• Journal of the Korean Society of Costume
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• v.63 no.3
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• pp.78-94
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• 2013

In order to examine the influence of Anti-form in contemporary fashion focusing on 'signs of time', which illustrates the zeitgeist effects art and fashion, this study investigates both Anti-form movement in art of 1960s and 1970s and the fashion designs since 1970s when the signs of the influence of Anti-form in fashion began to appear. This was done by conducting literary survey as well as case analysis. Anti-form values the process and signs of time in that it visualizes the time and the process of making artworks. The emphasis on signs of time in Anti-form is observed in postmodernism fashion. Visualization of manufacturing process, visualization of signs of wearing, and continuation of wearing experience are all influences of the Anti-form in fashion. Visualization of manufacturing process exposes the techniques and the materials involved in garment construction such as linings, inside-out seams, interlinings, and unraveled hems, as well as the use of muslin, which is used in making garment prototypes. Signs of wearing is articulated in wrinkles caused by wearing, sings of alteration, reappeared designs of the past collections, reuse of vintage fabrics or garments, and the fabrics which assumes aged appearance. Continuous experience of a wearer is indicated in that the garment shape is not predetermined but changes continuously by the wearer's body shape and movement, which generates new and relative silhouettes continuously.

• (The)Study of the Eastern Classic
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• no.41
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• pp.61-90
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• 2010

In this paper, I focused on analyzing Yeoheon Chang Hyeon-gwang's literary theory and his prose in the genealogy of Confucian scholars in Chosun. Through this study, I would like to examine the trend of concentrating on 16th century when we treat the literary tendency of Confucian scholars. With this goal, I tried to seek the direction which was pursued by Confucian scholars who lived during the 17th century. Yeoheon tried to construct the spirit of humanities cosmically as an aim of his life, study, and literature. And he had a new understanding of human independence by suffering from Japanese invasion in the late of 16th century. He insisted that only human can realize the spirit of humanities on a cosmic base. He also thought that the morality(道) could be settled only by literature(文). We may interpret this concept as a progressive idea about literature comparing to the former Confucian scholars. On the other hands, Yeoheon tried to accept the literary theory of former scholars such like Park Young, Cho Sik, and Seong Woon who embraced Taoism. Yet he erased the color of Taoism in the field of topic, and he also tried to keep his distance from them in the field of literary form. This concept actually came from Lee Hwang's opinion, while Yeoheon tried to rouse scholar's independence. Through above, we may realize that the Confucian scholars of 17th century were not just imitators of 16th century. They tried to examine the former study and also tried to renew the theory.

• The Journal of the Convergence on Culture Technology
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• v.3 no.3
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• pp.7-19
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• 2017

Korean standard poetry with a fixed form are Rated Sijo. These Rated Sijos can be found in the 24 number of Gosijos. Then, why should Korean standard poetry be Rated Sijo? This is because only the Rated Sijo has a fixed form frame. Rated Sijo naturally tailored by a rigid framework is the best representation of Koreans' unique breath and temperament. Also, Rated Sijo is superior to general sijo or poem in terms of literary therapeutic utility for human body. If Haiku omits the end of narrative with the rated number of sounds and invites different imaginations to each reader, the Rated Sijo presents a certain frame to the direction of the human's rated signal by constructing the essence of the narrative with the rated number of sounds. Thus, the Rated Sijo suggests the way of human harmony and communication by inducing different imagination of readers cooperating in a certain direction. So, the famous poem of Korea, Rated Sijo, presents our future as a framework of literature that can contribute to the improvement of human communication and quality of life. Therefore, research to preserve and develop the value of the Rated Sijo should now be initiated and continued.

• Journal of The Korean Digital Architecture Interior Association
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• v.11 no.3
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• pp.69-77
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• 2011

This study considered the characteristic through the present state of domestic literature museum and grouping by type to help the understanding for domestic literature museum. And conducted a case study on Gyeongsang-do region literature museum to grasp the space form composition characteristic of literature museum. The result gained through these studies is as follows. First, grouping domestic literature museum by type, we can conduct the classification founded on location character, an exhibition writer, and the main body of erection and maintenance management. Second, the classification founded on location character of literature museum is able to be divided into the type of the house of writer's birth, a literary work, writing, and etc. Third, the classification founded on the number of exhibition writers can be divided into the type of independence, an individual pavilion, and integration. Fourthly, the classification founded on the main body of erection and management can be divided into the case in which a local self-governing body is wholly in charge of erection and management, a local government is in charge of erection but entrusts management to a corporate body, etc., a corporate body is in charge of erection and management, and a private person is in charge of erection and management. Fifthly, speaking of the characteristic by type of the Gyeongsang-do region literature museum, the classification founded on location has the type of the house of writer's birth the most, the classification founded on the number of exhibition writers has the type of independence the most, and the classification founded on the main body of erection and management has the most the type in which a local self-governing body is in charge of erection and management. Also, for the characteristic by space form, the case which expresses the character of Korean traditional architecture by form is many the most, and there are pieces of work to pursue shape beauty through the articulation of mass or molding manipulation and the change by space form through the proper combination of concreteness and abstraction as well.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.5-27
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• 2016

This study shows the points of interest and the meanings contained within Hyangga which are derived from three literary characteristics: easy-to-understand structure of dialectic thinking, old-fashioned and universal lyric, and the sense of a place from the past that it reveals. Hyangga is a literary genre that is structured on dialectic thinking in its form and contents. The construction of meaning in these poems happens three stages, which is explicit in four-line and eight line Hyangga as well as in ten-line Hyangga. Therefore, to enjoy Hyangga, it makes more sense to understand the structure of the thoughts contained in Hyangga. A deeper understanding and enjoyment of the thoughts contained in Hyangga can be gained by thinking dialectically. The poems of Hyangga that have survived to present day have peculiar and rich lyrics. The emotions and thoughts contained in Hyangga are a combination of the universal human being and historically peculiar ones. The literary interests of Hyangga come from its universality and individuality, and the concreteness and reality of emotions expressed in its poems. Its beautifully and aesthetically described emotions resonate deep within us. The poems of Hyangga reveal features relating to spaces. We are able to get a sense of places from the past by reading their description in these poems. The places mentioned in Hyangga bring about a connection between our past and our present because they describe the same place but in a different period. Hyangga is a literary genre depicting the emotions and thoughts derived from places that belong to our people's territories. Therefore, the sense of place that Hyangga awakens in us reveals how we exist in the flow of our history. To sum up, the point of interest and meaning contained within Hyangga reveal the structure of dialectic thinking, the lyrics of those days, and the feeling of a sense of place. If these boundaries can be extended, there will be a wider scope for enjoying Hyangga.

• The Journal of the Korea Contents Association
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• v.14 no.11
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• pp.60-67
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• 2014

In the history of ancient art, the form harmonizing Text and Image is founded in many genres of art. especially Buddhist art Image, which is used as important tool as the text to spread Buddhist ideas. This original literary form have switched the visual communication systems, patterns of speculation is another reason to have a symbolic system. The switch between Text and Image is very important on interpreting the aesthetic concept of the modern interpretation of visual media. Therefore, This research has investigated and compared the Wall paintings in Dunhuang to Animation 's Image Narrative. The original story of is based on the Buddhist Jataka tale of the same name, which were discovered as wall paintings made by unknown artists at the Dunhuang Mogao Caves.

• The Journal of the Convergence on Culture Technology
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• v.1 no.2
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• pp.21-36
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• 2015

This study is a descriptive study to examine how poem causes effects of literary treatment for the contemporary people and how to improve therapeutic effect with poem by illustrating the process of therapeutic effect by poem. Each poem in the poetry book has a well-organized flow. While those poems are mixed, it can be synapsed into the cognitive system of readers by their taste in the form of introduction, development, turn, and conclusion.' The poetry book is structured with the transition of literary treatment. Such transition structure is embodied in a circle. If poetic contents are positive and creative in such transitive structure, it gives more comfort and excitement to readers increasing therapeutic effect. Therefore, it is very important to progress literatherapy narrative with such creative works.

• Lingua Humanitatis
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• v.1 no.2
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• pp.197-217
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• 2001

The literary products of Authors Under the Service of the Army during the Korean War have been neglected on the whole because of the perception that they were little more than war propaganda. The majority of the works (poetry, serial novels, and short stories) Published by these authors in various Army publications such as Junsunmunhak (Literature of the War Front) and Comet, as well as in regular literary periodicals, supports this perception. Most of these works convey simplistic emotions and stereotypes that project untroubled patriotism and strongly antipathetic sentiments against to the Communist North. The appointed leader of this group, Dock-Kyun Choi regarded the pen as another form of weapon to be used against the Communists in the North, and did not shy away from describing in graphic details the atrocities committed by his enemies. But what truly deserves our attention is the fact that many of the same authors who wrote highly propagandistic works also wrote works that can only be described as antiwar. In these works are depicted as faithfully as possible the human sufferings of the war. These works resist and even question the very ideologies that have brought about the conflict, focusing instead on the dark side of the war -the horrifying deaths, the separation of families, and the displacement of people from their homes, How we are to interpret this ambivalence in many of these authors is a task that remains to be carried out. We must approach these works with more seriousness and begin by comparing them with similar products from authors under the service of the Navy and the Air Force during the Korean War.

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.401-450
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• 2010

This thesis purposes to suggest that creative stage directors have copyright ownership and we make them create high-quality of theatre direction. Stage directors are sincere creator of the theatre stage today. We have little judicial precedents about stage directors, no artistic examination related directing. Stage directors are performers who have neighboring rights, there is a problem that they won't have the exclusive right of making derivative works in this country. Others will make creation (such as cinemas, animations, novels) based on stage expression without permission, because stage directors don't have exclusive right of making derivative works. Copyright law can't protect the concept of stage directors and building blocks of them which are drama text, actors and theatre space, because copyright law don't protect idea according to idea/expression dichotomy. The expression of stage direction is belong to five fundamentals which are composition, picturization, movement, rhythm, pantomimic dramatization that are come from Dean & Carra's work. Directors' work is to make theatrical works based on literary works. Therefore, theatrical works are derivative works which based on drama texts. Also, theatrical works are able to be joint works. In the case of that stage directors write drama text and create expression on the stage, they have to own authorship of both works. Merger doctrine should not apply theatre directors' works strictly like any other functional works because stage directors usually create noble expression which have been not before. We need shift of the definition of theatrical works which are derivative works or joint works to protect theatre directors' creativity. Hereafter, the special legal section for dramatic(theatrical) works including the flexible legal definition for performing arts should be established, and 'contract form' for stage directors should be made. Acting edition(literary works) should be published to grant creative directors compensation. I emphasize to grant ownership of copyright to creative stage directors, to encourage directors' works. Therefore, copyright law will be the support for development of cultural arts institutionally.

• Journal of English Language & Literature
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• v.57 no.2
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• pp.191-215
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• 2011

This paper aims at investigating Dorothy Wordsworth's later conversation poetry, which has not been the focus of critical discussions on her literary works. While many critics have been emphasizing Dorothy Wordsworth's journals and the tendency of self-effacement in her prose, this paper argues that her later poetry often reveals acute self-consciousness about the circumstances that condition this self-annihilation and searches for a creative way to endorse her own identity. In "Lines Intended for My Niece's Album," she expresses anxiety and uncertainty about the inclusion of her poetic piece in Dora Wordsworth's album, which contains poems by prominent male writers of the contemporary period. "Irregular Verses" presents Dorothy Wordsworth's self-conscious narrative of her girlhood and shows how her own ambition to become a "Poet" has been stifled by external circumstances, including the ideology that instills the idea of proper womanhood into aspiring girls. While these poems examine contemporary gender discourse and the frustrated poethood resulting from it, other poems activate conversations with William Wordsworth's poems and thereby provide a revisionary re-writing of her brother's texts. For example, in "Lines Addressed to Joanna H." Dorothy Wordsworth becomes "a woman addressed who herself addresses others." Her scrupulous approach to her own addressee refuses to subordinate the other to the self's will, and through this revision of "Tintern Abbey," Dorothy Wordsworth vicariously liberates her own self confined in her brother's poems. "Thoughts on My Sick-Bed," which echoes "Tintern Abbey" through borrowed phrases and direct address to William Wordsworth, foregrounds her own poetic identity in the form of the first-person pronoun "I." Dorothy Wordsworth's continual illness during this period of her life paradoxically allows her the time for personal reflection formerly denied to her in her busy life constantly occupied by physical and spiritual labor for others. Instead of earning satisfaction from the subsumption of her creative energy under William Wordsworth's poetical endeavor, Dorothy Wordsworth finally starts to affirm her own poetic identity that can properly express her inner vision and artistic talent. Although this final affirmation remains largely incomplete due to her later mental collapse bordering on madness, it powerfully conveys the hidden literary aspiration of the formerly frustrated female poet.