• The Journal of the Korea Contents Association
• /
• v.12 no.1
• /
• pp.265-274
• /
• 2012

This study aims to examine the physical language of dance art's acceptability of the discourse method of story-telling as a narrative discourse system from the view of story-telling of cultural contents. Dance, through the establishment of relationship between dancers and stage art, can form a discourse system with various literary devices including figures of speech, metaphors, and symbols. The argument over manifestation of dance's narrative components in the concept of story-telling is shown as follows; the background as an object can offer time and spatial backgrounds through stage art and the dancers' performance elements; and, for the character, the dancer himself can be the first-person-narrator and possibly makes plane personality descriptions. As for the elements of main affairs of dance, the stage art components present the background of primary motif of incident and the dancer's diverse relationships form conflicts through the correlation of solo dance, duet, and group dance. The plot as a process of developing the main affair is led by actant such as the dancer's mime actions, gestures, facial expressions, etc. The element of dance's revealing narration is the dance art itself and the developing structure of narration is the dance language's own grammar. Choreographers should compose persuasive dance texts to convey stories efficiently through character decisions, their actions, stage art's elements that display the time and spatial backgrounds, and the development of plot, as a narrative discourse of dance.

• The Journal of the Korea Contents Association
• /
• v.13 no.3
• /
• pp.65-75
• /
• 2013

Movie captured audience's whole sense organs to the screen which is made up of visual story-telling decorated by color, sound, and smell. The audience rediscovered native emotions(pleasure, fear, terror) suppressed and left in the compressed world of space and time, that is to say a movie world separated from the real world, by being immersed in the movie story. This study revealed audience's feelings of pleasure and fear by analyzing the movie . First of all, the pleasure would be discussed in terms of Nietzsche's "the will to power." Nietzsche defined something to breathe, move, and will as being alive, and he insisted that its power to life is 'the will to power.' Human beings wish to have power and want to increase it: pleasure, the real motivation of human behaviors and phenomena. The movie well revealed the pleasure by showing nonperson's challenge and victory against social rulers. Second, the fear and terror of the audience will be discussed in terms of in Lacan's psychoanalysis. Lacan extended Freud's id, ego, and superego into the worlds of reality, imagine, and symbol, and suggested a father in symbol world among those worlds. He suggested as a basic and connecting instrument of the socialization just like Signifi$\acute{e}$ and Signifiant, Saussure' basic linguistic structure in "Cours de lingustique g$\acute{e}$n$\acute{e}$rale"(1916). Because father is the symbol and the metaphor of law, the absence of him and resistance against him means obstacles of social stabilization. Finally this paper will also discuss that the fear from the absence of law and the pleasure provoked by self-preserving instincts, that is to say natural feelings, are connected to values of progressivism and conservatism.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.43 no.1
• /
• pp.1-15
• /
• 2015

The purpose of this study was to analyze the commemoration characteristics of Vietnam War Memorials(VWM) in the United States(VWMUS). Through site survey and internet research, the researcher selected 87 VWMUS except monuments simply with markers, and analyzed 5 analysis items: design concepts, spatial characteristics, landscape details, sculptures, and interpretive texts and symbols. The results are as follows: 1. The analysis revealed that the main concepts of VWMUS were to cherish victims of the Vietnam War(85 sites (97.7%)), show veteran's dedication for country(85 sites(97.7%)), and publicize the contribution of groups by troop, regional, and membership(84 sites(96.6%)). 2. Most VWMUS were located in memorial parks and plazas. 59 memorials(67.8%) were designed to pursue the completion of each memorial assuming the form of symmetry and circles. On the other hand, 12 memorials(13.8%) were typed memorial walls and 11 memorials(12.6%) were formed by spatial sequence including various landscape details and grading. 3. Stone walls were mainly used to cherish victims of the War at 65 memorials(74.7%), and also, Flags like the Stars and Stripes, POW MIA flags, and state flags were hoisted to symbolize memorial's identity at all memorials. Additionally, Benches, monuments, markers, posts and columns, ponds and channels, Helicopters were partially introduced some memorials. 4. Sculptures were used 21 memorials(24.1%) which were smaller in numbers than other War Memorial in the U.S.A., for black stonewall were used for the main element of VWMUS. Except for a few sculptures that aimed to represent the Vietnam War symbolically and narratively, 16 memorials(18.4%) were formed to realistically express the image of wounded soldiers and their hardship in the Vietnam War. 5. KIA, MIA, Veteran's name were written and their images depicted on walls, Also, the symbolic phrase, 'ALL GAVE SOME, SOME GAVE ALL' and 'DUTY, HONOR, COUNTRY' were written on the memorials walls, and the POW MIA symbols were printed on the flags and engraved on walls. 6. In the United States of America, Democratic patriotism was considered a main ideological value in VWMUS by engraving KIA MIA's names on the walls, hoisting flags Stars and Stripes and POW MIA, and writing symbolic phrases 'ALL GAVE SOME, SOME GAVE ALL' and 'DUTY, HONOR, COUNTRY'. On the contrary, in Vietnam, nationalism, patriotism, and socialism were emphasized as main ideologies through raising war victory and resistance to foreign power as well as writing the symbolic phrase 'TO-QUOC-GUI-CONG' meaning 'our country remember your achievement' on memorial towers. Further study will be required to comparatively analyze VWM in order to understand national characteristics in Korea, Australia, U.S.A, and Vietnam.

• Journal of Christian Education in Korea
• /
• v.68
• /
• pp.41-76
• /
• 2021

This paper begins with the question of whether "on-tact" Christian education, which has become the most new-normal phenomenon since Corona 19, will remain as a decisive form of Christian education even in the post-Corona era. In order to answer that question, this study explored whether on-tact Christian education has its own domain of experience and educational elements that cannot be replaced by face-to-face education, specifically focusing on "types of on-tact Christian Education", "discussion of digital church" and "digital epistemology". Through research on "types of onn-tact Christian education," it confirmed that, when viewed on the basis of 'participation' or 'communication', on-tact Christian education has an independent field of experience and educational elements. Through contemplation on "digital ecclesiology", it found that on-tact education is the decisive channel for Christian education to reach digital generation. It also found a new metaphor from the "network" concept for the public church and the Kingdom of God. This paper also found that we experience the perception of the body that is expanded through the combination between the body and technology in the digital world, and that this is a unique epistemology that occurs only in the digital world. Based on the above points, it affirmed that on-tact Christian education is not simply a means of supplementing face-to-face education in the era of COVID-19, but is a Christian education that has an independent field of experience and educational power that face-to-face education cannot replace. Thus it foresees that on-tact Christian education will continue to expand as a center and form of Christian education even in the post-corona era.

• The Journal of the Korea Contents Association
• /
• v.7 no.4
• /
• pp.241-249
• /
• 2007

This article addresses considerations, processes of drawing concepts and design approaches in compiling a corporate brochure set in the practice of editorial design. A well-made brochure does not simply refer to listings of the current state of a company and a fantastic visualization of their visions. It necessarily involves the utilization of strategic core keywords appropriate to the industry, proper and classy metaphors that fit the target, a certain harmony between direct and indirect narratives, and bringing all of these aspects under the hat of creative and purposeful design in a single brochure. Thus, it also calls for variety and changes to captivate the eye when leafing through brochures. 1. Does the brochure reflect accurate diagnoses on the position of the market environment, the industry and their needs? 2. Does it offer solutions to given tasks, does it claim to be able to solve problems a company may have, does it satisfy their expectations, and does it cover the topics in an in-depth manner? 3. Referring to questions 1 & 2, does it address existing cases of competitors, leading players and global trends? 4. Does it have an appropriate design language that can communicate intrinsic issues and global trends as well as appropriate rhetorical visual aids that stand out?

• Cartoon and Animation Studies
• /
• s.32
• /
• pp.23-42
• /
• 2013

The music videos of and were made based on the music of Pink Floyd and Beatles. This study aims to compare the characteristics of the two songs in terms of music and storytelling method. Previous studies investigated the narrative structure and concept of the storytelling, which are the basis of the images. This study, a comparative study of the two songs, firstly analyzed the narrative structure focusing on the roles and relationships among characters in each song. Secondly, it investigated the method of composition structure and the characteristics of the two pieces of music of which genre is different from each other. Thirdly, it classified the images into intro part, development part, and conclusion part and analyzed by comparison how the song or images inserted in the music interacts with each other. As a result, it was found that described strong progressive rock from the subjective viewpoint through the material storytelling structure by space and it represents the alienation of the hero through simile and metaphor, spatial changes crossing the past and the present, and the actual and non-actual crossover directing. On the other hand, developed a narrative storytelling structure in which progressive fantasy images developed from the psychedelic viewpoint through the confrontation of the good and the bad to deliver the messages of love and peace.

• Journal of KIISE:Computing Practices and Letters
• /
• v.9 no.2
• /
• pp.146-157
• /
• 2003

Our experience with Internet-based scientific collaboratories indicates that they need to be user-extensible, allow users to add tools and objects dynamically to workspaces, per mit users to move work dynamically between private and shared workspaces, and be easily accessible on the Internet. We present the software architecture of a development environment, called Collaboratory Builder's Environment(CBE), for building collaboratories to meet such needs. CBE provides user extensibility by allowing a collaboratory to be constructed as a collection of collaborative applets. To support dynamic reconfiguration of shared workspaces, CBE uses the metaphor of room that can contain applets, users, and arbitrary data objects. Rooms can be used not only for synchronous collaboration but also for asynchronous collaboration by supporting persistence. For the access over the Internet room participants are given different roles with appropriate access rights. A prototype of the model has been implemented in Java and can be run from a Java-enabled Web browser. The implemented system had been used by 95 users including 79 space scientists around the world in a scientific campaign that ran for 4 days. The usage evaluation of the campaign is also presented.

• Korean Journal of Childcare and Education
• /
• v.11 no.4
• /
• pp.81-107
• /
• 2015

Ninety-eight bestselling children's picture books from 2008 to 2014 were analyzed for multicultural education. The criteria used for the analysis included Culture, Diversity, Identity, Equity, Anti-bias, and Cooperation that were drawn from Kim & Park (2011). An examination of the books revealed that they contained concepts of Cooperation, Identity, Culture, and Diversity in their orders of frequency while ideas of Equity and Anti-bias were barely depicted. Differences between domestic and translated books were found. Translated picture books reflected Diversity more frequently than domestic ones. Under a criterion of Culture, Recognizing Differences and Similarities was more frequently portrayed in translated books while Respecting for Cultures was more frequently found in domestic ones. Findings were discussed in terms of bestselling picture books' limitations of dealing with critical multicultural issues, domestic picture books' lack of reflection of changing multicultural realities, fantasy picture books'dealing with critical multicultural issues through metaphors, and possible problems of the books conveying biased or confusing messages. It was suggested that an adult's role is essential when the bestselling literature is used for the purpose of multicultural education. Their deliberate guidance can help young children engaged in critical issues of race, gender, and ability and develop their multicultural sensitivities through literature.

• Cartoon and Animation Studies
• /
• s.44
• /
• pp.1-31
• /
• 2016

In this thesis, the movie with mise-en-scene established was compared with the peculiarity of the play that is the etymological source of the term to identify the peculiarity of mise-en-scene which was substituted into animation to find the peculiarity of mise-en-scene in animation. To emphasize the direct connection between the frame's visual peculiarity and the director's opinions, the mise-en-scene of director centered animation created under a restricted environment was reviewed. Mise-en-scene which started from movie critics theory does not simply mean the arrangement of images in a frame. Mise-en-scene emphasizes the exposure of the work's motive by the visual components. The animation's assuming the middle point of environmental share possessed by play and movie when schematizing the genre peculiarity of animation, play and movie was a noteworthy result. It can be said that the cause is that the animation's peculiarity yield different results depending on the making methods; we verified that this is a key factor in the analysis of animation's mise-en-scene. I emphasized that the peculiarity of animation mise-en-scene is in its making method and material and suggested identifying the work's making methods and analyzing the work's aesthetic results derived in this way. The russian animation which was perceived as peripheral arts was relatively free from the burden of censorship while receiving support from the Soviet as a media for propaganda. The russian animation's mise-en-scene which found the material for its works in the country's folklore was metaphorical, focused on new expression forms and achieved experimental elements. Russian animation pursues a unique aesthetic world through space expression based on the forms of opera or ballet and heavy motions formed static inbetweens.

• Cartoon and Animation Studies
• /
• s.26
• /
• pp.79-108
• /
• 2012

This thesis is on the purpose of seeking for the possibility of a mechanism in interpreting, analyzing and criticizing cartoons which are applied to the concept of "the gaze" based on "the otherness of vision", which states a pluralistic visual world. It proves that cartoons are in line with other art works that are the subject to "lack and desire"; the gaze, greets reality and acts as an important criterion of analyzing and criticizing the trend in contemporary art, in which the cartoon expresses the gaze in harmony within its work of art. In this thesis, the artist, Kang Doh-ha structuralized ambiguous and difficult forms of art as he has cumulated experimental minds by working in an indie cartoon plane for a long period of time. Among his works of art, he identified the "invisible world" through his piece "Kubrik". Therefore, he represented: a metaphor and a metonymy, an ambiguously situational expression, an intentional and emotional error, the structure of individuality and integration, and finally tension beyond its meaning through use of 'the gaze' that is both the cause and the subject of a desire in the visible world which Lacan academized when he interpreted and analyzed "Kubrik". The concept of the gaze can be used in a variety of ways to display one another's presence in relation each character, revealing a spot of lack by staring back at readers or audiences and furthermore, to analyze and criticize the hidden side of the art piece by critics. The most important details are the artist's gaze, which is seen in the eyes of the analysis and also his or her criticism of the cartoon, which functions as a metaphoric screen in which the subject himself or herself betrays the law of desires thus enabling the violent and cruel reality to be masked and indulged in plays. This will serve as an element that will lead into an art as well as control the degradation to just a piece of enjoyment with the cartoon remaining only within the visual world.