• 복식문화연구
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• 제25권5호
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• pp.577-592
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• 2017

The purpose of this study was to propose various directions for effectively proposing window displays that satisfy changing consumer needs by investigating and analyzing the characteristics of unexpected expressions used in recent Christmas windows. Research was conducted by investigating unexpectedness in window displays through literature reviews and previous studies. To observe unexpectedness in Christmas windows, website-based case images of window displays from the six years between 2010 and 2015 were collected from the department stores of Bergdorf Goodman, Printemps, Selfridges, and Isetan. Unexpected expressions in department-store Christmas window displays could be categorized into four expressive methods of hybrid expressions, figurative expressions, amusing expressions, and exaggerative expressions. The results were as follows: First, hybrid expressions are interpreted by consumers as having new or diverse meanings that change the original external forms of subjects or objects. Second, Christmas colors are used in the window backgrounds' figurative expressions, but these windows do not use excessive expressions; furthermore, these windows personify people as animals and anthropomorphize animals as people, using subjects to depict other subjects to show unfamiliar images. Third, amusing expressions are used to decorate windows with unique and novel ideas that provide stimulation and amusement for customers and capture their attention through the composition of windows that entail childish props and elements that create funny. Fourth, exaggerative expressions deliberately stretch and expand subjects or objects in windows to elicit customers' curiosity and interest through emphasis.

• 한국콘텐츠학회논문지
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• 제15권11호
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• pp.626-634
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• 2015

이 연구는 그 중요성이 인식되지 못하고 깊이 있는 연구가 행해지지 않았던 클리셰(cliche)에 주목하여, 셰익스피어 극에 나타난 클리셰를 분석하고자 했다. 일반적으로 클리셰는 은유의 특성을 가진 관용어로만 여겨져 주목받지 못했으나, 은유라는 인지 기제를 갖춘 언어 표현으로써 관용어를 포함한 광의의 개념이다. 본 연구는 영어에서 클리셰의 개념과 범주를 명확히 하기 위해 먼저 클리셰의 개념과 관용어와의 차이점을 살펴보았다. 아울러 본 연구는 클리셰에 대한 깊이 있는 이론적 논의의 출발점이 되고자 하는 취지에서 영문학 작품의 비조이자 클리셰가 가장 많이 언급된 셰익스피어의 작품을 분석 대상으로 삼아, 셰익스피어의 총 20개의 작품에 나타난 클리셰 분석을 통해 셰익스피어의 작품 속에 쓰인 클리셰가 관용어로만 규정지어 질 수 없음을 증명하고자 했다. 본 연구는 클리셰를 셰익스피어의 작품을 통해 정리하여 실증적으로 분석함으로써 관용어와 클리셰의 개념을 명확히 함과 동시에, 두 용어의 사용에 기준을 마련하고, 클리셰를 효율적으로 이해하고 사용할 수 있도록 발판을 마련했다는 점에서 영어 학습자를 비롯한 영 한 통번역 교육 분야의 연구 확장에 기여할 것으로 기대한다.

• 조형예술학연구
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• 제8권
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• pp.211-239
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• 2005

The purpose of this thesis is to explore a common characteristic of the diverse oriental images mainly from the figurative point of view, and apply it to the contemporary expressions and methods of painting. To do that, I separated the concept of figure into two factors - form and image - and then approached and solved the problems of figure by explaining the two factors respectively. Separating form from image is neither to set two factors against each other nor to isolate any of those values. It is worth dividing the form and the image not only because the image of the oriental painting has a figurative value constituted from an external frame of the form, but also because it has a close connection with the meaning that the form holds inside. These are the reasons why I conceptualize the individual language of form and image. Furthermore, I attempted to investigate how those two factors and mutual relations between them make real figurative images under the principle of harmony and coexistence. The theme of this thesis - the figurative aesthetics and its contemporaneity in the oriental paintings is analyzed based on the understanding of 'figure' within the framework of oriental paintings. A research of image from the figurative point of view is valuable in that it criticizes the past method of thinking, and proposes an alternative formula for new way of thinking. In this regard, I indicated the limit of the theory of form-and-spirit that has been one of the most important conceptual theories . Instead, I' accessed to various aesthetic concepts - that are created in the course of image formulation - from the actual figurative point of view, and then even interpreted it as a figurative value of the oriental paintings and it's application within the specific and practical scope. During the course of research, I explored the conceptual elements of the tradition and the principle of figuration. I expect this study to make a footstone for bringing traditional aesthetics to the contemporary context of oriental painting.

• 비교문화연구
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• 제25권
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• pp.237-265
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• 2011

This thesis is to argue what is the meaning of the expression of cherry blossoms appearing in "Genjimonogatari(源氏物語)" in relation with the structure of Monogatari after checking each example. First we reviewed some examples of the works before "Genjimonogatari", and clarified that cherry blossoms were used as metaphorical expressions of a beautiful woman in waka(和歌), and that at the same time cherry blossoms functioned as the symbol of futility, anxiety together with beauty. Especially in "Kokinshu(古今集)" we identified that there increased the examples where the combination of the expression as falling cherry blossoms, and fog and cherry blossoms was done. In "Genjimonogatari" we examined the examples of cherry blossoms of Chapter 1, Chapter 2, and clarified that Murasakinoue(紫の上) was a woman with an ideal character in looks and inner personality through the diverse viewpoints of characters. In Monogatari of Kashiwagi(柏木) of Chapter 2, the scene where he peeped Onnasannomiya(女三宮) was composed by the combination of cherry blossoms and fog, and we pointed out that we could feel the anxiety, ominousness of the love of the couple through this scene. And the composition of these scenes was also repeated in Monogatari of Chapter 3, and we discussed through these examples that the figurative expressions of cherry blossoms were used about the object of the love not to be realized. Next, we checked that Yugiri(夕霧) who had observed Kashiwagi's love toward Onnasannomiya gave a figurative expression of Kashiwagi's wife Ochibanomiya(落葉の宮) as cherry blossoms. Although Genji(源氏) realized Onnasannomiya's immaturity, Kashiwagi compared her to "cherry blossoms", and Yoogiri compared the woman whom Kashiwagi recognized as "Ochiba(落葉)" to "cherry blossoms", through which we have read the twisted human relation and ironical structure of Chaper 2. Finally, we checked the examples of cherry blossoms in Ooigimi(大君), Nakanokimi(中君), Ukihune(浮舟) who were Ujijujo's heroines. Ooigimi and Nakanokimi were expressed as cherry blossoms by Kaoru(?) and Nioumiya(?宮) and were disclosed as their ideal women. In contrast, Ukihune had something to do with two men with no such figurative expression, so it was pointed out that the absence of such metaphorical expression clarified that the meaning of her existence was nothing but the meaning as a mesiudo(召人).

• 한국어교육
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• 제29권4호
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• pp.255-294
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• 2018

The Buckwheat Season, evaluated as the best of Lee Hyo-seok's literature, is one of the short stories that represent Korean literature. However, vivid literary expressions such as lyrical and beautiful depictions, figurative expressions and dialects, which show the Korean beauty, rather make learners have difficulty and become a factor that fails in reading comprehension. Thus, it is necessary to revise and present the text modified for the learners' language level. The methods of revising a literary text include the revision of linguistic elements such as cryptic vocabulary or sentence structure and the revision of the composition of the text, e.g. suggestion of characters or plot, or insertion of illustration. The methods of revising the language of the text can be divided into methods of simplification and detailing. However, in the process of revising the text, many depend on the adapter's subjective perception, not revising it with objective criteria. This paper revised the text, utilizing by the Academy of Korean Studies, , and the by the National Institute of Korean Language to secure objectivity in revising the text.

• 한국콘텐츠학회논문지
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• 제17권10호
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• pp.54-64
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• 2017

본 연구는 클리셰(cliche)의 개념화에 주목하여 성경 텍스트에 나타난 클리셰를 분석함으로써 클리셰의 개념과 범주를 올바로 규정짓고자 하였다. 클리셰의 개념을 비롯하여 클리셰와 관용어의 범주를 구분하여 설명하고, 성경 텍스트를 분석함으로써 클리셰의 개념과 정확한 사용을 위한 기준점을 제시하였다. 분석은 신뢰도를 높일 수 있도록 13권의 영어 성경 텍스트를 통해 클리셰를 정리하고 분석하였다. 분석 결과로는 성경 텍스트의 클리셰를 분석에 있어 그 의의를 발견함과 동시에 클리셰의 범주를 확실히 할 수 있었다. 본고는 영 한 통번역을 위해 성경 텍스트에 나타난 클리셰를 분석함으로써 클리셰의 흥미로움을 발견함과 동시에 클리셰의 기능을 모색하고, 이를 통해 통번역 분야에 개념적 발판을 마련한 데에 그 의미가 있다. 영 한 통번역에 있어서 관용어를 비롯하여 클리셰의 개념에 대한 학습과 교육적 가치에 있어서 매우 도움이 될 것으로 생각된다. 클리셰는 어느 언어에서나 다양하게 나타날 수 있는 비유 표현이자, 언어를 특징짓는 일부가 되는 언어 표현 도구로써 사회 문화적인 현실 속에서 사용되면서 그 사회와 문화를 특징짓는 중요한 요소가 되기 때문이다. 따라서 본고에서의 클리셰의 개념 이해와 분석을 토대로 독자로 하여금 영 한 통번역 현장에서의 클리셰 연구의 필요성이 인식되고 클리셰 연구가 더욱 활발해질 것으로 기대한다.

• 디자인학연구
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• 제12권1호
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• pp.121-130
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• 1999

인물이 가지고 있는 눈은 신체의 어떤 부위보다 풍부한 언어를 전달하거나 인물의 특징을 드러낼 수 있는 관찰 대상이다. 이러한 관점에서 인물이 가지고 있는 뛰어난 표정 물이라고 말할 수 있는 눈에 대한 표정연구는 영상기호를 효과적으로 구사해야하는 디자인에서 가장 관심 있는 연구대상이 아닐 수 없다. 한편 한국인은 전래적으로 관상학이라고 하는 담론을 가지고 있다. 상학은 수많은 사람들의 삶의 패턴을 통해 통계적으로 정리되었고 체계적으로 정리 분석된 결과물이라는 사실을 오늘날의 소비자들도 상당 정도 믿고 있는 듯하다. 본 연구는 일차적으로 인물의 표정에서 가장 중요한 단서가 되고 있는 눈의 표정을 상학적 담론을 근거로 하여 이것이 현대사회에서 소비자들이 느끼는 이미지와 어떤 상관관계를 가지고 있는가, 관계가 있다면 구체적인 활용에 대한 어떤 시사점을 발견할 수 있는가를 알아내기 위해 연구되었다. 연구결과는 극히 일부분의 이미지만이 상치될 뿐, 상당정도 밀착된 관계가 있음이 발견되었다. 그리고 눈의 표정은 입의 표정이 보정될 때 진정한 이미지가 형성된다는 사실도 발견되었다. 영상기호로서의 인물을 선택할 때 상학적 관점을 고려하는 것이 바람직하다는 결론이 도출되었다.

• 대한가정학회지
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• 제43권5호
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• pp.249-265
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• 2005

Creative application in elaborate techniques can not only make design constructs productive but also can widen designers' figurative perspectives. There are many techniques applied in fashion design such as folds, patchworks, embroidery, dyeing, industrial treatment, etc. In particular, folds play a significant part in enlightening clothes uniqueness in contemporary fashion design. The primary purpose of this study was to make new suggestion for the production of high value-added fashion goods by reviewing and synthesizing fold expressions. Diverse fold designs were retrieved through a comprehensive literature review on topic-related books, fashion dictionaries, and fashion encyclopedias. Significant cases of fashion designs using folds were retrieved from fashion magazines uploaded from 2000. There are three types of folds applied in fashion design. (1) The folds by needlework like tucks, smocking, shirring, and trimming type folds(ruffle, frill, flounce, and ruche). (2) The folds by chemical or mechanical treatment like permanent pleats and crinkle. (3) The folds of formative dress like drape. From a comprehensive review of the folds design cases after 2000, the following characteristics of folds design were identified: (1) a highlighted role in the whole, (2) mixture and deformation of techniques and materials, (3) 3-D surface effect, (4) creation of a unique figurative beauty, and (5) expression of diverse fashion image.

• 조형예술학연구
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• 제9권
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• pp.49-87
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• 2006

Narrative has broad domains. So it is related to the everything man faces in his daily life and also performed in various modes. Narrative is revealed through all media including a character, which is also applied to plastic art. And narrative objects formed beyond the differences in media aid forms of expression are commonly based on a language. The study on such objects which created a new conceit of narratology can be said to be a spiritual trend by which to understand the world and man from the viewpoint of a 'story'. Plastic art took high interest in narrative in the same period as the rise of postmodernist art in the latter half of the 20th century, which was also applied to sculpture. The researcher, therefore, investigated through the history of sculpture in the 20th century the process in which narrative was denied under the value system of modernism and reappeared with the quickening of postmodernism. And as a result this period could be briefly characterized by 'return to figure' and 'reappearance of narrative'. The is, such flow means that late sculpture converted its center of interest from simple geometric abstract forms to irregular, figurative images. The researcher chose as the subject of his study the work of Louise Bourgeois, who was judged to have performed narrative positively and successfully among a great number of performed narrative positively and successfully among a great number of postmodernist sculptors who adopted it as their own strategy of expression. As the central artist of postmodrnist sculpture, She expressed human desire and condition as sexuality through the introspection of her own personal experience in contrast to the character of pop art sensitive to external world. The researcher borrowed narrative semiotics as a method of analyzing more elaborately the problem about the generation of narrative shown in her works. For it, he selected as the sample work for analysis Bourgeois's , which were judged to contain narrative most abundantly and as the metaphor of a gaze and recollection presented a new woman self that sublimed love, hatred, and loneliness. The narrative in her works are characterized by introspection questioning one's own trauma. It has independent domain and characteristics and clearly reveals narrative and content-centered characteristics, which are commonly discovered in postmodernist sculpture. The researcher could more concretely and definitely understand the characteristics of narrative through figurative images by analyzing the sample work. The researcher wanted to call your attention to the fact that the sculpture in the late 20th century contained narrative commonly and uniformly despite being characterized by various expressions and modes. And the focused on highlighting the fact that the narrative was more effectively revealed through figurative images of human body and simultaneously analyzing the formalizing process and structure for narrative. Besides he wanted to argue that the position of narrative defining the characteristics of sculpture should be valued more justly. Also, such acceptance of narrative, which is discovered in the sculpture, will have to be understood as the characteristics of the period reflecting the cultural aspect of the present time.

• 조형예술학연구
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• 제6권
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• pp.119-139
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• 2004

The intention of the research is to look into the form reflecting the spiritual image due to Oriental aesthetic from a realistic point of view. In this regard, I will pay attention to examining the process from figurative perspectives, in which painting image by subject acquires the beauty of form. Of the main subjection this paper, figure is an image itself appearing in painting. At this point, I will attempt to show how the meaning and value of image have been interpreted and judged on the aesthetic standard in Oriental painting in particular. For this process, I generalize the conception of the image as 'figure' and through this I will reconsider the standard of understanding and the value of perception regarding painting images on the method which are more applicable to the expressions of Oriental painting. The reason why I try to find out the true nature of images in Oriental painting from a figurative viewpoint is to convert a conventional sense of value which recognizes the images of Oriental painting only as results of idealism, into more practical field. If the true nature of Oriental painting is fixed and restricted to natures of idealism, any productive development and any changes in form for future couldn't be expected at all. In fact, what the ideological and aesthetic values of art suggest is clearly a proof of real art form. However, it is not a hard thing to prospect that only a superficial idealism will be ceaselessly produced, while the practical study about aesthetic values, meaningful results of painting expressions, is totally ignored, if ideology itself is used as criteria to judge the identity of it or if only the idealistic aesthetic values are emphasized while any clue to show a real existence of oriental paintings is not certain. Actually, nobody can deny the fact that interests about real natures regarding art expressions have been relatively ignored while armed with mental ideology for esthetic view of oriental painting in traditionalism Therefore, it is clear that 'spiritual status' itself can generate any form. Traditionally, in the Orient, the standard of judging a real value of things, which put a focus on a spiritual view of value rather than on a materialistic view of it, has been vaguely positioned the identity of images in painting As a result, the aesthetic convention has finally committed to an error that for images of oriental painting, ideological criteria like so called spiritualism are applied as a judging way, and esthetic meanings and values of real painting are considered as strategic results and spiritual intentions.