• The Research Journal of the Costume Culture
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• v.17 no.2
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• pp.283-295
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• 2009

This research covers the ways in which typography, which has been expressed in a diverse range of fields and changed communication functions from the era of reading to the era of feeling according to the change in the times and social demands, has been represented in modem fashion, along with examining its inherent aesthetic characteristics. I reviewed the general information of typography's fundamental notions and functions through documented records, and analyzed the inherent aesthetic characteristics by examining the typographical patterns shown in modem fashion based on art works in domestic and international collections after 2000. The result of this research is that typography in modem fashion has been used for improving brand image, expressing social slogans, expressing images, linguistic function for playful expression and the interdependent relationships of modeling functions. Typography in modem fashion has always been diversely expressed harmoniously with linguistic and modeling functions. Through this, the aesthetic characteristics were firstly parodies through direct sentences addressing political and social ideologies, economic gaps, environmental issues and anti-war protests. Secondly, by using brand logos, typography was used as a commercial means like brand-image transfer and separation through customization of other brands. Thirdly, the aesthetic and artistic value of fashion were expressed after being used as experimental visual components like image, motive and patterns which are all elements of fashion design. Fourthly, by distortion and transformation of characters or childish decorations, along with the harmonization of words, cathartic humor was provided for the calloused senses of modern people.

• The Research Journal of the Costume Culture
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• v.12 no.4
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• pp.529-546
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• 2004

The Chosun Dynasty＇s establishment of Five-Ceremony, which occurred shortly after its founding, and the revision of traditional Korean music were based on Confucianism＇s Ceremony-Pleasure Idea(예약사상). The purpose of this study is to determine the effect of Cheo-Yong dancing, both social and political, on the role of royal dancing. Furthermore, this study will consider what the Chosun Dynasty＇s(조선) rulers pursued, by researching the reasonswhy Cheo-Yong dancing changed with the times along with the symbolic change of clothing for Cheo-Yong dancing through (Ak-Hak-Gue-Bum), a book which explains music and dance in Chosun Dynasty as a part of Ceremony-Pleasure Idea(예약사상) the people ruled ever the country tough courtesy etiquette and music. Consequently, Cheo-Yong dancing which was introduced in (Ak-Hak-Gue-Bum) played the roles of justifying, strengthening and displaying royal authority. And because the symbolism of Cheo-Yong dancing is reflected in clothing for Cheo-Yong dancing, it can be concluded that it expresses not only the sense of value of that times but also ruler＇s idea.

• Cross-Cultural Studies
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• v.26
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• pp.43-71
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• 2012

In this article, we recognize the cross-cultural communication between Greece and Spain through El Greco's pictures. The Greeks of Crete kept to their culture and continued to look to the declining Byzantine Empire for spiritual and political guidance. For two centuries after the conquest, the strength of the Byzantine tradition had become the moral and spiritual sustenance of the conquered in Crete. The basic contribution of Cretan intellectuals or artists such as El Greco of the fifteenth and sixteenth centuries was the forging of connecting links between the Hellenism of the old Byzantine East and the rising, youthful Hellenism of the Renaissance West. In this way, Crete served as an important halfway point between East and West. The saint Mary Magdalene was symbol of Christian penitence, which represents the penitential life personified and became widespread during the Counter Reformation, when new emphasis was put on the value of prayer and repentance in the forgiveness of sin. In Spain, the Penitent Magdalene was popular and El Greco painted many versions, which at the first time, were reflected by Tiziano, on the contrary, at the time of Toledo, were recreated by his own style. Although El Greco was converted to Catholic in Spain, his faith in Greek Orthodox Church influenced on his original painting world. El Greco had never painted a picture whose subject treat with the emphasis of identification between Mary Magdalene and Mary, younger sister of Martha.

• Cross-Cultural Studies
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• v.26
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• pp.379-404
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• 2012

This study aims to investigate national image of South Korea held by russians. Surveys(based on Free-association Image) and discussion were conducted on LiveJournal (internet blog) with russian netizen. A national image is influenced by a subjective perspective rather than an objective one. Therefore, an image can differ substantially from reality. Futhermore, it takes a long time to change an established image, particularly to a positive image. According to the results, the image of South Korea were dominated by unstable political situations, especially factors related to North Korea. In addition, based on Free-association image, thinking about Korea or Korean, most russians recognize Korea(South) with North Korea. Above all Russians recognize Korea, basing their images on factor of the past or their neighbors-russian korean- or famous Korean brand like Samsung, LG, Hyndai, "Dosirak". Russian netizen did not recognize South Korea as one of leading countries in Asia, paying little attention to South Korea compared to China or Japan. We belive that it is necessary to consider these situations in future efforts to enhance the national image of South Korea.

• Cross-Cultural Studies
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• v.35
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• pp.35-58
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• 2014

This article aims to explain the 'people-image' of Bakhtin's works in the light of "Transgredience" and "Transition." According to Bakhtin, the real core of every culture is the people. But he did try to answer the question "what is the people?" I think, the secret of Bakhtinian thought is located in the people-image, because it is the one of the territories that have not been explained. For this purpose, we have to examine four images represented by Bakhtin, - rogue, clown, fool, thief. These images are the concrete and individualized images of people, who can characterize the power of transgredience and transition. They commonly act for changing ordinary borders of identities formulated with nationality, property, status, classes, sex and so forth. In this sense, Bakhtin thinks that the masks are the real nature which can show the mutational power of Being. That is the kernel of Bakhtin's people-image that makes and changes every cultural world. When we accept and practise this perspective positively, we will realize that Bakhtin's position is close to the cultural politics, because a practical power of thought cannot help but being political. That's why we have to investigate Bakhtin's people-image from a vantage point of "Transgredience" and "Transition."

• Cross-Cultural Studies
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• v.20
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• pp.295-321
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• 2010

The trend of globalization has sharpened the debate on interculturality, which scholars examine from different and often conflicting points of view ('content' vs. 'practice', 'culture-specific' vs. 'universal', 'communication (meta)theory' vs. 'communication practice', 'individual' vs. 'collective', etc.). Whereas all these approaches are necessary to describe the multiple dimensions of interculturality, their dichotomous nature does not help to account for its internal complexity, which cannot be dissociated from the connections that exist among all these dimensions. The difficulty posed by the essentialist interpretations that tend to result from these dichotomies is compounded by the fact that in postmodern debates priority has been given to approaches that emphasize individual or collective agency over structural constraints which have to do with political economy or with cultural and linguistic codes and traditions. This paper aims mainly at suggesting that the dissolution of the boundaries that exist between these approaches should be pursued in order to get a fuller and richer approach to their common object of study. After discussing, by way of illustration, content-based and practice-based perspectives, we suggest that one way of getting beyond these dichotomies consists in focusing on the 'interactional' dimension of interculturality, which means laying emphasis on intersubjectivity and, particularly, on the individual subjects considered as members of different cultural communities who strive to transcend their sociocultural boundaries in order to reach harmonious interactions in a world in which inequality and the de-territorialization of people and cultures are central features.

• Cross-Cultural Studies
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• v.29
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• pp.201-232
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• 2012

In the world history in the rein of totalitarianism cultural project of government had been activated, and consequently of it official culture had been organized. But at the same time on the other side of it people('narod'), who didn't have cultural means for active expression of own opinion on the reality, had expressed world-view and judgement informally in everyday language. In the literature of autocracy, subjected to censorship, had been expressed and fixed mythically idealized image of sovereign and his works. But in the folklore the image of ruler had been created by liberal fantasy of people. This article examined russian literature and folklore texts of 18 century, when russian people suffered from rapid and dramatic changes, caused by Peter I. Although russian literature of 18 century had gone over to the new literary regime, it still accepted political mechanism as dominant of age, and consequently in the literary texts of this century Peter I was represented as ideal person and great monarch. But various images in folklore texts show that people's opinion on ruler and his activities couldn't be controlled. In other worlds, diverse images of Peter I in folklore texts reflect clear and plain historical consciousness of people. This analysis reveals not only difference between mechanism of idealization of government and historical consciousness of people, but also meaning of cultural memory as indicator of historical reality.

• Journal of Korean Philosophical Society
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• v.143
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• pp.47-65
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• 2017

This paper is an attempt to explain the interpretation of P. Ricoeur on the theory of power of Saint Paul. P. Ricoeur tried to reinterpret Saint Paul's thoughts on the power of a nation, the purpose being to link this theory to salvation through the social system. Ricoeur expands this interpretation of political power to the economy and culture. The basis of these ideas is the 'imago Dei' namely the image of God. I would like to consider the image of God as the key to salvation through social system, politics, economy, and culture.

• International Journal of Advanced Culture Technology
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• v.6 no.4
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• pp.12-19
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• 2018

This article aims to discuss the transition of the Kazakh writing system from Cyrillic to Latin. First, the study investigates the relationship between the Kazakh Cyrillic alphabet and phonology, in order to linguistically evaluate the efficiency of the writing system. Second, the process of determining the Kazakh Latin alphabet is discussed in terms of the Kazakh phonological system. Third, the factors that determined the Latin alphabet of Kazakh language are analyzed. In Kazakh, the phonemic system is subject to controversy among linguists, but it can be said that the phonological system basically follows the one-to-one correspondence to the Russian and Kazakh phonemes. As for the depth of orthographies, Kazakh Cyrillic writing system is not based on the shallow orthographies, so it incorporates morphophonemic information to make skilled readers understand easier. The political and social aspects are considered as a cause of the alphabet change. Although there are studies suggesting the conversion of the writing system is caused by the extrinsic factors rather than the intrinsic factors, the five criteria of Smalley (1964), which compromise the intrinsic and extrinsic factors, are also persuasive. The five factors are 1) Maximum motivation for the learner, 2) Maximum representation of speech, 3) Maximum ease of learning, 4) Maximum transfer, 5) Maximum ease of reproduction.

• Cross-Cultural Studies
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• v.22
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• pp.51-72
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• 2011

The economic decline coincided with the crooked political path of Spanish monarchy that has been on an almost permanent state of war. The Spanish empire was divided and consequently, general impoverishment spread throughout the whole country quickly. Nevertheless Spanish culture reached the climax, especially in the field of painting. Spanish paintings of 17th century are basically religious based on concept of Baroque, whose theme is usually the immaculate conception or mysterious figures of saints. Velaquez, Mrillo, and Ribera are the main painters who represented the trend of this time. Despite having fame as religious court painters, they painted subjects from low society such as beggars in rags, dwarves, jesters, or the poor child. They reflected an optimistic expression and an awe for human being in their paintings greatly. In this paper, we are dealing with three main representative painters of Baroque era whose theme was a picaresque character. This character was one of the axes that coexisted with royals and nobles in 17th century of Spain. The art works that are dealt in this paper serve as materials for historial values and through them we can observe the atmosphere of decline that dominated Spain of the time.