• Title/Summary/Keyword: Character Style

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Chaucer's Storytelling: The Clerk's Tale in Terms of Bakhtin's Concept (초서의 이야기하기 -바흐친의 개념을 통해 본 「서생의 이야기」)

  • Lee, Dongchoon
    • Journal of English Language & Literature
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    • v.53 no.2
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    • pp.281-306
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    • 2007
  • M. M. Bakhtin's dialogic concept of multi-voiced discourse allows us to open up the text of The Clerk's Tale and to account for its radical heterogeneity. Once we recognize the multi-voiced character of The Clerk's Tale, then what was heretofore regarded as discontinuous or ignored can be seen as the clash of several different world-views. Such a conceptual framework gives an added depth and scope to such thematic subjects as sovereignty, the status of women, and rhetorical style. There are three different and antagonistic voices involved in the tale's narration. These voices project different viewpoints or world-views, and they consequently engage each other in a polemic debate. Their relationship with each other is discontinuous and dialectical rather than continuous and harmonious. The first voice is the Petrarchan voice of moral allegory, which is the voice of tradition, authority, and high seriousness. This voice of moral allegory regards the story of Griselda as an exemplum of spiritual constancy and virtuous suffering. The second voice is the Clerkly voice of pathos based on human experience and feeling. This voice is defined by the Clerk's asides and apostrophes interspersed in the narrative proper, which function to engage the Petrarchan voice in a polemical debate. The third voice is the voice of parody, nominally identified with Chaucer the poet, which is located in the second ending, including Envoy. Whereas the other two voices are earnest and serious, the voice of parody is irrelevant, playful and antagonistic to both the Petrarchan voice of moral allegory and the Clerkly voice of secular humility.

Comparison of Acting Style Between 2D Hand-drawn Animation and 3D Computer Animation : Focused on Expression of Emotion by Using Close-up (2D 핸드 드로운 애니메이션과 3D 컴퓨터 애니메이션에서의 액팅(acting) 스타일 비교 -클로즈-업을 이용한 감정표현을 중심으로-)

  • Moon, Jaecheol;Kim, Yumi
    • Cartoon and Animation Studies
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    • s.36
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    • pp.147-165
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    • 2014
  • Around the turn of 21st century, there has been a major technological shift in the animation industry. With development of reality-based computer graphics, major American animation studios replaced hand-drawn method with the new 3D computer graphics. Traditional animation was known for its simplified shapes such as circles and triangle that makes characters' movements distinctive from non-animated feature films. Computer-generated animation has largely replaced it, but is under continuous criticism that automated movements and reality-like graphics devaluate the aesthetics of animation. Although hand-drawn animation is still produced, 3D computer graphics have taken commercial lead and there has been many changes to acting of animated characters, which calls for detailed investigation. Firstly, the changes in acting of 3D characters can be traced from looking at human-like rigging method that mimics humanistic moving mechanism. Also, if hair and clothing was part of hand-drawn characters' acting, it has now been hidden inside mathematical simulation of 3D graphics, leaving only the body to be used in acting. Secondly, looking at "Stretch and Squash" method, which represents the distinctive movements of animation, through the lens of media, a paradox arises. Hand-drawn animation are produced frame-by-frame, and a subtle change would make animated frames shiver. This slight shivering acts as an aesthetic distinction of animated feature films, but can also require exaggerated movements to hide the shivering. On the contrary, acting of 3D animation make use of calculated movements that may seem exaggerated compared to human acting, but seem much more moderate and static compared to hand-drawn acting. Moreover, 3D computer graphics add the third dimension that allows more intuitive movements - maybe animators no longer need fine drawing skills; what they now need is directing skills to animate characters in 3D space intuitively. On the assumption that technological advancement and change of artistic expressionism are inseparable, this paper compares acting of 3D animation studio Pixar and classical drawing studio Disney to investigate character acting style and movements.

Modernist painting style in Disney animation (디즈니 애니메이션에 나타난 모더니즘 회화스타일 : 색, 형태, 공간을 중심으로)

  • Moon, Jae-Cheol;Kim, Yu-Mi
    • Cartoon and Animation Studies
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    • s.33
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    • pp.31-53
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    • 2013
  • In the early twentieth century, history of animation began by modern artists, they produced various experimental images with the newly invented film and cameras. Artists in the field of movie, photography, paintings and others manipulated images in motion. But as some animated movies won industrial success and popularity, they became the trend but experimental style of early animation preserved by so-called non-mainstreamers or experimental animators, counteracting commercialism. Disney animation also followed the trend by applying realistic Hollywood film style, the worse critics placed a low value on the animation and it tarnished the image, although it was profitable investment from a business standpoint. To make images realistic, they opened a drawing class that animators developed skills to imitate motions and forms from subjects in real life. Also some techniques and gizmos were used to mimic and simulate three dimensional objects and spaces, multiplane camera and compositing 3D CG images with 2D drawings. Moreover, they brought animation stories from fairly tales or folk tales, and Walt's personal interest in live-action movies, they applied Hollywood-film-like narratives and realistic visual, and harsh criticism ensued. On the surface early disney animations' potential seems to be weakened, but in reality it still exists by simplifying and exaggerating forms and color as modern arts. Disney animation employs concepts of the modernism paintings such as simplified shapes and colors to a character design, when their characters are placed together in a scene, that visual elements cause mental reaction. This modification gives a new internal experience to audiences. As conceptual colors in abstract paintings make images appeared to be flat, coloring characters with no shading make them look flat and comparing to them, background images are also appeared to be flat. On top of that, multi-perspective at background images recalls modernist paintings. This essay goes in details with the animation pioneers' works and how Disney animation developed its techniques to emulate real life and analyses color schemes, forms, and spaces in Disney animation compared with modern artists' works, in that the visual language of Disney animation reminds of impression from abstract paintings in the beginning of the twentieth centuries.

A Study on the Imitation and Transformation of Gugok-Wonlim Culture through Management of the Myungam Jeong Sik's Muyi-Gugok in Sancheong (명암(明庵) 정식(鄭拭)의 산청 무이구곡(武夷九曲) 원림경영을 통해 본 구곡문화의 모방과 변용)

  • Rho, Jae-Hyun
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.33 no.3
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    • pp.84-94
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    • 2015
  • This study is to examine how the admiration for Chutzu(朱子)'s achievement while he was preaching his policies after renouncing the world in Wuyi-Gugok(武夷九曲), Mt. Wuyi and Joseon-style transformation culture were unfolded and developed through Gugok management cases such as position, name, poetic diction, Jungsa(精舍) architecture and engraving of Muyi-Gugok set in Mt. Gugok, Snacheong. The results were as follows: Myungam(明庵) Jeong Sik(鄭拭, 1683~1746)'s Muyi-Gugok, which consists of Suhongkyo(垂虹橋, gok 1) - Oknyeobong(玉女峰) - Nhongwhaldam(弄月潭) - Nacwhadam(落花潭) - Daeeunbyeong(大隱屛) - Gwangpyungryea(光風瀨) - Jaewhaldae(霽月臺) - Gorooam(鼓樓巖) - Wharyongpok(臥龍瀑, gok 9) is the representative case where Chutzu's Wuyi-Gugok was exactly copied and fulfilled to the Joseon Dynasty. In a large frame, Gugok Wonlim culture, Myungam's Muyi-Gugok management has a will of succession of Dotong(道統) through admiration for Chutzu in a rigid way. Another name of Mt. Gugok is Mt. Muyi and Gugok's name is Muyi-Gugok and the residence existed between gok 4 and gok 5. In addition, the name of Jeongsa for Gugok management is also 'Muyi Jeongsa(武夷精舍)' and Gugok name and contents of Poetry are also similar and all of these are clear evidence that Myungam tries to copy Chutzu's Wuyi-Gugok to Mt. Gugok. Also, Gugok set before Myungam were located in Mt. Gugok and among them, verified four Gugok names are corresponded to those of Chutzu's Wuyi-Gugok and it tells that conforming behavior as one of admiration ways for Chutzu already arrived at Mt. Gugok before Myungam and this was an oppotunty to widen Mt. Gugok Muyi-Gugok's tradition and horizon. Also, considering that Myungam's gok 6, Gwangpyungryea and gok 7, Jewoldae are names from 'Gwangpungjewol(光風霽月)' Based on Chutzu's poem and they are closely related to Joseon's classical scholar spirit, they are associated with Joseon-style transformation of Chutzu's Muyi-Gugok. Meanwhile, gok 5 'Daeeunbyeong' was transformed to 'Nangaam(爛柯巖)' in gok 5 - "Deoksan-Gugok(德山九曲) of Jooko(竹塢) Ha Beom-Woon(河範運, 1792~1858) and those characters's engravings are handed down. In "Pome of Deoksan Gugok" transformed from Myungam's Muyi-Gugok, respect and admiration for Chutzu is weaken while Ha Beom-Woon admires Nammyeong(南冥) Cho shik(曺植, 1501~1572), a symbolic character of himself's school and from this, a movement to promote partisan unity is identified. After Myungam died, Muyi-Gugok in Mt. Gugok was transformed from a space to succeed Chutzu's Dotonga to one to commemorate the memory of ancient sages, but, it is a typicality case that widen the spectrum of Joseon's Gugok-Wonlim culture through Muyi-Gugok's imitation and transformation.

Studies on a theatre aesthetics of North-Korea during right after the Liberation. (해방기 북한연극의 공연미학)

  • Kim, Jeong-Soo
    • (The) Research of the performance art and culture
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    • no.20
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    • pp.31-61
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    • 2010
  • This thesis proposes to explore the theatre aesthetics of North-Korea during after the Liberation. From now South-Korean theorists have provided the theatre aesthetics of North-Korea to South-Korea, so we can say that it lacks of an equity. For example, South-theorists have said that North-Korean theatre only emphasized politics and propaganda, they have had not any aesthetics in performance. So this study focused on North-Korean critics and records for fairness and as a result something new is founded. The best theatres in North-Korea were some works which contains natural and proper lines to character, well-expressed inner desires of characters, realistic acting and stage design, and realistic life of working class. Of course they should reflect communist ideology and policy, but more important is that it did not mean everything in North-Korea. So we can say that it is fact that North-Korea should reflect their policy, which does not mean lack of aesthetics of performance. North-Korea had an obvious point of view for theatre, and they made an effort to realistic lines, movements and stage. During right after the Liberation, North Korea sought to find an answer for 'realization of true life', and sought to eliminate Japanese acting style in theatre. Concluded theatre aesthetics of North-Korea during right after the Liberation is realistic acting and directing style.

A Study on Growth Type of Comic strips Heroes through Journey of Life (삶의 여정을 통한 만화 히어로 성장유형 연구)

  • Kim, MiRim
    • Cartoon and Animation Studies
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    • s.29
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    • pp.173-207
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    • 2012
  • The four-phased plot which consists of introduction, development, turn and conclusion in the long-story structure tends to be patterned and schematized. The behavior of characters is in line with the beginning of human beings and the plot of comic strips basically has four phases. It is, however, not a simple arrangement but a complex one which was developed by organizing patterns of human power, behavior and emotions. With the results from a survey with college students studying comic strips, this study aims to categorize four characters from the archetypal system by Carol Pearson, four phases of the hero's journey by Joseph Campbell, and the four phases of the plot based on Aristotle's theory, which is the frame of the comic strip structure through supporting evidence extracted from comic strips in an integrated way. In this study, the categorization is performed by simplifying and systemizing a character's life cycle, which is a factor of a story structure in complex comic strips. This study is to identify what comic strip writers express by using the metaphor in the complicated long-story structure of comic strips This study reveals that the structure of introduction, development, turn and conclusion based on the plot theory by Aristotle is the metaphor of human life and fate and that the phases of development in the archetypal system by Carol Pearson, a Jung researcher influenced by Jung's theory are the metaphor of human life and fate. Also, the theories of Joseph Campbell, who also was influenced by Jung, are the metaphor of human life and fate as they projected complex emotions of joy, anger, sorrow, and pleasure onto the archetype of heroes and used the metaphor of the hero's journey. Lastly, the theories are introduced with the approach of 'guide to screenwriters' by Christopher Vogler. Meanwhile, this metaphor is the objective and goal of this study. The comic strips selected for this study seem to have long complex stories which have characters leaving their homes, going through adventures and difficulties, meeting the world in another way, experiencing tension, competition, wars, and hardship and returning home with compensation. They grow mentally and psychologically through their journeys and finally become heroes. They express the meaning of our introspection in a narrative through plots and images of comic strips. This appears complex but the basic structure of long comic strips has four phases of plot. The life style of an extraordinary character traveling for adventures and growing in long comic strips can be divided into four phases symbolizing childhood, adolescence, adulthood, and senescence and it is a psychological growth process. The archetypes of the character can be divided into four phases and the growth process can be explained. The hero's journey symbolized by the character can be also divided into four phases. Through theories, the complex arrangement of four-phased plots in comic strips corresponds with the growth process of introduction, development, turn and conclusion through the stages of life. At the same time, this study found that the characters becoming heroes are the metaphor of introspection and that the characters' growth and life correspond with the four phases in life through long comic strips. Long stories in long comic strips written by comic strip writers show that characters go on their journeys and change their lives through hardship and difficulty by logical construction of plot and their growth processes are presented in archetypal images and they reach introspection as heroes. The readers share time and space through images in comic strips and realize that they had the same experience as the characters emotionally by being moved by the stories.

STUDIES ON THE DIMORPHISM AND FERTILITY OF PERSICARIA JAPONICA (MEISSNER) GROSS ET NAKAI (Persicaria Japonica (MISSNER) Gross et Nakai의 이형화와 수정력에 관한 연구)

  • HARN, Chang Yawl
    • Journal of Plant Biology
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    • v.3 no.1
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    • pp.1-15
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    • 1960
  • HARN, Chang Yawl : Studies on the dimorphism and Fertility of Persicaria japonica (MEISSNER) Gross et Nakai. Kor Jour. Bot. 3(I) 1-15 1960 Numerous investigations, since the works of DARWIN, have been made regarding the heterostylous plants by JOST (1907), CORRENS (1924), LAIBACK (1924), LEWIS (1943), and many others. Studies on the heterostylous Polygomum, however, were not reported except for the buckwhent, Fagopyrum esculentum, which was investigated by SCHOCH-BODMER (1930), EAST (1934), FROLOVA & Co-Workers (1946), MORRIS (1947, 1951) TATEBE (1949, 1951, 1953), present author (1957), and others. It is because no heterostylous species, besides buckwheat, have been known to exist in the Polygonum family. The author, during his studies on both heterostylism and fertility of Polygonaceae, has found that the species, persicaria japonica (Meissner) Gross et Nakai, is not diecious as has been known in taxonomy, but in reality beterostylous both morphologically and physiologically. It was found that this plant, regarded by taxonomist, as a male plant setting no seed, actually set seed (botanical fruit) when legitimate combination was made. Since his brief report on the dimorphic phenomens of this plant in 1956, the author's further research on the manner of fertilization has revealed that this species is a peculiar type whose dimorphism has undergone extreme specialization structurally and physiologically, the short-styled individual behaving in nature as a male plant and the long-styled individual, as female, whereas in controllled pollination the plant shows highly differentiated typical dimorphism. When compared with the other dimorphous species of this family, F. esculentum and P. sentiosa. it has been clarified that these three species differ in the degree of differentiation of their dimorphism morphologically and physiologically. That is, P. japonica has developed such a high specialization as to mislead the taxonomists, while P. senticosa shows almost no noticeable difference between long- and shortstyled individuals retaining most of the inherent physiological character cmmon to the genus except for the fact that it has two forms of flowers. F. esculentum appears to have taken the intermediate position in every respect. The result obtained in the present experiment are summarized as follows: 1) P. japonica has two kinds of individuals, one long style-short stamened; the other, short style-long stamened. The floral structure of this plants shows typical characteristics of dimorphic heterostylism. The differentiation between the two forms of flower has proceeded so highly both in primary and secondary difference of flower structure that this may be regarded as the most specialized form of dimorphism. 2) The differences of floral structure between the long and short styled individuals are remarkable compared with the other dimorphic species of the family. 3) The stamens of long styled plants show the sign of deteriolation whereas those of the short styled flower are well-developed. 4) When legitimate combinations are made, both L- and S-styled individuals are fertilized well and set seed (fruit), while in the illegitimate combination no fertilization and seed setting occur. Physiologically this species exhibits the typical behavior of dimorphic plants. 5) The self-fertile character, so common in other species of the other non-heterostyle Polygonum family, has disappeared completely. 6) Under natural conditions, no or few seed setting is observed in short styled individuals that behave as if they were male plants. 7) In hand pollination, the combination of both $L{\times}S$ and $S{\times}L$ alike yield relatively good fertility and seed-formation, the behavior of short styled individuals in artificial pollination differing remarkably from that in nature. 8) Under controlled pollination, $L{\times}S$ combination sets far more seed than in the combination of $S{\times}L$. In the S-styled individuals, the fertilized flower has the tendency of its seed more readily falling off in every stage of seed development than in the L-styled individuals. 9) The behaviors of pollen tubes just parallels the results of fertility test. That is, in the illegitimate combination, L-selfed, $L{\times}L$, S-selfed, and $S{\times}S$, the growth of pollen tubes is checked in the style, while in legitimately combined $L{\times}S$ and $S{\times}L$, the pollen tubes grow well reaching the ovaries within 40-50 minutes after pollination. The response of short styled individuals, known as male plant among taxonomists, is identical, as far as behavior fo pollen tube growth and fertilization are concerned, to that of long styled individuals, the so-called female plant. 10) The pollen grains from the short-styled plants are complete and fertile, whereas 70% of those of L-styled are found to be abortive, i.e., empty contents. 11) The remaining 30% of pollen of L-plant shows varied degree of stainability when stained with iron-aceto-carmine......mostly light red, while the pollen grains of S-style individuals are dark brown indicating complete fertility and viability. 12) The abundance of sterile pollen in L-styled and the nature of seed-dropping which occurs in S-styled individuals appear to be the main causes why the short styled individuals bear no seed in nature. Under controlled legitimate union, $S{\times}L$, the careful and elaborate pollination would give the S-styoled flowers the opportunities to receive the fertile pollens, though few in number, from L-styled plant, thus enabling S-plant to bear seed. 13) This species is not dioecious as is regarded by taxonomists, but typical dimorphic plant which has so highly specialized in floral structures and funcitons that the long-styled plant behaves just like a female individual; and the short-styled, like a male.

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A Study on Annual Cyclical Rituals and Medicine in the late Joseon Dynasty - With focus on Uibanghappyeon 'Wolhaeng' - (조선후기 세시풍속과 의학 - "의방합편(醫方合編)" 월행(月行)을 중심으로 -)

  • Oh, Junho
    • Journal of Korean Medical classics
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    • v.26 no.3
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    • pp.75-84
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    • 2013
  • Objective : This study considered the annual cyclical rituals related to medicine in an effort to look into the general medical conditions in the late Joseon Dynasty. Method : This study selected Uibanghappyeon 'Wolhaeng' as its research material in that it reflects the medical conditions at that time as a writing in the late Joseon Dynasty, and it's a record about annual cyclical rituals included in a medical book. The annual cyclical rituals are possible to analyze from various angles, but this study perceives the fundamental elements forming the annual rituals as (1) the time when a ritual was held (2) purpose, (3) method, and analyzed the calendaric rituals by dividing them according to the three elements. Result : There appear 97 sorts of annual rituals period in all according to their contents in Uibanghappyeon 'Wolhaeng.' (1) the case of directly suggesting a specific day like May 5 was found to be the most with 46 cases on the basis of the character of the implemented time, followed by the part (16 cases) with the sexagenary cycle like the Day of the Ox. (2) From the aspect of the purpose, the case of aiming at preventing diseases was found to be the most with 24 cases, and the case of expressing 'having to do like that' without any clear reason, or 'that would be better' was found to be the third-most 19 cases. In a broad sense, should these two be perceived as disease prevention, these statistics accounted for a half of the whole with 43 cases. Meanwhile, the style of rituals whose purpose was disease treatment(22 times) was to make a medicine on a specific day. Among the 22 sorts related to disease treatment, 16 sorts were the custom of making medicine on a designated day. (3) When classified from the aspect of methods, they can be divided into pharmaceutical preparations(23 cases), specific behavior(20cases), taboo(19 cases), taking medicine(15 cases), fasting(11 cases) and external medical treatment(9 cases), etc. This shows a comparatively even distribution rather than the case of dividing the annual rituals into a period or purpose. Conclusion : Medicine is the knowledge for preventing and treating diseases. However, the medical science and medical treatment of a traditional society show not a little difference from what we feel. The research on the annual cyclical rituals related to medicine is expected to be helpful to our perception of such a difference.

A Study on the Chinese Architectural View Point of Realist Hong Daeyong and Joseon Embassy in Beijing (실학파(實學派) 학인(學人) 홍대용(洪大容)의 중국(中國) 건축관(建築觀)과 북경(北京) 조선관(朝鮮館)에 관한 연구)

  • Han, Dong-Soo
    • Journal of architectural history
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    • v.15 no.1 s.45
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    • pp.29-40
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    • 2006
  • This paper is focused on Damheonseo(湛軒書), an anthology written by Hong Daeyong, and I deal with Chinese Architectural views which he had experienced in his itinerary to Beijing, and the vivid pictures of Joseonkwan (called the Koryo or Joseon Embassy) located in Beijing at that time. He was a scholar of great erudition over astronomy, mathematics, military science, politics, and so on. He was interested in practical sciences at early time, and criticized secular scholars full of vanity who had presented purposeless articles. In his age of 35, Qianlong(乾隆) 30 (1764, Youngjo 41), he, a military escort, accompanied by Hong Uk, Joseon envoy and his uncle. Before his itinerary, he self-studied Chinese. Also, during a long journey he got new experiences and information around each area, deviating his group whenever he had some times. He could get more variant experiences than others because of his character full of curiosity, and his observations from the vivid lives of the time helped us get various views between Chinese and Korean architecture. Likewise, although he denounced Qing(淸) scathingly as a barbarian, he mentioned several points about the characteristics of Chinese architecture at that time. First of all, totally Chinese architecture had strong rational and practical points. Secondly, based on bountiful products, buildings along streets shown in Chinese city had sophisticated compositions, and luxurious and magnificent appearances. Thirdly, using the brick from walls to houses was so universal. Fourthly, the layouts of building with three- or four-closed courtyard had very orderly shapes, and the structure of street was also so arranged. Finally, because of stand-up lives, the scales and appearances of interior space were even more extended, and storages were less developed than those of Joseon. As another points, I found that Joseonkwan was moved next to Shushangguan(庶常館)from Huidongnanguan(會同南館) around Hanlimyuan(翰林院), and had been remodeled into a house with Korean custom in using the inner spaces, although it was followed by a closed courtyard style. Likewise, I recognized that Ondols were sure to be established in all temporary houses during the journey to Qing, and felt their strong traditional residential custom in such mentions. Now that the past pictures have disappeared and ways of life and our values have been largely changed, this study has very important meaning in comparing the ancient Chinese and Korean architecture.

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A study of Paul Klee's by of Bernard Cocula (꼬뀔라의 의미분석망에 의한 폴 클레의 "매직 스퀘어" 연구)

  • Lyu Jea-Gil
    • Journal of Science of Art and Design
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    • v.1
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    • pp.63-93
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    • 1999
  • This treatise begins with finding a meaning of Paul Klee's . It is pretty simpleto choose the square of Klee. The most important formative language for twenty century is abstraction. The element of speaking for abstraction issquare. The artists are trying to contain the nature and universe in the square. The role of magic square consisting with small squares of Klee is crystallized. The other side, the test of this study is a method analysis. The method analysis is changing while concept and style have been changing according to a period. The existing method analysis is an iconology used many times in Art history. This treatise introduces France symbolists, Bernard Cocula and Claude Peyroutet's analysis of a meaning of image(Semantique do l'image) who were applied to Modern Art. based on Iconography. It also applies to analysis of artwork of Klee. Cocula's is developed from one phase to five phase step by step. The first phase deals with an appearance of artwork. Subsequently, the second phase is directly adjacent to personal feeling and impression. This is an adequate method for image study in the analysis of modern arts. This phase makes it a rule to enjoy talking with artworks above all. The third phase begins with this question 'What do you see? (que voyons-nous?).' The applies exhaustively and strictly to complicated image artworks which need an elaborate analysis. It is very hard but audiences must try to maintain neutrality in front of artwork because cord formation and interpretation should be formed objectively. The meaning analysis and interpretation of the forth phase begins with this question 'what is the image rouse'(qu'evoque cote image?).' This phase is the most important in a process of symbolic analysis. The audience investigates personal elements and common elements. The fifth is synthetic analysis and interpretation phase. The synthesis is last phase and it reaches a valuation and a conclusion. Namely, the synthesis phase makes up synthesis conclusion, summarizes image character, and completes value adjudication. Sometimes it completes no conclusions in a silence. This study found a new possible analysis example from Paul Klee's work. The study emphasizes square analysis and interpretation and uses . The analysis of artwork by Cocula's is an example of the most important work of Klee's three artworks. The first analysis of artwork is and the second one is . The third one is . In these analyses, Klee usedmagic square 'to make natural pictorial element and to explain organic living things.'

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