• Journal of architectural history
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• v.12 no.4 s.36
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• pp.49-62
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• 2003

Vesely explains, the main source of our confusion and nihilism comes most probably from the ambiguous relationship between modem architecture, technology and aesthetics. Also, to overcome such crucial problems, many theorists recently emphasize to take part in cultural civilization and to preserve creative genes of great culture that is based on our interpretation of 'ethical and mythical nucleus of mankind,' rather than in technical modernization that constitutes a sort of subtle destruction of mytho-ethical nucleus of a society. They for architecture also strongly stress on a mythopoetic imagination and an ontological construction of building, which could make a form symbolic and mythical rather than mathematical and aesthetic representation. On this point, 'myth' becomes a vital idea for constructing and construing architectural form and space. And it is also one of the essential concepts to understand both the motive power of cultural continuation of place and the meaning of architecture. Nevertheless, its meaning and the citation of word in architectural essay are still obscure. It might be because the original concept of myth not only has been lain in the matter of philosophical contemplation. Thus, the intention of the research is focused on lightening the meaning of myth in architectural term. Especially, it is, first, concentrated on interpreting philosopher Ernst Cassirer's reflections which were written in order to emphasize the importance of 'mythical consciousness' for the world's cultural civilization. And, the second, it will continue to interpret the myth as a sign within the semiotic concept of Charles Sanders Peirce, and further to emphasis the significance of mythic signs for the continuance of artistic and cultural idea including architecture. The contents of the paper is not that of architectural planning and design methodology, rather architectural philosophy and epistemology. Nevertheless, in regard to architecture, the research will, against today's un-discriminated use of symbolic motifs and instrumental representation of form, suggest a concrete architectural and aesthetic theory of myth and sign, especially of the relationship between the idea of semiology and the function of cultural continuity.

• Korean Journal of Childcare and Education
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• v.9 no.2
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• pp.263-283
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• 2013

This study analyzed picture book "Who Pooped on my Head?" by using semiotic theories and considered involved meaning of the text. Because characteristics of children's development and picture book should be in harmony, it is necessary to understand the text in-depth. As a result of analysis, the text helps psychological stability and contains the meaning and value that guides children into social value or norm. Analyzing the text by using Greimas' Semiotic square, the meaning that following bowel movement standard is socially established behavior was involved. It seems that giving up instinct and accepting standard are process to extend thought. In conclusion, this study confirmed that the meaning and value that support cognitive and emotional development was contained in the picture book, "Who Pooped on my Head?".

• The Journal of the Korea Contents Association
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• v.10 no.2
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• pp.176-183
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• 2010

Picture book is the artistic format to develop forms an organic relationship with text and illustration. Not only meaning which the text and illustration deliver from the picture book but understand the symbolic meaning can discover new enjoyment of reading picture book. Sees the text and illustration of the picture book at one unit which is put in indivisible relationship and analyzing in semeiology provides the viewpoint which is important in picture book comprehension. The Greimas's theory of signification leads and understands the interaction of the text and illustration of world-famous author Anthony Browne's picture book 'Gorilla'. In addition, analysing the structural connection with text and visual expression it approaches the integrated meaning of a story from a new point of view. From the researches of existing interpreted the Hanna and relationship of dad was simple being lonely but this research sees which there exists not only paternal love but also heterosexuality between Hanna and dad and could newly be interpreted with the viewpoint where heal the discord is principal.

• Korean Journal of Human Ecology
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• v.9 no.3
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• pp.371-382
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• 2000

Fashion, a means of communication, is the symbol conveying the social information and the individual identity. The opulence of material and the development of civilization make the sign of fashion variable and individual; especially, The importance of hair style among the today's sign of fashion, as a determinant element in judging each person's look is emphasized. Kitsch, based on the variety and the individuality is the manner of art in diverse hobbies. In addition, it enlarges the sphere of modern an, creates new open aesthetic world. Therefore, we need to understand the symbol of Kitsch aestetic represented in hair style, which is meaningful. The method of this study is quality analysis by means of semiology, aesthetics, Fashion artical, magazine, atc. To support this statement, we will study the form, a primary symbol, and the ideology, a secondly one in $\ulcorner$Mythologies$\lrcorner$ of Roland Bartes(1972). Then by means of the form and the ideology, we will try to recognize the myth, an essential symbol. The result of this study is following like these three points. First, the Kitsch patterns of representation in hair style use the accumulation by an excessive ornamentation; the inappropriateness by the lack of form, the disagreement, the unbalance, and the nonfunctional form; and finally, the amusement by the reconstruction, the exotic, and the satire. The above three is true to the Barthes's primary symbol-the form. Second, the anti-traditionality(including the lack of form, the disagreement, and the unbalance), the homesickness(including the reconstruction and the exotic), and the eclecticism(including the parody and the mixed imitation) are created as the ideology of the liberal artistic notion, different from the past outlooks on aesthetic. This is true to the Barthes's secondly symbol-the ideology. Third, the form and the ideology enable us to express our own thoughts and to recover the humanity, which is the primary purpose of Kitsch aesthetic. The Kitsch hair style, as we witness, does lead the varied and liberal aesthetic world, create its accessible value, and place the art of hair style in a higher status.

• Journal of the Korean Society of Costume
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• v.52 no.3
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• pp.149-160
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• 2002

Symbolism found in a certain object inherits characteristics from the culture that contains the objects. The purpose of this study was investigate the formative beauty of Korean trousers twisted the pieces together based on the way of Korean thinks and the Topology. The shape is formed by cutting from the fabric. From the perspective of semiology, the fabric and the pattern shape correspond to ground and figure. Ground and figure are identical with the principle of the whole and the part, which is the same in Korea, China, and the West. But In Korea, the 3-dimensional garment is made by adding a twist. This is very important and defines the difference in the way of thinking and topology. Korean trousers consist of three parts : Hury, Marupok, and Sapok. The small Sapok can be made by removing the Marupok and large Sapok (figure) from the fabric (ground) when making Korean trousers. A Mobius strip is made when the large Sapok is adjoined with the small Sapok by reversing the small Sapok, making a 180$^{\circ}$twist and then stitching together. The theory of Mobius strip can be applied in Joining Bajiburi. thus when the trousers are completed the Klein's bottle is seen because of the 2 existing Mobius strop. The theory of Mobius strip can be applied in Joining Bajiburi, thus when the trousers are completed the Klein's bottle is seen because of the 2 existing Mobius strip. Hury is cylinder while the small and large Sapok make up the Mobius strip. As a result, Mobius strip, Kleins'bottle, protective plan can be applied in cutting Hanbok used in the countryside, so I have come to see that the traditional Korean way of thinking is closely related to the theory of topological.

• Journal of the Korean Society of Costume
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• v.52 no.7
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• pp.139-154
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• 2002

This study selects mannequins. fashion models. and fashion photographs as communication media to express the beauty of an ideal body. Each medium is discussed by the denotative and connotative aspects through the semiology. First, the mannequins are the most concrete medium which can form women's ideal body types and reproduce images in which the idealistic human body are coded in various figures. It embodies such various figures of the modem society by being replaced with the symbolic representation of our intrinsic·extrinsic forms. From a denotative view, the mannequins can be explained by ideal body types and expressive tools. The mannequin has implied connotative meanings of the similarity and dissimilarity between the actual body and itself. Second, fashion models have played a role in transmitting fashion images and presenting the ideal body. As fashion has adopted the body as its object fashion models have been used to express an ideal body. The development of the mass media in the 20th century has defined the standard of the beauty, Both the relationship between fashion designers and fashion models. and the standardization of beauty and fashion models are reviewed from a denotative view. Fashion models imply connotative meanings of the figurative and the controlled property. Third, fashion photographs are historical documents presenting us with the evidence of the ideal body types and culture throughout time. The photographs could be adopted as proper means to express fashion. having realistic and practical expressional functions, and it can be said that the realistic and practical expressional function of photographs has served as a suitable means for express fashion, and fashion photographs are discussed. The fashion photograph has the reproducible and the symbolic property.

• Archives of design research
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• v.19 no.4 s.66
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• pp.145-154
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• 2006

In today's brand apartment ads, the image of high-tech apartment seeking consumers' convenience thanks to the introduction of ubiquitous and the image of nature-friendly apartment stressing consumers' well-being life have become a main stream. However, it seems that there lacks differentiation in expressing ad images, except some brands. This may also be related to the matter of providing effective communication, which is the ultimate goal of advertisement. Therefore, to suggest the effective communication methods of brand apartment ads, this study semiologically translated first the images thai recent brand apartment ads present, and then in order to review whether these images are properly delivered to consumers, this study conducted the image survey for brand apartment ads with 123 subjects, who are the group of design professionals. As a result, the survey showed that, in the semiological translation of ad expression, meaning sharing is made when ad concept and ad image are semiologically consistent, and it showed that the realization of successful ad communication between advertisers and consumers is possible, which starts from this kind of meaning sharing. Based on the results of this study, we could know that the introduction of semiology into ad planning can be a logical judgment criterion to provide effective ad communication.

• Journal of The Korean Society of Inherited Metabolic disease
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• v.15 no.3
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• pp.118-126
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• 2015

Background and objectives: A deficiency of BH4 (tetrahydrobiopterin) not only causes the classical phenylketonuric phenotype, but also is the source of neurological signs and symptoms due to impaired syntheses of L-Dopa and serotonin. The treatment of BH4 deficiency usually consists of replacement with BH4 and the neurotransmitters. We performed this study to finding out long-term follow-up clinical symptoms and prognosis of BH4 deficiency. Methods: Clinical and biochemical, genetic analysis were done retrospectively from January 1999 to July 2015 in Soonchunhyang University Hospital. Results: In our study, total 207 patients were confirmed to hyperphenylalaninemia. Among them, 10 patients were BH4 deficiency. 9 patients were 6-pyruvoyl-tetrahydropterin (PTPS) deficiency and one patient was dihydropteridine reductase (DHPR) deficiency. The patients who received delayed treatment, most of our patients suffered from severe psychomotor retardation, hypotonia and seizure. c.259C>T mutation was identified most commonly in PTPS gene analysis. A patient with DHPR deficiency had a mental retardation, dystonia, seizure. His seizure semiology was dialeptic feature. His EEG showed generalized spike wave patterns. All patients had treated with tolerate L-Dopa, BH4 and 5-hydroxytryptophan. Most of the early treated patients have a good tolerance for drugs well. But some patients had neurologic symptoms, despite early detection and treatment. Conclusion: BH4 deficiency patients who had delayed treatment tend to have severe psychomotor problem and neurologic deficits.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.208-222
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• 2022

This study analyzes how Princess Deokhye's photos before entering elementary school were exploited in newspapers during the Japanese colonial period by introducing Roland Barthes' semiological methodology for analysis of photography. In the early 1920s, the Japanese imperialists actively exploited Princess Deokhye, who was about to enter elementary school, to propagate their education policy. The Maeil Shinbo cooperated with their policies by publishing photos and articles of Princess Deokhye. In this paper, 2 photos and articles published in Maeilshinbo were analyzed. As a result, it was found that messages were produced that justified Japanese education policy by using various rhetorical techniques of photography and texts complementary to each other, and that the readers were induced to accept them naturally. In conclusion, it was possible to reveal the seriousness of the problem in that these articles were not merely for propaganda of policy, but were to encourage the disappearance of the traditional values of Joseon.

• Journal of architectural history
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• v.32 no.5
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• pp.95-105
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• 2023

Focusing on Hwaseokjeong in Paju, the work seeks to clarify the social production of Nujeong (樓亭: Korean traditional pavilions) space, which took place over the 1960s and 70s, and its cultural-political implications. To make the effort as such meaningful, a theoretical framework based not merely on the thesis of 'social production of space' advocated by Henri Lefebvre but especially on some discussions related to 'state production of space' is prepared, according to which Hwaseokjeong is analyzed and explained. As a consequence, two principal arguments are put forward: one is that Hwaseokjeong was a social space which had been built and constructed in accordance with the unique mode of production dominating Korean society at that time called 'the state mode of production (le mode de production étatique)'; the other is that what lies beneath the denotation of a 'social space of tradition restoration' that Hwaseokjeong appears to carry is in fact the connotation of 'infiltration of anti-communist ideology'. All of these claims are once again supported both by examining Roland Barthes's semiology and mythologies and by considering Hwaseokjeong's P yeonaek (扁額: a plaque or framed text) as 'the practice of naming power through Jesa (題詞: inscribing dedications)'. While providing a succinct summary, the paper finally evaluates what 'social production of space' implies to social practices of architecture and related criticisms by taking into account the relationship between visibility and readability of space including buildings.