• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.1
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• pp.113-124
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• 2005

Information sources about Mongolian pigtail of 13-14C are relatively rich. But it was difficult to estimate the shape of the pigtail in detail with the descriptions in historical writing or travel books only, and paintings were neither enough to observe the beautiful shape of the pigtail closely on the whole because the portrayed characters were always wearing their hats. However, the authors could trace the detailed shape of the pigtail of 13-14C through close investigation into Mongolian stone statue of the period. In conclusion, the authors performed a comparative study by historically comparing the historical writings, archeological materials, ethnological materials and figurative arts featuring medieval Mongolian pigtail. And the authors paid careful attention to the meaning of those materials to the hairdo history. Historically nothern minority races have become assimilated with surrounding races in language, culture and customs through long economical and cultural exchange, and today their national traits gradually fade away by globalization. But each minority race still stands independently and maintain its own traditional culture. only recently began the study by Korean researchers on Mongolian pigtail, and there is still much to be discussed in ethnological issues such as racial pedigree.

• Cross-Cultural Studies
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• v.21
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• pp.271-288
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• 2010

In their everyday life, people form social phenomena and relations through the shapes and habits of animals. Therefore, animals contain the idea of the way of life of certain nations, spiritual and cultural feelings, and the symbolic meaning which can be recognized between the members of the unique nation. The symbolism of animals varies depending on different nations, because the adages are the essence of the language including their culture, thought, custom, and life. Examining their own adages can be one of the ways to find out what the animals symbolize in different nations. Another reason is that they are the dictionaries, reflecting their own way of thinking and traditional values, so to speak. The research shows that, between Korean and Chinese adages, it is in a similar frequency, using materials such as mammals, birds, fishes, reptiles, and insects. The adages are focused on the 12 animals which is familiar to both nations, a rat, an ox, a tiger, a rabbit, a dragon, a snake, a horse, a lamb, a monkey, a rooster, a dog and a boar. We compared the symbolism, the surface meanings in adages, and the figurative meanings of these animals in Korea and China. As a result, it is found that some are almost the same in usage. However, some are totally different such as expressions related to the animals, the cultural differences and clear understanding. It is necessary to do comparative researches in a detailed and various way by studying the issues derived from verbalism.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.9 no.3
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• pp.241-250
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• 2019

The study aims to investigate how international students with over the TOPIK level 3 recognize Korean proverbs. Among the 53 students, 45 students had the qualification of the TOPIK levels. Research results are as follows: 80.0 percentages of those students have studied Korean languages in the language institutes in Korea or their homelands. Only 57.8 percentages of them have learned Korean proverbs. Despite the high interest of foreign students on Korean proverbs, education on their expectations has not been achieved. And they had difficulty recognizing the circumstantial expression of the Korean proverb. Their degree of understanding of Korean proverbs is lower, compared to their TOPIK levels. The absence of systemic education on Korean proverbs makes international students difficult to understand the figurative expression of Korean proverbs. Since many international students want to become Korean language teachers after their studying, the education of proverbs needs to be conducted systematically rather than individually.

• Journal of Fashion Business
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• v.24 no.2
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• pp.136-153
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• 2020

In the second half of the twentieth century, fashion shows were a long-standing promotional medium and changed form and styles as times changed. In the past, if a model were on the stage simply to showcase a brand's work, the stage would have been transformed into a more active space, displaying various performances or seasonal themes combined with art. Then in the 2000s, there was an increasing number of instances when the global fashion industry of used figurative objet in organizing a fashion show's stage. In particular, because fashion shows require audience response and satisfaction, producing displays using objet is an effective marketing method. In the early 2000s, many brands were already introducing runway displays using objet, and these cases are expected to increase further in the future. This collection of 23 ready-to-wear models, which constituted the runway display, was by utilizing the objet more than five times from the 485 brands listed in Vogue's runway category. Based on our previous research, we classified the objet expressive characteristics as reproducibility, simplicity, non-artificiality, and fantasy. Among the 207 collections that we analyzed, the collection that utilized objet in its runway display had 170 circuits. Using objet in the runway display leverages visual language which allows one to communicate the season's concept, brand identity, and desired message more easily. Futhermore, it was spatially expressed to create feeling of satisfaction.

• Archives of design research
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• v.15 no.2
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• pp.91-100
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• 2002

Unlike a study related in language alone, rhetorical study of current time, composed with multi-culture, medias, communication, presents its own field that covers from the form of discourse(persuasive) to another form of discourse(not persuasive). If there was a study of making beautiful sentences for story and finding simple method of speech in Greek and roman period of an ancient time, it now a study in which one finds the essence of literary style or terminology in the expression of sentence. The taller case is especially important, given that the importance of what to express visually is on-going active procedure of this stuffy as itself an activity of communication. When a visual object persuades viewers, the activity of communication derives them to react and to understand the intention of an artist. The matter of how to speak is the matter of how to shape message persuasively. This persuasive method or technique is study of rhetoric. The three aspects (figurative, accentuating, mutating) of rhetorical expression of an illustration, the visual image can give fresh feelings to be in intimate relations with public. These rhetorical expressions also vitalize the story that is expressed on illustration with crisp image. It helps to attain expected effects while discovering essential meaning through the corresponding linguistic interpretation of an image. The study aims at the most effective way to communicate by figuring the most strong and direct illustrative message out. One of the method is to patternize illustrative expressions that are established from all kinds of shapes of Rhetoric. Therefore ,an operation of significance and an implication can shape an ultimate goal of this study from acknowledging the mechanism that modern illustration embraces.