• Proceedings of the Costume Culture Conference
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• 2003.09a
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• pp.91-92
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• 2003

2002년 한국과 일본에서 공동으로 개최한 FIFA 2002 KOREAㆍJAPAN WORLD CUP 대회가 막을 내렸다. 2002년 6월의 한국은 붉은 티셔츠의 강렬한 색상만큼이나 흥분과 열광의 도가니였다. 세계인들은 한국 축구의 4강 진출이라는 신화창조에 놀랐고, 붉은 악마로 분한 700백만 대한민국 국민들의 질서정연한 거리응원에 찬사를 아끼지 않았다. 지난 FIFA 2002 KOREAㆍJAPAN WORLD CUP 대회를 매스컴을 통해 접한 세계인들은 자국의 선수들을 응원하면서 붉은 색의 상의를 착용한 한국인들을 지켜보며, 붉은 색을 한국인을 상징하는 색상으로 새롭게 인식하였을지도 모른다. (중략)

• Proceedings of the Korea Contents Association Conference
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• 2017.05a
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• pp.163-164
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• 2017

화폐는 인간의 경제 활동과 함께 오랜 역사적 배경을 가지고 있다. 화폐 사용에 대한 기능성 외에 유형적인 특징은 한 사회가 가지고 있는 문화적인 상징이나 의미를 담고 있다. 따라서 본 연구에서는 화폐의 디자인적인 특징에 따른 문화적 가치를 살펴보고자 한다.

• Proceedings of the KAIS Fall Conference
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• 2010.05b
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• pp.880-882
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• 2010

초창기 Blues음악에서의 Bluenote는 단지 b3rd와 b7th음만을 상징하는 국한된 의미로서 사용되어졌다. 하지만 이후 Jazz Blues라는 장르를 통해 복잡한 구조의 화성진행과 더불어 다양한 코드스케일들이 사용되면서 Bluenote에 대한 새로운 개념정리의 필요성이 요구되기 시작했다. 따라서 본 논문은 Bluenote의 본질과 변천과정에 대한 재조명과 함께 Bluenote의 Modern Concept을 중심으로 연구되어 질 것이다.

• The Safety technology
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• no.196
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• pp.24-25
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• 2014

세계 최대의 규모를 자랑하는 자동차 공장, 울산의 상징으로 여겨지는 공장. 바로 현대자동차 울산공장을 수식하는 말들이다. 현대자동차는 아산과 전주 그리고 울산에 공장을 설립해 놓고 있는데, 울산공장은 단연코 세 공장 가운데 핵심기지로 여겨지고 있다. 또 이곳은 37,000여명의 근로자가 일을 하고 있고, 연 440만대의 생산력을 갖추고 있는 만큼 울산은 물론 국가경제를 이끄는 전초기지의 역할을 충실히 수행하고 있다. 이는 곧 화재, 폭발 등의 대형사고가 발생하면 그 여파가 엄청나게 크다는 것을 의미한다. 그만큼 이곳의 안전을 책임지고 있는 안전인들은 남다른 사명감을 갖고 업무에 임하고 있다. 현대자동차 울산공장에서 안전관리 업무를 전담하고 있는 황해철 차장을 만나 어떤 안전관리를 전개하고 있는지 이야기를 나눠봤다.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.393-394
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• 2019

본 연구는 자연주의 이론을 근거로 도예 벽화 창작 속 4가지 평가 요소를 정리했다. 아름다움, 기능성, 생태성, 상징성을 통해 중국 도예 벽화의 대표 인물 주러겅(朱?耕)의 작품을 분석했으며, 결과는 아래와 같다: 이러한 자연주의 스타일 작품은 뛰어난 미적 가치를 가지며, 인본주의 표현방식은 사람들에게 자연에 돌아온 느낌을 주어 자연과의 관계를 다시 생각하게 만든다. 자연주의는 도예벽화에서 기능성과 생태성으로 나타나며, 환경과 공간의 새로운 의미를 끊임없이 재정의할 뿐만 아니라, 도예벽화의 새로운 발전의 길을 제시한다.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.4
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• pp.78-88
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• 2016

The comparative analysis result of appearance characteristic of landscape elements and symbolic elements implied by the tablets on the 16th century's Korean Damyang garden and Chinese Suzhou garden is as follows. First, among the landscape elements implied in the tablets, appearance rate of botanical factors appeared high in the gardens of both areas. Damyang garden displayed bamboo grove and natural forest around the garden, while Suzhou garden displayed artificial mountain(假山) created artificially and a variety of plants including lotus, bamboo, and pine surrounding it were associated with the significance of the tablets. On the other hand, climatic/celestial elements including the rain, wind, and the moon were associated with the tablets of Damyang garden, while the artificial factors such as the building, bridge, and book, etc. were mostly were associated with the tablets of Suzhou garden. Second, among the symbolic elements included in the tablets, ethical personality which is the basic virtue of a noble man(聖人), was the universal characteristic of the meditation world of the garden in both areas. However, a will for political stability was mostly associated with the tablets of Damyang garden, while the retrospect heart for the immortal was mostly associated with the signboard in Suzhou garden. It was concerned with political ideal and the thought of Confucianism respectively. Third, the symbolic elements that appeared frequently in the tablets of Damyang garden, "Ethics" and "Political stability", were associated with the scene atmosphere created by the climatic elements and celestial elements. On the contrary, the symbolic elements which most frequently appeared in the tablets of Suzhou garden, "Ethics", was associated with the symbolic significance of the plant. The invisible space of gardens was expanded by tablets in both areas.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.4
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• pp.14-23
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• 2014

The purpose of this study is to contribute in building credibility of the methodology of the appearance of the traditional colors and the interpretation of the meaning of those appearances by analyzing the spatial construction and configuration and the traditional colors that appear in spatial elements about the scenery component that appear in Seyeonjeong. We conducted a literature research about the traditional colors, the background of the creation of Seyeonjeong, and etc. For the contents for the empirical analysis, we took the scenery and space elements in the poems, such as Eobusasisa and O-u-ga, and the contents of poems related to ojeongsaek (five Korean traditional colors) based on the Yin-Yang and the Five Elements ideology Particularly, after dividing the spatial elements appearing in Seyoenjeong into visual, synesthetic, symbolic/cognitive spatial element, we further distinguished the visual space into positions and directions of the of the spaces and the scenery of the season; the synesthetic space into seasons, time and five senses; and the symbolic/cognitive space into chiljeong (or the seven passions) and sadan (or the four clues). Then we carried out the study by analyzing the correlation between the intention of the garden creation and the meaning of the spaces, through the analysis of ojeongsaek system for each spatial element. Firstly, spatial structure and format that appear in Seyeonjeong can be divided into two directional axes of southeast and northwest according to the flat form of the Seyeongjeong's rectangular palace, with Seyeongjoeng as the center. Secondly, in spatial component element, the frequencies of appearance of the traditional colors of Seyoenjeong are 33.2% for white, 20.8% for blue, 20.8% for black, 18.7% for red and 6.3% for yellow. Thirdly, based on the analysis of the traditional colors the most frequent appearance of 'white' left a room for interpretation like the creation of Seyeonjeong was to enjoy secular living without lingering political feelings so that the high mountains remain clear and clean. Also, the predominant frequency of appearance of blue, similar frequency of appearance of black and red, and the least frequent appearance of yellow is in agreement with or can be at least interpreted related to Yun Seon-do's intention for creating Seyeonjeong not for political rank or power but as a place to enjoy nature, through which he can build on his knowledge, and to lead rest of his life as a noble being through plays, like dancing and writing poems. Fourthly, these interpretations of the analysis of the frequency of appearance of the traditional colors of Seyeongjong shows the reliability, validity, and consistency of the methodology of the analysis of the frequency of appearance of the traditional colors and the interpretation of the meanings in the context that the color white appears most frequently in Soswewon as well and that the background life of the Soswewon's creator Yangsanbo can be interpreted in a similarly way. Above all, this study is significant from the fact that we proposed a theory about the method of analysis and interpretation of the traditional colors in a traditional landscape space. Moreover, there is a great significance of discovering that traditional colors appear in traditional spaces and this can be used as a methodological framework to interpret things like, intention for creation of (buildings/architectures).

• The Journal of the Korea Contents Association
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• v.19 no.4
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• pp.162-173
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• 2019

The candlelight vigil is a nonviolent collective action by Koreans to communicate with the government. Although they have political goals, candlelight vigils are represented as cultural events. However, despite its importance in Korean society, it is unclear how Koreans perceive the cultural meaning of the candlelight vigil. This study, therefore, investigates the cultural meaning of the candlelight vigil, ultimately aiming to extending the framework for understanding active publics. To this end, this study conducted 47 in-depth interviews with participants of 2008 and 2016 candlelight vigils. The findings showed that the candlelight vigil has cultural meanings of festivity, humor, and self-expression. Theoretical implications of the findings and future research directions are discussed.

• The Journal of the Korea Contents Association
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• v.21 no.5
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• pp.824-836
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• 2021

In this study, the use of '心' letter used in classic Chinese book of 『Hwangjenaegyeog』 and its meaning was examined. In Chinese letters, '肉' is a sign that symbolizes the body. The letters '肝', '脾', '肺', and '腎' expressing the five human organs all contain the form of '肉'. So they don't cause semantic confusion. However, the Chinese letter that means heart and mind are written as '心'. As a result, it is difficult to understand the meaning of '心'. In addition, the contents of 『Hwangjenaegyeog』 cover various fields from disease to astronomy. For this reason, a total of 286 '心' letters used in it have various meanings. The results of this study are as follows. First, it means human heart. Second, it means the human chest. Third, it refers to mind. Fourth, it means a transcendent concept like spiritual enlightenment. Fifth, it refers to pericardium. Sixth, it refers to logical thought Seventh, it means center or core, and finally does constellation. in the eastern sky of ancient Asia. The results of this study are thought to be helpful in grasping the meaning of '心' in the classical literature as well as in 『hwangjenaegyeonglyeongchu』.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.4
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• pp.84-95
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• 2010

This study is an introductory survey of the labyrinth/maze in gardens. The term 'garden labyrinth' may seem an oxymoron given that the garden represents the terrestrial paradise, while the labyrinth is a symbol of the most chaotic face of the world. In etymological and ontological terms, however, gardens are enclosed places and this characteristic corresponds to the character of the labyrinth, which is the one of the oldest signs in human civilization, symbolizing the paths of human life filled with uncertainty and complexity. The garden labyrinth has developed in various forms and shapes since the Renaissance period. Literature and paintings contributed to the dissemination of the concepts of the garden labyrinth, especially in the form of the 'garden of love'. While the labyrinths in ancient and medieval times focused on plane shapes and symbolic and/or spiritual meanings, later garden labyrinths emphasized the three dimensional form and synesthetic pleasures. New patterns, which deviated from the classical unicursal form, emerged in the Petit Parc at Versailles in the 17th century. The garden labyrinth/maze was easy to adopt in formal gardens because of its geometric form, but for that reason, it went on to decline during the fad of picturesque garden. In this study, a brief history of labyrinths, the patterns, forms, and arrangement of the garden labyrinths in the formal gardens of the Renaissance and Baroque periods and its meanings are reviewed.