• 복식
• /
• 제63권7호
• /
• pp.134-147
• /
• 2013

Today, the convergence of fashion design and digital technology has become a popular method and accordingly been tried variously in the fashion area. This study aimed to analyze the character of the collaboration with fashion and technology, and the meaning of technology as emotional expression methods. Selected designer's collections, literature and other related studies were reviewed in order to analyze the generative structure of the meaning and the binary-opposition in the convergence of body, fashion design and technology. Literatures and selected designer's collections were reviewed and quantitatively studies were performed to classify the convergence of human bodies, fashion design and technology through Greimas Semiotics rectangle based on binary-opposition of meaning and isotophy analysis. The research presents three types of fashion technology methods: mechanical movement, light/digital media, and virtual image. The convergence of fashion and technology was classified as the direct convergence and the indirect convergence. The direct convergence was characterized by variability and has automatic, independent movement, but the indirect convergence was shown closed and to have contradistinctive images.

• 건축역사연구
• /
• 제18권4호
• /
• pp.25-41
• /
• 2009

Louis I. Kahn is cleary one of 20th century great architects. The character of his philosophy of architecture can be condensed as simple words; Architectural Essence, because the very nature of his work based on historicity is so fundamental. Some contemporary architects and architectural critics regard it as a symbol of Post-Modern Architecture era expressing relative multiplicity or an expression of Heideggerian existentialism, but others do as the attribute of fundamentalist like absolute Plato's Idea. Comparing the former, studies of the latter theme have been executed superficially and somewhat biasedly for last decades. In the context, this paper attempt to reanalyze Kahn's idea of 'Architectural Essence' with the deep view of Platonist focused on the concept of binary opposition and causality.

• 음성과학
• /
• 제11권1호
• /
• pp.65-72
• /
• 2004

The force of articulation is different between voiced and voiceless consonants in the binary opposition system. However, the Korean voiceless stop consonants have a triple opposition system: lenis, aspirated, and glottalized. The aim of this study is to find the primary distinctive feature between the force of articulation and the aspiration for the three different types of Korean stops. Two native speakers of the Seoul dialect participated to this study. The corpus was composed of less than eight syllabic words containing consonants in word-initial position and intervocalic position. Radiocinematography and Mingography were used to analyze the articulatory tension and acoustic characteristics. Korean stops have independent features of articulatory tension and aspiration, in which the indices are different according to position. However, in this system which does not have the opposition of sonority, the force of articulation is the primary distinctive feature and the feature of aspiration is subsidiary.

• 복식
• /
• 제65권4호
• /
• pp.19-30
• /
• 2015

In recent years, various studies about 'Biomorphic design' have been conducted and accelerated among many recent design concepts and methodology. Therefore, this study classifies the types of biomorphic fashion design based on literature review, and select biomorphic fashion designs in the latest fashion designer's collection. This study aimed to determine the types and characteristics of the biomorphic design in fashion design, and analyze the characteristics and the interpreted intrinsic meanings through Greimas Semiotic rectangle model based on the Binary-Opposition of meaning and Isotophy. As the result of analysis, biomorphic designs in fashion are classified as three types: 'representational imitation of form', 'technical imitation of functional features', and 'imitation of symbolic attribute'. 'Representational imitation of form' was derived from an organic design through atypical forms, repetition and extension of figurative forms of nature, and 'the functionalities of the nature' are interpreted as the feature to maintain the condition of the life itself and to attempt to regulate the status of self-autonomy. Lastly, 'the imitation of symbolic attributes' is designing the process of creation, growth, expansion and destruction from circulation of nature.

• 한국실내디자인학회논문집
• /
• 제33호
• /
• pp.122-128
• /
• 2002

In the Sci-Fi movie, with future scene in its setting, how images are shown in the film is very important. Sci-Fi movie is supposed to be expressed In different way of its set design. This study suggests various types of expression in Sci-Fi movies. Sci-Fi movies construct the narrative upon the binary opposition of nature vs. culture, human vs. nonhuman. Sci-Fi movie is a contested terrain where conservative, liberal and radical ideologies are competing. While liberal Sci-Fi movies consider the opposition compatible, conservative texts show the paranoid towards science and nonhumans. And, Sci-Fi movies are expressed as utopian and dystopian. Utopian and dystopian elements are found in the history of architecture. Utopian element is often found in the religious architecture, and those buildings are geometric, orderly, and gorgeous. Dystopian element is often found in modern architecture, and those are asymmetric, distorted, and incompleted. Conservative movie, which developing of science is expressed negatively, retains both utopian and dystopian elements evenly. Liberal movie, such as Space Opera which science is expressed positively, is changed from futurist and mechanical type into more simple, geometric and orderly shrine type. Radical movie, which the boundary of human and science is expressed darkly, retains dark, complex, and incomplete dystopian expression elements.

• 만화애니메이션 연구
• /
• 통권41호
• /
• pp.511-531
• /
• 2015

애니메이션 영화를 탄생시킨 근원적 추동력은 움직이는 이미지에 대한 매혹이다. 그리고 애니메이션 이미지는 프레임과 프레임 사이에서 애니메이터와 장치들이 수행적 관계를 맺는 과정에서 발생한다. 때문에 이미지의 운동이 어떤 질료와 방식을 통해 구성되었는가를 살펴보는 것은 애니메이션 영화를 텍스트로 읽는 필수적 출발점이 될 것이다. 이러한 관점에서 본고는 서사의 전개와는 독립적인 차원에서 이미지 자체가 주제의식을 보다 감각적으로 전달하고 있는 한국 애니메이션 영화 <오목어>의 재료와 기법, 그리고 매체가 수행된 방식을 분석한다. <오목어>는 물 밖 세상에 대한 열망을 품은 물고기의 여정을 누들스크린으로 구현한 스톱모션 애니메이션 영화이다. 애니메이터 김진만은 한국에서 쉽게 접할 수 있는 식재료인 국수용 소면을 사용하여 누들스크린 애니메이션을 고안함으로써 <오목어>의 독창적이면서도 친근한 이미지를 만들어내었으며, 이를 통해 존재론적인 자아성찰과 세계에 대한 고찰을 불이사상(不二思想)에 기반하여 풀어내었다. 불이사상은 현상적으로 이분법적인 모습일지라도 우주의 진리는 분별이 없으며 본질적으로 하나의 괘로 작용한다는 이치로 서양의 이원론적 가치관과 달리 순환적이며 합일적인 동양철학에 기원하고 있다. 본 논문은 서양에서 유입된 애니메이션 매체를 한국 애니메이터가 어떻게 독자적으로 수용해내었고 이를 통해 구성된 이미지의 운동이 어떻게 불이사상이라는 주제의식을 효과적으로 전달하고 있는지를 밝힌다. 이를 위해 2장에서는 누들스크린의 형태와 구조를 살펴본다. 여기서는 애니메이션 매체의 초창기 시절 알렉세이프와 파커에 의해 고안된 핀스크린과의 유사성과 상이성이 분석될 것이며, 누들스크린과 핀스크린 두 기법의 미학적 가치와 특수성이 고찰될 것이다. 다음 3장에서는 이항대립적으로 제시되었던 이미지가 누들스크린의 속성을 활용하여 어떻게 초반의 대립 개념을 전복시키고 보다 풍성한 함의로 확장되는지를 살펴볼 것이다. 마지막 4장에서는 애니메이션 제작과정을 개방함으로써 애니메이션 매체의 허구적 환영성을 반영적으로 폭로하고 스크린 밖으로 펼쳐짐으로써 우리의 현상적 삶의 세계에 대해 질문하도록 하는 <오목어>의 열린 액자 형식에 대하여 알아볼 것이다. 그리고 이 모든 장에 걸쳐 화두로서의 불이사상이 어떻게 다루어지고 있는지를 살펴볼 것이다. 이를 통해 애니메이션 영화 이미지가 단순히 서사에 봉사함이 아니라 보다 독립적이고 확장적인 차원에서 개념을 전달하고 지각을 활성화시키며 통합적 감각 경험을 이끌어낼 수 있는지를 확인하고자 한다.

• 한국실내디자인학회논문집
• /
• 제25권1호
• /
• pp.35-46
• /
• 2016

The purpose of this study was to identify the characteristics of expressionism in the space of deconstructive architecture by comparing the spaces of "The Cabinet of Dr. Caligari" video with the expressionist characteristics of film narrative structure and expressionist architecture and making an expansion based on the results. The findings were as follows: first, the "The Cabinet of Dr. Caligari" is divided into two set spaces: one has the perspective representation distorted in the viewpoint of a mad person applied to it, and the other reflects the viewpoint of a normal person from medieval paintings with no perspective. Second, the expressionist buildings did not reflect the expressionist characteristics in the interior spaces as fully as in the exterior ones. Third, the incomplete combination of Signifiant and $Signifi{\acute{e}}$, which were the theoretical basis of deconstructive architecture, showed a tendency of binary opposition like the double narrative structure of "The Cabinet of Dr. Caligari." Fourth, deconstructive architecture seems to embody the exterior form and interior space of "The Cabinet of Dr. Caligari" and its set spaces in the phenomenal aspect but exhibits its limitations with the realization of dynamics, one of the characteristics of expressionism. Finally, the Seattle Public Library presents the best embodiment of expressionist characteristics found in the set spaces of "The Cabinet of Dr. Caligari" while seeking after the combination of horizontal and vertical paths of action through the spiral ramps and inclined slabs.

• 영미문화
• /
• 제18권1호
• /
• pp.93-120
• /
• 2018

Constance Fenimore Woolson is among those whom scholars have for long been trying to rediscover and add to the list of representative American writers. The primary methodology has been regionalism, based on the fact that most of her work portrays remote, exotic regions in and out of America. Still, Woolson remains obscure to general readers as well as literary critics outside a small circle of her scholarship. This essay attributes that obscurity to Woolson scholars' blind reliance on regionalism's nationalistic assumption in reading Woolson's multifaceted writing, and proposes to explore her nationally and regionally displacing view of the rigidly stereotypical and ideologically biased binary opposition between the center and the margin in postbellum America. The essay takes as an example the only story by Woolson that has never been reprinted or anthologized until very recently, "In Sloane Street," and examines why it resists the scholarly endeavor to regional categorization. The examination especially focuses on how the story exposes the Americanizing conceptualization of the region and its limits. The essay concludes with an attention to the story's ending where Woolson abruptly yet deliberately introduces a form of almanac as the main character Gertrude's mode of daily record. The attention to that uniquely hybrid genre in the American literary tradition, which encompasses the public and the private, the universal and the local, sheds light on Woolson's authorial intention to deconstruct the Manichean view of literary regionalism.

• 한국의류학회지
• /
• 제47권6호
• /
• pp.1057-1079
• /
• 2023

This paper examines the use of semiotics for analyzing fashion advertisements in the fast fashion industry. While previous studies have explored the use of semiotics in various industries, the application of this theory in the fashion sector-especially regarding fast fashion's commercial videos related to sustainability-remains underexplored. The paper adopts Roland Barthes' Semiotics Theory to analyze the advertising videos related to the sustainability of major fast fashion brands such as H&M, MANGO, and ZARA. The research approach involved reviewing all commercial videos related to sustainability on these brands' official YouTube accounts and conducting comprehensive analyses of advertisements using the binary opposition analysis framework. The paper's findings indicate that these commercial videos serve as a platform to mold a brand's sustainability image and promote the notion that fast fashion brands are leading the charge toward sustainability, preparing for an unpredictable future, guiding people toward hope, and offering ultimate freedom. This research high-lights the necessity for a critical examination of advertising videos related to sustainability in the fast fashion industry to guarantee accountability and transparency.

• 만화애니메이션 연구
• /
• 통권16호
• /
• pp.101-112
• /
• 2009

<슈렉>은 기존의 동화와는 다른 새로운 내용과 형식을 선보이며 기존 관습에 균열을 만들어서 고정화된 관념에 대한 인식의 변화, 사고의 전환을 유도한 작품이다. 본 연구는 세 편의 슈렉 이야기에 반복되는 의미구조를 그레마스의 행위자 모델과 기호학적 사각형을 통해 분석하고자 한다. 행위자 모델은, 잘 알려져 있듯이, 세 쌍의 대립항을 통해 이야기의 기본적인 서사도식을 분석하는 기호학적 도구다. 이에 비해 기호학적 사각형은 기본적인 이항대립을 중심으로 형성된 의미지형을 통해 이야기의 의미생성 경로를 시각화하는 모델이다. 기호학적 사각형이 심층층위에서의 의미경로를 탐색하는 모델이라면 행위자 모델은 심층적 의미가 서사적 차원에서 구조화된 것이라고 할 수 있다. 본 논문에서는 공주와 괴물의 사랑과 결혼, 그리고 영원한 행복 찾기를 중심으로 한 행위자 분석과 기호학적 사각형을 통한 의미생성 과정을 분석함으로써 자연과 문화간의 대립에 기반한 슈렉의 이야기 구조를 시각화한다. 분석의 중심 대상은 1편은 슈렉과 피오나의 사랑, 2편은 슈렉과 피오나의 결혼 생활, 3편은 권력과 자유이다.