• Journal of the Korean housing association
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• v.22 no.3
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• pp.59-71
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• 2011

The purpose of this study is to investigate the basic historical characteristics and its modern trend of Torajan traditional housing architecture in Sulawesi Province, Indonesia. The Toraja culture belongs to the cosmological culture with Cosmos centric characteristics. A traditional house, being called 'tongkonan' in Toraja region, is more than just a structure, representing the symbol of family identity and tradition. The Torajan architecture is a combination of the myth and cosmos, also regional conditions. With a short description of the general conditions and spiritual values of the Toraja, this paper explains the space-composition, the stylistic characteristics, the ornamental elements, construction, and its modern trend, etc. In general, it is raised on stilts several metres high, with a dramatically boat-shaped roof. Village layout varies according to size. The houses are arranged in a row, side by side, with their front gables facing north. Each house stands opposite its own rice-barn. The houses with their oblong ground-plans, built on piles set on stones. The interior is divided into three or four rooms, having few window. The houses are embellished with carving and paintings, and the facades display engraved and painted geometric and figural designs. The most frequent motif is the buffalo head, ranging from the realistic to the highly stylized. The Torajan traditional housing have experienced radical changes during the Modern period. In spite of the popularity of new modern house-styles, the traditional architectural style is often now constructed as an icon of Toraja identity. This paper will be helpful for understanding regional diversity of the traditional housing in Southeast Asia.

• Journal of the Korea Institute of Building Construction
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• v.16 no.4
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• pp.367-379
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• 2016

Although the importance of creative thinking is rapidly increasing in the new century, the generation of creative ideas and its application in the construction industry have been considered relatively difficult. Thus there have been a few studies on the subject that how to apply creative thinking tools with empirical evidence in the construction industry. Value engineering(VE) has been widely applied in the design phase of construction projects due to the government regulation, Brainstorming has been the most prevalent idea generation techniques in the VE activities during the past several decades. Contrary to popular belief, the performance of brainstorming is not so good. It is known as the brainstorming myth. This paper proposes the business creativity codes(BCC) as an alternative idea generation tool in the design phase VE of construction projects. In order to examine the effectiveness of the BCC, 50 successful field cases awarded in the design VE competition of government agency are used. The result shows that the BCC can be used as an effective idea generation tool in the design phase VE construction projects.

• Journal of Digital Contents Society
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• v.15 no.5
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• pp.613-620
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• 2014

Gender Representation of animation character that is discussed in this essay is a semantic discourse that is related to communication with contemporary audience. For gender Representation of animation character, as it can be thought that linguistic elements for signification with audience are materialized, it has a significant value when it comes to communication with audience. Commercial success of Disney's feature length animation Frozen is from excellent aesthetic principles and techniques and global marketing capabilities of Disney studio. However, independent and active gender representation of Elsa and Anna in Frozen are more important commercial successful elements. Especially, Gender representation of these two characters reflects myth of women who live in this modern society so their linguistic meaning can appear affluently. That also means that those two characters have advantages, in terms of communication, that can have effective signification with contemporary audience as linguistic sign. And those advantages are signification foundation that Frozen can be commercially successful by communicating with audience all around the world.

• Journal of the Korean Society of Costume
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• v.63 no.5
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• pp.151-166
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• 2013

In order to create a national myth and be able to control international society, America with her short national history, used popular culture to accomplish these goals. The medium fit this purpose the best was the use of superhero characters based on comics. Born and developed from the 1930s through the 1960s, which could be seen as America's national crisis era, superhero characters were thorough advocates of American justice and was perfect for the role of spreading the legitimacy of American ideology. From the 1970s, superhero characters became part of movies and became even more influential through the Hollywood's massive film industry and the box office success. American ideology in superhero characters symbolically appeared in movie costumes. Starting with Superman and Batman, the very first and typical superhero characters' costumes work as metaphors for realization of American justice. After the 1980s, superheroes were newly developed through a genre called graphic novel and the most representative piece of this genre is Alan Moore's Watchmen. In the Watchmen, which was also turn into a movie in 2009, six changed superhero characters appear ranging from a non-human superhero, villain superhero, superhero with mental disorder and superhero with sexual impotency, the characters were never-seen-before superheroes with different aspects that connote introspection and philosophical ideology. The changed type of heroes and ideology became another form of heroes, and this brought changes to character costumes that were never considered before. The superhero costumes that used to symbolize America now express different types of superhero by borrowing exotic mythical elements, undressing, pastiche and daily life clothes. The superhero characters and their changes in costumes from Watchmen imply American popular culture's introspective tendency. Amongst these changes, we need to raise our critical vision towards popular culture.

• Proceedings of the Korean Society of Computer Information Conference
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• 2014.07a
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• pp.481-482
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• 2014

본 논문에서는 동양 신화적 요소들을 게임 기획에 접목 시키는 방법을 제안하고 구현한다. 게임에 접목 시킨 동양 신화적 요소에는 사방신을 채용했으며, 각 사신이 갖는 동물적 형상과 대표 색상으로 나누어 기획에 접목시켜 게임을 디자인하였다.

• Proceedings of the Korean Society of Computer Information Conference
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• 2014.07a
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• pp.483-484
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• 2014

본 논문은 동양 신화에서 현무, 백호, 주작, 청룡을 바탕으로 하는 사신기 신화를 이용하여 대전 액션 게임을 구현하였다. 게임구현에 있어 필요한 네크워크를 설계 구현하였고 게임을 구동하기 위한 메니저 시스템 및 플레이어 시스템 구현에 대하여 제안한다.

• Journal of Digital Contents Society
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• v.8 no.4
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• pp.563-571
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• 2007

The meaning of 'Metamorphosis' is transformation or disguise. It also means the process of modification from 'Image A' to 'Image B'. 'Metamorphosis' which has derived from many race's myth shows the various field of 'Literature', 'Music' and 'Art'. Through the development of cinematography, the still image in 'Film' and 'Animation' could be combined with time and the process of 'Metamorphosis' has been observed. Specially individual and fantastic forms in animation have created by many animators, because every factor of individual image in animation could be transformed and modified. And 'Metamorphosis' shows the sector of metaphor which is based on narration and the functional scene conversion in animation. 'Metamorphosis' which includes magical and fantastic character also provides the hilarious effect and the special film language to us.

• The Research Journal of the Costume Culture
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• v.20 no.1
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• pp.111-120
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• 2012

Indonesia has a wealth of traditional textiles that are spread in every corner of its region, each of them has its own characteristics and uniquennes. Among the diversity of decorative and techniques used, there are also peculiarities arising from the coloring techniques, that is staining with natural dyes. The existence and the authenticity of the coloring techniques are still retained in some places in Indonesia until today. Generally, these societies make the fabric-making process as part of the ritual beliefs. One of which are the societies in Tenganan, Bali, an area in Bali which always use fabric as an important part in every traditional ceremony. The fabrics is known by the name Geringsing. The typically color which shown and also the sacred values that accompany make Geringsing a very special woven fabric and cannot be found in other areas. This is one of the local geniuses that need to be preserved. In addition to its unique techniques and special materials, Geringsing woven also keeps its myth and its philosophy. The emersion of Geringsing woven closely related to the community trust in God Indra as the main protector deity. The necessary initial process of making Geringsing is holding special ceremony attended by various circles of Tenganan village society. People in Tenganan believe that Geringsing is a precious heritage avoiding all diseases and disorders of evil spirits.

• Journal of the Korean Society of Food Culture
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• v.28 no.6
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• pp.603-622
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• 2013

Egg is a food that has been loved from ancient times by people all around the world. It has been called a present from god because its rounded shape was believed to refer to the earth. We found the oldest and most perfectly preserved egg fossil at Chunmachong (天馬) in Kyungju (慶州). We believe that it was used during the period of the Three States or the unified Silla (新羅), and, accordingly, it was a noble food that has been found at the king's grave of the age. Egg, which is called egg of chicken in Korean, was written as egg of chicken (鷄卵), son of chicken (鷄子), bird's egg of chicken (鷄蛋), and round thing of chicken (鷄丸) in the Korean alphabet and Chinese characters. The ancient countries had the following myths about eggs In myths about offspring by egg, they were born as heaven's will to make them god. There were 19 proverbs: 'Hitting a rock with an egg', 'It's like the yellow part of an egg' and 'Even an egg stops when it rolls', etc. According to a theory of divination based on topography, people use eggs when they find a good place. There are 10 proverbs (四字 成語): Dongjiipran (冬至立卵), Nanyeoseoktu (卵與石投) etc. Studies for analysis of egg recipes found in the old literature (cooking, agriculture and fishing, and medical books) in the Chosun Dynasty recorded 36 times where cuisine with egg was mentioned as the main ingredient, 154 times as a sub-ingredient, 79 times as a garnish, and 20 times etc. As a garnish, they were 'finely sliced', 'thin rectangular and the rhombus form', and 'rounded shape'; after grilling they were divided into yellow and white parts. When cooked, they were used in comparison of the size or shape of an object with that of other objects.

• Journal of English Language & Literature
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• v.55 no.6
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• pp.1013-1034
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• 2009

The space of the Other assumes the space of Barthes's multiplicity and Foucault's transdiscursive position, and, therefore, aims at becoming the locus in which the speaking subject and the hearing subjects are supposed to communicate and constitute as if they were situated in the pscychoanalytic session. However, the wall of untranslatibility across language and cultures still exist there in the space of the Other in the form of trauma and aggressivity, as Lacan demonstrate perceptively through the reading of Kant avec Sade. In short, Lacan regards the moral commandment (to love one's neighbor as oneself) as the obstacle in the Freud's myth of transgression, and interprets this in terms of the emergence of the Other. Freud understands that the aggressivity in the subject's own heart was inherent in all humans, and that one's neighbor would be evil. Lacan goes beyond Freud and articulates that the aggressivity in the imaginary relation with the Other in the mirror stage insures that an evil inheres in the very being of humanity. A global phenomenon of the diasporic identities and hybridity, the phenomenon which has been represented by the complicated intermixture of terms which span from diaspora, postcolonialism, postnationalism. and transnationalism can be clarified, if they are put in the context of the ethics of Othering or becoming the Other. The ethics of Othering presupposes the situation in which the diasporic subjects encounter the lack of the cross-cultural negotiation and communication. The purpose of this paper is to demonstrate how the poetics of Other and the logic of the ethics of Othering can explain the postmodern or transmodern world which has become deterritorialized, diasporic, and transnational as well as how one can encounter the results of diasporic and postcolonial double consciousness, a consciousness which is a discursive category for multicultural or cross-cultural, focusing on the concept of liminality/interstitiality