• English & American cultural studies
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• v.13 no.1
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• pp.83-103
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• 2013

This paper focuses on the function of suicidal images in the history of art including literature. Death has been romanticized or repoliticized into an existential act of defiance and rebellion in literary works, so questions remain about the correlation between literary suicide and the essence of suicide. Although Jacques Ranciere insists that the order of art contrasts with the order of common people whose acts and gestures can express either their specific purposes nor the rationalities of their frustration, literary suicide reflects the outside life of readers. In fact, images of suicide produces the order of things about the real world. William Shakespeare's Hamlet handled two oppositional self-murder significantly. As Ron M. Brown pointed out, Hamlet, by choosing confrontation, seeks out an end which is voluntary, thus he avoids self-destruction and feels triumph of heroic fashion. Ophelia's self-chosen death stems from loss, frailty and the disintegration of reason, which demeans the act and diminishes her from the tragic to the pathetic(16). In the $19^{th}$ century, the resurrection of Ophelia acted as the context for later periods where life itself is fictionalized from the differing periods of network of signifier and texts. Finally, in Ophelia's case, fiction became life(Brown 285). Her suicidal image was fixed in the Victorian Culture whose visual discourse was strikingly similar to that of the men. Likewise, the ambiguities of the suicide became intertwined with the social, cultural issues of a certain period, and the paradigm of suicide was conformed to the changing needs of successive generations. However, if literary art understands that a European culture grappled with the almost impossible task and coming to terms with this strangest and most persistent of phenomena, it will be able to focus on of the multi-layered suicide by recognizing the inherent instability of the verbal sign which cannot reveal the design and grammar of truth.

• Archives of design research
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• v.18 no.2 s.60
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• pp.189-200
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• 2005

Paper currency is a cultural symbol sign representing identity of a nation as well as a tool of barter system and a measure of value. The purpose of this study is to analyze the design characteristics shown in the pattern of the paper currencies of advanced countries and Korea and to make comparative analysis of the image type of each nation as a cultural code. The results show that 1) the usability of paper currency design was evaluated by denominations, size type, color, braille system and the paper currencies of Switzerland and EU were judged superior to those of the other counties. 2) The national image type represented paper currencies was classified as 'state oriented type' and 'culture & art oriented type'. The countries of Korea, U.S.A, Japan etc. have on the paper currencies the ruling class who contributed to organizing the national system foundation emphasizing their nationalism. In the case of European countries, their paper currencies reveal a variety of citizen who have contributed to art, science, music, architecture without distinction of gender and this fact puts an emphasis on egalitarianism and equality of both senders and importance or cultural art. 3) Paper currency design of Switzerland, Netherlands, France, U.K. was visualized as an art work with utilization of work-type subject, brilliant color, CG technique, unique layout etc. This study provides us with a valuable opportunity to examine the present state of the Korean paper currencies design in Comparison With those of the world's advanced countries. It is expected that this study could be a resource material for new paper currency design and emphasize the importance of the paper currencies representing a national image as a cultural design.

• Archives of design research
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• v.17 no.4
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• pp.169-176
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• 2004

It is incontestable that the essence of the current fever of well-being is pseudo-ideology, which is the commercialized well-being. Nevertheless, the potential value as the cultural contests of Korean Design, reaching the philosophy of well-being, must not be overlooked. Being more than its dictionary meaning of 'happiness' and 'welfare', well-being aims peace of mind and richness in mentality, thus supports the life style of 'Body-Mind Monism'. As a trend that has taken a ride on the consumerism, it is inevitable to excavate the benign cultural value that an ordinary sign of well-being lacks in order to create a peculiar model of Korea's design contents by sublimating the commodity aesthetic of well-being into an alternative argument possessing the cultural identity of Korea. Well-being, not much different form an attitude of following the 'ways of nature', is a typical model of non-dualistic thinking of East Asia. By tracing back to the indication of well-being that already existed in the non-dualistic thought and design of East Asia, the genealogy connecting the current phenomena of well-being to the Body-Mind Monism can be found in the cultural traditions of as close as Korea and as far as East Asia. In the case of adopting the monistic way of East Asian thinking that sees body and mind as one not two as the theoretical background of well-being imported fro the West, it is expected to provide a solution for the design discourse of Korea to be out of colonialism. Well-being contributes to the monistic awareness in the period of self-reflected modernization, which needs to search new values based on the reconsideration of dualistic paradigm centered on the Western culture, thus it is worth putting anticipation on the potential significance well-being would have in the field of national as well as international design world.

• The Research Journal of the Costume Culture
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• v.8 no.4
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• pp.562-576
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• 2000

The purpose of this study is to semiotically reinterpret the Korean beauty and symbol inhering in the modern clothing of Korean designers as the context of traditional culture through regarding the clothing including hegemony that is controlling the Korean society and culture as a sign. The theoretical framework for analysis was derived from the semiotically analytic methods of F. Saussure and R. Barthes. The results of the study are as follows ; Korean images reflected in the modern clothing designed by Korean designers are humanistic image, environmental-friendly image, totemic and mythlogical image, equal and peaceful image, and metaphorical and metonymical image. Conclusively, developing a creative design based upon the interpretation of our unique and traditional culture, the clothing could be newly made of historical and cultural resources in the modern lives. If so, I think that the clothing will be not only the visual and decorative art, but also an information which contains implication of our culture, and finally can be established.

• Archives of design research
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• v.14 no.2
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• pp.77-86
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• 2001

Post-modernism which was generally spread western civilization after World war II and used to a wide area in many fields reflects an aspect of the social and cultural as representative the spirit of the age in the late 20th century The most phenomenon that was appeared a sign of Post-modernism is the spread of popular culture. Animation which is the aim of communicating the entertainment and pleasure has a peculiar position in the result of the popular culture. Neon Genesis Evangelion can be discriminated the existing commercial animation because the process of the story, the characteristic of the work and the expression of an author are demonstrating sufficiently the Post-modernistic characteristic.

• International Journal of Advanced Culture Technology
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• v.10 no.1
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• pp.102-107
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• 2022

The emergence of independent cinema in the United States in the 1960s was the earliest sign of postmodernism in the country, which was often referred to as "underground cinema". The works, in a counter-cultural stance, overturned the thought of depth of traditional art cinema, not exploring the meaningful relationship between form and content in terms of artistic technique, but creating an aesthetic that echoed the "Pop Art" of the time by collaging established means of expression with traditional and fashionable ones in a consumerist manner. In this paper, American independent cinema was examined, firstly by analyzing the local and external factors that contributed to its rise. Secondly, two genres of independent cinema core paradigm, "underground cinema" and "pop cinema" were focused on, as a way of demonstrating the attention and influence that independent cinema has gained. Finally, we found that independent cinemas are also seeking for alternative exploration and diverse expressions in the context of the times.

• Archives of design research
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• v.19 no.1 s.63
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• pp.243-252
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• 2006

This essay studies local design style in globalization era through investigation of the restaurants which are located at suburb of big cities in Korea. All regional memory and history is disappeared in 'The world time' and world design style in globalization era. Thus to study local design means to study the history of certain region and the memory of the people who lives in that area and how they represent their past and memory. Post colonial theory, everyday aesthetics and the way of using past and memory are preresearched for the theoretical background. Post colonial theory is discourse for the countries which have the experience of colonialism. History and memory are used for defining present political, social, economical and cultural situation. In this essay, the way using past and memory were classified in three dimension - by government, company, and individuals. The past which is represented by government is conceptual and defined as only sign without on going history. When it is represented by company, it is also uses as a sign and imitation without contextual meaning. However, when the past is used by individuals, it is alive in daily life. This essay argues that those restaurants which have the style of 'the Koreaness' symbolize the suppressed desire to represent the lost past and memory which are forced to be exduded during the colonial period and fast modern development. And the design style can be defined as epic design, for it has it's own main character, story, memory and plot too. This word 'epic' imply the main point of local design style. In conclusion, this essay will ask the role of design in the country which has colonial memory in globalization era.

• Journal of Fashion Business
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• v.5 no.5
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• pp.49-64
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• 2001

Fur is conceived as a material signifier, not only with its commodity value as luxury goods but also as its symbolic value as objects invested by one's libidinal desire. In this study, complex meanings of fur as multi-layered signs of political and sexual power focusing on fetishism shall be explored, especially on the spectacle fetishism acted by mass media during the anti-fur movement in the 1980s. In conjuction herewith, a highlight shall also be made to the symbolic value in fashion design since 1990s. In this study, first, as a theoretical investigation, fetishism, that has been traditionally considered only as sexual fetishism in fashion discourse will be explored in socio-economic level. Second, in historical context, how the meanings and values of fur have become realized in various cultural spaces, such as literature, art, film and finally, fashion will be viewed. In fashion, fur is a product of desire and power influenced by commodity fetishism as well as sexual fetishism. During the anti-fur movement, mass media has developed the concept of spectacle fetishism. Fur is a sign of animal-victim, and fur-clad women is viewed with images full of imperialsm, sexism and racism, thus act as derisive spectacles of consumerism. Since 1990s as a reflection on anti-fur movement, fetishistic characteristics, which challenge traditional operation method, are expressed by disguise, parody, and returning to the nature. First, fur as disguise is intended to hide sexually perverse, decadent characteristics and expensiveness of fur by texturing or patterning techniques. Second, fur as parody uses fake fur or dyed fur in order to satirize erotically and ethnographically fetishized meanings of fur. Third, aboriginal design of fur is adapted to use symbolic values outside the West, which can potentially mobilize antagonistic oppositions out of their fetishistic regimes. In conclusion, fur as sign of female sexuality and its libidinal profits of exchange, has significant symbolic values expressed in fashion.

• Korean Journal of Environment and Ecology
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• v.20 no.2
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• pp.143-152
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• 2006

The purposes of this study were to provide basic visitor information for effective park management and to understand visitors' perception about the interpretive media which is utilized as a self-guide environmental interpretation in Weolchusan National Park. To accomplish the purposes of study, a questionnaire survey was chosen and the 196 valid samples among them were analyzed. Among who used the interpretive media, the largest proportion used the information board of park use-resources, and the usage rate of interpretive label of woody plant, interpretive sign of cultural asset, and self-guide tour were shown to be relatively high. However, the park brochures(map), bulletin boards, park web sites, LED sign, and visitor center exhibits were evaluated that use efficiency was low. In the analysis of importance-performance, visitors were perceiving the importance of all form of interpretive media greatly. The performance of interpretive media was also evaluated as affirmative.

• Journal of the Korean Institute of Rural Architecture
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• v.18 no.3
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• pp.25-34
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• 2016

The purpose of this study is to investigate installation status of information facilities and condition of walking road influencing to psychological safety of walking tourists. For this purpose, four roads for walking tour are selected; the course no. 16 of Jeju Olle Trail, Sarabong Byeoldobong walkway in Jeju and the course no. 8 of Bougil, Gyeongpo Lake walkway in Gangneung. Facilities installed on roads for walking tour are classified into four facilities; safety facility, information facility, amenity facility, local cultural facility. In order to consider installation status of information facilities and condition of walking road influencing to psychological safety of walking tourist, a field experiment was conduced focusing on the course no. 16 of Jeju Olle Trail. Thirteen cases were happened as confusing situation while walking tour. Of the 13 cases, the situation of being lost and wandering on the trail accounted for six cases. In contrast to the expectation that the situation of being lost and wandering would occur only at a crossroads, it is not that such situation took place at specific places like a crossroads or where direction signs were inaccurate. Walking tourists of this field experiment also confronted situations of having lost confidence about continuing the ongoing direction, of having anxiety over walking a walking trail, of feeling discomfort caused by walking and of being offended by uncomfortable or messy areas of walking trial. These confusing situations are happened inappropriate installation of direction sign, so direction sign is needed to install more carefully and detailed.