• Journal of the Korean Society of Costume
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• v.60 no.5
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• pp.71-87
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• 2010

The purpose of the study is analyzing Japanese modern costume, through examining legislation process and the relics of Chickimkwan's and Juimkwan's court costume. The results of the study are as follows. First, the proposer of civil court costume, established in 1872, was Iwakura Mission dispatched to America and Europe. The Mission realized the importance of preparing western-style costume in civilization from experience wearing traditional clothing at ceremony of presenting credentials in America. Afterwards, the Mission proposed that the government accept western-style as civil court costume and became first wearers in Japanese in England. Second, the difference, between ordinance and actual clothes worn by Iwakura Mission, occurred in process of legislation in 1872. That might be considered as trial and error in introducing different culture. The coexistence of England and French styles was unified into French style by the revision of civil court costume in 1886. Third, the pattern of paulownia embroidered on civil court costume was utilized as symbol of Japan. While the costume of Chickimkwan was embroidered by the pattern of 7 and 5 leaves paulownia, that of Juimkwan was 5 and 3 leaves expressing their grades. Fourth, relics research showed how formed manufacturer information and enacted design were in embroidery. The relics seemed to be manufactured in Japan, because emblem of Mitsukosi tailor was embroidered on inner part of the back of collar of Chickimkwan in Nara Women's University, Japan and that of Yamasaki on left inner pocket of Juimkwan in the Independence Hall, Korea. The embroider techniques comprised forming by filler particles according to the design, filling up coiled gold threads and expressing stem with gold threads and spangles. As preemptive study, establishment process of Japanese civil court costume in this study will help understand form characteristics appeared in civil court costume act of Korean Empire.

• The Journal of the Korea Contents Association
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• v.11 no.3
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• pp.460-466
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• 2011

Kameun temple was constructed in A.D. 682 after 46 year after Chumsungdae was constructed. This paper discusses the scientific implication of Taegeuk stone rods of Kameun temple site through the geometric analysis of their engraved figures. So we can estimate that the west Taegeuk of Kameun temple site has 2 circles comparing the path of the moon with that of the sun leading to the asymmetry in its emblem(Taegeuk) and the east Taegeuk of Kameun temple site has 1 circle representing the path of the sun. The Taegeuks along with around 30 equilateral triangles representing the north latitude $35.8^{\circ}$ give the explicit information of period of the orbit of the moon and the sun. These mathematical methods can explain some relics structure of antiquity with a few historical expounds.

• Journal of Korea Game Society
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• v.8 no.1
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• pp.41-48
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• 2008

If an association for a color develops and comes to form any kind of common idea, a symbolic meaning is given to the color. It is called' symbolism of color' that color builds up an abstract general idea, an emblem, feeling except things concrete. The color of game is the visual element that one can be immersed in the game, the image which act as important meaning, the attribute of light, and visual perceptional factor. With form, motion, light and shade, the color function importantly as media which express a person and person's circumstance. In game, the color is used symbolically to suggest not only mental change of character but also the situation, mood, attribute and strength of energy. These transmission of meaning express symbolism of the color iconically. So, the color for image express of game take on universality. This study research that focus on how the symbolical meaning of the color is reflected in game.

• Journal of the Korean Geographical Society
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• v.48 no.3
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• pp.433-452
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• 2013

Bonjeong-tong(本町通) which was originated from Japanese place name and commercial center during Japanese colonial period speaks for downtown in the urban Korea of today. This study tries to investigate a variety of place memories that have been layered in Bonjeong-tong in the case of Chungmu-ro and Myeongdong area in Seoul, Korea. The author settles the concept of 'place memory' from the viewpoint of the discipline of human geography, and reconstructs place memories of Bonjeong-tong by three folds of layers focusing on the multilayeredness and the contestedness of place memories which have been piled up in Bonjeong-tong; 'the symbol of colonial power' vs. 'the emblem of modernization', 'the heart of monetary capitalism' vs. 'the ground of humanists and artists', 'the space of fashion' vs. 'the place of identity'. As a result, the author places emphasis on that a place like Bonjeong-tong in itself within a city is a sort of palimpsest, and suggests that therefore it is necessary to adopt a vertical approach not a horizontal one for the study on urban space in future.

• Journal of the Korean Institute of Landscape Architecture
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• v.31 no.6
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• pp.28-40
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• 2004

The purpose of this study is to identify the characteristics of monuments in the Seoul Foreigners′ cemetery at Yanghwajin, a place where many prominent Christian missionaries and other Christians have been buried near Choltusan. In considering the characteristics of gravestone details, the researcher has divided the details into 4 analysis categories: forms, symbols, epitaphs, and materials. For this research, 281 monuments were selected including 68 of missionaries, 26 of U. S. Army Soldiers, and 13 of teachers. The analysis revealed that there were 26 types of monuments. This includes simple and standardized types like the tablet, headstone, marker, and monolith. These were used more often than other shaped types such as the Cross, obelisk, sculpture, etc. Standardized types made in Korea have been preferred after the 1950s even though the beauty of the gravestones has been degraded. Symbolical decorations related to religious, social, professional or military emblems were also introduced to strengthen their symbolical objectives. Among them, fie Cross was the most predominant Christian symbol and emblem. The families wanted to inscribe epitaphs, the greater part of which originated from the Bible, poems, idioms related to tribute, rest, supplications to deity, love, achievement, to express human sentiment and religious faith. When using materials for making monuments, monument makers have mostly used stone because of its durability. Until the 1950s, various stones had been used to make monuments, for most marble and granite were brought from foreign countries. These were very different from the Korean white marble stone used for many monuments. After the 1950s, the source of stone has been limited to Korean stone, for Korean could make stone monuments that foreigners were agreeable. Especially, a black marble stone called "O-Suk" which means black stone, has been used as a main material. The study identified the following characteristics of monument details in the Seoul foreigners′ cemetery at Yanghwajin. First, Christianity has been applied as the main concept, while symbolizing the homogeneity of religious, family, social, professional or military groups by having the symbolic form, symbol, and epitaph in common. Second, monuments made after the 1950s have been standardized into unattractive and monotonous forms by the limited materials, and so the beauty of the monuments has been degraded.

• Journal of Fashion Business
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• v.17 no.2
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• pp.46-62
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• 2013

This thesis aims to provide basic resources for the development of various uniform designs of cheerleaders by investigating the currently favoured uniform designs. The 13 professional cheerleader teams were existed among the 25 professional sports teams-9 baseball, 10 basketball and 6 volleyball teams. In each sports teams, four cheerleader's uniform were chosen and evaluated in terms of the cheerleader uniform design by analyzing the forms, colors, decorations and accessories. The result shows that the common kinds of design representing the symbolic color and the emblem were generally prevalent, instead of particular types of uniform design and subject in accordance with different kinds of the professional baseball, basketball and volleyball respectively. Throughout all the kinds of the sports, the combination of the sleeveless top and hot-pants were most frequently observed. In case of the skirts, the mini flare, wrap, and pleats skirts were the most prevalent, because it gave free to motion for cheerleading. The one-piece style were rather infrequent, comparing with the two-pieces, with the hourglass and fitted silhouette the most frequent type, and all those were mini in length. The sleeve in top were generally absent or short, however the bare top style was never found that the top would have a risk of being taken off downwardly during cheerleading. The accessories and the cheering tools were not so much used. The cap and headdresses were not many in kinds. The pompom, megaphone, tube stick, towel, umbrella and musical instruments would not be sufficient to play a role of tools for cheering, which suggests that the rather advanced tools or instruments for cheering in the sports need to be developed, not alone the uniform design.

• English & American cultural studies
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• v.10 no.2
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• pp.149-207
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• 2010

Written simultaneously with Prometheus Unbound, Shelley's "Julian & Maddalo" is a masterwork of dramatic poiesis, of doubling embedded in its couplets, dialogic debate on human nature and contrasted symbolic emblems. The emblems mirror each other and are themselves sites of generative paradox: the "heaven illumined" but "dreary tower" of the Maniac and the glorious sunsets on the "ever-shifting sand" of the Lido, a wasteland that is a place of self discovery but also of "abandonment" and barren mingling figured, inter alia, in its "amphibious weeds," a trope of the poem's personae. This essay also explores the poem's dramatic structure and various rhetorical devices, beginning with the Preface, a threshold of complex identity disguise that Shelley uses for veiled self-presentation, as in "Alastor," mirroring and literary references replete with nuanced ironies. I focus mainly on the complex figures of liminality Shelley uses to develop his own thoughts (as well as his ongoing debates with Byron) about man's potential for growth in thought, insight and empathy, in political reform and interpersonal and individual healing. Advancing Shelley's most optimistic ideas, Julian, escorted by Maddalo observes the Maniac, -- a living ruin whose pained eloquence reveals the link of eros to poiesis and the limits of the latter's ability to 'transform a world.' The Maniac is the core of muse-work (remembering, thinking and song) and Shelley presents him as its emblem. He also is prefigured in and reflects the quintessentially liminal Lido with its "barren embrace" of sea and land. Yet it is less the Maniac's feeling that his grief is "charactered in vain…on this unfeeling leaf" than Julian's rationales for leaving the site of pain that point to Shelley's final comment on poetry's transformative limits. As the primary haploids of the drama's meiosis re-combine and two of them, Maddalo and the maniac fall away, an analogy I briefly develop and embedded in the erotic dynamics of poiesis, Shelley suggests, as he did at the beginning of his poetic lyricism in "Alastor" and at its end in "the Triumph of Life"that images mislead and delude; that "the deep truth is imageless" and redemption is not in but beyond figuration.

• Journal of People, Plants, and Environment
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• v.23 no.1
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• pp.87-99
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• 2020

This study was conducted to analyze the current state and symbolic meanings of floral emblem designation in local governments of South Korea. The scope of local governments subject to analysis was limited to special city, metropolitan city, province, self-governing province, city, self-governing city, county and district based on their administrative divisions. The floral emblems of local governments and their symbolic meanings as of 2019 were examined. A total of 44 plant species were designated as floral emblems. Many plant species with high designation frequency were included in Rhododendron spp., Rosa spp., Camellia spp., Magnolia spp., and Prunus spp.. Plant species with higher designation frequency tended to have more symbolic meanings. A total of 155 terms were used for the symbolic meanings assigned to all the designated floral emblems. The major symbolic meanings were relevant to material affluence or economic growth, community spirit, and personality generally required from local residents. Most of the plant species linked to the top 10 most frequently assigned terms in symbolic meaning were those of the top 10 most frequently designated floral emblems. In the case of floral emblems with high designation frequency, it was shown that they were linked with various symbolic meanings in order to grant identity with regional distinctiveness and differentiation, regardless of the symbolic meaning that the designated flowers generally have. However, the floral emblems with low designation frequency seem to have relatively strong physical or emotional relevance with local governments and thus are expected to have high utilization in regional branding and tourism marketing.

• The Research Journal of the Costume Culture
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• v.31 no.5
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• pp.573-585
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• 2023

Comprehending the prevailing ideals of the body within a specific era requires grasping the intricate interplay between social phenomena and the evolution of clothing. Accordingly, this study investigates the distinctive facets of the perception of the Neo-Confucian body as reflected in men's dress during the Joseon Dynasty. We examine a comprehensive body of scholarship, literature, and historical records concerning the body and dress. Additionally, we also employ a framework developed by M. Y. Kim, which categorizes the Neo-Confucian body in three ways: as the natural body, the cultural body, and the body as a fully-realized moral subject. Our findings unveil three crucial insights: firstly, guided by Neo-Confucian discourse positing appearance as a manifestation of innate energy (氣), men's dress was deliberately designed to demarcate stylistic distinctions in women's dress; secondly, the Chinese gwan (冠) was employed as a tool of self-cultivation (修身) to symbolize the legitimacy of Joseon's Neo-Confucian governance; and thirdly, sim-ui (深衣), a philosophical emblem of Confucianism extensively represented across through an intensified exploration of historical sources, served as a means to consolidate the political standing of the Neo-Confucian faction. As a consequence of these factors, the attire of noble men conferred upon them both sexual and moral ascendancy as political entities; men's dress became a visual manifestation of the legitimacy of their power, thus embodying Neo-Confucian ideals. This study carries significance by applying a discourse analysis approach to Korean dress research and elucidating the factors underlying the development of men's dress during the Joseon Dynasty.

• Archives of design research
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• v.13
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• pp.165-172
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• 1996

The National College of Art. Craft and Design of Sweden founded in 1811 is one of the oldest schools in the world and has taken very important role in the development of Scandinavian design This college usually called "Konstfack" in Sweden was transformed under the influence of Bauhaus into a modern design institute and the experiment:li curriculum and its unique teaching system was completed in the middle of 70' s The phrase "Insight och Flit" in the emblem of this school shows the Konslfack spirit which stresses the creative insight and endless diligence Korea is much different from Sweden in cultural aspects as well as in political and economic ones. In the later half of 19th century Sweden was one of the undeveloped countries in Europe and she just entered the Industrial Hevolution. Swedish culture at the time was also the barbarian one in comparison with English and Frech cultures. Even she had the difficulty in founding her own cultural identity So the Swedish intellectuals in early 20th century tried to find out "What is Swedish\ulcorner" and as the result they produced the Swedish Modern Movement style in 1950's. In this process Konstfack as well as the Swedish Society of Crafts and Design and the Svensk Form. the design magazine. has played the leading role. To look over the history and educational system of this school will be helpful for our design education. will be helpful for our design education.