• 한국의류학회지
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• 제33권8호
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• pp.1241-1252
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• 2009

This study is on the internal and external characteristics along with the phenomena of dress and ornaments expressed in them by analyzing Re-orienting Fashion (which is a system of signs and symbols) based on the theories of semiology in the search for the Korean identity by examining a Re-orienting Fashion that is being reinterpreted. Re-orienting Fashion performs the role of signs that act in the spread of Oriental culture through the globalization of traditional dress and ornaments in the Orient. It also has a meaning that converts the world of fashion to a new direction. When analyzing the system of signs and symbols in Re-orienting Fashion (based on the theories of semiology) the conclusions are that an eclectic symbol system has been formed by the combination of the pursuit of modernization in traditional dress and ornaments with post-modernism. A nature-friendly symbol system has been shaped as a natural silhouette in terms of the combination with Eastern philosophy that searches for a harmony with nature according to ecological trends. The ideal of a symbol system means the introduction of design elements in traditional dress and ornaments of the East as a rejection of Western civilization and as an alternative to the fixed pattern of the West.

• 한국콘텐츠학회논문지
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• 제8권12호
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• pp.168-175
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• 2008

지방자치시대가 개막된 이래 지방정부들은 바람직한 지역경제발전의 수단으로서, 한정된 자원으로 최대의 효과를 노리기 위해 내 고장 마케팅과 지역축제 활성화에 많은 노력을 기울이고 있다. 지역문화축제는 무형의 관광자원으로서 지역 활성화와 지역이미지 개선의 효율적인 수단이 되며, 문화관련 상품의 개발과 문화이벤트 등을 통해 지역소득증대에 기여하는 무한한 잠재력이 있기 때문이다. 그러나 현재의 지역문화 축제는 독창성의 부재와 콘텐츠의 빈약 등 질적인 측면에서의 경쟁력 부재로 인해 그 잠재력을 세계화하지 못하고 있다. 본 논문은 지역문화에 기반한 독창성있는 축제 콘텐츠를 기획하기 위한 전략적 방안으로서 문화기호학의 의미생성모델과 스토리텔링을 통한 비주얼 리터러시를 제안하고자 하며, 이는 에듀테인먼트로서 축제의 의미와 그 기능을 확장해 보고자 하는 것이다.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2001년도 19th International Costume Association Congress
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• pp.59-61
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• 2001

Along with the development of culture, dress of the Chinese people has also evolved over the last several thousand years, transcending its original functions of covering and protecting the body. As a result it has risen to become a complicated system of symbols full of intricate meanings. According to de Saussure's theory of "signs," signs are represented by the elements signified (meaning) (referent) and signifiant (sound) (exponent). "Phoenix crowns" were the headpieces most highly esteemed by women in ancient China. Actually, the name "phoenix crown" points to the fact that the headpiece is adorned with a phoenix design. The history and symbolism of the phoenix crown's use as a headpiece in Chinese weddings spans 1200 years in all, originating in the Qin Dynasty (241-210 BC) as a phoenix hairpin, evolving into the phoenix crown during the Song Dynasty (960-1276 AD), and continuing through the Ming and Qing Dynasties (1644-1911 AD), and the modem republic. It is not simply an ornamental headpiece, but instead represents the thousands of years or rich inner meaning the Chinese attribute to "dragons" and "phoenixes." This paper depicts the glorious past of phoenix crowns, using the metaphor and metonymy theories of semiology and semantics, and through the cross-verification of literature research archeological findings and reports, and old Chinese wedding photographs, in order to examine the inherent meanings of the phoenix crown in the Chinese culture.nings of the phoenix crown in the Chinese culture.

• 디자인학연구
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• 제15권1호
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• pp.235-245
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• 2002

Psychological phenomenon of human beings that are considered as creation of symbols endues various meanings to the objects and through this process, it develops society, culture and religion. This paper aims to examine the relationship between objects and human beings in the current circumstances that are summarized as "Pluralism" and "Age of Consumption". For this purpose, I introduced the semiology system and established the concept that is "Consumption of Meaning". The method that the meaning of goods as the modern objects is consumed is defined through three meaning analyses that are social, psychological and cultural. In addition, as defining how an object have its unique meaning, this paper creates the new interpretation on the role of industrial design that searches and constructs the existential area in the real world related to the creation and adjustment of meanings.

• 복식문화연구
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• 제4권3호
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• pp.395-406
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• 1996

This article aims, by analyzing structurally the codification of dress sign in Korean society, the signifying system of the codes and their message communicated, to make clear a signifying structure that would be codified through the relationship between abstract concepts and real condition of dress. I used the semiotic theory of Ferdinand de Saussure′s conception on structuralismly the codification, cultural semiology of Roland Barthes and Myung-Sook Han′s formula of dress structure as tools analyse may objective of wedding dress of folks in Choson Dynasty, which has been successive our traditional Korean wedding dress. My results of the study are : The procedure of wedding ceremony in Choson Dynasty was presented in texts like Juga-garye, Sarye-peonram and Kukjo-orye, its dress system has been more emphasized on language, and aspect of social system, than parole, one of individual realization. In addition, the meanings of marrage such as "Oneness of bride and bridegroom", "Mixture of two sexes", "Blessing of good luck", were included in the signified like the style, pattern and color of the wedding dress, and specially, pattern and color, the articulated morphemes, was emphasized, When we combinated terms of dress in Choson Dynasty with syntagmatic, regarding their list as paradigmatic, it will signify a wedding dress, and according to combinating ways, it amy be divided as sign of dresses of bride and bridgeroom by sex or king, gentry and common people by class. Wedding Dress in Choson Dynasty = [{ODx(U/Dxu/d)}+AC·H·FW].

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2005년도 추계 종합학술대회 논문집
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• pp.144-148
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• 2005

최근 디지털 환경의 발전으로 서사의 중요성이나 가치에 대해 큰 관심이 모아지고 있지만, 실질적으로 서사분석에 관한 구체적인 연구방법에 대해서는 아직 미흡한 단계에 있다. 특히, 애니메이션의 서사구조에 대한 연구는 주로 일본의 <아니메>와 미국 디즈니 애니메이션, 단편 애니메이션을 중심으로 이루어지고 있으며, 작품에 대해 상호비교의 관점이 아닌 각각의 작품에 대한 개별적인 서사분석이 행해지고 있다. 본 연구는 고맥락 문화의 대표국인 중국과 저맥락 문화의 대표국인 미국에서 제작된 애니메이션 가운데 동일한 테마의 작품인 <뮬란>에 대한 비교분석을 통해 문화적 맥락이 다른 두 나라의 애니메이션에 있어서의 서사적 특성을 밝히는데 그 의의가 있다.

• 한국한의학연구원논문집
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• 제15권1호
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• pp.49-54
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• 2009

Objectives : The study aims at assessing information on cultural festivals of Korean medicine. Method : We investigated data about the National Festival collected from asking the Ministry of Culture, Sports and Tourism, Efestival of YonhapNews, Driving Korea of KBS and JOINS. Result : Since the 1990s, cultural festivals of Korean medicine are increased. The festival of the ginseng was the most. 5 cultural festivals held on The Chungcheongnam-do are the best in cultural festivals of Korean medicine. 65% of cultural festivals was held in the fall. In the budget of the cultural festivals in Korean medicine, the most were 1~5 hundred million won. Conclusions : We wish to propose a model for developing cultural semiology and visual literacy, with the Korean medicine. Subsequently, it is expected that such a model can underpin the importance of developing coherent edutainment content while illustrating the true meaning/value of local festivals.

• 건축역사연구
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• 제12권4호
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• pp.49-62
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• 2003

Vesely explains, the main source of our confusion and nihilism comes most probably from the ambiguous relationship between modem architecture, technology and aesthetics. Also, to overcome such crucial problems, many theorists recently emphasize to take part in cultural civilization and to preserve creative genes of great culture that is based on our interpretation of 'ethical and mythical nucleus of mankind,' rather than in technical modernization that constitutes a sort of subtle destruction of mytho-ethical nucleus of a society. They for architecture also strongly stress on a mythopoetic imagination and an ontological construction of building, which could make a form symbolic and mythical rather than mathematical and aesthetic representation. On this point, 'myth' becomes a vital idea for constructing and construing architectural form and space. And it is also one of the essential concepts to understand both the motive power of cultural continuation of place and the meaning of architecture. Nevertheless, its meaning and the citation of word in architectural essay are still obscure. It might be because the original concept of myth not only has been lain in the matter of philosophical contemplation. Thus, the intention of the research is focused on lightening the meaning of myth in architectural term. Especially, it is, first, concentrated on interpreting philosopher Ernst Cassirer's reflections which were written in order to emphasize the importance of 'mythical consciousness' for the world's cultural civilization. And, the second, it will continue to interpret the myth as a sign within the semiotic concept of Charles Sanders Peirce, and further to emphasis the significance of mythic signs for the continuance of artistic and cultural idea including architecture. The contents of the paper is not that of architectural planning and design methodology, rather architectural philosophy and epistemology. Nevertheless, in regard to architecture, the research will, against today's un-discriminated use of symbolic motifs and instrumental representation of form, suggest a concrete architectural and aesthetic theory of myth and sign, especially of the relationship between the idea of semiology and the function of cultural continuity.

• 복식
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• 제52권3호
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• pp.149-160
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• 2002

Symbolism found in a certain object inherits characteristics from the culture that contains the objects. The purpose of this study was investigate the formative beauty of Korean trousers twisted the pieces together based on the way of Korean thinks and the Topology. The shape is formed by cutting from the fabric. From the perspective of semiology, the fabric and the pattern shape correspond to ground and figure. Ground and figure are identical with the principle of the whole and the part, which is the same in Korea, China, and the West. But In Korea, the 3-dimensional garment is made by adding a twist. This is very important and defines the difference in the way of thinking and topology. Korean trousers consist of three parts : Hury, Marupok, and Sapok. The small Sapok can be made by removing the Marupok and large Sapok (figure) from the fabric (ground) when making Korean trousers. A Mobius strip is made when the large Sapok is adjoined with the small Sapok by reversing the small Sapok, making a 180$^{\circ}$twist and then stitching together. The theory of Mobius strip can be applied in Joining Bajiburi. thus when the trousers are completed the Klein's bottle is seen because of the 2 existing Mobius strop. The theory of Mobius strip can be applied in Joining Bajiburi, thus when the trousers are completed the Klein's bottle is seen because of the 2 existing Mobius strip. Hury is cylinder while the small and large Sapok make up the Mobius strip. As a result, Mobius strip, Kleins'bottle, protective plan can be applied in cutting Hanbok used in the countryside, so I have come to see that the traditional Korean way of thinking is closely related to the theory of topological.

• 복식
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• 제52권7호
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• pp.139-154
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• 2002

This study selects mannequins. fashion models. and fashion photographs as communication media to express the beauty of an ideal body. Each medium is discussed by the denotative and connotative aspects through the semiology. First, the mannequins are the most concrete medium which can form women's ideal body types and reproduce images in which the idealistic human body are coded in various figures. It embodies such various figures of the modem society by being replaced with the symbolic representation of our intrinsic·extrinsic forms. From a denotative view, the mannequins can be explained by ideal body types and expressive tools. The mannequin has implied connotative meanings of the similarity and dissimilarity between the actual body and itself. Second, fashion models have played a role in transmitting fashion images and presenting the ideal body. As fashion has adopted the body as its object fashion models have been used to express an ideal body. The development of the mass media in the 20th century has defined the standard of the beauty, Both the relationship between fashion designers and fashion models. and the standardization of beauty and fashion models are reviewed from a denotative view. Fashion models imply connotative meanings of the figurative and the controlled property. Third, fashion photographs are historical documents presenting us with the evidence of the ideal body types and culture throughout time. The photographs could be adopted as proper means to express fashion. having realistic and practical expressional functions, and it can be said that the realistic and practical expressional function of photographs has served as a suitable means for express fashion, and fashion photographs are discussed. The fashion photograph has the reproducible and the symbolic property.