• Science of Emotion and Sensibility
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• v.26 no.4
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• pp.71-92
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• 2023

This study investigates the symbolism and meaning of the bead design, its relationship with the Silla culture, and the conditions of glass bead manufacturing to verify the theory of Silla's production of Silla face-inlaid glass beads with excellent artistry and technology. The research method includes investigating the design analysis, ancient documents, myths, relics, glass, and metal production techniques. Moreover, Hongshan cultural relics and other cases of inlaid glass beads were collected. There are records in the literature that the people of Makhan, Buyeo and Silla of ancient Korea people considered beads as treasures and used them for accessories. It was confirmed that all the design elements of the bead-patterned hair topknot, golden crown, birds, and flower trees were closely related to the myth of Kim Al-ji of Silla, the oviparous tales and the sacred birds and divine beasts of the north. Moreover, the pattern and arrangements were found to be similar in other Silla relics. The origin of beads and face pendants was Hongsan culture, and a stone cast for beads was discovered in Bukpyo of Gojoseon, the lower-level culture of Hajiajeom. In addition, excavating inlaid glass beads from Sik-ri tombs of Korea and a face-inlaid glass bead from Toganmori tombs in Japan confirms the theory of Silla's production. The fact that the Baekje people of ancient Korea had a glass bead manufacturing office in Japan in the fifth centuries suggests that the Silla people also had a manufacturing plant in Java, Indonesia, because this place was a crossroads of Silla's Sea Silk Road and a source of raw materials and labors with a close relationship to Silla. Therefore, the face-inlaid glass bead was indeed self-made by Silla, who possessed the tradition of bead myths and hair topknot, and the high-level skills such as gold crowns and metal inlays.

• Korean Journal of Human Ecology
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• v.9 no.3
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• pp.371-382
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• 2000

Fashion, a means of communication, is the symbol conveying the social information and the individual identity. The opulence of material and the development of civilization make the sign of fashion variable and individual; especially, The importance of hair style among the today's sign of fashion, as a determinant element in judging each person's look is emphasized. Kitsch, based on the variety and the individuality is the manner of art in diverse hobbies. In addition, it enlarges the sphere of modern an, creates new open aesthetic world. Therefore, we need to understand the symbol of Kitsch aestetic represented in hair style, which is meaningful. The method of this study is quality analysis by means of semiology, aesthetics, Fashion artical, magazine, atc. To support this statement, we will study the form, a primary symbol, and the ideology, a secondly one in $\ulcorner$Mythologies$\lrcorner$ of Roland Bartes(1972). Then by means of the form and the ideology, we will try to recognize the myth, an essential symbol. The result of this study is following like these three points. First, the Kitsch patterns of representation in hair style use the accumulation by an excessive ornamentation; the inappropriateness by the lack of form, the disagreement, the unbalance, and the nonfunctional form; and finally, the amusement by the reconstruction, the exotic, and the satire. The above three is true to the Barthes's primary symbol-the form. Second, the anti-traditionality(including the lack of form, the disagreement, and the unbalance), the homesickness(including the reconstruction and the exotic), and the eclecticism(including the parody and the mixed imitation) are created as the ideology of the liberal artistic notion, different from the past outlooks on aesthetic. This is true to the Barthes's secondly symbol-the ideology. Third, the form and the ideology enable us to express our own thoughts and to recover the humanity, which is the primary purpose of Kitsch aesthetic. The Kitsch hair style, as we witness, does lead the varied and liberal aesthetic world, create its accessible value, and place the art of hair style in a higher status.

• Journal of Korean Classical Literature and Education
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• no.38
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• pp.201-238
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• 2018

As a way of enhancing the intercultural ability needed for diverse cultural eras, this study focuses on the "narration" of the Italian education scholar Maddalena De Carlo in order to determine the "diverse values" created by the "symbolic representation" based on the folktales narrated by immigrants living in Korea. Through this, it specifically presents educational elements and contents that can raise relative sensitivity. The authors of this paper have connected, empathized, and communicated with people of various cultures in order to go beyond Carlo's discussion. The paper discusses the expansion of cultural sensitivity as an element of education through narrative topics using the folktales of immigrant narrators in Korea. It also recognizes the limitations of a desire for a homogeneous union within an intercultural society and thus formulates educational contents for creating a relationship with heterogeneous ideas through the elimination of communication barriers through heterogeneity and a consideration of the surface and the back. This is systemized in six steps. Step 1: Listening to oral folktales of immigrants, Step 2: Finding heterogeneous motifs imprinted in the immigrants' memories, Step 3: Understanding the meaning of the opposing qualities symbolized by heterogeneous motifs, Step 4: Creating narrative topics containing the key motifs, Step 5: Generating the value of symbolic representation as a narrative topic, and Step 6: Expanding the value of life into a cultural symbol. In Chapter 3, this study focuses on educational contents using immigrants' folktales by applying these six steps. The class contents include the recognition of the limitations of desire for a homogeneous union within an intercultural society and the consideration of how to create a relationship with heterogeneous ideas through the elimination of communication barriers through heterogeneity and consideration of the surface and the back. This paper then compares the Indonesian folktale, The Inverted Ship Mountain and the Mom's Mountain, with the world-famous Oedipus myth, to determine what the symbolic representation of these heterogeneous motifs is. In Step 6, when the symbolic system is culturally extended, the incestuous desire that appears in the "inverted ship" is interpreted as a fixation that was created when the character sought to unite with homogenous idea. The Cambodian folktale, The Girl and the Tiger, is a story that is reminiscent of the Korean folktale, The Old Man with a Lump. Through the motif in "Tiger," this paper generates a narrative topic that will enhance the students' intercultural abilities by culturally expanding their skills in how to relate with a heterogeneous being that is usually represented as an animal. The Vietnamese folktale, The Coconut Bowl, similar to the Korean folktale, GureongDeongDeong SinSeonBi, is a story that draws a variety of considerations about the surface and theback, and it shows readers how to build a relationship with a heterogeneous idea and how to develop and grow with such a relationship. Thus, if a narrative topic is generated and readers are able to empathize using an opposing feature formed by the core motif of the folktale, it becomes possible, through immigrant folklore, to construct a possibility of a new life through the formation of a relationship with an unfamiliar and heterogeneous culture.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.2
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• pp.90-103
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• 2009

The poem 'Kyungjusipiyung(慶州十二詠)' written by Seo, Geo-jeong(徐居正) describes sentiments felt for the ruined historical and cultural landscape of Silla's capital city, Kyungju. It differs from the existing 'Eight Sceneries(八景)' as it conveys the strong metaphorical aesthetics of ruins as the episodes and figures are sung, as well as the myths and stories related to the representative holy places of the Silla culture: Gyelim(鷄林), Banwolseong(半月城), Najeong(蘿井), Oneung(五陵), Geumosan(金鰲山), the scenic beauty of deep placeness, Poseokjeong(鮑石亭), Mooncheon(蚊川), Cheomseongdae(瞻星臺), Boonhwangsa(芬皇寺), Youngmyosa(靈妙寺) and Grave of the General Kim Yu-Sin(金庾信墓). Compared with the former "Eight Sceneries" Poems, including Seo Geojeong's 'Kyungjusipiyung', there is a difference in the content of theme recitation, as well as in structure and form, especially with the deep impression of the classical features of the meanings and acts. The sequence of theme recitation seems to be composed of more than two visual corridors visited during trips that last longer than two days. The dominant emotions expresses in this poem, through written in the spring, are regret and sadness such as 'worn', 'broken and ruined', 'old and sad', without touching on the beauty of nature and the taste for life that is found in most of the Eight Sceneries Poems. Thus, the feelings of the reciter himself, Seo, Geo-jeong, about the described sceneries and their symbolism are more greatly emphasized than the beauty of form. The characteristic aspect of his experiences of ruins expressed from 'Kyungjusipiyung' is that the experiences were, first of all, qualitative of the aura conveyed; that is, the quality omnipresent throughout the culture of Silla as reflected in the twelve historical and cultural landscapes. In this poem, the cultural ruins of the invisible dimension such as the myths and legends are described by repetition, parallelism, juxtaposition, reflection and admiration from the antiphrases, as well as the civilized ruins of the visible dimension such as the various sceneries and features of Kyungju. This seems to be characteristic of the methods by which Seo, Geo-jeong appreciates 'Silla' in the poem 'Kyungjusipiyung'. Ruins as an Aesthetic Object imply the noble pride of Seo, Geo-jeong in identifying himself with the great nature of ruins. In 'Kyungjusipiyung', the images of the ruins of Silla and Kyungju are interspersed in spite of his positive recognition of 'the village of Kyungju' based on his records. However, though the concept of ruins has a pessimistic tone connoting the road of extinction and downfall, the aspect here seems to ambivalently contain the desire to recover and revive Kyungju through the Chosun Dynasty as adominant influence on the earlier Chosun's literary tide. The aesthetics of the scenery found in Seo, Geo-jeong's 'Kyungjusipiyung' contain the strongest of metaphor and symbolism by converting the experiences of the paradoxical ruins into the value of reflective experiences.

• Sim-seong Yeon-gu
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• v.29 no.2
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• pp.127-156
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• 2014

This thesis is an psychological study investigating the meanings of skin from the perspective of analytical psychology. Skin, as the outermost layer of our body, protects the body and carries out essential physiologic functions. It is an organ of the body and also psychological contents can be expressed on it in various forms. We can find sociocultural connotations of skin, some of which are demonstrated in our language. Skin may become a carrier of persona which defines a person's role in the society. And it can be a place where ego is expressed. Eros is the principle of relationship by Jung's definition and skin is the space where eros is realized intensely. Skin may carry meanings as a symbol of transformation. Skin disease can be interpreted as a message from Self in certain cases. The theme of casting off skin in myths and dreams can be an analogy of an individual's sacrifice for individuation, and putting on a skin may imply taking special properties in psychological level.

• The Journal of the Korea Contents Association
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• v.13 no.6
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• pp.86-94
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• 2013

2000s Korean cinema was influenced by capital, so it chose the way of Allegory instead of talking directly about sensitive issues. A representative movie director is Park Chan Wook who directed The Vengeance Trilogy. , The final part of Park Chan Wook's The Vengeance Trilogy, reflected Baroque Aesthetics. I analyzed focusing on Walter Benjamin's Allegory notion in this paper. Walter Benjamin said Allegory is different from a symbol which is represented by totality. Allegory means to reconstruct the fragment instinctively and to expose something repressed. The German Tragic Drama during the baroque period reflects this well. It is my argument that Park Chan Wook incorporated these underlying themes from German Tragic Drama into . He deconstructed the liberation and the birth myth of a nation, and he restored the socialist and anarchist who were completely excluded from history.

• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.259-267
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• 2011

Although having only become a unified nation in latter 19th century, Germany saw a movement centered on intellectuals to find culture via mental revolution after experiencing much confusion amidst rapid urbanization and materialism. Having expressed as they are such psychological states as anger, sorrow, repression, etc., which arise in reality, by remaining faithful to instinctive sensibility, the form naturally becomes distorted or exaggerated and continues on the tradition of romanticism of a powerful, dark, and introverted atmosphere. Having been discontinued after being branded as 'decadent art' by the Nazis of Fascism, expressionist art has returned in latter 20th century mainly centered on Germany, and this merits our attention. While neo expressionists actively use various objets and media, they metaphorically express hope about Germany's culture and society by again placing on the screen figures, myths, and symbols using rough brush touch, rich colors, etc., which past expressionists enjoyed using to represent the inner world of humans. As such, by examining expressionism, which can be seen as the origin of neo expressionism, we will discover the context in which these people conform to Germany's traditional romanticism and how they inherited and developed it.

• Journal of Digital Convergence
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• v.18 no.12
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• pp.489-495
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• 2020

Works engraving enlightenment and ethnic identity by giving meaning and lesson to past events and great people against the past can be one of the good ideal art film contents. The animation reproduces the existing cultural archetypes, situation and history, when the 'Book of Kells' was produced, and the myths of the Kelts tribes. This thesis analyzes the history the kelts, traditional patterns and formative symbolism shown in , and studies the cultural preservation method unique to animation contents. In conclusion, the movie not only suggests a methodology that animation content is an effective way to preserve the culture and history of the native people, but also pursues the eternal, enlightening and teaching people for history.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.909-917
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• 2023

Semiotic theory plays a vital role in the cognition of realistic films. Realistic films aim to reflect events and situations in real life, and arouse the audience's thinking about real problems through realistic depiction. In this process, the theory of semiotics helps to reveal the symbolic elements in the film and the profound meaning behind them. This study focused on the realism movie 도 가 니 "(Silenced), on the basis of the theory of saussure's semiotics, combined with its proposed the concept of "signifier" and "mean", through the study of arbitrariness and secondary film symbol sign system, designed to dig deeper into the symbolic meanings in the movie, and their cultural significance and social evaluation. By analyzing the implied narrative structure, meaning structure and ideology in the film, this paper probes into the influence and effect of mass culture on society and reveals the potential information conveyed by symbols in the film. This study aims to provide creative insights and explanations to provide useful references for research in related fields.

• Cartoon and Animation Studies
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• s.43
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• pp.1-22
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• 2016

So far, the Studio Ghibli's major masterpieces, and have been studied extensively from mythical and psychological perspectives due to the films' intrinsic symbolism within their characters and events. However, there have been insufficient in-depth research on the types of love the two works have. Therefore, this study will focus on how the types of love in the two animations mirror the concept of love in Plato's theory of Eros through the analysis of two films' characters. The desire for memory and recovery can be seen in , and glimpses of each phase of aim towards changes in physical appearance can be shown in . These describe the function and the purpose of Eros that Plato states in Socrates' terms in Phaedrus and Symposium. Plato ultimately defined Eros as a spirit that leads to the world of Ideas and suggested the five stages of love that are divided in accordance with the ultimate purpose and attitude of mankind towards Eros. The cognition area, changes in appearance of the characters and spatial ranks in and critically reveal such core concepts of the theory of Eros. It is noteworthy that the two works show the origin of the most universal ideology of the West. These two animation films are particularly significant in terms of that they reflect the western epistemology while covering exclusive and covert ethnic emotions.