• Korean Institute of Interior Design Journal
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• v.14 no.3 s.50
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• pp.224-233
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• 2005

Cyberspace is created through the confluence of global electronic communications networks and technology, and also meant to be a three-dimensional space of information. Its application in arts, however, requires broader views and knowledge and often results a confounded definition of it. The study is to define cyberspace and the architecture in it, with the methodology of the structural criticism, focusing the textuality without any impression or intuition to reach its valid epistemic definition. Two architects in cyberspace; Novak and Lynn, and their works have been discussed and analyzed reflecting Benedikt's theory of cyberspace which has coined its definition in architecture in early 90's. Lacan's subject theory, including the mirror stage, has played a key role to evaluate the identities and the differences of various views towards cyberspace. It also enables us to construe the on-going status and meaning of cyberspace and the architecture In it.

• Journal of Fashion Business
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• v.11 no.6
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• pp.87-100
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• 2007

This study aims at analyzing the characteristics of deconestructionism expressed in Issey Myake's fashion who is one of the most creative designers in the world. Method and contents of this study are as follows. Through the review of literatures, three major categories such as interminacy of meaning, decentring, and intertextuality and eight subcategories have been identified as major features of deconestructionism. These subcategories for content analysis were selected to examine the characteristics of deconstructionism expressed in Issey Myake's design in depth. Interminacy of meaning was divided into unstructured and unconstructed factors while decentring into qualities of cross-gender, subculture, anti-fashion, and post-humanism. Lastly, intertextuality was classified into factors of disordered mixing mode and mixed styles. Materials for analysis were chosen from total 349 designs on the website,www.firstview.com, which carries Issey Miyake's collection from 2002 S/S through 2006 F/W. 2 fashion major analysts including the researcher participated in 1st analysis and two another fashion major analysts participated in 2nd analysis. The final level of consistency between analysts was over 97% for all categories. The data analysis quantitatively evaluates the frequency of each category and qualitatively evaluates the characteristics of design. The result is as follows. First, the avant-garde facets of inter-textuality are most prominent. In particular, Miyake has introduced the various novelly textiles to fashion and employed the mixtured styles, not to copy them but to create hybrid designs by using pastiches and mixing fashion styles. Moreover, he has used various fabrics in order to inflict shock and contrast but still create subtle harmony, thus enriching his fashion. Second, the indeterminacy of meaning is the second most frequently shown facet of Miyake's fashion design. Miyake has employed unconstructed expression techniques, which has projected unusual images free from basic forms of designs and also has used the unstructured styles which dismantle harmony and balance-the common rule of design. He has made a new attempt to acknowledge clothing as an expressive artwork by allowing clothes to take a complete form when a person actually wears them. He has demonstrated a unique perspective on cloth construction and presented a love for artistic collaboration in the development of his collections A distinct manufactured aesthetic is exaggerated, even hyperbolic. Thirdly, the aspects of decentralization were also shown in Miyake's design, however, it has been visibly decreased after 2002 S/S.

• Sijohaknonchong
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• v.25
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• pp.211-237
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• 2006

Mansebo[만세보] contains a total of 111 old shijos under the title of Haedongyeongeon[해동영언]. This dissertation presumes Haedongyeongeon[해동영언] as early 20th century shijo text and surveys its literary characteristic and its significance in relation with anthological compilation. Haedongyeongeon can be seen as both newspaper serials and a short anthology. The basic pattern of the serials shows an organization of 'title. musical designation, author. text. and a brief review. Of these, the review is what most clearly shows the characteristic of the serials. The review is written in Chinese followed by Korean letters to designate the sound of the Chinese. which is presumably designed to attract more readers for the newspaper. On the other hand, Haedongyeongeon[해동영언], when seen as a collection of works printed in serials, clearly shows an intention of compiling an anthology, particularly in its way of overall classification of works or arranging works according to their authors, and thus may well be defined as a short anthology. This anthology somewhat excessively pursues perfection in formality, and is characterized by its strong intent to be read as popular literature, and therefore could be said to manifest the general characteristic of 20th century anthologies. The planner of the serial Haedongyeongeon[해동영언], or the compiler of the anthology is thought to be one of the core figures of Mansebo[만세보], that is, O Sechang[오세창], Lee Injik[이인직], Choi Yeongnyeon[최영년], Shin Gwanghui[신광희], but of them all, considering all circumstances, Choi Yeongnyeon[최영년] is most likely to be the one. Lastly, it is presently unknown what anthology was used as the basis of Haedongyeongeon[해동영언] and accordingly any judgement on that head has been deferred.

• Journal of English Language & Literature
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• v.58 no.6
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• pp.1167-1191
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• 2012

For Romantic women writers the paratext itself is essentially a masculine literary space affiliated with established writing practices; however, this paper suggests that Charlotte Turner Smith's mode of discourse in her use of notes and their relation to the text proper are never fixed in her contemplative blank-verse long poem, Beachy Head (1807). Even though the display of learning in the paratext partly supports the woman writer's claim to authority, this paper argues that Smith's endnotes also indicate her way of challenging the double bind for women writers, summoning masculine authority on the margins of her book while simultaneously interrogating essentialist thinking and instructions about one's identity in a culture and on the printed page. The poem shows how the fringes of the book can be effectively transformed from a masculine site of authority to an increasingly feminized site of interchange as Smith writes with an awareness of patriarchal, imperial abuses of power in that area of the book. There is a persistent transgression of cultural/textual boundaries occurring in Beachy Head, which explores the very scene and languages of imperial encounter. Accordingly, if Wordsworth's theory of composition suggests a subjective and abstract poetic experience-an experience without mediation-in which its medium's purpose seems to be to disappear from the reader's consciousness, an examination of the alternative discourse of self-exposure in Smith's poem reveals the essentially fluid nature of media-consciousness in the Romantic era, which remains little acknowledged in received accounts of Romantic literary culture.

• Journal of architectural history
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• v.23 no.1
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• pp.51-62
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• 2014

Architecture is a product of numerous influences, as shown in the apprenticeships of Kim, Jung-Up and Kim, Swoo-Geun with Le Corbusier's influences. Therefore, its identity is need to be re-defined based on such complex relationships. The rhetorical images of 'the Map of Misreading', as the core of the poetic identification proposed by Harold Bloom's 'the Theory of Influence', provide an efficient way of explaining the relations between architectural apprenticeships and identities. This research is to re-build a new methodology of architectural criticism based on it. The diachronic transformations of the architecture of Seung, Hyo-Sang also had very characteristic 'revisionary ratios' about his precursor Kim, Swoo-Geun. As an antithetic stance of his precursor's final phase, his early days works pursued continuously geometric abstraction and objective images of the architecture of Adolf Loos. However, his recent works are showing the obvious symptoms of regression to his origins. Finally, the architectural identity should be re-conceptualized as a complexity, based on inter-textuality from complex influences. This new architectural identity can be reflected into the modern obsessive identity.

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.4 s.117
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• pp.1-17
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• 2006

This study emphasizes users' participation, a living-transforming visuality, as users have appeared to be a central element of landscape design but ignored before. Also this study tries to propose meaning of extended visuality in contemporary landscape design on the basis of visual criticism on simple perception-and contemplations convention-based landscape design. For these purposes, this study reviews characteristics of visual changes appeared in modern reductionist paintings. In other words, arts can be interpreted in polysemous ways through bodies' experience. Deconstructive concepts derived from the theoretical reviews can be categorized into three including the participation of the users' bodies from a contemplative point of view, textuality and intertextuality, and experiences from works. Those concepts were used to criticize the previous discourse on landscape designs and to analyze various issues in the theories, themes and techniques in contemporary landscape design. The significance of the expanded visuality in contemporary landscape design is that it brings the users' voluntary participation. This structure can serve as a tool to obtain the users' perceptive effects. At the same time, it can be regarded as a process of establishing the relationships between the users and the works. Thus emphasis is placed not only on the influences of the effects structure of the works themselves, but also on the many different dimensions related to the users' bodies. It implies that the meaning of design is not determined by the designer but a product resulted from the voluntary relationships between users and works. These findings lead to ambiguous distinctions between arts everyday life, and eventually to the end of the concepts of formative dichotomous aesthetics and their effectiveness. Finding of this study call for not only redefining the space where landscape design is created and communicated, but also reconsidering the concepts of landscape design and its ontological meanings.

• Archives of design research
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• v.16 no.2
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• pp.189-196
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• 2003

The purpose of this study is to examine and understand decoding process of the Advertising - text to users a various aspects of semiotic approaches. Further more, through this study, show the sign- structures of the ad-text. For this purpose this study has chosen about the AD of publication of constant period that explore the variable characteristics, access the audience's meaning - structures. Through this analysis , grasp the point of internal and external linked structures. The results of this study can be summarized as follows; ㆍ The AD were applied using the transformational signifier of sign-system rather than the reflection of life's quality and products itself. Moreover to show itself meaning, the ad should do selection of transformation of thought than information-oriented. ㆍ The AD-text can be produced its productive efforts as well as decoding process of audience through various linked channel. Association, structured linking, audience's decoding, thematic structures are very important points in order to read the AD.

• Fashion & Textile Research Journal
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• v.14 no.5
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• pp.701-712
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• 2012

This study examines the various expressions and immanent value of fashion and beauty style based on Craig Owens's Allegory theory. I analyzed four application elements of Borrow, Site Specificity, Accumulation of Strategy, and Hybridization in? Ladygaga's Music Videos. The results are as follows. 'Borrow' presents a kitsch style and playful Pop-art style, transformation of gender from Mini Mouse body suit, telephone headpiece, and can hair. 'Site specificity' presents the temporarity of fashion material through rebirth, aging, natural extinction from the chain over the black jump suit, crime scene tape, and skull-face makeup with masculine style. 'Accumulation of strategy' presents a futuristic chic fashion style from a layered style, retrospective fashion, repetition and duplication in Music Videos. It shows the physical beauty of an Asian warrior style in Poker Face. 'Hybridization' present Cyborg feminism and 'Will of Power' from iPOD LCD glasses and Pyro-Bra. The Pyro-Bra represents how the female body can be used as a weapon in the outfits of Lady Gaga. In addition, Immanent value is as follows. Textual interaction with high art is accomplished through a combination of contemporary social and cultural significance to understand the cultural code and to extend the value. Combined with high culture, popular music genre is accomplished through musical appreciation by a woman in fashion styling and sensual pleasures of the body as a tool to express a sublime advantage. Fashion style is accomplished by overcoming a self-transcendent body image representation. The way in which mutual coupling dismantling, destruction, and uncertainty is to re-launch the static, with a pluralistic context of Textuality.

• Journal of the Korean association of regional geographers
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• v.4 no.1
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• pp.27-41
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• 1998

The communication model has been accepted as the basic research paradigm of cartography since Board(1967) discussed the map/model analogy. In that paradigm, the function of maps was limited to the media of communication, and the functionality of maps was extremely emphasized. Therefore the model could not play its own role under the new environments such as computer, GIS, scientific visualization. Nowadays, the model has been attacked on several grounds and several alternatives have been suggested. Among the objections raised are (1) geographic visualization in which maps are considered as the tool of scientific visualization, (2) the contributions of art which are ignored in the positivist cartographic research, and (3) deconstructionist arguments which deny the scientific epistemology of map as an objective form of knowledge and recognize the textuality of maps including their metaphorical and rhetorical nature. Since a publication by McCormick et al, the scientific visualization based on the powerful computer graphics is used in a wide context. Maps are treated as the tools of scientific visualization and emphasis is on exploration of the geographic data to gain understanding and insight in the geographic visualization processes. The research on geographic visualization have stayed in the early stage of developing the conceptual model and the basic visualization tools. But, it is expected that the geographic or visual thinking which is emphasized in the geographic visualization will contribute the reestablishment of links between cartography and geography. Also, the development of scientific visualization tools and strategies will offer the opportunities to suggest a fresh idea, to synthesize information and develop holistic approaches to geographical problems.

• The Journal of the Korea Contents Association
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• v.16 no.9
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• pp.779-790
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• 2016

This study is to exhibit the iconographic narrative and visual culture of ancient Chinese art. The focus of the study is the composite integration of literature and graphic forms, in particular the heterochronous expression of different scenarios of scenes occurring in different time periods in pictures of ancient art. The unity of their origins with picture narration and comic art creation is the fusion of our modern times. The ancient Chinese understanding of visual art includes the traditional style of images and their symbolic meanings. Among artistic narrative expression, imagery contemplation and visual presentation have significance. Artistic thinking is inseparable from visual articulation. It is a rational thought process through creative language interpretation in visual media of imagery narratives. The characteristics of ancient imagery thinking and the way of presenting sequential incidents in the form pictures is a creative space of time. This is the spatial thinking of modern comic art, which is demonstrated through acceptance in artistic styles. Image narration needs new forms and media styles, including integrating with cultural values as aesthetic communication is necessary.