• 한국생활과학회지
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• 제9권3호
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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.

• 한국의상디자인학회지
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• 제6권2호
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• pp.77-87
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• 2004

The purpose of this study was to analize the types of symbol concretely, one of a constituent elements of brand, using in Apparel Brands and to examine the meaning of symbol in the internet site of each brand and to evaluate the symbols in the aesthetic dimension and to suggest a basic data of the branding strategy for marketers. For this purpose, 41 Apparel Brands were selected from fashion magazine and the types of symbol used in the Apparel Brands were classified into three types. According to the formative characters of symbol, there were word symbol, descriptive symbol and abstractive symbol. The results of the study were following: the order was the descriptive symbol, word symbol, and abstractive symbol. The percentages of using symbols were descriptive symbol(61%), word symbol(29%), and abstractive symbol(l0%). The Apparel Brands used the most frequently the descriptive symbol that represents or symbolizes a concrete object to represent the image of brand. The abstractive symbol that use a graphic style or geometrical form to deliver the character of brand was used lowest. From this results, we could find that the descriptive symbol was used to deliver/notify the character or image of company's own brand easy and quickly to consumers in symbolic meaning making use of a concrete object such as a animal, plant, specific object or fictitious person, etc than word or abstractive symbol.

• 한국통신학회논문지
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• 제28권6C호
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• pp.561-569
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• 2003

본 논문에서는 Alamouti［1］, Tarokh［14］, Xia［11］에 의해 도입된 직교 시공간 부호를 포함한 임의의 선형 직교 시공간 블록 부호에 대해, 느린 레일라이 페이딩 채널(slow Rayleigh fading channel)의 쌍간 오율(pairwise error probability)의 정확한 표현이 2개의 전송된 부호어 행렬(codeword matrices) 사이의 부호어 심볼 거리(codeword symbol distance)가 아니라, 2개의 메시지 벡터(messgae vector) 사이의 메시지 심볼 거리(message symbol distance)의 식으로 유도된다. 1차원 성분의 심볼 오율을 이용하여, 선형 직교 시공간 부호의 심볼 오율의 정확한 폐형의 표현이 QPSK, 16-QAM, 64-QAM과 256-QAM에 대해 유도된다.

• 한국정보통신학회:학술대회논문집
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• 한국해양정보통신학회 2009년도 추계학술대회
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• pp.755-757
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• 2009

Since the research of advanced terrestrial digital multimedia broadcasting system is still in progress, and in our previous paper, in which we introduced how to combine one conventional transmitted symbol with two additional bits to form a new symbol transmission, the bit error performance of LP bits is not realizable, because even we implemented the turbo code to protect the LP bits transmission, to obtain a certain good bit error probability, the value of $E_b/N_0$ cost highly. In this paper, we modified the composition of low-priority symbol and high-priority symbol, and through the system presented in previous paper we get a better simulation result of the LP symbol transmission.

• The International Journal of Costume Culture
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• 제8권2호
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• pp.105-110
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• 2005

This paper documents a dress design process to demonstrate the theory that form follows intent. It includes a statement of the design context as a venue where the conceptual intent originated. The dragon icon became the subject, form, and content of the design project. The author's designerly endeavor is discussed with focus on reconfiguration of formal characteristics shown in the visual reference of the eastern dragon symbol into a dress design with the consideration of utilitarian, expressive, and symbolic issues. Throughout the process, the author was an active agent who created formal characteristics, manifested a thought into an object, and imbued a meaning to the dress, demonstrating the notion that form follows intent.

• 비교문화연구
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• 제25권
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• pp.213-236
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• 2011

The negative symbol of 'American imperialism', which was reinterpreted superimposed on the symbol imposed on Japanese imperialism in the 1945 Liberation of Korea, was more amplified added by the experiences of the bombing and massacre by US troops during the Korean War. In other words, the symbol of the extreme 'American imperialism' in the liberation in which even the role of America contributing to the liberation of Josun had been denied had continued for a long time adhered to and amplified through the war. Thus, unlike the current emphasis laid by North Josun, the assertion in the form of 'American imperialism=Korean wolf' is an idea made from the mixture of fact and fiction combined with the theory of imperialism rediscovered in the liberation and the experience of massacre during the Korean War. And this superimposed symbol for American imperialism naturally causes the problem of being superimposed also on the symbol of North Josun. And the extreme formalization for 'good' and 'bad' sides was based on the dichotomous compositions of beauty and ugliness, good and evil. The ground for saying that an act by a good side is 'unconditionally' legitimate is nowhere found. The anti-American viewpoint rediscovered in such an extreme form results in one aspect of criticism and resemblance as a result of being locked up in the same violence which one has rejected by oneself. The anti-American viewpoint going on in the form of anti-imperialist nationalism leaves nothing except another terrible retaliation for terrible brutality. It is self-evident that one can never get out of the enchanting power of imperialism which North Josun has continuously criticized in a ring of violence and vengeance, the familiar grammar commanded by North Josun literature.

• ETRI Journal
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• 제32권1호
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• pp.139-141
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• 2010

In this letter, closed-form approximations for outage probability and symbol error rate are presented for a selective decode-and-forward relay network with partial channel information. An independent but not identically distributed Rayleigh fading environment is considered. Numerical and simulated results demonstrate the validity of the analytical results.

• 디자인학연구
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• 제12권2호
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• pp.53-62
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• 1999

본고의 목적은 심볼디자인을 하는데 있어서 첫째, 디자이너들이 심볼의 굿디자인을 동양의 음양오행사상에 바탕을 시각적 분석을 통하여 새로운 적응방법을 모색하는 것이며, 둘째 심볼의 구조형태 분석과 감성인식 방법을 다른 각도에서 파악하여, 새로운 장조기법의 하나로서 심볼디자인의 사고영역을 넓히는데 그 목적을 둔다.

• 한국콘텐츠학회논문지
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• 제7권1호
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• pp.207-214
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• 2007

심볼마크는 인류가 오랜 역사를 통하여 자신이나 집단의 생활과 생각을 전달하기 위해 상징적인 형상을 표현함으로서 시작되었다고 할 수 있으며, 산업혁명 이후 기업의 경영활동에 심볼마크가 사용되면서 CI라는 용어가 생겨나게 되었다. 이러한 CI 개념의 심볼마크는 1907년 피터베렌스(Peter Behrens)의 A.E.G 디자인 작업이 시초라고 볼 수 있고 국내에 CI와 심볼마크에 대한 개념이 소개된 것은 1970년대 초반이라고 할 수 있다. 이후 현재까지 심볼마크는 CI의 핵심요소로서 시대상을 반영하며 많은 변화를 거듭해오고 있으며, 최근 들어 사회, 문화 전반에 감성에 소구하는 트랜드가 대중화되면서 심볼마크의 표현방법이 다양해져 가는 현실이다. 따라서 국내에 CI가 도입된 초기부터 현재까지 기업 심볼마크들을 CI 전문회사들의 포트폴리오를 통해 살펴보고 시대별 특성을 분석하여 차후 기업이미지 창출을 위한 심볼마크의 디자인 방향에 대한 근거를 제시하고자 한다.

• 한국교육논총
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• 제42권1호
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• pp.35-72
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• 2021

본 연구는 중국인 한국어 학습자들이 세밀한 느낌과 다양한 감정을 표현할 때 보다 정확하게 말할 수 있도록 한국어 '상징부사+용언'형을 중심으로 효과적인 교재 개선안을 마련하는 데 목적이 있다. 다수 외국인 학습자들이 어휘를 습득할 때 개별 단어를 암기하고자 노력하고 있으며, 어휘간의 결합을 중시하지 않으므로 한국어 어휘를 정확하고 자연스럽게 사용하지 못하는 문제점이 있다. 상징부사는 고립되어 사용하지 않으며 특정 어휘와 자주 공기하기 때문에 개별 어휘가 아닌 '상징부사+용언' 형태로 가르치는 것이 더 효과적이다. 따라서 본고는 상징부사 뒤에 오는 특정 어휘 또는 공통적인 의미자질을 가진 어휘 군과 자주 공기할 수 있는 것을 중심으로 고찰하였다. 이에 상징부사 뒤에 서술어가 함께 사용되는 양상의 차이를 밝히기 위하여 국내·외 대학 기관에서 사용하고 있는 한국어 7종 교재를 중심으로 비교·분석하였다. 마지막으로 교재 분석 결과를 바탕으로 중국인 학습자를 위한 한국어 '상징부사+용언'형의 개선 방안을 제시하였다.