• Korea Science and Art Forum
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• v.37 no.1
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• pp.249-260
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• 2019

Recently, the proportion of single-person households is on the increase in Korea, expected to reach 34.6% in 2035. Among the single-person households, Young single family households are facing greater difficulties due to high house prices in Korea. The government is expanding its support to Young single family, executing various policies such as public lease housings, private lease housings for youth, youth dormitory, etc. The purpose of this study is to understand the exact housing requirement of Young single family households who have different lifestyles with other age groups and provide base line data for youth house planning which will be in use later on. Study methods are shown below. First, this research studied the status and characteristics of Young single family households by looking into literature. Second, by studying previous studies concerned with life style and housing preferences of youth, the tool for investigating preferences and needs of housing environment by Young single family households was composed. Third, survey on characterstics of space usage, preferences and needs on flat composition, and preferences of interior design were conducted based on lifestyle of Young single family-households. The survey was conducted as an online survey using SNS for 150 Young single family holds from the age of 20 and 39, including students and office workers from December 2018 to January 2019. The results are as following. (1) Looking into the space usage characteristics, considering that various activities other than basic functions take place in bedroom and living room of small-sized Young single family households, we need to consider this additionally when planning the housing. (2) Looking into the preferences and composite needs of flat composition, the subjects demand separate bed room and more living room space, and also demand expansion of living room space where various activities take place and additional storage such as dress room in bed room (3) The preferences toward interior design show preferences toward modern style and achromatic color, a representative color. The subjects also prefer floor finishing materials normally used for living spaces, and indirect, soft lighting that uses wall. Also, there are differences between interior design preferences between students (20's) and office workers(30's) due to their different lifestyles. Research is needed to propose practical residential environment requirements and plans through a case study of actual public rental housing and a wider range of users.

• Korean Journal of Health Psychology
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• v.14 no.2
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• pp.277-292
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• 2009

This study investigated the responses of the autonomic nervous system of individuals with Type D personality during an acute stressful situation. Twenty-three female students of Type D personality and 23 female students with non-Type D personality. Stroop Color-Word Task was used to induce a stressful situation, heart rate variability (HRV) was used to measure the responses of the autonomic nervous system during the baseline, acute stress, recovery periods. To analyze the data, the repeated measures analysis of variance was used to compare the autonomic nervous system of the Type D group to that of the non-Type D group. Regression analysis is used to determine if the Type D scale and stress vulnerability predicted the activities of the autonomic nervous system during the baseline period. The results of this study demonstrated that the Type D group's normalized low frequency (LF norm) and ratio of low frequency to high frequency (LF/HF ratio) were higher than those for the non-Type D group, while its normalized high frequency (HF norm) was lower than that for the non-Type D group in all three periods. There were no statistically significant differences among the three periods in terms of LF norm, HF norm, and LF/HF ratio in the Type D group. The study demonstrated that the total scores of the Type DS-14 and scores of social inhibition and negative affect were independent predictors of LF norm and HF norm during the baseline. The Type D group showed increased activation of the sympathetic nervous system and/or decreased activation of the parasympathetic nervous system. These results support the hypothesis that the Type D personality is vulnerable to the stress. Also, the highly activated sympathetic and/or lowly activated parasympathetic nervous systems, which were observed in the Type D group during the baseline, indicated that the Type D individual is susceptible to psychosomatic disorders.

• Cartoon and Animation Studies
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• s.39
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• pp.215-231
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• 2015

The Cultural Revolution in the history of Chinese animation hinder the development of the initial animation, and after a negative assessment instrument provided the cause is to become sluggish growth of the Chinese animation. So this time animation are things that are the subject of academic research studies or analysis has been depreciating almost uniformly without evaluation. However, of all the cultural and artistic creation it is developing in its own specific historical conditions and has the aesthetic results. This paper puts the primary purpose is to hold in consideration the aesthetic principles that led to cultural and artistic creativity and objective perspective the achievements the Chinese animation of the time period of the Cultural Revolution. Cultural Revolution is avoided to the previous period in accordance with the socialist ideology of Mao Ze-dong(毛澤東) sikindaneun highlight the culture of the proletariat and placed our goal to create a new class culture. Therefore, cultural and artistic creation of this period is often inconsistent with this part of our aesthetic principles generally accepted character has a non- elitist and anti properties. Best drama is a creative one hand as a model to implement the principles of aesthetics, art and culture Cultural Revolution period kkophimyeo reference for understanding the aesthetic principles that animated the Chinese Cultural Revolution period of orientation. This paper has San Tu Chu(三突出), Hong Guang Liang(紅光亮), and Gao Da Quan(高大全) at the time of the Cultural Revolution aesthetic principles are reflected in how the concrete work, the Cultural Revolution when the animation is how to accommodate these aesthetic principles and placed emphasis on comparative studies on best pole and correlation of the Cultural Revolution when the Chinese animation to ensure that adaptation in own way. First, after analyzing whether the aesthetic principles of focusing on the similarities of the best pole time of the Cultural Revolution and China, and how to implement animation in the works, these aesthetic principles according to the analysis of positive and negative influence on the creation of Chinese animation It was described as neutral. The detailed analysis and comparative study courses were trying to access in two significant aspects of the characters and scenes directing. In terms of character animation of the Cultural Revolution in China when a young boy or girl, emphasis should emphasize the health tinged with red lips and cheek blush to highlight the desired Gong Nong Bing(工農兵) shape as the main character and smooth texture and sophisticated highlights the glittering feeling to the touch, it was confirmed focused hayeoteum to implement the principle of 'Hong Guang Liang', highlighting the brilliant colors with a clean, bright colors. Highlighting a number of protagoniste compared to the antagonist in the animated scene of the Cultural Revolution a few times in terms of production and, among a number of protagoniste also emphasizes the outstanding hero figure, "yet three outstanding heroes heroic figures also emphasize the leading figures among the the director of the extrusion step-by-step approach "('San Tu Chu')was used. In addition, the hero figure is generally high and low angle by directing a large and perfect aesthetic appearance was to faithfully implement the principle of 'high-charged'('Gao Da Quan').

• Archives of design research
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• v.19 no.6 s.68
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• pp.9-14
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• 2006

There are many paintings describing butterfly in a folk story or old story but the word of Nabby is showed up because korea culture is subject to a Chinese character culture area. the word of Nabby is originated from flying features of nabby. It was expressed to an Hoju(胡蝶:swallowtail) or Hwangjub(黃蝶:yellow butterfly) in old book, Nabby or Naboi in Dusiunhae(杜詩諺解) issued in 1481, Naboi in Hunmonjahoe(訓夢字會) issued in 1527 and Nami in Simongunhaemungmyung(時夢諺解物名) issued in Sookjong dynasty(1675$\sim$1720). After that it was called Nabeui or Nabby and Nabby became the standard language but it is still called Nabbo or Nabbe in some provinces. The butterfly have been called as jewelry spread out through the world and people have been attracted by its meaning (love, pleasure, luck, long life and eternity) and its beautiful figure so that they have collected poems and paintings about it to appreciate its beauty or have made craft works and personal ornaments of it. This research is to analyze the shape and color of the using the application method of the nubi, which is used as expression method in this research, is suitable to express the beauty of butterfly's shape and the nerve of its wings and the basic material, which is light and have good drape, was used to easily express the rhythmical movement of butterfly's flapping. And thus, this research is to present that the above expression method is suitable to express the beautiful expression of butterfly's image and have unlimited potential energy for developing designs. Results showed that the soft outline of butterfly's wings can coincide with the linear shape of human body. It was also found that the characteristics of nubi method could be diversified as material expression method and the Haute Couture luxurious work could be developed by applying the mixed nubi method to costumes.

• 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.

• The Korean Journal of Archival Studies
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• no.14
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• pp.3-51
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• 2006

In this paper, I applied known theories of appraisal and re-appraisal to the Japanese Colonial Archives and the Colonial City Planing Archives in Korea. The purpose of this application to some of sample archives was to develop a useful and effective approach to appraise the archives which were not appraised before they were determined to be "permanent" archives by the Japanese colonial officials. The colonial archives have lost their context and "chain of custody." A large portion of their volume also disappeared. Only thirty thousands volumes survived. The appraisal theories and related issues applied to and tested on these archives are; "original natures" of archives defined by Sir. Hillary Jenkinson, Schellenburg's information value appraisal theory, the re-appraisal theory based on economy of preservation and prospect for use of the archives, function-based appraisal theory and documentation theory, the special nature of the archives as unique, old and rare colonial archives, the intrinsic value of the archives, especially the city planing maps and drawings, and finally, the determination of the city planing archives as permanent archives according to the contemporary and modern disposal authority. The colonial archives tested were not naturally self-proven authentic and trustworthy records as many other archives are. They lost their chain of custody and they do not guarantee the authenticity and sincerity of the producers. They need to be examined and reviewed critically before they are used as historical evidence or any material which documented the contemporary society. Rapport's re-appraisal theory simply does not fit into these rare historical archives. The colonial archives have intrinsic values. Though these archives represent some aspects of the colonial society, they can not document the colonial society since they are just survived remains or a little part of the whole archives created. The functions and the structure of the Government General of Korea(朝鮮總督府) were not fully studied yet and hardly can be used to determine the archival values of the archives created in some parts of the colonial apparatus. The actual appraisal methods proved to be effective in the case of colonial archives was Schellenburg's information value appraisal theory. The contextual and content information of the colonial archives were analysed and reconstructed. The appraisal works also resulted in full descriptions of the colonial archives which were never described before in terms of archival principles.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.90-104
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• 2011

This study identified the scenic characteristics in Gugok and symbolism reflected in titles of the scenery of the season in Gugok from a perspective of Sundoism concentrated on Galeun Gugok in Goisan which is influenced most greatly by Sundoism hermit ideas in Korea, along with Seonyudong-Gugok. In addition, it suggested a measure for arrangement and narrative Storyboard of Galeun Gugok structure corresponding with promotion and propagation of Gugok cultural scenes and educational goals. According to analysis and interpretation of the various Gugoks forming Galeun Gugok in terms of their titles, names engraved in surrounding elements and the coherent symbolic meanings of its scenery and place through comparison with secenery of near Seonyudong-Gugok, the result shows that Galeun Gugok comprises wishes for eternal life in the forms of Taoist hermit-related scenery of the season within the range of stream and old stories based on environmental affordance. In figurative way, it ultimately presents the Wonyung(圓融) idea which seeks a harmonious combination of God and humankind. In particular, consciousness of longevity without problems is deeply inherent in the background of eternalness of plants, divinity of animals and natural homeostasis. Also, 9 Gok Seongukam set up at visual terminal reflect noticeably that a game Go is the amusement of the immortals, which describe 9 ranks of GO figuratively. Galeun Gugok is formed in a unity structure, which is hermit-oriented Sundoism and motif, such as longevity and immortality, divinity and enjoyment of Sundoism hermit rather than used as a method to achieve taste for the arts or ethics. Given the fact, it presents eternal longevity and atmosphere of seclusion in very strong way. Development of spatial Storyboard structure based on this is interpreted as 'Entering the world of hermits(Introduction)'-'Looking the world(Development)'-'Living with hermits(Turn)'-'Becoming hermit(Conclusion).' Finally, the scenery image of Galeun Gugok presented in surface structure is based on beauty of the immortal land scenery as well as beauty of pre-achieved space in Gugokdongcheon and arranged the vertical narrative structure as divine space of 9 ranks of GO. Taking those into account, scenery story board of Galeun Gugok was suggested in accordance with a theme of 6 cuts; Gnagsun(降仙)-Sungyeong(仙境)- Sunyak(仙藥)-Sunhak(仙鶴)-Sunyu(仙遊)-Eunsun(隱仙). It is obvious that hermit which live an eternal life as a representative of Sundoism, should be the main motif of scenery planning in a filed of modem landscaping. Therefore, the most valuable component in designing Korean landscape must be the homeostasis of surrounding landscape which supports the characteristics of invariability and divinity of nature.

• (The) Research of the performance art and culture
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• no.18
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• pp.171-199
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• 2009

This paper started with my effort to find connections between Empty Hands, which was put on the stage at the Mime House in Chuncheon, Gangwon Province, and Jindo Ssitgimgut. The mimist Yu Jin-gyu(58) adopted so many elements from Jindo Ssitgimgut for his performance that I felt that it was the pantomime version of Jindo Ssitgimgut. Of course, the pantomime took the form of gut based on shamanism in terms of story. Watching the pantomime, I once again saw the possibility of developing Korea's cultural archetypes into cultural contents. Helen Lannaghan, the art director of London International Mime Festival of 2005, saw his performance at the conference of Chuncheon International Mime Festival and invited it to the London International Mime Festival praising that it's full of Korean elements, minimalist, and modern at the same time. In fact, Empty Hands, which boasts great harmony among the Korean objet, Oriental thoughts, Samulnori, and Western contemporary mime, was invited to many foreign festivals including the Mimos International Mime Festival in 2000, Polish International Mime Festival in 2001, Mongol's International Mime Festival in 2002, and Belgium's International Mime Festival in 2003. In addition, it's recognized for its artistic values and had a chance to shine in another international setting at the London International Mime Festival whose reputations have been worldwide. All those achievements are the result of Yu's constant effort to reflect Korean elements through his movements. What I saw in his pantomime was the possibility that plays based on Korea's cultural archetypes such as Jindo Ssitgimgut could play an important role as a global content of performance culture. Pursuing the possibility further, I analyzed the factors that brought the worldwide recognition to Empty Hands and searched for the ways to create solid storytelling with Jindo Ssitgimgut and make a huge hit on the international stage. It should be noted once more that the pantomime Empty Hands launched Korea's unique performance culture to the world stage by making great use of the traditional Korean cultural contents.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.313-323
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• 2019

For the actors on video, facial expression acting can easily become 'forced facial expression' or 'over-acting'. Also, if self-restraint is emphasized too much, then it becomes 'flat acting' with insufficient emotions. By bringing forth questions in regard to such facial expression acting methods, this study analyzed the facial expression acting of the actors in genre dramas with strong commercial aspects. In conclusion, the facial expression acting methods of the actors in genre dramas were being conducted in a typical way. This means that in visual conventions of video acting, the aesthetic standard has become the important standard in the facial expression acting of the actors. In genre dramas, the emotions of the characters are often revealed in close-up shots. Within the close-up shot, the most important expressive medium in a 'zoomed-in face' is the 'pupil of the eye', and emotions are mostly expressed through the movements of the eye and muscles around it. The second most important expressive medium is the 'mouth'. The differences in the degree of opening and closing the mouth convey diverse emotions along with the expression of the 'eye'. In addition, tensions in the facial muscles greatly hinder the expression of emotions, and the movement of facial muscles must be minimized to prevent excessive wrinkles from forming on the surface of the face. Facial expressions are not completed just with the movement of the muscles. Ultimately, the movement of the muscle is the result of emotions. Facial expression acting takes place after having emotional feelings. For this, the actor needs to go through the process of 'personalization' of a character, such as 'emotional memory', 'concentration' and 'relaxation' which are psychological acting techniques of Stanislavsky. Also, the characteristics of close-up shots that visually reveal the 'inner world' should be recognized. In addition, it was discovered that the facial expression acting is the reaction acting that provides the important point in the unfolding of narratives, and that the method of facial expression and the size of the shots required for the actors are different depending on the roles of main and supporting characters.

• Korean Journal of Heritage: History & Science
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• v.57 no.2
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• pp.102-115
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• 2024

Painted Cultural heritage uses various materials such as paper, silk, wood, soil, and lime as a base layer to draw on using ink sticks and express lines or colors using various colorants. The importance of underdrawings is emphasized when it comes to replication and preservation, as they can reveal the original drawing. Investigations using infrared have been extensively conducted to detect underdrawings. However, there has been a paucity of research on the influence of underdrawing detection according to the base layer. In this study, the effect of the base layer materials on underdrawing detection in painted cultural heritage was confirmed using an infrared camera and hyperspectral camera (900 to 1700 nm). The study samples marked '檢' with ink below the color layer (cinnabar, orpiment, malachite, azurite, white lead, and red lead) by the base layer materials: Paper (Dakji, indigo/Dakji), silk (silk, silk/white lead), wood (celadonite/wood), soil (celadonite/soil), and lime. The difference in the effect on underdrawing detection was minimal for paper and silk, and no significant differences were found between Dakji and indigo/Dakji, or between silk and silk/white lead. However, we found that celadonite/wood, celadonite/soil, and lime have a significant impact on underdrawing detection. In particular, for wood and soil painted with celadonite, underdrawings were not detected for all six color layers. In the case of lime, it was found that all color layers except malachite had a more positive effect on underdrawing detection. The findings of this study will aid in selecting the appropriate method for underdrawing analysis in the restoration of painted cultural heritage.