• Lingua Humanitatis
• /
• v.6
• /
• pp.147-166
• /
• 2004

Whitehead's discussion of language is not to be found in any one book or article. It is interwoven with his discussion of many other questions. He was, however, greatly concerned with the problem of symbolism in general and the uses of language. He regards language, spoken or written, as an instrument devised by men to aid them in their adjustment to the environment in which they live Language is used for many specific purposes in the process of this adjustment. Words are employed not only to refer to data and to express emotions. They may be used also to record experiences, and thoughts about these experiences. Worts also function as instruments in the organization of experiences as they are considered in retrospect. Thus words free us from the bondage of the immediate. And Whitehead's theory of meaning is implicit in his discussion of the functions of language. According to him, the human mind is functioning symbolically when some components of its experience elicit consciousness, beliefs, emotions, and usages, respecting other components of its experiences. The former set of components are the 'symbols', and the latter set constitute the 'meaning' of the symbols. Whitehead points out that one word may have several meanings, i.e. refer to several different data. In order to understand, thus, the meaning to which a word refers, it is sometimes very important to appreciate the system of thought within which a person is operating. Further, Whitehead's discussion of language includes a number of cogent warning the deficiencies of language, and hence the need for great care in the use of words. In fact, language developed gradually. For the most part we have created words designed to deal with practical problems. Attention focuses on the prominent features in a situation, in particular the changing aspects of things. With reference to such data our words are relatively adequate. However, this issues in an unfortunate superficiality. The enduring, the subtle, the complex and the general aspects of the universe do not have adequate verbal representation. for this reason, Whitehead's position concerning the uses of language in speculative philosophy is stated with pungent directness. The uncritical trust in the adequacy of language is one of the main errors to which philosophy is liable. Since ordinary language does not do justice to the generalities, profundities and complexities of life, it is obvious that philosophy requires new words and phrases, or at least the revision of familiar words and phrases. Proceeding to develop the theme Whitehead contends that words and phrases must be stretched towards a generality foreign to their ordinary usage. In the same vein Whitehead refers to the need to realize that language which is the tool of philosophy needs to be redesigned just as in physical science available physical apparatus needs to be redesigned. But even these words and phrases, stretched or redesigned, are never completely adequate in philosophical speculations. They are, in his opinion, merely a great improvement over ordinary language or the language science, mathematics or symbolic logic.

• Journal of the Korean Society of Costume
• /
• v.54 no.4
• /
• pp.85-95
• /
• 2004

The Purpose of this study was to find a phase of clothing in Korean proverb. The results of the analysis of this research was as follows： In the case of headgear, was expose that symbolize handsomeness, conduct of life, personality that display charm and position which is not usage as only head protection. Upper wear was expressing aspect and person's similarity, and was symbolizing conduct of life by meaning of dress and its ornaments according to a person that dress displays that change. Trousers(bottom wear) was expose that it means aspect or conduct of life(a 4 case, 40％) through site. Overcoat showed that overcoat that is clothes that is symbolizing wearer's situation, aspect and wear most on face because is involved with behavior that is not right in clothes usage is used by standard that foretell personality. Underwear can know that expressed being involved with right behavior, nature by the basic clothes. I was able to know that I express an attitude of a life or a form through shoe, and the accessories won an minor order but that I have a large influence on a character or the appearance of a person. Silk fabrics expresses Position, and hemp cloth expressed by symbol that display ability. Also, silk fabrics had meaning that hint person's background. Dress and its ornaments that is used in proverb by these result can know that have function as symbolic symbol that display Person's nature or situation, aspect that is wearing clothes that is not function as only simple clothes.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.29 no.2
• /
• pp.81-89
• /
• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• Journal of the Korean Society of Costume
• /
• v.53 no.1
• /
• pp.67-75
• /
• 2003

From ancient times. lotus pattern had esthetic factor and symbolic factor. Lotus pattern was introduced to China, and it was grafted together with Chinese peculiar culture symbol system, thereafter it has changed and developed. The Chinese taking a serious view meaning that things include, and they frequently use several lucky omen patterns in their everyday life. In this study, I investigated laying stress on symbolism about Lotus patterns of China lucky omen patterns, and I wanted to present possibility that can approach to Chinese culture in new angle. Through result of this study, symbol of Lotus patterns can divide two directions. First, symbol by natural properties of lotus are same as following. 1. Lotus grows in the mud, but it is uncontaminated - clearness and uprightness, 2. Root, branches, loaves and flowers are vegetative together, and all of basis and branches are exuberant. - plenty, 3. Bear fruit simultaneously with blooming, and it is procreant. - fecundity and many descendants. Symbol that use same pronunciation and intention are same as following. 1. 'Lian(연)'-'Lian(연)' : repeatability, continuance, plenty and intercommunicate, 2. 'Lian(연)'-'Lian(염)': integrity, 3. 'He (하)'-'He(화)' : peace, harmony and combination, 4. 'He(하)'-'He(하)' : clear river, 5.'He(하)'-'He(하)' ; all work goes well. When the Chinese use lotus patterns in lucky omen patterns, same pronunciation and pitch of Chinese language more prominent than natural properties or the image of Buddhism. I guess that it cause praying individual's peace and happiness more serious than philosophical meaning or symbol that base in Buddhism for ordinary people.

• Journal of Popular Narrative
• /
• v.25 no.3
• /
• pp.267-302
• /
• 2019

Oral literature can largely be categorized into myth, legend, and folktales, which are stories orally transmitted from the prehistoric times. The purpose of this study is to compare the discourse on the oral literature of the East and the West from a cultural studies viewpoint by focusing on its "symbolic systems," particularly "figures of speech," or "tropic traits", in order to utilize this oral literature as a resource in the study of Northeast Asian culture. Undergoing modernization, the symbolic meaning of oral literature has been demythologized both in the West and in Northeast Asia. Of course, oral literature, verbally transmitted over a long period of time, has naturally been changed over time and even "contaminated" in a sense by losing its original archaic archetype while it was textualized with letters during the early period of the modernization process. Nevertheless, the principle of "resemblance" and "similarity" between nature/universe and human/humanity, which has been stripped away in modernity, can still be found in oral literature with its mythic power. For this reason, the study of oral literature in the West has attempted to restore the lost magical power within it, particularly in myth. As such, this study delves into the symbolism of the mythic thought of Northeast Asian countries, namely Korea, China, and Japan, which has been lost in the course of their compressed modernization, in relation to the tropic figures of their oral literatures.

• Sim-seong Yeon-gu
• /
• v.34 no.1
• /
• pp.1-38
• /
• 2019

In 1964, Roman Catholic Church declared that 'Christ is the light of mankind' at the Second Vatican Council. Pope John Paul II also proclaimed the 'The Mysteries of the Light of Christ' in 2002. For past two centuries, the fact that Christ is the light was emphasized and people were urged to realize the mysteries by focusing on 'Christ of light' and 'Christ who shines like the sun'. This study examined the meaning of living up to 'the Mysteries of the Light of Christ' through analytic psychological perspective on the symbolism of 'the mysteries of light.'in the Rosary. In order to study symbolism of 'the Mysteries of Light' from analytic psychological perspective, this study dealt with the symbolic meaning of images appeared in 'the mysteries of light' of the Rosary. That is, the symbolism of images was revealed'the mysteries of light'has been testifying for Christ the light in the Bible. Those images represented the Baptism, Wedding at Gana, the Kingdom of God, Transfiguration of Christ, and the Last Supper. To live up to the 'The mystery of Christ the light' means to assimilate the unique Self with the image of 'Christ the light'. in other words, the study has meaningful findings that the personality which became conscious and individuation through experiencing the opposites existed as 'the light of the world' or 'the light of the ages'.

• Journal of the Korean Society of Costume
• /
• v.64 no.7
• /
• pp.29-44
• /
• 2014

This thesis aims to compare the representative costume patterns of the Chinese Qing dynasty and contemporary $18^{th}$ century French costumes. As a research method, qualitative research was performed to compare and analyze the patterns of the flowers, the birds and pagoda shown in Qing dynasty and France. The results are as follows: The Chinese flower patterns used the embroidery technique for 3-step gradation colors to decorate flowers with less than 10 petals. Also, the forms of the flowers were large and simple in China. The flower patterns of the 18th century France is more similar to those of Qing dynasty than to the traditional French flower patterns. They used the drawing technique for the gradation colors and completed the work by embroidery. In the case of bird patterns, the crane on menswear, and the phoenix on women's wear were applied to signify the symbolic feature of the Chinese symbolism. On the other hand, those in France were used solely for the division of the gender. As a result the clear form of the birds in China contrasted with the unclear forms of birds in France. During the influx of mandarine square to France from China, the application of crane and phoenix according to gender seems to be stressed emphatically without considering their symbolic meaning. In light of the pagoda pattern, Qing dynasty showed interest only in the form of pagoda, denoting the simple two-tier structure without detailed description. Whereas in France, the pagodas were three or four tiers, with gorgeous colors and much more detail than those of Qing dynasty. In conclusion, the main determinants of influences on the patterns of France from China would be forms, colors, constructions and technique of embroidery, along with the disregard for symbolic significance.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.39 no.3
• /
• pp.353-368
• /
• 2015

Walter Van Beirendonck expresses a fairy tale world of perverted sexual desire of sadism and masochism, violence, and aggressiveness that breaks from a transient one-time concept as is an essential element of fashion. This study classifies the aesthetic characteristic shown on the design of Walter Van Beirendonck and analyzes the intent of his symbolism and meaning. The attempt has a meaning in exploring a new directionality of fashion by conveying a critical message to this end, contemporary fashion breaks down boundaries with artistic genre and connects a problematic consciousness that exists in life with fashion. The results of study on the aesthetic characteristics of Walter Van Beirendonck are as follows. First, Beirendonck emphasized an interpersonal image about body by giving a question through the deconstruction of image on a perfect body into race, age, and body based on body modification. Second, fetishism appeared as a consciousness that human identity and character can be changed by connecting a fetish element of sexual identity, and sadism and masochism with fashion's imagination. Third, infantilism as an amusement expression of the form metaphorically satirized life of modern people. Fourth, makeup shown on performance or festival of an African tribe was used in the way of mixture or reuse for ethnography to obtain inspiration from ethnography. Fifth, pop art combined a popular culture code as amusement through mass production and mass media. Aesthetics of Beirendonck do not have norm and are bold in using form, color, pattern, print, and styling because Beirendonck reinterpreted critical attitudes about essential problems that human life entails into a motif of his symbolic meaning in amusement. In regards to his design aesthetics, Beirendonck expanded fashion to the scope of Gesamtkunstwerk in a consistent and continued theme combined with philosophical creativity and differentiated from other fashion designers.

• Korean Institute of Interior Design Journal
• /
• v.26 no.4
• /
• pp.75-83
• /
• 2017

The cultural tendency based on sharing and cooperation, which has recently been a hot issue, accelerates throughout the world. This study began with a perception that a sharing culture is inherent in urban public spaces. This study aims to conduct a theoretical study of the sharing culture and to analyze the characteristics of the design composition of public spaces. This study selected squares in 16 European cities as cases for analysis. The results are summarized as follows:1)To analyze the design characteristics of public spaces in which a sharing culture is inherent, this study drew the shape and type of planes and sharing elements such as accessibility, symbolism and activity with the squares in the cases. 2)The shape of planes in the squares in the cases has been formed in close relations with the historic meaning and events of the area and the process of the construction of buildings surrounding the square. The squares in the cases were classified into seven plane types, and these squares have developmentally contributed to the formation of a sharing culture as a place for free participation and communication concerning social issues. 3)In the squares in the cases, the weight of road-centered access appears high, and in terms of the construction of human-friendly / environment-friendly infrastructure in the city or judging from the trend of the recent increase of pedestrian-centered plans for public space, it is judged that approaches with a high utilization rate of sidewalk or public transportation would be desirable. 4)Symbolic elements of the square become a device by which citizens can share the historic symbolism, along with artistic inspiration. In addition, by serving as an observatory from which people can take a view of the landscape of the city, it allows visual sharing of the entire city as well as the square. 5)A square is common pool resources in the community, and it is necessary to vitalize that in a direction of increasing the possibility of sharing, through the characteristics and methods of the composition of public design.

• Journal of the Daesoon Academy of Sciences
• /
• v.43
• /
• pp.103-137
• /
• 2022

In religious symbology, an emblem is a symbolic mark, which differentiates a religion from other groups. In addition, it holds a symbolic or conceptual character that enables viewers to recognize a certain religion. Daesoon Jinrihoe, a representative order among Korean religious traditions, also has a symbolic mark; however, it has not been designated with an official name as symbol despite its usage dating back to May 11, 1978. At the time, that mark has served as an emblem. Afterwards, the emblem was printed and has been officially used as a flag (unofficially known as the Dao Flag, the Fellowship Flag, etc.) since October 20th of that same year. The emblem of Daesoon Jinrihoe which is not only printed in the flag but has been utilized as a symbolic mark representing the order. Nevertheless, it is hard to find research related to this symbol. Consequently, this study aims to apprehend the existing materials about the flag's emblem and its meaning, as well as attempt to interpret its various implications. Indeed, this work will suggest another point of view about the emblem given that it embraces ambiguity. This research suggests that the emblem symbolically depicts the Daesoon (Great Itineration), Samwon (三圓, Three Circles), Sadae (四大, Four Dae), and the Center, and that, all together, this can imply more profound meanings than were expressed in previously posited explanations. As such, this study draws further significance from Daesoon Thought and find: first, the circle in the center of the emblem signifies the pivot of Daesoon; not just the earthly circle (地圓) or the human circle (人圓). This opens up the possibility that the circle symbolizes Mugeuk (Limitlessness) and Taegeuk (Great Ultimate), which include the pivot of Heaven, Earth, and Humanity. Secondly, the symbol of soil (土) in the center is separated from the human circle and reveals the symbol of harmony and creation as the rod shape of Four Dae. Thirdly, the protuberances in the circle point to specific directions and this allows for additional layers of meaning.