• 한국실내디자인학회논문집
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• 제25권3호
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• pp.40-50
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• 2016

The purpose of this study is to investigate the mise-en-$sc{\acute{e}}ne$ characteristics to direct an emotional atmosphere. It also analyzed whether these characteristics are reflected in how the work of Peter Zumthor. First, a theoretical consideration base on the distinction between montage and mise-en-$sc{\acute{e}}ne$, the research on space directing techniques in film. In particular, research on the mise-en-$sc{\acute{e}}ne$ around the technique of deep focus, long-take, charade. It also examines the mise-en-$sc{\acute{e}}ne$ tendencies that appear in the painting art, philosophy and psychology to deepen understanding. It should understand the mechanism by going to complete the meaning. Based on this, in terms of mise-en-$sc{\acute{e}}ne$ to analyze the space directing of Peter Zumthor. And the features of mise-en-$sc{\acute{e}}ne$ has its significance in having a look at whether there is any correlation in the 'Atmospheres' directing of Zumthor. As a result, the mise-en-$sc{\acute{e}}ne$ is active, multi-layered, ambiguous, uncertain, becoming and enables an open interpretation in terms of audience.

• 한국실내디자인학회논문집
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• 제26권1호
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• pp.13-24
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• 2017

The semiotics philosopher Roland Barthes declared 'the death of the author'. This means a sense of skepticism about author-centered writing in literature, and that readers and critics must also change their reading attitudes. In architecture, too, author-centered design appears. Architects sometimes try to express their will and concepts strongly through their work. However, this architecture is oriented toward identity, self-revealing, self-centered, and eventually without inspiration. On the other hand, the signifier does not result in a single meaning, and it is architecture as text that allows readers to enjoy the pleasure of deciphering. The purpose of this study is to investigate that unilateral by the will of the architect. Or whether there is a potential for non-intelligence and the possibility of generating meaning. In particular, we will analyze the works of Rem Koolhaas, SANAA and Sou Fujimoto to see if they are free from the will of the architect and can obtain the user's true freedom. As a result, we want to reveal the potential of various interpretations by users in contemporary architecture.

• 영어영문학
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• 제57권5호
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• pp.871-887
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• 2011

In Lacanian terms, the real, which is a non-representative Ding an sich, is indirectly approachable only in and through language. This 'speaking of the real' is made possible through a restoration of the missing link between one signifier, S1 and another signifier, S₂, as is manifested in the Lacanian formula of metaphor. In Freudian terms of textual metaphor, the missing link is restored by substituting a new edition for an old edition of one's historical text of life. This is what this essay means by the metaphorical/dualistic structure of the analytic/literary text. And this is a way of talking about an intertextuality between literature and psychoanalysis in the sense of the 'text as psyche' and the 'psyche as text.' Applying the 'signifying substitution' to the Oedipus complex, the Oedipal child can find a meaning(s), "my erotic indulgement with my Mom is wrong" by metaphorically substituting S₂: the Name of the Father for S1: the Desire of the Mother. This meaning leads to the constitution of the human subject and the formation of the incest taboo, one of the most significant distinctive features of the human being as distinguished from the animals. We can see a similar metaphorical structure of S1-S2 taking place in the literary texts such as Macbeth and "Dover Beach": in the course of the stage of life being substituted for the primal scene in the former, and the plain of Tucydides for a bed scene in the latter, respectively.

• International Journal of Internet, Broadcasting and Communication
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• 제16권1호
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• pp.297-306
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• 2024

At a specific juncture in industrial development, animation emerges as a product imbued with discernible features characteristic of the mechanical replication era. Through the integration of technology, it continually gives rise to postmodern cultural traits. Notably, the trajectories of postmodernism in China and Western Europe exhibit divergence. Following the reform and opening up, both postmodernism and modernism found acceptance and became interwoven. Chinese animated films, influenced by postmodernism, actively challenge traditional animation norms, exemplifying postmodern characteristics such as deconstruction, intertextuality, indeterminacy, collage, and diversity. This article endeavors to delve into the discourse surrounding postmodernism in both Western and Chinese contexts. It aims to scrutinize the manifestation of postmodern features, particularly with regard to ethnic elements, traditional mythological texts, and gender representations in Chinese animated films. Consequently, it becomes imperative to contemplate the affirmative adaptation and independent development of postmodernism within the unique Chinese milieu. Building upon an analysis of noteworthy traditional animated film genres and developmental trends in China, this study focuses on animated films from the 21st century, specifically Monkey King: Hero is Back, Big Fish & Begonia, Dahufa, White Snake and Nezha: Birth of the Demon Child. The paper seeks to explore the overarching characteristics of postmodernity reflected in the linguistic environment of postmodernism in China.

• 미술이론과 현장
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• 제15호
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• pp.51-79
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• 2013

This paper examines the characteristics of post-modern self-portrait photography. Characteristics of postmodernism associated with the "loss of centeredness," such as the death of the author, interdisciplinarity, and intertextuality, brought about a number of changes within the self-portrait. The distinction between post-modern and modern self-portraiture can be characterized by the following qualities: appropriation, the use of photography, and the utilization of the human body as an art. The characteristics of post-modern self-portrait photography can be represented through the works of Cindy Sherman, Orlan, and Morimura Yasumasa. By presenting prototypical women in her works, Cindy Sherman not only represents images of those women, but also exposes her fictitious role in the work. She creates a distance between herself in the works and herself in reality and discloses a paternalistic gaze. Meanwhile, Orlan transforms her face into a distorted image and presents it as an alternative identity that is representative of postmodernism. She corrodes the standard concept of identity through plastic surgery and treats the face not as a place where the identity stays, but as a simple body part or fragment of skin. Orlan's post-human face is malleable according to the artist's desire to raise the issue of what the human face is, and opposes the structure of modernism. Morimura Yasumasa also appropriates images from masterpieces and presents a hybrid identity between Eastern and Western, male and female, original and replica, and subject and object. In order to dissect social prejudice, he puts forth every single structural dichotomy that coexists in his self-portrait and suppresses a strong ego. He also studies the relationship between 'seeing' and being 'seen' by trading the painter's role from that of the subject to that of the object.

• 한국게임학회 논문지
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• 제18권2호
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• pp.99-108
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• 2018

게임 산업이 성숙기를 거치면서, 게임의 정체성 자체를 게임의 고유한 양식을 통해서 고찰하는 이른바 '게임에 대한 게임'이 나타나고 있다. 이에 본 연구는 인디 게임과 아트 게임으로 분류되는 게임 장르를 중심으로 '메타 게임'의 정의와 특징, 게임사적 의의를 도출했다. 먼저 메타 게임은 게임의 고유한 매직 서클의 경계를 해체하기 위해 게임의 인공성을 강화한다. 또한 게임의 고유한 특성인 절차성을 게임 플레이를 통해서 형식적으로 제시한다. 세부적으로 메타 게임은 매체를 둘러싼 외부 콘텍스트를 게임의 요소로 활용하며, 게임 공간의 근원적 성격을 규명하기 위해서 '미로' 메타포를 적극적으로 활용한다. 나아가 메타 게임은 게임 특유의 상호텍스트성을 강조하면서 게임 세계 내에서 환상성과 현실성이 공존할 수 있음을 보여준다. 결과적으로 메타 게임을 통해 게임은 하나의 독립적인 표현 예술이자 실험적인 콘텐츠가 될 수 있는 동시에, 정형성과 관습성을 넘어서서 대안적 매체로서 기능할 수 있음을 메타적으로 제시한다.

• 한국실내디자인학회논문집
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• 제11호
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• pp.57-63
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• 1997

In the early 20'c, scientific thoughts make a change the absolute and separate concept of space-time into relative concept of continual entity; a kind of ideal world. It suggests that the meaning of geometry as absolute truth with which has endowed human beings would changed to a relative meaning of accumulation in intellectual work on 'nature'. This cognitive changes appeared into absolute arts in 20'c like Cubism, Superematism or Constructivism. De Stijl movement which had recepted the relative concepts like Einstein's 'theory of relativity' as a developed thought from Newton-Cartesian cognition on the world. Abstration would be adequate method for expressing the dynamics and interrelationship between forms and for giving values to indivisual elements in a compositiov. This method had appeared Modern architectural form, as a common framework. The expression characteristics of geometrical design in Deconstructive and Experimental architecture were summerized in four features through the results of the analysis. First, the relation of architectural element and intertextuality is expressed in discontinuation of context and refusal of functional building. Second, the concept of trace expresses as connection of place, decomposing of excavation of trace, trace of axis, trace of fragments. Third, anti-gravity expression is there to express of open cubic, to outgrow of rectangular system, to outgrow of volume, to separate of ground connectiov. Fourth, the complex composition of abstracted geometric form is these to abstracted geometry about indefinite shape, to layer through the overlap and collage, to de-meaning and amusement of form through the pursuit of uncertainty, to indeterminate of formal meaning through operation and composition of similar form cause to the diverse of meaning.

• 패션비즈니스
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• 제12권2호
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• pp.100-116
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• 2008

This study aims to analyze the characteristics of deconstruction-ism expressed in the fashion of Alexander McQueen. The method and contents of this study are as follows. The three large categories for analysis are indeterminacy, decentralization, and intertextuality. The indeterminacy of meaning is divided into unstructured and unorganized factors in fashion, while decentralization can be categorized into cross-gender, subculture, and post-humanism. Lastly, inter-textuality is classified into factors of mixing mode and mixed styles. Materials for analysis were chosen from a total of 616 designs from the website, www.firstview.com, which carries McQueen's collection from 2000 S/S through 2007 F/W. My analysis qualitatively evaluates the frequency of each category and the characteristics of design. The result of this study is as followed. First, the avant-garde facets of inter-textuality are most prominent. In particular, McQueen has introduced retro fashion and ethnic factors of the third world, not to copy them but to create hybrid designs by using pastiches and mixing fashion styles. Moreover, he has enjoyed using two fabrics of different texture in order to inflict a shock and contrast, thus enriching his fashion. Second, the indeterminacy of meaning is the second most frequently shown facet of McQueen's fashion design. McQueen has employed unstructured expression techniques, which dismantle harmony and balance, the basic rule of design, and has presented unorganized images free from basic forms of design. He has made a new attempt to acknowledge clothing as an expressive artwork by allowing clothes to take a complete form when a person actually wears them. Third, the aspects of decentralization were also shown in McQueen's design. His trans-gender clothing dissolves the traditional division of men and women and adopts a mixed gender expression. Furthermore, he has even tried to express a fourth gender by connecting the human with machine or animal or by connecting the material with the non-material.

• 공연문화연구
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• 제32호
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• pp.333-370
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• 2016

본 논문은 창극 <서편제>에서 자기반영성을 드러내는 장면들을 분석하였다. 이 작품은 판소리와 소리꾼의 이야기를 다루고 있으며, 창작 창극임에도 불구하고, 작창 없이 기존 판소리의 눈대목들을 짜깁기한 작품이라는 점이 독특하다. 이러한 특성들은 작품 속에서 다양한 자기반영적 장면들과 관련된다. 판소리에 대한 나르시시즘적 언급은 이 작품이 전통 판소리의 예술성을 계승한 것처럼 보이도록 만들고, 극중극과 역할놀이는 실제극과 실제 등장인물이 더 사실적으로 보이도록 해준다. 또한 <심청가>의 서사와 음악을 끌어 들여서, 관객 스스로 적극적으로 이 작품과 기존 판소리의 연결고리를 찾도록 한다. 즉 창극 <서편제>의 자기반영성은 환영을 파괴하기보다는, 새로운 환영을 낳기 위해 환영의 속임수 장치의 일부를 공개하는 방식으로, 보수적 자기반영성을 드러낸다.

• 한국컴퓨터정보학회논문지
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• 제26권11호
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• pp.67-74
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• 2021

본 논문에서는 스토리텔링에서 세계관 설정의 중요 요소였던 캐릭터의 역할 확장에 대해 분석하고자 한다. 미디어의 발달로 세계관을 설정하는 방식이 변화하기 시작했다. 이러한 변화의 중심에는 최근 조명을 받고 있는 '트랜스미디어'와 '메타버스'가 있다. 미디어의 교차와 융합이 활발하게 시도되는 트랜스미디어의 발달과 함께 캐릭터는 태생적 제약에서 벗어나 다양한 미디어를 넘나들며 새로운 스토리 안에서 다양한 활약을 펼치고 있다. 또한 현실세계의 확장된 개념인 메타버스에서 아바타는 사용자이자 창작자로서 메타버스 세계를 구성하고 확장하는 역할을 맡고 있다. 이러한 변화를 분석해 정통적인 세계관 설정에서 요소로서 활용되던 캐릭터가 세계관을 대체하는 현상에 대해 다뤄보고자 한다.