• International Journal of Costume and Fashion
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• v.3
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• pp.51-87
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• 2003

This study aims primarily to discuss the question 'What does the red fashion boom in Korean society during the 2002 World Cup mean\ulcorner' For this question, it describes fashion phenomena and characteristics that appeared during the time. Specifically, in order to understand the concrete essence of the red fashion boom in terms of clothing and textiles, this study classifies and describes the red fashion boom as 'object, process and symbol' concepts. It investigates each case within the context of fashion. Outside that context, then, the implications of the red fashion boom are examined based on cultural studies and other sociocultural perspectives. This question is considered by focusing on social pressures as ideology, looking at the voluntary behaviour of Korean people in this context and examining several other factors. This is an investigation of the relationship between fashion, society and culture pursuing fashion theory by reviewing the relevant theoretical backgrounds afforded by the humanities and the social sciences. Based upon the above theoretical discussions, it synthesises what factors contributed to the Korean red fashion boom. Finally, this study briefly states their applicability to cultural marketing in its practical aspects. This study has attempted to throw some light on the question 'What does the red fashion boom in Korean society during the 2002 World Cup mean\ulcorner' The Korean Red Fashion Boom emerged from its interrelation with each context of the World Cup, as in the dualism of 'Janus'. That is, the World Cup functioned as the positive face of a festival that collected deep emotions and passion and contributed to the integration of society. Whereas its negative face, ideologically speaking, personified the invisible capitalistic product produced by the nation, enterprises and the mass media. And the implications of the red fashion boom can be interpreted with reference to the two faced World Cup.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2007.05a
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• pp.231-236
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• 2007

The aspects of contemporary society change have been changed rapidly running for function value on the part of part industrialization and information-oriented. The transfer to the society focused on a human being emphasis and symbol value is in progress rising with natural desire of recurrence of human nature accordingly and desires of a human being inborn of sensitivity-oriented and pluralism-oriented are being expressed. Answering these social and cultural demands, concerns about an arbitrary mind world of a human being and pursuit dispositions about impractical and transcendental world are coincided with to the purpose and so various kinds of expressions except for art sphere are being experimented and applied. Here upon also in the field of the contemporary interior design, answering sensual desire of users, various arts and cultural tendency, the concept of surrealism is being applied in design introducing the concept of surrealism positive. And fantastical and unreasonable expression features of surrealism are being used as subjective essential elements to make new spaces. Especially amoung various kinds of the interiors designs, the features like surrealistic expressions in Food & Beverage Space which proper identity and strong symbolism will be expressed can be recognized as appropriate expression patterns to give still more sensitivity stimuli to customers. Thus this research disclosed conceptual and ideological background of surrealism and also analyzed and studied surrealistic expression features applied to the interiors designs of Contemporary Food & Beverage Space through expression disposition, study and classification of techniques. And standing on the result of analyzing surrealistic expression features of Contemporary Food & Beverage Space with a key word of expression features derived we groped for estatescape trend demanded in Food & Beverage Space and direction coming.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.5
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• pp.691-703
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• 2013

The costume culture of ladies in late Goryeo is an important and rare source for cultural fashion souvenir design. This study investigates the historical costume design sources of late Goryeo to suggest high quality traditional and practical ornament souvenir designs for female dolls as well as examples of coordination with doll costumes. The costume culture of late Goryeo contained golden Buddhism and a revival of $12^{th}$ century Goryeo costume characteristic after the period of Mongolian influences from the Yuan. The main sources for doll ornament designs are $14^{th}$ century Buddhist paintings, a few ornament relics of Goryeo, ancient literature, and portraits of ladies in the $14^{th}$ century that originated from five doll's traditional ornaments (lotus hairpin, cloud-shaped hairpin, Buddhist flower hair ornament, vase-shaped Binyeo, and bell of animalhuman face) and three wig designs (wigs from Buddhist paintings and portraits, and hairpiece) with bleached gilding silver, silk, various gemstones and synthetic hair. These doll ornament and wig designs imply the symbol of Buddhism, exorcism, and costume culture of $14^{th}$ century Goryeo ladies that can be matched with two doll gowns, half-sleeved jacket, skirt, two Jogoris, apron, under trousers as formal, semi-formal, and town-wear according to the T.P.O of late Goryeo; in addition, five ornaments can be used as owner's ornaments. The partial changing colors and materials due to the characteristics of doll ornament goods as well as better communication between researcher and constructor remain to be improved.

• The Research Journal of the Costume Culture
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• v.10 no.6
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• pp.633-647
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• 2002

The purpose of this study is to observe the symbolic meaning and the values of the costume which express bisexuality through the definition from a culture point of view. The research method is to contemplate the documentary records such as world history, art history and clothing history, and to recognize the symbolic meaning of a bisexuality in modern fashion design. A definition the word´man and woman´restricted the human being for a long time. This restrict is enforced by the costume, but this traditional fixed idea is retarded by the liberal sense of the human being and the design expresses a sex ambiguity This study inspects the sex ambiguity and the meaning of that through a cultural background and a historical costume. The results are as follows: The first, the cultural background about bisexuality is classified into the etymological point, the mythologic point. the art and philosophical point, the political and economic background, the mass media, and the custome and the regulation. A bisexuality is a concept in existence from ancient times. we have an open-minded attitude about bisexuality in the present than the past. The second, the function of costume is sex classification before 20th century, but since 20th century the costume expresses sex ambiguity. The third, the symbols of the bisexuality are the interminacy, the unity and the dismantling. The costume which expresses bisexuality means coexistence of male sex and female sex. this is a kind of motion to embody a ideal body of the human being. This study makes a contribution to recognize the dignity of human body and to understand the phenomenon of modern society.

• Archives of design research
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• v.18 no.3 s.61
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• pp.105-116
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• 2005

Focusing on costume research to set image of Korean wrestling that has potential power as a traditional and cultural item, the purpose of this research is to systemize Korean wrestling uniform and offer suggestions regarding visualization, and to carry out basic ground research to develop Korean wrestling uniform design. For the basic part, I compared world wrestling and Korean wrestling in an effort to learn more about the history of wrestling uniform along with its transitional changes. And for the practical part, I studied the criterion of the current wresting and its uniform, and classified the aesthetic points of Korean wresting uniform into four categories in the view point of design ground research: tradition and uniqueness, usability and compatibility, symbolism and ornamentation, variety and unification. It is concluded that the most important part in designing Korean wrestling uniform lie in how to consistently visualize it based on the above mentioned aesthetic points. As the theoretical research on aesthetic parts of Korean wrestling uniform, this research finds its meaning in suggesting guideline for design concept and development while planning traditional and cultural costume design which will be materialized in the follow-up research.

• Korean Journal of Heritage: History & Science
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• v.34
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• pp.102-122
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• 2001

Uymsikdimibang(음식디미방) - a book written around 1670 and implying the methods of understanding the taste of food and drink - records many kinds of alcoholic drinks. it is obviously a practical problem to explain the process of brewing alcoholic drinks. However, if we intend to approach the alcoholic drinks on the practical aspect, we can not explain why many kinds of alcoholic drinks were brewed. I acknowledge only that it was true to have brewed rice wine easily on the basis of the increase of the production of rice and the two-crop farming system of rice and barley in a paddy field as well as, for many kinds of alcoholic drinks to have increased as a result of the development of brewage since the middle and second half of Chosun. It is not until we approach the alcoholic drinks of those days on the level of meaning, value, and symbol that we can get a correct answer as to why Uymsikdimibang records many kinds of alcoholic drinks. In the second half of Chosun, confucian ideology was firmly established in country village societies, the idea of clan rules was instituted, and patriarchal system was organized. Such a social atmosphere was to emphasize the practice of confucian moral principle such as performing religious service on one's ancestors and receiving a guest, and in the course of it, the alcoholic drinks were recognized as important materials all the more. It seems that the subdivision and elaborateness of the meaning of the alcoholic drinks were in progress. As a result, I think that the alcoholic drinks would vary in kind and be graded. From ancient times, the alcoholic drinks were men's favorite foods, and the significance of the authority and prestige given to the alcoholic drinks was increasingly promoted by the rise of the social position of men in the second half of Chosun under the influence of confucian ideology. Subsequently, the alcoholic drinks became symbols which represented even the family's tradition and dignity. Therefore, men born of the nobility(Yangban) tried to brew the various and dignified alcoholic drinks relatively. Through the brewage such as this, they endeavored to maintain their privilege. I think that the diversification of alcoholic drinks was developed in the process of a series of social-institutional change.

• English & American cultural studies
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• v.18 no.2
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• pp.27-50
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• 2018

Old age is often compared as climbing mountains which requires walking out of breath, yet with wider vision. And it is also likened to the estuary where the river flows slowly and broadly into the open sea. Socially, old age has been regarded as a symbol of wisdom and reflection, and elderly people often take the role of sage who leads the community. On the other hand, the dementia, gray hair and wrinkles of old age were sometimes perceived as the decline of intellect and vitality. Especially, in the digital age in which technology makes people more sensitive to physical artificiality, the evaluation of the old age becomes more complex and obscure. In other words, some elderly people can not escape from Confucious convention of the elders first, which causes the denouncement by younger generations. On the other hand, some elderly people are becoming more adaptable to the trend of young people, emerging as the new elderly people. The anti-aging movement, early adaptation of IT, bioengineering regimen also strong for the advanced age. However, as the new elderly people are active in many fields of society, they also face intergenerational conflicts in some areas where remains the overlap between young people and them due to the limited openings in economy and culture. This study is a transdisciplinary research which can be called old age humanities. First of all, this paper looks at the aspects of lifestyles and intergeneration conflicts in old age in four Korean and Western literary works about the old people, and also searches how to improve the quality of the later life of old people, Overall, this paper aims to explore the way the old people can achieve the full life with the help of intergenerational dependency through building aging humanities and new communities for old people.

• English & American cultural studies
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• v.18 no.4
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• pp.33-64
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• 2018

Through the experimental narrative construction by authorial divinity, Muriel Spark's novels and films based on her fiction show the difficulty of living like a human being under various inhumane and manipulative circumstances of the modern capitalistic society. By adopting flash-forward, self-reflection, and deceptive omnipotent viewpoints, her work has surprisingly predicted the post-modern trend in which humans are increasingly attracted and interpellated to the digitalized media. Muriel Spark called the recent anesthetic situation by stimulation "a driver's seat" because it is a symbol of how humans should act to maintain the critical subject. Emphasizing the value of self-reflection, religion and morality in the mechanized society, Muriel Spark stressed literature should play the role of helmsman who sails safely in the rough sea. In Muriel Spark's works, God is often synonymous with writers. As a Jewish immigrant she experienced alienation in Scotland, marital violence, prejudices of the London-based publishing world, Nazism, and Watergate. For her, the harsh reality of the modern society needs to be guided and complemented by something beyond human control. But rather than relying entirely on traditional Catholic doctrines such as Graham Greene and Evelyn Waugh, Muriel Spark has taken a personal, religious view of literature and insists that the genuine writer must play God's play. Seeking for the speculative vision for the future of human life in God's plan, she tries to understand the complex twisted motives of human beings which are often far from the ideal form. Simply put, her search of self-reflection, religion and ethics is modeled on the God's plan for the ideal human being who is supposed as the writer with the transfigurative imagination of the trinity.

• Journal of Information Technology Applications and Management
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• v.29 no.6
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• pp.123-134
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• 2022

War films are a general term for films that have battlefields as their main background. Although war films as a genre directly deal with combat situations, they also deal with characters or subjects related to war. War films promote patriotism and nationalism, but they also argue against war by highlighting the disastrous war. This study is based on the color theory that the meaning of film color is temporarily and infinitely generated according to the cultural differences, with Eisenstein's creative theory on film color and pathos. I wanted to clarify the pathos effect and the meaning of color green expressed in the Korean war films. In war films, colors are visualized in art forms such as symbols, similes and metaphors. In war films, color green symbolizes life. On the battlefield, the green of nature stands against the catastrophic situation. The green of ecology, which insists on the flow of life, evokes fear in ecological crises such as war, disaster and climate change. The dark green caused by a catastrophe like war warns of the destruction of life. The connotation of color is temporarily and infinitely expands according to the cultural differences. The dark green, which visualizes the battlefield of destruction, is a form and element of pathos that indicates changes in emotions such as sadness, pity, grief and despair. Pathos as an emotional appeal is a leap from the quality to the quality of the means of expression and refers to the departure from Dasein. The green color that dominates the visuals of war films is a symbol of life and functions as a pathos that makes emotional changes take a new leap. A qualitative leap through pathos means all changes that become new.

• Journal of the Korean association of regional geographers
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• v.16 no.5
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• pp.441-456
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• 2010

While the Dong Hae was originally named for the point of the compass, it became a proper noun containing knowledge on the long history. The Dong Hae has played host to a number of historic events and cultural meanings and is a geographical space in the nature. This study examined the geographical cognition of ancestors about the Dong Hae among the historic and cultural meanings of Dong Hae and a variety of figurations described in literature. Intellectuals of the Joseon period identified the global geography on a higher level an recognized the geography and topography of the land in the structure that they identified. In this aspect, Mt. Baekdu, one of two mountains which dominated the world, ruled the geography of Liaodong field, the Korean peninsula and Japnn. Historical geographers mentioned the Dong Hac whenever discussing Mt. Baekdu and Baekdudaegan (Great Range) from long ago. Baekdudaegan and the Dong Hae are the complete symbol of national territory with great size, depth, height, width, dignity and magnanimity. The cultural figurations of the Dong Hae were classified into four categories. In Korean literature, the Dong Hae strengthened the spirits of those who lived in the Korean peninsula. Second, the Dong Hae was the basis to see through and deliberate the reasons of life and the world. Third, the view of the Dong Hae from Baekdudaegan changed the cognition about the land. Finally, the Dong Hae was where the hard life of people in the fishing villages occurred and a variety of customs and trades were dynamically deployed.