• Journal of Popular Narrative
• /
• v.25 no.3
• /
• pp.67-99
• /
• 2019

This paper analyzed romance novels imported into Korea in the 1980s and examined the traits of Korean girls' culture at that time. To this end, This paper chose as subjects the series of 'high-teen romance' published by Samjungdang, 'princess bestseller' by Seoul Publishing and the 'silhouette romance' by Joongang Ilbo in the 1980s. Through the aspects of the paperback romances, the traits of the artist, the content of the work, and the response of the reader, this paper analyzed the position and affection of romance as a genre in Korean culture in the 1980s. In the 1980s, most of the paperback romances available in Korea were translations of the modern and progressive present lines of Harlequin Enterprise's category romance. There were also many writers who were mostly introduced with progressive characters like Charlotte Lamb. The Harlequin romance depicts a story of sensual love. These translated 1980s paperback romance novels allowed girls in Korea to freely imagine the problems of sex and love. In particular, it showed a new perspective on women's sexuality. In Korean love novels, the sexuality of women was treated as an object for the gaze of men. The novels of female writers as college student who criticized this dealt with women's sexuality, but focused on criticism and resistance to the ideology of chastity. The paperback romance made it possible for women to freely enjoy their sexuality by escaping the ethical standards of reality. In addition, the paperback romance was an escape from the frustration of love. Romantic love in Korean love novels did not lead to the unification of mind and body, and always ended in tragedy. On the contrary, the paperback romance started with the fear of the girl who felt love for the first time, showed the process of winning over anxiety, confirming love and reaching a happy marriage. Through this, girls understood general love that was not subordinated to the ideology of chastity, and accepted love positively. The process of establishing romance as a genre in Korean culture and the traits of its readers have not yet been sufficiently clarified yet. This paper compared the romance genre with the other love novels of the day, explaining the position and meaning of the romance genre in Korean culture in the 1980s. Through this, we were able to chart the historical development of the Korean romance genre.

• Sim-seong Yeon-gu
• /
• v.32 no.1
• /
• pp.1-16
• /
• 2017

The purpose of this paper is to illustrate the nature of Objective Psyche based on island related case materials. Theoretical background starts with psychological meaning of islands, a kind affective symbol rather than cognitive image, and creation myths as the story of man's awareness of the world; Chaos as archaic identity (unconscious), islands as emergence of the ego from unconscious. In alchemical symbolism, island related to coagulatio, the operation which turns something into earth, the realm of ego. In addition, related parts of Hindu creation myths, Korean giant woman creator Sulmoonde-halmang, and legends of "Relocation of Island/Mountain" will be presented to integrate with case materials. Case A : Starts with a dream of killing a huge dragon and dead body became an island. The dragon in the water was seen as Spirit of Mercurius, the autonomous spirit, connecting of the ego with the Self. The act of killing related to Primeval being which needs to be killed to be transformed. Myths of Eskimo, The Eagle's Gift, the giant woman creator in Korea, and Marduk, the Babylonian hero will be integrated. Case B : Prior to introduce six island images in sand trays, a dream of a giant serpent (python) wound around her body will be presented to portray her situation. By relating Jung's "The Sermons to the Dead," her effort to make the solid island regarded as an act of bringing order out of original oneness (pleroma). Then stresses the importance to coagulate archetypal image Case C : A vignette of active imagination seminar where island image emerged will be described. Her endeavor of focusing on inner image related to the Hindu Creator, Cherokee creation myth, as well as Sulmoonde-halmang. As a motif of growing island, Samoan creation myth, and Legend of Mountain, Mai were incorporated. Colors in her art work regarded as expression of inner need, and importance of expressing inner feeling images as a mean to coagulate volatile emotional and spiritual content. Case D : A dream and art work of terminally ill woman; embracing the tip of the island with gushing up water will be presented. Her island and replenishing water image regard as "an immortal body," corresponds to the Philosophers' Stone for she accepted her death peacefully after the dream. Also related to "The Mercurial Fountain" in Rosarium Philosophorum, and aqua permanence, an allegory of God.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.41 no.3
• /
• pp.59-66
• /
• 2023

This study attempts to examine the process of establishing a Japanese-style garden in the modern period through the perspectives of garden designers, spatial composition, spatial components, and materials used in their works, and to use it as data for embodying the identity of Korean garden. The results are as follows: First, by incorporating elements associated with Koreanness into the modern garden culture, there are differences in location, presence, and subjectivity when compared to Japan. This reflects Japan's relatively seamless cultural continuity compared to Korea's cultural disconnection during the modern period. Second, prior to the modern period, Japan's garden culture spread and continued to develop throughout the country without significant interruptions. However, during the modern period, the Meiji government promoted the policy of 'civilization and enlightenment (Bunmei-kaika, 文明開化)' and introduced advanced European and American civilizations, leading to the popularity of Western-style architectural techniques. Unfortunately, the rapid introduction of Western culture caused the traditional Japanese culture to be overshadowed. In 1879, British architect Josiah Condor guided Japanese architects and introduced atelier and traditional designs of Japanese gardens into the design. The garden style of Ogawa Jihei VII, a garden designer in Kyoto during the Meiji and Taisho periods, was accepted by influential political and business leaders who sought to preserve Japan's traditional culture. And a protection system of garden was established through the preparation of various laws and regulations. Third, as a comprehensive analysis of Japanese modern gardens, the examination of garden designers, Japanese components, materials, elements, and the Japanese-style showed that Yamagata Aritomo, Ogawa Jihei VII, and Mirei Shigemori were representative garden designers who preserved the Japanese-style in their gardens. They introduced features such as the creation of a Daejicheon(大池泉) garden, which involves a large pond on a spacious land, as well as the naturalistic borrowed scenery method and water flow. Key components of Japanese-style gardens include the use of turf, winding garden paths, and the variation of plant species. Fourth, an analysis of the Japanese-style elements in the target sites revealed that the use of flowing water had the highest occurrence at 47.06% among the individual elements of spatial composition. Daejicheon and naturalistic borrowed scenery were also shown. The use of turf and winding paths were at 65.88% and 78.82%, respectively. The alteration of tree species was relatively less common at 28.24% compared to the application of turf or winding paths. Fifth, it is essential to discover more gardens from the modern period and meticulously document the creators or owners of the gardens, the spatial composition, spatial components, and materials used. This information will be invaluable in uncovering the identity of our own gardens. This study was conducted based on the analysis of the process of establishing the Japanese-style during Japan's modern period, utilizing examples of garden designers and gardens. While this study has limitations, such as the absence of in-depth research and more case studies or specific techniques, it sets the stage for future exploration.

• Cartoon and Animation Studies
• /
• s.37
• /
• pp.45-82
• /
• 2014

Comics and cartoons of superheroes in the West have adopted various semiotic systems and other art-forms, including their politico-socio-economic condition, and made parody of other popular texts, as well. Based on the idea of the development of superhero genre, this article focuses on how East Asian popular texts appropriate and reconstruct the genre, which was once considered the realization of American idea, by analyzing a series of TV animation (Japan, Sunrise,2011). Through the feature of parody with intertextuality, provides East Asian value and sensibility of characters as corporation-centered modern humans in capitalist society. This animation has similarity and difference, compared to that of Western superhero cartoons. It satires Western capitalist society and emphasizes Eastern family-oriented value. The performances of superheroes on TV represent the satire on Western style individualism and estimation through each one's achievement. It metaphorically criticizes the situation in which modern human falls into dependency on capital and media, and the capitalistic system in which public good is used for the method of private profit. emphasizes East Asian value of human and society, the cooperative relation for the success and maintenance of community by combining members of state and society through familial sensibility. Tiger functions as a spiritual leader in the group of superheroes who have been obsessed with competition for their own private purpose rather than public cause, Bunny and other colleagues are gradually influenced by Tiger's familial communicative style. emphasizes community-centered view and self-sacrificing sensibility as an international citizen to solve social pathology of modern world.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.33 no.4
• /
• pp.38-51
• /
• 2015

In the maps of the period, there were three large ponds called Dongji(東池), Seoji(西池) and Namji(南池) in Hanyang, the capital of Joseon Dynasty. They were different than the ponds found in the palace, civic buildings, and private dwellings. Dongji, Seoji and Namji were ponds relating to Fortress wall of Seoul, and all had lotuses cultivated in them. The purpose of this paper is to clarify the locational and spatial characteristics of these ponds and to detail the construction and reconstruction process and management conditions through maps, drawings, illustrations, historical records and literary works from the urban environmental perspective. The results are as follows. First, Seoji and Namji were intended for Bibo(裨補) which redeemed the geographical weaknesses of Hanyang, securement of bright court water(明堂水), supplement for fire energy(火氣), fire preventive water and waterscape facilities, while Dongji was emphasized on protecting water mouth(水口) besides Bibo and securement of bright court water. Second, Seoji was connected to mountain streams and Dongji and Namji were to ditches. The ponds connected to ditches had been difficult to fill and maintain. Third, Seoji and Namji were in urban areas, whereas Dongji was in farmlands, and these locational differences had an influence on the use of ponds. Fourth, the shapes of ponds, in contrast to the ponds in palace and civic buildings, which were perfectly square, were either freeform or square with rounded edges. Fifth, lotus ponds could be maintained by continuous management polices, earth filling and reconstructing process were repeated during the Joseon Dynasty. The lotus ponds of Fortress Wall of Seoul which had managed over 500 years, were built in, in accordance with the tenets of Bibo pungsu geomancy; however as time passed, they were maintained not only as public open spaces, but also a cultural attraction for residents and visitors.

• Cartoon and Animation Studies
• /
• s.47
• /
• pp.217-239
• /
• 2017

The purpose of this research is to maximize the core competencies by objectively measuring the Behaviour Patterns of students in Comic-Animation major to understand the difference between individuals and to maximize one's merits which will improve the efficiency in education. Also through this research we could understand which aspects would be affected in both the satisfaction about the major based on Behaviour Patterns and the satisfaction of university life. According to the DISC Patterns, 41.7% of the students in Comic-Animation department shows that they were in Patterns I (Influence). And Patterns S (Steadiness) were 10% which was the lowest percentage in this survey. In the average of the subject's satisfaction aspect, the satisfaction of the professors' suggestion was 3.68 which was the highest. While the satisfaction of the administration service and welfare facility was 2.56 which was the lowest. The satisfaction rate based on DISC Behaviour Patterns shows a significant difference among the satisfaction of the department, the satisfaction of atmosphere in university and the satisfaction of the admin and welfare. Patterns I (Influence) was the highest the satisfaction in the major and the satisfaction of the university life while Patterns C(Criticalness) was the lowest. In particular, the importance of the I (Influence) is the most important factor, but it is essential that there is a slight decrease in the precision and accuracy of the work, and C(Criticalness) is shy and stressed, so they need to give positive communication and accurate advice. It is required to Comic-Animation department professor to analyse students' character based on Behaviour Patterns and a person's pros and cons for the career exploration and the employment consultation in order to have positive affect on employment rate. Also if the department's Behaviour Patterns construction were well utilized, it can improve the success rate of useful leadership and fellowship. it will improve the atmosphere in the department which will decrease the drop-out rate but increase the cohesion in the department which will lead to providing better result in the work and the project.

• Sijohaknonchong
• /
• v.22
• /
• pp.85-113
• /
• 2005

This paper's target is two music books, 100 man's Gagok songs and 88 woman's Gagok songs compiled by Kim Kee-soo. The next is an interpretation on 9 subject classifications. 1. There is a similiarity in subject between $\lceil$kyobonyukdaesijo's collection$\rfloor$ and man's Gagok song. 2. There is a wide difference in man and woman's love subject between man's Gagok songs and woman's Gagok songs. 3. The subject changes as Gagok progreasses. 4. There are many nameless writers in the prograss of Nong$\cdot$Na k$\cdot$Peon. 5. Taepeongga, whose theme is to enjoy pleasure, forms the last beauty. Sijo poem's subjects, which belongs to the noble class, shows the mode of scholar's elegant life at that time.

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

• Korean Journal of Heritage: History & Science
• /
• v.53 no.3
• /
• pp.258-277
• /
• 2020

The purpose of this paper is to examine the paintings and symbols of the Jeju Guandeokjeong murals, Treasure No. 322. Gwandeokjeong Pavilion in Jeju is one of the oldest buildings in Jeju and was built in 1448 during the reign of King Sejong (世宗) of the Joseon Dynasty to serve as a training ground for soldiers. Unlike Gwandeokjeong Pavilions in other regions, Jeju's Gwandeokjeong Pavilion has a long history and is of cultural value due to its beautiful architecture. In addition, it contains various murals which are a further source of attention. There are four murals on the front and back of the two Lintels on the left and right sides of the building. Their contents include of 『The Three Kingdoms (三國志)』 and and on the back. Towards the right, is depicted, with on the back. Based on a replica of the murals from 1976, the plan, style, and age of the Gwandeokjeong Pavilion murals have been studied, together with their meanings. The contents of the mural are broadly divided into five parts, which are identified by the tacit signatures atop the screen, which provide such details as the painting titles. The paintings on the left and right sides of the center appear to inspire the spirit of the military's commerce in order to boost soldiers' morale, protect the country, and protect the people in line with the purpose of Gwandeokjeong Pavilion. The following and figuratively depict guidelines for the behavior and mindset of officials. In particular, is a painting concerned with concepts of longevity and an auspicious (吉祥), which shows how court paintings became popular as folk paintings at that time. The paintings of tangerines and other specialties of Jeju Island, the ritual paintings of Jeokbyeokdaejeon, and the expressions of Mt. Halla (漢拏山) and Oreum (오름) indicate the existence of Jeju artists that belonged to the Jeju government office at that time. The five themes and styles of the murals also show that the murals of Gwandeokjeong Pavilion were produced in the late 19^th and early 20^th centuries.

• Cartoon and Animation Studies
• /
• s.45
• /
• pp.147-175
• /
• 2016

This thesis aims to research ways for the regional balanced development of cartoon creation & production environment being centered in metropolitan area in Korean cartoon industry which has rapidly changed since 2013. As a cartoon can not only be produced with relative lower production cost comparing to those of other cultural contents industries, but also can be produced only if the minimal requirements for cartoon production is prepared, so the cartoon is a field that the decentralization can be accomplished very easily. Currently, most cartoon-relevant companies and cartoon promotion institutions are located in Seoul an Bucheon, etc. However, cartoon artists live nationwide, and even cartoon artists producing their works abroad are reached to a significant number. In some regions like Daejeon, Busan, Suncheon and Gyeongbuk (Gyeongsangbuk-do), there have been appeared full-scale movement to construct regional cartoon creation & production centers since 2015. This thesis aimed to investigate each region's movement to construct cartoon creation & production center with oversea cases, and to check how such movement could be balanced and harmonized with each region's unique features. First of all, this thesis analyzed the status quo of government's policy nurturing the cartoon industry. Korean government's cartoon-promotion policy around the axis of the Cartoon Industry's Mid.Long-Term Development Plan has been developed around the Korea Creative Content Agency and the Korea Manwha(cartoon) Contents Agency in Bucheon, but as the webtoon industry has rapidly grown up, the necessity for building a cartoon promotion institution in each region has been raised since 2015. With the establishment of 4th Cartoon Industry Mid.Long-Term Development Plan to be executed from 2019, it seems that full-scaled support framework for cartoon regional balanced development should be occupied. For the case of foreign countries, cartoon promotion institutions and relevant events have been developed around regions from early times like San-Diego, USA(Comicon), Angouleme, France(National Image Center), Kyoto (Cartoon Museum), Sakaiminato(Misuki Sigeru Road), Japan gave a lot of implications. In the section of conclusion, this study aimed to suggest the importance of and necessity for establishing a cartoon creation & production center in each region appropriately for the region's identity and characteristics with specific plans. Based on that, this thesis aimed to suggest a vision for cartoon & webtoon industry that regional creation & production system can be settled almost only in the cultural contents industry.