• Journal of the Korean Society of Costume
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• v.67 no.4
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• pp.131-152
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• 2017

The purpose of this study is to analyze modern fashion culture in the 20th century through changes in transmedia in order to better understand characteristics of fashion contents. The study also strived to identify the characteristics of remediation in modern fashion and media by exploring the cultural code, and use it to establish an integrated view. The subjects and the method of the study are as follows. First, the study analyzed the development of transmedia and fashion culture since the 20th century. Second, it identified the transitional characteristics of transmedia. Third, the study analyzed the characteristics of remediation in modern fashion culture by using the characteristics of mediation, which appeared with the transitional characteristics of transmedia. The study results are as follows. First, the types of remediation are 'borrowing,' 'Representation,' 'Expansion,' 'Refashion,' and 'Absorb.' In old and new media, each type can be aesthetically experienced in 'transparency,' opaqueness,' 'Hypermediacy,' and 'Immediacy.' Second, fashion culture can undergo a transformation from its original form to a second and a third iteration, and this process allows for possibility of an expansion of multiple plots and well-rounded character settings. This opens up the possibility for fashion consumer participation, and signifies a transition into an environment where expansion of time and space is possible. The third finding is the non-mediation of fashion objects. The mediating relationship between clothes and media is directly connected to the development of new media. The immersion of new media by fashion consumers has the characteristics of 'transparency'/'Non-mediation,' and the reinterpretation and reproduction of original fashion styles have the characteristics of 'opaqueness'/'Hyper-mediation.' Fourth, fashion culture has data variability. Through 'Borrowing,' 'Representation,' 'Expansion,' 'Remodeling,' and 'Absorption,' the cultural hierarchy of reproduced fashion forms a multi-layered integrated network. Mediation code, which repurposes fashion culture contents, also creates new media fashion through transmedia.

• Cross-Cultural Studies
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• v.35
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• pp.97-122
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• 2014

Since the arrival of Chinese immigrants in the 1850s, many Euro-American writers tended to project their fears, contempt, desires and fantasy onto the Other race and perceived Chinese Americans in stereotypes-dangerous villains, unassimilated aliens, quiet and passive servants, sexually submissive women, or seductive prostitutes. However in the 1970s and the 1980s Euro-American novels expressed varying attitudes towards Chinese Americans. Many earlier EuroAmerican writers began portraying positive characterizations of Chinese Americans. The purpose of this study is to examine the ways one of the Euro-American writers, Howard Fast characterized Chinese Americans in The Immigrants. Part of the novel concerns a Chinese American family. Fast gave a favorable portrayal of Chinese Americans. Unlike many Euro-American novelists who dealt only with Chinese American villains and prostitutes and view Chinese Americans as the lowest class of American society, Fast, on the other hand, portrayed Chinese Americans as law-abiding and useful citizens. Thus, I will discuss how Howard Fast subverted the familiar negative characterization of Chinese Americans and placed Chinese American experiences in the context of American immigration history. Many white Americans tended to notice only the lurid and sensational aspects in the Chinese American community. They seldom regarded Chinese Americans as people with homes and families and seldom saw Chinese Americans as individuals, as human beings with feelings, pain, and joy. To counter this racist view, Fast described the family life of Chinese Americans and depicted Chinese Americans as individuals with a full range of human emotions and with strong family and cultural ties. Though Fast debunked some myths about Chinese Americans, he also reinforces other stereotypes or some stereotypical illusions about them. In conclusion, I'll demonstrate Fast's work remains an incomplete representation of Chinese Americans.

• Korean Journal of Heritage: History & Science
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• v.34
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• pp.60-79
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• 2001

We can infer from collections of prose in Cho-sun period that the main period is from King Se-jong's reign to King Yoeng-jo's or between the 15th and the 17th century. The ideological background and the dignity of the rock garden is derived from Taoist hermitism and Nitze and Jeng-je's quietism. The representation of the rock garden as tri-god mountain comprising Bong-lai, Bang-jang and Young-ju is based on the tradition of making the tripartite rock garden in a pond practiced in the three north-eastern countries, Korea, China and Japan. And it's the representation of quietistic world of eternal life that had been sought by the taoism. Making a pond in which they plant lotus and made rock garden. they enjoyed watching immaculately pure lotus flower bloom even in the mud. It is compared to the confucians' seeking for virtue even in the profane or defiled world. Another motive of intellectuals to make rock gardens is their love of nature and its landscapes and their preference of recluse and temperate life to attaching to high public office, which was the tendency of the learned, established by the influence of taoist and quietist tradition. The essays portray the fountain water, ponds, waterfalls. the hilltops, the mountain pass over the ridge. winded lanes, valleys, caverns, and other architectural elements. The technic of building rock gardens includes those of harmonizing each elements of landscapes in the water, that of irrigation, building formation, and those of piling up the mountains and hills. With some comments on planting trees, grass and flowers. The original location of rock garden, esp. in case of taoist Chae-su's rock garden with waterfalls, is Ian-ri, Ian-myon in the city Sang-ju. Since no relics of rock gardens are to be found in any examples of Korea's traditional gardening, the study of rock gardening by analyzing the prose collections of Cho-sun period can be significant for the study of designing water space that has been considered the center of a garden space.

• Journal of the Korean association of regional geographers
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• v.8 no.2
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• pp.170-183
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• 2002

Recently it is supposed to be a shift to regional geography. To understand the emergence of the new regional geography, It must be remarked that the progress of capitalist production and consumption change our conceptional apparatus such as representation of space. Region is one of the important mode of representations of space and time. In the Fordist capitalism of 20th century, development is regarded as diffusion of capitalist expansion of western worlds. State must support capitalist growth through regional policies which include constructing of infrastructure and regionalization of spatial division of labour. The regional development theories contributed as ideology and policy tools for state intervention. The region was simply one of the most logical classification tools of organizing geographical informations. In the theories of regional development, the concept of region was reduced to the formal unit of classification. As the transition from Fordism to flexible accumulation, the region is again acquiring its 'identity' and 'authenticity'. In this tendency of the revival of region, it is expected that good achievement could be made in the field of regional geography through relevant research methods. It is also believed one of the available means are historical approaches to the cultural and ecological regions. The historical approaches to cultural and ecological regions are not only correspondent with cultural development strategies of local governments, but also could convey regional identities through both narrativization of place and aestheticization of landscape.

• 지역과문화
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• v.7 no.1
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• pp.1-26
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• 2020

This study analyzes the creation process of local cultural contents that appears in the Maeul-mandeulgi by utilizing the "Village Rituals" handed down from village. The purpose is to analyze the social values and meanings they represent. For this purpose, a qualitative research method using Chilgok-gun Yeong-ori was applied and analyzed through Lefebvre's the production of space theory. Residents began to recognize the necessity of projects such as Maeul-mandeulgi to overcome the community crisis, and attempted to change the perception of existing village rituals. Residents began to recognize the need for projects such as Maeul-mandeulgi to overcome the community crisis, Attempts to change the perception of the existing village rituals resulted in spatial practice. The new cultural contents were created by adding a playful element to the existing Cheonwangje, and thereby strengthening the identity of the village. This resulted in the reproduction of the village as a new cultural space, but it showed the reproduction of the space in which the alienation occurred due to excessive physical expansion. However, through this process, villagers increased their sense of belonging and increased their satisfaction, which showed the process of being produced as a space of representation that strengthens the sense of community.

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.2
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• pp.1-9
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• 2011

This study concerns the Baekje Traditional Garden, one of the open spaces in the Lotte Resort in the Baekje Historical Reappearance Complex, which is part of the comprehensive plan for specific areas in the Baekje cultural area. The Baekje Traditional Garden has historic value, and its excellent garden style influenced the ancient Japanese gardens. This study dealt with three issues: (1) The context in which Lotte Buyeo Resort accepted the Baekje Traditional Garden, particularly the background and process of such; (2) The original form of the Baekje Traditional Garden; and (3) How the Baekje Traditional Garden should be represented in the open space of the resort. Representation is accomplished in two ways: using the structure of the original garden and in the borrowing of elements. For representation using the structure of the original garden, Imrugak was used as the main entrance space, and Wolsunjung was represented from the Ganbuklee remains. In the rear garden are wave watercourses and other garden facilities of the Wanggungri site in Iksan. Borrowing of elements, on the other hand, was accomplished in the plant plan and detailed development. In addition, mountaintops (three mountains and five mountain summits), a clean stream between mountains, and a pine forest are visualized in the garden. This is the representative landscape of the Taoist hermit world that appeared in the Baekje Gilt Bronze Incense Burner and Landscape pattern. The significance of this study is twofold. First, the Baekje Traditional Garden is a fresh trail because there has been no previous research concerning it. Second, while past research concerning traditional spaces focused on the results of representation, this study focused on the process of representation. This means that this research work tried to extend the study concerning the representation of traditional spaces from the conceptual to the practical approach. This study, however, also has its limitations. The authenticity of the representation suggested in this study may be questioned later because efforts have been made to preserve the original Baekje Traditional Garden. In addition, this study should seek a balance between authenticity on one hand and amusement and diversity of experience on the other, because the site is a resort.

• Korean Institute of Interior Design Journal
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• v.22 no.6
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• pp.11-19
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• 2013

The number of visitors to historic sites and museums in Korea has been on a rapid decrease and in order to search for creative ways to work on the problem, the study proposed a theme park-typed museum with cultural heritage applied and reviewed spatial strategies for such theme park-typed museums. Applied methods of research of this study are as follows. First, in order to understand definitions and current situations of cultural heritage use and theme park-typed museums, the study went thoroughly over all sorts of literature and reports as well as findings of advance researches on how to make a use of cultural heritage. Based on the results of the investigations, the study determined characteristics of the theme park-typed museums with cultural heritage applied which the study was proposing and the characteristics were categorized by type. Considering those characteristics and types gained in the study, the study looked for cultural heritage-based theme parks and museums in the world which were good enough to be used as research subjects in the study from the aspects of profitability and level of awareness. The study examined those theme parks and museums in the world and in the end, it found out ways to adopt the findings to the situations in Korea and discussed expecting effects as well. As to the characteristics of the theme park-typed museums with cultural heritage applied, the study divided those characteristics into mutual cooperation, location, communicability, authenticity, maintainability, education, durability, narrativity, undailiness, interactivity and leisure. The types were categorized into ride, environment direction, cartoon character and souvenir by attraction pattern. When cultural heritage is used actively, it would improve competitiveness of historic cultural sites and museums in return, making people realize the iterative structure of excavation, conservation, maintenance and use of cultural heritage. That would create many kinds of added values, re-discovering culture of the country. At the same time, it would also create a new value of culture as well. Now, it is important for us to do harder with researches on how to evolve museums and exhibition spaces. Considering that, the study is believed to make a contribution to revival of historic sites and museums in Korea but also establishment of scientific strategies.

• Korean Institute of Interior Design Journal
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• no.25
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• pp.111-118
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• 2000

This study examines the space composition and character of Elizabethan Theater base on the theory of drama and Shakespeares play in the english traditional theater. Contemporary multi purpose theater and public space is considered as a symbolic representation of the Elizabethan theaters organization and renaissance culture. In the historical theory, the Shakespeares theater was a common tool and best systeme in reflecting peoples lives. This role of theater as mass culture and new style of theater permanent design has get its value with the population increase and the urban centralization of the city and urban common sense. This study attempts to reevaluate the need of public space in modern society through a critical review of theater and its use as a open space design. Content analysis was used to discuss the topics of this study including the historical background of the theater, the relationship between Greek culture and modern design, and the role of scenery, auditorium and its impact on urban environment. The scope of the study is limited to the comparison of Elizabethan theater and space use program from the space critic and sociologist. Today the concept of theatrical space is altered with the advent of non-objects and multi media space. This study provides insights for the future implications of theatrical space in developing public space for its a new definition as cultural representation.

• Korean Institute of Interior Design Journal
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• no.26
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• pp.35-41
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• 2001

This study examines the space composition and character of Baroque Theater base on the theory of drama and play in the european traditional theater. Contemporary multi purpose theater and public space is considered as a symbolic representation of the baroque theater's organization. In the historical theory, baroque theater was a common tool and best systeme in reflecting people's lives. The role of theater as mass culture and new style of theater permanent design had get its value with the population increase and the urban centralization of the city and urban common sense. This study attempts to reevaluate the need of public space in modern society through a critical review of theater and its use as a open space design. Content analysis was used to discuss the topics of this study including the historical background of the theater, the relationship between renaissance culture and modern theater design, and the role of scenery, auditorium and its impact on urban environment. The scope of the study is limited to the comparison of baroque theater and space use program from the space critic and sociologist. Today the concept of theatrical space is altered with the advent of non-objects and multi media space. This study provides insights for the future implications of theatrical space in developing public space for its a new definition as cultural representation.

• Korean Institute of Interior Design Journal
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• v.22 no.4
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• pp.149-157
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• 2013

As a period of pluralism, today's museum architecture has been expanding social and cultural meaning. So, Various expressions are appearing in museum architecture. Accordingly, the museum must be very reproducible and comply with aesthetic requirements. At the same time, museum construction in urban design and features must satisfy professional requirements. SANAA is one of contemporary architects has been decisively deleted existing fixed and functional layout type of program through 'The new hierarchy'. Thus, the experience of the space will vary. Now, museum space is urgently needed than ever before crustal movements. Thus, this study aims to contribute an alternative to the museum space configuration according to the trend of the times through 'The new hierarchy' of SANAA. This paper is limited to the cases of the SANAA's museum architecture. We analyze the characteristics of representation on 'The new hierarchy' appear in the museum space configuration and then, examine the value of the spatial. SANAA's 'New Hierarchy' is going to set the cognitive boundary by expression targeting plane and the surface. It is completely different than the previous boundaries. Characteristics of the expression represents non-centrality, decentrally, non-oriented, uncertainty, non-territorialization, uniformity. It is steady that identity of Space, Human, Environment in Museum. They have a relationship each concept of Independence, autonomy, equality.