• Journal of the Korean Society of Costume
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• v.32
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• pp.101-116
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• 1997

The purpose of this study is to survey the system of the Korean Shaman's costume and its formative character and to find out the symbolic meaning of it. This study focuses on a shaman's costume in Seoul-Gut Seoul-Gut belongs to 'Gangsin-mu' Therefore a shaman's costumes in Seoul-Gut remains even today. Korean shamanistic ritual is gut. Its basic structure generally consists of 12 'Geori(a process is made up Gut)' In Gangsin-mu a shaman changes his/her spirit's costumes in each Geori so that a shaman's costumes means the spirit. The shaman's costumes of 12-Geori in Seoul-Gut has only 5 or 6 kinds be-cause shamans wear the same costume when the spirit's characters are similar with each other. Therefore shaman's costumes in Seoul-Gut are consistsof Poungsangbok pulsajang-sam cjulik Kugunbok Monduri and Wonsam There are some differences between modern shaman's costumes in Seoul-Gut and traditional costume in the basic pattern and the wearing method,. Modern shaman's costumes in Seoul-Gut has become simpler in the basic pattern and more gergeous in the color or adornment and more various in the kinds of shaman's costume than that of Yi Dynasty. This tendency in modern shaman's costumes reflects modernized folk's viewpoint in dress. which thinks highly of their individuality and function and variety in it. Korean shaman's costumes means the extintion of the earthly world and symbolizes the holy symbolizes the holy symbolizes the spirits character, Ying Yang Theory and represents shaman's wishes. The wishes are the desire of prefection and stability in this world the desire of ideal love and rebirth and the desire of lofty life in this world.

• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.143-153
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• 2013

The purpose of this study is to explore how to make use of the light and expression methods to embody phenomenal space by considering the representation techniques and characteristics of a variety of 'Phenomenal light' in his works focused on the Steven Holl's views that thought the light as object of creating space. The process is summarized as follows: (1) Study on the relationship between light and color, Classify concept and type of phenomenal light by phenomenal color (2) Consider the characteristics and expression methods of the phenomenal light in the Steven Holl's architecture (3) Finally, organize the concepts and representation techniques of phenomenal light, and then present method to embody phenomenal space by light. According to this, the results are as follows: (1) Perceptual color by the light of the sense forms a variety of perception and texture of light and shadow according to the contrast of shades and the change of materiality, thus embodying multisensory space with the light as the medium approach that helps to experience formal and tactile senses. (2) Spatial color by the light of volume distinguishes the flow and movement of sight, and embody inducing space with the light as Atypical activity that forms atmosphere of space through concentrated or overlapped mass of light and darkness. (3) Existential color by the light of the light source visualizes the existence of the uncertain light, and embody the receptive space with the light as emotional communication that forms symbolic and psychological meaning through metaphorical phenomena of colored light.

• Journal of the Korean Geographical Society
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• v.50 no.2
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• pp.217-237
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• 2015

Seokchon Lake, and the area surrounding it, have become symbolic with an environment of 'peace', 'delight', 'happiness', and 'healing' due to the large floating yellow rubber duck which sits within the lake. There exists, however, a hidden intention of a large corporation who wishes to make benefit of this installation and its healing properties. Nevertheless, the lake has become a hot destination for people to come and see the rubber duck and take romantic photos with it. The photographs taken and shared further expand the popularity and romantic environment of the duck and lake. This process is a perfectly hermeneutic circle. Self or group mediation through photographic performances with the rubber duck has allowed the lake to take on new meaning to visitors. For families taking photos together it has become a place of family bonding and love while for couples of any age it has been transformed into a place to express their love through pictures together with the duck. Even for selfie generation it has become a destination and muse. Tourists are not merely written upon, but are also enacting and inscribing places with their own stories. Therefore, photographic performances produce rather than consume and reflect geography of Seokchon lake.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.5
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• pp.784-796
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• 2010

Consumers focus on information about the symbolic meaning of a product for highly involved and emotional products (such as cosmetic products). This study examines the effectiveness of the congruence between cosmetics advertising image and self-image on consumer attitudes. In addition, this study examines two additional moderating effects, which are 'product type' and 'message type'. For the experiment, four advertizing type factorial designs were performed. A total of 320 undergraduate female students in Korea participated in the experiment. This study captured the subjective judgments of consumers on these three comparisons in terms of advertizing attitude, brand attitude, and purchase intention. The results are as follows: First, the greater the self-congruity on cosmetic advertising, then the greater the effectiveness on advertizing attitude. Second, the increased self-congruity on cosmetic advertising did not create greater effectiveness on brand attitude. Third, increased advertizing attitudes on the congruence between cosmetics advertising image and self-image increased the effectiveness on brand attitude. Fourth, increased advertizing attitudes on the congruence between cosmetics advertising image and self-image improved the effectiveness on purchase intention. Fifth, the greater the brand attitude (on the congruence between the cosmetics advertising image and the self-image produced)increased the effectiveness for purchase intention. The results show a significant moderating role of the product type. Marketers can use the results of this study to understand the market of cosmetic products for promotion.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.2
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• pp.111-124
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• 2015

This study inferred the symbolism of shaman's costume in China from shamanism and types of shaman's costume in Naje, Deokgang-hyun, Guiju-seong, China through field survey. Shamanism in China has complicated aspects due to negotiations with other culture for a long time while maintaining its own consistency based on ethnicity. Symbolism of shaman's costume in Naje, Guiju-seong, China is observed as follows. First, the shaman's costume in China appears differently from every Jangcha in relation to the position of god appearing in Jangcha when Tolosa takes the position of god as a symbol of sex and god. In Naje of China, the most important shaman's costume indicating the position of god has a unique mask for every deity. It communicates that Tolosa wearing a costume appropriate for the god of wine shall become the god in that Jangcha. Second, the shaman's costume in China has something to do with Yin-Yang and the five elements theory of Taoism as a symbol of shamanism visio of the universe and system of reason. Most of Tolosas hosting Naje are men but dress up as women by wearing Nagun looking like a skirt. Nagun is usually red, the color of Yang, which symbolizes that by wearing such costume that takes color of Yang, Tolosa expels an ominous thing by balancing yin and yang and taking god's strong power. Third, Tolosa takes an eight-breadth Nagun, as a symbol of people. An eight-breadth worn by Tolosa in Naje strengthens the spirit of union and fight of the Tujia nationality who live in Deokgang-hyun, Guiju-seong through folk legends. In this course, a symbolic meaning of the national spirit has been provided on an eight-breadth Nagun, a shaman's costume.

• Korean Journal of Community Nutrition
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• v.22 no.2
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• pp.103-114
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• 2017

Objectives: This study aims to investigate the married female immigrants' experience on Korean dietary life adaptation, especially identifying the symbolic meaning and nature of experiences. Methods: This study was conducted with six married female immigrants through an analysis of the qualitative materials which consisted of in-depth interviews, field notes and materials. Data was analyzed using Giorgi's phenomenological research methods. Results: The results were deduced as 116 significant statements, 17 formulated meanings (sub-theme), and 6 theme clusters. Six theme clusters comprised of lack of preliminary knowledge and information, conflict and support in relationships, Korean food culture which is different from homeland, adaptation attitudes of Korean food culture according to situation, sharing of homeland food culture, and practical difficulty and expectative service. The participants started Korean life in the dark about Korea and Korean food culture, so they were subjected to trial and error. The conflict between Korean mother-in-law and foreign daughter-in-law came from lack of consideration of daughter-in-law's cultural background. Some participants were hurt because of misunderstanding and nitpicking. They were learning about cooking method, ingredient, seasoning, table setting and manner. Some participants integrated Korean food culture and their homeland food culture. Some of them assimilated with Korean food culture. One of them maintained homeland food culture. The participants who adapted Korean food culture well could share homeland food amicably. They sometimes didn't apply the services which were offered by the government, because the services did not fit their needs. Some of them didn't know the usage route of the services or information. They had resistance about home teaching and it showed that outreach service was not always effective. Conclusions: This study suggested that it is necessary to develop a practical support plan which covers married female immigrants' real needs and system improvement measures.

• Journal of Nutrition and Health
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• v.46 no.6
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• pp.589-596
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• 2013

As the importance of elderly's dietary life have increased, low-income elderly's meal should be taken care by social policies. Nevertheless, there is a lack of systematic management in home-delivery meal service. This study aims to investigate the elderly's experience on home-delivered meal service, especially identifying the symbolic meaning of home-delivered meal service on elderly's dietary life. Using an in-depth interview, qualitative data was collected from five elderly participants who received home-delivered meals. Data was analyzed based on Colaizzi's 6 steps method, deriving 148 significant statements, 18 formulated meanings, and 5 themes: , , , , and . Elderly participants regarded the home delivered meal as not only a decent meal but also felt appreciated. The home-delivered meals were found to be their only meal all day; thus, they considered these meals as a means of survival. Home-delivered meals are considered as a lack of consideration for the elderly's physical condition, including their tastes, portion size, and cooking method. Also, these elderly seemed to lose their appetite due to aging and it caused the enjoyment of eating. The elderly have kept silence never expressing any opinions regarding the home delivered meals because they were offered for free. The results suggested that the home-delivered meal service should be developed with the multilateral evaluation methods to reflect the elderly's needs to improve the quality of the home-delivered meal service.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.8
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• pp.1190-1201
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• 2007

This study is to review the costumes of female Shamans through Gamrotaenghwa(甘露幀畵) in the late Joseon Dynasty of the 18th and 19th centuries. The picture of Mudangnaeryeok(巫堂來歷) showing Shamanic performances which is kept in Kyujanggak, Seoul National University was the only one thing enabling to compare with the Shamanic costumes shown in Gamrotaenghwa. The earlier Gamrotaenghwa doesn't show the Shamanic features but that of the later part of 18th century shows specific costumes so that the scene of Shamanic performance can be guessed. The Shamanic costumes are classified into 5 types. Type A is considered to have followed the figures shown commonly in earlier Gamrotaenghwa of the 16th and 17th centuries, rather than the traditional costumes. Types B through E show the costumes of the Joseon dynasty. With the basic costumes of skirt and Chogori(a kind of jacket, Type B), the variable costumes worn for each type of Shamanic performances are Mongduri(蒙頭里, Type C), Jeonbok(戰服, Type D) and Cheolrik(天翼, Type E). Reviewing the general style of those costumes, the upper part was tight and the lower part was silhouette of big volume, and the length of Chogori was a little long in the early of 18th century but it became shorter with narrower sleeves from the later part of the same century. According to the general literatures about the outer collars were not overlapped and its side parts were open, with half or no sleeves. In case that the target of Shamanic performance is male god, the Shaman wore the male costumes represented by Cheolrik and Jeonbok. Because these Cheolrik and Jeonbok which were worn during the Shamanic performance have the symbolic meaning to correspond with the male god, they didn't function as ordinary costumes.

• Journal of Families and Better Life
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• v.31 no.2
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• pp.1-24
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• 2013

The purpose of this study was to understand the lived experiences of grandmothers who provide child care services to their grandchildren and employed mothers who utilize child care by grandmothers, with regards to their relationships while exchanging the specific type of intergenerational support. The data for this study came from 42 in-depth, individual interviews with 21 pairs of employed mothers who had at least one child younger than elementary-school age and their mothers or mothers-in-law who had provided child care on a daily basis for their grandchildren. Our phenomenological analysis revealed that the grandmothers felt uncomfortable and overwhelmed when caring for their grandchildren and that they considered this activity to be different from caring for their own children by nature. However, the grandmothers wanted to help their adult children based on their feeling of "boo-mo-ma-eum" (meaning parental heart, i.e., love or care). The employed mothers perceived that they were substantially dependent on the grandmothers by receiving help with child care and housework. Reliance on grandmothers was inevitable and beneficial to these mothers. Dynamic intergenerational living arrangements enabled the dependent relationships. The grandmothers set specific boundaries pertaining to current and future child care so that they would not take on too much responsibility for child care. The mothers used various strategies that contributed to stable child care support from the grandmothers. Providing financial remuneration was an important strategy that had symbolic relational meanings, such as expressing gratitude, rather than financial meanings.

• The Journal of the Korea Contents Association
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• v.20 no.3
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• pp.275-285
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• 2020

The purpose of this study is to explore the Iranian Woman Film Director Samira Makhmalbaf and her cinema world. Samira represents Iranian Islamic social problem base on her woman identity, and She is a symbolic director who is working Iranian new wave at the 21th. She has directed five movies as (1998), (2000), (2002), (2003), (2008). For this study, explore traits of esthetics, subject and context meaning by analyzing representative three movies. Lastly examines significance of his movies in Iranian film history. In terms of esthetics, she tends to combinate between metaphor and reality, And, In thematic consciousness, consistently describes Islamic women's lives and liberty, anti-war and peace, sympathy for the under-privileged, etc. She inherits the tradition of Iranian third wave 'Children Cinema', and simultaneously tries to overcome Iranian art film tradition. Director Samira Makhmalbaf is a symbol of progress and change in Iranian film history, and is opening the new future of Iranian film.