• Journal of Korean Library and Information Science Society
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• v.35 no.1
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• pp.215-235
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• 2004

FRBR(Functional Requirements for Bibliographic Records) provides a structured conceptual model for relating the data which are recorded in bibliographic records to identify information resources. FRBR has 4 bibliographic entities - the work, expression, manifestation, and item - in its conceptual model. In this paper, the difference in the 'work' conception between FRBR and international standard numbers is examined Consequently, the following points are observed: (1) The ISBN, ISSN, and ISMN identify manifestation level, as they refer to the physical expression of a work. The IARN, ISRC, and ISAN identify expression level, irrespective of its manifestation. The ISWC and ISTC identify work level - the unique artistic creation, whatever its expression or manifestation is. (2) ISWC and ISTC does not use the word 'work' in the same way as FRBR does. I think that the differences in meanings of the two usages 'work' come from the different positions to information resources.

• Journal of the Korea Convergence Society
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• v.9 no.4
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• pp.151-160
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• 2018

Waxes currently used as a coating material to preserve surfaces of outdoor iron sculptures tend to face lower coating strength and efflorescence due to the aging from air pollution and acid rains. Consequently, they are subjected to repeated corrosions shortly after the treatment. And the sculptures face the problem losing their original nature because of the changes of colors and lusters, so this convergence study aims at developing wax with better performance than the existing materials. For this reason, the study identified the effects of physical property using the environmental experiments such as the tests of salt spray and gas corrosion as well as the analysis of luster level and thermo-gravimetry. As this study result, the developed ISC wax showed the excellent blocking effect from salt water and coating durability more than five times compared with the existing waxes, better acid resistance by two-four times, sun block effect by 2-10 times, improved luster variance by 3-16 times, improved thermo-stability and durability by 0.5-5 times, and therefore demonstrating far better coating effect than the existing waxes. In the light of these findings, this study contributes for this new development which can replace the existing waxes used so far in order to preserve the outdoor iron sculptures.

• Sijohaknonchong
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• v.21
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• pp.47-76
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• 2004

Newly discovered ${\lceil}Gogeummyeongjakga{\rfloor}$ is a copy collection of the old poetry SI-JO, which is specified in the book of yellow Gojeongji. {$\lceil}Gogeummyeongjakga{\rfloor}$ is guessed to be copied before the 17th year of King Yeongjo's reign(1740) and thus it's the early collection in the history of the Korean verse, Shijo. According to our research, there are 78poems in the collection and nine out of them hasn't been yet reported to the Korean Academy. The characteristics of Shijo in the book are followed. First. The collection is different from other books since the book was written in Korean instead of Chinese characters, which shows the uniqueness of the Korean literature in the late 17th and the early 18th century. Secondly, there are different versions of a poem in the collection, which is quite unusual in the other collections. There are different words or phrases used in different versions and even the whole verse is modified in some cases. Thirdly. two out of newly discovered nine short lyric songs is transformed from and that are kind of Chinese Ak-Bu. By the way, the compiler of ${\lceil}Gogeummyeongjakga{\rfloor}$ seemed to understand the co-relation between Ak-Bu and Shijo. and that's why he chose transformed Shijo from Ak-Bu not Chinese poetry. Among nine poems, <9> and <10> are newly discovered responding songs unknown up till now.

• The Journal of the Korea Contents Association
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• v.7 no.5
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• pp.102-109
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• 2007

This is an analysis study about the pictorial frame of Georges Schwizgebel's animation "The Subject of Picture", focusing on Deleuze's frame theory. First of all, the shapes in the frame of the animation is the representation of the tactile sensation from the erased vestiges of the characters. It shows the metamorphosis of the erased vestiges of the shapes by Deleuze's sensibility theory. Besides, the layout of the animation's background has similar property with the aplat which was mentioned by Deleuze. It means that the background of the animation correspond to the aplat which is other boundary different from reality, and the character which has the minimum embodiment about the object makes the shape newly through the distortion of the shape. Secondly, as the problem of frames in terms of the continuity of time, the meaning in Schwizgebel's animation is created by the relation between each frame. It means that the depiction of the shape itself by the composition between each frame is composed of the frame. Eventually, Schwizgebel's work is the animation which has the characteristic of the modem cinema and is the crystal depiction that deviates from rules and logics of the object which was mentioned by Deleuze.

• Cartoon and Animation Studies
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• s.44
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• pp.57-84
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• 2016

The image of woman shown in an animation was pretty extraordinary as Disney has kept the conservative tendency so far. The two princesses in were described as independent women getting out of the traditional gender role and dependence on men. For this reason, there is a tendency that interprets as a feminist work. Even though the character showing the image of independent woman could be an essential index to define feminist work, it is not enough to define the tendency of works. Thus, this study reviewed if it would be valid to interpret as a feminist work. First, the 'sisterhood' which is the main theme of contained the feminist concept as 'women's solidarity' on top of friendship between sisters. Therefore, when analyzed focusing on the core concept of women's solidarity like difference, empathy, and solidarity, reflected 'differences' in narration, character, and image, etc. When differences in sisters which became the cause for misunderstanding and conflict were acknowledge based on their true love, the process of forming empathy and solidarity was described. The solidarity between Elsa and Anna not only became the power to defeat the enemy, but also reflected the feminist value of forming the community of coexistence like Adelen which was rebuilt after getting back the spring. Thus, it was verified that is a feminist work.

• Cartoon and Animation Studies
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• s.17
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• pp.37-51
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• 2009

Immersion is the key factor in determining success or failure for fictional narrative animations. It does matter to not only for the socio-economic achievements like box-office success but to the asthetical achievement, immersion is very important prerequisite character that are raised in terms of research needs. Fictional narrative animation shares the audience's immersive method with the narrative content and Virtual Reality, since animation has the character which narrates itself with the visual image format (including sound) and added the fact that 3D format which emphasizes realism compared with the recent 2D animation has been ubiquitous phenomenon. In other words, the artistic for called 'animation' is located between the view point that text has the immersive point intrinsic and oppositely, specific function of the certain media which stays extrinsic of the text enforce the participants into the immersion. In any case, the subject who experience immersion is the audience, so the most useful theory to research the phenomenon 'immersion' is Constructivism cognitive narrotologic approach which lies the peader-spectator as the centric notion and is more useful than text analysis or research on the visual effects. In this study, research and review about the studies on the audience's immersive experience would be preceded particularly aroud the constructivism theories, and examine the uniqueness and naures of the animation which makes the audience immersive.

• The Journal of the Korea Contents Association
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• v.12 no.12
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• pp.71-79
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• 2012

In Japan, the number of late night animations has increased from the 2000s. In 2010, it exceeded the number of other Japanese animations playing between 6:00 to 23:00 (pre-late night). People watching these late night animations were mostly adolescents or older. Late night animations involve various niche themes, however, the ranges of the main characters' actions of these stories were narrower and more limited compared to the pre-late night animations. The causes for these differences in the scales of the settings were found by comparing the late night and pre-late night animations. The most popular animations from these two time slots were used in the analysis. Firstly, the main characters' ways of approaching their goals were analyzed. Secondly, the settings and directions that the main characters used were analyzed. Lastly, the main characters' degree of interactions with other people was analyzed. As a result of the analysis, the main characters' goals from the late night animations were often found to be commonplace and they tended to achieve their goals by very realistic means. In addition to that, the stories of these main characters revolved around small and familiar communities. Thus, their connections with people were comparatively smaller than those of pre-late night animations and were based upon shared interests. In other words, the differences in the scales of the settings between the two types of animations resulted from the stories of the late night animations revolving mainly around reality, communities, and relationships within the communities.

• Journal of Digital Convergence
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• v.18 no.5
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• pp.455-463
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• 2020

This researcher has sorted out the development process of death aesthetics contained in human art through advanced research. This research is a follow-up study of related research, which studies the aesthetic meaning of death in Alexander McQueen's fashion works. This study first classifies the aesthetic characteristics of death, and then analyzes and sorts out the aesthetics of death in Alexander McQueen's clothing works based on this. The results of this study are as follows: first, the aesthetic manifestations of death are divided into three categories: reproducibility, symbolic and religious. Among them, the representation of reproducibility includes the representation of real objects and the representation of virtual objects, and the symbolic performance includes two types of external performance and internal performance. Second, in Alexander McQueen's works, the reproducibility of death was mainly reflected by virtual stage scenes and costumes. Thirdly, the symbolic death is not only reflected in the skeletons and blood etc. directly related to the death of the body, but also in the various emotions and psychological states caused by the death. Fourth, the religious nature of death was represented in Alexander McQueen's works through such representative things as crosses and religious stories.

• Archives of design research
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• v.11 no.1
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• pp.219-228
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• 1998

Seymour Chwast, who has worked in various fields as in illustrator, graphic designer, and art director since 1950's, opened a new possibility in the field of visual design. Pushpin Graphics, founded by Chwast and his collegues, played a vital role in experimentation based on their creativity and courage. Amazingly enough his field covers Illustration, graphic design, poster, typography, and publication. His works, in which he sa tired people or events severely using his own lanb'Uage styit', appeals public powerfully and is remembered for a long time. He gives various forms to his creative ideas throughout many fields he deals with including caricature, giving all designers fresh and b'Teat inspiration. The fact that Chwast dose not limit himself to anyone style but uses various styles freely indicates his creative thinking process. The Creative Thinking, which is embedded in all his works, is so interesting and tactful that it may fulfill the requirement of the times, which wants to see something new and epochmaking. The aim of this study is to find creativity of Chwast's new visual language and its meaning through the analysis of unique caricatures among his works based on his philosophy, creative work process, and, particularly, creative thinking.

• Journal of Korean Classical Literature and Education
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• no.33
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• pp.5-44
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• 2016

This study focuses on Ko woo-young (1939-2005), a Korean representative cartoonist. I analyzed his work Nolbudyeon (1988), which is a retelling of Heungbu and Nolbu, a traditional Korean story. I consider Ko woo-young a creative observer who has popularized his perspective in modern society. His work is a good example of how a traditional folktale can be made relevant in modern society. I used three methods of adaptation to differentiate Nolbudyeon from Heungbu story: construction of events, characterizing, and space-time background. First, to aid character development, Nolbudyeon includes a prologue that focuses on conflicts between brothers with different personalities. At the same time, the ambiguous ending could be a response to Heungbu story, which has a didactic theme. Second, I found that the new characters, Nolsun and Yeonsaengwon, enhanced the differences between Heungbu and Nolbu by playing the role of mediators. Also, in Nolbudyeon, both Heungbu and Nolbu had positive as well as negative elements, in contrast with the original story's traditional point of view on good and evil. Finally, by exploring the space-time of Nolbudyeon, we can see that its world is combined with the contemporary world. In other words, Nolbu and Heungbu, though outwardly traditional, have a modern outlook. Therefore, readers can recognize that Nolbudyeon is a metaphor for modern life rather than just an old story.