• Sim-seong Yeon-gu
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• v.37 no.2
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• pp.77-98
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• 2022

Symbolic meaning underneath good and evil motifs in the Divine Comedy was analyzed based on its historical, theological, and psychological perspectives. Contemplating psychological structure and collective psyche in divine comedy with the perspective of Dante's era, brief analyses of various mythological elements, such as mythical beasts, fallen angels, cursed space and time, and femininity, were attempted in this paper. The Divine Comedy lustrously responds to modern man's existential questions about divinity and the opposing dark side of the human psyche. It helps restore the significant connection between the religio and conscientiousness toward the imago Dei and shadow.

• Journal of the Korean Society of Costume
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• v.54 no.2
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• pp.11-23
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• 2004

Bomun(Treasure Pattern), by its formative beauty and its symbol of good-luck, is mixed well with other patterns and produces another luxurious and gorgeous pattern with them. This study is to sort out Bomun patterned materials in the relics of Chosun dynasty, to classify the types of patterns according to its elements and to its arrangement, and to analyze their aesthetic characteristics in terms of fabrics, methods of putting patterns on fabrics, their usage, and symbols and aesthetics. The types of Bomun, in terms of their composition elements, are classified as Individual type, Compound Type Ⅰ, which is made with another Bomun, and Compound Type Ⅱ, which is compounded with plant patterns or with animal patterns. In terms of its arrangement, it is classified as Dense type, Sparse type, and Picturesque type, and the most popular type is the pattern of the dense type. Bomun was depicted in the fabric through a technique called Jimunbeop. It was used on both men's and women's clothing. It was mostly used in Po of men's clothing and in Jeogori(jacket) of women's clothing. Bomun connotes the meaning of good-luck, beating off evil spirits, Yin and Yang ideology, noble tastes, etc.

• The Journal of the Convergence on Culture Technology
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• v.10 no.2
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• pp.323-331
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• 2024

The concept of 'Han' is a psychological characteristic formed by Koreans through long-lasting national hardships. It has deeply influenced every Korean as a form of collective unconscious and has merged with various forms of art over time. Director Bong Joon-ho's works, rich in social consciousness, symbolically visualize sensitive issues like social class, presenting harsh satire on class oppression. His movies continuously emphasize human desires, the homogeneity of good and evil, insurmountable class barriers, and moral decay caused by desires. They produce a wealth of symbols filled with layers and power dynamics. Bong Joon-ho dramatically portrays and directs various forms of symbols. The metaphorical symbols in his movies provide a unique research value for delving into the deeper meanings of the films.This study examines the theme of 'class Han' in six of Bong Joon-ho's films, exploring the 'Han culture' of Korea. It applies semiotic concepts by categorizing into character and non-character symbols for an in-depth analysis of the films. The representative works from the late 1990s to the late 2010s articulate the class layers of the 'visible' and the 'invisible' through a blend of realism and surrealism. The study analyzes Bong Joon-ho's films in the sequence of 'satire-exposure-hope', examining the culturally critical nature of 'Han culture' on class and its psychological and cultural impact on the general public.

• Journal of Digital Convergence
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• v.13 no.11
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• pp.1-6
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• 2015

This study is based on semiotic analysis with a focus on film 'Veteran'. The film is to the reproduced movie in the sign for social problems facing our society. The purpose of this study is to interpreted the implication is that referents and presents of the film to be directed by semiotic. The methodology is the study that the Saussure's semiology as a signifier and signified, and Peirce's semiotic as iconic, index, symbols in contemporary scholars. The Semiotics is analyzed on the basis myth and ideology of Barth. The film director thinks the 'veteran' was replaced by the implications of the role of the actor as a signifier that is the out referent of our society. Thus, the film was sublimated into more than the real as myth in our society desires. So, our society is to implement the right ideas as ideologies process. that is, rewarding the good and punishing the evil, and eventually implement justice society. The implications of this study is going to create a society that is not for specific groups tycoon, is for mutual dependence like the interpretation of the song of the film veteran.

• Journal of the Daesoon Academy of Sciences
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• v.49
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• pp.229-263
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• 2024

The purpose of this article is to elucidate the origins of the symbolic significance of traditional Korean talismanic ornaments such as dried pollack, bokjori (luck-bringing strainer), silk threads, and sokotture (a nose-block). Previous studies have primarily interpreted the magical meanings of these ornaments based on their shapes or functions, but such approaches are limited due to this likely being an ex-post-facto interpretation. This study argues that the symbolic meanings of these ornaments originated from the socio-economic characteristics of the time. These items were food resources or products closely related to the economic activities of the people of the time, and therefore, could be considered symbols of abundance and fortune. In particular, dried pollack served as an important food resource and commodity during the Late Joseon Dynasty, even functioning as a quasi-currency, and considering that fish are seen as symbols of abundance and fertility in various cultures around the world, its symbolic significance becomes clearer. Bokjori and sokotture acquired the meaning of abundance by being associated with major goods or properties of the time such as rice and cattle, and silk thread was linked to sericulture, a significant source of income for farmers of the time. These economic characteristics form the basis of the symbolism of these ornaments, and the function of these talismans can be seen as a secondary symbolism added in the process of social justification of these customs. This study reveals that economic motives underlie magical-religious customs and suggests that a broad consideration of the cultural and ecological environment of the time is necessary to understand the origins and transformations of cultural phenomena.

• Cartoon and Animation Studies
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• s.51
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• pp.129-158
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• 2018

China has had many excellent Chinese-style animation since the 1950s. These animations are of distinctive Chinese national characteristics. They have won many awards both at home and abroad, such as "Feelings of Mountains and Waters", "Uproar In Heaven", "Why is the Crow Black-Coated" and so on. But nowadays, Chinese animations that mimics Japanese and American animation are very often, and there are few animation works with rich traditional Chinese culture. There are some works in the name of Chinese style, but they have not been fully accepted by the audiences. If one wants to create animated works of Chinese style, the author must have an in-depth understanding of Chinese traditional and folk art. Animation can not be designed only on the surface. This paper mainly studies the traditional five color concept in China and its application in animation. The purpose is to provide some references to differentiate Chinese animation from other countries in terms of style and color. The main content of this paper is to understand the concept and history of Chinese traditional five color views, and to know that this color system has reflected the ancestors' concept of nature and society. On the basis of five monochromatic colors, red, yellow, green, white and black, it is a kind of complex color concept that has been developed and perfected continuously after a long period of accumulation and precipitation in the practice of life. It is the theoretical basis of Chinese traditional color system and a complete set of historical, cultural, philosophical and religious theories. Finally, this paper analyzes the colors and their symbolic meanings of the main roles in "Uproar In Heaven", a color long animation produced by Shanghai Animation Film Studio, including Sun Wukong, the Jade Emperor and Na Zha. Color is the first visual language. The use of color symbols to express the inner feelings, status, good and evil of the characters will affect the audience's emotions, behaviors and opinions imperceptibly. The traditional Chinese five color concept has gone through such a long history, and its symbolic meaning has a more profound impact on Chinese people. Applying the color concept and symbolic meaning of Chinese traditional five color concept will further highlight the personalities and emotions of the roles in Chinese style animations. This paper takes the five-color view as the theoretical basis, and through the analysis of cartoons with traditional Chinese color, the author finds ways to flexibly use traditional Chinese culture.