• Archives of design research
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• v.12 no.1
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• pp.109-118
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• 1999

The present. study analyzes the formative languages in works adopting the De paysementtechnique in contemporary art centering on surrealism and is concerned about the methodology of this technique in integrating image compositions. The Depaysement technique widely adopted in many art works up to the contemporary art since the end of expressionism were dassified into seven methodologies for analysis. The results indicate that the Depaysement technique presents a distinctive methodology of creation to represent the inner spiritual qualities. Therefore, it is expected that further studies on expression of this Depaysement technique will be of great help in expanding ideas in Art in the future.

• Korean journal of communication and information
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• v.27
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• pp.35-62
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• 2004

This study examined how the three major newspapers covered the press reform movement in Korea. Despite that the NGOs and Korean government keep trying to reform the market and structure of the newspapers, the targeted newspapers argue that they are unjustly accused of the dominance of the press market made by the readers' choice. Using frame analysis and discourse analysis, this study analyzed the news coverage on the press reform for 6 months and revealed that these major newspapers presumed to be targeted were totally challenging against the press reform by means of flaming of news and using news discourse. The ways of challenge were, firstly they appealed to the readers that the press reform is the press suppress so that they have to fight against this unacceptable pressure. And secondly, they report the news selectively for their own interests by elaborating, magnifying, or reducing the facts. Thirdly, they attack the government policies and major figures leading the press reform by letting the outside columnists favorable to their own standing point. And finally, they conduct the poll on and off and report what they want according to their self interests.

• Journal of Digital Convergence
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• v.14 no.8
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• pp.407-413
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• 2016

This research is aimed to discuss for Korean cultural contents; symbol structure of Minwha painting which not only expresses openness, flexible expression and methods of communication of our ancestors but also possibly passes down as precious cultural heritage to modern society with new developed mediums. From this perspectives, as a method of research, modern jewelry design is created through digital process with linguistics analysis of its symbol structure that contains universal wishes of people. As a result, this research showed jewelry design and design process, titled "Blossom" and "Big Smile" grafting modern technology of 3D digital tool onto universal meaning symbolized by Peony flower, wealth and honor, and also grafted modern manufacturing methods of 3D printing and laser cut onto openness and flexible thinking in symbol structure in Minwha.

• Archives of design research
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• v.19 no.4 s.66
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• pp.31-40
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• 2006

For a long time, we have been good at the static image, 'the country of calm morning' as reminding Korea. But, it became a chance that we were recognized newly and actively through the success of the Olympic games in 1988 and World cup games in 2002 all over the world. And foreigners' interest and expectation for Korea becomes much higher by these reasons. Moreover, the importance of our cultural industry, recognition for new cultural improvement have been changing step by step by the oriental trend in Asia in these days. So, this study intends to realize the Korean symbol with showing Korean Identity and its image's applying to the street furniture design through the making of special street which expresses well the Korean Image. There is a purpose of this study not to use as just street furniture but to make characterized Korean culture through showing examples which are based on Korean culture. The way of the improvement for the street furniture design using Korean image are these we analyze the character of Korean international image with the previous data for the change of Korean Image. We understand the symbol of changed Korean international Image, and extract the design elements. We analogize the shape, material and color image of the street furniture which is joined with both the Korean national image and formative traditional elements. At last, we formalize its symbolic image by applying to the street furniture according to the design improvement process with the analogized image. The formal study using Korean image makes more cleary the Korean Identity, and it doesn't influence only the actual change but also Korean cultural value equipment.

• Korea Science and Art Forum
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• v.37 no.2
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• pp.275-292
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• 2019

This study was initiated with the attention of demanding new and diverse approaches, we're talking familiar with imitations in the design process like a way to draw a image. So I studied a convergence of humanities and visual arts with the understanding and conceptual approach of the formless. The purpose of this study is to develop formless languages and to organize practical courses which are to enable deeper research and design expression on theoretical approaches and explanations of outcomes required before and after the process when we practice in connection with the formless. The method of this study is to draw detailed items from selected words through advanced researches, work and author researches and practice teaching. The results of the study I proposed the formless language that is related to the horizontality in spatial positioning system, and pulse in the separation of space and time, and entropy in structural orders of the system, and base materialism in the limitation of matter as the operating mechanism and parent item of formless. And those elements are related with shape, size, shading, color, texture, space, structure as visual elements of formative elements and those have various adjectival meanings as the subordinate concept. So I presented an education materials of basic design which is to enable understanding and expressing the formless language in the overall process of formless visual art(theoretical approach, practice course, presentation, etc.). Based on these study results, I hope that this educational materials will be used as educational contents that makes them express and understand different new beauties, and a role that reveals social identity, and a reference for research on a formless visual arts.

• Journal of the Daesoon Academy of Sciences
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• v.49
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• pp.157-186
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• 2024

This study aims to understand the symbolic meanings of dragons in the contemporary period through the painting featuring poetry based on the Hwaryong (paintings of dragons) and to analyze the literary representations and characteristics of dragons. First, the shape and aura of the dragon in the paintings should be confirmed. In dragon Painting Poetry (Paintings Featuring Poetry), the shape of the dragon is embodied in the aura of 'spirit.' However, people in previous eras customarily believed that dragons were real. In addition, the main spirit of the Hwaryong was in the representation of the dragon's aura, or "Jeonsin (transmission of spirit)," such as the creature's dragonly virtue or Heavenly Perfection. Next, the rhetorical representation of the dragon in the painting is to be examined. In the actual Painting Poetry, dragon images were relatively common in descriptions of pines, bamboo, and plum trees. The pine-bamboo-plum motif is known as Sehan Samwu (the three friends of the cold season), and since the Northern Song Dynasty, it has become a symbol of literary incision. Manifested as a dragon, the pine-bamboo-plum motif has a common denominator of winding branches, tangled stems, and bluish jade coloration, and like the dragon, it is used as a backdrop for weather phenomena such as rain, wind, and lightning. In the schematic that connects the Hwaryong, dragon Painting Poetry, the original meaning of the dragon is transformed into shapes and language. This is the meaning conveyed by the dragon, and this symbolic meaning was shared among the writers of the period who viewed the poems and paintings.

• Cross-Cultural Studies
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• v.45
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• pp.33-54
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• 2016

This study presents a comparative analysis of the calligrammic poetic dictions shown in the poems of the French poets Guillaume Apollinaire and Paul Eluard and in those of the Korean poet Lee Sang. They were adventurers in the avant-garde movement who used experimental techniques that led to futurism, expressionism, cubism, dadaism, and surrealism. They applied a typographic technique that combined pictorial arrangements of fonts, shapes of compositions and between lines, letters of the alphabet, mathematical symbols, and graphical elements, such as circles or lines, to make up a poem that also looked like a painting. Their works, valued as visual lyric poems, break up language and combine anti-poems. They rejected traditional poetic dictions or grammar, but developed a paratactic poem that freely uses letters and symbols. Their calligrammic poetic dictions arouse dynamic images like space extension. Lee Sang's calligrams seem like abstract paintings that apply geometric symbols like those used in technical drawings. As a result, crossing the boundaries between language and pictorial art by using experimental materials and techniques, their poems deconstruct the creative standards of rational and traditional poetic dictions, creating an adventurous, expressive technique. Their calligrammic, avant-garde poems introduced a new spirit of art into both French and Korean modern poetic literature.

• Cartoon and Animation Studies
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• s.37
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• pp.267-286
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• 2014

Yeon Sang-Ho's Animation occupies an exceptional place in Korean Animation, being categorized as the kind of realism representing the pitiable actuality rather than the liberal and creative imagination. His animation appreciated as 'stories much more real than the reality' mainly depicts the world of 'the others' who resides on the periphery of the society in a rough and straightforward way. Yeon Sang-Ho's Animation represents the emotions and desire of characters as well as the heartless real world refusing the fantasy, through which it reflects the portraits of people living in post-capitalistic era seen from the microscopic view. This article investigates the textual characteristics, defining his animation as the Brutal history of 'The Others'. Two conditions which constitute the actual world in his works are the absurd social system and the characters who are afflicted with the trauma, belonging to the lower classes. Therefore, the landscape of real life which contains vicious victim, corrupted monster and being as 'homo sacer' looks like a painting of hell. Yeon Sang-Ho's Animation summons the shadow of ourselves which has been negated or neglected through the figure of 'the others' produced in post-capitalistic era and exposes our bare face and the uncomfortable truth by displaying the affected area of out society plainly. Furthermore, his works demonstrate the possibility of Korean animation as a representational language of facing the reality and searching for the truth.

• Broadcasting and Media Magazine
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• v.10 no.1
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• pp.85-98
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• 2005

About the phenomenon of being imaged of everything, the scholars of the humanities who had studied on the simple reason structure in a text have been in a big agony how accept it. Especially, semiologists have studied about this for a long time and the points at issues of Saussure, Peirce as well as Umbeto Eco are more outstanding. Being based upon his philosophic interesting from medieval esthetics to modern semiotics, Eco was very concerned about the field of general esthetics and poputar arts like television and cartoons. He connected the mutual open-relations between 'signifier' and 'signified' debated in Semiotics with the open and vague modern arts and regarding it as a deviation from the custom, intensively studied the film-media. Saussure is a representative figure of semiotics and explained Sign and the character of semiotics as the division into two parts such as signifier/ signified, form/ substance, langue/ parole, synchrony/ diachrony. The triadic semiotics (the theory that Sign is composed of the triadic structure like sign, referent and interpretant) of Peirce put the new item- 'interpretant' in sign and referent to connect them and open the possibility to introduce time in to the Sign. In this paper, I try to analyze a cartoon film in the semiotic structure with the systemic, reasonable and logical approach and analysis as as possible. While the images shown through a film were depended on the romantic and impressional judge in the past, due to semiotics, it' s quite possible to correlate the procedure of symbolization to social coherence so that we analyze the incredible power of images to suck audiences with the systemetic Sign. I accept all ot film-images including a cartoon film as not the simple esthetic arts but a social custom and system, want to serve as a aid to properly understand world and humanbeings and prevent the film-image from being mystic. A cartoon and a cartoon film which were begun with the link of a text and an illustration give shape to all of images such as materials, places and even thoughts with a cartoon icon existed in only a cartoon. A cartoon and a cartoon film simply and exquistely conceptualize the complex and vague attribute of an organic creature and extend them infinetly beyond language. However, it can be exploited as a mysticism to temptate the general public and a faking material. In addition to that, it can distort our world-knowledge engaging a political power and the massive power of mass media. In this paper, being based on semiotics to approach a cartoon film in a scientific and organic system, I conclude that a non-linguistic cartoon expression is entangled with the manifold signs and implies the supplementary meanings just like a regular linguistic expression. It remarks that the iconic images of a cartoon film are composed of the social codes and can be analyzed on grounds of a linguistic system.

• Journal of Korean Philosophical Society
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• v.117
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• pp.223-247
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• 2011

In der vorliegenden Arbeit geht es um das Primat des Seins und die Ereignisontologie, denen der Diskurshorizont zwischen der Ontologie der philosophischen Hermeneutik und der dichterischen $Repr{\ddot{a}}sentation$ der Seinsquelle in $H{\ddot{o}}lderlins$ spekulativem Gedicht, >Andenken<, das die spekulative Philsophie als eine Philosophie ${\ddot{u}}ber$ das Wissen um Ursein vor dem Denken darstellt, zugrunde liegt. $H{\ddot{o}}lderlins$ und Hermeneutische Ontologie nimmt erstens das Ursein, das die ontologische Voraussetzung des Denkens sei, als die nicht nur logische, sondern auch temporale Quelle auf Grund der Kritik an der reflexiven Struktur des modernen Denkens an. Zweitens suchen beide die $Gesinnungsm{\ddot{o}}glichkeit$ des Urseins, das niemals ein begreifbarer Gegenstand des Denkens war, deshalb immer schon ${\ddot{u}}ber$ das Denken ${\ddot{u}}bertrefflich$ ist, auf der ontologischen Seite aus der selbstnegierenden Bewegung des Seins, auf der erkenntnistheoretischen Seite aus dem sprachlichen Ausdruck des Seins: Insofern das reflexive Denken die analytische Unterscheidung zwn Prinzip hat, ist das Ursein deshalb der logische Ursprung des analytischen Denkens, weil das Unterschiedene aus dem Einen geteilt wird. Und das Ursein ist deshalb auch die geschichtsphilosophische Arsche, weil das Viele die geschichtliche Selbstentwicklung des Einen ist. Aus dessen Grund $l{\ddot{a}}sst$ das Sein, das allem vorausgeht, mit seiner geschichtlichen Selbsterscheinung als negativer $Selbstverkl{\ddot{a}}rung$ und darnit zugleich mit dem sprachlichen Ausdruck als der epischen Symbolisierung solcher Ereignissen sich selbst als etwas sein. Das Wort des Verstandes, das nur die Negationsbewegung der Analyse ist, kategorisch einbegrenzt ist, kann daher nicht das Verweilen bei dem Geschehen der $urspr{\ddot{u}}nglichen$ Seinsquelle sein. Das dichterische Wort, das der Stimme aus der Seinsquelle $zugeh{\ddot{o}}rig$ ist, ${\ddot{u}}bersetzt$ die Selbstbewegung des Urseins auf den hermeneutischen Sinnhorizont, in dessen Spielraum das Ursein sich selbst aussagt. $Schlie{\ss}lich$ hoffe ich damit, in dieser Arbeit davon ${\ddot{u}}berzeugend$ vorderseite zu legen, dass $H{\ddot{o}}lderlins$ Gedicht, >Andenken< nicht nur die poetische Gesinnung auf die Seinsquelle, sondern auch die hermeneutische Ontologie der Seinsquelle ist.