• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.1
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• pp.1-15
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• 2015

The purpose of this study was to analyze the commemoration characteristics of Vietnam War Memorials(VWM) in the United States(VWMUS). Through site survey and internet research, the researcher selected 87 VWMUS except monuments simply with markers, and analyzed 5 analysis items: design concepts, spatial characteristics, landscape details, sculptures, and interpretive texts and symbols. The results are as follows: 1. The analysis revealed that the main concepts of VWMUS were to cherish victims of the Vietnam War(85 sites (97.7%)), show veteran's dedication for country(85 sites(97.7%)), and publicize the contribution of groups by troop, regional, and membership(84 sites(96.6%)). 2. Most VWMUS were located in memorial parks and plazas. 59 memorials(67.8%) were designed to pursue the completion of each memorial assuming the form of symmetry and circles. On the other hand, 12 memorials(13.8%) were typed memorial walls and 11 memorials(12.6%) were formed by spatial sequence including various landscape details and grading. 3. Stone walls were mainly used to cherish victims of the War at 65 memorials(74.7%), and also, Flags like the Stars and Stripes, POW MIA flags, and state flags were hoisted to symbolize memorial's identity at all memorials. Additionally, Benches, monuments, markers, posts and columns, ponds and channels, Helicopters were partially introduced some memorials. 4. Sculptures were used 21 memorials(24.1%) which were smaller in numbers than other War Memorial in the U.S.A., for black stonewall were used for the main element of VWMUS. Except for a few sculptures that aimed to represent the Vietnam War symbolically and narratively, 16 memorials(18.4%) were formed to realistically express the image of wounded soldiers and their hardship in the Vietnam War. 5. KIA, MIA, Veteran's name were written and their images depicted on walls, Also, the symbolic phrase, 'ALL GAVE SOME, SOME GAVE ALL' and 'DUTY, HONOR, COUNTRY' were written on the memorials walls, and the POW MIA symbols were printed on the flags and engraved on walls. 6. In the United States of America, Democratic patriotism was considered a main ideological value in VWMUS by engraving KIA MIA's names on the walls, hoisting flags Stars and Stripes and POW MIA, and writing symbolic phrases 'ALL GAVE SOME, SOME GAVE ALL' and 'DUTY, HONOR, COUNTRY'. On the contrary, in Vietnam, nationalism, patriotism, and socialism were emphasized as main ideologies through raising war victory and resistance to foreign power as well as writing the symbolic phrase 'TO-QUOC-GUI-CONG' meaning 'our country remember your achievement' on memorial towers. Further study will be required to comparatively analyze VWM in order to understand national characteristics in Korea, Australia, U.S.A, and Vietnam.

• Journal of the Korean association of regional geographers
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• v.7 no.3
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• pp.91-106
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• 2001

Local government takes an active role in the (re)making of local socio-economic space. To support such an argument, the three different actions by the local government of Taegu, urban planning and local industrial districts, the establishment of special educational institutions, and textile festival are analyzed. The division of the city's space into residential, commercial, and industrial area by local government constrained the location of local manufacturing industries. It also forced textile industry to move to the outskirts of Taegu. As the education level in South Korea rose after the late 1970s, the local government of Taegu as well as local industrial capitalists had to do something to acquire a stable supply of labor to local manufacturing industries, particularly textile one. After the late 1970s, the special classes for the education of local workers, especially textile ones were established within vocational high school and company-operated high schools were also built in Taegu. Finally, local government started a program of textile festival in 1985. Through textile festival, local government as well as local textile business people tried to reproduce textile industry as the main economic activity of Taegu.

• Archives of design research
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• v.19 no.2 s.64
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• pp.241-250
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• 2006

Hangeul as the Korean unique characters were invented according to some character-making principles and based on scholars' exhaustive researches. While most of the characters in the world evolved naturally, Hangeul was invented based on a precise linguistic analysis of the time, and therefore, it is most scientific and reasonable among various characters throughout the world. Nevertheless, Hangeul typeface designs do not seem to inherit the ideology of scientific and reasonable Hangeul correctly. For the square forms have been used intact due to the influences from the Chinese characters which prevailed during the time. If a single set of square characters should be designed, as much as 11,172 fonts should be designed, which suggests that advantages of Mangeul may not well be used fully; Hangeul was invented to visualize every sound with the combinations of 28 vowels and consonants. Problems of such square fonts began to be identified since 1900's when typewriters were introduced first from the West. Since a typewriter is designed with 28 characters laid out on its keyboard by using such combinations, the letters may be easily combined on it. The so-called the flexibility square-format typeface was born as such. Specially, the three-pairs fonts of these can be combined up to 67 letters including vowels and consonants. The three-pairs fonts system can help to solve the problems arising form the conventional square fonts and inherit the original ideology of Hangeul invention. This study aims to review the history of the three-pairs fonts designs facilitated by mechanic encoding of Hangeul and thereupon, suggest some desirable directions for future Hangeul fonts. Since the flexibility square-format typeface is expected to evolve more and more owing to development of the digital technology, they would serve our age of information in terms of both functions and convenience. Just as Hunminjongum tried to be literally independent from the Chinese characters, so the flexibility square-format typeface designs would serve to recover identity of our Hangeul font designs.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.90-104
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• 2011

This study identified the scenic characteristics in Gugok and symbolism reflected in titles of the scenery of the season in Gugok from a perspective of Sundoism concentrated on Galeun Gugok in Goisan which is influenced most greatly by Sundoism hermit ideas in Korea, along with Seonyudong-Gugok. In addition, it suggested a measure for arrangement and narrative Storyboard of Galeun Gugok structure corresponding with promotion and propagation of Gugok cultural scenes and educational goals. According to analysis and interpretation of the various Gugoks forming Galeun Gugok in terms of their titles, names engraved in surrounding elements and the coherent symbolic meanings of its scenery and place through comparison with secenery of near Seonyudong-Gugok, the result shows that Galeun Gugok comprises wishes for eternal life in the forms of Taoist hermit-related scenery of the season within the range of stream and old stories based on environmental affordance. In figurative way, it ultimately presents the Wonyung(圓融) idea which seeks a harmonious combination of God and humankind. In particular, consciousness of longevity without problems is deeply inherent in the background of eternalness of plants, divinity of animals and natural homeostasis. Also, 9 Gok Seongukam set up at visual terminal reflect noticeably that a game Go is the amusement of the immortals, which describe 9 ranks of GO figuratively. Galeun Gugok is formed in a unity structure, which is hermit-oriented Sundoism and motif, such as longevity and immortality, divinity and enjoyment of Sundoism hermit rather than used as a method to achieve taste for the arts or ethics. Given the fact, it presents eternal longevity and atmosphere of seclusion in very strong way. Development of spatial Storyboard structure based on this is interpreted as 'Entering the world of hermits(Introduction)'-'Looking the world(Development)'-'Living with hermits(Turn)'-'Becoming hermit(Conclusion).' Finally, the scenery image of Galeun Gugok presented in surface structure is based on beauty of the immortal land scenery as well as beauty of pre-achieved space in Gugokdongcheon and arranged the vertical narrative structure as divine space of 9 ranks of GO. Taking those into account, scenery story board of Galeun Gugok was suggested in accordance with a theme of 6 cuts; Gnagsun(降仙)-Sungyeong(仙境)- Sunyak(仙藥)-Sunhak(仙鶴)-Sunyu(仙遊)-Eunsun(隱仙). It is obvious that hermit which live an eternal life as a representative of Sundoism, should be the main motif of scenery planning in a filed of modem landscaping. Therefore, the most valuable component in designing Korean landscape must be the homeostasis of surrounding landscape which supports the characteristics of invariability and divinity of nature.

• Journal of Korea Entertainment Industry Association
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• v.15 no.2
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• pp.169-178
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• 2021

The Korean girl group "Kara" has suffered the trilemma of its de facto failure to debut, the crisis of team breakup, and the CEO crisis of the agency. But the group has made an outstanding achievement in the history of Korean pop music after overcoming all odds. Their success strategy has never been disclosed by insiders involved in Kara's total music projects. This study has been carried out in the analysis of the strategy to provide academic implications and to honor the contribution of the late CEO Ho-yeon Lee and Kara's key member Ha-ra Gu. Therefore, between Nov. and Dec. 2020, we conducted in-depth interviews with managers, composers, stylists and Ha-ra Gu(Only in 2019, before her death) who took part in the project. The research model is set up by combining Porter's Competitive Advantage Strategy and the music value chain model into categories of "Product Innovation Differentiation (PD)" (producing, album production, performance activities) and "Marketing Differentiation (MD)" (market targeting, image specialization, promotion and communication). The analysis showed that the PD focused on complete rediscovered harmonization and revalued members' personality and sincerity with peppy songs and dainty dances as well as emission of "bright energy" which caused healing effects instead of mimicking other star singers recklessly. In terms of MD, they selected Japan's 10-20s as their main market, increasing intimacy with fans and media with the image of cute+pretty+classy+sexy. The result suggests that Poter's differentiation can function as a meaningful strategy frame in the fostering, hit, and revival of idol groups. In addition, it reaffirmed that spontaneous and passionate activities of early-stage or celebrity fan may serve as a valid catalyst for realizing differentiation, as Kara's caller of Japanese actor Gekidan Hitori caused a strong "priming effect" that drove Kara's unexpected wonderful success in Japan.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.145-159
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• 2021

is a contemporary experimental film that forms ambiguity in the narrative and the psychological motivation of the characters, destroys linear temporality, and reminds of manipulation possibilities in digital images through varied techniques, and it carries implication by the fact that the transformation process of human subjects and self-awareness are connected to social trauma and makes way to infer by comparing it to the historical contexts of other nations or societies. centers on the space outside the screen, absent space, and the intrinsic meaning within the space and the frame and shares the information in the visible space and the space outside the screen and arouses an active perceptual process so that the audience can deduce the information that is not presented. The film visualized the historical meaning without describing the background of the times in detail and aimed to express the conflicts and worries between the god, a transcendental existence, with humans, which are marginal beings, within the conflicting structure among humans. Moreover, attempted to resolve the sadness of loss and absence through the spatial aesthetics and the film presented the progression of the situation through the contrast of the characters and also the comparison between light and darkness. This study intends to make an attempt of interpreting the realm involving personal (characters) stories and the social and historical backgrounds together with the religious sphere and discuss the visualization of the semantic context. In addition, this study analyzed the sequence of the scenes in , which reconstructs identity and historical cases and religious values to observe the meaning and characteristics and closely analyze the general meaning pursued by the film. discussed the issues of trauma that individuals, regions, and nations confront as a representation and interpretation of the trauma connoted in the film, and consideration can be provided about the implication concerning the situation and context in South Korea. Furthermore, the film placidly discusses the growth and agony in humans and the society without expressing it excessively, so it will be a valuable research result to inspire the trend of creating films that incorporate new imaging technology and original visualization techniques.

• Journal of Christian Education in Korea
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• v.70
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• pp.37-74
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• 2022

COVID-19, which occurred in Wuhan, China, made it difficult for Korean churches to face to face worship, therefore metaverse emerged as an alternative to solving these problems. metaverse is forming various platforms through technology expressed in 3I(Immersion, Interactive, virtual Image). The purpose of this study is to analyze the application plan of Christian education by applying metaverse technologies to Christian education. In order to achieve the purpose of this study, first, the definition, type, platform, and technology of the metaverse are presented to examine the key of the metaverse, second, in order to analyze the church from the theological educational aspect, the essence of the church, the mission of the church, and the metaverse church are examined, third in order to apply the metaverse to Christian education, it is classified into worship through the metaverse, education through the metaverse, service through the metaverse, the christian relationship through the metaverse, and missions through the metaverse. The application plan of the metaverse for Christian education is that first, worship can be held through metaverse. Second, education can be performed through the metaverse. Third, the metaverse can be used to fulfill the mission of service. Fourth, through the metaverse, christian can fellowship through the metaverse. Fifth, the missionary mission can be carried out through the metaverse. In conclusion, metaverse is still in the development stage, but various programs should be developed to achieve the purpose of Christian education by utilizing various platforms developed so far and utilizing the advantages of the platform. In particular, the Korean church will be able to utilize various programs such as Sunday worship, Sunday school, youth retreat, QT, Bible school, and pilgrimage through the metaverse to make good use of the characteristics of the metaverse. In addition, metaverse is an extended reality(XR) that integrates VR, AR, and MR, and its strength is an engagement in creative Christian educational activities out of the original Christian education. In the future, metaverse technology can be applied to Christian education in various ways as the fourth industrial technology is developing.

• (The) Research of the performance art and culture
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• no.41
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• pp.219-255
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• 2020

This article was triggered by Victor H. Mair's book 'Painting and performance'. The book explained that Buddhist paintings are common in the area where Buddhism was spread, and there are also performances using them. And although it has nothing to do with Buddhism, it has been shown that this form of performance can be global. However, the problem was not 'Korea'. It was because there was no record or transmission of the corresponding performance soon. In this situation, the landing method of Samcheok stable temple was announced in 2018. On the one hand, the academic community is very pleased, but on the other hand, it is troubled. The worries are summed up as 'synchronic and diachronic universality'. Is the landing method inherited from the Samcheok stable temple a unique type of temple? Otherwise, it is a question of whether it has been passed down or is it universal at the national level. However, prior to this essential question, we do not yet know the full picture of the stable landing method. So this article was prepared to show the overall outline of the stable landing method. There is a 'picture' in common throughout the landing method, and understanding how to operate it in various ways is the first step in understanding the landing method. There are five repertoires (which are called main halls) that are considered important, and more than that. What these repertoires have in common is the narrative structure of a Buddhist character. In this narrative, the most important thing is the revised figure, and it was the earthly method to inform the contents of the revised figure in various ways. In the case of Byeonsangdo, which serves as a clue to the narrative, there was a problem that could not be seen in the evening without light, which required special design. It is the way of shadow play and Yeongdeung. In other words, there are three types of performances in the landing method. The first is the method of using reparation, and the second is the method of using shadow. The third is the way of eternity. This method is not a selection based on the contents of the repertoire, but a selection based on the performance environment. If there is light and you can see the picture, use reparation. However, in the evening, it was impossible to see it dark (when there was no electricity in the past). The use of the visual method as a tool in this method is to confirm the transition to a visual culture that is a step further from the level of culture. Moreover, unlike the epic narrative, the power of the implied image provided an opportunity for viewers to experience the mystery of Buddhism through emotional stimulation.

• Sim-seong Yeon-gu
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• v.31 no.2
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• pp.113-150
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• 2016

Chobun refers to a temporary grave covered with straw thatch that contains a corpse until its flesh is gone. When all the flesh has rotted away, the straw grave is disassembled and only the bones are retrieved. Therefore, Chobun is an example of a secondary burial custom (German : Doppel Bestattung) that is composed of a first temporary funeral for processing the corpse's flesh, and a second permanent burial of the final remains (bones or ashes). The duration of the temporary burial is determined by the time needed for decomposing the flesh of the deceased. Building a Chobun progresses putrefaction and reduction to bone. In the literature of alchemy, putrefaction and new life occur simultaneously. The purpose of rotting is to make the flesh disappear, leaving only its essence. It is making the physical body enter a spiritual state, so that the dead can enter into a different world. One must endure the unstable rotting process until the smell of flesh has faded. The rotting process is the attitude of accepting the terrible, polluted aspect of the corpse, while maintaining a helpless, passive posture, in order to allow new possibilities. When we try to approach an archetypal aspect of the unconscious, it is often experienced in threatening, aggressive ways. In the individuation process, the unconscious offers us the blessing of a new spiritual awakening and renewed sense of life, only when we have the courage to see this terrifying and contaminated side of our psyche. This is exactly what putrefaction means. Bone and skeleton symbolize the indestructible, imperishable, and essential elements of life. Bone is the minimum unit and foundation for regeneration, where new life can grow. Reduction to bone is moving back to the origin of life, to the womb. Psychologically, it means discarding one's ego-centeredness and allowing the Self to lead the entire process of individuation. Going through the painful process of reduction to a skeleton for the purpose of further development is a declaration of the death of the ego, aiming at the liberation from perishable flesh and acquisition of the spiritual, regenerative, and immortal elements of life. Chobun also denotes the yearly decay and revival of life, especially of vegetal life. In Chobun, this symbolic meaning of the vegetal cycle of life is emphasized to represent the part of life that survives even after death. Vegetation related to Chobun deals with the continuity of life and psychologically with the Self. Images of vegetation are closely related to the existence of life beyond death, which is the existence of the Self, the source of energy that constantly renews and rejuvenates the consciousness.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.12 s.138
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• pp.1583-1595
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• 2004

Simon and Sullivan(l993) estimated that clothing and textile related brand equity had the highest magnitude comparing any other industry category. It reflects that fashion brands reinforce the symbolic, social values and emotional characteristics being different from generic brands. Recently, Kim and Lim(2002) developed a fashion brand equity scale to measure a brand's psychometric properties. However, they suggested that additional psychometric tests were needed to compare the relative magnitude of each brand's equity. The purpose of this study was to recognize the psychometric constructs of fashion brand equity and validate Kim and Lim's fashion brand equity scale using the measurement invariance test of cross-group comparison. First, we identified the constructs of fashion brand equity using confirmatory factor analysis through structural equation modeling. Second, we compared the relative magnitude of two brands' equity using the measurement invariance test of multi-group simultaneous factor analysis. Data were collected at six major universities in Seoul, Korea. There were 696 usable surveys for data analysis. The results showed that fashion brand equity was comprised of 16 items representing six dimensions: customer-brand resonance, customer feeling, customer judgment, brand imagery, brand performance and brand awareness. Also, we could support the measurement invariance of two brands' equities by configural and metric invariance tests. There were significant differences in five constructs' mean values. The greatest difference was in customer feeling; the smallest, in customer judgment.