• Industry Promotion Research
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• v.7 no.1
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• pp.59-74
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• 2022

There are three main ways to interpret Zhouyi(周易). The first is to interpret it as a number, the second is to interpret it as an image symbolized by the Gwae(卦), and the third is to interpret it as the moral reason contained in it. Although YulRyeo(律呂) is not as widely known as Zhouyi, its use in ancient times was the same as that of the main character. First, the mathematical analysis method using the three-pronged method for tuning musical instruments, second, the symbolic interpretation using the musical meaning symbolized by YulRyeo, and third, the applied interpretation method that expands to the moral reason contained in YulRyeo. The purpose of this thesis is to organize the dictionary meaning of YulRyeo and various meanings of ancient YulRyeo. In addition, by studying ancient literature on the meaning of YulRyeo's magic spell mechanics(術數易學) and Naepeum and Five Elements(納音五行), which is the origin of Gobeop Myongriology, I classify and interpret them in detail. and to find ways to apply it to Myongriology. It is hoped that this study will give a more in-depth understanding of YulRyeo and will be of little help to related studies such as the mechanics of magic and Myongriology studies in the future.

• Journal of the Korean Society of Floral Art and Design
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• no.41
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• pp.45-59
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• 2019

The characters that could be connected to diverse cultural contents have formed diverse platforms with the development of digital technology, and the size of the relevant industry and market is rapidly growing. Recently, the utilization of character emoticons for smartphone messenger has been rapidly increased, so that the characters are settled down as a tool for non-verbal communication, on top of drawing attention as an independent area. With the expansion of character market, the importance of design that could give interest and familiarity to consumers is more emphasized. The body proportion of characters includes the implicative and symbolic meanings that could express diverse personalities. Thus, this study examined the body proportion of the characters with the high consumers' preference, and then analyzed the characteristics of formative elements of character design in accordance with the body proportion. In the results of the analysis, the exaggerated form of SD characters in two or three-head figure, and the realistic Real characters in seven or eight-head figure were preferred. For the SD characters, the colors with a high chroma showing the cute and cheerful image were used. For the Real characters, the cubic effect was expressed through the colors with active images and the light and shade of color. Even though the SD characters have limited motions due to the omitted body parts, the facial movements of animation characters are exaggerated while the Real characters describe the realistic and dynamic motions.

• Cartoon and Animation Studies
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• s.37
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• pp.307-334
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• 2014

Satirical cartoon features figure characters that liken to particular figures or social phenomenon to satirize particular figures or social phenomenon. Through the words and actions of figure characters in satirical carton, fraudulentact of man in power or irrational social phenomenon is revealed. The National Intelligence Service (NIS) female agent that is the figure character of this study has been appearing in satirical cartoon for a long time and it likens to social phenomenon instead of a actual figure. The reason why the NIS female agent has been appearing as a figure character in satirical cartoon for a long time is because related social phenomenon has not ended and is still in progress. In addition, the reason why it likens to social phenomenon instead of an actual figure is based on the fact that it is not easy to identify her face that has been hidden, which makes it difficult to exaggerate the characteristic of the figure. Her hidden face is also an expression of the desire to hide that is symbolized by baseball cap and muffler. Her hidden face and the desire to hide make it easy to substitute to other related figure or social phenomenon instead of actual figure. Namely, outward appearance of the NIS female agent has a good condition for combining 'added significance' in satirical cartoon. Irrelevant to actual NIS female agent, a satirical cartoon figure of NIS female agent is being combined with various meanings when needed and it is substituted as another figure, group or social phenomenon as the actual figure disappears. Accordingly, the purpose of this study is to reveal the role of figure character in satirical cartoon by symbolically analyzing the figure character that appears in satirical cartoon as 'NIS female agent'. The followings were revealed through the symbolic analysis of figure character in satirical cartoon in this study. First, satirical cartoon satirizes social phenomenon. Figure character in satirical cartoon satirizes social phenomenon in place of actual figure. Second, satirical cartoon satirizes core or embarrassing area of irrational social phenomenon created by politics. Figure character in satirical cartoon satirizes core or embarrassing area of social phenomenon by revealing it in place of actual figure. Third, satirical cartoon sends a message of warning to a responsible person of irrational social phenomenon created by politics. Figure character in satirical cartoon sends a message of warning to responsible person of irrational social phenomenon created by politics in place of actual figure. Fourth, satirical cartoon provides catharsis for enduring wound or stress received by individual due to irrational social phenomenon created by politics. Figure character in satirical cartoon provides catharsis for enduring wound or stress received by individual due to irrational social phenomenon through satirizing and ridiculing actual figure.

• Cartoon and Animation Studies
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• s.44
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• pp.143-161
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• 2016

This study was conducted focusing on the role of auteurism animation. The purpose of auteurism animation is to criticize irregularities of a society in witty and fierce way through satires from the sharp perspectives of a animator that is not bound by tastes of people or the interests or standpoints of specific groups, and thus to induce positive changes in a society as a purifier. In the context, this study investigated satires shown in by Jan Svankmajer and by Norman Mclaren among the animators who utilize animation as a tool to produce social meaning. As a result, the following characteristics and meanings were found. First, Dimensions of Dialogue is an animation that satires absurdity and irregularities of a human society in symbolic and exceptional way through directing by segmentations of images and omnibus structures. The satire carries the lesson of improvement in the hidden part of cynical attack to history, society, and human beings. It also maximizes absolute reality and engagement of images of Jan Svankmajer through unique and grotesque images of the animator such as alienated world, confusing shapes, and amusement of irregularities. Second, the movie, is an exemplary animation that applied core concept of animation through pixilation techniques based on an event story structure by causal relationship. It satires the changing process of a good man to violent madness through confrontation and conflicts for material desires, with exaggerated slipstick movements and humors as a black comedy. The satire methods of both animation works are delivered through unique image styles and symbolic wordage of the animators who triggered ironical laughter in attacking humanism and moral insensitivity that might be felt seriously otherwise. That is, the animators try to show the positive will for changing the society to a sound one through the form of negativity in terms of moral perspective in animation rather than destruction against the target. As such, the satires in both works worked as an auteurism allegory that maximizes social functions and artistic influence of animation.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.124-136
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• 2011

In landscape architecture, plants play an important role in realizing the intention of the architect and user- behavior as well as an ecology and appearance of the space for them. However, it is true that many researches have focused on ecological characteristics of plants, their cultivation environment and symbolic meanings in traditional terms, while relatively few for the analysis of the aspects of each period through plants. For this, cherry trees that we often see around are selected and their introduction, propagation, development and symbolism from the view of chronicle are studied and the results are followings; Firstly, three-year seedlings of 1,500 pieces of cherry tree from Osaka and Tokyo were planted for the first time in Oieseongdae, Namsan Park, Seoul. Since then, they had been widely planted at traditional sites, modern parks, newly-constructed roads for street trees, and for this, the Japanese Government-General of Chosun had actively supported by its direct cultivation and selling of cherry trees. The spread of cherry trees planted raised the question of whether or not Prunus yedoensis is originated from Jeju Island. Secondly, such massive and artificial planting of them had become attractions over the time and mass media at that time also had actively promoted it. And such trend made the day and night picnic under the cherry blossoms one of the most representative cultures of enjoying spring in Seoul. Thirdly, although general people enjoyed cherry blossoms, but they had dual view and attitude for cherry trees, which were well expressed in their use of them: for example, cherry blossoms, aeng and sakura were used altogether for same meaning, but night aeng or night picnic under cherry blossoms were especially used instead of yojakura when mentioning just pleasure, which meant some saw night enjoying cherry blossoms a low culture. Fourth, symbolic space of Chosun had been transformed into the space for enjoyment and consumption. Anyone who paid entrance fee could enjoy performance of revugirl, cinema and entertainment along with enjoying cherry blossoms. The still-existing strict differentiation of enjoyment culture by social status, class and ethnicity was dismantled from that trend and brought about a kind of disorder. From this, we could find that cherry blossoms had made a great contribution to the change of traditional enjoyment culture over the Japanese colonial period and become a popular spring enjoyment.

• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.4
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• pp.56-75
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• 2023

As of 2019, for the 'Island I Want to Visit' project, Banwol and Bakji Islands, located in Shinan-gun, started color marketing to create a tourist attraction by painting roofs, buildings, and facilities purple. As this landscape change was evaluated as a 'dangerous but beautiful attempt,' it was recognized as the 'World's Best Tourism Village' in 2021, drawing attention from domestic and foreign tourists. However, the residents of the islands, who created and enjoy the benefits of the landscape, were alienated from the planning stage. This study investigated the meanings and symbols of residents' perceptions of the purple landscape. The cultural landscape frame of new cultural geography, which interprets the landscape's symbolic meaning and ideological signs, was utilized. In addition, a holistic approach was applied to understand the residents' perceptions of the multi-layered environment. Therefore, the perception of purple, the main color of the islands, the overall landscape and individual places, and the general perception of the Purple Island project were investigated. After the Purple Islands Project, the main senses for recognizing the villages focused on sight, and the residents were satisfied with the purple landscape as it improved the underdeveloped village environment. This satisfaction was based on lessening the negative memories experienced as an island rather than a value judgment on the purple color. In addition, the perception of the symbolic landscape, which has a social and universal system, has been subdivided and reorganized, including for tourism functions. It can be understood as an aspect of the spectacle landscape that appears in cosmopolitanism. However, in the process of transforming into a tourist attraction, it was discovered that the residents recognize the value of local resources and create a new cultural landscape. In addition, the perception of the relationship between Banwol and Bakji has also changed around tourism.

• Journal of Global Scholars of Marketing Science
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• v.18 no.3
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• pp.27-57
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• 2008

Many consumers enjoy the challenge of purchasing a brand that matches well with their own values and personalities (for example, Ko et al., 2008; Ko et al., 2006). Therefore, the personalities of consumers can impact on the final selection of a brand and its brand personality in two ways: first, the consumers may incline to purchase a brand or a product that reflects their own personalities; second, consumers tend to choose a company that has similar brand personalities to those brands that are being promoted. Therefore, the objectives of this study are following: 1. Is there any empirical relationship between a consumer's personality and the personality of a brand that he or she chooses? 2. Can a corporate brand be differentiated by the brand personality? In short, consumers are more likely to hold favorable attitudes towards those brands that match their own personality and will most probably purchase those brands matching well with their personality. For example, Matzler et al. (2006) found that extraversion and openness were positively related to hedonic product value; and that the personality traits directly (openness) and indirectly (extraversion, via hedonic value) influenced brand effects, which in turn droved attitudinal and purchase loyalty. Based on the above discussion, the following hypotheses are proposed: Hypothesis 1: the personality of a consumer is related to the brand personality of a product/corporate that he/she purchases. Kuksov (2007) and Wernerfelt (1990) argued that brands as a symbolic language allowed consumers to communicate their types to each other and postulated that consumers had a certain value of communicating their types to each other. Therefore, how brand meanings are established, and how a firm communicate with consumers about the meanings of the brand are interesting topics for research (for example, Escalas and Bettman, 2005; McCracken, 1989; Moon, 2007). Hence, the following hypothesis is proposed: Hypothesis 2: A corporate brand identity is differentiated by the brand personality. And there are significant differences among companies. A questionnaire was developed for collecting empirical measures of the Big-Five personality traits and brand personality variables. A survey was conducted to the online access panel members through the Internet during December 2007 in Korea. In total, 500 respondents completed the questionnaire, and considered as useable. Personality constructs were measured using the Five-factor Inventory (NEO-FFI) scale and a total of 30 items were actually utilized. Brand personality was measured using the five-dimension scale developed by Aaker (1997). A total of 17 items were actually utilized. The seven-point Likert-type scale was the format of responses, for example, from 1 indicating strongly disagreed to 7 for strongly agreed. The Analysis of Moment Structures (AMOS) was used for an empirical testing of the model, and the Maximum Likelihood Estimation (MLE) was applied to estimate numerical values for the components in the model. To diagnose the presence of distribution problems in the data and to gauge their effects on the parameter estimates, bootstapping method was used. The results of the hypothesis-1 test empirically show that there exit certain causality relationship between a consumer's personality and the brand personality of the consumer's choice. Thus, the consumer's personality has an impact on consumer's final selection of a brand that has a brand personality matches well with their own personalities. In other words, the consumers are inclined to purchase a brand that reflects their own personalities and tend to choose a company that has similar brand personalities to those of the brand being promoted. The results of this study further suggest that certain dimensions of the brand personality cause consumers to have preference to certain (corporate) brands. For example, the conscientiousness, neuroticism, and extraversion of the consumer personality have positively related to a selection of "ruggedness" characteristics of the brand personality. Consumers who possess that personality dimension seek for matching with certain brand personality dimensions. Results of the hypothesis-2 test show that the average "ruggedness" attributes of the brand personality differ significantly among Korean automobile manufacturers. However, the result of ANOVA also indicates that there are no significant differences in the mean values among manufacturers for the "sophistication," "excitement," "competence" and "sincerity" attributes of the corporate brand personality. The tight link between what a firm is and its corporate brand means that there is far less room for marketing communications than there is with products and brands. Consequently, successful corporate brand strategies must position the organization within the boundaries of what is acceptable, while at the same time differentiating the organization from its competitors.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.1
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• pp.59-70
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• 2013

This study was to suggest cultural landscape preservation, value creation, as well as utilization plan to help landscape development of Hahoe village by identify the existence of Okyeonsipyeong(玉淵十詠) natural features, which were set around Buyongdae(芙蓉臺) in Hahoe Village by Seoae(西崖) Ryu, Seongryong(柳成龍), and understanding their characteristics and meanings of natural features and meanings. Based on the writings of "Okyeonseodanggi" and "Okyeonsipyeong", the major results of this study are as belows. 'Okyeon(玉淵)' letters carved on the rocks, also known as the name of pavilion in Okyeonjeongsa(玉淵精舍), is the center of Okyeonsipyeong that symbolizes the enlightenment of clean noble man, as well as the symbolic locational expression of studying room. One of Okyeonsipyeong, 'Wansimjae', is assumed to be the name from the combination of two Buddhist names, 'Wanjeok(玩寂)' and 'Seshim(洗心)', 'Dangho(堂號)', lined on both sides with Wonlakjae, the residence of Seoae, as the center. Wansimjae is after all the natural feature indicating the overall Okyeonjeongsa as the core of Okyeonsipyeong with west edge Gyeomamjeongsa(謙巖精舍). Among ten Okyeonsipyeong natural features, Wansimjae(玩心齋), Ganjukmun(看竹門), Gyeomamsa(謙菴舍), Dalgwandae(達觀臺), Ssangsongae(雙松厓), and Dohwacheon (桃花遷) are on the right side of the stairway from Okyeonjeongsa to Gyeomamjeongsa, while Chuwoldam(秋月潭), Neungpadae(凌波臺), Gyeseonam(繫船巖), and Jijuam(砥柱巖) are on the road to the cliff under river cliff in Buyongdae as well as to the dock, and all are located within 500m radius close and diameter area. As the results of lexeme and context analyses of Okyeonsipyeong poet, they are mainly about Confucian teachings symbolizing the constancy of the classical scholar including ego becoming one with the nature and back to the nature, unworldliness and farsighted view, transcendence and seclusion, as well as integrity spirit. In Dohwacheon and Gyeomamsa poets, there is Tao characteristics and brotherhood that pursue fairylands such as Mooreungdowon(武陵桃源). To create tourism brand and landscape of Okyeonsipyeong, it is necessary to prepare storytelling plans including the letters carved on the rocks introduction in Buyongdae area, and also synopsis of the Silgyeongsusang musical, 'Buyongjiae(芙蓉之愛)' that is related to 10 natural features. In addition, the related plans of the experience road from Gyeseonam, which is the boat stop in Buyongdae, to Ganjukmun of Okyeonjeongsa, and again to viewing routes on the stairways to Gyeomamjeongsa using boats are necessary. For preliminary preservation and maintenance plans, the safety of the stairway from Okyeonjeongsa to Gyeomamjeongsa should be secured, the rock inscription should be preserved, landscape interpretation plates should be installed, trees and shrubs around Dohwacheon rock inscription should be removed, Dalgwandae letters carved on the rocks should be restored, and the bamboo forest outside Ganjukmun as well as Prunus persica plantation around Dohwacheon should be pointed out.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.27-37
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• 2010

This study tries to illuminate the features and values of the Buddhist temple Palkyung by closely examining the forms, structures, and meanings of Tongdo-palkyung(通度八景) handed down at Tongdosa Temple, the best among Korea's Buddhist temples with its three treasures of Buddha, law of Buddha and Buddhist monks. The findings of this study can be summarized as the following. First of all, it reveals the meaning of the geographical name Yeongchuksan(靈鷲山), located to the west of Tongdosa, and a spectacular sight spread like an eagle's spread wings, as well as its location and spatial features. In particular, the arrangement features of a number of attached hermitages clearly show Yeongchuksan's world as being a temple with buddhist treasures. The multi-layered unfolding and centripetal intention of the scenery can be perceived through the shape of the Sshangryongnongju(雙龍弄珠形), around Tongdosa and the feature of the enclosed landscape encircling the steps of Hyeolcheo(穴處) Geumganggyedan. The substances and components of Tongdopalkyung include sound-based spectacles derived from Beoneumgu(梵音具) creating sounds related to religious rituals to enlighten and redeem mankind, such as Yeongji(影池: a holy pond with shadow reflections), drum sounds, and bell sounds along with physical features like pine trees, Dae(臺), waterfalls, Dongcheon (洞天), and a glow in the sky. On the other hand, Palkyung's geographical arrangements exhibit a circular spatial formation based on the main motif as Buddhist symbolism, beginning with the 'Gukjangsangseokpyo(國長生石標)' awakening the territoriality of Tongdosa and locating the first scene 'Mupunghansong(舞風寒松)' in its introductory area, with the features of water, bridge, pine grove, and Iljumun(gate) to stand for the influx. Six other scenes including 'Anyangdongdae(安養東臺)' are placed in the sacred precincts around Daeungjeon and Geumganggyedan while the glow of sunset at 'Danjoseong' just outside the domain closes the symbolic circular formation of the Tongdopalkyung, which coincides with the development of the Mandala figure symbolizing 'Gusanpalhae(九山八海)' centered in Sumisan(須彌山). What is more, Tongdopalkyung, while excluding primary scenic elements inside the temple, maximizes the domain of the mountain's entrance and the effects of the multi-layered mountain, mountain upon mountain, by intensifying the influx and centripetal qualities. The Tongdopalkyung analysis reveals the antithesis of four-coupled scenes conveying buddhist principles and thoughts on the basis of seasons, directions, space and time to display a narrative structural landscape when viewed from the temple's territoriality. Likewise, the characteristics and porch structures of Tongdopalkyung are tools and language of symbols to both externally strengthen the temple's territoriality and to internally, maximize the desires to the Land of Happiness as well as intensify religious wishes and the Mandala's multi-layered qualities through the meanings of time and space.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.22-36
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• 2019

This research identified landscape characteristics of Chilitan(칠리탄) area, which had been managed by Son Giyang(1559~1617, p. Ohhan), in order to understand the political viewpoint and ideal landscapes, sought after by Confucian scholars in the 16~17th century. As the research method for the interpretation of each scene's spatial strucutres and meanings, paintings and poems in Chiltanjungsipyukgyeongdo(the Paintings of the 16 Scenes of Chiltanjung Area) were analyzed, which were followed by the on-site survey. Son lived hermit life with the nature after he decided to retire into the country for the chaotic political environment in the 4^th year of Gwanghaegun's reign. Admiring Eum Jareung(B.C. 39-41, p. Eumgwang)'s hermit life, he named a headstream to Chilitan, erected pavilion and made place for angling by the stream, as Eum did in the hermitage. However he worried the king and royal politics in spite of his hermit life, which showed his political viewpoint of Confucianism. In addition, every column of buildings in the garden was named in order to imply both thoughts of Neo-Confucianism and Idleness Naturalism, which highlight a moral training and being comfortable amid poverty and taking pleasure in and honest life style. The present landscape of wonlim could be back to 1936, where Unganru, Byeokripjae and Chiltanjung are surrounding Eupcheondang. Chines character, such as Jimamsuseok, Giam, Ohhansonsunseongjanggujiso and Jogi, are inscribed on the rocks in the landscape garden, from which placeness could be inferred. According to the record of the construction, pine, fir, paulownia, ginkgo, peach trees, bamboo and lotus were planted, and ginkgo, bamboo, crape myrtle, pine and chestnut tress are still living in the garden, which mean plants had been planted in the light of their practical values as well as symbolic meanings. The method for describing 16 scenes of Chiltanjung could be characterized to the structure of 「Place+Scene(a particural activity, event, or action), and these placeness could be analyzed by categorizing the scene to near, middle and far views. Each scene symbolically presents a hermit, noble man, Taoist ideology, homeland, or peacetime, which were adpoted to depict landscapes of Chiltanjung area as the Confucian utopia.