• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.4
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• pp.144-153
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• 2010

In making gardens, garden designers establish a principle using specific colors, collect materials, and combine them with their own aesthetic senses. This study is design mothed through the species and characteristics of flowering plants used in the Barrington court created by Gertrude Jekyll and Sissinghurst's white garden created by Vita Sackville-West, both of which are the most renowned gardens that used the white color. The analysis of each individual plant used in the gardens will be based on the season, colors, shapes, plant heights and aromaticity. Through their gardens, how the flowering plants aesthetically united with each other in creating the white gardens will be reviewed. To represent the freshness of spring, Jekyll planted Campanula spp. and Lilium spp. in the garden. Vita Sackvill-West aims at the moonlight in a summer night and features Delphinium spp., Rosa mulliganii, and R. longicuspis. The color of the flowers is in white, varying from pure white, ivory and silver. To prevent monotony due to monocolor flowers, the forms of the flowers are intense. To make white flowers look better, the colors of leaves include light green, light gray and bright and greenish yellow. Overall, cool colors are used to give a mystique, coolness, cleanness and to produce an fascinating and plaintive atmosphere, getting joined with white flowers and reflected light in the night. The White Garden has made significance in the history of landscape architecture: it was the starting point of garden design through theme colors, based on the idea and technology of planting design methods that discover the potential of colors and withdraw limits. And it also made a significant contribution to the advancement of garden art with combinations by aesthetic principles.

• Archives of design research
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• v.18 no.3 s.61
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• pp.95-104
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• 2005

Although the volume and complexity of available information have increased, our ability to process such volume of complex information has not been met with corresponding development. Information designers have been given the responsibility to address such unbalanced progress by developing effective visual systems to deliver and communicate such information to the masses in a manner that is quick and easy to process and understand. This study originated in recognition of these issues. This study seeks to find a solution to these issues in rhetorics in order to proliferate visual communications in recognition of the increasing importance of information and visual communication. Rhetorics, a field of study with a long history of analyzing the delivery of communication, provides numerous possibilities for the re-establishment of importance placed on visual information communication. Included in this study are (i) a thorough analysis of the principals of expression and logic offered by rhetorics, as applicable to information design (ii) a proposal to the solution to the above-mentioned issues encompassing the rhetoric process and methods of expression of information design and (iii) the practical application of these design principals to social activities. In order to provide an example of the practical use of the rhetoric methodology Presented in this study, we applied the rhetoric methodology to the 'Information Design for Public Transportation of Seoul.' and developed a new map and a guidebook. The raw data necessary for the foregoing were obtained through the analysis of the information designs that are currently in use in connection with mass transportation in Seoul and the survey evaluation conducted among Seoul residents. We modulated the infrastructure of Seoul by using 48 TAZs, computed the routes that are most likely to be used, and proposed the predictable information analysis process. The design proposed on this study encompasses color coding and use of combined information, and application of style and sequential information analysis process.

• Cartoon and Animation Studies
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• s.39
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• pp.183-214
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• 2015

For a long time, Disney has made animations including world views such as family-focused, conservative ideology, happy ending, etc. for families. Periodical situation and spectators' demands have been changed little by little, but Disney is still a company who is the most successful both nominally and virtually in animation industry. For the secrets of their success, there is fantasy world of fabricated animation, thoroughly organized story and image. When spectators watch animations, their sufficient immersion in the fantasy is to let them forget realities. In the introduction of Disney animations, spectators turn off the switch of realities and turn on the switch of fantasy world through the procedure to recognize and confirm virtual world sufficiently. In the switch of the introduction used frequently by Disney, there are four methods. First is to start while opening the cover of storybook. Second is to start while storyteller gives a talk directly. Third is to start with live action film and continue to animation. Fourth is musical method. Those four switches play a role of the gate which distinguishes spectators' realities from Disney's fantasy clearly. The process makes an opportunity to set spectators who feel uneasy due to the vague boundary between realities and fantasy at ease and let them immerse in animation sufficiently with mind at ease.

• (The)Study of the Eastern Classic
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• no.66
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• pp.193-226
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• 2017

This writing establishes identity of JinSeBaek, a male protagonist from a classical novel Hajinyangmunrok, through examining his relationship with a female character named HaOkJu. The character JinSeBaek was analyzed with attachment theory. JinSeBaek is a type of character who openly expresses his emotions. The evidence that JinSaeBaek falls in love with HaOkJu at a first sight was mainly shown through his physical affection with her. After the breakup, JinSeBaek expresses sadness, depression, and anger, as well as sheds tears. Although JinSeBaek repeatedly breaks up and gets back together with HaOkJu, JinSaeBaek consistently shows his desire to be with HaOkJu. Expressing true emotions was not ideal characteristic for men in this era. JinSaeBaek develops attachment to HaOkJu after he loses his parents, whom he has previously developed attachment to, but repeated break ups with HaOkJu leads to separation anxiety. Although his separation anxiety is caused by HaOkJu, it is also HaOkJu who can resolve the anxiety. The fact that JinSaeBaek honestly expresses his emotions and develops abnormal attachment to woman makes JinSaeBaek unique from other male protagonists. A character like JinSaeBaek is not common in other fictional novels or romance novels as well. Thus, JinSaebaek is claimed to be extraordinary character in literature.

• Journal of Conservation Science
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• v.37 no.5
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• pp.426-439
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• 2021

In this study, we compare the properties and estimate the durability of five oil colors that are the most popularly used colors in the conservation of oil paintings. A set of these colors was obtained form four manufacturers each, and their properties were analyzed by conducting deterioration experiments. Subsequently, we observed the colors and performed X-ray fluorescence analysis. As a result of colour observation and XRF analysis, it was confirmed that there are the differences according to the pigment types, mixing rations and the manufacturers even for colors having the same product name. The deterioration test indicated differences in the appearance of the colors ; for instance, the color difference was above 12.0 in most of the samples, including restoration color and acrylic gouache. In the case of Lemon Yellow a lot of discoloration and cracking occurred, and difference in gloss was ob served in Viridian of manufacturer C. Most cracks were ob served in the restoration color obtained from manufacturer B and were assumed to be because of the resin used by the manufacturer. Nevertheless, additional research will have to be conducted by controlling variables in order to find out the cause. Through this study, we demonstrated that retouching materials for conservation of oil painting differed in their physical properties according to the color and manufacturer. Therefore a conservator should be mindful during the selection and use of materials for retouching oil paintings.

• Cross-Cultural Studies
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• v.45
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• pp.85-107
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• 2016

Cho Ji-hoon was a leading figure on the discussion of recognition on Han Yong-un, particularly the post-liberation period. During the Japanese colonial era, he addressed Han Yong-un as the representative of national poet, and evaluated Han's poems as the models of rebellious nationalistic poetry. Such evaluation by Cho set the precedent of basic perspectives and methodologies on how to recognize Han Yong-un in the present day. This paper analyzes three studies on Han Yong-un, conducted by Cho ji-hoon. We also examine how Cho created his logic of recognizing Han as a national poet, and his poems as nationalistic poetry. Accordingly, this paper has separated recognitions on poet studies and work studies, and further explored how each recognition has consistency with Cho ji-hoon's historical and literary perception. As a result, the following has been concluded: the basis of Cho ji-hoon's recognition on the life and works of Han Yong-un was premised on Cho's understanding of the world from a standpoint of history of ideas, the concept of nation was regarded as an absolute value that binds disparate ideas together, and the combination of nationalism and poetry has been expressed through the logic of nationalistic poetry and the notion which equalizes the poet to a classical scholar. It was further concluded that such equalizing logic contains some logical contradictions derived from integration between universal rights and national sovereignty, and nation and Buddhism. Therefore, it can be said that other possible interpretations on the role of a poet were not fully discussed, but remain bounded. Last but not the least, this paper critically tries to perceive Cho's recognition on Han Yong-un, and accentuates the necessity of new interpretations of Han's poems, apart from those based on nationalism.

• Journal of Convergence for Information Technology
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• v.9 no.2
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• pp.115-120
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• 2019

Chinese xian-xia films is a new genre that occurred through the fusion of the genre of martial arts and fantasy. This study analyzed the development of xian-xia films and the space aesthetics of xian-xia films through the miseenscene of the journey to the west films. In particular, the space for xian-xia in the films is divided into the human, urinary, heaven world and the space of conflict. It looks like the fantastic Middle Earth that Tolkien presented, however it is discriminatory in that it shows a highly Chinese appearance and overlapping world centered on the natural environment (the world of Mountains and Livers), such as mountains, deserts, caves, and grasslands, which usually appears in traditional martial arts history. Resently, the boom of journey to the west films is regarded as the change of the Chinese film industry under the influence of the development of IP (Intellectual Property) industry and the western fantasy genre in the 21st century China. This change marks the birth of the new Chinese fantasy "xian-xia" genre with the spirit of the present era that transcends the original world of journey to the west through the hybridization of the genre.

• 한국노년학
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• v.36 no.3
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• pp.785-808
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• 2016

This study portraits the way of self-preparation for death among the elderly and examines the meaning and values attached to the elderly-care by their family and friends through the analysis of Kyung-ran Jo's novels. First, the author describes the difficulties and inner conflict of women who provide care for the elderly, especially those facing death in the near future. She also describes how the acceptance of death and self-discovery among the caregivers can be developed from the experience of long term care. These are consistent with the arguments by Ecofemnist on positive sides of providing caregiving in an aging society. In her novels, caregiving from young women is not described as the consequences of internalized gender norms of traditional Confucian culture. Rather, it is depicted as attitude toward a life in a commune where the meaning of life and death of elderly is shared between generations. In addition, struggles of the elderly figures against diseases and the process of their death provide an opportunity for young caregivers to overcome the trauma of other's death witnessed in their childhood. They lead the young caregivers to reflect themselves by raising ontologistic questions on life and death. The author shows the communication between generations presenting the self-preparation of death from the old generation undergoing irreversible aging and caregiving activities of significant others from the young generation. In doing so, the author points out the ethical grounds for diseases and death in old age given the condition of personalization of death in the modern society.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.170-189
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• 2019

Sochi Heo Ryun (小癡 許鍊, 1808-1893) was a literary artist of Chinese paintings of the Southern School during the late Joseon dynasty and the founder of paintings in the literary artist's style of Jindo County in South Jeolla Province. He was also a professional literary artist who acquired both learning and painting techniques under Choui (a Zen priest) and Kim Jeong-hee's teachings. Heo Ryun's landscape paintings were influenced by Kim Jung -hee. However, his ink orchid paintings, which he began producing in his later years, were not related to the 'Ink Orchid Paintings of Chusa (秋史蘭)'. His ink orchid paintings as a whole drew attention as he followed the old methods but still used rough brush strokes . Ordinary orchids were drawn based on Confucian content. However, his Jebal (題跋) and seal (印章) contain not only Confucian characters but also Taoist and Buddhist meanings. Therefore, it is possible to guess his direction of life and his private world of suffering. Ryun's ink orchid paintings reflected a variety of philosophies and aesthetic sensibilities. He went through a process of stylistic change over time and formed an 'Ink Orchid Painted Thought' in later life. The main characteristic of Sochi's ink orchid paintings is that he formed his own special methods for orchid paintings by mimicking the Manuals of Paintings. He drew orchids with his fingers in the beginning. Then, Jeongseop, Lee Ha-eung, Cho Hee-ryong, and others developed an organic relationship with the painting style of ink orchid paintings. Then in later years, orchid paintings reached the point of 'Picture Painted Thought (寫意畵)'. The above consideration shows that ink orchid paintings, which he produced until the end of his life, were the beginning of his mental vision and will to realize the image of a literal artist.

• The Korean Journal of Archival Studies
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• no.30
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• pp.89-123
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• 2011

Archival materials in film archives is a memories and archival documents of human which is generated from cultural activities of human being, and provided long-term relevant information. However, it is different general public audio-visual records because main purpose of representing culture to create the contents of private sector rather than evidence of the factual information of public service activities. Therefore, should determine the description principle and rule in order to reflect specific physical, intellectual characteristics. So as to control the description, that is need in the textual standards to base the specific purposes and rules thus analyzed the international description standards as Dublin Core, ISAD(G), FIAF Cataloguing Rules For Film Archives. As a result, more effectively to describe archival materials in film archives required significant modifications in the organizations of the areas and the elements. This study argues that first, to divide existence the concept and the reality (work/item) of archival materials in film archives. Second, to need understanding and indicating their content, context, structure. Third, to establish of the areas and the elements including a characteristic of it. The final suggestion organizes separately to 6th and 8th areas, 22th and 25th elements in two parts. This conclusion does not prepare to refer the status and/or policy of a particular film arhicve, can be set accordingly to a specific elements or sub-elements by the film archives.