• (The) Research of the performance art and culture
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• no.36
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• pp.169-184
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• 2018

This paper reveals the double meaning of the temporal background and spatial background on Shimchungga. Its temporal background is the fictional and romantic time of the story, while the time of the weary lives of ordinary people is realistic and historical in the late Joseon Dynasty. The spatial background has a dual meaning that reminds us of the ancient capital of China and Seoul of the Joseon Dynasty. Namgyeong, a spatial background is fictional and romantic where the daughter of the public, Simcheong, becomes "The mother of all the people." In addition, Namgyeong reminds us of Seoul, the capital of Joseon Dynasty. Shimchungga is based on the customs and manners of the late Joseon Dynasty, and it is embodied by borrowing time and space from China. It is recalled Joseon's as backgrounds of China First of all, Namgyeong on Shimchungga is the ultimate attraction of the free imagination of the ordinary people as well as Shin, Jae-hyo in the late Joseon Dynasty.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2011.05a
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• pp.358-361
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• 2011

The image shown on movie is purposes information and communication. For smooth communication, It borrows the character was a mystery to we can free and various interpretations from the perspective of consumers. it's induce interest. Current images of Fantasy used in the magical world of myth and modern gives satisfaction to ours. And various characters have been developed. It is especially directed in the past is not a from. And it is emerged as a symbolic and abstract from. Aesthetics of beautiful things that has changed from the grotesque, dan to the development. Therefore, Legendary character of the past reflect the present era, and was dismantled in the original meaning. Therefore, it is the center of that change, Myths about the character of borrowers to recognize that communication through to be able to maximize the expected.

• Journal of the Korean Applied Science and Technology
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• v.34 no.4
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• pp.974-985
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• 2017

Although the number of registered cars in South Korea is about 22million but, there is no national standard for automobile reference fuel in South Korea. Reference fuel is the fuel used for certificating vehicle performance, emissions and fuel economy. Now, domestic market fuels are used as reference fuel. However, the quality of domestic market fuel is constantly changing by seasonal and fuel manufacturers. It may effect vehicle performance, emissions and fuel efficiency test result. On this study, market diesel fuel quality was monitored and reference fuel standard(draft) was set by reflecting market fuel monitoring result. Reference fuel standard(draft) was applied to CRDI engine.

• Journal of the korean Society of Automotive Engineers
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• v.7 no.1
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• pp.5-11
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• 1985

연료비의 증가에 따른 차량의 경량화나 안전성에 입각한 차량의 구조 혹은 제작비의 절감을 위한 생산공정 등에 이르기까지, 차량생산의 여러 분야에서 가장 중요한 문제의 하나는 적합한 재 료의 선택과 이용이다. 자동차산업 뿐 아니라 모든 공업분야에서 이용되는 재료들은 과학과 기 술의 발전에 따라 부단히 변화되어 왔고 또 변화될 것이다. 따라서, 급진적 발전을 계속하며 신 소재가 끊임없이 개발되는 현재, 어떠한 재료들이 앞으로의 차량 생산에 이용될 것인가를 전망 하는 것은 매우 어렵고 가변적인 것이나, 현존 재료를 더욱 효과적으로 이용하고 만족스런 신 재료를 개발하며, 더욱 효율적인 자동차의 생산을 위하여는 현재 이용되는 주요 재료를 살펴 보고 앞으로 이용될 재료를 전망해 보는 것은 의미있는 일일 것이다.

• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.204-214
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• 2011

This article attenpts to analyze, from the perspective of post-colonialism, 'Goemul'(English title, The Host), the Korean blockbuster movie that scored the greatest box-office success in the history of the Korean cinema. As Goemul eagerly copies the monster movie, a representative genre of Hollywood movies, it has close affinity with Hollywood blockbuster movie in many repects. At the same time, however, it also contains a resistance discourse that criticizes and mocks colonial of Korean society under American influences. This movie successfully carries out a post-colonial cultural translation that transforms mimicry into resistance to colonialsim. Hence, this artcle focuses on how Goemul borrows many aspects of the Hollywood monster movie but goes beyond the simple copying of it to reach post-colonial signification subverting the existing cultural regime.

• Journal of Digital Convergence
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• v.19 no.4
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• pp.227-233
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• 2021

Ready-made products produced in the industrialized consumer society after the 20th century have been adopted by artists as a new material called "Found object," and are reinterpreted in a broad sense in their works. The method of giving new meaning using this creates a new paradigm that is expanded conceptually as well as expression style. After Pablo Picasso's in 1912, when the Found object was used for the first time in contemporary art, we examine the development of objects through Dadaism, Surrealism, and Pop Art, and the expression of Found objects in the late 20th century. In this study, the artists and their work are analyzed by dividing it into three types: 'Unprocessed objects', 'Transformed objects', and 'Tenant objects', depending on how the Found object is mixed in works. Through this study, I pay attention to the fact that a work incorporating a Found object not only develops the object materially, but also allows the practice of free concept art to escape from the traditional norms of art.

• The Journal of the Convergence on Culture Technology
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• v.7 no.2
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• pp.171-176
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• 2021

This article analyze that the everyday life shown in reality entertainment, and examine the semiotics of reality entertainment and the everyday life. With the perspectives of Guy Debord and Olivier Razac, the everyday life in the reality entertainment be concluded the Spectacles of everyday life. And it brings to Barthes's structure of Myth, designs the stricture of reality entertainment. Unlike Debord and Razac, who only refer to the public as passive audience, today's consumers are capable of active interpretation and consumption-the active audience. Instead of criticizing only the media's adverse function, Spectacle, I would like to suggest that the everyday life story-telling of reality entertainment can be interpreted as the recovery of the audience.

• (The)Study of the Eastern Classic
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• no.68
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• pp.539-570
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• 2017

This article is for considering and looking through the meaning of Classic of Poetry(Shi jing) Hiku-ka of Kobayashi Issa before reviewing and adapting Classic of Poetry(Shi jing) in Eastern Asia. Issa wrote his works by using Hyanghwa-Gucheop in 1803, and he had adopted it as his creative works of Hikai absorbing Classic of Poetry(Shi jing) for about half a year. There has been no national study about this so far, and this study covered the aspects of Issa's adapting way of Classic of Poetry(Shi jing) in Japan and China. There have been several problems that the contents were limited to Guo-feng and there were no agreement of terminology as well among researchers. To overcome these limitations, therefore, this article aimed at all the works, rejected the view point as just a translation, and denominated this study as Haiku-ka. Above all, this study looked though Issa's Classic of Poetry(Shi jing) by splitting the aspects of Haiku-ka into borrowing topics and materials. In borrowing topics, the works with the topics of homesick and nostalgic parents stood out. Furthermore, annotations and understandings of Issa's original works were deeply involved. In borrowing materials, the original meanings in the works were transformed and changed or even reinterpreted by their own way. Eliminating sublime emotions, furious tone, and condemnation was main characteristic of Haiku-ka in Classic of Poetry(Shi jing). Besides, there were ways of exclusion of reasoning, deviating from the viewpoint of Sigyo(edification by poetry), not including moral senses. In other words, Issa used habits and impressions like the way of Haiku when he was doing Haiku-ka in Classic of Poetry(Shi jing). The meaning that Issa's Hiku-ka of Classic of Poetry(Shi jing) stood out compared to adaptation of Classic of Poetry(Shi jing) in Eastern Asia. Although Classic of Poetry(Shi jing) in Vietnam was transferred in the form of the poem in Vernacular, the meaning and contents were not changed. Moreover, the original works and characters in Joseon were not destroyed because Classic of Poetry(Shi jing) was not liberally translated but literally. However, Issa transferred the Classic of Poetry(Shi jing) in the form of the poem in Vernacular to reveal the value of popular ballads. This was a different adapting way of Classic of Poetry(Shi jing) from that in Eastern Asia.

• Cartoon and Animation Studies
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• s.39
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• pp.157-182
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• 2015

Mr. Folman, an Israeli director, used a highly stylized form of animation in a decidedly adult way to make his documentary about the 1982 war in Lebanon, "Waltz With Bashir," in 2008. After 5 years, he has used another distinctive approach, fusing animation with live action in his latest film, a trippy and surreal undertaking called "The Congress." He dismantled the means through parodies, the core of post-modernism art and built a new meaning to create a unique world view and unique aesthetics. In this study, parodies of the modern concept of post-modernism being used as a major strategy in the creation of art have appeared the four characteristics of post-modern parody: 1) intertextuality, 2) dissolution and fusion of genres, and 3) strengthening of irony, and 4) pastiche. This study is characteristic of post-modern parody that discusses the relevance of contemporary parody and postmodernism being developed by analyzing how they appear on the practical work. Furthermore, through analysis of "The Congress", this study discusses the post-modernist world view and the creative way of creating an experimental art with parody.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.400-412
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• 2022

The Accommodational missionary method adopted by the Jesuit missionaries who came to China in the late Ming and early Qing dynasty is called the Accommodation and Naturalization and is based on the Poetry. The terms they borrowed were 'Di(Emperor Above)' and 'Tian(The heaven)', the key terms of Confucianism. Although 'Di' was a new transcendent concept, its status was downgraded in the political upheaval, and 'Tian' was rather elevated. However, both of these concepts gradually transformed into philosophical concepts that directly affect real life. The two terms borrowed to express the priesthood could not contain the uniqueness of Christianity, and Christianity was interpreted as an extension line of Confucianism thinking, reduced to an adjunct of Confucianism, and was not indigenous to the depth of ideology. A rational philosophical inquiry could not have played a full role in guiding the Chinese into the true Christian 'faith' unless it is paired with the great teachings of revelation. It is necessary to analyze these results soberly to find problems and to try various studies to explore ways to open up new horizon for Christian missionary work.