• 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.

• Cross-Cultural Studies
• /
• v.44
• /
• pp.87-121
• /
• 2016

Daehoon Ham's novel 'Cheongchunbo' features a studier as the main character who majored in Russian literature and admired the culture of the Soviet Union. From his viewpoint, the novel reproduces North Korean society before and after its independence from Japan. In this regard, it shows multilayered presence related to Russian culture and Soviet Russia. Such an aspect is based on the sense of sympathy that the main character has. The sense of sympathy is originated from the main character's admiration for the exoticism of Soviet culture which was forbidden during the late Japanese occupation. After Korea's independence from Japan, Russian was replaced by English. Such change also occurred in the main character's viewpoint. He underwent a change in his integrative viewpoint on Russian and Soviet under the name of Red Army. After defecting to South Korea, he began to put Russia down as a den possessed by the devil called 'communism.' In the meantime, Russia and Soviet have been separated from each other in ideological terms. The novel 'Cheongchunbo' stresses that the decisive cause of such changes is argued over trusteeship. The main character, fascinated by the presence of exotic Soviet, predicates that Soviet is a political symbol around the national division caused by the trusteeship. His change alluded to the life path of Korean authors who translated Russian literature after independence. During the Japanese occupation, Russian literature translated into Korea was a longing for forbiddance and admiration for Russia. However, the Russia presented in Daehoon Ham's novel before and after independence implies that the romantic translation has ended.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.37 no.5
• /
• pp.64-77
• /
• 2009

In landscape architecture, the pursuit of pluralism requires diverse expression based on cultural and philosophical differences. Landscape architects impart social purposes and spatial relationships to the contemporary generation by providing particular environments that reflect the culture of the day. Particularly, landscape architects reflect contemporary art in their design works and express the characteristics of the arts of the day in real spaces. Historically they have sought motives from all fields of art. The plastic concept in landscape design is based specifically on paintings that directly influence spatial composition. Minimalism in landscape architecture contributes to the formation of artistic characteristics that can be explained to improve artistry in landscapes as aesthetic objects, which were eliminated in the modernist era, and to realize contemporary art. By interpretively studying design works, therefore, this study reveals plastic concepts' influence on landscape design affected by minimalist art. The characteristics of plastic concepts in minimalist landscape design can be summarized as follows. First, the reduction of Minimalist Landscape is meant for viewers to immediately understand a work's identity and to easily perceive its intention by using design language implied by the pure geometric forms such as circles, triangles and squares. Second, the extension intends to seek internal order by connecting design elements mutually and externally to provide visual direction by adopting linear expression. Third, the flatness that defines meaningless space tends to overlay additional elements on a flattened site to induce the perception of a sequence of landscapes and to patternize pavement to improve its visual image. Finally, seriality has two characteristics: to make centrality in space and to compose by repeating formative elements and materials based on the pursuit of a site's totality, rather than an individual space's originality.

• Archives of design research
• /
• v.17 no.2
• /
• pp.279-288
• /
• 2004

Corporate design activities have expanded from being exclusive and passive responsibilities to active participation in planning, marketing, technology and corporate brand image differentiation for successful business. Thus the communications between designers and other functions come to include critical decision making, information sharing, and objective reasoning. Given that design activities now have to involve various functions in product development, the styling-related design process, which is still developed by designer's intuition and experience, poses as an obstacle not just between various functions involved, but even within the design function. To overcome this obstacle and to lead more effective design decision process, a means for product form development assessment and management is necessary. This research proposes a foundation for managing and assessing product form based on the hypothesis and demonstration of discovering a system of formative factor and order a product form expresses that can be shared as an objective and logical system. As a result of this demonstration, the form as a unique visual expression and the factors related to the form and its co-relationship are examined. The factors are called formative parameters and the system is named as the product form alignment method. Based on the logic derived from the system, the process for developing an image that aligns with the predefined goal is explained. The method defines a balance between a designer's intuitive creativity and the extracted logic, which can act as a basis for designers to share design language among themselves and for communication between design and other functions. Based on this system, designers are able to align design work with the set goal, and focus and limit the range of form development, which is anticipated to result in lead-time reduction and minimizing unnecessary obstacles and mistakes.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.19 no.8
• /
• pp.482-491
• /
• 2018

This study was conducted to identify the conceptual definition and attributes of nurses' Tae-um based on the conceptual analysis method of Walker and Avant. The attributes of nurses' Tae-um were derived from the organizational culture, inexperienced new nurses that are victims, senior nurses that are perpetrators, alteration of teaching, verbal and physical violence experiences, and psychological and physical symptoms. The antecedents were due to excessive work, high work intensity, job stress, lack of workforce, poor working environment, lack of job ability of new nurses, organizational hierarchy, and power imbalance. Moreover, the consequences were physical and psychological symptoms, decreased efficiency, increased distrust, increased turnover intention, and decreased quality of patient care. Improvements of working conditions and social supports for expanding nursing staff and building a culture in which communication and mutual cooperation are used to solve the antecedents of Tae-um among nurses is necessary. This study suggests the need for more qualitative research on Tae-um in nurses, the development of tools that reflect the attributes of Tae-um in nurses, and the development of a program to improve the culture of Tae-um in nurses. This study is significant in that it provides a rationale for development of an adaptation program for new nurses by suggesting the antecedents of Tae-um and solutions for it.

• Journal of Christian Education in Korea
• /
• v.65
• /
• pp.81-102
• /
• 2021

In church tradition, cultural misappropriation has often legitimized unjust hierarchy rather than to challenge it. Under the rubric of culturalism, Christian Education has served to justify the oppressive system and maintain status quo as well. A feminist theologian, Rebecca Chopp argues that the contemporary Western culture has intensified narcissistic individualism and self-referentiality and has supported the powerful, while forced the marginalized to be silent. Chopp insists that the role, nature, and mission of Christianity is to provide Word and words of emancipatory transformation. She advocates poststructural feminist theology and aims at renewal of the socio-symbolic order in society by criticizing assumptions underneath language, culture and politics. In this study, we will review the interview with an Asian-American couple and disclose the underlying assumptions and hegemony which have contributed to maintain the male domineering system. I suggest that Christian education for emancipatory transformation should encourage the oppressed women to reflect critically the existing order and to restore their own voice through constructive intervention facilitating "plurivociy" and "problem-posing" dialogue. Proclaimation of transformative Word can empower the marginalized people to revision the world alternatives to monotheistic patriarchal modernism.

• 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.

• Korean Journal of Heritage: History & Science
• /
• v.54 no.2
• /
• pp.56-77
• /
• 2021

Toponyms are located not only in the site between human cognition and the physical environment but also in the name of cultural heritage. Accordingly, certain identities and ideologies for which human groups and community have sought, their holistic way of life, and all cultural symbols and cosmos, such as sense of place and genius loci, are included in their toponymic heritage. Denoting, symbolizing, integrating and representing the culture and nature belong to the human community. Based on these perceptions of the toponymic heritage, the aims of this article are to examine the values of a toponym as an Intangible Cultural Heritage (ICH) and to suggest the application methods using the toponymic functions for governing of tangible cultural heritage. This article discusses the multivocality, diversity, and non-representational theory of landscape phenomenology intrinsic to the terms of culture and cultural landscape and then the domestic and international issues on the toponymic heritage in the first chapter on the values of toponym as a part of the ICH. In particular, it analyzes the preceding research in the field of toponymy, as well as the Resolutions of UNCSGN and UNGEGN on "Geographical names as culture, heritage and identity" including indigenous, minority and regional language names since 1992, which is related to the UNESCO's Convention for the Safeguarding of the Intangible Cultural Heritage in 2003. Based on this, I suggest that the traits of toponymic cultural heritage and its five standards of selection, i.e., cultural traits of toponyms, historical traits, spatial traits, socio-economic traits and linguistic traits with some examples. In the second chapter discussing on the methods using the toponymic denoting functions for creating and governing of the tangible cultural heritage, it is underlined to maintain the systematic and unified principle regarding the ways of naming in the official cultural heritage and its governing. Lastly, I introduce the possible ways of establishing a conservative area of the historical and cultural environment while using the toponymic scale and multi-toponymic territory. Considering both the spatial and participatory turns in the field of heritage studies in addition to the multiple viewpoints and sense of cultural heritage, I suggest that the conservative area for the cultural heritage and the historical and cultural environment should be set up through choosing the certain toponymic scale and multi-toponymic territory.