• Journal of the Korean Institute of Rural Architecture
• /
• v.24 no.4
• /
• 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.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.28 no.2
• /
• pp.23-36
• /
• 2010

The purpose of this study is to infer the aspects and significance of Musa basjoo of latter part of Chosun Dynasty by analyzing the planting tendency and planting location of Musa basjoos drawn in total 77 old paintings and the characteristics of the paintings where Musa basjoos appeared, while trying to understand symbolic meanings of floral languages as well as the images and significance of Musa basjoos which appeared in the prose and poetry of Chosun Dynasty, and the results are as follows; With its floral languages of 'waiting', 'parting' and 'beauty', Musa basjoo represented the wealth and resuscitation and it aroused the elegance of hermits in its Taoistic sense. And it also represented 'the unworldliness to get out of transient human affairs' in its Buddhistic sense. Musa basjoos which appeared in 'Garden Custom Painting(庭園雅集圖)', 'Gosa Figure Painting(故事人物圖)' and 'Gyehoe Painting(契會圖)' is considered a device to increase the unworldly atmosphere of gardens and to dignify the elegant meetings of scholars, reflected by the high appearance frequencies of cranes and deer. And it seems that the meaning of Musa basjoo in certain paintings like 'Life-time Paintings(平生圖)', 'Castle City Painting(盛市圖), and 'Cultivating and Weaving Painting(耕織圖)' is an aspiration for wealth and prosperity, and the Musa basjoos planted in temples are considered to have symbolic meanings of aspiration for 'Salvation through Belief' as well as a unworldly meaning which reminds the transiency of human affairs. In addition, the expected effect of experiencing 'the sound of rain falling on the leaves of Musa basjoo' has been pursued, which can be confirmed by the fact that Firmiana simlex with wide leaves similar to Musa basjoo can be frequently spotted near the houses. Meanwhile, Musa basjoos seem to have been planted mainly in front garden or side garden around detached house and Musa basjoos inside the houses seem to have been planted mainly in right side when viewed from the entrance, in relation with the location of bedrooms where it is easier to hear the sounds from the right side of the environment. And the paintings where Musa basjoos appear with strange rocks and bizarre stones among other things have greater part of all the paintings, which is considered a kind of intentional landscaping and a product of mixed materials for elegant appreciation. And the major characters of the painting were involved in the activities of scholars such as arts, and the activities of minor characters were greatly related to their everyday lives. Musa basjoo of Chosun Dynasty in $17^{th}$ and $18^{th}$ century was one of the symbols necessary for description of gardens. And it provided the images of rainy scenes together with scholar culture which had a meaning of self-discipline, and it is assumed that the planting of Musa basjoo with the spirit of cease lessen deavor of a new leaf pushing up the tree and the spirit of resuscitation had the same trace of wheels in the city space of our country as the decline of scholar culture of Chosun Dynasty.

• Asia Marketing Journal
• /
• v.15 no.1
• /
• pp.1-22
• /
• 2013

This case focuses on Shanghai Tang, the first truly Chinese luxury brand that appeals to both Westerners and, more recently, to Chinese consumers worldwide. A visionary and wealthy businessman Sir David Tang created this company from scratch in 1994 in Hong Kong. Its story, spanned over almost two decades, has been fascinating. It went from what best a Chinese brand could be in the eyes of Westerners who love the Chinese culture, to a nearly-bankrupted company in 1998, before being acquired by Richemont, the second largest luxury group in the world. Since then, its turnaround has been spectacular with a growing appeal among Chinese luxury consumers who represent the core segment of the luxury industry today. The main objective of this case study is to formally examine how Shanghai Tang overcame its downfall and re-emerged as one the very few well- known Chinese luxury brands. More specifically, this case highlights the ways with which Shanghai Tang made a transitional change from a brand for Westerners who love the Chinese culture, to a brand for both, Westerners who love the Chinese culture and Chinese who love luxury. A close examination reveals that Shanghai Tang has followed the brand identity concept that consists of two major components: functional and emotional. The functional component for developing a luxury brand concerns all product characteristics that will make a product 'luxurious' in the eyes of the consumer, such as premium quality of cachemire from Mongolia, Chinese silk, lacquer, finest leather, porcelain, and jade in the case of Shanghai Tang. The emotional component consists of non-functional symbolic meanings of a brand. The symbolic meaning marks the major difference between a premium and a luxury brand. In the case of Shanghai Tang, its symbolic meaning refers to the Chinese culture and the brand aims to represent the best of Chinese traditions and establish itself as "the ambassador of modern Chinese style". It touches the Chinese heritage and emotions. Shanghai Tang has reinvented the modern Chinese chic by drawing back to the stylish decadence of Shanghai in the 1930s, which was then called the "Paris of the East", and this is where the brand finds inspiration to create its own myth. Once the functional and emotional components assured, Shanghai Tang has gone through a four-stage development to become the first global Chinese luxury brand: introduction, deepening, expansion, and revitalization. Introduction: David Tang discovered a market gap and had a vision to launch the first Chinese luxury brand to the world. The key success drivers for the introduction and management of a Chinese luxury brand are a solid brand identity and, above all, a creative mind, an inspired person. This was David Tang then, and this is now Raphael Le Masne de Chermont, the current Executive Chairman. Shanghai Tang combines Chinese and Western elements, which it finds to be the most sustainable platform for drawing consumers. Deepening: A major objective of the next phase is to become recognized as a luxury brand and a fashion or design authority. For this purpose, Shanghai Tang has cooperated with other well-regarded luxury and lifestyle brands such as Puma and Swarovski. It also expanded its product lines from high-end custom-made garments to music CDs and restaurant. Expansion: After the opening of his first store in Hong Kong in 1994, David Tang went on to open his second store in New York City three years later. However this New York retail operation was a financial disaster. Barely nineteen months after the opening, the store was shut down and quietly relocated to a cheaper location of Madison Avenue. Despite this failure, Shanghai Tang products found numerous followers especially among Western tourists and became "souvenir-like" must-haves. However, despite its strong brand DNA, the brand did not generate enough repeated sales and over the years the company cumulated heavy debts and became unprofitable. Revitalizing: After its purchase by Richemont in 1998, Le Masne de Chermont was appointed to lead the company, reposition the brand and undertake some major strategic changes such as revising the "Shanghai Tang" designs to appeal not only to Westerners but also to Chinese consumers, and to open new stores around the world. Since then, Shanghai Tang has become synonymous to a modern Chinese luxury lifestyle brand.

• Sim-seong Yeon-gu
• /
• v.29 no.1
• /
• pp.1-45
• /
• 2014

Mystic experience such as seeing an vision could be explained as experiencing elusive and mysterious unique existence in religious way. In depth psychology, which is based on unconsciousness like analytical psychology, this could be explained as a something that gives a meaning of life and purpose through discovering health and healing. The importance of primodial experience in depth psychology is that it can possibly discover the base of present acts. In Christian theology, symbolic mystery and truth of religious experience that appear in Christian tradition have interest on human situation. These two fields' approach methods are different, but both show common interest on unique experience which can be said properly as raw experience. Various visions appear in many parts of the Bible. Among many visions, the book of Zechariah, one of the 12 Prophets, describes rich and diverse 8 visions through chapter 1 to chapter 8. However, due to the Genre of revelation, it lacks historicity, and because of vagueness and symbolic meanings, its visions are hard to understand and interpret. Theologically, visions of Zechariah show communality of Israelites by reconstructing kingdom of Judah and church in a way of historical circumstances. Though, these visions could deliver the meaning of an ethnical aspect as reporting continuous conversation between the God and humans. Furthermore, it could mean a personal aspect of the Prophet Zechariah as reaching for a opportunity of new change. Moreover, those who read these visions could try to interpret the meanings of various images which represent meeting mysterious existences. Therefore, the Author would concentrate on the fact that 8 visions in the book of Zechariah, which has not been received much attention to neither Christians nor non-believers, develop in chiastic structure (stylistic contrast), so that tries to interpret the first, second, seventh, and the eighth visions in analytic psychology way. In visions of Zechariah, excepting the 4th vision which probably was inserted later, rest of 7 visions each shows the stage of the hours of darkness. 1st to 3rd visions represent evening, 5th vision represents deep in the night, and 6th to 8th visions represent dawn to morning. Moreover, since structure of visions arranged in chiastic way, horse appears in 1st and 8th vision, measuring rope and measure tools are used as main motif in 2nd and 7th vision. However, same motifs could have different symbolic meanings and roles as visions are formed in different situations and conditions. In the first vision, angels who ride horses look around the world and report it is calm and peaceful. Concerning the political situation back in the day, the world being calm and peaceful in the beginning of evening means that it is not ready to change to a whole new world. Psychologically, if there is no readiness to adopt new world, it means being hopeless. It is sending you a message to get out of those kinds of situation. Moreover, appearance of four angels who rode red, brown, and white horses to a myrtus tree in the valley means that it is time for individuation and it is right and good timing for changing. In second vision, you will be able to see that Israelites had long years being caught in the shadows by foreign country, and long years succumbed by the strength of four horns, which shows the progress of renewing strength and being oneness with oneself from overwhelmed situation by paternity. In seventh vision, meaning of two women bringing the godness of the sky, who were locked up in a rice basket, back to the temple in Babylon is going towards in a level of Self-actualization by separating one's ego captured excessively by matherhood and putting back to a place where it was before. In eighth vision, chariots pulled by horses are scattered far and wide, and horses which went to north had rest in the land of North. After horses and chariots are seen between two mountains of bronze with the image of Self and anima/animus. These images can be explained as the changing progress are almost completed and the God and human, in other words Self and ego are being united and is now time for rest. All of 8 visions contains the conversation between angel and Zechariah who willing to know the meaning of visions. Zechariah asks the angel actively about the meaning of visions because of his wish for Israelites to return home and rebuild church. Conversation among the God, Zechariah, who asks questions until he knows everything, an Angel, who gives answer to given questions, is conversation between ego and anima/animus. Eventually, it is a conversation between Self and ego.

• The Journal of the Korea Contents Association
• /
• v.14 no.4
• /
• pp.47-57
• /
• 2014

The horro movie which was released in 2003, was a box office hit drawing audiences totaling 3,140,000 people. Then, there were partial opinions that it was difficult to understand the content of the movie. However, it was most favorably received in the horror movies which were released before and after 2003. The 4 main characters in the movie are a family. The family conflicts begin as the dad has an affair. Muhyeon(the dad)'s infidelity leads his wife to kill herself. The suicide of the wife and mom again leads Suyeon(the younger sister) to be dead. At this moment, Suyeon's death is related to Eunju(the step mom). Sumi(the older sister) is deeply hurt by the fact that Eunju left her younger sister's death after she was dead. But at the same time, she realizes that she is also related to Eunju's act. And she felt guilty about her younger sister's death. Eunju was also hurt by Sumi's biting remarks. However, she feels guilty about the fact that she made Suyeon be dead. Director Jiun Kim said in the interview when it was released, "this movie is about hurts and guilt among families." These hurts and guilt are expressed by horror images that imagination and reality are mixed. Hurts are expressed by virtual images and guilt is done by real images. This paper presented still pictures which explain the virtual and real images and examined what hurts and guilt mean. And it described the symbolic meanings of three media which cause conflicts among main characters.

• Strategy21
• /
• s.31
• /
• pp.85-119
• /
• 2013

This paper asks whether the Republic of Korea (ROK) Navy should continue to focus on building ocean-going naval ships when it faces the threats of North Korean provocations in littoral areas. My position is that the ROK Navy should keep pursuing ocean-going capabilities. I provide explanations why it should do so from the perspectives of three important dimensions: capability, doctrine, and organizational identity. First, I argue that the distinction between a littoral navy and an ocean-going navy is an unnecessary dichotomy. It may lead to inefficiency in national security. The military posture should be designed in a way that it can address all external threats to national security regardless of whether they are from North Korea or not. Such capability is the one that the ROK Navy has tried to acquire with the 'Blue Water Navy' initiative since the 1990s. Second, also from the perspective of lately developed military doctrines that emphasize jointness and precision strike capability, ocean-going capabilities such as the mobile task fleet program have become a must, not an option, given today's security situations on and around the Korean peninsula. Lastly, I draw attention to the fact that the 'Blue Water Navy (BWN)' initiative meant more than just capability to the ROK navy. The BWN represents the ROK navy's organizational identity that the navy has defined since the 1980s as it emphasized promoting national interest and international standing as part of its organizational essence. Furthermore, the phrase 'blue water navy' took on symbolic meanings to the people that are associated with South Korean-ness including sovereignty, national pride, standing in the world and hopes for the future. Since 1990s, many scholars and experts have made the case for the necessity of improving South Korea's naval capability based on different rationales. They emphasized the protection of Sea Lines of Communication (SLOCs), the economic value of the sea, the potential danger associated with territorial disputes over islands, and increasing naval power of neighboring countries since the end of the Cold War. This paper adds to this debate by trying to explain the matter with different factors including naval doctrines and organizational identity. Particularly, this paper constitutes a unique endeavor in that it incorporating constructivist elements (that is, identity politics) in explaining a national security matter.

• Journal of the Korean Geographical Society
• /
• v.43 no.6
• /
• pp.894-913
• /
• 2008

This study examines scale issues in the contemporary feminist migration literature. Scale appears as important, yet poorly understood concept in this field of study. The increasing attention to the feminization of migration requires not only gendered, but also scalar-sensitive approaches. Feminists criticize the conventional approach to the migration as a gender-blind approach that privileges national scale around which migration processes are organized. Claiming multiscalar and interscalar analyses, they propose investigations ranging from macro to micro processes which include globalized gendered division of labor, transnational family networks, and reproduction which takes place in and through the bodies and homes of migrant women. The migrant women, the major actors in recent transnational migration, cross various borders: the national boundaries and the public and private divides, in particular. This crossover can unsettle patriarchal gender relations which have been established based on the physical and symbolic division of nation-states and public/private spheres. Blurring these divisions accompanies social construction of various scales. The transnational family networks of migrant women, for example, show the construction of a transnational scale by migrant women as well as globalization from below. This paper points out misunderstandings of scale in the feminist migration literature and attempts to fill the gaps by introducing the meanings and implications of scales developed mostly by feminist geographers. In so doing, it promotes the interdisciplinary communication.

• Journal of Families and Better Life
• /
• v.5 no.2
• /
• pp.127-144
• /
• 1987

The purpose of this study is to explore the family communication and power. Communication is a symbolic, transactional process in functional view . To say tat communication is a process implies a continuous interaction of an indefinite large number of variables with a concomitant, continuous change in the values taken by these variables. Finally the process implies change. Family functions include the primary functions of cohesion and adaptability and supporting functions of family images, themes, boundaries, and biosocial issues, The primary functions reveal concepts integrated family interaction and supporting functions, along with those of cohesion and adaptability, give shape of family life. The message system is the major element of communication process and influences both the form and the content of thier relationship and create and share meanings. The family-of-origin issues influence all aspects of family communication and account for many of the communication patterns, rules and networks. Power does not belong to an individual. rather it is a property of a relationship between two or more persons, Power, a system property is the ability of an individual to change the behavior of other members in a social system. Power operate transactionally in a family and any power maneuvers within it have a system wide effect. In order to study power in families , it is necessary to examine 1) family power operations 2) development of family power and 3) the communication of power strutegies. The research presented indicated that a rigid power structure, characterized by dominance and little sharing, restricts family flexibility reduce cohesion, and adversely affects satisfaction in families. power constantly changes as a family grows and develops within its system. Although power changes may be more obvious in children as they mature and more from a independent stated to an independent one, each of the parents experience egual or greater. Communication and activities take place that either enhance positively or negatively the images, themes, and degree of unity of cohesion the family desires. Power operated within a dynamic, growing, changing, interdependent transactional family system. Power struggle may develop when as issue becomes important to one or more family member. When this happens, and the rational exploration of alternatives ceases, various one-up power maneuvers usally follows, This affect family intimacy. a vital element in meaningful relationships . To resolve differences and not become the victim of another's power , one need to engage in constructive conflict since the ability to clearly and comfortably repudiate another is part of the achievement of intimacy.

• Archives of design research
• /
• v.18 no.1 s.59
• /
• pp.233-244
• /
• 2005

Fashion is one of the characteristics which represents the comtemporary sociocultural signifiant. A style that a certain stream of fashion brings is not just limited in fragmentary tendencies and fads. That can be a code to communicate and function as a medium in itself. Music has been displaying it's power to fashion while fashion has been exercising it's influence over the music. There is an inseparable relationship between music and fashion in terms of expressing our images of the world: fashion delivers them through visuality and music does it by sound. Both fashion and music are reflecting our society as well as they are influencing on sociocultural aspects generally. Whenever music has been changed new youth culture has been made and this culture has been expanded with forming some distinct fashion trends. The study focuses on identifying the relations between pop music and fashion styles which are occupying positions firmly on the bases of youth culture through analysing the relations between the fashion styles and music genres which are used in sub-culture groups to express their own identities and consciousness from a point of semiotics. In conclusion, subculture is the exit of their escaping from the compelling inconsistency cause by the condition of people's life and the way for them to solve through cultural sublimating for themselves. People come up with distinctive style of music and fashion to express their resistant signifie in their symbolic way. In addition, a particular music trend has much to do with a contemporary fashion style. In the relationship between music and fashion, there have been the subtle mechanism to boost and influence and some crucial similarity each other to signify inner values of the times. This study lets us realize that fashion is not only a popular style of clothes, hair, etc. at a particular time or place but also a medium to communicate and to guarantee polysemous identity by functioning as a flexible tool to exchange contemporary sociocultural meanings.

• The Journal of the Korea Contents Association
• /
• v.16 no.9
• /
• pp.779-790
• /
• 2016

This study is to exhibit the iconographic narrative and visual culture of ancient Chinese art. The focus of the study is the composite integration of literature and graphic forms, in particular the heterochronous expression of different scenarios of scenes occurring in different time periods in pictures of ancient art. The unity of their origins with picture narration and comic art creation is the fusion of our modern times. The ancient Chinese understanding of visual art includes the traditional style of images and their symbolic meanings. Among artistic narrative expression, imagery contemplation and visual presentation have significance. Artistic thinking is inseparable from visual articulation. It is a rational thought process through creative language interpretation in visual media of imagery narratives. The characteristics of ancient imagery thinking and the way of presenting sequential incidents in the form pictures is a creative space of time. This is the spatial thinking of modern comic art, which is demonstrated through acceptance in artistic styles. Image narration needs new forms and media styles, including integrating with cultural values as aesthetic communication is necessary.