 즉, 각 국가의 생활문화 속에서 사용자들이 제품에 대해 가지는 감성이미지를 계량적으로 규명하고 비교 평가하며, 이 정보를 기초로 각국의 문화와 정서에 적합한 제품 디자인의 모형을 제시하는데 본 연구의 목적이 있다. 구체적인 연구방법은 우선, 자동차 제품을 중심으로 '제품 이미지'를 나타내는 '언어 이미지'스케일을 각 문화 집단 별로 구성한다. 이 제품 이미지에 대비하여, 감성적 요소로 선정된 표준 색채 스케일을 중심으로 나타난 집단의 '이미지'를 상호 비교 평가한다. 이 경우, 각 국가별 집단에서 특징적으로 나타나는 제품의 주요 특성이 감성 이미지로 표현되는 색채 이미지에 어떻게 반영되는가를 상호 비교한다. 이 연구에서는 특정 지역의 사람들이 제품에 적용하는 감성이미지는 색채나 기타 감성 요소에 대한 선호의 문제가 아니라 그 집단의 사람들이 그 제품을 통해 표현하고자 하는 사회적 표상의 반영이라는 것을 보여준다. 따라서, 제품의 이미지가 각 국가별로 공유되는 감성 이미지로 변환되기 위해서는 동일한 의미나 상징성을 지닌 감성 요소를 활용하여 그 제품의 이미지를 포장할 수 있는 방법을 적용하는것이다. 본 연구에서는 각 문화 집단들이 특정 제품에 대해 가지고 있는 사회적 표상(social representation) 체계를 색채스케일에서 나타난 감성 이미지를 통해 구체화하는 것이다.로서는 방전효율의 저하가 없는 양호한 성능을 보였으며, SC의 시범 작동시험을 실차(소나타 1800cc)에 장착하여 수행한 결과 20회 이상의 연속시동에서도 아무런 문제점 없이 잘 동작하였다.되는 데이타를 입력한후 마우스로 원하는 작업의 메뉴를 선택하면 된다. 방법을 타액과 혈청내 testosterone 농도 측정에 응용하여 RIA의 결과와 비교하여 본 바 상관관계가 타액에서 r=0.969, 혈청에서 r=0.990으로 두 결과가 잘 일치하였다. 본 실험에서 측정된 한국인 여성의 타액내 testosterone농도는 107.7$\pm$12.0 pmol／l이었고, 남성의 타액내 농도는 274.2$\pm$22.1 pmol／l이었다. 이상의 결과로 보아 본 연구에서 정립된 EIA 방법은 RIA를 대신하여 소규모의 실험실에서도 활용할 수 있을 것으로 사려된다.또한 상실기 이후 배아에서 합성되며, 발생시기에 따라 그 영향이 다르고 팽창과 부화에 관여하는 것으로 사료된다. 더욱이, 조선의 ${\ulcorner}$구성교육${\lrcorner}$이 조선총독부의 관리하에서 실행되었다는 것을, 당시의 사범학교를 중심으로 한 교육조직을 기술한 문헌에 의해 규명시켰다.nd of letter design which represents -natural objects and was popular at the time of Yukjo Dynasty, and there are some documents of that period left both in Japan and Korea. "Hyojedo" in Korea is supposed to have been influenced by the le

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.2
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• pp.118-124
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• 2020

The purpose of this study was to explore the ecological aesthetic features and the implications for ecological landscape design by analyzing the design philosophy and ecological artworks of Patricia Johanson, an ecological artist. Literature review and a field visit were conducted to investigate Johanson's four art projects that express the functional purpose, artistry, and locality of symbiosis with nature and restoration of ecosystem habitats. As the results of analysis, first, Johanson's work created 'functional art work' and 'artistic infrastructure'. Second, the historical and regional characteristics were expressed artistically and symbolically. Third, Johanson is characterized by connecting humans and nature through the publicity of works of art, and raising the awareness of preservation of nature and environment among the community and children. Johanson's innovative works can provide inspiration for landscape architects pursuing functional and sustainable landscape design.

• Korean Journal of Heritage: History & Science
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• v.42 no.4
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• pp.132-151
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• 2009

Gut (Shaman ritual) in the west coast area is consisted to sanyang-geori (hunting), tasal-geori, gunwoong-geori those describe from hunting process to preparing animal sacrifices to a deity. The characteristic of gut in the west coast area which are represented for mock hunting and animal sacrifice ritual is practicing at the sibamasturi in Japan. This paper aims to compare a shaman ritual in west coast area in Korea and Japanese Sibamasturi from the comparative folklore point of view. Gut in the west coast area is well known for dividing sacrificial offering: vegetable for sinryeong and meat for singyeong. This division of spiritual deity shows it has different background from agriculture and hunting culture. Hwanghae-do gut has been formed under the various life environments. Therefore, each stage is conducted according to the purpose of the ritual. Sanyang-geori (hunting) represents the scene of hunting in the mountain and by catching live animals and it refers to Gunwoonsin, and will be offered. Animal sacrifice is a positive ritual which get rid of bad luck and pleased deity. Sibamasturi is practiced in mountain area where most of people involve in hunting and agriculture. Therefore, this area has both agricultural ritual and hunting ritual. Sibamasturi is practiced in January (lunar) and it also has meaning of beginning of agriculture and hunting in mountain area. Ground burnt off for cultivation way symbolizesfire ritual and mock hunting as well as animal sacrifice together. These rituals match to farmers of mountain area in the south-east Asia. The gut in the west coast area and Japanese Sibamasturi have common point that mock hunting and animal sacrifice are practiced at both rituals, however, the structure for these two ritual are different. In other word, there animal sacrifice has been formed with different cultural back ground.