• 복식
• /
• 제65권6호
• /
• pp.99-111
• /
• 2015

The purpose of this study is to identify the expression methods of uncanny images shown in contemporary fashion through the visual expression methods of plastic arts. The study results are as following. First, there is a concept-forming element of 'The return of Repressed', which is a psychological mechanism for generating uncanny sets to the component of 'repression' and 'return'. 'Repression' herein consisted of 'unconsciousness', 'the other', and 'anxiety', while the return was composed of 'trauma' and 'repetition compulsion'. Second, there are visual expression methods of the uncanny in contemporary art. The subject of 'repressed things' was expressed as grotesque and having a terrible look. 'Fragmented body' was analyzed as 'dismantling' by mutilation, 'combination' placing cut body parts in other places, and 'damage' suffering from an illness or accident. 'Fear of death' was shown as 'anatomy' reminiscent of death and 'iconography of death' meaning return of the dead. 'Post-human' was a surrealistic being such as a monster and mechanized human, and was analyzed as 'gene variation' and 'cyborg'. Third, the methods of visual expression of the uncanny reflected on contemporary fashion was analyzed as 'fragmented body', 'fear of death', and 'post-human'. 'Fragmented body' appeared as the object reminiscent of the fragmented body, 'dismantling and combination of the body', and 'damage of the body' through the distortion of the clothing construction principle. 'Fear of death' visualized the characteristic elements of the subject reminiscent of death as 'iconography of death' and 'symbolic object of death' through the motif. 'Post-human' was the description of the subject beyond the body's function and form, and was shown as 'gene variation' and 'cyborg'.

• 한국콘텐츠학회논문지
• /
• 제16권10호
• /
• pp.454-466
• /
• 2016

한국의 대중문화가 아시아를 시작으로 하여 세계로 퍼져나가는 현상을 한류라 한다. 한류는 우리나라의 대표적인 소프트 파워로 대한민국의 국가 이미지를 향상시키고 새로운 브랜드 가치를 창출하며 한류의 확산은 국가 경쟁력의 원동력으로 작용한다. 한류는 또한 대중매체를 통해 접한 특정장소를 방문하고자 하는 행동을 증가시키며 새로운 관광형태를 만들기도 한다. 한국대중문화의 관심의 정도에 따라 일반적으로 관광객의 한국에 대한 인식, 태도 및 행동양상이 매우 달라질 수 있는데 이를 한류관여도라 한다. 본 연구는 중요한 영향력을 가진 한류를 단순히 한류가 아닌 한류관여도의 측면에서, 첫째, 한류관여도가 국가 이미지와 관광지 이미지에 영향을 미치는지를 확인한다. 둘째, 국가 이미지가 관광지 이미지에 영향을 미치는지 여부를 확인해 본다. 셋째, 한류관여도가 한국방문의도에 영향을 미치는지를 확인한다. 양적분석을 활용한 가설검증 결과 한류관여도는 국가 이미지, 관광지 이미지 그리고 한국방문의도에 영향을 미침을 확인하였고, 국가 이미지는 관광지 이미지에 부분적으로 영향을 미침을 확인하였다.

• KIEAE Journal
• /
• 제9권3호
• /
• pp.61-68
• /
• 2009

Gwangju Metropolitan Government & Ministry of Environment have signed a model city in response to Climate Change agreement. The agreement calls for Gwangju to cut greenhouse gas emissions 10% below 2005 levels by 2015. Gwangju has seen this agreement as an opportunity to cut pollution and conserve the environment as well as to reinvigorate local economy. According to policy of Gwangju, Gwangju held design competition for Gwangju City Arboretum on march, 2009. The purpose of design competition was to give a wide publicity to Gwangju as Hub City of Asian Culture and construct carbon-neutral arboretum in accordance with the policy of 'Low-Carbon and Green Growth'. First of all, a design concept of arboretum is 'winding, round, overlay 'to reflect the landscape of Nam-do which is surrounded by mountains and river flows through the village. Second, the arboretum has five different places with these themes - Forest of Festivals, Health, Nature, Nostalgia, Education and Future. Each place has a symbolic theme park and different flow planning respectively. Third, the most critical point is that the arboretum is a carbon-neutral park. Gwangju arboretum will soon be developed in metropolitan sanitary landfill and constructed as the O2 arboretum based on low carbon strategy. Fourth, the O2 arboretum suggests specialized issue : 'Energy Saving', 'Recycling System', 'Green Network', 'Water System(rainwater maintenance and wetland development)'. Besides, main buildings(greenhouse, visitor center, Nam-do experience exhibition hall, and forest museum) is designed in consideration of harmony with topography character, surroundings. Also, planting will be a multilayer plant based on native landscape trees in consideration of function and the growth characteristics.

• 건축역사연구
• /
• 제19권2호
• /
• pp.21-42
• /
• 2010

1) The structural system of "Hwaeomgyeong" has its core in the fact it deals with certain themes repeatedly on the basis of "Sipjipum" as a system of discipline.( The key of Euisang's ideas lay in referring to the whole "Hwaeomgyeong" as Beopseong and expressing it with the term, 'Haeng'. Here 'Haeng' is a system of discipline based on "Sipjipum". This indicates that "Hwaeomgyeong" can be fully represented just by "Sipjipum" because the twos are structurally similar) (1) In "Sipjipum", a summary of "Hwaeomgyeong" is contained. Thus descriptions of "Sipjipum" may be like those of "Hwaeomgyeong". (2) "Hwaeomgyeong" had a three-dimensional spatial structure which corresponds with the Heaven of Yok Gye Yuk Cheon and the Earth, when associated with places of preaching Buddhist sermons. 2) This researcher investigated stone platforms of the Buseoksa Temple with references to "Hwaeomgyeong" and "Sipjipum". 1) All the platforms, whether their building is still remained on them or not, comply better with implications of "Sipjipum". 2) Different heights of the stone platforms and the axial refraction of the platforms brought by their shape changes all imply variations in discipline levels descrided in "Sipjipum", in terms of form and symbolic implication. Sites which mainly compose the stone platforms also comply with descriptions contained in "Hwaeomgyeong" regarding the place, frequency and contents of preaching Buddhist sermons. In conclusion, the outside of the Buseoksa Temple is composed of architectural spaces for which contents of "Hwaeomgyeong" and "Sipjipum" and the frequency and place of preaching Buddhist sermons are fully considered and comprehended.

• 대한지리학회지
• /
• 제50권2호
• /
• pp.217-237
• /
• 2015

석촌호수 일대는 러버덕으로 인해 '평화', '기쁨', '희망', '치유'의 장소로 포장되었지만, 그 이면에는 대기업의 숨은 의도가 내포되어 있다. 그럼에도 불구하고 관광객들은 언론매체를 통해 접했던 러버덕을 직접 보고, 확인하기 위해 석촌호수를 방문하고, 사진 촬영을 통해 낭만적 이미지의 노란 고무오리를 재생산한다. 따라서 그들의 사진 작업은 해석학적 순환의 마침표로 자리 잡는다. 그러나 러버덕을 무대삼아 이루어진 다양한 사진 수행으로 인해 석촌호수 일대는 다양한 정체성의 장소로 나타날 수 있다. 가족을 사진기에 담으면 '사랑하는 가족성'을 생산하는 장소가 될 수 있고, 피사체가 연인일 경우는 '애정의 장소'가 되며, 혼자만의 촬영이 이루어지면 '자기애'의 장소로 변모될 수 있다. 이때 '나'와 '우리'라는 주인공을 위해 고무 오리, 호수, 도시는 사진의 배경이 되어준다. 따라서 석촌호수 일대에서의 사진 수행은 석촌호수의 '지리'를 소비하고 반영하는 것에 머물러 있지 않는다. 그것은 새로운 '지리'를 생산한다.

• 한국조경학회지
• /
• 제26권4호
• /
• pp.25-35
• /
• 1999

This thesis is to newly understand the value and the meaning of Chonju Palkyong(全州八景) by the specific gravity in making a counter-proposal in other to improve the landscape identity of modern city and at the same time. I intended to group the grafting device for the preservation and regeneration of modern history cultural environment through the interpretation of landscape construction. The meaning system of Chonju Palkyong showed the symbolic system which a landscape construction, four directions and two places has and exhibited the landscape shape possessing a luxuriant local feature peculiar to Chonju, preserving visual bound language of a classical Palkyong. Especially, it implies the use of the substantial landscape experienced factor, the expressions about natural phenomena and the matter which has melted human living circumstances. The landscape construction and it's form show the system which forms the different time field, a far landscape and a mid distance landscape and a near landscape, etc., under the visual, psychological, scenic influenced area, preserving the feature of the similar and typical type of Sosang Palkyoung（瀟湘八景) which intended to seek the local reappearance of the famous site experienced type and natural matter which famous place and local conduct were combined. The object space of Chonju Palkyong area representing the nature of historical landscape cultural assets, pushed by the greater part of the development based theory, shows injured aspects, but needs to play a part to seek such a up-to-date successive plan as the reconstruction of the destroyed historical landscape area which motivated Palkyong, the establishment of useful area, the embodiment of the cultural identity of Palkyong area and the becoming of the educational cultural life space. The analysis of the landscape construction of Chonju Palkyong and the grouping of the modern successive plan which I considered in this thesis, will be able to become a fundamental data to carry out the preservation of historical landscape and the landscape plan in the city.

• 대한지리학회지
• /
• 제41권4호
• /
• pp.470-490
• /
• 2006

본 논문은 현대 사회운동 연구의 대표적인 접근법인 자원동원이론, 프레임이론, 신사회운동이론을 비판적인 관점에서 비교 고찰하며 이들의 한계를 극복할 수 있는 방안을 사회운동의 공간성에 대한 고찰을 통해 제시하고 있다. 현대 사회운동 연구의 주류 패러다임을 형성해 온 자원동원이론과 프레임 이론은 최근 논쟁정치 연구로 통합되고 있는데 이들은 사회운동의 동원과 전략, 정치적 과정에 초점을 맞추어 사회운동의 원리와 일반적인 법칙을 제시하고자 하였다. 그러나 사회운동의 전략적인 측면에 치우쳐 사회운동의 동인을 분석할 수 있는 틀을 개발하지 못하였고 이는 사회운동의 과정과 맥락에 대한 인식부족을 가져왔다. 신사회운동 이론은 새로운 사회운동의 발발을 거시적이고 구조적 관점에서 설명하고 있으나 추상적이고 대상지역이 한정되어 있다는 한계를 노 정해 왔다. 사회운동의 공간성에 대한 연구는 사회운동의 지역적 차이에 대한 심층적 이해를 도모하며 사회운동을 촉발시킨 갈등구조가 형성되고 집단행동이 조직되는 국지적 맥락에 대한 풍부한 통찰력을 제공해 준다. 또한 공간의 물리적 구조와 상징성은 운동의 규모와 방법을 제한하며 사회운동에 의해 활용되기도 하는 전략적 매개체이다. 사회운동의 공간성은 사회운동의 다양성과 역동성을 설명해주는 유용한 개념이 될 수 있다.

• 영어영문학
• /
• 제64권3호
• /
• pp.433-451
• /
• 2018

In Jesmyn Ward's 2017 novel, Sing, Unburied, Sing, Ward places herself within the modern African American literary tradition and lays out the unending "historical traumas" of blacks and cultural haunting in her narrative. She brings to the fore the story of a young black boy and demonstrates the difficulty of living while a black man in the American rural South. Living or dead, black males remain spectral as their frustrated black bodies are endlessly rejected and disembodied. It's through Ward's close attention to the notions of black masculinity and retrieval of (black) humanity that the black South is remembered, recuperated, and historicized. Shrewdly enough, Ward expands it further into the tradition of American literature. Instead of singularizing African American identity and its historical traumas, she renders them the part of American history and universalizing the single black story as the story of the American South. Filling in the gaps that Faulkner and other white writers have left in their novels, Ward writes stories about the unspeakable, the invisible, the excluded to deconstruct white narratives and rebuild the American history; and reasserts African roots and history, spirituality, black raciality and locality within the American tradition. I examine the symbolic significance of Jojo's claim of black masculinity within the socio-political contexts of contemporary America. I also look closely at Ward's portrayal of Jojo's black family genealogy on account of its traumatic experiences of incarceration in notorious Parchman Farm. Locating Jojo as the inspiration of linking the past and the present, the unburied and the living, I contend that Ward creates "home" for blacks in an atemporal oceanic space where the past and the present are able to meet simultaneously. I argue that the oceanic space is an alternative space of affect that functions against the space of white rationality.

• 한국의상디자인학회지
• /
• 제23권4호
• /
• pp.39-56
• /
• 2021

The purpose of this study was to observe the expressive characteristics of Neo-Deconstruction design, examine the expressive characteristics of Neo-Deconstruction design in the collections of Jacquemus, and analyze their internal meanings. For research, observations were made based on the concepts and expressive characteristics of Deconstruction through prior research and literary review, and analysis was conducted focusing on the expressive characteristics of Neo-Deconstruction. The scope of analysis included a total of 605 photographs collected from a total of 17 season collections of Jacquemus from the 2013 S/S to the 2021 S/S season. The results are as follows. First, the Neo-Deconstruction of Jacquemus expresses the youth culture using bright images such as diverse colors and patterns with 'positive playfulness' and pass on positive messages with deconstructive and playful forms, such as exaggeration and reduction and recombination and reconstitution. Second, with tendencies of 'symbolic receptivity', Jacquemus gained inspiration from his own life, memories, and hometown, and attempted to express the street women of places such as southern France, Paris, and Monaco in a number of collections. Also, he proposed designs that can be worn easily by anyone, regardless of gender, and as plus size models began to become more common respect was given to the tastes and preferences of diverse individuals without distinctions based on body type or sexuality. Third, 'geometric simplicity' was generally expressed by pursuing simple and practical fashion with the addition of details, such as geometric forms including stripes or asymmetrical expressions centering around everyday material that is used in clothing. Fourth, with "open communication," Jacquemus constructed his identity by addressing the various needs of consumers based on social network services and continuously sharing his creative ideas with the public. He is gaining popularity in a unique way by responding quickly to the changing atmosphere of society.

• 한국농촌건축학회논문집
• /
• 제24권4호
• /
• pp.9-16
• /
• 2022

The purpose of this study is to analyze the cross-sectional ratio of the courtyard, an external space that not only was used as a workplace, shelter, and playground in our lives, but also gave symbolic meaning to Koreans. Since the beginning of 2000, Hanok began to receive rapid attention from people, and Hanok construction and remodeling were actively carried out in urban and rural areas. In particular, Bukchon and Seochon in Seoul, around Cheonmachong in Gyeongju, and Hanok Village in Jeonju became popular places related to hanok, and Gyeongju, Buyeo, Gongju, and Iksan were designated as ancient districts to encourage the construction of hanok. However, although hanok is being built with national trends, support, and interest, attention is focused only on the external form, materials, and convenience of use, and the composition and system of the external space have not been properly reviewed. Therefore, this study aims to understand the functions and meanings of the yard in traditional housing, and to analyze the proportion of the height of the building surrounding the yard and the depth of the yard in terms of closure and opening. In addition, the system and characteristics of the external space of traditional architecture felt by this can be used as basic data in designing traditional architecture.