• Journal of architectural history
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• v.7 no.3 s.16
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• pp.87-105
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• 1998

Surveying the literature of architecture since the nineteenth century, one can identify two dominant but problematic attitudes, among several, that pursue the task of defining what modern architecture is and should be. The first is the search for meaning and the second is the pursuit of form. This study, following Michel Foucault, asserts that the dual formation of meaning and form is a historical product of modernity and belies architecture's uncritical dependence on language since the nineteenth century. This study is a critique and historical analysis of this pernicious reliance, and constitutes a first step towards thinking of alternative relations between 'words and architecture' in the modern world. In reconstructing this problematic, the paper has called on Foucault's seminal The Order of Things. The study follows his construction of the Renaissance, the Classical and the Modern episteme, and in brief fashion, reconstructs the relation between language and architecture in each episteme. In analysing the Modern, the study focuses on Hegel's Lectures on Aesthetics. Hegel placed architecture in a genre hierarchy within which architecture, because of its material basis, was fundamentally limited in its ability to express the Spirit. For Hegel it was, among the arts, poetic language, and beyond art, the language of philosophy, through which the Absolute Spirit could be atttained. Much of post-nineteenth century architecture has remained within the shadow of Hegel, where architecture's materiality is perceived to be a burden, and in order to secure its relevance in modern society, architecture was deemed to pursue the role of language. As the most recent and sophisticated example of architecture's pursuit of form, the paper analyses the work of Peter Eisenman. Though Eisenman's theoretical writings are replete with post-Hegelian rhetoric, his architecture remains dependent upon the model of language, albeit a structuralist one. The paper concludes that ultimately, the pursuit of meaning and form is unable to face the crucial issue of value in modernity. While the former decides to easily what it is, the latter evades the issue itself. The second installment of this ongoing study will pursue a third possibility alluded to by Foucault, where language remains silent, pointing only to its 'ponderous' material existence.

• Journal of the Korean housing association
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• v.25 no.6
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• pp.101-109
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• 2014

It was early in the $20^{th}$ century when the space was begun to say through the mutual circumstances of form and contents. Adrian Forty explained that the characteristics of space can be divided into three steps by the period: a space of enclosure, a space as continuum and a space as an extension of the body. And there is common condition that all three spaces are accompanied by the form. In the new thinking of architectural form in terms of text in modern society, architecture becomes to more complex to understanding. Saying that there is nothing outside text (Il n'y a rien en dehors du text.) in the world, Jacques Derrida insisted the world to be texted and not to be special centrality, where can be existed by difference and delay its meaning. Text is the structural meaning (sign), not a metaphorical one (symbol). Without the symbol, the architecture can be recognized as text with signing to the form. For that, there is a question how can be explained the space in terms of text extracting the meaning and the symbol. Absolutely not intended by Mies van der Rohe, but in his works of houses and pavilion, its characteristics and traces of text can be seen. If it is possible to analyse his works in the textual view, space of Mies will be found in the same direction of text. And it will be an important opportunity to re-evaluate the space of Mies works standing in the heart of Modern Architecture.

• Korean Journal of Human Ecology
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• v.1 no.1
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• pp.113-125
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• 1998

This study has resulted in the followings applying costume's form and meaning to the theory of structuralism established by Saussure and the extensive and contained meanings of Roland Barthes. The kinds of woman's costume of the Romanesque era were not various, but those of the royal family and aristocratic class were more various and decorated better than the lowly persons. So their social levels could be differed by the forms of the costume they wore. Each form of costume was differed according to the structural elements and showed the feature that the form is the costume of the era and social position's differences of the wearers' sexes, levels, and vocations in the same era. Costume's analistic body was the costume's form selected according to the central analystic elements, this showed the meaning of the era's levels and classes, that is, the costume's structure was reflected by the era's features. In the structure of the woman's costume in the Romanesque era, many religious features were emphasized and the elements forming each analystic body were classified and meant the society's features. (Korean J Human Ecology l(1) : 113∼125, 1998)

• Journal of the Korean Society of Costume
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• v.57 no.5 s.114
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• pp.140-150
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• 2007

The study aimed to classify the synonyms of clothing terms, such as equal relationship, connoting relationship and partial relationship. The subjects of the study are eleven Chinese character study books such as <石峰千字文 Seokbongcheonjamun> <丙子本千字文 Byeongjacheonjamun>, <註解千字文 Juhaecheonjamun>, <訓蒙字會 Hungmongjahoi>, <新增類合 Sinjeungyuhap>, <兒學編 Aahakpyeon(1816) (1908)>, <蒙喩編 Mongyupyeon>, <字類註釋 Jalyujuseok>, <正蒙類語 Joengmongyueo> and <通學徑編 Tonghakgyeongpyeon>, seven foreign language study books such as <譯語類解 Yeokeoyuhae>, <譯語類解補編 Yeokeoyuhae-supplementary book>, <同文類解 Dongnunyuhae>, <蒙語類解 Mongeoyuhae>, <蒙語類解補編 Mongeoyuhae-supplementary book>, <倭語類解 Oaeeoyuhae> and <方言類釋 Bangeonyuseok>, and some vocabulary books <才物譜 Jaemulbo>, <廣才物譜 Kwangjaemulbo>, <物譜 Mulbo>, <物名攷 Mulmyeongko>, and <事類博解 Salyupakhae>. There are two kinds of synonyms with equal relationship that are spelled as more than two names for the same clothing. The first group was names that have different vocabularies for the same Chinese character headword, for example, Gyeokji and Namosin, Jeoguriot and Dongdolssi, Deungjige and Got dongot, Daloi and Nangja, Jitbidan and Oaedan, jusa and jeuusya, jusa and Murui, Muja and Heoja, and so on. The second group was names that are spelled with sound and meaning of Chinese character, for example, Nuyeok and Saui, Binhyeo and Jam, Mosi and Jyeopo, and so on. Also synonyms of Chinese names were found in equal relationship. Synonyms with connoting relationship in which one name perfectly connotes meaning of another name are Gotgal and Susik, Danryeong and Gwandae, Bosyeon and Chyeong, ete. In these cases, the range of the meaning of clothing terms can be confirmed since names with broad meaning connote names with narrow meaning. There are differences in use and form. In partial relationship synonym with the same name, some synonyms like Baji and Goui, and jeoksam and Hansam have difference in use, while Gamto, Got and Sarno, Neolku and Satgat, and Nangja and Cheopji have difference in form. These presented differences among similar names.

• The Research Journal of the Costume Culture
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• v.3 no.1
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• pp.1-15
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• 1995

This study is concerned with the julpoong of Koguryo. The meaning, form, structure, user, the origin of the word the julpoong were examined. The pien of he ancient China and the julpoong of Koguryo were examined. The result of the analysis of this study is as follows. The Chinese and the people of Koguryo used the meanings of the julpoong differently : the Chinese referred the julpoong to the conical hat with the seams including one seam on it, while the people of Koguryo called the julpoong as the conical hat with seams excluding one seam on it. the people of Koguryo called the julpoong with one seam as the chack . The julpoong was used by all people of Koguryo : the government officials, envoys, and the commoners wore it. The word julpoong of Koguryo was derived from dulband, dulband, dubend, dolband of Persians. the word julpoong is correspondent with the above the persian words. The julpoong of Koguryo word was transliteration of dulband(dulband, dulbend, dolband) meaning turban or sash. The hat called chack by the people of 고구려 was the conical hat with one sea and their meaning of he chack was different from the meaning of the chack of the Chinese. The julpoong a kind of conical hat, was called by the pine by the ancient Chinese.

• Child Health Nursing Research
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• v.5 no.3
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• pp.305-317
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• 1999

To understand and identity the meaning of sexuality in middle school girls and boys, the qualitative research was done. We made the in-depth unstructured interviews with 33 participants form July to October 1998. We analyzed the data according to the Collaizzi's phenomenological method. After repeated reading and interpretation of data, 15 themes and 7 basic structures were deducted. Followings were 7 basic structures: Physical touch and exposure. relationship with male and female, difference between male and female natural and inevitable life process, something should be hidden. interest and abstinence, and female as victim. According to above results, we would like to propose followings on the sexuality of middle school students : First, the research on the meaning of sexuality of high school and university students should be followed-up. Second. the measuring tool of sexual behaviour of the middle school students should be developed including the contents of 15 themes and 7 basic structures of this study.

• Korean Journal of Cognitive Science
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• v.2 no.1
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• pp.143-165
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• 1990

I will discuss some aspects of the meaning of prodiscoure maker 'kulay'in Korea.This marker has been studied few scholars,since Korean lingusts did not have any interest about this category of linguistic form.Also,they did not realized the importance of discourse and discourse markers.So,we have only shallow information about prodiscourse phenomena and prodiscourse markers,too. Morphologically,kulay(그래)'could be analyzed into 'ku(그)'and 'lay(래)'and 'lay(래)'could be divided into'l(ㄹ)'and 'ay(ㅐ)' again.But I will discuss 'kulay'as one linguistic unit without divison. It will be claimed in this paper that both [prodiscoures]feature and [discourse continuity]feature can satisfactorily account for the core meaning of'kulay'.And,it will be mentioned that the marker has many kinds of specfic meaning depends on paricular discourse.Also, I would like to examine the semantic feature([prodiscourse+discourse continuity]) in many kinds of korean discourse.And I will show that some factors re;ated tp the marker's specific meaning are the meaning of preceding and following discourse and the participant's psychological attitude.The conclusion must be that the meaning of 'kulay'can help us understand certain phenomena about prodiscourse and prodiscourse markers in the korean language.Also the various meanings of 'kulay'can give more information to Applied-Korean linguistics.

• Journal of the Korean Institute of Landscape Architecture
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• v.26 no.4
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• pp.14-24
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• 1999

The objective of this study is to test the influence of the landscape meaning illustrated to subjects on their landscape preference and to investigate the difference of the response(Influence Value;IV) between cultural landscape and natural landscape. For this, color-slide surrogates for cultural and natural landscape are shown to Experimental Group(EG) and Control Group(CG)(between-subject design). And Experimental Group is divided into meaning illustrated Before and After Group(within-subject design). For given 45 slide scenes of cultural and natural landscape, the subjects were asked to measure their preference on ten point scale. The results are as follows; 1. The influence of value illustration is positive in the preference. Specifically, this effect was more powerful for the low beauty landscape than for the high beauty landscape. 2. The relation between the IV and the preference of non illustrated group was deeply correlated. And IV of cultural landscape was higher than that of natural landscape. 3. It is identified that the meaning illustration about high naturalness landscape such as the swamp and alpine landscape is more effective than other natural landscape. 4. Also, the preference was more influenced by the personal task associated with landscape experience. But the statistical significance between the preference and experience about landscape didn't exist. Accordingly, it was suggested by this study that the illustrated meanings of landscape and perceived landscape form were also major influential factors on the landscape preference.

• Journal of Fisheries and Marine Sciences Education
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• v.19 no.1
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• pp.137-149
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• 2007

This study attempts to explore the possibility of finding a new meaning of currere through an analysis of the value of play in educational activities. It does three different kinds of works for the purpose. First, it tried to clarify the value of play by analyzing the texts written by Kant, Gadamer, and Huizinga, who had approached a play from philosophical and esthetical perspectives. Second, it analyzed curricular theories established by such scholars as Tyler, Peters, and Dewey in order to clarify the meaning of educational values presupposed by those curricular theories. Third, it examined a possibility of finding a new meaning of currere by emphasizing the value of play in educational activities.Through the study, a researcher finds that the value of play lies in the fun the player experienced while playing and that educational value can be defined in the form of the value of play in an educational setting. If the value of play in education is paid enough attention, currere can carry a new meaning. Currere meant traditionally a course horses should follow, which represents a very conservative view of education whereas currere can now mean a trace in which students are learning for the sake of having a fun. Students are encouraged to study for the sake of having a fun.

• Korean Institute of Interior Design Journal
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• v.17 no.4
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• pp.42-49
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• 2008

Design concepts of light can be divided into two respects, visual plastic and metaphysical meaning. The current research focuses on the second respect. The meaning of light is abstract characteristics(for example, divinity, spirituality, or image) ultimately expressed by visual plastic. Because it makes architectural space abundant, it have been expressed frequently in architectural space until now. The purpose of this paper is to conceptualize and explain and arrange the meanings of light in the category that have been expressed in architectural space from ancient to current. The method of this study is content analysis and case study, and this is supplement by theoretical consideration on the meaning of light(relationship between perception and meaning, elements to form meaning etc.). This study consists of three steps. Firstly, through the content analysis of existing literature and documents, 17 meanings of light are confirmed. Secondly, these 17 meanings are defined and explained in 3 categories(symbolic, esthetic, and experiential character). Thirdly, they are additionally explained and articulated by case study. In the result, various meanings of light that have been fragmentarily expressed in architectural space until now is clearly arranged at a glance. Those suggested design concepts will be basic conferential material, available to the interior designers and students who want to utilize the organised study concepts.