• 한국의상디자인학회지
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• 제15권2호
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• pp.109-121
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• 2013

Modern Hanbok uses newly different color coordination based on traditional color coordination and symbolic meaning. Thus, this study would investigate the aspects of color coordination and symbolic meaning and present the characteristics of Hanbok as the data of corresponding period in the modern times. In order to investigate recent trend of preferred colors and color coordination of Hanbok, this study focused on the period of 2005~2010. When analyzing colors of Jegori(jacket), Wh, Y, B, YG, P and Gy series are shown in order. For trends for color of Chima(skirt), Pk, R, P, Gy and Bk series are shown in order. When you look into the color coordination of skirt and jacket on whole, color coordination of Pk-Wh represents the highest frequency. Color coordinations of Pk-Y, Pk-B, R-Y, R-G and Pk-G are followed in order. Color coordinations of R-YG, Bk-Wh, O-Y, P-Wh, Pk-YG, Gy-Y, R-Wh series and Gy-Wh are followed in order. When looking into characteristics of overall color coordination of Hanbok, it was shown that there were many opportunities to meet a variety of culture and various colors had emerged depending on individual taste and skin color in the modern times within the framework of basic colors of woman's 'Nokeuihongsang'(Green upper garment and red skirt) R-G, Y series, which are traditionally inherited. In addition, unlike existing traditional color coordination of five elements in the past, P, Gy and Bk series of color appeared in the skirt and Jacket. It could be affected by fashionable drama and films at that time and newly attempted colors ahead of fashion were reflected on the magazine. Therefore, it implied that it naturally gave new awareness of colors to the general public and the width of selection of colors became diverse.

• 한국조경학회지
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• 제36권1호
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• pp.90-102
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• 2008

This paper has aimed to determine how the Suwon Palkyong(水原八景: eight scenic wonders) were formed and the implicature of landscape, such as implicit intention and symbolic significance. For this, the significance and symbolic meaning of the Suwon Palkyong from the time of the 'Hwaseong Chunchu Palgyeong(華城春 秋入景)' have been investigated in order to determine the political and social arguments in Suwon Palkyong that surrounded the formation process and meaning. The 'Hwaseong Chunchu Palkyong' contains a variety of significant elements and factors of Pungmul(Korean drum & dance) as well as formative elements such as a castle. Plantings for beautiful scenery and water use for flood control have also been major elements in the development of Hwaseong. Therefore, it seems that the 'Hwaseong Chunchu Palkyong' is a catchphrase for the future image of the urban landscape. Most Suwon Palkyong sites such as Paldalsan, Namje, Yungneung, Manseokgeo, Chukmanje, Hwahongmun, and Yongji(a pond in Banghwa Suryujeong) are related to the 'Hwaseong Chunchu Palkyong'. 'Gwanggyo Jeokseol(光敎積雪: the landmark mountain, Mt. Gwanggyo with snow)' and 'Paldal Cheongnam(八達晴嵐: Mt. Paldal with shimmering air)' have also been added to Suwon Palkyong. Suwon Palkyong is either directly or indirectly related with water including the origin of Suwoncheon(水原川), an artificial reservoir for flood control and irrigation and Bibopungsu in Yungneung(隆陵), as well as the source of water for rituals after the death of King Jeongjo(正祖大王). Based on Suwon Palkyong, therefore, it can be said that water is a decisive medium in connecting old Suwon with Hwaseong New Town and essential element in the natural landscape. In conclusion, while Hwaseong is a 'Designed Landscape' that was created with a specific intention during the reign of King Jeongjo, the 'Hwaseong Chunchu Palkyong is a 'Desired Landscape' that envisioned a future landscape while Suwon Palkyong is an 'Evolved Landscape' related to the business affairs of the citizens. To completely restore Hwaseong, whose value and importance have been recognized internationally, therefore, the fundamental restoration of a cultural landscape as well as the restoration of the original form of the Hwaseong landscape including Suwon Palkyong is essential.

• 한국조경학회지
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• 제29권3호
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• pp.55-60
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• 2001

The Seomoon Bridge, a new planning site, is located in Sangdang-Gu Seomoon-Dong, Chongju and is the oldest bridge built during the rule of Japanese imperialism. As the name implies, Seomoon Bridge is located on the site adjacent to west gate. The Seomoon Bridge is an important bridge as an historical trace of the vanished town of Chongu. However, as new roads and bridges are built, the Seomoon Bridge is losing its functional aspects and has become an area crowed by many street stalls. Closely located newer to Sajic Fountain, the Seomoon Bridge, which has symbolically significant meaning, now faces many problems such as non-practical use of bridge, indifferent management and non-locality, which creates a negative effect on the surrounding cityscape. given this situation, in 2001, 2, Chongju city published an appeal for public subscription of a practical use plan which may design a new, landmark and establish resting spaces for the public. The basic direction of this planning is designed to be place as the symbolic space representing Chongju, and integrated with the surrounding environmental elements such as Moosim-Cheon(stream) and Sajic Fountain, and as a recreational, resting and leisure space of the public. Especially nightscape of the bridge inspires a fresh impact on many people. Because of the widespread influence of developed cities, diverse spaces which already exist or have disappeared may be reclaimed. By establishing appropriate use plans rather than negligence, this project will propose the improved quality of cityscape and show the possibility of bublic´s outdoor living space, and our team will find out the meaning in these approach methods.

• 문화기술의 융합
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• 제9권5호
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• pp.909-917
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• 2023

기호학 이론은 현실주의 영화의 해석에 있어 매우 중요한 역할을 수행한다. 현실주의 영화는 현실 생활의 사건과 상황을 반영하는데 집중하며, 사실적인 묘사를 통해 관객에게 현실의 문제를 생각하도록 한다. 이 과정에서, 기호학 이론은 영화 속의 상징적인 요소와 그 배후에 함축되어 있는 깊은 의미를 해석할 수 있도록 유도한다. 본 연구는 리얼리즘 영화에 나타난 기호학적 특징을 소쉬르의 기의와 기표의 개념을 통해 접근하고, 특히 영화의 기호에 나타난 임의성과 2급 기호 체계(언어체계+신화 체계)가 영화의 기호적 함의와 영화의 문화적 의의에 작용하는 과정을 분석하고자 하였다. 그리고 <도가니>의 사례에서 적용되는 과정을 살펴봄으로써 영화 속의 함축적인 서사 구조, 의미 구조, 이데올로기가 사회를 반영하는 대중문화 속에서 드러내는 영향과 효과를 연구하고자 하였다. 연구를 통해 영화의 기호가 전달하고자 하는 잠재적 정보의 다채로운 가능성을 볼 수 있었으며, 기호학을 통해 창의적 견해와 해석을 가능성을 볼 수 있었다.

• 미술이론과 현장
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• 제5호
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• pp.7-24
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• 2007

The subject is connected with a structure named "The Symbolic" to Lacan, but he denied that the subject is explained simply as a fruit of language and "Other". From his point of view, passing through Subject, De-formation and Crack over it is designated as foundation of generation and creation rather than our destined defect. It should not be understood that subject of "The Real" is a concept of the subject free itself from restraint of "The Symbolic". However, this does not mean he asserts "Subject" is something incapable of being controlled by the unknown power. The problem is that this autonomous existence meets inside of it with something "more than one's own self" by "circulating around itself" like a permanent star. This is the indication of a "stranger in the middle of my privacy", or "extimit$\'{e}$", a coined-word by Lacan. Perhaps "Subject" is nothing more than the name of distance of object which is "too hot" to come close, and of this circulating movement. It's because of this object that the real subject stands against generalization and the subject can't be restored to any place in symbolic order-even though it is empty. The part which is told from Lacan's structural theory, that is to say, an importance to Lacan is that his Subject theory is not suggested or denied as a manual structure. On the contrary, it is a study of the relationship between the settled symbol that included in "real subject which is a unconscious one" and the symbolic subject hold- that is a metaphysical subject in general meaning. In Lacan's enlarged concept of subject beyond symbolic reality, it is noticeable that it gives justifiability to the union of a medium of different nature in artistic expression. We can recognize that the unconscious world is a living space which enables it to be a "condition of human being", not something dark under the surface of water through Magritte's(Rene Magritte, 1898~1967) surrealistic works. In other words, Magritte's art secures a core dimension of human nature through a mysterious gap of conscious and settled space. Magritte's drawings often evokes strange and unsettling feelings in people who view his paintings. This is because routine objects are found in "unsuitable" places from which we usually find them in our everyday lives. "Reality" in Magritte's paintings makes it aware that it is a strained field of concealment and disclosure basically between truths, and we can learn that his behavior to overturn to paint in-visible things is finally an effort to restore the "real subject" to the viewer's reality. In other words, such reversion arouses a nostalgic desire for the objects existing in their original appearance as they are - natural condition that our gaze had not been distorted yet by anamorphic stains. - and the state when we are conscious of them normally. Such desire offers an opportunity for us to get out of mental depression rather than operates to us as an abnormal crack. It's a successive process of effort to search for lost subject and Paradise Lost facing up to reality of subject human that is to be a subject of world and life are ousted from their place by structure and authority of culture.

• 디자인학연구
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• 18호
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• pp.113-121
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• 1996

현대의 소비자들은 어떤 상품을 구매할 때 상품의 효융성을 기초로한 사용가치보다 상징적, 혹은 기호적 가치에 더 열중한다. 그런 경향은 단지 상품만이 아니고 사라으 이별 등 추상적 심리에도 마찬가지로 적용되어 상품을 만드는 생산자나 상품을 팔기 위해 광고를 집행하는 송신자에게 많은 과제를 던져주고 있다. 그간의 소비자는 상품의 기능, 효율성, 가격을 요리조리 견주고 따져서 구매를 하였다. 그래서 생산자는 상품의 기능및 효능에 대하여 많은 비중을 두고 철저히 연구를 하였으며 상품의 부가가치를 올리는 디자인에는 상대적으로 적은 비중을 두었었다. 그러나'90년대 이후의 소비자는 기능, 효율성은 물론이고 그 상품과 자신과의 새로운 장면을 만들어낼 기능이외의 부가가치에 관심을 표출하기 시작했다. 그 장면 속에서 자신과 제품과 의 관계를 연출해 본 후 제품의 의미를 구매하는 것이다. 이는 상품의 부가가치 즉 외관디자인, 분위기에 많은 치중을 하고 있다는 것이다. 따라서 송신자는 소비자의 마음을 읽는 감성 마케팅 또는 감성 디자인을 하지 않으면 안되게 되었다. 이 논문에서는 시각디자인의 표현방법에 있어서 디자인 요소 즉 Typo Geaphy, 사진, 일러스트레이션, 다이아그램 등과 같은 시각적인 표현만이 아닌 소비자들의 감성기호 즉 기쁨, 즐거움, 화려함과 같은 느낌을 줄 수 있고 느끼게 할 수 있는 의미론적인 방법에 대해 서술하고 또 그방법들은 어떤 효과를 가져 오는지에 대하여 살펴보고자 한다.

• 복식
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• 제13권
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• pp.51-72
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• 1989

In this thesis, I examined the mental, philosophical aspects and the aesthetic sense of our ancestors through the study of the patterns pictured in the mural paintings of Koguryo dynasty's old tomb. To view the mode of construction in Koguryo dynasty from present angle, the detailed analysis of the patterns was done. As a result, I could fully understand the formative consciousness of our nation. 1. I defined the process of transition of the mural paintings by putting some 70 mural aintings into the form of a diagram. 2. The cultural aspects of the mural paintings in Koguryo dynasty were characterized by the fusion of our primitive religion and Buddhism, Confucianism and Taoism which were introduced from China. From this fact, I could inferred that Koguryo people were giving off the strong desire for the faith by means of the mural paintings. Further more I found that configuration of the patterns such as religious elements. 3. The types of the patterns were classified into four types, this is, geometric type, natural type, cultural type and abstract type, Among these types, geometric type and natural type were nonsymbolic in nature but became cultured and abstracted in course of time. cultural pattern and abstract pattern got the symbolic meaning in the long run. Of all the constitution of the patterns represented in the mural paintings such as repeat constitution, left and right symmetric constitution, top and bottom symmetric constitution and rotary symmetric constitution, the left and right symmetric constitution was mainly used and some monotony of left and right symmetric constitution. The analysis of motif which was got from the mode of the patterns showed that the mixing of symbolic and nonsymbolic patterns made it possible to regard the separate symbol as compound in nonsymbolic patterns and the combination between nonsymbolic patterns ensured the understanding of other patterns in certain cases. Our ancestors made great efforts to transmit certain meaning symbolically. Also to heighten the symbolism, they drew the meangless patterns firstly and then appended meaning to those patterns secondly. Furthermore, they offered the background to the patterns comblined with symbolism, so that meaning transmission was clarified at last. As mentioned above, the patterns shown in the mural paintings of Koguryo dynasty's old tomb were characterized by natural beauty. And natural beauty was found out clearly in the form and constitution of the patterns. Therefore I concluded that our nation's religious, philosophical tradition was acted on the patterns strongly.

• 한국실내디자인학회논문집
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• 제13권3호
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• pp.43-51
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• 2004

1"his Study is to make research a Image and Symbol in the Gothic Architecture. Firstly, the concept of the symbol and the image effect are essentially based on the meaning that the activity of consciousness take on the constitution of the symbol. Therefore the image represent the deepest content of human nature has been imagination and reality. Secondly, the symbol concept showed in Gothic Architecture was associated with the passion of the order of middle ages. The world, the cosmos and the history had been revealed in Gothic architecture. In Gothic Image, Emile Male maintained the symbol of the Catholic Church as above mentioned. The Catholic Church was mirror of the natural, the institution, the moral and history, then this passion of the order was a christian order. Especially, E. Panofsky said that the scholastic method was shown in Gothic architecture. He assert that it was especially dialectic method used in theology. That is, he explained the transfiguration of Gothic Architecture with the process of thesis, anti-thesis, synthesis. These symbolize light, magnitude, clearness. Finally, symbolic image is important in Post-Modem architecture at present. Post-Modern architecture is associated with the public and the Pluralism. Post-Modern architecture attempt to communicate as symbolic language among the assumption for diverse aspect of culture.

• 한국실내디자인학회논문집
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• 제24권3호
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• pp.79-86
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• 2015

Myths and architectural spaces are cultural products symbolizing ideologies and objects respectively. Myth has the structure and the contents of a unique view of the world that reflects thoughts and representations of the nationalities. This study is about 'the spaces of the memory' adapted by the mythic tradition among many aspects of the Japanese tradition. The process of this study is illustrated as follows: At first, it mentions the concept of Gilbert Durand's mythic imaginaries and prototype with the method on how the myth is applied to the architectural spaces in the cultural context. Secondly, It clarifies basic meaning arrangement of the Japanese traditional spaces related to the myth. It shows sourceful 'prototipical system' that lies in the relation between thoughts and representations, regarding the shinto's spaces in terms of mythical imaginaries and Japanness. Thirdly, it ascertains mythical structure represented in the traditional space designs on terms with 'prototype' from symbolic system of the myth. It selects the cases among Japanese contemporary architects's works designed after 1960's, and analyses the meanings. In conclusion, it clarifies that this way can be a suggestion as the space design method combining the human's imaginary property with the time-stratigraphic region, and offering creative ideas for the strategy of the space design brand image that embraces a wide range of culture, ecology, and sensibility.

• 한국인공지능학회지
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• 제8권1호
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• pp.11-18
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• 2020

In this paper, it is to identify the effects of differences in interpretation levels depending on the type of brand association and the brain psychological distance on the evaluation of the product of that brand through two experiments. To test our hypotheses empirically, we conducted online survey. We addressed the hypotheses involving the general and relative impact of actual and ideal self-congruence on emotional brand attachment (H1) and explored the effect of product involvement as the moderating variable (H1-1 and H1-2). The goal of this research was to validate the results from involving our basic model and to explore the impact of two additional moderating variables (self-esteem and public self-consciousness: H2). We followed the same procedure. This finding is theoretical to the extent of the interpretation level theory in brand association research by applying the interpretation level theory to the brand association, and provides the meaning that, in practice, it is necessary to utilize the message of different types of brain psychological distance depending on the brand association characteristics that the brand has in defining the brand. In particular, it was confirmed that functional brand associations and symbolic brand annals have representational harmonization, respectively, depending on the low and high levels of interpretation levels.