• Cross-Cultural Studies
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• v.33
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• pp.359-384
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• 2013

There is linguistic phenomenon that Korean syllable, morpheme and word are substituted with Chinese Character. These phenomenon is called Chinese Character Borrowing, the Chinese character used here is called Borrowed Chinese Character. Whereas borrowing Chinese character in Chinese is used for borrowing only sound for different word, borrowing Chinese character in Korean is used for assigning new meaning. Hence, by borrowing Chinese character in Korean, a syllable which had no meaning originally get new meaning, morpheme and word meaning has changed. At advertisement and campaign, Chinese Character Borrowing has lots of linguistical advantage such as visual immediacy, effectiveness of meaning expression. However, there are number of cases found that violate grammar rule and word constitution practice by Chinese Character Borrowing. For this reason, Chinese Character Borrowing has the problem polluting Korean along with another foreign words. Thus, this paper focus on study Chinese Character Borrowing phenomenon in Korean, and analysis its effectiveness and impact in Korean. In addition, analysis the problem of Borrowed chinese Character, and suggestion several alternative for right use of Korean is followed.

• Journal of architectural history
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• v.26 no.6
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• pp.19-28
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• 2017

In this paper, I have reviewed some of the Korean traditional architectural vocabularies that have to be reconsidered in terms of the problem of decode, the problem of meaning, the meaning of explain meaning, and the problem of form analysis. Especially, correct decode and interpretation of Uigwe's Korean ancient architecture borrowed character can correct old decode and interpretation. Furthermore, I confirmed that I could correct the Korean ancient architecture vocabulary that was expiscated wrongly. Especially borrowed characters corresponding to 머름[meoreum](paneling) have been known only far away 遠音[meoreum]. In addition, there were also 遠驗[meolheom] 亇乙軒[meolheon] 亇乙險[meolheom] 亇乙音[meoreom], and so on. Furthermore, in the process of decode these notations, it has become possible to assume that the original words of the modern language 머름[meoreum] also came from *멀험[meolheom]. On the other hand, there are many kinds of people like 付叱心[bussim] 夫叱心[bussim] 扶叱心[bussim] 富叱心[bussim] 富心[bussim]과 北叱心 [bussim] 北心[bussim]. You can also check the Korean ancient architecture vocabulary. However, corresponding words are difficult to find in modern Korean languages. However, in Jeju dialect, we can confirm the corresponding word. This word was used in the Joseon Dynasty, and confirmed that it is dead language today. As mentioned above, it is confirmed that there are many misconceptions about the decode and meaning of the architectural vocabulary made of borrowed character in existing architectural dictionaries, Korean dictionaries, and Korean ancient architecture related papers. Also, although the form is being confirmed, it has been confirmed that there are many things that need to be clarified, such as what the decode is, what the meaning is, and the origin I have also confirmed a number of things that need to be properly expomed in the original form, the original word. In the future, those who study Korean ancient architecture vocabulary and traditional architectural vocabulary should also be interested in these things and research it properly.

• Journal of architectural history
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• v.17 no.5
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• pp.71-94
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• 2008

This study examines the examples and changes of wooden member terms in Yeonggeon-euigwe(營建儀軌) in the era of Joseon Dynasty. As a result of examining examples, about 240 wood member terms were found on the basis of phonetic value and examples different from today's term use were also confirmed. Wood member terms were derived in variety and synonym and different style, that is, coexistence or transition of several notations as the term indicating the same member was found. Derivation of detail terms has the characteristic increasing on the basis of morpheme and formation of different notation followed Chinese notation or was caused by complex coinage features like a coined word of Korea by the meaning of a word and borrowed character notation borrowing sound and it is also related to the specificity of that time which had dual language system. The typical examples without different style for long were pillar, rafter, door and window. Examples with active generation and selection of different styles included beam, capital and bracket-system terms. Different styles were caused by the combination of several notations including borrowed character in the process of Chinese character notation borrowing sound, Korean unique character emphasizing and limiting combination of 木 (wood) with side of character and Chinese. Period showing remarkable change of example notation was the compilation of ${\ll}$the Hwa-Sung-Sung-Euk-Eui-Gue${\gg}$ 華城城役儀軌. ${\ll}$the Hwa-Sung-Sung-Euk-Eui-Gue${\gg}$ is the representative type uigwe made by printed type not by handicraft. Printing by type accompanies unification of the shape of a character necessarily and it was considered that it resulted in the unification of character of different style, the number of strokes and minute difference of strokes, and it was interpreted that common use of intentional notation with the unification of the shape of a character was achieved.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.11 no.6
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• pp.119-126
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• 2011

As a software component for computer game, the physics engine simulates objects' movement according to the laws of physics. This paper introduces a design and implementation of mobile game on the Android platform, where we used JBox2D physics engine library and Android graphics APIs. We borrowed the key idea of this game from Crayon Physics which is known as a famous PC game. This game starts with no way from user character to destination character. The game user has to make a way to destination character from user character by creating polygon objects between them. The user wins when user character meets destination character. However, the game user has to decide the time to create objects and their shapes well because all objects in this game are governed by the laws of physics. As an important thing of this paper, we introduced into this game new input methods of LCD touch and sensors embedded in mobile devices but not in PCs. Game users can create objects by drawing polygons with LCD touch and move objects or characters according to sensor values from accelerator sensors by tilting the mobile device.

• Journal of the Korean Society of Costume
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• v.66 no.8
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• pp.78-97
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• 2016

The purpose of this study is to develop textile pattern designs by utilizing the prototype of traditional culture extracted from cultural resources in order to establish a specialty strategy for local cultural contents. To achieve this, the study selected the Hyojaemunjado as source of Jeju traditional culture. Jeju's Hyojaemunjado is characterized mainly by the creative and unique formativeness of Jeju's character paintings. Character paintings often contained images related to the characters featured inside characters, or composed stroke with symbolic iconography. The main subjects of Hyojaemunjado were stories that alluded to the Confucian virtues. Therefore, the purpose of this study was to remind people of the real meaning of Shin(truth) by developing textile pattern designs, which borrows the tessellation technique for design, and the dominant characteristic of geometric abstraction. This study used theoretical research and empirical analysis. First, the study did the theatrical research on Hyojaemunjado based on literature and precedent studies, and then analyzed the style of expression and formativeness on the Shin character paintings through real analysis of Jeju's Hyojaemunjado kept in Jeju National University Museum. Second, based on the analysis of the style(three-tier composition) and formativeness of Hyojaemunjado, it analyzed the formativeness of the iconography about Shin, i.e. character types(semi cursive style, square style) drawn according to the symbolic meaning, palace, unknown flower, pheasant, tile fish and constellation. Based on analysis of the iconography, it stylized the motives that became available on the Archimedean tiling of tessellation, and then developed the textile pattern designs by arranging the iconographic motives with Platonic tiling and Semi-tiling. The reason why this study borrowed tessellation was to create various visual effects using the size of angle, symmetry and change and joint with simple figure.

• Journal of the Korean Society of Costume
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• v.35
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• pp.281-292
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• 1997

Tatan is a symbol of kinship and belonging in Scotland and a badge of identity recognized all over the world. Alongside the powerful historical and national resonance to Tartan for Scots it has been borrowed repeatedly by fashion. The pattern compositionof Tartan check is formed as a typical cross stripes that vertical line and hrizontal line meets rectangulary. And its color is much various and rich than other check pattern. So its magnificient spec-tacle that various all kinds of colors is dyed in cloth is second to name. Today we are as likely to meet tartan in a couturier dress as in a kilt or plaid. Tartan is distinctive in colour style and de-sign. It conveys personality ceremony and drama. All these aspects of its character have contributed to tartan being one of the best-known and best-loved fabrics in the world. In other parts of Europe traditional checked patterns declined and disappeared but in Scotland tartan survived strongly jist as the bagpipes also European flourished Due to geographical and cultural circumstances Scots were able to develop and enhance tartan and its remarkable individuality ensured its sur-vival in spite of adverse political and economic pressures. Tartan has been adopted as the national dress of all Scots. Lowland and High-land providing a powerful form of national cultural and personal identity. Whether tra-ditional or a recent creation whether tra-ditional or a recent creation whether a symbol of nationality or a substitute for nationhood tartan is no mean achievement.

• Journal of the Korean Society of Costume
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• v.58 no.10
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• pp.78-94
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• 2008

Contemporary fashion is experiencing a rise in design that combines heterogeneous things, or goes beyond the roles, boundaries, and meanings of existing things. This can be described as a 'heterogeneous fusion' that is different in character from the mixed use of heterogeneous materials, borrowed designs, and exaggeration of the silhouette that have been practices in fashion design, or the non-structure, deconstruction, and recombination that have existed since the age when post-structuralism was a central philosophy. This 'fusion' causes a 'confusion' of the generally accepted mental principle of 'one sense reacting to one stimulus', and breaks the boundary between the various senses, causing confusion in the senses of the individual, and leading him or her to experience unfamiliar feelings. In this process, all information received from external sources is not perceived as it is seen, but rather is perceived through a fusion of the individual's motivations, the environment in which it is perceived, the resulting change in emotion, and the individual's past memories. The combination of these heterogeneous elements visually accepted, or such a non-territorial combination acts as a 'fusion of senses' in the individual's perception, which causes confusion in the homeostasis of perception, and a change in emotion, and serves as a factor that causes the information to be stored in the memory for a long time. In parallel with deconstruction or non-structure, the 'heterogeneous fusion' found in modern fashion is taking root as a representative creative trend, and is represented in various forms such as the mixed use of subjects and materials, non-territorial borrowing, fusion with animal forms, fusion with non-physical geometry, and fusion with heterogeneous hair decoration.

• Journal of architectural history
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• v.23 no.5
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• pp.7-22
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• 2014

It is identified that an initial person who built of 'Seoul Gyedong Modernized Hanok(former Min Hyeong-gi house)' used as 'Bukchon Culture Center' in present, was not Min Hyeong-gi, but his wife, Yu Jin-gyeong, and she built it when 8 years went on after his death(1879~1973), and the construction year was at the gate of Chuseok in 1921. Yu Jin-gyeong was Head Family's Eldest Daughter-in-law in family of Yeo Heung-min who was an influential person at the late Joseon Dynasty and was widow who had only son for 3 generations. And she built this house and moved to gain daughter and live futher grandchilds together in law in new nest. It is arranged that an annex surrounds with main building as the central figure. And this house emulates Yeonkeong-dang in backyard of the Changdeok Palace for 'preservation of main building' and Chim-bang-ga-toe applied on a bedroom in a palace is applied around nobleman family's the main room. It is rare case and expresses that a palace factor is borrowed. Yu Jin-gyeong's house is that a tradition Hanok is adjusted closely in city and central and basing mode as 'protective bedding' and building concept as 'a noble and protective architecture' is realized. So it has a character that development of Hangrang architecture is appeared and Head Family's Eldest Daughter-in-law widow of modern upper class had a special benefit. As well as, a meaning that it is experimental house based on tradition and is build of Hanok with housekeeping as the central figure for appear a form which has minimal Hangrang for housekeeping in yangban family of modern city, can be found.

• Design Convergence Study
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• v.14 no.5
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• pp.31-45
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• 2015

Recently, due to the development of interactive media, Interactive Typography, which explores user input and interaction is under development. Unlike traditional typography which has a fixed nature, the flexible and fluid nature of Interactive Typography and Interactive System, enables diverse results. In this study, I have developed an Interactive Typography art piece based on theoretical research. By reviewing books, papers and articles, I have tried to define the meaning and characteristics of Interactive Typography. In understanding the concept of Interactive System, I have borrowed the concept of mathematical function. Based on the research, I have designed and developed an Interactive Typography piece, 'Interactive floral type' by using Adobe flash action script. This piece explores the beautiful shape of each alphabet letters and transforms individual character into a 'flower' shape through user's mouse and keyboard input. Depending on the input the size, color, and layout and motion of text changes in real time to change the letters into beautiful flowers.

• Journal of Science of Art and Design
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• v.9
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• pp.49-87
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• 2006

Narrative has broad domains. So it is related to the everything man faces in his daily life and also performed in various modes. Narrative is revealed through all media including a character, which is also applied to plastic art. And narrative objects formed beyond the differences in media aid forms of expression are commonly based on a language. The study on such objects which created a new conceit of narratology can be said to be a spiritual trend by which to understand the world and man from the viewpoint of a 'story'. Plastic art took high interest in narrative in the same period as the rise of postmodernist art in the latter half of the 20th century, which was also applied to sculpture. The researcher, therefore, investigated through the history of sculpture in the 20th century the process in which narrative was denied under the value system of modernism and reappeared with the quickening of postmodernism. And as a result this period could be briefly characterized by 'return to figure' and 'reappearance of narrative'. The is, such flow means that late sculpture converted its center of interest from simple geometric abstract forms to irregular, figurative images. The researcher chose as the subject of his study the work of Louise Bourgeois, who was judged to have performed narrative positively and successfully among a great number of performed narrative positively and successfully among a great number of postmodernist sculptors who adopted it as their own strategy of expression. As the central artist of postmodrnist sculpture, She expressed human desire and condition as sexuality through the introspection of her own personal experience in contrast to the character of pop art sensitive to external world. The researcher borrowed narrative semiotics as a method of analyzing more elaborately the problem about the generation of narrative shown in her works. For it, he selected as the sample work for analysis Bourgeois's , which were judged to contain narrative most abundantly and as the metaphor of a gaze and recollection presented a new woman self that sublimed love, hatred, and loneliness. The narrative in her works are characterized by introspection questioning one's own trauma. It has independent domain and characteristics and clearly reveals narrative and content-centered characteristics, which are commonly discovered in postmodernist sculpture. The researcher could more concretely and definitely understand the characteristics of narrative through figurative images by analyzing the sample work. The researcher wanted to call your attention to the fact that the sculpture in the late 20th century contained narrative commonly and uniformly despite being characterized by various expressions and modes. And the focused on highlighting the fact that the narrative was more effectively revealed through figurative images of human body and simultaneously analyzing the formalizing process and structure for narrative. Besides he wanted to argue that the position of narrative defining the characteristics of sculpture should be valued more justly. Also, such acceptance of narrative, which is discovered in the sculpture, will have to be understood as the characteristics of the period reflecting the cultural aspect of the present time.