• The Journal of the Korea Contents Association
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• v.14 no.3
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• pp.103-112
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• 2014

Oh, hein-kuhn is a representative portrait photographer in Korea. His works, , , , which treated portraits of women are a bit different from those of the past that described the appearance of characters. The artist expressed the figure of inner side that conflicts and feels uneasy between 'family and society' and 'child and woman' along with the look of character. That is, he included specific aura which the whole of aunts and girls' group radiates by showing similar photos repeatedly, that we can be aware of 'aunt' and 'girl' by seeing them. The important technique of Oh, hein-kuhn's Portrait Photograph is 'repetition' of image. The artist delivers the meaning of the photo by looking at the character upright in the front and showing photos with similar frame repeatedly. Such form and content of the work as this might feel a bit boring, since it's very simple just like identification picture. However, the photos in the frames which do not move in the fixed position can deliver the meaning of work more clearly rather than the image which expresses flowing time and moving space, we can grasp the message that the artist intends to deliver rather quickly. In the environment of photograph production mainly with image transformation, Oh, hein-kuhn's works of authentic original work method definitely stand forth. Through the portraits of aunts and girls, the artist tells an aspect of our society and we reconfirm the reality through the portraits made by him.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.399-404
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• 2022

Céline Sciamma is a leading female director of her time. She is constantly making works on the subject of women. It can be said that it has pioneered a 'female narrative'. In particular, it shows a unique perspective in dealing with the complexities surrounding the formation of a girl's sexual identity and the influence of peer culture on individuals. In Portrait of a Lady on Fire, 'The Handmaiden', 'The Painter', and 'The Maid' show the solidarity of women without hierarchies in a liberated space where the patriarch is absent, showing a feminist interpretation of classics and a self-reflecting consciousness of women's historical records. Based on the setting of drawing, this film explores the genderization of gaze, gaze and objectification, issues of seeing and power, etc. constructed throughout the history of visual arts. The portrait work of Heloise and Marianne in the film deconstructs the formula of 'a male painter as a viewer and a female model who gazes at herself through the male gaze' and turns the gaze into an interactive process of giving and receiving. The process of exchanging gazes is sealed with a nude painting in which Marianne's face is superimposed on Heloise's body. This overturns the nude painting as the dominant form of engraving the male audience's position in the image through the stylization of the viewing method in the history of Western painting with the erotic gaze of a lesbian in an instant.

• The Optical Journal
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• s.132
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• pp.66-69
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• 2011

포트레이트 사진은 인물이 촬영된 장소와 주변의 소품을 통해 직업, 취미, 관심사에 관한 많은 것들을 함께 담아내며 손과 몸의 자세, 특히 얼굴의 경우는 상당히 심리적인 비중을 전달한다. 얼굴의 표정에 중점을 둔 포트레이트의 경우는 인물의 인격을 강렬하게 말해주기 때문에 서로와의 교감이 중요하다. 이 때문에 충분한 시간을 가지고 인물을 탐구해야 한다. 또 마음의 장으로 대변되는 눈동자에 나타나는 표정을 세심하게 포착해야 한다. 이번 호에서는 인물사진 포트레이트에 대해서 알아보자.

• 한국생활과학회:학술대회논문집
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• 2009.05a
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• pp.161-162
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• 2009

• The Pure and Applied Mathematics
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• v.6 no.2
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• pp.67-77
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• 1999

In this paper we study periodic orbit of some planar control systems and investigate phase portraits of the FSs.

• Proceedings of the Korea Contents Association Conference
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• 2018.05a
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• pp.503-504
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• 2018

• The Journal of Art Theory & Practice
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• no.16
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• pp.139-174
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• 2013

Pliny the Elder said that multiple cultures agree that the painting began as a shadow trace. A daughter of Butades, the potter in Corinth, traced an outline around a man's shadow, and it was the very beginning of painting. In this anecdote, the profile, i. e. the portrait substitutes body of the absent lover. It makes the absent body present and replaces his place. In this context Hans Belting put the anthropological value to this visual practice. Human being made images to cope actively with the shock of death and the disappearing of body. With the aid of the representation of the bodily presence, the image struggles to resist the death. This paper is a study on the critical meaning of representation in the context of bodily survival by image. The representation is the paradoxical trick of consciousness, an ability to see something as 'there' and 'not there' at the same time. So the connection between image and the body would be suspicious. Although this relation was tight in the ancient shadow painting and the medieval effigies, the modern visual practice forsakes this connection and exposes the trick of representation. It insists that image was not real and even expels the medieval visual practice from the boundary of fine arts. The genealogy of the portraiture is formed by two different visual practices. The belief and the disbelief in the image are observed in the process of representation and anti-representation, and this ambivalence transforms the ontological meaning of portrait in the visual representation.

• Journal of the Korean Institute of Intelligent Systems
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• v.25 no.3
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• pp.210-216
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• 2015

It is well known that the structure of brain and consciousness of human have a phenomena of complex system. The human emotion have a many kind. The love is one of human emotion, which have been studied in sociology and psychology as a matter of great interested thing. In this paper, we consider a same and different time delay in love equation of Romeo and Juliet. We represent a behavior of love as a time series and phase portrait, and analyze the difference of behaviors between a same and different time delay.

• The Journal of the Korea institute of electronic communication sciences
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• v.10 no.7
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• pp.845-850
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• 2015

Love which is one of the emotional of mankind, has been studied in sociology and psychology as a matter of great concern. Through such a research, the researchers have provided the basic mathematical model for love model, we cannot find nonlinear characteristics through the basic love model. Therefore, in this paper, in order to find nonlinear behaviors in the basic love model, we apply external force to the basic love model. Then we confirm the existence of nonlinear behaviors through time series and phase portrait. We also confirm that this nonlinear behaviors have the periodic doubling, chaotic phenomena and periodic process which are very similar to typical chaotic occurrence phenomena.

• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.102-117
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• 2008

This study shows the badge system for military officials of Joseon dynasty. The badge system for military officials of the 15th century consists of rank badges with tiger and leopard for the first and second ranks and rank badges with bear for the third rank. According to the code of laws, military officials are supposed to wear the rank badges with four different kinds of animals in Joseon dynasty. However, the badge system shown in the code of laws sometimes does not match with the badges in practices. Based on the literature, remaining badges and the badges in portraits, six different kinds of badges with animals are found : First, rank badges with tiger and leopard were used until the late 16th century. Second, rank badges with tiger were found in the period between the early 17th century and the latter 18th century. Third, rank badges with Haechi were found in the early 17th century. Fourth, rank badges with lions can be found in remains of the mid 17th century, the literature and the portrait of the late 18th century. Finally, the rank badges with double leopards or with single leopard were found from a portrait dated the late of 18th century to the last period of Joseon dynasty.