• Journal of Communication Design
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• v.62
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• pp.96-104
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• 2018

Jinling University during the Republic of China (1912-1949) is the most representative academic institution in film education and filmscience, film production, film distribution and many other aspects. Although Jinling University had not yet formed an independent animation discipline, the opening of its animation curriculum, theoretical research, and the practice and production of animation have played an important historical role in the development of Chinese animation and are the beginning of China's animation education. This study investigates Jinling University comprehensively and systematically reviews the forms of animation education. At the same time, macroscopical education and microcosmic education concepts are used to analyze the social context of the Republic of China of discipline construction and external education concept at that time. It sketches the historical clues of the development of animation education in Jinling University in the Republic of China, and lays the foundation for further studying animation education in the Republic of China in theory.

• Journal of English Language & Literature
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• v.54 no.1
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• pp.149-167
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• 2008

Korea has persisted in the notion of "ethnic nationalism." That is "one race, one people, one language" as a homogeneous entity. This social ideal of unity prevails, even in overseas Korean communities formed by voluntary and involuntary displacement in the turmoil of modern history: communities made intermittent with the Japanese colonial occupation and with postcolonial encounters with the West. Given that the Korean people suffered from the trauma of deprivation of the language caused by the loss of the nation, nation has been equated with the language. Accordingly, "these bearers of a homeland" are also firm Korean language holders. The linguistic patriotism of unity based on the intertwining of "mother tongue" and "father country" has become prevalent in the collective memory of the people of the Korean diaspora. Korean American literature has grappled with this concept of the national history of Korea and the Korean language. The aesthetics of Korean American literature has been marked by an influx of literary resources of 'Korea' in sensibilities and structure of feelings; Korean myth, folk lore, songs, humor, traditional stories, manners, customs and historic moments. An experimental use of the Korean alphabet, Hangeul, written down as pronounced, provides an ethnic flavor in the midst of the English texts. Despite its national framework of mind, however, Korean American literature as an interstitial art reveals a keen awareness of inbetweenness, and transnational hybrid identities. By exploring the complex interrelationships of cultural and linguistic boundary-crossing practices in Korean American literature, this paper argues that the poetics of the Korean diaspora challenges the closed structure of identity formation, and offers a transnational sphere to deconstruct a rigidly demarcated national ideology of "one race, one people, one language," for the world literary history.

• Journal of English Language & Literature
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• v.55 no.2
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• pp.241-257
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• 2009

The essay discusses the way in which the aesthetic of Pre-Raphaelites reformulates the habitual system of knowledge in the Victorian age by adapting $Ranci{\acute{e}}re^{\prime}s$ concept of aesthetics. $Ranci{\acute{e}}re$ develops an original theory of aesthetics, a regime of knowledge which enables to perceive and reflect art as such. In this way, aesthetics turns to be the logical system by which the consensus idea of the beautiful comes to exist. For $Ranci{\acute{e}}re$, aesthetics is an agreed system of the sensible and reproduces the habitual knowledge of the world. Therefore, a new aesthetic movement means an attempt to break the given aesthetics and reorients the new distribution of the sensible. The important point of $Ranci{\acute{e}}re^{\prime}s$ argument is that he does not presuppose the dimension beyond the present unlike Frankfurt School. What $Ranci{\acute{e}}re$ claims is that there is no such the aesthetic which can correct the instrumental reason, but rather an indifferent moment in which a worker finds out himself as a creator who can give rise to the new regime of the sensible and feels free from what he must work for. From this perspective, the essay explores the aesthetic of Pre-Raphaelites and its meaning in nineteenth century Britain. Pre-Raphaelites was an artist group who railed against a so-called academic style of paintings and created a new aesthetic criterion to describe the truth of the natural world. The essay examines the interrelationship between Pre-Raphaelites and photography that would enable them to re-distribute the sensible and produce a new way of seeing the order of things. This is related to the birth of a modern gaze as in the case of landscape paintings. What is crucial is that the distribution of the sensible is always-already doubled with the political. In short, Pre-Raphaeltes is not only an aesthetic movement but also a political pursuit to achieve a disenchanted perception of nineteenth century industrial capitalism.

• The Journal of the Korea Contents Association
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• v.20 no.12
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• pp.582-592
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• 2020

The purpose of this research is to analyze the psychological dynamics of the characters in the novel 'vegetarian' of the Han Gang and the relationship patterns in the system by applying object relation theory. 'Vegetarianism' has already been analyzed and reinterpreted in various angles, but if you look at it from the object relationship theory and the systematic perspective, you can understand the inevitable history of the generation through psychological analysis and relation dynamics of the person. First, we will analyze the psychological dynamics of the characters by analyzing the meanings and exploring the meaning with the object relation theory and concept. The psychological analysis and the search process of the characters based on the theory are enough evidence for the counselor to reinterpret the life story of the client in the future clinical scene. In addition, in order to realize ethical but practical clinical education, the field of clinical practice will be extended when analyzing the characters using art. It is suggested that the meaning search through various character analysis needs to be accumulated culturally.

• International Journal of Advanced Culture Technology
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• v.9 no.1
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• pp.58-63
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• 2021

This research aims to reconsider the necessity of an alternative way(s) for contemporary actor training and acting in discussing and articulating Diderot and Suzuki's concepts and approaches for acting/training. First of all, the physical body, assumed and conceptualized by Diderot is beyond our control by means of a type of radical body/mind dualism, and is based on the concept that body and mind are separate. In contrast, Suzuki's notion of acting/training is raised by his concern about the role of an actor's body in the constitution of an actor's bodily experience against the imitation of the West-oriented theatre/acting/training. The descriptions of the two theatre artists' notion of acting/training gives us insight into the place and role of contemporary theatre as a practical root to encounter and communicate between a doer and a spectator where an actor's body must appropriately be attuned and cultivated towards the cultivation of bodily attributes which are foundation but usually neglected by actors/directors/practitioners particularly in Korea. Especially, misunderstanding of a specific training sources/approaches, namely 'scientific system' and the 'method' have taken us away from the potential possibilities of the lived oneness. Here, the 'possibility' refers to the primary bodily functions within a specific context or being in the here and now rather than attempting to copying, imitating and/or adapting a specific cultural source(s)/approaches/techniques as we have faced with through the previous century. We reconsider and argue that a potential way to correspond the nature of theatre/acting/training is that how to meet the demand of contemporary spectators which in turn intensifies an actor's stability, sustainability and hopefully professional identity in this contemporary era.

• Journal of Digital Convergence
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• v.20 no.4
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• pp.597-606
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• 2022

This study attempted to find a new manufacturing method through Basalt fiber and resin infusion method to expand the range of expressions of Contemporary jewelry produced in studios. To this end, the concept of fiber introduction and infusion method was examined through analysis of used cases, and based on this, flat plates and color samples were produced, and then the samples were made to estimate the possibility of direct use in jewelry. As a result, the infusion method process presented certain results that could be used as a production process in the studio, and Basalt fibers were able to express various colors of spray and porselin, especially fiber its painted with porselin, which have high strength and they can be expressed intentionally, it are very valuable as jewelry's material, it is expected to be an opportunity to expand the practical production methods and expressions of Contemporary jewelry.

• Journal of Internet of Things and Convergence
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• v.8 no.2
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• pp.61-70
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• 2022

Connectivity and knowledge are the main keywords of the IoT. In this paper, I analyzed how the two civilizations, Christianity and Islam, were connected through Mughal paintings and what result they have brought in the spread of knowledge. For that, I analyzed literature as well as paintings of those days. In terms of theme matter, Western painting was used as a means of strengthening the royal authority of the Mughal Emperor. In terms of style, perspective and shading from the Western Paintings began to be used in Mughal painting. Later, Christian symbols and themes were linked to absolute power of kingship, and further utilized them to develop into the concept of kingship = spirituality = divinity, creating an original art style that was unprecedented in the history of world painting. By analyzing the two disparate cultures in terms of 'connectivity' and 'knowledge' of the Internet of Things, such research could serve as a platform for future humanities research on the Internet of Things.

• The Journal of the Korea Contents Association
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• v.22 no.7
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• pp.623-634
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• 2022

Chinese Korean dance has been handed down in its original form, and some of the dances have changed slightly due to changes in the names of people or places, but it is a creative dance developed based on the roots of the Korean people. Therefore, it is a unique form of dance art that reflects the history and life of the ethnic Koreans while imbuing the unique psychology, emotions, artistic symbols, and creative talents of the Korean people. In this study, however, it is most important to identify the identity of Korean dance through historical changes in Korean dance and representative works by period, and to increase awareness by examining the characteristics of Korean dance. Therefore, based on the literature, this study will understand the concept and formation process of Korean dance, and examine the characteristics of the representative works of each period by dividing the history of Korean dance into four periods. On the other hand, this study suggests that the biggest challenge of the present era is not to establish and protect the identity of Chinese Korean dance, rather than simple dance.

• The Journal of the Korea Contents Association
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• v.22 no.1
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• pp.405-414
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• 2022

The purpose of this study is to discover the possibility to expand the aesthetic interpretation of dance works. For this purpose, this study analyzes Maguy Marin's (1981) because it shows Sigmund Freud's concept of uncanny and grotesque images well. The theoretical framework of this study was centered on previous academic studies, and Hoffman's Der Sandmann(1816) was presented as an example to help the conceptual understanding of uncanny and grotesque. The analysis of of Magi Marin was divided into stage space, dancer's movements, costumes, and voice. As a result of this study, it was discovered that is a work with an experimental spirit that deviated from the stereotypes of traditional stage aesthetics. And it was implemented as uncanny and grotesque images in the choreography structure. In addition, as the changes of the times have a great influence on the creation of dance works, it is thought that the discourse of various aesthetic interpretation methods in dance works can provide various directions for dance creation in the future. Therefore, this study will be helpful in raising the aesthetic value and status of dance art.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.331-336
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• 2021

This study first examined the social meanings of typicality found in the prison, (solitary) confinement, and conduit(passage) in Peter Halley's works, in which both the prison and (solitary) confinement represent a suppressed structural framework. The former has freedom and escape excluded from it, and the latter allows for mutual regulation and connection as a space of positive mediation. Conduits are interpreted to be flexible and have the potential of creating something new through connection and communication with the outside world. The study then compared and analyzed the meanings of typicality in Halley's works and the concept of segments proposed by Gilles Deleuze and Félix Guattari as social justice in that both of them were in the same context. The findings lead to a conclusion that Halley's prison, (solitary) confinement, and conduit(passage) can be connected to a solid, flexible, and escape segment, respectively, by Deleuze and Guattari.