• Journal of Astronomy and Space Sciences
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• 제24권3호
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• pp.197-202
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• 2007

We present infrared color-color diagrams of AGB stars from the observations at near and mid infrared bands. We compile the observations for hundreds of OH/IR stars and carbon stars using the data from the Midcourse Space Experiment (MSX), the two micron sky survey (2MASS), and the IRAS point source catalog (PSC). We compare the observations with the theoretical evolutionary tracks of AGB stars. From the new observational data base and the theoretical evolution tracks, we discuss the meaning of the infrared color-color diagrams at different wavelengths.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2009년도 춘계 종합학술대회 논문집
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• pp.983-987
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• 2009

색채는 침묵적인 언어이다. 영화 색채는 영화에서 하나의 중요한 표현 요소이자 또한 하나의 종합적인 언어적 시스템이다. 영화 색채는 아주 강한 상징성을 지닌다. 색채의 상징성 즉, 일정한 색으로 일종의 이성과 관념의 함의를 은유하는 것을 의미한다. 현재 수많은 감독들은 색채를 통해 그 상징적 의미를 표현하는데 큰 관심을 갖고 있다. 색채가 자연적인 물질의 형식 일수록 외관은 일종의 상당히 중요한 의미가 풍부한 조형적 요소로 승화된다. 이에 색채의 상징적 의미도 영화 색채와 기능에서 하나의 중요한 요소로 되었다. 장예모 감독의 영화 "영웅"과 Michelangelo Antonioni 감독의 영화 "빨간 사막" 두 영화에 나타난 색채에 대한 서로 다른 응용방식과 표현수단을 분석하여 영화에서 색채가 하나의 독특한 표현 언어로서의 중요성을 표현한다.

• 복식
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• 제20권
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• pp.93-104
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• 1993

The purpose of this study is to clarify the adap-tation of traditional beauty of dress in Baek Eui for the establishment of tradition of dress culture. Especially, the color of the traditional dress rep-resent a symbol which is connedted with the na-tional character and the evvironment. But it is hard to examine closely because color preference are transformend with the times. This study is framed within the limits of the next themes : the origin, history and meaning of the Baek Eui ; the philosophical theory of cosmic Five Elements and the Prohibition of Baek Eui ; the beauty of Baek Eui. As the national character is indicative of the conservativeness and the purity, Koreans have kept up wearing Baek Eui spite of the occasional prohibition. Since the color of the dress represen-tatived the signs of the social class and the power, over the eighty persent of the common people put on the Beak Eui : ramie and flax fabrics that has it's own color in Chosun-Dynasty. I think that the use of natural color harmony is prominent and the beauty of Baek Eui is the naturality and the non-artificiality. The meaning of the symbol on the Korean Beak Eui is the divinity, the holiness, the purity, the cleanliness, the modesty, the frugality, the integ-rity, the constancy, the elegance, the simplicity.

• 복식
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• 제61권10호
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• pp.32-41
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• 2011

The purpose of this study is to prove an importance of systemic analysis paradigm to interpret fashion make-up. This research employed 'paradigm for interpretation of fashion make-up signs' theory to analyze data. This theory consists of three steps to interpret the meaning of a work: (1) recognition of form, (2) analysis of connotation meanings, and (3) analysis of symbolic meanings and communication. The results of this study were as follows. Jean Paul Gaultier's eye make-up uses a square pattern that mostly consists of the color black. He presents a Glam Rock image by using rimmed make-up that portrays an avant-garde and a nonmainstream culture. Jean Paul Gaultier's make-up was showing black color and square eye pattern and was presenting Glam Rock image and was a rimmed make-up meaning a nonmainstream culture and Avant-garde symbolically. Chanel's make-up emphasizes the eyehole with the rimmed technique by applying the make-up of Marchesa Casati and including non-popularity, Limited Marketing symbolically. Christian Dior's make-up applies the representative make-up of Joan of Arc and Siouxsie sioux and also uses rimmed make-up to portray the meaning of religion persecution, the dark-ages militarism and including Humanism symbolically.

• 한국실내디자인학회논문집
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• 제21권3호
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• pp.87-94
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• 2012

This thesis has purpose of explaining that blur color is not only appreciated but also undecided spacial color in contemporary space design and examining effects of space experience through the light. In keeping such developments, blur color has been perceived as the object of another tool in contemporary space and has provided us with new views by providing various program, sensor and screen from digital media. With the expansion of blur color, light has changed a spacial color structural that is not simple meaning factor into the essential concept. So this research aims to understand the principle of blur color in Olafur Eliasson's work, which of the fine artist in diverse fields from installation art to media art. The principle of blur color such as deconstruction of vanishing point, dimensional transfer, color gradation, and fiction of visual perception makes it possible to extract the expressed element and method of blur color. Meanwhile, the features of blur color such as sense of depth from viewpoint changes, hybrid from collapse of order, media metamorphosis from reconstitution and interaction from uncanny can be inferred from case analysis.

• Journal of Information Technology Applications and Management
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• 제29권6호
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• pp.123-134
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• 2022

War films are a general term for films that have battlefields as their main background. Although war films as a genre directly deal with combat situations, they also deal with characters or subjects related to war. War films promote patriotism and nationalism, but they also argue against war by highlighting the disastrous war. This study is based on the color theory that the meaning of film color is temporarily and infinitely generated according to the cultural differences, with Eisenstein's creative theory on film color and pathos. I wanted to clarify the pathos effect and the meaning of color green expressed in the Korean war films. In war films, colors are visualized in art forms such as symbols, similes and metaphors. In war films, color green symbolizes life. On the battlefield, the green of nature stands against the catastrophic situation. The green of ecology, which insists on the flow of life, evokes fear in ecological crises such as war, disaster and climate change. The dark green caused by a catastrophe like war warns of the destruction of life. The connotation of color is temporarily and infinitely expands according to the cultural differences. The dark green, which visualizes the battlefield of destruction, is a form and element of pathos that indicates changes in emotions such as sadness, pity, grief and despair. Pathos as an emotional appeal is a leap from the quality to the quality of the means of expression and refers to the departure from Dasein. The green color that dominates the visuals of war films is a symbol of life and functions as a pathos that makes emotional changes take a new leap. A qualitative leap through pathos means all changes that become new.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2005년도 International Costume Conference PROCEEDING
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• pp.232-233
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• 2005

• 비교문화연구
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• 제37권
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• pp.383-400
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• 2014

Synonym means that the conceptual meaning of the word is the same or similar while other meanings or function of language difference may exist. That is two or more identified names correspond with one sense and have the words with minor difference. Words with synonym relation are a set of same meaning but conceptual area or emotional color, language function can be identified. Therefore, the core research of synonym is the difference analysis and in general difference analysis is progress in the three aspects of Meaning, Pragmatic, and Semantic. However, the difference analysis is the most important. In this paper, the set of meaning item of synonym word 'Attack' is 'zheng', 'fa', 'tao', 'qin', 'xi'. We compare the meaning of five verbs and analyze the difference and characteristics.

• Journal of Astronomy and Space Sciences
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• 제18권1호
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• pp.15-20
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• 2001

We present infrared 2-color diagrams of AGB stars from the observations at near infrared and IRAS point source catalog (PSC) data. We compile the observations for thousands of newly identified OH/IR stars and carbon stars. We compare the observations with the theoretical evolutionary tracks of AGB stars. From the new observational data base and theoretical tracks, we discuss the meaning of the infrared 2-color diagrams.

• 한국실내디자인학회논문집
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• 제13권2호
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• pp.168-175
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• 2004

The purpose of this study is to ascertain the color design element in traditional palaces among those in the neighboring three nations of East Asia, notably Korea, China and Japan. Undoubtedly the ultimate goal to be pursued, by so doing, has to be inquiry into the identical prototype of Korean color design element. The East Asian color palette is rich in symbolic meaning, mostly these color are in harmony with the nature and human life. In this study, the color of the traditional palace is characterized by the actual color use. The colors of China are various, but they concentration R～G, middle/high level of chroma. In Korea, the colors in palace are distributed in YR/GY, middle/low chroma, relatively higher value. While the major features of Japan color are YR/achromatic with middle/low levels of value and chroma.