• Korean Journal of Heritage: History & Science
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• v.54 no.3
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• pp.192-203
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• 2021

This paper investigates the process of change in the meaning of the term gongye (工藝) (nowadays it means craft) during Korea's transition to the modern era. The Annals of the Joseon Dynasty (朝鮮王朝實錄) will serve as the basis for the examination of pre-modern usage, and the Korea-United States Treaty of 1882 for the changes that occurred between the translation from Chinese and from Japanese following the opening of the port . After the port opened, the meaning of gongye, which once broadly referred to the wide range of work of people from different fields, was narrowed down to singularly represent the manufacturing industry. Following the example of Japan, the first East Asian country to succeed in modernization, this new meaning of gongye was generally used in the context of embracing Western culture and creating industry. As industrialization emerged as a national mission, and new terminology was needed to express these new concepts, the Chinese characters used by the Japanese to translate Western concepts were directly imported and used without making any changes. Gongye was similar in meaning to gongeop (工業) (nowadays it means industry) at the time, and the two terms were used interchangeably. However, following the Japanese annexation of Korea, the cultural administration of the Governor-General imbued the term with artistic concepts, and gongye was differentiated from gongeop, As such, examining the establishment of terminology and concepts can be helpful for understanding the contradictions and problems of the Korean crafts scene, which were derived from a period in the past called the modern era.

• Korean Institute of Interior Design Journal
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• no.40
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• pp.34-41
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• 2003

A purpose of this study is to comprehend a concept of 'Open Space', realization of a deconstruction, presented in his works, based on a deconstruction and surrealism Coop Himmelblau's philosophical contemplation and to look into how this concept is interpreted in spaces. A concept of 'Open Space' is functioned as not a singular meaning but a multiple meaning accompanied with other formative ingredient and contemplation, scientific paradigm and a realation with a surroundings. The concept of 'Open Space' in their architentural space is applied. First, the space openness that represents to the extreme a concept 'Open Space', as a 3D designing ways that demolishes a structure and outgrows an ex siting thinking pattern, represents multiple grade spaces and an anti-gravity space. In a material, using glass and iron provides a spacial transparency and through this, visibly liberal sense that an interior and exterior is felt as an unification. Second, an non-expressive box pattern repulses to a spatial rank nature, outgrowing an uniform geometrical system, through demolishing a geometrical system, an edge and fold pattern. This is, as an anti-gravity, dynamic a typical structure, outgrowing an orthogonal system, interpreted as a composite meaning without division in spatial area. Third, the collage is used to represent a complexity and pluralism in representing 'Open space'. The collage that forms a image through combining a fragmentary elements into being a space change, composite constitution and spatial amusement. Thus, It is worthwhile to study how the collage that forms a diverse shape will be developed making what impact as an age and surroundings changed. As we contemplate in former part, Coop Himmelblou has deployed 'deconstruction beyond deconstruction' realm as just their midterm concept in their works like the words 'The architecture must climb', the deconstructive architect. A studying for their works reflecting the 'Open Space' concept based on deconstruction must be lasted and this enables us to comprehend space concept containing an architecture and interior design.

• The Research Journal of the Costume Culture
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• v.20 no.5
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• pp.709-724
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• 2012

This study examined the characteristics of costumes worn at Halloween parties, a form of cultural entertainment commonly seen in the U.S. The Halloween party culture involves children and adolescents wearing costumes, decorating their bodies, and mimicking famous characters. Furthermore, the types and motifs of Halloween costumes have become a means of expressing individuality. This study conducted empirical research on how such motifs were reflected in modern Halloween party-wear in order to provide basic data regarding the development and design of Halloween costumes and the formation of the related entertainment culture. This study researched the shape of costumes and the type of traditional motif presented in these costumes, as well as analyzed the symbolic meaning of each motif. The research process was as follows. First, this study investigated the origin and evolution of Halloween by researching precedent studies, books, and internet data. Second, this study extracted the types of traditional Halloween motifs by analyzing the characteristics and symbols of Halloween costumes commonly presented in such materials. After collecting 547 Halloween-related images from U.S. and Korean Internet websites, this study sorted and analyzed images that could represent traditional Halloween motifs. According to the results, representative traditional Halloween motifs included black cats, white rabbits, tridents, scarecrows, skull and bones, ghosts, witches, vampires, bats, werewolves, and jack-o-lanterns(pumpkins, etc.). The sentiments for such traditional Halloween motifs changed according to era and race. The symbolic meaning would continuously change - from positive to negative and vice versa - to reflect various socio-cultural phenomena. The results of this study are expected to be used as basic data for developing Halloween costume designs and the related entertainment culture.

• Journal of architectural history
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• v.20 no.6
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• pp.7-20
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• 2011

In this research, the changes of spaces on Namsan-Park and of the meaning of the park from the late 1900s through the early 1908s are analyzed, and the results are provided as follows. To begin with, inserting a concept of park to Namsan provided people with limitation in understanding definition of park, which indicated finite and constrained space, so that it distracted people from using spaces on Namsan. At that time, since the park was considered as one of key factors to establish Modern city, it was distinguished to the urban structure which had existed. After then, Joseon shrine, settled in Hanyang-Park, absorbed in functions of the park, so that the term of Hanyang-Park meant an area around the shrine or a boundary of the space. In addition, the particularity of Joseon shrine sometimes discouraged people from using the park spaces as well as spaces on the shrine, which led to decline the publicity of the park. However, Joseon shrine was correlated and planned with infrastructures of the city, Kyeongsung, not only physically but also visually in that Joseon shrine played role in one of components in Kyeongsung performed as an entertaining city such as a theme park. Lastly, Seoul is no longer subordinated and dependent city but has dramatically changed as a prominent city after regaining of independence in 1945. This indicates that the entertaining function of the old city was dismantled or reduced or transferred to public spaces, especially Namsan-Park. Consequently Namsan-Park has diverse and complex characteristics like traits of Kyeongsung, playing a pivotal role in providing cultural spaces, and its spatial organization is divided and planned based on various facilities and buildings on the park. This organization has a negative effect on the city and the park by decreasing in connectivity between them.

• Journal of Science of Art and Design
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• v.6
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• pp.33-59
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• 2004

The purpose of this study is to analyze the symbolic meaning of the Tiger in Korean Folk Paintings, Minhwa, (hereafter, Minhwa) connected to its social contexts in Joseon period. Thinking of the Tiger Minhwa as a 'visual language' and regard the Tiger as a 'visual signifier' as well as the united-signifiers such as a Korean magpie, pine tree and so on in Minhwa. This research is to analyze these signifieds, 'Signified', what we say in this paper, have composed its symbolic meaning related to the social 'ideological complexes' and collective consciousness during Joseon period. In a word, the characteristic of the Tiger signifier has changed and spread out from the ideal trend to a worldly one. Since the late Joseon period, the change of the social contexts was, because of the civil classes who recognized the limitation of the Sung Confucianism(the doctrines of $Chi-Tz\={u}$), the predominated ideology of that time. To get rid of their uneasiness, they brought the Shamanism, Taoism and Buddhism at the front which were usually the lower class ideology or belief and tried to construct the collective consciousness and safety of their real lives. Therefore, the trend of this 'common conceptualization' show us the positiveness and flexibility to the Tiger signifier through the variation, appropriation and producing signifier. Moreover, even to the same Tiger, there were various meanings and most of them were concentrated in the meanings as follows ; Beoksa(in Korean term is to drive away evil spirits) and Gilsang, which is the good omen of a luck. All these were based on the value of 'this world'. In conclusion, through this research, the concept of the Tiger as a apotheosis has lowered its statutes and being secularized.

• Journal of the Ergonomics Society of Korea
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• v.34 no.5
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• pp.411-426
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• 2015

Objective: The goal of this thesis is to design the interaction structure and framework of system to recognize sign language. Background: The sign language of meaningful individual gestures is combined to construct a sentence, so it is difficult to interpret and recognize the meaning of hand gesture for system, because of the sequence of continuous gestures. This being so, in order to interpret the meaning of individual gesture correctly, the interaction structure and framework are needed so that they can segment the indication of individual gesture. Method: We analyze 700 sign language words to structuralize the sign language gesture interaction. First of all, we analyze the transformational patterns of the hand gesture. Second, we analyze the movement of the transformational patterns of the hand gesture. Third, we analyze the type of other gestures except hands. Based on this, we design a framework for sign language interaction. Results: We elicited 8 patterns of hand gesture on the basis of the fact on whether the gesture has a change from starting point to ending point. And then, we analyzed the hand movement based on 3 elements: patterns of movement, direction, and whether hand movement is repeating or not. Moreover, we defined 11 movements of other gestures except hands and classified 8 types of interaction. The framework for sign language interaction, which was designed based on this mentioned above, applies to more than 700 individual gestures of the sign language, and can be classified as an individual gesture in spite of situation which has continuous gestures. Conclusion: This study has structuralized in 3 aspects defined to analyze the transformational patterns of the starting point and the ending point of hand shape, hand movement, and other gestures except hands for sign language interaction. Based on this, we designed the framework that can recognize the individual gestures and interpret the meaning more accurately, when meaningful individual gesture is input sequence of continuous gestures. Application: When we develop the system of sign language recognition, we can apply interaction framework to it. Structuralized gesture can be used for using database of sign language, inventing an automatic recognition system, and studying on the action gestures in other areas.

• Korean Institute of Interior Design Journal
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• v.18 no.4
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• pp.61-70
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• 2009

Rapid social changes and scientific advances of the $21^{th}c$ have brought on a major paradigm shift towards consilience, making boundaries more or less irrelevant. In the field of architecture, this is manifested in the emergence of colors that can be described as 'being aleatory', 'non-formal', 'non-deterministic' and 'perpetually evolving'. Contemporary architectural colors are not definitively fixed. They are rather liquid and metaphorical. Whereas the more traditional architectural colors have delivered clearly and precisely the intended symbolic meaning and visual information, those of today are less definitive and embody a more liquid and conceptual value system. This paper discusses the denoted signification and the meaning effect of the metaphorical color system found in contemporary architecture. This paper analyzes works of architecture from the late 20th century, when dramatic change sin architectural color system surfaced, to the more contemporary creations. Here, three categories of color are suggested, namely material color, spatial color and liquid color. Each categories considered in connection with deconstruction, holistic interactivity and the multiplicity of meanings that may result as information from the external world is perceived as stimulus to the inner mind. Contemporary architectural color scheme is characterized by its unpredictable vagueness of meaning, synesthetic engagement of imagination and chance, and expansion of the inner and outer world, all of which contribute to a metaphorical effect. The metaphorical color system of contemporary architecture can be classified into three dimensions, and it connects with human consciousness and amplifies itself through flexible and fluid communication. In this process non-physical colors materially serve as formal logic and room for varied interpretation of architectural space and our conceptual framework.

• School Mathematics
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• v.5 no.4
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• pp.477-506
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• 2003

In this paper, we analyze nine-grade students' conceptions of parameters, their relation to unknowns and variables and the process of understanding of letters in problem solving of equations and functions. The roles of letters become different according to the letters-used contexts and the meaning of letters Is changed in the process of being used. But, students do not understand the meaning of letters correctly, especially that of parameter. As a result, students operate letters in algebraic expressions according to the syntax without understanding the distinction between the roles. Therefore, the parameter of learning should focus on the dynamic change of roles and the flexible thinking of using letters. We develop a self-regulation model based on the monitoring working question in teaching-learning situations. We expect that this model helps students understand concepts of letters that enable to construct meaning in a concrete context.

• The Journal of the Korea Contents Association
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• v.18 no.6
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• pp.342-352
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• 2018

Seongri scholars of the Joseon Dynasty said that portraits were revered as academic teachers, and that the personal meaning was typical. Portraits in the latter phase of Joseon Dynasty have been popular in various contexts, especially in the sense of the texture, the religious church, and the ritual service. The etiquette and written aspects contained in portraits can point out the problems of contemporary society's individualism and attitudes through the expressive and personal approach to the art of painting. The purpose of education is to explore relationships with others, to coordinate myself with others, to have respect for others, and to change the inner workings of individuals. Through this, we can explore and explore personality education elements and find ways to achieve personality education through the exploration of figures using portraits as educational material, the process of making portraits, and the discovery of meaning. Therefore, for systematic appreciation, we are planning to set up an appreciation standard by proposing a 3-step review process applied to the 2015 revised education course.

• Journal of Sasang Constitutional Medicine
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• v.33 no.3
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• pp.87-94
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• 2021

Objectives The purpose of this study is to examine the meaning of the Soeumin's Softness and Non-softness in the mouth(口中和, 口中不和). Methods We examined The Existing Doctors's using of the Softness and Non-softness in the mouth, and considered Jema Lee's using of the Softness and Non-softness in the mouth. Afterward, we considered the meaning of the Soeumin's Softness and Non-softness in the mouth in 『Donguisusebowon(東醫壽世保元)』. Results and Conclusion 1. Junggyeong Jang used the Softness in the mouth, and he didn't use the Non-softness in the mouth in 『Sanghanlun(傷寒論)』. 2. The Next Generation Doctors used the Softness in the mouth, and they didn't use the Non-softness in the mouth. Especially, Dongwon Lee used the Softness in the mouth as the Knowing the taste of food, and used the Non-softness in the mouth as the Non-knowing the taste of food. 3. Jema Lee used the Softness and Non-softness in the mouth as urgent indicator of the Soeumbyeong diarrhea in 『Gabobon(甲午本)』, and used the Softness and Non-softness in the mouth as classification indicator of the Taeeumbyeong and Soeumbyeong in 『Sinchuckbon(辛丑本)』. 4. The Non-softness in the mouth is Jema Lee's specific term. It means dry of mouth, thirsty and the Non-knowing the taste of food. 5. The change from the Non-softness to Softness in the mouth is recovery indicator of the Soeumin's disease. It is the basis for setting the Drinking water(能飮水) as the Soeumin's igiljeung(二吉證).