• Journal of the Korean Society of Costume
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• v.52 no.6
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• pp.139-164
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• 2002

The objective of this Paper was to identify the internal and external symbols of Punks, and to assess the significance of punk style giving an inspiration to many high fashion designers. For this objective. comprehension on widely discussed idea of punk, furthermore grasping the internal and external form by inquiring historically punk look, and importantly looking into new ideas pursued by punk fashion by studying traits of punk image in 1980's and after are done. Punk in the latter half of the 70's was anti-fashion expressed for the young of working class to rebel against the established generation. At first some of the fashion was popularized by the young who imitated pop stars under the specific economy of Britain, and others with movement of hippie Punk is aesthetics extremism which neglects traditionalism in the past but pursues newness. It denied traditional way of expression and principles of aesthetics but created newness. Punk look was symbolized as poor look. grotesque, androgynous, black, graffiti, and bricolage. And the internal meanings of these symbols are ego-screaming, expression of nihilism, resistance, irony and ridicule, search for hedonism. The punk phenomenon continues today. Some teens still cling to the complete look. whether they have punks' idea and value or not. Diverse elements of punk style play a major role in the current trend of fashion and a source of the fresh inspiration for the high fashion designers. Punk style is truly the story of a fad that turned to fashion.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.61-76
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• 2010

세계적으로 넥타이는 착용자의 이미지를 표상하게 됩니다. 따라서 특히 넥타이 디자인에 각국의 문화적 요소를 활용하는 것이 문화적 이미지의 패션 상품 디자인과 함께 매우 중요하다. 본 연구의 목적은 한국 및 베트남의 전통문양을 학습에 적용 및 전통적인 문양에 관심을 더 이해할 수 있게 도와 연구팀은 이러한 문양을 활용하여 특별하고 양국의 문화를 내표한 고유하고 세련된 넥타이를 개발하고자 함이다. 우리는 또한 한국 및 베트남 전통문양 사이의 상징성 의미가 특히 유사한 문양을 설계도면 방법차이를 발견했다. 따라서 한국 및 베트남 문양 사이의 조합의 경우, 본 연구뿐만 아니라 국가의 특정 문화에 기여하는 다른 나라에 한국 및 베트남문양에 대한 미학의 측면을 소개하였다. 결과를 요약하면 다음과 같다: 첫째, 한국 및 베트남 전통문양이 미학적, 실용성 및 문화유산의 가치가 있음을 알 수 있었다. 둘째, 한국 및 베트남 전통문양의 소재로는 식물, 동물(조류, 곤충, 상상의 동물, 길상형상 및 문자, 기하형태 등이 있다. 셋째, 한국전통 기하문양의 태극문양과 베트남의 전통기하문양의 특별한 기원과 행운, 창조의 조화 등 의미가 있으며, 이들 각각의 문양은 국기에 사용되어 현대에 이르기 까지 양국가를 상징하는 공통점이 있다. 넷째, 한국 및 베트남의 우호증진을 기원하고 국제경쟁력이 있는 양국의 고유한 문화가 깃든 국제경쟁력이 있는 독특한 넥타이 상품개발을 위해, 양국의 대표적 전통 기하문양인 태극문양과 별문양을 응용하여 넥타이디자인을 행하였다.

• Journal of the Korean Society of Costume
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• v.52 no.4
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• pp.51-63
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• 2002

The purpose of this study is to review the symbolic meaning in 20th century men’s fashion through analyzing of social environment factors. After recent industrial society, men had expressed their privilege, prestige and social power according to fashion. Men's fashion at the beginning of the 20th century was emerged as the images of robustness and strictness with perfect cutting, thick and stick fabric and dark color that were influenced by british style. It was symbolic meaning of authority orientation which showed the superiorities of social and sex classes. It was beginning of change according to social phenomena. The world war Ⅰ,Ⅱ and change of lifestyle by material affluence in automobile industry mollified rules of men's fashion. It showed a serenity of living. Also, the growth of young culture changed trickle-down of men's fashion into bottom-up and showed opposition for elite culture in fashion. These change particularly became acceleration by Individualism, open-society and the collapse of sex class. Men expressed sexual and inherent desire for fashion that was no longer concerned with symbolizing of authority but rather with pleasure pursuit.

• Sim-seong Yeon-gu
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• v.32 no.1
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• pp.17-53
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• 2017

This essay interpreted and analyzed 3 Bonpuri (shamanic rituals) of Jeju Island from Jungian perspectives. These rituals (Chokong, Euigong, and Samgong Bonpuri) includes myths about gods who have both anthropomorphic and supreme aspects. 3 myths showed significant psychological motifs such as hieros gamos, parental complex, ethics, numinose, creativity, and return to the origin. Compared to other religious worshipping ceremony such as shamanism in North America, sufism, and tantraism, similar psychological motifs are discussed. Understanding and amplifying the psychological symbols and process related these motifs may help analysis to be more meaningful and revivifying the human psyche especially in distress and sadness.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.60-71
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• 2010

The purpose of this paper is to provide a unified examination of apparently quite different gardens in terms of Carl Jung's psychological concepts such as Archetypes, Individualization, and a natural tendency towards balance or wholeness. In Jung's psychological framework, Archetypes are innate, universal prototypes for ideas and function as the first original models upon which all other similar persons, objects or concepts are derived, copied or patterned. Jung proposes that Individualization be achieved through a natural tendency towards balance, especially the balance between the conscious and the unconscious. This paper deals with three gardens, each of which represents a distinct cultural region: Bu-Yong Ji(芙蓉池) at the Changdeok Palace(Oriental), the Patio of the Lions at the Alhambra(Islamic), and the Fountain of Apollo at the Versailles Palace(Western). It is argued that all of three have in common a natural tendency towards balance and symbolize mandala, the archetype of wholeness. Bu-Yong Ji is in the form of quadrangle which embodies Yin and Yang. In the Patio of the Lions, the basin at the center and the four channels, which symbolize the waterway of the Garden of Eden and the four rivers in Paradise respectively, are constructed in the form of a quadripartite composition. The overlapped circle and rectangular shaped pond of the Fountain of Apollo also represents mandala. Symbols representing the same archetype can vary from culture to culture. This explains the differences among the three gardens with respect to specific aspects of external forms. In other words, an archetypal image can give rise to various forms in different cultures, and thus quite different mediums of design or design details may be developed. In conclusion, the three gardens give us a good example as to how an archetypal image can be expressed in different ways from culture to culture and how seemingly different design details can be analyzed in a unified way.

• Journal of Ginseng Culture
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• v.6
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• pp.35-50
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• 2024

"Culture refers to the behavioral and lifestyle patterns that a society has shared and transmitted within the community over a long period. Ginseng, frequently encountered in the daily life of Koreans through tools, crafts, folklore, and poetry, holds a deep place in the behavioral and lifestyle patterns of the Korean people. Ginseng, engraved in everyday objects, crafts, and poems, is symbolic in our culture as a representation of longevity and well-being. Ginseng elegantly depicted on ceramics serves as a symbol of longevity along with aesthetic beauty. The common inclusion of ginseng in ritual items in mountain deity beliefs, particularly represented by the 'Bullocho' (不老草) ginseng, reflects a strong belief in the mystical qualities of ginseng associated with longevity and prosperity. The incorporation of ginseng into commonly used everyday tools such as rice cakes, dining tables, decorations, matches, and fans suggests that ginseng was considered a talisman symbolizing health and longevity, kept close as a wish for good fortune. Rice cakes, often presented at ceremonies like ancestral rites, 60th-anniversary celebrations, weddings, and birthdays, had ginseng patterns carved into them as a way for our ancestors to inscribe the spirit and health-symbolizing ginseng onto the food. In family communities, ginseng patterns are frequently found on utensils related to eating, such as chopsticks, spoons, tea cups, and trays. Among the various folklore related to ginseng being passed down, the most prevalent are anecdotes illustrating its efficacy. Ginseng, gifted and exchanged as a symbol of gratitude in letters and poems, goes beyond being a mere medicinal herb to embody friendship and blessings. The symbolism of ginseng, as revealed in everyday objects, artworks, poems, and letters, can be summarized as follows: 1. In folklore and legends, ginseng symbolized filial piety offered to parents. 2. It represented gratitude sent to respected teachers and close friends. 3. Ginseng depicted on daily objects and artworks not only showcased aesthetics but also played a magical role in symbolizing longevity and well-being. Ginseng patterns on items like rice cake molds and dining tables embody the spirit of a caring community, wishing for longevity and prosperity."

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.2
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• pp.69-76
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• 2017

The following summarizes the findings from an analysis of literature and 21 versions of the Bible published in Korea, China, and Japan to discuss the name of Myrtus communis. Myrtus communis was an important tree symbolizing love and resurrection since the Ancient Mesopotamia, Egypt, Judas, Greece, Ancient Rome, and Medieval Spain. In the Bible, Myrtus ($h{\acute{a}}das$) was used to make the booths at the Feast of Tabernacles or for various ceremonies. Myrtus symbolized the people of Israel and also symbolized peace, appreciation, indestructibility, and resurrection. In the Bible of Korea, China, and Japan, Myrtus was translated into various names by time, such as '崗拈樹', '千里香', '鳥拈', '番石榴', 桃金孃, Gamtangnamu, Seoglyunamu, Hwaseoglyu, Sogwinamu. 'Myrtle' was translated into '桃金孃' based on Japan's "熟語本位 英和中?典(1915)" and it seems that the mistake was directly excerpted by the English-Korean Dictionary(1949) after the Liberation. According to the theory of 'Dynamic Equivalence' in translation, it would be best to use 'Myrtus' was the official name of Myrtus communis.

• Journal of Korean Philosophical Society
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• v.117
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• pp.85-111
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• 2011

Topics with which chis paper deals are as following; (1)Zizek's interpretation of Rothko's painting, (2)Lacan's gaze and picture, (3)the real as object a, (4)primal jouissance and death-drive, (5)a new identity of man-emptiness in Zizek, (6) existential level and existential conflict, (7)a variety of meanings of emptiness, (8)transpecsonal drive and meditation, (9) the different Real-Emptiness, (10)Rochko's painting and transpersonal drive.

• Smart Media Journal
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• v.12 no.1
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• pp.102-111
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• 2023

As one of the image symbols, the second frame has rich symbolic metaphor. In previous studies, second frames are mostly presented in physical forms such as doors, windows, but in <The Power of the Dog>, there are various forms of second frames, providing more types for the study of second frames. Panofsky's Iconology has put forward a rigorous research method on how to interpret the meaning of image symbols in the picture. This study aims to use Panofsky's Iconology to analyze the second frame in <the Power of the dog>. The purpose is to expand the methodology of film image research and break through the problem that the Iconology analysis of film image stays in narrative analysis (iconographical analysis). It can be seen from the results of this study that the second frame has different visual presentation according to the requirements of narrative. In the narrative of the film, it symbolizes the depressed tone of the film and the stressful relationship between different characters. What director Campion wants to show through the second frame is that in the film industry where the problem of women is getting better, the motif of feminist film creation has changed from the expression of female appeals in binary opposition to the expression of the appeals of diverse groups in "decentralization."

• Proceedings of the Korean Society for Cognitive Science Conference
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• 2002.05a
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• pp.231-235
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• 2002

본 논문에서는 전문 안무가와 일반인들을 대상으로, 현대적 스타일의 독무와 임의적으로 움직이는 육면체를 제시할 때의 두뇌 활동 양상을 fMRI를 통하여 알아보았다. 피험자들은 총 8명으로 구성되었으며, 4명은 안무 전문가들, 4명은 동일한 연령대의 일반인들이었다. 피험자들은 시각 자극으로 제시되는 춤동작과 다양하게 변화하는 단순한 육면체의 움직임을 아무런 반응 없이 보는 과제를 수행하였다. 두 피험자 그룹 모두에서 육면체의 움직임보다 무용을 응시할 때 occipital cortex에서 더 큰 활성화를 보였고, 특히 좌측 STS와 angular gyrus사이의 경계선 영역, 그리고 좌측 fusiform gyrus에서는 안무가들이 무용을 볼 때 일반인들보다 더 높은 활성화를 나타내었다. STS/angular gyrus와 fusiform gyrus가 시각 자극의 의미 표상을 이해하는데 관련이 있고, angular gyrus가 사전적 의미 해석에 있어 중계적 역할을 하는 곳이며, fusiform gyrus는 사물을 지각하는데 있어서 보조 역할을 맡고 있다는 논의를 바탕으로, 무용가들은 그들이 지니고 있는 안무에 대한 전문적인 소견과 지식을 이용하여 몸의 움직임을 분석할 수 있고, 또 그것에서부터 어떠한 상징적인 의미까지 끌어내어 결과적으로 의미 추출의 과정에서 두뇌의 semantic network를 활성화시킨다고 볼 수 있다.