• Journal of the Korean Society of Costume
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• 제61권3호
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• pp.122-138
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• 2011

The present research aims to consider the real remains of 2 suits of Kasaya owned by the Hwaeom Temple(華嚴寺) based on research results about Kasaya in the meanwhile. The present research on 2 suits of remains which are Royal gifts given to monk soldiers in case of a national crisis of the Joseon Dynasty has a big meaning in examining characteristics of Kasaya and grasping characteristics and structure of the 17th century's Kasaya of the Joseon Dynasty through dense survey and analysis according to components. If examining characteristics of Kasaya, the Kasaya of the Great Monk Seo San(西山) is composed on the basis of an initial form of Sun and Moon Light Patch's generation and the Kasaya of the Great Monk Byeok Am(碧巖) has a form that is separately attached through production of embroidery patch as a process of being settled down. If examining what surrounds gold thread in the girth and expression of Sumeru and Chaeunmun(彩雲紋), the composition of a form similar to an insignia badge, so because this is a Royal gift, this can be estimated as being analyzed in a Buddhism aspect by devising a design from the insignia badge at the time, with a meaning like an official uniform given to a monk. Although the insignia badge is a square, it seems that the Sun and Moon Light Patch is made as a rectangular form corresponding to the structure of Kasaya. In addition, it is thought that what the Samjoko(三足烏) idea which is a symbol of the Sun based on Buddhism and Taoism is used together with Yijoko(二足烏) even in expression of the Sun and Moon Light Patch in the Joseon Dynasty which was a Confucian country has a relationship with what a bird was expressed in the insignia badge of winged animals.

• Fashion & Textile Research Journal
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• 제16권5호
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• pp.706-718
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• 2014

Ideology which symbolizes the belief system about the order of human society represents itself in a concrete form through dress which reflects material and conceptual world. In the early 1960s Korea, where a civil revolution and a military coup took place, good examples of dress representing ideology could be found. This study investigates the dress representing ideology of the period, and examines its manifestation and aspect of transition. Literature survey and case study were conducted. The following results were obtained: First, dress representing ideology was symbolically verifying its differences and was changing with the course of time. There were the flow going down from the government, and the flow going up from the movement of the civilian. Through this process, design elements of ideological dress were combined in a dialectic way to form a new representational dress such as Jaegunbok. Second, costly and luxurious clothes meant a tool to rule over people, and the opposition was uniform meaning equality. In 1960 Korea, black waves of school uniforms appeared to lead the social change. A year later, the military government seized power in a 5.16 coup and it enforced uniform upon every people to achieve equal austerity and modernized spirit. Lastly, cotton, which was originated from Gandhi's movement in India, was symbolizing nationalism till the early 1960s in Korea meaning the funding own development with own resources.

• Journal of the Korean Society of Costume
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• 제54권6호
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• pp.119-130
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• 2004

The purpose of this study was to analyze the characteristics of 1980s' oversize fashion. Especially in 1980s, there were some characteristics that the leading style did not exist as the other decades, but instead of that, various styles coexisted and the existing traditional rule of fashion was destroyed. On the basis of such background, the moulding nature resident in oversize fashion is considered and analyzed as follows. Firstly, 1980s is the time of power suit booming and through such clothes, women disclosed their consciousness that they want to be equal with men. Secondly, In contrast to that a shoulder pad was the trademark of 1980s' clothes, the social aspect that Japanese designers' clothes of layered look and them of grunge look coexisted is directly expressed through these oversize clothes. Thirdly, In 1980s of the time that people's interest to health risen, sports wear was developed to be everyday wear and furthermore, it had variously influences on high fashion so that developed to big look. Fourthly, when it comes to 1980s' clothes, the atmosphere of society denying apparent boundary between sex at that time was resident in androgynous look and the folklore image of sexless style by their appearance in oversize fashion. What is this situation that the style of the past time is popular in the 21st century even such intentional spirit of challenge already passed？ Maybe for women, the one way of expressing themselves is through their clothes, and for such reason, it can be considered that the social meaning resident in 1980s' clothes is re-examined in the present age.

• Journal of The Korean Digital Architecture Interior Association
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• 제12권3호
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• pp.39-47
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• 2012

General concern over 'Quality of Life(QOL)' has caused many researches, which compare nations' or cities' QOL by the normative criteria proposed by themselves. The fact that these are characterized by subjectiveness makes this study have a purpose of trying to enhance the intersubjectiveness by means of quantitive analysis to find the factors on the QOL. This study uses statistical methods such as multiple regression and factor analysis based on the secondary data from the "2011 Seoul Survey". The survey includes many items, for example happiness index and satisfaction for work, amenity, etc.. And the analysis tells three findings as follows; Firstly, five subcategories of happiness have relative importance in the order of (1)financial condition, (2)health, (3)social activities, (4)community relationship and (5)family life. These generally constitute the first factor extracted by factor analysis and named 'abundance-family-intimacy factor.' Secondly, the 'abundance-family-intimacy factor' and the 'information-danger factor' among five factors(the others are 'learning-giving factor', 'local patriotism-hope for rise factor' and 'amenity-comfort factor') have statistically significant effect to QOL. Thirdly, the first factor has positive effect, but the second has negative to QOL. Note is needed to the fact that the items on SNS and internet belong to second factor and to the result that these make QOL deteriorate. These results should be considered as having limited meaning of statistical aspect. But accumulation of following studies by quantitive approach is anticipate to make more practical and general meaning.

• Korean Institute of Interior Design Journal
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• 제17권4호
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• pp.92-101
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• 2008

A new paradigm of design lays stress on the world of metaphysical concepts, and various attempts are being made to give meaning to psychological values. Hotel is a memorable place to remind of a special moment in one's life such as travel, marriage, meeting and so on. It also contains even more symbolism than other spaces as it is the place where the most primary and private act takes place apart from one's residence. As a result, it is also possible to communicate the message which a designer intends to convey through the user's recognition in the form of various symbolic expressions in space design. The designer communicates a meaning into a space through a symbolic system and creates a mutual consensus by means of the understanding structure of "designer-space-user". The user's diverse interpretations through a symbol are based on epistemology and consist of the primary, the secondary and the tertiary recognition structure system in the aspect of their contents. The primary structure depends on sensual perception, impressive idea and transcendental recognition based on metaphysical and perceptional association. The secondary structure includes casualty, continuous deduction and rational(integral) recognition. Finally, the tertiary structure is sublimation to the transcendental mental world beyond the boundary of emotion and it is classified into fundamental recognition structure on an object and archetypical recognition structure on an ego. These characteristics can derive systematic understandings and diverse interpretations on the symbol from the space of a hotel through the frame of analysis based on the artistic form of monosemous, polysemous and multidimensional frameworks and symbols. The framework of this analysis includes all the cases, and various methods which haven't been attempted in practice are presented. Therefore this study is not just a simple analysis of space but rather it will serve as a methodological tool for design that allows for various attempts of symbolic design concepts in the recognition structure system.

• Science of Emotion and Sensibility
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• 제24권3호
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• pp.91-114
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• 2021

The first step of this study is to collect appropriate words from the list of words in the relationship. All vocabularies that are unfamiliar-but capable of guessing the meaning and expressing interpersonal relationships-were collected from three Korean dictionaries. Consequently, a compilation of 2,725 words was created; overlapping words were selected; and 910 words were chosen. Only grammatical forms were found; however, words with similar meanings-or identical meanings-were also found, and a reclassification process was required to reflect this. These procedures were repeated seven times, resulting in a total of 249 words being screened. However, due to the characteristics of this study, the number of words needs to be reduced because the meaning of words is more specific and summarized, and the overall interpersonal aspect is well expressed. Therefore, the process of reclassifying 249 words by their familiarity and appropriateness was subsequently undertaken, and the word with the highest level of familiarity and appropriateness was finally selected.

• Journal of Korea Entertainment Industry Association
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• 제15권8호
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• pp.75-89
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• 2021

In this paper, the results of analyzing the meaning of laughter in comedy movies of the late 1960s, focusing on comedians, Hee-Gap Kim, Bong-Seo Koo and Young-Chun Seo, are as follows. First, the narrative laughter of the comedians represents the generational conflict between the lower class and the upper class, the gender conflict between men and women, and the frustration of reality. Second the mechanism of creating laughter of the comedians shows ridicule of the conservative older generation, revelation of the immoral upper class, and caricature of the frustrated lower class. Third, the practical aspect of the comedians' laughter reveals cracks in tradition and modern, gaps in economic inequality, and expression of prohibited desires. Therefore, comedians Hee-Gap Kim, Bong-Seo Koo and Young-Chun Seo in comedy movies of the late 1960s show the semantic effect of laughter of internal/external boundaries and optimistic world views through the closed opening of informal culture and the conflict of characters/performers.

• Journal of English Language & Literature
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• 제56권6호
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• pp.1295-1310
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• 2010

In her "After Language Poetry: Innovation and Its Theoretical Discontents" in Contemporary Poetics (2007), Marjorie Perloff spotted Steve McCaffery's and Lyn Hejinian's points of reference and opacity/transparency in poetic language, and theorizes in her perspicacious insights that poetic language is not a window, to be seen through, a transparent glass pointing to something outside it, but a system of signs with its own semiological interconnectedness. Providing a critique and contextualizing Perloff's argument, the purpose of this paper is to introduce a topological model for poetry, language, and theory and further to elaborate the relation between the theory and the practice of language poetry in terms of "the revolution of language." Jacques Lacan's poetics of knowledge and of the topology of the mind, in particular, that of "extimacy," can articulate the way how language poetry problematizes the opposition between inside and outside in the substance of language itself. In fact, as signifiers always refer not to things, but to other signifiers, signifiers becomes unconscious, and can say more than they actually says. The original signifiers become unconscious through the process of repression which makes a structure of multiple and polyphonic signifying chains. Language poets use this polyphonic language of the Other at Freudian "Another Scene" and Lacan's "Other." When the reader participates the constructive meanings, the locus of the language writing transforms itself into that of the Other which becomes the open field of language. The language poet can even manage to put himself in the between-the-two, a strange place, the place of the dream and of the Unheimlichkeit (uncanny), and suture between "the outer skin of the interior" and "the inner skin of the exterior" of the impossible real of definite meaning. The objective goal of the evacuation of meaning is all the same the first aspect suggested by the aims of the experimentalism by the language poetry. The open linguistic fields of the language poetry, then, will be supplemented by The Freudian "unconscious" processes of dreams, free associations, slips of tongue, and symptoms which are composed of this polyphonic language. These fields can be properly excavated by the methods and topological mapping of the poetics of extimacy and of the klein bottle.

• Sim-seong Yeon-gu
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• 제39권1호
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• pp.92-128
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• 2024

This study examines Gijesa, a Korean tradition of memorial worship for departed ancestors, from the perspective of analytical psychology. To understand the psychological background of ancestral rites, a literature search was conducted to examine the basis for ancestral spirits, the objects of ancestral rites, the symbolic meaning of the customs and practice of Gijesa, and the contents of volume 3 of the book Jhuza-uryu about 'Ghosts and Ancestral Rituals'. Gijesa, the Korean ancestor worship, may appear as a complicated formal ritual, but it reveals a psychological phenomenon of individuation. Gijesa facilitates a conversation between descendants and ancestors, bridging the conscious and the unconscious, leading to a realization of totality. The creative aspect of spirit worship lies in the 'realization of the individuation process' in that it fosters a connection with the collective unconscious, the root of consciousness. When an individual develops into a new integrated personality, we could gain strength from the support of ancestors, the support of the unconscious. The relationship with the spirits of ancestors is essential because consciousness has an important relationship with its root, the collective unconscious, especially for those of us living in an era of chaos where the fundamental meaning of human existence is lost due to rationalism and materialism.

• Journal of Digital Convergence
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• 제12권9호
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• pp.325-333
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• 2014

The purpose of this research is to analyse the structural aspect of storytelling in contemporary cinema which is focused on the Apichatpong Weerasethakul's film. The structural/materialist filmmakers insisted the formal experiment of film form itself and the methodology to create meaning by using it. Apichatpong Weerasethakul accepted and recreated aesthetic result of the structural/materialist film to transform his own cinematic style. As a result, he expanded his film aesthetic to post-modern film aesthetics. For this, he created the structure of film by using diegetic and non-diegetic sound and image creatively. The conventional storytelling method of contemporary cinema is based on the classic theory of 'poetica' of Aristoteles, which creates illusory diegesis of cinema. but Apichatpong Weerasethakul seeks and re-constructs storytelling methodology based on the product of structural/materialist film.