• The Journal of the Korea Contents Association
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• v.16 no.3
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• pp.198-209
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• 2016

The Movie, A Werewolf Boy, describes metaphorically the hidden desire of female audience. The majority of stories about wolves contains fear of wolves inherited by and learned through human history struggling with the nature. They also shows punishment and reward toward wolves as a cultural symbol of evil. This study focuses on analyzing wolves as a metaphor of hidden original desire rather than as a subject of fear and punishment. Soon-Hee's experience with a wolf-boy in her period of puberty and her remembering the experience in her old age expresses her original sexual desire. The movie, A Werewolf boy does not directly deal with sexual content. However, SU-NI's growth through the interaction with the wolf-boy informs us Freudian theory of sex and the mechanism of sexual desire and its repression or realization. Brun Bettelheim's "Little Red Riding Hood" was used to analyze Soon-hee's desire during her puberty and Clarissa Estes's "Women Who Run with the Wolves" were used to explore SU-NI's wildness forgotten in her elderlyhood. This study shows in the process of wolf boy's transformation from biological being into social being awakened the hidden and original desire of woman.

• The Research Journal of the Costume Culture
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• v.9 no.1
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• pp.61-72
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• 2001

Chunghahk-dong is located in a retired spot, Jiri Mountain and has been built up its won religion and culture without any exchange outside world. People in Chunghahk-dong believe in a religion called Genjungyutaosim. Forming a trinity on which mind is Taoism, body is Buddhism, and behavior is confucianism. These are the principle elements to form a village. They made their own unique cultural factor such as longhaired boys and girls, wearing traditional cloths and hat, a monastic life, folk mores and family rituals, and private school system. This shows a great deal of affection on their life style and organization and is closely connected with community and culture. Grasping a culture and behavior on clothing, it has propose to understand Chunghahk-dong properly according to this study. A method of study has a purpose to understand culture and clothing behavior precisely in Chunghahk-dong. I inquire ito clothing behavior with investigation and study of picture script. The results are as followed; People in Chunghahk-dong show unique clothing and hair style behavior based on Genjungyutao. First, men and women wear a white cloth called HanBok(Korean costume) and footwear made of rubber. Only men wear a blue vest. A grown up men wear a long coat when they go out. They are dressed in tractional cloth for a ceremonial occasion. The reason why they put on the HanBok(Korean costume) is a belief on our traditional cloth becomes a standard dress in the future. They believe Korea becomes a standard dress in the future. They believe Korea becomes a standard dress in the future. They believe Korea become a leading country in the world. This clothing behavior is symbol of Genjungyutao and has a role of delivery system for expressing their split. Second, In sign of being a Genjungyutao men, they let their grow hair. Cutting hair is not to be a Genjungyutao men any more. There is few reason that people in Chunghahk-dong let grow their hair : First, because of importance in TanGun's ideology, they believe Korea is a first nation in the world and can't cut their hair which has grown from TanGun (The founding father of the Koran nation) Chosun traditionally. Second, Cutting their hair runs counter to the principle of nature. Third, They value their body for confucianism. They don't want to damage their body because of body from their parents. Boys and girls braid and tie up their hair and adult tie a topknot and a chignon. Wearing a YouGun(A horsehair skullcap) at home and Kat(A Korean top hat) when going out, they express as a Genjungyutao. Hemp cloth and synthetic fibers are main clothes. Also, they wear an improved HanBok(Korean costume) these days on influence outside.

• Journal of Fashion Business
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• v.6 no.2
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• pp.29-40
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• 2002

Honor guards‘ dress represented by royal carriage parade. This thesis studies the ceremonial dress worn by the ceremonial troops during the Hwa-sung Hang-hang Ban-cha drawing (華城幸行班次圖) in the Chosun dynasty of King Jung-jo. The purpose of this study is to understand the national level ceremony by closely looking into the traditional ceremonial dress and the various signs that were used at these events thereby enhancing the cultural status of the Jung-jo King period. The Hwa-sung Hang-hang Ban-cha drawing(華城幸行班次圖) has its characteristics and also has commonality between the garments worn at these ceremonies. These garments are a traditional heritage brought down from many ages before and is a reflection of the changes that have occurred within our everyday life. Among these many records the Bancha-do(班次圖) is a representation of records that show what was worn by both nobles down to the ceremonial troops. The uniforms of the ceremonial troops were not only huge in size but also very diverse according to rank and grade. They used strong true colors with colorful flags, ceremonial items and musical instruments. These all added to the grandeur of the ceremony. The ceremonial flag was itself a symbol and was the core of the whole ceremony and parade. These ceremonial flags represented the heaven, sun, moon, hill and animals as well as supernatural gods. All these showed change in shape, color and content by age and time. Also the Yongmun Gichi(Dragon flag: 龍紋旗幟) is a supernatural being representing the power and wish of the ruler. The Chunsang-mun represents the indivisible relationship between man and heaven and also a metaphor for absolute power. A close look at ceremonial instruments show a direct representation towards power such as an axe, spear and sword and integrated with other large ceremonial items not only provided a shade but was also a representation of worship. These all were a more or less representation of authority. The musical instruments expressed the absolute authority of the ruler and maintained the marching order and also added grandeur to the parade. A summary of the ceremonial troops in the As seen above, these national ceremonies were a representation of the present power of authority and the will to rule. These ideas and the philosophy of “ruled by heaven” is represented here in the uniforms and the ceremony itself. The Bicentennial anniversary of the Nung - hang of February 1795 will be an excellent opportunity to show and inherit the tradition and recreation of our heritage. In this view we must look at the color and shape of traditional dress to be able to inherit and learn from our ancestors.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.1
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• pp.36-44
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• 2020

This study analyzed the Planting Prototype of Haengdan(杏壇)is the One of the traditional planting techniques and the value of natural monument plant and derived the value of the ginkgo tree in Sejong-ri as a natural monument. The results are as follows; First, ginkgo trees have high environmental adaptability, practicality and visual value. There were also many ginkgo trees that were deeply related to Confucian and Buddhist ideas. Ginkgo trees accounted for the largest portion of the number of old tree designated as natural monuments in recognition of their value. Second, after analyzing the historical and cultural values of ginkgo trees, ginkgo trees became the place of gardens and buildings by symbolizing Confucius(孔子)' Confucian ideas. In Buddhism, it was related to the creation of temples or the achievements of ancient monks. The people had a symbol of the prosperity of their offspring and the succession of the family. Third, in 1024 gongdobo, the grandson of Confucius, rebuilt the shrine, installed the platform in the central position and planted ginkgo trees. It originated from what he called "the "haengdan(杏壇)." The tree was then recorded as "heungheang(紅杏)" which was written by Wang Jae-jin's poetry during the Ming Dynasty. Thus it was misused as apricot tree. The cause of this is due to the same kanji reading. or it can be seen as influence on the taoism. But Korea has been sticking to the use of the first ginkgo trees. Forth, biologically, the Sejong-ri ginkgo tree is characterized by the composition of a pair of male trees. The landscape is contrasted with the twisted male tree and vertical female trees. In addition, in terms of authenticity and integrity, the relationship between Admiral Im, Nan-Su(林蘭秀) of the Goryeo Dynasty and the ginkgo tree is found in various literature.

• The Research Journal of the Costume Culture
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• v.8 no.5
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• pp.648-659
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• 2000

Through this study I would like to examine the meaning system of the symbolized codes related with real costume figures of the abstract concept of the style of the mourning ceremonial dress in Chosun Dynasty as a variable cause of communication through non-language method by the structural analysis of coding of the ceremonial dress style and the meaning system of the codes centering on the traditional book of funeral etiquette dealing with hueneral cereony in the period. To achieve this purpose, I have used the symbolic theory of constructive concept by F. de Saussure, cultural notation theory of Roland Barthes & Umberto Eco, and structural style of costumes by Myung-Sook Han. The result of the study is as follows. 1. As Chosun Dynasty was a society in which people considered courtesy so much important and practiced the basic Confucian ideas of the three bonds and five moral disciplines in human relations, the characteristic of funeral rites in Chosun Dynasty consists in expression of the thoughts of moral ethics & relative systems and systems of clan rules, etc which was a langue determining the symbols of mourning ceremony dress because the mourning ceremony dress in the period should have the feature of a langue. The mourning ceremonial dresses in the period had five grades of the consume and the grades were determined to be classified into five levels according to the clan system of the chief mourner with sang, ha bang. And the method of the association of the mourning ceremonial dress codes had the six principles of Chinchin, Jonjon, Myoungboon, Chulip, Changyu, and Jongbok. 2. Regarding the mourning ceremonial costumes in Korean society, the meaning of funeral ceremony was expressed by the signifier and materials of the mourning costumes in the society. During the process of the funeral, the intangible feeling of condolence was the expression of mourning and the tangible mourning ceremonial dress was the signal with the lamentation meaning. Especially, characters and patterns were removed from the mourning ceremonial dresses in spite of their function of symbols and the styles of costumes were emphasized. Especially the meaning of condolences was symbolized by attachment of some small pieces of cloth on the upper garments. Hemp was mainly emphasized to be the material of the costumes and some different meanings showed according to the quality of the material hemp. The mourning ceremonial dresses were distinguished from ordinary dresses, which were emphasized because they gad some symbolic meaning of the mourning. 3. Considering the association of the synthetic relations of the costumes from the viewpoint that the mourning ceremonial dresses would be classified according to a system, the symbolization of them were avaliable by sex according to how to combine them and there were no distinction between social classes in the society.

• Journal of the HCI Society of Korea
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• v.7 no.2
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• pp.35-42
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• 2012

The purpose of this study was to evaluate the usability of the tablet PC-based Korean high-tech AAC(Augmentative Alternative Communication System) software. In order to develop an AAC software which is appropriate to Korean cultural/linguistic contexts and communication needs of the users, we examined the necessity and ease of use for the communication functions that are required in native Korean communication, such as polite expressions, tense expressions, negative expressions, subject-verb auto-matching, and automatic sentence generation functions, using a scenario-based user testing. We also investigated the users' needs, preferences, and satisfaction for the tablet PC-based Korean high tech AAC using a semi-structured and open questionnaires. The participants of this study were 9 special education teachers, 6 speech therapists, and 6 parents whose children had communication disabilities. The results of the usability testing of the tablet PC-based Korean high-tech AAC software presented positive responses in general, by indicating overall scores of above 4 out of 5 except in tense and negative expressions. The necessity and ease of use in the tense and negative expressions were evaluated relatively low, and it might be related to the inconsistent interface with the polite expressions. In terms of the user interface(UI), there were users' needs for clear visual feedback in the symbol selection and display, consistent interface for all functions, more natural subject-verb auto-matching, and spacing in the text within symbols. The results of the usability testing and users' feedback might serve as a guideline to compensate and improve the function and UI of the existing AAC software.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.5
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• pp.122-133
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• 2010

Humans desire the achievement a of sense of unity between themselves and place to create an identity of place as a realization of his or her sense of belonging. Humans develop ideas from their culture and environment to be expressed physically within the landscape through symbols. Symbols are formed within a place through the structure of the space and, more visually, through the details. The purpose of this paper is to examine the structure of space and the details of 'the Courtyard of the lions' in the Alhambra and to study how the details influence the formation of the identity of place. This paper also compares the structure and details in terms of the meaning of symbols, design languages, cultural, social and historical background and the experience of the place. The structure of the space in 'the Courtyard of the Lions' represents Paradise in the Islamic religion a common theme in the composition of traditional Islamic gardens. The design languages expressed within the structure are order, balance, accent and enclosure; the inherit meanings of the structure are religion, the natural environment and way of life. The details tell of the ideology of Paradise, royalty, nature, and praise of God, while their design languages include physical and visual continuity, accent, variation, the feeling of movement, rhythm, and depth perception. The details also express the historical background of the Dynasty of Nasrid and the style of Mudejar. The name 'the Courtyard of the Lions' was taken from the detail of the lim figures, details within the landscape which are important in building an identity of place. This study demonstrates that the details at 'the Courtyard of the lions' achieved a sense of unity between man and place. In conclusion, details have immense influence in building of the identity of place.

• Cross-Cultural Studies
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• v.42
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• pp.419-449
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• 2016

The Russian icon and Korean tangwha (幀畵, altar portrait of Buddha) are based on the similarity of the divine Being. Each has the characteristic index that forms an existential connection with the object and at the same time, implies the symbolic meaning of the scriptures and doctrines of the Russian Orthodox and Buddhists. Russian icon and Korean tangwha with these attributes have origins in the Byzantine, India and China. Unlike most religious art, Russian icon and Korean tangwha clearly reveal profane orientation and mystical elements. This artistic phenomenon has evolved from the mystical religious culture in Russia and tantric rituals of the early Joseon period. Iconostasis, created from historical figures of the Old Testament, Jesus, the New Testament represent the principles of the macrocosm. Each icon of iconostasis has integrity, while each floor has another narrative and a meta-discourse on the entire composition. Three-Platforms of amrtakundalin can also have a huge epic that is directed from the Low-Platform to the High-Platform for the purpose of salvation. While the narrative of iconostasis has a time structure, from the beginning of the universe up to date in chronological time, amrtakundalin have pictorial transitions of time and space that rises from this life to a heavenly world. Despite the different world views of the Russian Orthodox and Buddhists, iconographical format and symbolism of heaven and hell in the Iconostasis, Last Judgment and amrtakundalin are similar. There is a constant antagonism between heaven and hell, light and darkness, water and flame. Iconographical contents include the water of life and nectar, the book of life and 'eoppu', and the scales and mirror of Karma that discriminate between the good and evil before judgment. The dualistic coordinate concept such as light and darkness, life and death, or heaven and hell that appears in the narrative structure of iconostasis, the Last Judgment and amrtakundalin leads the people to spiritual awakening.

• The Korean Journal of Archival Studies
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• no.38
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• pp.125-187
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• 2013

This essay would focus on a kinds of new archival strategy. The main frame has been the kinds of activities regulated by laws, or formal activities since 1999. In the case of presidential archives has no another frame. There had never kinds of presidential archives system until President Noh, if anything. It means that the frame has some important points. Although it is, we have to say about the limits of the frame. This essay show 'metaphor frame' for archival system. I think that we have to guess there are methodologies below the two frames. One is quantitative study methodology, and another is qualitative research methodology. The later focuses on the experiences for making narratives. We have to know that this methodology is out of fashioned in the field of history department and cultural anthropology department for the purpose of alternative studies. This essay says about 'archival field description' and 'narrative records' for the new records in archival field. I have to say about that we needs to discuss about kinds of new archival discours. And to conclude, we should manage the records in culture.

• (The) Research of the performance art and culture
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• no.18
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• pp.283-314
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• 2009

This paper is an attempt to examine historical drama which change rapidly in the manner of seeing history. Historical records are treated differently unlike in the field of modern history. Now the distinction between historical facts and fictions becomes no longer important. This change is affected by micro history, new cultural history, or post-modern history. History and narrative become interactive each other. In this respect they are no more historical drama. by Han Areum (director Suh Jae-hyung) represents this new trends. Of course, it doesn't suddenly pop up in 2005. It began in by Lee Yoon-Taek, was reinforced in by Kim Tae-Woong, and bloomed in . I intended to search important features of by following three. First is the interest about unimportant persons such as a maid of honor, an eunuch. In , they are the main characters. The author described much about those trivial people revealing the truth in different way of the existence. Second is the way of calling a past. In this piece, the past is not continuous. The past always appears at the stage by the present in the form of split which is imagination, recollection, revival. Third is a mixing genre. Comics, melodrama, and thrillers are all together in . This is a similar phenomenon to historical novel and movie of new trend. Strictly speaking, this piece isn't a history thriller. The accident of lost prince doesn't be treated importantly and the result isn't clear either. In this piece, detective genre is used for a symbol showing that writer pursuits the history, not the event. This represents well the characters of new historical drama because how historical facts are carefully recreated and constructed are important. It's enough to show the possibility to mix genre through comics and melodrama.