• Journal of the Korean Society of Costume
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• v.50 no.7
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• pp.113-127
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• 2000

The purpose of this study was to examine the symbolic meaning of oriental numbers based on Yin-Yang(陰陽) theory. Based on the thought of Yin-Yang Wu-Hsing(陰陽五行), the number was divided the number of the heaven (positive number) 1, 3. 5, 7, 9 from the number cf the earth(negative number) 2. 4, 6, 8, 10. It was descrived very well in the dress and its ornaments and the folk customs. In the costume of the Court, there were 9, 7, 5, 3 patterns costume for the king and queen. Even though an even number, 12 patterns costume for the emperor symbolized 12 months and made it of the principal of the universe. Korean traditional costume Han-bock(韓服) was formed with the three dimentional principal of circle (圓.$\bigcirc$), square(方.$\square$) and triangularity(角.$\Delta$). In the middle of odd numbers, number 3 was regarded as a holy number of the heaven (天), the earth(地) and a man(人). Taken for a highest number. number 3 had the symbolism of wishes for good fortune. Number 10 and number 100, which meant the fullness and the long life, were used regularly. With Ten longevity patterns(十長生紋), the feast of a hundred-day-old baby, our race prayed for the healthy long life. As mentioned above. the symbolism of the number though the costume prefered the positive number to the negative one. Accommodating to the universal principal and the cycle. The deep meaning and the symbolism of the number has been implied the mental wishes.

• Journal of the Korean Society of Costume
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• v.52 no.6
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• pp.1-13
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• 2002

This paper investigated the costumes of young girl dancers in Yon wha dae moo(연화대무: Lotus Stage dance) which were documented on the Ak-hak-guae-bum(악학궤범: Protocol of music) and the Jin-yeon-eui-guae(진연의궤: Archives of Royal Feast). The fashion of the costumes can be changed into three phases, based mainly on the changes of Hap-rip(합립: silk hat), Dan-eui(단의: long jacket) and Sang(상: apron type skirt). In the first phase the costume consisted of Hap-rip, round neck-line Dan-eui and tiered skirt decorated with pleat and Yu-so(유소: decorated cords). In the second phase. it consisted of Hap-rip, v-shape neck-line Dan-eui and skirt without pleat. In the third phase, it consisted of Yeon-wha-gwan(연화관: Lotus shape cap), round neck-line Dan-eui of later era and skirt with pleat and Yu-so. Yon-wha-dae dance appears to be adopted from Ja-ji-mu( 자지무: chinese dance) that originated in West and Central Asia. In both dances. young girl dancers danced mainly jump and spin. The costume of round neck-line Dan-eui seems to have been affected by the fashion in Dang Dynasty when young girls loved to wear Dan-ryung(단령: male coat with round neckline). And it satisfied the need of mobility for the dance which was Performed mainly with jump.

• Proceedings of the Polymer Society of Korea Conference
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• 2006.10a
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• pp.304-304
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• 2006

The possibility to develop optoelectronic devices with improved properties by controlling the degree of organization at the molecular level of organic materials has been driving the design of new ${\pi}-conjugated$ systems. In particular, the organization by self-assembling processes (${\tilde{\Box}}{\d{\Box}}}$ interactions, hydrogen bonding) of well-defined oligomeric systems such as disubstituted oligothiophene derivatives has been demonstrated as a promising approach to conjugated materials with a high degree of structural order of the constituent building blocks. The self-organization of conjugated building blocks in solution or on surfaces, leading to the construction of nanoscopic and mesoscopic architectures, represents a starting point for the construction of molecular electronics or even circuits, through surface patterning with nanometer-sized objects.

• Journal of the Korean Society of Costume
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• v.53 no.7
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• pp.111-123
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• 2003

The purpose of this study was to investigate girlish fashion as a contemporary as well as Romanticism of the 21st century. The background of girlish fashion is regarded as a hot blast of restoration and a appearance of kidults, such characteristics of these factors, that is, the moderns's longing for the memory of old days and kidult's concerns for the dream of their childhood, have a direct influence on the Romanticism. So the plasticity of girlish fashion was analyzed as a results: 1) This plasticity named Recurrent Romanticism as 21st New Look, especially the plasticity represented in a princess style fashion. The princess style fashion of girlish fashion means not only a expression of the moderns's self-confidence but also nostalgia toward old days. 2) Sweet Romanticism developed into angel style fashion, which the style expressed the moderate cuteness with clothing construction and detail etc and the innocence with white color. 3) The plasticity of girlish fashion called a feast of color named Fantastic Romanticism. Fantastic Romanticism of girlish fashion means not only a expression of a lovely girlie's image but also hope toward 21st century. Throughout the study, Romanticism as a cultural code of 21st century was considered to reflected in the whole livelihood as well as contemporary fashion, especially, girlish fashion.

• Journal of the Korean Society of Food Culture
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• v.18 no.6
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• pp.491-505
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• 2003

Yeolgujatang is traditional casserole with meat, fish and vegetables in special pot. Name of Yeolgujatang was in 1800s, as yeolgujatang, yeolgujatangbang, yeolguja, in 1900s, Yeolgujatang, royal feast food in Yi Dynasty was yeolgujatang, Meon-sinseolro, tangsinseolro. Yeolgujatang frame has legs and a lid, and a cylinder that can contain charcoal at the center of its rounded pot. with this charcoal, food can be cooked. Its material has changed from brazier to brassware, stainless steel, and silver. Nowdays electric sinseolro was also launched, which uses electric power instead of charcoal. Materials in yeolgujatang are beef, intestines, pork, chicken, pheasant, fish, sea bream, abalone, shrimps, vegetables, mushroom, ddock, guksu, cooked rice, seasening and garnish. Nutrition of Yeolgujatang per capita contains 221.5kal of calory, 17.3g of protein, 16.5g of fat, 6.1g of carbobydrates, 2g of fiber, 57.6mg of calcium, 208mg of phosphorus, 4.3mg of ferrum, $2177{\mu}gRE$ of vitaminA, 1.58mg of vitamin $B_1$, 0.3mg vitamin $B_2$, 6.6mg of vitaminC and 5.26mgNE of niacin. Yeolgujatang is excellent in nutrition, except for calcium and vitaminC.

• Journal of Digital Convergence
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• v.16 no.10
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• pp.421-426
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• 2018

For an artwork, color, shape and structure are key factors to create emotional atmosphere of the wrok. And it is fair to say that color is the most important element of the work. The tone of color reflects the joys and sorrows of the picture and the severity of the work's plot. The audience is to be attractted by colors' harmonious or passionate in this visual feast. Fusion controlling of color tone is mainly determined by color gamut that accounted for the vast area of the picture.

• Journal of English Language & Literature
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• v.64 no.3
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• pp.329-345
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• 2018

Sun Yung Shin's poetry collection Skirt Full of Black (2007) brings the author's personal history as a Korean female adoptee to bear upon poetic language in daring formal experiments, instantiating the liminal state of being shuttled across borders to land in an in-between state of marginalization. Other Korean American poets have also drawn on the experience of transnational adoption and racialization explore the literary potential of English to materialize haunting memories or the untranslatable yet persistent echoes of a lost home that gestures across linguistic boundaries, as seen in the case of Lee Herrick or Jennifer Kwon Dobbs. Shin however dismantles the referential foundation of English as a language she was transplanted into through formal transgressions such as frazzled syntax, atypical typography, decontextualized punctuation marks, and phonetic and visual play. The power to signify and thereby differentiate one entity or meaning from another dissipates in the cacophonic feast of signs in Skirt Full of Black; the word fragments of identificatory markers that turn racialized, gendered, and culturally contained subjects into exotic things lose the power to define them as such, and instead become alterities by departing from the conventional meaning-making dynamics of language. Expanding on the avant-garde legacy of Korean American poets Theresa Hak Kyung Cha and Myung Mi Kim to delve further into the liminal space between Korean and American, referential and representational, or spoken and written words, Shin carves out a space for discreteness that does not subscribe to the hierarchical ontology of differential value assignment.

• Journal of the Korean Chemical Society
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• v.52 no.3
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• pp.315-321
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• 2008

The posters are the tools to communicate authors' idea with others by visual image and a little word. Every discipline has its own sign with specific meaning shared by the members of the discipline. Chemists and students learning chemistry, therefore, will communicate with each other by specific chemical signs (codes). The Korean Chemical Society has held the feast of drawing chemistry posters by students nationwide since 2004. In 2004 and 2005, more than three thousands of posters were submitted, and about one hundred and fifty posters were selected as the prize winners. The award was divided by the grade levels of elementary, middle, and high school. This study explores the codes of chemistry used in students' posters. With the analysis of the visual elements and the verbal elements of posters, 7 chemical codes were found such as the liquid, the experiment apparatus, the graduations, the chemical language, scientists, the earth and environment, and things around us. In addition, the differences were investigated on the grade levels, on awarded or non-awarded poster, and on the years. Educational implications of these findings are discussed.

• Journal of the Korean Society of Costume
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• v.59 no.3
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• pp.96-108
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• 2009

This study is made on the royal lady's dress In late Joseon dynasty according to the King Heon-jong and Lady Kyung-bin's Wedding Diary in the year of Jung-mi(1847) and summarised as follows: Girls' full dress was a set of a red skirt, a violet undo. jacket, and a light yellow jacket and a green Gyeon-ma-gi(a kind of top jacket) with he. hair Saeng-meo-ri hanging Do-tu-rak-daeng-gi(a kind of hair ribbon). At the big ceremony, girls wore a green Dang-ui instead of Gyeon-ma-gi. A girl picked up as a royal concubine wore a green Won-sam, which was decorated with gilt letters meaning longevity, patched emblems of gilt letter meaning longevity on the breast and on the back, belted with Bong-dae(a red sash with gilt phoenexes), like a princess's full dress. At the Kyung-bin's installation of Crown Princess and her first greeting ceremony with royal elders, she wore a green Won-sam as a formal dress, which had an embroidered emblem of phoenix, the belt with crystal ornaments, Pae-ok(佩玉), Kyu(圭) of blue jade, Shou(綬) with an phoenix. At a Dong-wrae-yun(drinking ceremony after bride and bridegroom's bowing to each other), she wore the embroidered red Jang-sam as a formal dress. Kyung-bin wore a purple Won-sam with Bong-dae as a full dress for a royal feast. According to the occasions, the same dress was differentiated with ornaments and rotors. Ji-keum-bal was an attire for ordinary ceremony. The attire was equipped with a woven gold green Dang-ui with an emblem of phoenix, a blue gilt underskirt and a red gilt overskirt. No-ui was worn as outdoor clothes. Jang-sam was worn by various classes, so it was differentiated with materials and names according to her class.

• The Journal of the Korea Contents Association
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• v.13 no.6
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• pp.125-136
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• 2013

Director Choi Donghoon is the most famous director in Korea as a box office successor, especially (2102) has gained No. 1 box office attraction in Korean film history. However some critics have criticised the works of Dr. Choi because of their plebeianness. This paper focused on the reason of interaction with audiences through the theory of carnival of Mikhail M. Bakhtin. Because the theory of carnival is not only the adapted method to account for the power of popular culture to M. Baktin but also the useful method to understand the keys of interaction of Dr. Choi's films. It's not difficult to find the esthetic elements of carnival theory example for 'dethronement & coronation', 'overturn & ridicule', 'image of feast', 'language of square' in the films of Choi which are The Big Swindle(2004), Tazza: The High Rollers(2006), Woochi(2009), The Thieves(2012). Therefore this paper has endeavored that the box office attraction and success of communication with audiences is due to the realistic attitude and social reflection of Choi's films.