• 복식
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• 제61권6호
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• pp.146-160
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• 2011

The purpose of this study is to examine the aesthetic view towards exposure in the Korean society through the means of analyzing the characteristics of exposure and figuring out the implications expressed in the red carpet fashion of Korean female movie stars. The concept of exposure in fashion was reviewed through previous studies and related publications. The pictures of actresses wearing red carpet evening gowns in Korea's major film festival were collected and analyzed. The results indicated that the meaning of exposure expressed in the red carpet fashion of Korean female movie stars are as follows: First, this leads the trend reflecting the contemporary aesthetic view of exposure as an effective way to show the beauty of the female body. Second, this emphasizes the femininity and expresses eroticism by exposing certain body parts which symbolize the female gender. Third, this shows the narcissistic self conspicuousness as well as the self confidence and self satisfaction. Forth, this displays the playfulness through exposing the body in a unique way. Lastly, the way and level of exposure can be used to maintain or change the public's view upon the celebrity.

• 영어영문학
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• 제58권4호
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• pp.633-653
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• 2012

This paper discusses the two major Korean Shakespeares, Kim Myung-Gon's King Uru and Oh Tae-Suk's Romeo and Juliet, in answer to the request made by Stanley Wells at the 2006 Craiova Shakespeare Festival: theatre practitioners should have 'something worthwhile to say' before they put something of their own in Shakespeare's place. Kim and Oh, who have won international acclaim for their adaptations, present 'something worthwhile to say' by bringing Shakespeare to the world in the light of traditional Korean astronomy. The star map named 'Cheonsang yeolcha bunya jido,' which was founded in 1395 and designated as the No. 228 National Treasure of Korea in 1985, is employed as a means by which to bring 'something worthwhile to say' to Shakespeare: it works as a symbol of the cosmic power to restore the divided kingdom and strengthen the kingly power in King Uru; its concept of Hyeonmu, the northern seven lodges of the twenty-eight constellations, is associated with the deaths of not only the lovers but also the whole members of their families in Romeo and Juliet. It is representative of the sunny, light and fiery force of yang in King Uru, whereas of the shady, dark and watery force of yin in Romeo and Juliet. Thus these two productions differ in their approaches, although they make the relevance of traditional Korean astronomy recognizable by redrawing the bounds of Shakespearean tragedy genre: King Uru reminds us of the human capacity for self-recovery, while Romeo and Juliet the human capacity for self-destruction.

• 한국게임학회지
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• 제6권1호
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• pp.70-72
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• 2009

This research is focused on defining interaction within the context of digital media and creating a multi cultural definition of interactivity. The concept of multi digital culture and a definition of interaction in digital media have often been overlooked by other researchers and this has caused the emergence of many different notions on this issue. As a result of these varied notions of the concept, public confusion has arisen regarding interactivity. The main purpose of this research is to find a suitable multi definition of interaction through examining local digital culture. In order to analogise multi digital culture, the video game culture is employed as a metaphor to interpret local digital culture. The reason for this is that a specific national culture can be easily identified within the video game culture. Four countries, South Korea, Japan, the U.S. and the UK have been chosen for comparison purposes. Case study, questionnaire and publicly accessible video game related data, such as, video game charts, are used for formalising and analysing unique local digital culture. The Heyri POP UP IMAGE Festival, S. Korea, was also used as a pilot study, with some of the above research methods being employed to analyse South Korean digital culture. In relation to western cases, interview and questionnaire were primarily used. The data from the case countries was carefully compared and analysed and then it became the basis of a theory of multi definition of interaction in digital media. The case study employed the cultural metaphor for this research and in addition video game culture related questionnaires and interviews with experts of interactive art genre, regarding new notions of digital interaction were utilised. The survey was conducted simultaneously in the four different cultural case nations of this research. Twenty respondents from each case nation participated in the survey, in order to investigate firstly, the existence of 'local digital culture' and secondly, the trends and phenomena of 'digital culture' in these four different 'local digital cultural areas'. In terms of interviews with experts of the interactive art genre, these were focused on obtaining their understanding of contemporary digital culture in their research. Using gathered data from the observation of local digital culture, the basic theory of interaction and the terminology of interaction are reformed. Localised definitions of interaction on digital media, control based interaction and communication based interaction are presented, in order to identify a 'locality' in terms of various contemporary digital cultures. As a result of analysing digital culture, new definitions of 'multi definition of digital interaction' were formulated. As mentioned above, 'control' and 'communication' based interaction were initiated, based on 'user to media' relationships. Based on the degree of physical interaction, 'liminal' and 'transitive' interactions were initiated. Less physical digital interaction is named 'liminal' interaction and more physical digital interaction is named' transitive' interaction. These new definitions of interaction were applied to the real world examples of uses of digital interaction, such as, digital interactive installation artworks and video games. The newly defined meaning of digital interaction can be applied to analysing digital interactive installation artworks and possibly indicate their future development and the prospects of future electronic games. Three leading digital interactive artists were selected for this analysis and their works were studied in terms of the implementation of 'multi definition of digital interaction'. Throughout these processes, the meaning of 'communication' in digital interactive media was emphasised. Many of the selected artists' digital installations were focused on 'communication' or 'interaction between each user through digital media', rather than the concept of 'control' in digital interaction, otherwise termed, 'communication with digital media'. In their artworks, interaction between each audience was digitally engaged within the physical interactive environment which was created by the digital media. Both the audience's action and all the reaction throughout the interaction between the audiences, triggered the digital media' s reaction. This audience-audience-media interaction is the key to understanding the concept of 'communication' in physical digital media and it is the main interactive concept upon which the selected digital interactive installation artists for this research and many other artists from similar fields, are concentrating their efforts. In the case of the video game, a similar trend was noticed to that of digital interactive installations. Based on this research's 'multi definition of digital interaction', the video game has evolved from the early stage of being conventional game, which was focused on control based interaction, to the on-line game which was focused on communication based interaction, to physical interactive games, such as, Nintendo Wii, which are focused on more physical interaction and finally, the ubiquitous interactive game, which is mainly concentrated on the concept of 'communication' in physical digital interaction. It is possible that this evolution of the video game concept of interaction is comparable to the progress of digital interactive artworks. This view is based on the fact that both genres show evidence that they are developing in the direction of the concept of 'communication', in terms of physical digital interaction. The important emphasis of this research's results is 'locality' and 'communication' in physical digital interaction. The existence of different digital culture trends, which were assessed by the 'multi definition of digital interaction', can explain the concept of 'locality' in digital interaction. This meaning of 'locality' may assist in understanding contemporary digital culture and can reduce possible misunderstanding as regards 'local' digital culture. In the application of the concept of digital interaction to the field of either artworks or video games, it is possible to form the opinion that an innovative concept of physical digital interaction is 'communication' within this context. This concept and its applications can improve the potential of both digital interactive culture and technology.

• 한국조경학회지
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• 제42권2호
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• pp.1-9
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• 2014

본 연구는 국제적 명성을 얻고 있는 부산국제영화제를 테마로 한 가로 공간-영화의 거리-의 정비 계획을 정리한 것이다. 테마 거리의 정비 목표는 방문객 유치를 통한 지역 경제 활성화에 있다. 계획 수립의 과정은 먼저 테마 거리의 정비 사례를 분석하여 계획 대상지의 위상을 동정하였다. 그리고 관련 계획을 검토하여 본 계획과의 차별성을 확인하였다. 영화의 거리의 공간별 주제는 영화와 관계 맺기로 설정하여 가로 공간의 통일적 이미지를 구현하고자 하였다. 영화의 역사를 보도에 새겨 영화역사의 길을 조성하고, 일부 구간은 붉은색의 보도 블록을 부설하여 레드카펫거리를 조성하였다. 요트경기장에서 마린시티까지의 길은 영화와 친해지기를 주제로, 영화제작 조형물과 테마벤치를 설치하여 영화를 간접체험해 볼 수 있도록 했다. 다음 마린시티에서 동백섬까지는 영화와 놀며 즐기기로 슈퍼그래픽과 트릭아트 등을 활용해 재미있는 길을 만들고자 했다. 동백섬에서 해운대까지는 영화와 이별이라는 주제를 영화음악을 통해 풀어내 악보보도와 음악분수를 도입했다. 마지막 구간 해운대에서 문텐로드까지는 이별 후의 추억을 주제로 하는 문텐로드와의 중간지역이다. 광섬유를 이용해 은하수 보도와 은하수 광장을 조성하여 두 가지 역할을 모두 소화할 수 있는 지대로 조성하고자 했다.

• 혜화의학회지
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• 제21권2호
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• pp.21-36
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• 2013

Jeol-sik, (festive seasons every 15 days based on sun cycle), refers to both Korean Traditional Festival food(jeol-sik), intertwined between months, and in-season meals(si-jeol-sik) in which the ingredients used are produced in each and one of the four season. Si-jeol-sik is a kind of recommendatory food, which is combined to seasonal changes. I found that ingredients in Si-jeol-sik of spring are helpful for strengthening one's life force. Moreover, the ingredients also reflects seasonal changes. The main ingredient of Si-jeol-sik in January(in lunar year) is rice. Rice is good for upgrading one's stomach qi(energy). Rice continues to be used in February. In addition, some greens are included in February Si-jeol-sik as to help defecation. In March, the ingredients become diverse and abundant. The main concern in the ingredients found in March is not limited to stomach qi. These changes of ingredients are in line with the concept of 'health maintenance', which is written in Huangdi Neijing. The writing teaches the wisdom of adaptation to nature. Si-jeol-sik's basic idea is maybe giving people some food, which includes useful elements to help them survive through a season or the next season. They can be also explained properly by the help of five flavours theory. According to Huangdi Neijing liver is main organ of spring. So liver is more important than other organs in spring. And the most efficient way for liver is supplying sweet or sour food. Interestingly, there are many sweet elements in Si-jeol-sik of spring.

• 한국의류학회지
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• 제39권3호
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• pp.353-368
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• 2015

Walter Van Beirendonck expresses a fairy tale world of perverted sexual desire of sadism and masochism, violence, and aggressiveness that breaks from a transient one-time concept as is an essential element of fashion. This study classifies the aesthetic characteristic shown on the design of Walter Van Beirendonck and analyzes the intent of his symbolism and meaning. The attempt has a meaning in exploring a new directionality of fashion by conveying a critical message to this end, contemporary fashion breaks down boundaries with artistic genre and connects a problematic consciousness that exists in life with fashion. The results of study on the aesthetic characteristics of Walter Van Beirendonck are as follows. First, Beirendonck emphasized an interpersonal image about body by giving a question through the deconstruction of image on a perfect body into race, age, and body based on body modification. Second, fetishism appeared as a consciousness that human identity and character can be changed by connecting a fetish element of sexual identity, and sadism and masochism with fashion's imagination. Third, infantilism as an amusement expression of the form metaphorically satirized life of modern people. Fourth, makeup shown on performance or festival of an African tribe was used in the way of mixture or reuse for ethnography to obtain inspiration from ethnography. Fifth, pop art combined a popular culture code as amusement through mass production and mass media. Aesthetics of Beirendonck do not have norm and are bold in using form, color, pattern, print, and styling because Beirendonck reinterpreted critical attitudes about essential problems that human life entails into a motif of his symbolic meaning in amusement. In regards to his design aesthetics, Beirendonck expanded fashion to the scope of Gesamtkunstwerk in a consistent and continued theme combined with philosophical creativity and differentiated from other fashion designers.

• 미술이론과 현장
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• 제5호
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• pp.83-107
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• 2007

The continuous struggle to establish virtual reality on the stage during the history of Western Theater has been centered upon the development of scenographic setting and devices. It began with the Classical Greek drama where the place of performance became separated from the place of the audience. These two places were united as the orchestra - the place of the Dionysiac festival in the earliest stage of the Greek theater. And the skene, once a storage building outside the theatrical area, became an essential factor of the scenic space to provide illusion of the other world where the actors dwell. As a natural consequence it followed the structural change of Roman theater where the stage became a high and wide platform and the skene converted into the permanent stone scaenae frons. Such a tradition of the Classical theater was revived in Italian Renaissance and Baroque theater, which succeeded Vitruvius' concept of scaenographia as well as the vestiges of Imperial Roman theater. The cases of Serlio, Palladio, and Andrea Pozzo reveal the way how Western theater conjured the fictional space by traditional representational scenery, including architectural background setting and painted devices. It resulted in the physical and emotional division of actors' space and audience's space. The rejection of representational scenery upon the stage by avant garde artists like Edward Gordon Craig in the early years of the twentieth century should be interpreted as an attempt to recover an emotional attachment of actors and the audience, which was the case of Greek antiquity. This new scenogrpahic endeavor in modern theater is to challenge the main purpose of traditional scaenae frons to establish the boundary of the illusional 'scene' of performance where the audience should remain as passive spectators, and instead, to try to unite the action of actors and the audience upon the stage as a 'place'.

• Journal of the Korean Wood Science and Technology
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• 제49권5호
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• pp.430-452
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• 2021

최근 목재이용과 목공활동 등을 선호하는 사회적 분위기가 조성되고 있지만, 상대적으로 일반인이 목재문화를 향유할 수 있는 기회가 많지 않기 때문에 목재문화에 대한 인식과 기반이 부족한 상황이다. 본 연구에서는 일반인이 목재문화를 누릴 수 있는 확산전략 수립의 기초자료로써 목재문화에 대한 유형분류 및 사례분석을 수행하였다. 목재문화자원에 대한 개념을 정립하기 위하여 목재문화와 문화자원이 갖는 특수성을 분석하였다. 이를 통하여 목재문화자원은 보존·발굴·활용의 측면에서 목재 및 목재사용의 문화적 가치를 내포하고 있는 인류의 문화적 활동의 결과로 만들어진 산물로 정의하였다. 문화자원에 대하여 수행된 유형분류 사례를 분석하여 목재문화자원의 유형을 문화유산, 문화시설, 문화행사, 목조건축, 문화콘텐츠, 문화교육, 목재제품의 7가지 범주로 분류하였다. 또한 각 목재문화자원별 유형에 대한 사례를 발굴하여 제안하였다.

• 인간식물환경학회지
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• 제22권5호
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• pp.435-444
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• 2019

This study is based on the premise that a garden space is a place that not only requires physical labor but also encourages conversation in the gardening group. We suggest the use of urban gardens as a place to revitalize local communities by promoting people to participate in various event programs. Through the theoretical study, we set the requirements that can be applied to "urban garden events". We developed measurement items and scales to be used as variables of each construction concept. Our survey was conducted on adults aged 19 and above who visited the 8th Korean Urban Agriculture Expo. Out of total 310 copies of the distributed questionnaire, only 298 effective samples were used in the empirical analysis. We can assume that people want to revitalize local communities based on the fact that 71 (23.8%) participants said they thought the purpose of the event is to achieve unity among residents. Throughout analysis, 15 of the necessary items were confirmed and classified into two factors: image of event (Factor 1) and evaluation item (Factor 2). As a result of verifying the relationship between educational level for Factor 1, age was significant in five items and education level was significant in six items. For Factor 2, four items were effective in relation to education level, while significant results were not found in relation to age. These results are expected to be significant if the intellectual curiosity of the residents is satisfied and the demand base of the urban garden events according to the characteristics of city people is expanded. Based on this study, it is necessary to conduct research on the use of urban gardens as an event with social functions as well as various programs that can be carried out in gardens to build and revitalize the community.

• 문화기술의 융합
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• 제9권6호
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• pp.551-556
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• 2023

본 연구에서는 존 버닝햄의 그림책 2권(『셜리야, 물가에 가지 마!』, 『셜리야, 목욕은 이제 그만!』)을 Bakhtin의 대화주의 이론 중 카니발의 개념을 이용하여 분석했다. 존 버닝햄의 그림책에서는 주인공 '셜리'의 일탈에 대한 무의식적인 소망이 기상천외한 상상세계에서의 모험으로 전환되어 웃음이 곁들여진 축제와 같은 사건으로 묘사되고 있다. 그림책을 통해서 유아들은 현실에서 금지된 행동을 상상세계에서의 사건으로 전환 시켜 간접적으로 체험하면서 만족한다. 이러한 간접 경험은 유아가 현실에서의 불만을 자연스럽게 해소하면서 자기만의 독창적인 내적 발달을 하는데 매우 중요하다. 본 연구는 가정이나 유아교육기관에서 유아들에게 다양한 그림책을 쉽게 접할 수 있는 환경을 제공하는 것이 그들의 성장에 매우 중요한 역할을 한다는 것도 또한 시사하고 있다.