• 조형예술학연구
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• 제8권
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• pp.211-239
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• 2005

The purpose of this thesis is to explore a common characteristic of the diverse oriental images mainly from the figurative point of view, and apply it to the contemporary expressions and methods of painting. To do that, I separated the concept of figure into two factors - form and image - and then approached and solved the problems of figure by explaining the two factors respectively. Separating form from image is neither to set two factors against each other nor to isolate any of those values. It is worth dividing the form and the image not only because the image of the oriental painting has a figurative value constituted from an external frame of the form, but also because it has a close connection with the meaning that the form holds inside. These are the reasons why I conceptualize the individual language of form and image. Furthermore, I attempted to investigate how those two factors and mutual relations between them make real figurative images under the principle of harmony and coexistence. The theme of this thesis - the figurative aesthetics and its contemporaneity in the oriental paintings is analyzed based on the understanding of 'figure' within the framework of oriental paintings. A research of image from the figurative point of view is valuable in that it criticizes the past method of thinking, and proposes an alternative formula for new way of thinking. In this regard, I indicated the limit of the theory of form-and-spirit that has been one of the most important conceptual theories . Instead, I' accessed to various aesthetic concepts - that are created in the course of image formulation - from the actual figurative point of view, and then even interpreted it as a figurative value of the oriental paintings and it's application within the specific and practical scope. During the course of research, I explored the conceptual elements of the tradition and the principle of figuration. I expect this study to make a footstone for bringing traditional aesthetics to the contemporary context of oriental painting.

• 한국언어정보학회지:언어와정보
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• 제18권2호
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• pp.81-102
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• 2014

The purpose of this paper is to provide corpus-based quantitative analyses of HEART and HEAD in order to examine their actual usage status and to consider some cognitive linguistic aspects associated with their use. The two corpora COCA and COHA are used for analysis in this study. The analysis of COCA corpus reveals that the total frequency of HEAD is much higher than that of HEART, and that the figurative use of HEART (60%) is two times higher than its literal use (32%); by contrast, the figurative use of HEAD (41%) is a bit higher than its literal use (38%). Among all four genres, both lexemes occur most frequently in fictions and then in magazines. Over the past two centuries, the use of HEART has been steadily decreasing; by contrast, that the use of HEAD has been steadily increasing. It is assumed that the decreasing use of HEART has partially to do with the decrease in its figurative use and that the increasing use of HEAD is attributable to its diverse meanings, the increase of its lexical use, and the partial increase in its figurative use. The analysis of the collocation of verbs and adjectives preceding HEART and HEAD, as well the modifying and predicating forms of HEART and HEAD also provides some relevant information of the usage of the two lexemes. This paper showcases that the quantitative information helps understanding not only of the actual usage of the two lexemes but also of the cognitive forces working behind it.

• 한국노년학
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• 제36권4호
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• pp.981-1001
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• 2016

노년기에는 의사소통의 전체적인 맥락을 해석할 때 표면적으로 드러나는 단서에 주로 의존하게 되면서, 함축적이고 우회적인 표현인 비유언어를 처리하는 능력이 저하된다. 따라서 의사소통 시, 타인의 의도를 효과적으로 이해하고 자신의 의사를 전달하는 데 어려움을 보일 수 있다. 본 연구는 정상 청년층 50명과 정상 노년층 50명을 대상으로 비유언어의 하위영역인 직유 은유 관용어 속담 이해 과제를 실시하여 노화에 따른 비유언어 처리능력의 특성을 확인하고자 하였다. 과제는 제시되는 전체적인 내용과 적합한 비유언어를 보기문항 중에서 선택하도록 하였다. 분석 결과, 첫째, 노년층은 청년층에 비해 모든 비유언어 하위 과제에서 더 저하된 수행력을 보였다. 둘째, 노년층은 비친숙한 관용어와 속담 이해과제에서 더 저하된 수행력을 보였다. 셋째, 노년층은 문자 그대로의 의미에 국한하여 문항을 이해하는 양상을 빈빈히 보였다. 노년층은 특정 상황 맥락에 맞게 효과적인 의사소통을 할 수 있는 능력인 화용언어 능력과 더불어 내포된 의미를 추론하는 능력 및 문자 그대로의 의미와 같은 표면적인 단서를 억제할 수 있는 능력이 저하될 수 있다. 이러한 결과는 노화로 인하여 일상의 의사소통 상황에서 화자의 내포된 의미를 이해하는 것에 어려움을 보일 수 있음을 시사한다.

• 한국의류산업학회지
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• 제12권6호
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• pp.723-735
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• 2010

The purpose of this study is to analyze the types of Jumoni (pouches), which takes the most quantity of traditional women's handicrafts in China, and examine figurative characteristics of them through demonstrative study focusing on collections of literature and museums. Traditional Jumoni of China included Dae, Nang, Hapo, Tu, Hap, and Chimeui. Its types included a pleated type, a covered type with a lid, an opened type without a lid, and a type that was stitched up after putting objects in it. The Jumoni had various shapes such as a polygon, a circle, and shapes imitating objects. It was used to store cosmetic utensils, sewing supplies, everyday household utensils, valuables, medicinal ingredients, flavoring materials, and so on. It had various figurative characteristics which were different from those of women's handicrafts in Korea. Based on the findings, it aims to provide basic information for developing Korean traditional accessories that make the best of Korean traditional beauty as well as add modern esthetics have both Korean traditional beauty and modern esthetics.

• 복식
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• 제61권8호
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• pp.73-84
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• 2011

Upholstery style is the form which bulges a shape by putting fillings in the support and covering them with patterned textile or pile fabric. Modern upholstery style was combined with the various socio-cultural products and artistic styles and expressed in interior furniture and costumes of historical time periods. The style first originated when people built houses for settlement and made furniture to decorate its interior. The characteristics of upholstery style came to be prominent in the Renaissance, Baroque and Rococo times with the development of science and textile industry. The interior furniture represented the ages of the Renaissance, Baroque and Rococo and were made with similar images of the architectural style from those different time periods. Textiles, tapestry, velvet, corduroy, damask, brocade, and the most frequently used velvet are elements that make up the structural and figurative features of the architectural style. The upholstery style of furniture also shows the forms of clothing that represents each of the different periods. This style still continues to be used today. In modern day fashion, the figurative characteristics of the upholstery style that derives from interior furniture and clothing from the different time periods are bulkiness, asymmetry and exoticism. Such figurative characteristics have evolved through the combination of diverse genres but it still maintains similar designs and forms.

• 한국융합학회논문지
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• 제12권1호
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• pp.225-230
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• 2021

현대의 주거단지는 공원을 비롯해 호수, 산책로 등 가족과 이웃의 다양한 만남과 소통의 장으로 활용되는데, 더불어 주거 공간에 조형물을 전시하는 것이 하나의 구성요소로 조성되고 있다. 연구자는 이러한 시대요구에 맞춰 주거 공간에 전시하는 조형물의 디자인 전개 방법을 연구하는 목적으로 연구를 진행하였다. 작가의 생각과 메시지를 조형물에 넣음과 함께 관람하는 사람들도 공감할 수 있는 조형물디자인 하기 위해 디자인과정에 비유법을 활용한 은유, 유추방법과 작가의 생각이 공유될 수 있도록 동물형상과 단순화된 디자인을 전개하고, 금속과 돌을 사용하여 조형물의 형태로 완성하였다. 이러한 디자인 조형연구를 통해 거주공간이라는 특수한 장소에 작가의 생각과 관람자 모두가 함께 공감할 수 있는 조형물을 완성할 수 있었으며, 조형물이 하나의 예술분야로서 특수한 장소에 다양한 시각적 요인인 비유적 시각화 방법을 통해 형태화할 수 있는 가능성을 알 수 있었으며, 향후 지속적인 연구로서, 다양한 비유의 시각적 조형화에 대한 연구가 요구된다.

• 응용통계연구
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• 제31권2호
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• pp.167-188
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• 2018

Minard의 정보맵은 1812년 나폴레옹의 러시아침공을 묘사한 정보그래픽스로서 Tufte (1983)가 극찬하였던 그림이다. 이 정보그래픽스를 데이터시각화교육에서 스토리텔링 소재로서 활용할 수 있다. 본 논문에서 Minard의 정보맵을 시작점으로 하여 스토리텔링을 이용한 데이터시각화 교육에 대하여 4개의 주제(정보그래픽스, 정보디자인, Minard, 나폴레옹의 러시아침공)별로 언급하였다.

• 한국가구학회지
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• 제20권5호
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• pp.414-430
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• 2009

This paper is designed for the purpose of suggesting Figurative data applicable to modern furniture designs through doing research on Haejuban's engraving that includes excellent Figurative beauty among Korean traditional lighted-floor type furnitures. As a result of the analysis, Haejuban's(Traditional Korean dining table) engraving pattern type was mainly divided into independent patterns and combined patterns. The patterns expressed the most among them are peony patterns. The patterns expressed by the engraving mostly showed the Figurative characteristics of symmetry. The patterns shown in Haejuban's engraving wish or stand for richness, long life, lucky, fidelity, divinity, happiness, success and so on. The species of trees used for Haejuban were a total of 8 kinds such as ginkgo trees, zelkova trees, walnut trees, wild-walnut trees, chinaberry trees and other scrub trees. Ginkgo trees were used the most among them.

• 미술이론과 현장
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• 제7호
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• pp.7-36
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• 2009

This paper intends to examine the significance of the "Minjoong Misool(People's art)" of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked under the dominant discourse that has emphasized their political role as a collective group. In particular, this paper scrutinizes the work of "Critical Realists" by examining the way in which they perceived Korean society in the early 1980s and visualized their experiences of the period. The figurative art newly emerged in the early 1980s challenged the formalist Modernism, which was adopted into Korea and translated into monochrome paintings and the work of the conversative academicism of the 1970s. The figurative art encouraged a social communication and moreover it intended to criticize the conflicts in the political, economical, and social domains in Korea. The targets of its critique include the unavoidable results of the unprecedented development of economy, various social phenomena of the post-industrial society, and the growth of the commercialized kitsch culture. Along with Shin, Hak-chul's work that incorporates collage technique since the 1980s, the work of some members of "Reality and Utterance" and "Im- sul-nyun" exemplify their critical interests in disclosing the false dream of wealth and happiness by both referring to and drawing on the utopian fantasy manipulated and distributed by mass media and commercial advertisements. This paper pays particular attention to Nouvelle Figuration emerged in France and Europe during the 1960s, which is comparable to the new figurative art emerged in Korea during the 1980s. Nouvelle Figuration criticized the autonomy in art isolated itself from political and social reality after WWII, in particular the indifference of Informel and abstract art as well as American abstract art. Moreover it became rather politicized around May of 1968. Given that French Nouvelle Figuration was introduced in Korea in 1982 and made a significant contribution to the formation of figurative art in Korea, it should be noted that the new figurative art emerged in the 1980s in Korea cannot be categorized merely in relation to People's Art. This paper intends to critically redress the notion that People's art was formed in the particular political, economical, and cultural context of Korea independent of the contemporary artistic practices outside Korea. It will provide a critical examination and analysis of the content and form of the new figurative art, from which People's Art was germinated, in the global context.

• 한국시조학회지:시조학논총
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• 제21집
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• pp.5-22
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• 2004

시조를 문으로 짜여진 text라고 보고, 그 짜임 (textuality)을 1) 각 장의 수사적 표현 2) 각 장끼리의 연결성 3) 각 장의 통사적 짜임의 측면에서 고시조와 현대시조를 살펴보았다. 고시조에 있어서 1)은 논리 정연한 문장으로 되어 있고 논리를 방해할 수 있는 수식어를 극도로 배제하고 있음을 알았다. 2)는 각 장끼리의 응집성 혹은 응결성을 확보하여 확실한 연결을 이루고 있음을 알았다. 3)은 통사적으로 안정된 짜임을 갖고 있어 3장 6구의 형식을 취하고 있음을 알았다. 현대시조에 있어서 1)은 수식어를 남용하여 정연한 논리로서의 시조가되지 못 할 뿐더러 3장 구성까지도 만들어지지 않는 경우가 있었다. 2)는 각 장끼리의 연결성이 애매하여 장과 장끼리의 유기적 결합이 이루어지지 않는 경우가 있었다. 3)은 3장 6구를 이루는 통사적 짜임을 몰각하여 시조형식을 파괴하는 경우가 있었다. 이와 같은 현대시조의 경향은 현대시조의 존립근거를 위태롭게 만든다고 생각한다.