• Journal of the Korean housing association
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• v.24 no.6
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• pp.93-101
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• 2013

This research purposes to understand architectural aim which the owners of buildings in the Doa-Rak-Dang block pursue through the history of family and construction. Moreover its other purpose is to find the design concepts which were selected to achieve the aim and the design elements which were applied to realize the design concepts. To accomplish the objects, it got rid of a stationary viewpoint but it approached with a dynamic viewpoint which can read the changes in the steps during various periods. Through the 100-year history of construction, the architectural aim of the Doa-Rak-Dang block is to establish the tradition of the Ok-San-Pa family to get over the social limitations of the family of a child by a concubine which began from Lee, Eun-Juk's mistress. The design concepts which were used by the owners of the Dok-Rak-Dang block to achieve the purpose are the extension of public territory and the enrichment of territoriality which have social-political, economical and symbolic means. The geometric applications such as axises and regulating lines were the design elements which were chosen to fulfill the concepts. If the establishment of the architectural aim and design concepts, the process of selecting and constructing proper design elements, and the geometric application in the process are the design principles of the Doa-Rak-Dang block, the principles can be summarized as the geometric applications of axises and regulating lines interacting as the standard of the extension of public area.

• The Research Journal of the Costume Culture
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• v.24 no.6
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• pp.903-919
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• 2016

This study aimed to contribute to the development of various female fashion designs by reviewing the genderless styles in androgynous trends that have loomed large in women's fashion, as well as through analyzing and organizing the changes in women's fashion that were required in a society in which various values coexist. A literature review was conducted to identify the genderless concepts, through which a total of 1,273 materials were selected from 10 brands of the S/S collections, during the period of 2006~2016. The results were as follows: first, without the juxtaposition of incongruous objects or images and a fixed type of color arrangements, the compromise shown in women's fashion were mostly expressed through various tones and diverse colors, and with the mixed use of heterogeneous patterns and materials. Second, the enjoyment of genderless styles was expressed with the unexpectedness that occur through symmetry/asymmetry and harmony/disharmony, as well as through the deviation from conventional notions regarding clothing structures. Third, the exaggeration expressed in women's clothing collections perfectly covered up a woman's body shape with the silhouette of exorbitantly expanded bulk and dimensions. These were done with extended lengths, expanded adornments, and modified clothing design types or structures. Fourth, the sensuality of genderless styles analyzed in women's fashion was expressed with mannish clothing that accentuates the beauty of the female body. Lastly, the historicity shown in genderless styles was expressed through clothing that represented traditional styles of the past, the symbolic meanings expressed in the clothes' colors and patterns, and the methods in which the decorative factors were utilized.

• Korean Institute of Interior Design Journal
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• v.24 no.2
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• pp.171-179
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• 2015

The aim of this study is to figure out the preference features on design components of shop facade on the basis of the questionnaire survey on short-term memory and sensory memory of human right after an image experiment. As for a preceding research, this study examined the design features of facade into tangible elements and intangible elements, and also classified them into physical, aesthetical, marketing and symbolic components in detail. And, it extracted 5 representative elements in preceding studies including shape, material, pattern, color and sign, which is the standard of a questionnaire survey and preference analysis. The subjects of the experiment were 30 men and women who were over 20 years old majoring interior design. They were exposed to 20 images with 10 seconds respectively through a video, and were asked to respond the questionnaire promptly. The findings of preference analysis of design components of facade including shape, material, pattern, color and sign are as follows. Firstly, shape was the most interesting and attracting component, and designs applied with shape of objects such as 'web', 'drawer', 'wheel' and 'button' obtained high preference. Secondly, as for material, block, steel, exposed concrete board attracted higher preference as memorable materials than other materials. Material was affected by shape, pattern and color. Thirdly, pattern was the most lasting element. Designed pattern had higher preference than simple pattern. Fourthly, as for color, red and green with strong stimulation and attention attained priority having long lasting memory. Fifthly, when visiting a shop, sign out of 5 elements of shape, material, pattern, color and sign drew attention the most. As for the preference of location of sign, 'center top' was the most noticeable. The findings of this study could be utilized for facade design, and also could be used for commercialization considering highly preferred components, and top preference aspects of such elements. advised that to give an impression to customers is important to make a successful design for sales marketing, which, in turn, would lead customers to revisit the shop.

• The Research Journal of the Costume Culture
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• v.16 no.3
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• pp.475-487
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• 2008

The purposes of this study are to find the values of playful design by exploring what forms of playful expressions and characteristics appear in the haute couture collections that feature "high culture" other than street fashion or popular fashion and to help expand the scope to include newer and more creative design ideas. Concerning theoretical background, the study reviewed the literature to understand the concept of playfulness and see what types of playfulness there are and how it is expressed. Based on the results, the study examined the features of playfulness by analyzing the works of haute couture collections which since 2000. The results can be summarized as follows: First, designers in the haute couture collections constructed their own identities by expressing their instinctive desire for playfulness through graffiti such as cartoons or scribbles and delivering direct and specific messages or ambiguous and symbolic meanings through such things. Second, the haute couture collections revealed the human body in a transformed or distorted shape through deformation of clothes or accessories presented brand-new dressing styles by breaking away from the past ways of dressing; and expressed playfulness intentionally with distorted materials. Third, is the "depaysement" technique. This collage technique selects all possible objects going beyond inartistic routine matters or boundaries of which we are aware and changes their positions and purposes of use to express the playfulness of "harmony in disharmony." Fourth, the haute couture collections created a feeling of playfulness by featuring parodies of retro elements, a slice of popular culture, or a variety of painting styles. Finally, like using dolls or toys as accessories or making direct use of parts of clothes, combinations between attributes given by the images of those accessories themselves and creativities found in haute couture dresses are just as fun of authoritarian bias in favor of prestigiousness.

• Sim-seong Yeon-gu
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• v.39 no.1
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• pp.92-128
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• 2024

This study examines Gijesa, a Korean tradition of memorial worship for departed ancestors, from the perspective of analytical psychology. To understand the psychological background of ancestral rites, a literature search was conducted to examine the basis for ancestral spirits, the objects of ancestral rites, the symbolic meaning of the customs and practice of Gijesa, and the contents of volume 3 of the book Jhuza-uryu about 'Ghosts and Ancestral Rituals'. Gijesa, the Korean ancestor worship, may appear as a complicated formal ritual, but it reveals a psychological phenomenon of individuation. Gijesa facilitates a conversation between descendants and ancestors, bridging the conscious and the unconscious, leading to a realization of totality. The creative aspect of spirit worship lies in the 'realization of the individuation process' in that it fosters a connection with the collective unconscious, the root of consciousness. When an individual develops into a new integrated personality, we could gain strength from the support of ancestors, the support of the unconscious. The relationship with the spirits of ancestors is essential because consciousness has an important relationship with its root, the collective unconscious, especially for those of us living in an era of chaos where the fundamental meaning of human existence is lost due to rationalism and materialism.

• Cartoon and Animation Studies
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• s.40
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• pp.521-549
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• 2015

We recognize all objects by seeing. However, we are not sure that the things we see through our eyes are their essence. Here comes my question: What does it mean that humans see and recognize things? The things we see are images and so I consider recognizing an object as semiosis via our visual sensation and brain. That is because objects are defined not by their essence but as symbols we recognize. In the era of post-modernism art is a voluntary creative activity that creates a kind of spiritual value and plays an important role for appreciators who realize the fact to enjoy the life value. This paper focused on the art putting aesthetic value on humans' recognition and explored works of art in a visually perceptible way through semiosis. That is because art, an act of creating things, is symbolic and closely linked to semiotic system. Furthermore, derivative visual signs can be considered to be in line with the viewers' visual perception. If we interpreted by recognizing the works of art along with symbol, we can enjoy the works in depth through recognizing their color or shape. Therefore, I intended to discourse on color perception focusing on colors in order to analyze the relationship between art and symbol in the process of recognizing works of art. This paper looked into background of color recognition, status of colors and ways of expression for impressionist who painted with various colors and examined colors as a sensory language. In the process of interpreting art works by communication between the artist and viewers, the role of color is considered as visual symbol through the artist's experience, consciousness, emotions, and their senses. It can be interpreted the visual language through signification of the symbols when the colors are formed in works of art as a recognizable space. Therefore we expect to study in the Visual arts to be the colors symbolic analysis is extended to more effective communication tool.

• Archives of design research
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• v.18 no.3 s.61
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• pp.199-208
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• 2005

This study analysis if the concepts of kitsch and vernacular remains as cultural elements for product design. Because their function and aesthetic value have vivid possibilities for general product design fields. For the purpose, this study limits its range within post modernism, kitsch, and vernacular, and analyzes their relationships. Against functionalism, post modernism had cultural pluralisms to approach into popular styles, and some of them was amusing design. That post modernism designs stimulated human beings' emotion by decorations or some symbolic forms from specific objects is similar to the symbolism, regionalism, or pluralism of kitsch or vernacular. Kitsch is a free style that is not limited in any specific trends. It is a Meta culture that has influenced into various fields including design, so kitsch does not have a parallel position with a product or design. In product design, kitsch is the behavior and result of imitating existing objects' images. It could have amusement according to which objects are imitated. So if human beings feel amusement by kitsch, it could be same as the direction of post modernism. Kitsch is determined by design atmospheres. They cannot be specified abjectly, and can be different according to people. With symbolism and regionalism, kitsch and vernacular appeared according to people's needs. While kitsch is consumer's tastes-oriented, vernacular is cultural tradition-oriented. Kitsch has symbolism that specifies products' functions or design concepts, and it is a communication method between human being and products. Because vernacular is province-oriented, it has a lot of styles according to regional living environments and cultural differences. So vernacular design reflects continued traditional lifestyles. By restorative memory, regionalism, cultural pluralism, amusement, and symbolism, kitsch and vernacular could be understood the sub or parallel concepts of post modernism. They might be easily miss-understood mixed concepts that have western and national characters. But in kitsch and vernacular concept, modernizing pas by using the pluralism of post modernism should be considered positive. So, the range of the further study is also supposed to be focused on more widened fields to, to establish cultural identification in design.

• Journal of Ginseng Culture
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• v.6
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• pp.35-50
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• 2024

"Culture refers to the behavioral and lifestyle patterns that a society has shared and transmitted within the community over a long period. Ginseng, frequently encountered in the daily life of Koreans through tools, crafts, folklore, and poetry, holds a deep place in the behavioral and lifestyle patterns of the Korean people. Ginseng, engraved in everyday objects, crafts, and poems, is symbolic in our culture as a representation of longevity and well-being. Ginseng elegantly depicted on ceramics serves as a symbol of longevity along with aesthetic beauty. The common inclusion of ginseng in ritual items in mountain deity beliefs, particularly represented by the 'Bullocho' (不老草) ginseng, reflects a strong belief in the mystical qualities of ginseng associated with longevity and prosperity. The incorporation of ginseng into commonly used everyday tools such as rice cakes, dining tables, decorations, matches, and fans suggests that ginseng was considered a talisman symbolizing health and longevity, kept close as a wish for good fortune. Rice cakes, often presented at ceremonies like ancestral rites, 60th-anniversary celebrations, weddings, and birthdays, had ginseng patterns carved into them as a way for our ancestors to inscribe the spirit and health-symbolizing ginseng onto the food. In family communities, ginseng patterns are frequently found on utensils related to eating, such as chopsticks, spoons, tea cups, and trays. Among the various folklore related to ginseng being passed down, the most prevalent are anecdotes illustrating its efficacy. Ginseng, gifted and exchanged as a symbol of gratitude in letters and poems, goes beyond being a mere medicinal herb to embody friendship and blessings. The symbolism of ginseng, as revealed in everyday objects, artworks, poems, and letters, can be summarized as follows: 1. In folklore and legends, ginseng symbolized filial piety offered to parents. 2. It represented gratitude sent to respected teachers and close friends. 3. Ginseng depicted on daily objects and artworks not only showcased aesthetics but also played a magical role in symbolizing longevity and well-being. Ginseng patterns on items like rice cake molds and dining tables embody the spirit of a caring community, wishing for longevity and prosperity."

• Journal of the Korean earth science society
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• v.28 no.4
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• pp.393-404
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• 2007

The purpose of this study was to identity scientific models included in the Earth domain of the $10^{th}$ grade science textbooks. Three earth science-related chapters in each of 11 trade books were analyzed. A framework was developed and used to classify a scientific model from three different perspectives: medium of representation, method of representation, and mobility of a model. Results showed that the science textbooks utilized domain-specific models in which the nature of sub-areas of earth science was embedded. That is, the unit of 'Change of the Earth' included many iconic models that represented the inaccessible inner structure of the earth and the movement of the tectonic plates. These were also two-dimensional pictorial and static models. In the chapter of 'Atmosphere and Oceans', symbolic and diagrammatic models were dominant in use, which included weather maps and contour line graphs of sea surface temperature and salinity. The unit of 'Solar System and Galaxies' showed the highly frequent use of iconic and analogical models for the large-scale celestial objects and their movements. Implications for earth science education and relevant research were discussed.

• Korean Journal of Adult Nursing
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• v.12 no.4
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• pp.690-705
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• 2000

This ethnography was based on Kleinman's explanatory model of a health care system. It is conducted to make thick discription of illness conception of the elderly in a sociocultural context. The basic assumptions were as follows. 1) A health care system is a cultural system, and as with any other cultural system, it is a system of symbolic meanings anchored in a particular arrangement of social institutions and patterns of interpersonal relationships; 2) In all societies health care activities are more or less interrelated. Therefore, they need to be in a holistic manner as socially organized responses to disease that constitute a special cultural system; health care system; 3) Health and illness experiences are the natural process of disease. Individuals who recognized a for state of health, their family, neighbors, and communities define the state, search for causes of the health problems, and response to it. According by, they proceed to search for healing stratagies. So, understanding of the illness experience is the starting point for health care. The study participants were 12 elders aged 60 or more. The fieldwork was conducted in an agricultural clan village of Namwon city. The data collection and analysis were cyclic, from descriptive observation, domain analysis, focused observation, taxanomic analysis, selected observation, componential analysis, and finally cultural themes were all analysed. Proxemic and text analysis techniques were used according to the characteristics of the data. The data of sociocultural context and descriptive data were collected from 1990 to 1992. Informations on illness concepts were collected during 1994 using focused observation. Data confirming and contrast observations were conducted from 1997 and 1999. Illness concepts of the elderly were taxonomized supernatural cause, non-supernatural cause, immediate cause, and ultimate cause. The supernatural ones were ancestors, god of home, god of village, and ghost such as 'sal(evil force of dead man)' and 'gagqui(ghost of begger)'. The non-supernatural ones were Ki, natural phenomenones, natural objects, foods, human and human behaviors. Immediate ones were insufficiency and overflows, discretion and consolidation, disorder and out of order, cloudness and contamination, and fluctuation and stagnation of supernatural cause and non-supernatural ones. Ultimate causes were intrusion and loss of supernatural and nonsupernatural ones. The cultural themes of illness concepts of the elderly are: 1) illness concepts are not based on causality principle, but on reciprocal principle; 2) illness concepts are affected by social level and charicteristics of the patients; 3) the causes of disease are recognized as imposed both positive and negative effects on health based on interpretation of the indiviuals; 4) illness concepts reflects on principles of everyday life of the society members such as hierachial structure and group cohesiveness; 5) illness concepts are ruled on principle of reciprocity and spread; 6) illness concepts are interrelated with physical environment of the participants. It can be concluded that the illness concepts of the elderly in a traditional clan village are a component of health care system as a cultural system based on these results. The these results can be a useful basis for gerontological nursing practice and education.