• The Journal of the Korea Contents Association
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• v.6 no.7
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• pp.127-135
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• 2006

This study analyzed narrative composition and examined storytelling elements to develop Shin, Dong Yeop's Epic Poem Geumgang into cultural contents. This piece's narration involves separately or compositely historical, fictional, and lyrical compositions and the hierarchical meaning of each composition contributes to exposing the poet's historical view and perception of reality. This piece also contains several storytelling elements by presenting various hierarchies of events and characters. This pieces' heroic characters, war epics and fictional spaces, and mythical stories are very important storytelling elements, and will be effectively used to develop cultural contents for Geumgang.

• Language and Information
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• v.8 no.1
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• pp.77-100
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• 2004

This paper aims to account for direct combination of an entity type noun with the verb HA- 'do' (ex. piano-rul ha- 'piano-ACC do') in Korean, based on Generative Lexicon Theory (Pustejovsky, 1995). The verb HA-'do' coerces some entity type nouns (e.g., pap 'boiled rice') into event type ones, by virtue of the qualia of the nouns. Typically, a telic-based type coercion supplies individual predication to the HA- construction and an agentive-based type coercion evokes a stage-level interpretation. Type coercion has certain constraints on the choice of qualia. We further point out that qualia cannot be a warehouse of pragmatic information. Qualia are composed of necessary information to explain the lattice structure of lexical meaning and co-occurrence constraints, distinct from accidental information. Finally, we seriously consider co-composition as an alternative to type coercion for the crucial operation of type shift.

• The Journal of the Korea Contents Association
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• v.14 no.2
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• pp.72-83
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• 2014

Film is a visual art. A process of film totally depends on our sense of sight. It indicates that a way of delivering narrative in the film is "showing", not "telling". There has already been established theories about "who sees" and "who tells" in narratology. It explains who the narrator is and how the narrator delivers in literary works which is represented in terms of "Point-of View". Therefore the study contents construct internal formal elements of the narrator and point of view into 2 individual researches, and the result can be summed up as below. From a narratological perspective, the narrator has roles and deeds as a narrative mediator who mediates the story and leads the story as presenting the origin with images and voices in the text extra and intra world through the process of producing the narrative inferred. To eliminate ambiguousness the term 'point-of view', this article applies 'focalization' theory to analyze narrative structure of film. The result of analysis shows that there are three focalizers in film; director, protagonist-character and camera. And aspects of film can be varied by distance of each focalizer. These distances between focalizers limit amount of visual information.

• Journal of the Korean Geographical Society
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• v.44 no.6
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• pp.779-796
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• 2009

Pimat-gil is a bystreet over 600-years old of Jong-no in Seoul that originated in the early Joseon Dynasty. This Study defines Pimat-gol (a street village) that has developed centering around Pimat-gil (alley) as a typical backlane of modern city, traces the origin and landscapes of Pimat-gol through the historical geographies of this place, and tries to name and interpret the placeness of Pimat-gol from the angles of social and cultural geography, particularly on the basis of the concept 'place memory'. As a result, the author extracts the placeness of Pimat-gol in terms of juxtaposition of three-fold layers, ie., 'space of subaltern vs. space of escape', 'space of oblivion vs. space of recollecttion and generation', and 'space of fossil vs. space of living'. In addition, the author examines the place memories which have been sedimented in this place and the contest of the place-memories by investigating these three-fold layers, and makes a proposal which would constructs another spatiality of modern city on the basis of this case.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.108-118
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• 2019

Appreciating gardens in garden show has its meaning in appreciating concepts and ideas of artists, hidden inside of garden, as formative arts, as well as the beauty of the nature. This study is aimed to understand the intension of artists in visual expression through formative media in the gardens by assessing structure of visual narrative in the space with 20 artworks among the ones presented in 2018 Taehwagang Garden Show. The formative structure is delivered as contents and forms through formative media and formative language. Thus, for analysis on the artworks, the researcher assessed expressive characteristics of the media, through visual and space language, that forms the formative structure in the contest of narrative structure expressed in the gardens and findings of the analysis are as follows. First, for intertextuality obtained through media image, most of the artworks delivered message through 'figure image.' This means, the concept is delivered as 'affinity of actual objects' through the media and associated 'meaning and meaning action' are expected. Second, the characteristics of signs to show symbolism in the gardens were categorized into 'icon'. 'index' and 'symbol'. The results showed that most of the artworks expressed common characteristics between image and meaning, using 'icon' and 'symbol'. Third, as space formation components, based on formative principles, the components of 'dominant' and 'subordinate' roles were defined as the key components for meaning delivery. Also, it was understood that 'space configuration with overlapped image' and 'space configuration with transparency' were adopted to strengthen conceptional layers. Forth, for space occupation types, there were mostly central hall type, corridor type and passage space type and for open space type, the entire space area was conceptualized, instead of certain object. The circulation line was defined in the frequency order of circular type, pass type and return type. The study on the expressive characteristics of visual narrative in garden design is meaningful as it could build base data for the method of spatial design for visual development of concepts in the future.

• Journal of Korean Society of Forest Science
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• v.47 no.1
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• pp.52-61
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• 1980

This study is carried out to learn the properties of forest soils in Korea and propose the reasonable management methods of forest land. Among 178 soil series surveyed until now in Korea forest soils include 64 series broken down according to the weathered products into 5 categories such as residual materials on mountain and hill, residual materials on rolling and hill, colluvial materials on local valley and fans, alluvial materials and volcanic ash soils. What discussed in this paper are classification system, parent rocks, texture class and drainage conditions of Korean forest soils. The characteristics of Korean forest soil properties classified in U.S.D.A. soil classification system are as follows: 1. Residual soils on mountain and hill (29 soil series) are almost Lithosols without any distinct soil profile development. They have loamy skeletal (11 series), coarse loamy (5 series), fine loamy (3 series), and fine clayey soils (3 series). Their drainage conditions are somewhat excessively drained in 16 series and well drained in 7 series. 2. Residual soils on rolling and hill (19 series) are Red-Yellow Podzolic soils with well developed soil profiles. They have coarse and fine loamy texture in 12 series and fine clayey texture in 5 series mostly with well drained condition. 3. Colluvial soils on local valley and fans (13 series) include mostly Regosols and some Red-Yellow Podzolic Soils and Acid Brown Forest Soils. They have loamy skeletal (4 series), coarse loamy (3 series), fine loamy (3 series), and fine clayey soils (2 series) with well drained condition. 4. Soil textures of weathered products of parent rocks are as follows: 1) Parent rocks producing coarse texture soils are rhyolite, granite gneiss, schist, shale, sandstone, siltstone, and conglomerate. 2) Parent rocks producing fine and heavy texture soils are limestone, basalt, gabbro, and andesite porphyry. 3) Granite is a parent rock producing various textured soils.

• Archives of design research
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• v.17 no.3
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• pp.335-342
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• 2004

Recently there have been various research activities regarding Korean traditional aesthetics. However, those researches were mainly conducted individually, partially, and periodically, which resulted in unsystematic and incomprehensive works. Therefore, it is required to orginze all the precedent research works with more systematic and objective framework. Generally speaking, all the human activities including aesthetic activity have ends, procedure and means. In other words, human being needs three key elements for realizing any thought and those three elements include contents, formal, and practical element. Element of contents is ultimate goal to accomplish as value, concept, and meaning of thought with their aims. Formal element includes methods, principles, norms, procedure, formality and style comprising of thought in order to accomplish the goal. Finally, practical element refers to specific means, tool, media, material and techniques to concretize the contents through form. Almost all of thoughts and meaning which human being tries to express consist of language. Major elements in sentence include 'subject (omissible)' , 'objects (aim)', 'predicate (formality)', 'complement (means)' and they are composed systematically and hierarchically with rules in sentence. The study compared human activity model with language structure and analyzed their implication with design (aesthetics), which made it possible to propose analytic frameworks for traditional aesthetics. In addition, the study also systematically organized the way to realize traditional aesthetic value in the present context based on the methods developed in this study.

• Iberoamérica
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• v.21 no.2
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• pp.25-52
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• 2019

Esperpento denotes a literary style in Spanish literature first established by Spanish author Ramón María del Valle Inclán that uses distorted descriptions of reality in order to criticize society. And esperpento's narrative strategy is similar in many ways to Mikhail Bakhtin's carnivalism. Especially Valle Inclán's first esperpentic theatre, Luces de Bohemia contained various carnivalistic elements of Bakhtin. The various techniques of Valle Inclán's esperpento used in Luces de Bohemia can be explained by Bachchin's carnivalist techniques. Therefore, this paper aims to re-examine the esperpentic techniques in Luces de Bohemia of Valle Inclán in terms of Bakhchin's carnivalism. Because the esperpentic tecniques of this play pursue the subversion of power or authority through the carnivalistic aspects such as polyphony, subversion of seriousness, parody, grotesque realism, plaza, ambivalence, anomalous structure of space, time and plot, etc. Esperpento and carnivalism serve as a tool to interpret the social reality, beyond criticism and satire of Spanish society. The characters act passively on all the external factors that determine human destiny, rather than actively carving their own destiny like the classic heroes. Modern man cannot defy or control the external situation of the modern civilization. So they are tragic. In this situation, the protagonist of the tragedy who challenges reality disappears and a puppet figure like Max Estrella, the protagonist of the Luces de Bohemia, takes his place on a satirical level. This is the satire and the true meaning of carnivalistic humor that Valle Inclán tried in his play.

• Cartoon and Animation Studies
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• s.30
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• pp.139-168
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• 2013

This article aims to explain the significance and value of cartoons in the 1910s which were largely passed unnoticed in the preceding cartoon studies by scrutinizing cartoons published in Maeilsinbo in the 1910s. Until now, Korean cartoons in the 1910s has been neglected just because it were published in Maeilsinbo. However, this writing analyzed cartoons in this period on the base of the fact that the cartoons in the 1910s printed in Maeilsinbo diversified the horizon of the Korean cartoon. Cartoons in Maeilsinbo functioned as a bridge connecting cartoons published in Daehanminbo in 1909 reputed as a root of Korean cartoon and 1920s, the time when satirical cartoons and comics started being printed in newspapers. The characteristics of Maeilsinbo as a bulletin of government general and periodical characteristics that the agent of popular culture begun to move reside as multi layers in the cartoons in the 1910s. In this article, the process and the development of how cartoons published in Maeilsinbo. As pleasure became important in everyday life in Korea, cartoons were able to earn a portion in the newspaper. In the beginning, modern cartoon style seemed vague, but as time goes by, its own style gradually settled. Cartoons in this period were not fixed in specific section but various kinds of cartoons were developed during the time since works of Korean as well as Japanese cartoonists and illustrators were published. Among them, representative cartoons in Maeilsinbo were analyzed in this article under three categories: first, cartoons represented 'Choseon-ness' through scenes of daily life and customs concurrently contained a view of anti-civilization/enlightenment; second, cartoons represented the accumulation of wealth as valid from the view point of public interest; last, cartoons divided Koreans who suffered from hardships of life in Kyungsung and Japanese in Jingogae in order to divide space. In conclusion, Maeilsinbo disciplined the colonized, Koreans, and exposed the discourse of the colonial power via cartoon.

• Cartoon and Animation Studies
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• s.32
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• pp.63-90
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• 2013

The purpose of this study is to improve the standards for the animation education in '2011 Arts and Culture Education Standards: Cartoon and Animation'. Animation Education Standards has been developed by discussion about Arts and Culture Education, and by study of documents about animation, and by investigation about experimental recognition. And the study of domestic and foreign art education standards are reflected in these standards. These standards consist of seven categories reflecting various aspects of animation and each category is classified into five stages by age. This standard has two axes: seven categories by various aspects of animation and five stages by age, and it represents achievement requirement in animation learning. This study suggests that 'Animation Education Standards' has five features as below. First, it reflects the character of Animation as an independent subject. Second, it is studied on the basis of the framework of arts and culture education. Third, it provides basic achievement requirement, and it has no limitation in learning activities. Fourth, the achievement requirements of two or more categories can be applied simultaneously in real classroom; each category is set by themes of animation education. This study presents five methods to improve existing standard. First, independent standard for animation education must be developed. Second, categories must be established distinctly. Third, each categories and achievement requirement must reflect unique characteristic of animation. Fourth, the description of achievement requires must be systemized. Fifth, to help to adapt education standard, explanation about practical teaching and learning activities must be added. '2011 Art and Culture Education Standards: Cartoon and Animation' is important in that it is the first study that systemized animation education and presented pedagogical achievement requirements by suggesting achievement requirements for animation education by two axes -ages and categories. It will be very helpful in studying the animation education as a subject, and developing education programs, and teaching and learning in an actual class.