• Title/Summary/Keyword: Meaning Object

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The structure of knowledge intended to 'you(游)': case on the 『Dohwaguenmungi』 and 『Limchungochi』 ('유(游)'의 원리로 구성되는 화의(畵意)의 구조 연구 서설 - 『도화견문지(圖畵見聞誌)』, 『임천고치(林泉高致)』를 중심으로 -)

  • Son, Bo Mee
    • (The)Study of the Eastern Classic
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    • no.41
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    • pp.445-476
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    • 2010
  • In this essay I aimed to analyze the concept of cultivation in east asian aesthetics. Most people regarded traditional asian paintings as an artwork that was obviously an artwork by artists. Moreover, they emphasized the cultivation of artists in their creation and used to accept the concept of cultivation which means cultivating one's mind. Generally speaking, to cultivate one's mind meant enlarging one's ethical behavior and he or she became a better person. And in creation, it meant considering all things more deeply. In this point of view, it was too vague to notice the meaning. What is an accurate meaning of cultivate artist's mind? What was the relation between creation and cultivation? In confucian philosophy, the concept of cultivation had two meanings. One was to enlarge one's ethical behavior and the other was to improve one's knowledge about things. The knowledge implied all of the one's experiences about things. Thus, the knowledge meant what he communicated with under his surroundings and created. In this perspective, to analyze the case of "Dohwaguenmungi" and "Limchungochi", cultivation was related to 'you(游)' and 'jing(精)'. It implied all of the artist's efforts to make communication with his objects deeper and wider, at last, he created his own meaning about object that he experienced. Therefore, I suggest that when we use the concept of cultivation in the context of creation, it should be used as the meaning related with improving one's knowledge about things.

A Study on Chinese Character Expressions of Dynamic Poster Design Based on Kinetic Typography Principle - Focused on '24 Solar Terms' Theme Poster - (키네틱 타이포그래피 원리에 기반을 둔 다이나믹 포스터 디자인의 한자 표현방식에 관한 연구 - '24절기' 테마 포스터를 중심으로 -)

  • Chu, Ziyi;Park, Yong-Jin
    • The Journal of the Korea Contents Association
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    • v.22 no.10
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    • pp.195-212
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    • 2022
  • Based on the kinetic typography principle and the structure features of Chinese characters, this study took the Chinese'24 solar terms' theme dynamic poster as the research object, explored the visual expression of dynamic Chinese characters, and tried to summarize the visual expression law of Chinese characters in dynamic poster design. It can be found that, there could be 6 different types of Chinese character expressions in the 24 solar terms poster design. Among them, 'Drawing' design method has the meaning of text structure and form expression, and 'Assembling' design method has the meaning of text stroke and texture association, also, 'Forming' design method bring its meaning through stroke deformation, 'Transforming' design method conveys the content through text disintegration, 'Replacing' design method mainly bring the meaning through simulation, while 'Rotation' design method always express through visual three-dimensional and space. Finally, the findings could not only provide analytical logic and methods for the expression of Chinese characters in dynamic poster design, but also fill the lack of formative research on dynamic Chinese characters, which hopefully provide basic information for the research related to dynamic Chinese character structure, as well as the dynamic poster designers.

Consider the Meaning of Sincerity(誠), Reverence(敬) and Faith(信) (성경신(誠敬信)의 의미 고찰 - 종도 차경석(車京石)의 행적(行蹟)과 성경신 변화 과정을 통한 고찰 -)

  • Yu, Byeong-mu
    • Journal of the Daesoon Academy of Sciences
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    • v.22
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    • pp.345-385
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    • 2014
  • The object of this thesis is to consider the meaning of sincerity(誠), reverence(敬) and faith(信) through Cha gyungseok's historical record. Cha gyungseok(車京石, 1880-1936) is a key disciple of Kang Jeungsan Sangjenim(姜甑山, 1871~1909) to whom Cha kyungseok has begun to follow since 1907, completing his wandering around Yeonghak-gye(英學契), Iljin-hoe(一進會) and Cheondo-gyo(天道敎) after the loss of his father[Cha Jikoo(車致九), 1851-1894] in Tonghak peasants revolution. To examine the meaning of sincerity, reverence and faith as cardinal points in Daesoonjinrihoe(大巡眞理會) creed, this research has taken note of Cha kyungseok's sincerity, reverence and faith who is said to be thought of himself as a head of Reconstruction Work for the Tonghak spitit's resolution of grievances, despite the Sangjenim's intention of using him for different usage due to his sincerity, reverence and faith. Especially, emphasis was given to the illumination of Cha gyungseok's change of sincerity, reverence and faith through closely reviewing his life prior to the encounter with Sangjenim, the process of following Sangjenim and his whereabouts after the ascension of Sangjenim. In addition, through Jeonkyeong(典經), this research also examines Cha kyeong seok's sincerity, reverence and faith along with his ambition contained in that sincerity, reverence and faith. Up to his ascension, Sangjenim has never saved his advice on Cha gyungseok's ambition. Leaving Sangjenim's advice behind, Cha gyungseok moves on to become a head of the Reconstruction Work for the Tonghak spitit's resolution of grievances without deserting the dream of being the Son of Heaven. Although, he showed his prowess as a religious sect leader called Bocheon-gyo boasting its 6 million believers and as a provisional emperor of the country named Sikuk, he ends his life as a head for the Resolution of grievances of kings, princes, generals and premiers due to the change of faith on Sangjenim and interruption of Japanese Imperial Government, without accomplishing his dream. The feature of past disciples suggests the direction of cultivation for our cultivators. Through Cha gyungseok's sincerity, reverence and faith, we could look back upon the meaning of sincerity, reverence and faith and conclude that a real sincerity, reverence and faith is the heart-mind trying to participate in Reconstruction Work of Heaven and Earth with a pure mind, contrary to the one coming out of greed.

The Characteristic and Implication of the View of Object in Oriental Medicine (한의학적(韓醫學的) 대상관(對象觀)의 특징과 성격)

  • Lee, Choong-Yeol
    • The Journal of Korean Medicine
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    • v.16 no.1 s.29
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    • pp.505-530
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    • 1995
  • Recently some people in learned circles of oriental medicine raised a Question about a terminological problem, i.e., 'oriental medical'. This question was thought as an attempt to find out the identity of oriental medicine which exists among the various current medical knowledge systems. In spite of same object, human body, there are diverse medical knowledge systems which has different concepts and theories. This come from the difference of a view of object which defines the experiences of that. The knowledge system of oriental medicine was established by the view of object in oriental medicine which depended on the way of thinking as Yin and Yang. The view of object in oriental medicine has come out in the special cultural soil, namely, the oriental world. Because of this the view of object in oriental medicine cannot be seperated from the oriental world view. What distintive feature does the oriental world view have? It can be summarized as the holistic, dynamical and organic ideas of the world. The term 'oriental medical' is being used to emphasize the characteristic and the peculiarity of the oriental medicine among the various medical knowledge systems. Can the current so called scientific method accept this peculiar and special method of oriental medicine? The efforts of philosophers who had been stimulated by the awful scientific achivements and had tried to find out the unified method penetrating through all the empirical science by mobilizing the logic and mathematics has became out of date for the raise of a question about the inductive method. On the contrary, the theses of theory-laden observation was accepted widely and the relativism was accepted as a new established theory. But the relativism has its own problem. The relativism was founded upon the concept, the incommensurability, which Khun and Feyerabend had proposed. This concept was criticized strongly by some of philosophers because of its own self-refuting. The view of object in oriental medicine has a relative characteristic in the aspect of its urge that in accordance with the perspective a different medical knowledge system can be possible. But our possible choice is the moderate conceptual relativism. Therefore if the view of object in oriental medicine includes the relative aspect, there is the 'conceptual relativity' between the knowledge system of oriental medicine and the western medicine. This preview an important aspect for the standardization and modernizing research of oriental medicine by lending the knowledge of the western medicine. And when we choose the moderate conceptual relativism, it means that we do not support the extreme relativism, that is, 'anything goes'. The concept of truth and rationality cannot be abandoned, and it plays the role of the norm on the knowledge system of oriental medicine and other knowledge systems of medicine in a limited meaning. And the view of object in oriental medicine has an organic view about the human body and the characteristic which wants to interpret the phenomena of human body by using the holistic method. But the availability of this method will be evaluated by the achievements of oriental medicine. Finally what relationship does the theory of oriental medicine have with the world the theory is applied to? It is recognized that the theory of oriental medicine has the instrumental characteristic. But it can be thought the instrumentalism is different from the oriental medical standpoint in the aspect that the instrumentalism seperates the theoretical existence from the observational existence sharply. Because in the oriental thinking way there is no seperation between the mind of observer and the object and no conflict between the idealism and the realism like the western world. For this problem there must be a further study.

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A Study on the Textuality Represented in Modern Fashion Photographs (현대 패션사진에 나타난 텍스트성 연구)

  • Park, Mi-Joo;Yang, Sook-Hi
    • The Research Journal of the Costume Culture
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    • v.18 no.5
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    • pp.977-990
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    • 2010
  • Today, as individuals show their social identities and reflect their being as the members of society with a culture, an art style and communication function are stood out in fashion photographs. Accordingly, the meanings of images into text are expanded in its interpretative width through the acceptor's various terms. This researcher looked into four theories of both positions on the textuality of language and image, and considered the point of discussion on image of each theory through modern fashion photographs. First, the theory which divides language and image as auditory and visual recognitions in the textuality of language and image is limited from the view it focuses on only one side without considering the ambivalent elements of each field. For the textuality in modern fashion photographs, the observer attempts to turn it into text to give meaning to it as the recognition through five senses conforming to the acceptor's condition. Second, the theory dividing language and image into the text of time properties and spacial properties has limitation in the text, for acceptor's experience of the object appears as the structured form in time and space rather than being defined as two things like time and space. Third, the theory classifying the language and image text into conventional taste and natural taste has limitation from the view that image text is hardly an object of consistent classification in ease of recognition by the code accepted in society. Thus, this can't be fundamental approach for the understanding of the text of decoding trend represented in modern fashion photographs. Fourth, accordingly, this researcher focussed on contextual and arbitrary text of fashion photographs through the theory of Nelson Goodman which discusses image text through the differences in textuality. Basic mechanism of perceiving and recognizing and distinguish image is closely related to habit and custom like language. So, each acceptor perceives the image as a text through arbitrary interpretation obtained by individual, empirical, historical, and educational viewpoints. The textuality of modern fashion photographs aims to widen the range of diverse knowledge and understanding, transcending the regulations of simple function of existing fashion photographs. Consequently, this researcher puts forward the opinion of consistent and diverse follow-up studies on instilling meaning into fashion photographs for the understanding de-regulatory and de-constructive through various senses by avoiding only one sense-dependent fixed and regulatory properties of it.

A study on the relationship between image and signification: Through the theory of Roland Barthes (이미지와 의미 부여에 대한 일고찰 - 바르트의 이미지론을 중심으로)

  • Kim, Huiteak
    • 기호학연구
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    • no.57
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    • pp.59-90
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    • 2018
  • This paper examines the discussions related to image and signification through the theories of Roland Barthes. We have already been able to see through the studies of Semiotics and Anne H?nault that the denotation is distinguished from the connotation in the linguistic dimension. Through the analysis of the advertising image of Barthes, we have seen that the syntagmatic relationship can make the sense of the image objective. From this study, we also emphasized that it is possible to subjectively interpret images that deviate from the syntagmatic relationship. In addition, we examined the concepts of Studium and Punctum by Barthes. With this we have found that the definition of a personal meaning to objects has a theoretically clear position. Finally, we have been able to understand the concept of 'le sens obtus' through the article ${\ll}$ Le troisi?me sens ${\gg}$. The notion of 'sens obtus' makes it possible to realize that the objective and clear sense of object is not the one chosen primarily from the subject. By facing an object such as an image to be interpreted, the subject is placed in a situation where he is not compelled to choose a meaning but rather he chooses one of the possible senses. This makes it clear that the semantic levels provided by semiotic theories are limited to the analytic dimension.

Translation of Korean Object Case Markers to Mongolian's Suffixes (한국어 목적격조사의 몽골어 격 어미 번역)

  • Setgelkhuu, Khulan;Shin, Joon Choul;Ock, Cheol Young
    • KIPS Transactions on Software and Data Engineering
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    • v.8 no.2
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    • pp.79-88
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    • 2019
  • Machine translation (MT) system, especially Korean-Mongolian MT system, has recently attracted much attention due to its necessary for the globalization generation. Korean and Mongolian have the same sentence structure SOV and the arbitrarily changing of their words order does not change the meaning of sentences due to postpositional particles. The particles that are attached behind words to indicate their grammatical relationship to the clause or make them more specific in meaning. Hence, the particles play an important role in the translation between Korean and Mongolian. However, one Korean particle can be translated into several Mongolian particles. This is a major issue of the Korean-Mongolian MT systems. In this paper, to address this issue, we propose a method to use the combination of UTagger and a Korean-Mongolian particles table. UTagger is a system that can analyze morphologies, tag POS, and disambiguate homographs for Korean texts. The Korean-Mongolian particles table was manually constructed for matching Korean particles with those of Mongolian. The experiment on the test set extracted from the National Institute of Korean Language's Korean-Mongolian Learner's Dictionary shows that our method achieved the accuracy of 88.38% and it improved the result of using only UTagger by 41.48%.

Essay on Form and Function Design (디자인의 형태와 기능에 관한 연구)

  • 이재국
    • Archives of design research
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    • v.2 no.1
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    • pp.63-97
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    • 1989
  • There is nothing more important than the form and function in design, because every design product can be done on the basis of them. Form and Function are already existed before the word of design has been appeared and all the natural and man-made things' basic organization is based on their organic relations. The organic relations is the source of vitality which identifies the subsistance of all the objects and the evolution of living creatures has been changed their appearances by the natural law and order. Design is no exception. Design is a man-made organic thing which is developed its own way according to the purposed aim and given situations. If so, what is the ultimate goal of design. It is without saying that the goal is to make every effort to contribute to the -human beings most desirable life by the designer who is devoting himself to their convenience and well-being. Therefore, the designer can be called the man of rich life practitioner. This word implies a lot of meanings since the essence of design is improving the guality of life by the man-made things which are created by the designer. Also, the things are existed through the relations between form and function, and the things can keep their value when they are answered to the right purpose. In design, thus, it is to be a main concern how to create valuable things and to use them in the right way, and the subject of study is focused on the designer's outlook of value and uk relations between form and function. Christopher Alexander mentioned the importance of form as follows. The ultimate object of design is form. Every design problem begins with an effort to achieve fittness between the form and its context. The form is the solution to the problem: the context defmes the problem. In other words, when we speak of design, the real object of discussion is not form alone, but the ensemble comprising the form and its context. Good fit is a desirable property of this ensemble which relates to some particular division of the ensemble into form and context. Max Bill mainatined how important form is in design. Form represents a self-contained concept, and its embodiment in an object results in that object becoming a work of art. Futhermore, this explains why we use form so freguently in a comparative sense for determining whether one thing is less or more beautiful than another, and why the ideal of absolute beauty is always the standard by which we appraise form, and through form, art itself. Hence form has became synonymous with beauty. On the other hand, Laszlo Moholy-Nagy stated the importance of function as follows. Function means the task an object is designed to fulfill the task instrument is shaping the form. Unfortunately, this principle was not appreciated at the same time but through the endeavors of Frank Lloyd Wright and of the Bauhaus group and its many collegues in Europe, the idea of functionalism became the keynote of the twenites. Functionalism soon became a cheap slogan, however, and its original meaning blurred. It is neccessary to reexamine it in the light of present circumstances. Charles William Eliot expressed his idea on the relations between function and beauty. Beauty often results chiefly from fittness: indeed it is easy to manitain that nothing is fair except what is fit its uses or functions. If the function of the product of a machine be useful and valuable, an the machine be eminently fit for its function, it conspicuously has the beauty of fittness. A locomotive or a steamship has the same sort of beauty, derived from the supreme fittness for its function. As functions vary, so will those beauty..vary. However, it is impossible to study form and function in separate beings. Function can't be existed without form, and without function, form is nothing. In other words, form is a function's container, and function is content in form. It can be said that, therefore, the form and function are indispensable and commensal individuals which have coetemal relations. From the different point of view, sometimes, one is more emphasized than the other, but in this case, the logic is only accepted on the assumption of recognizing the importance of the other's entity. The fact can be proved what Frank Hoyd wright said that form and function are one. In spite of that, the form and function should be considered as independent indivisuals, because they are too important to be treated just as the simple single one. Form and function have flexible properties to the context. In other words, the context plays a role as the barometer to define the form and function, also which implies every meaning of surroun'||'&'||'not;dings. Thus, design is formed under the influence of situations. Situations are dynamic, like the design process itself, in which fixed focus can be cripping. Moreover, situations control over making the good design. Judging from the respect, I defined the good design in my thesis An Analytic Research on Desigh Ethic, "good design is to solve the problem by the most proper way in the situations." Situations are changeable, and so is design. There is no progress without change, but change is not neccessarily progress. It is highly desirable that there changes be beneficial to mankind. Our main problem is to be able to discriminate between that which should be discarded and that which should be kept, built upon, and improved. Form and Function are no exception. The practical function gives birth to the inevitable form and the $$\mu$ti-classified function is delivered to the varieties of form. All of these are depended upon changeable situations. That is precisely the situations of "situation de'||'&'||'not;sign", the concept of moving from the design of things to the design of the circumstances in which things are used. From this point of view, the core of form and function is depended upon how the designer can manage it efficiently in given situations. That is to say that the creativity designer plays an important role to fulfill the purpose. Generally speaking, creativity is the organization of a concept in response to a human need-a solution that is both satisfying and innovative. In order to meet human needs, creative design activities require a special intuitive insight which is set into motion by purposeful imagination. Therefore, creativity is the most essential quality of every designer. In addition, designers share with other creative people a compulsive ingenuity and a passion for imaginative solutions which will meet their criteria for excellence. Ultimately, it is said that the form and function is the matter which belongs to the desire of creative designers who constantly try to bring new thing into being to create new things. In accordance with that the main puppose of this thesis is to catch every meaning of the form and function and to close analyze their relations for the promotion of understanding and devising practical application to gradual progression in design. The thesis is composed of four parts: Introduction, Form, Function and Conclusion. Introduction, the purpose and background of the research are presented. In Chapter I, orgin of form, perception of form, and classification of form are studied. In Chapter II, generation of function, development of function, and diversification of function are considered. Conclusion, some concluding words are mentioned.ioned.

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Effect of Taeeumjoweetang on the Body Composition, Serum Lipid Level and Antioxidant Enzyme Activity of Obese Female College Students (태음조위탕의 적용이 태음인 비만여대생의 신체조성, 혈청지질농도 및 혈중 항산화 효소에 미치는 효과)

  • Kim, Hye-Ju;Ahn, Hong-Seok;Oh, Eun-Ha;Kim, Young-Locke
    • Journal of Sasang Constitutional Medicine
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    • v.23 no.3
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    • pp.391-401
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    • 2011
  • 1. Objectives: Though the eating habits have improved and the living method has become convenient according to the economic growth thanks to the modern industrialization, because of the lack of exercise, obesity, wrong eating habits and stress etc, various symptoms of disease of adults are on the rise. This is the phenomenon that happens as the eating life has become life in the West along with the inundation of the western culture in our society. In this perspective, there has been many various clinical research that's been proceeded so far about the physical constitution and obesity, but there has been little research on the objective analysis of the clinical research about the alimentotherapy using taeeumjoweetang. 2. Methods: In this research we have checked the weights, fat rates, fat weight, abdominal fat rate, blood pressure, and BMI over the objects of the women that were diagnosed as lunisolar system as their physical constitution, and assessed the paramecium lipid, in-blood antioxidation enzyme and the damage of oxidization in the urine by physical constitution-specific of the body shapes that were determined by BMI. The statistical analysis of the current research was processed by using of SPSS 17.0 program. We have figure out statistical amounts such as the arithmetic average, average deviation rate and percentage number. Fro the verification of he significancy of each elements, we have used the paired t-test, ANOVA, Chi-square test at the level of p<0.05. 3. Results and Conclusions: Their characteristics are age $21.20{\pm}1.35$, height $160.30{\pm}6.11cm$, weight $64.66{\pm}8.72kg$, fat rates are $35.97{\pm}4.87%$, fat amount $23.40{\pm}5.48$, abdominal fat rate $0.823{\pm}0.03$, BMI $25.12{\pm}2.79kg/m^2$, and systolic blood pressure $111.60{\pm}10.28mmHg$ and diastolic blood pressure $68.60{\pm}7.43mmHg$ and we have let them take the medicine twice a day for 8 weeks. The clinical result for the Cholesterol, Triglyceride, HDL-cholesterol, LDL-cholesterol, SGOT, SGPT, of the object people was that for the function of the liver, the result of the SGOT and SGPT test was $17.16{\pm}3.05$, $15.00{\pm}2.99IU/L$, which was a decrease, and had statistical meaning, but for the SGOT, though the figure reduced to $11.92{\pm}4.61$, $10.80{\pm}3.07$, it had no statistical meaning. For the whole cholesterol level, the figure reduced to $169.00{\pm}19.95$, $160.08{\pm}22.52$ mg/dL and had statistical significance(p<0.05). Neuter fat number, Triglyceride has slightly increased to $67.52{\pm}36.32$, $68.08{\pm}47.33$ mg/dL but did not have any statistical meaning. The antioxdant enzyme marker standard marker, SOD has increased to $2.52{\pm}0.73$, $2.86{\pm}0.60U/ml$, and had statistical significance(p<0.01). Catalase also increased by $0.63{\pm}0.18$, $1.07{\pm}0.25mmol/ml$ and had statistical meaning(p<0.01). GPx also increased to $204.76{\pm}32.64$ nmol/ml and had statistical meaning(p<0.01). But, for the Total antioxidant, though it has raised to $1.51{\pm}0.26$, $1.57{\pm}0.17nmol/{\mu}l$, it did not have any statistical meaning. MDA of oxidative stress marker has decreased to $1.70{\pm}0.68{\mu}g/ml$, $1.21{\pm}0.50{\mu}g/m$ and had statistical significance(p<0.01). 8-OHdG also decreased $3.35{\pm}0.95ng/ml$, $2.21{\pm}0.50ng/ml$ and had statistical meaning(p<0.01). In this research, we have analyzed the various markers relating to BFM and changes in oxidative enzyme in blood by takingtaeeumjoweetang. Taeeumjoweetang has the positive effect on inbody antioxidant system and reducing the content of cholesterol, which is proven to help losing weight and improving hyperlipidemia statistically. With this research, we hope to improve the lifestyle of those who are either obese or need to manage their dietary habits, and also to become the touchstone of integrating Oriental Medicine with the science of food & nutrition.

Semiotic Interpretation of Vivienne Westwood's Works Reflected Punk Rock (펑크록이 반영된 Vivienne Westwood 작품의 기호적 해석)

  • 장애란
    • Journal of the Korean Society of Costume
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    • v.39
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    • pp.197-215
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    • 1998
  • Vivienne Westwood, the revolutionary cre-ator of Punk fashion(ripped T-shirts, bondage clothes, fetishist accoutrements) was a street fashion designer. Although Westwood's clothes have frequently been described as decadent, degenerate and unwearable, they have also exerted a powerful influence on interntional fashion. Westwood became a fashion designer in the mid-1970s, when he emergence of Punk put London back on the fashion map for the first time since 1965. Just as the Mods, Rockers, and Hippies of the 1960s had embraced par-ticular styles of dress and music, so also did the Punks create their own subculture. The Punk“style in revolt”was a deliberately“re-volting style”that incorporated into fashion various offensive or threatening objects like tampons, razor blades, and lavatory chains. Vivienne Westwood and parter Malcolm McLaren articulated this youth culture, who roots lay in music. A sign is something which stands for some object or idea, while the semiotics are the ex-ternal expression for an internal meaning. Semiotics can be used as a medium of communication between dress and music. A language is simply used for explicit of meaning, while the style of dress and music express the explicative and implicative signs. Peirce's scheme among several theories of the semiotics was chosen for this study, because the Peirce's scheme was the first non-language communication medium between external and internal stages, and readily inter-preted the styles of dress and music. Punk rock was studied at first to identify the style which influenced Vivienne Westwood's works and then Semiotics were used to apply the above results to the 1970s and 1990s for analyzing and interpreting the Vivienne Westwood's works were also interpreted by the symbolic characteristics of Semiotics, because the symbol of semiotics often found at Youth Cults reflected punk rock. The symbol of revolt, decadence, grungy, freedom in Vivienne Wes-twood's works wre determined by using Punk rock's semiotics. This study could conclude that the style of dress and punk rock were able to be interpreted by semiotics.

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