• 한국음향학회지
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• 제2권1호
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• pp.1-10
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• 1983

The presence of the sound tube and resonance cavity is unique in Korea Brahman Bells which is no examples in other country bells in the world. The sound tube erected in the crown is effective to emit the fundamental tone of the bell when the condition of resonant transmissibility is satisfied. The results of our analysis shows that the optimum length of the sound tube in the Bell Emile is 96cm but is not the present length, 77cm. The resonance cavity erected underneath the lip of the Bell Emile is found to be for the resonance of standing waves in the space including both bell cavity and resonance cavity and resonance cavity to the fundamental tone of the bell itself, in order that the strongest vibration can last long by least energy and lengthen the reverberation of the bell. Some historical remarks are also made on the magic flute, MANPASIKJUK, which was in existence in Shilla that can lull all evil waves, such as plagues, storms, droughts, famines and even enemies. The sound tube erected in the crown of the bell was originated in this magic flute. Finally, a strong proposal is advanced on the new national symbol of Korean traditional cultural assets. Indeed, it should be highly recommended that the Great King's Bell Emile would be the only real symbol of our national cultural assets by its own right of excellency and richness in every aspect of arts and sciences.

• 한국지역지리학회지
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• 제10권1호
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• pp.132-150
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• 2004

지역의 문화적 특성에 따라서 중원문화권은 충주문화권, 청주문화권, 점이문화권 등의 3대 문화권으로 구분하고 이것을 다시 10개의 아문화권으로 구분할 수 있다. 충청북도 지방자치단체에서는 이러한 아문화권의 문화적 특성을 상징하고 있는 다음과 같은 핵심적인 상징적 문화재의 이미지를 강화하는 문화재를 집중적으로 개발하는 전략으로 특화된 새로운 지역문화를 창출할 수 있다: (1) 충주권: 역사 문화권(탑평리 7층 석탑), (2) 제천권: 의병문화권(의병장 유인석), (3) 단양권: 고구려 문화권(온달산성), (4) 청주권: 교육 문화권(직지와 철당간), (5) 보은권. 불교문화권(속리산 법주사), (6) 옥천권: 나제문화권(나제전투), (7) 영동권: 삼도통합 문화권(삼도봉의 삼도 대화합비), (8) 음성권: 선비정신 문화권(무극 6.25 사변 전적비), (9) 괴산권: 유교문화권(우암 송시열, (10) 진천권: 삼국통일 정신문화권(김유신 장군).

• 대순사상과 동아시아종교
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• 제2권2호
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• pp.73-99
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• 2023

The dragon is a special imaginary figure created by the people of East Asia. Its archetypes appeared primarily as totemic symbols of different tribes and groups in the region. The formation of early dynasties probably generated the molding of the dragon symbol. Dragon symbols carried deep imprints of nature. They concealed alternative messages of how ancient people at different locations dealt with or interacted with nature. Under pressure to standardize in the medieval and late imperial periods, the popular dragon had to transform physically and ideologically. It became imposed, unified, and framed, conveying ideas of caste classification and power, and losing itsecological implications. The dragon transitioned from a semi-ecological domain into a total social caste system. However, many people considered the "standardized" dragon as the symbol of the oppressor. Because of continuous orthopraxy and calls for imperial reverence, especially under orthopractic agenda and the surveillance of local elites, the popularized dragon was imbued within local artworks or hidden under the sanctity of Buddhas or popular gods in order to survive. Through disguise, the popular dragon partially maintained its ecological narratives. When the imperial dynasties ended in East Asia (1910 in Korea, 1911 in China, 1945 in Vietnam), the dragon was dramatically decentralized. However, trends of re-standardization and re-centralization have emerged recently in China, as the country rises in the global arena. In this newly-emerging "re-orthopraxy", the dragon has been superimposed with a more externally political discourse ("soft power" in international relations) rather than the old-style standardization for internal centralization in the late imperial period. In the contemporary world, science and technology have advanced humanity's ability to improve the world; however, it seems that people have abused science and technology to control nature, consequently damaging the environment (pollution, global warming, etc.). The dragon symbol needs to be re-defined, "re-molded", re-evaluated and reinterpreted accordingly, especially under the newly-emerging lens-the New Confucian "anthropocosmic" view.

• International Journal of Advanced Culture Technology
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• 제11권1호
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• pp.253-262
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• 2023

Chinese traditional patterns, which are part of our national precious heritage, have a long history. Tiger culture plays a very important role in folk art. In modern society, it is a symbol of human spirit and morality. The tiger pattern is also a unique traditional pattern in Chinese folklore. From the Spring and Autumn period to modern society, the tiger pattern has evolved in form through thousands of years of development. It is also a representative intangible cultural heritage in contemporary times. It plays a special role in the cultural exchange of different regions, resulting in the generation of the creation of folk art with great local characteristics. Therefore, traditional tiger patterns are an important part of traditional Chinese folk culture and art. In this study, by analyzing the development and evolution history of Chinese traditional tiger patterns, the application methods of Chinese traditional tiger patterns were summarized, the rich cultural connotation, artistic characteristics and application of traditional tiger pattern in modern fashion design were discussed. In contemporary design, the new and improved tiger pattern styles were explored, intangible cultural heritage was interpreted and inherited, and the cultural and artistic values contained therein were extracted. The author combined with modern fashion design, according to people's aesthetic taste and design principles, it is recreated,so that the traditional pattern has certain characteristics of The Times.But at the same time it retains its original character,and the traditional tiger pattern was inherited and the cultural connotation of clothing design was enriched.

• 비교문화연구
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• 제25권
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• pp.213-236
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• 2011

The negative symbol of 'American imperialism', which was reinterpreted superimposed on the symbol imposed on Japanese imperialism in the 1945 Liberation of Korea, was more amplified added by the experiences of the bombing and massacre by US troops during the Korean War. In other words, the symbol of the extreme 'American imperialism' in the liberation in which even the role of America contributing to the liberation of Josun had been denied had continued for a long time adhered to and amplified through the war. Thus, unlike the current emphasis laid by North Josun, the assertion in the form of 'American imperialism=Korean wolf' is an idea made from the mixture of fact and fiction combined with the theory of imperialism rediscovered in the liberation and the experience of massacre during the Korean War. And this superimposed symbol for American imperialism naturally causes the problem of being superimposed also on the symbol of North Josun. And the extreme formalization for 'good' and 'bad' sides was based on the dichotomous compositions of beauty and ugliness, good and evil. The ground for saying that an act by a good side is 'unconditionally' legitimate is nowhere found. The anti-American viewpoint rediscovered in such an extreme form results in one aspect of criticism and resemblance as a result of being locked up in the same violence which one has rejected by oneself. The anti-American viewpoint going on in the form of anti-imperialist nationalism leaves nothing except another terrible retaliation for terrible brutality. It is self-evident that one can never get out of the enchanting power of imperialism which North Josun has continuously criticized in a ring of violence and vengeance, the familiar grammar commanded by North Josun literature.

• 대한가정학회지
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• 제30권3호
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• pp.45-53
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• 1992

The purpose of this research is to reveal that the clothing in a cultural system is a visual symbol expressing the aspects of its technology, social-structure, and ideology. For this, the chilkat blanket of Tlingit is selected and analyzed. Tlingit is the one of the indian tribes of the Northwest Coast of the North America. This chilkat blanket used as an ostentatious item in the potlatch has the various functions. First, it expresses the thechnological features in this society, as the process of weaving, collecting of materials, etc. Second, it provides the view of the social-structure through its role differntiation of sex, and affirmation of the rank systems in this cultural system. And we can see the ideological value of this culture through the chilkat blanket. They persuit the value of labor and the harmony between their lives and the nature in this design. In conclusion, the clothing must be considered and analysed its value in the context of the society.

• 복식문화연구
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• 제12권2호
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• pp.312-326
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• 2004

Symbol is one of the most profound ways to express the essence of human beings, as well as the most representative non-verbal communication medium. In this study, the descriptions of the clothing and ornaments of the main characters of the novel Little Women were excerpted from the Korean translation version. Based on the hidden symbols from the descriptions, after analyzing the characteristics of the main characters of the novel through their clothing and ornaments, the connection between the clothing and the symbols reflecting the internal workings of the mind was analyzed based on the previous theories on symbols. As proven in this study, since the clothing and ornaments directly symbolize the characteristics of the person, without any explicit statements about his/her characteristics, the clothing itself speaks volumes about them. Clothing is the most accurate visual symbol that speaks of the person's social, economic, and psychological aspects. The use of special clothing and ornaments or the highlight on certain parts reveals the characteristics of the character and his/her situations more effectively. In conclusion, literary, including novels well describes not only external factors, such as the social and cultural status of society and the character's economic situation, but also an individual's psychology such as his/her emotions and personalities. Therefore, the clothing that the character wears in a literary work symbolically reflects these factors.

• 한국콘텐츠학회논문지
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• 제20권2호
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• pp.522-533
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• 2020

이 논문은 저자의 꿈에 나온 개의 상징적 의미를 좀 더 넓게 이해하기 위해 다양한 문화에서 나타나는 개의 상징적 의미를 살펴보고 그러한 과정을 통해 내면을 심층적으로 이해하는 데에 목적이 있다. 무의식의 의식화를 통해 인격의 성장이 이루어질 수 있듯이 상징적인 이미지로 구성되어 있는 꿈의 내용을 살펴보는 것은 인격의 성장이라는 측면에서 중요한 부분이다. 이 논문에서는 우선, 개의 생물학적인 배경에 대하여 살펴보고, 민담, 신화, 종교 그리고 민속에서 나타나는 개의 다양한 문화적 상징을 살펴보았다. 다음으로 융 심리학에서는 개의 상징을 어떻게 바라보고 있는지 조명해보고 저자의 꿈에 나온 개의 상징이 꿈 분석 과정에서 어떠한 의미를 담고 있는지에 대해 결론적으로 논하였다.

• 한국엔터테인먼트산업학회논문지
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• 제13권5호
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• pp.145-153
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• 2019

본 연구는 창의적인 광고스토리에 내재된 '사회문화적 가치'의 흐름을 바르트의 기호론과 창조적 기호계에 기대어 고찰한 후 수용자의 인지적 사고를 통해 재현화 작업의 가능성을 제안한 논의라 할 수 있다. 올바른 사회문화적 의사소통의 상호작용성은 단지 설득과 효과를 위한 전략으로만 이루어지지 않는다. 이러한 문제제기를 시작으로 가장 창조적이고 미적이며 함축적인 광고스토리의 '기호 생산'과 '인지 해석'의 장을 경험하는 것이 구체적인 문화적 가치 실현이라 생각했다. 필자가 본고의 대상도구로써 광고에 주목하는 이유는 누구나 짧은 시간 내에 가장 함축적인 기호에 주목함으로써 의미의 생산성, 의미의 공유성 그리고 사회적 소통화 작업이 바탕이 되는 사회문화적 가치에 접근할 수 있는 계기가 되기 때문이다. 또한 시대의 흐름과 함께 사회문화적인 구성원의 화합과 미래문제해결을 위한 긍정적인 소통의 도구로서 충분히 가치가 있다고 생각한다. 인지적 사고 단계의 의미 분석과 더불어 실시된 사회문화적인 광고스토리의 실제는 대학생을 위한 창의적 수업에서 적용하기에 매우 적절하다. 본고는 복잡한 다매체 시대에서 창조성을 기반으로 한 '기호 복합체'인 광고스토리의 인지적 의미 실현 작업이 대학생의 미래문제해결 전략에 동참할 수 있는 시대적인 소통도구가 될 것으로 제안한 논의이다

• 한국조리학회지
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• 제24권1호
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• pp.122-129
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• 2018

The purpose of this study is to understand the evolution of food culture by applying the evolutionary mechanism to the process of forming the dog meat culture. To do this, this study first examined mutation, selection, and replication as a evolutionary mechanism by biological genes and explain the evolutionary process of food culture by applying so-called 'mime' which is a virally-transmitted cultural symbol or social idea. A meme acts as a unit for carrying cultural ideas, practices, that can be transmitted from one mind to another through writing, speech, gestures, rituals, or other imitable phenomena with a mimicked theme. In addition, this study also intended to use in-depth interviews on how people have diverse cultural perspectives interpret and accept edible culture of dog meat. In Korea, which was a traditional farming society, dog meat which is easier to obtain compare to beef has been chosen as an important source of protein. And this choice has been repeatedly reproduced through generations. However, the current generation's awareness of the edible culture of dog meat has changed. The meme of pet culture has been selected and replicated, and this cultural evolution will eventually lead to the culling of dog meat.