• Science of Emotion and Sensibility
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• v.22 no.2
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• pp.59-69
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• 2019

The present study explored consumer's perception and preference on providing information of fashion products by using QR code and suggested the possibility for consumer-to-consumer and consumer-to-company connection. A survey was conducted on males and females in their 20s-a population among whom the rate of smart phone penetration is higher than in any other age group and who tend to exchange information online. The results showed that consumers are dissatisfied with the amount of information, terms of instructions, and ambiguous washing symbols currently provided. Therefore, the study identified the need for better methods of providing information and found that QR code, which is able to deliver high-quality information on fashion products, can be an efficient alternative. Moreover, respondents felt the need for detailed washing instructions, information on handling, and functionality of material on high-involvement fashion products such as outdoor, padding, suit, and underwear worn next to the skin. They also desire styling tips or purchasing information such as SNS OOTD (Outfit Of The Day) utilizing the product, other products that may go well with the one purchased, and similar products on casual wear and coat used on a daily basis. Therefore, QR code used as a link to information web pages or a social network can help consumers to satisfy information needs and to use the products effectively.

• Industry Promotion Research
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• v.4 no.1
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• pp.67-78
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• 2019

This study is to study Jung's analytical psychology and to study counseling process and counseling techniques based on the counseling theory derived from it. Jung divides the counseling process into four stages based on analytical psychology. The first stage is confession, and the prototype of analysis therapy is confession. The first step in the treatment process is to share secrets and reveal suppressed emotions. The second stage is elucidation, a process that clarifies by shedding light on the contents induced by the transfer. The third stage is the level of education. Explanation makes my counselors intelligent, but leaves them still in an incompetent state. At this stage, treatment goes beyond insight to train as a responsible client. The fourth stage is transformation. In the transformation phase with inner counselors, not only the debaters, but also the therapist is in the "in-analysis." Jung's counseling technique uses six things: dream analysis, use of symbols, word link test, symptom analysis, case history and MBTI. In conclusion, analytical psychology counseling has enabled, first, a more in-depth approach and understanding of the human mind, especially the unconscious world. Second, analytical psychology counseling has enabled us to recognize that all humans are human communities with a common mental structure through the concept of unconsciousness and archetypes. Third, analytical psychology counseling has allowed you to look at the meaning and purpose of life from a new perspective. Therefore, Jung emphasized that he should not be seen as having a pathological problem with patients, but as an omnipotent human being who wants to realize its fullness on his own.

• Journal of Korean Classical Literature and Education
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• no.16
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• pp.147-179
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• 2008

Classical literature texts have been transmitted and recreated as subjective meanings in a wide variety of genres. Authors recreate another world with their own imagination and classical literature texts. This study has been conducted to analysis 'OnDal's Dream' which is an adaptation from 'OnDalJeon' in order to figure out the method of inheritance and the subject and message of the adaptation. The process of inheritance and acculturation appears in the literary world. Some adaptations stick to the genre of the original text, other adaptations change to various genres. There is the process of inheritance and acculturation in the aspect of structure of the adaptation 'OnDal's Dream'. lntertextuality can be found between 'OnDalJeon' and 'OnDal's Dream' in terms of the stages such as 'confrontation' between the ego and the world and 'overcoming' hardships. However, the recreation text has acculturation of the structure that shows the potential desire for elevation of social status at the end part of the work so I could possibly show that the adaptation has limitation because it was far from the dream of common people and laborers at that time. There are different structures and recognition systems between 'OnDal Jeon' and 'OnDal's Dream' because the formal is an epic tale the other is lyric tale. An epic tale has some partial symbols in its story line, while an lyric tale is a symbol as a whole. There is an exhibition of deep emotion which is subjectivized and symbolized against the world in the adaptation 'OnDal's Dream'. And the inheritance of unreality, which is acculturation to the world of dream, from the original text can be found in the adaptation. First of all, study between the original text and the recreation text should be conducted in terms of intertextuality. Secondly, an instruction on the inheritance which is based on intertextuality between the original text and the recreation text should be conducted. Thirdly, an instruction about the structure of a genre and differences of recognition systems according to inheritance or conversion of a genre. It will be helpful for children to stimulate to take an interest in classical literature texts and traditional arts, to learn more recreation texts, and to develop the practical ability to recreate works. Based on above study, an instruction which shows a spiritual value of literature should be conducted.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.3
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• pp.85-92
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• 2018

The purposes of this study are to analyze the spatial composition of the outer garden of Soswaewon that appears in Gyeong-Ji Yang's "30 Poems of Soswaewon" and examine its significance and symbols. These poems by Gyeong-Ji Yang are important historical records that portray the appearance of Soswaewon and the space outside it at the end of the 17th century. Unlike "48 Poems of Soswaewon" or "Soswaewondo," these poems arenot limited to Soswaewon and its surroundings; theyalso include areas from the village entrance upwardto the peak of the mountain behind the village. These poems can be divided into three main parts. Jiseok-ri and Changam-dong in poems 1 and 2 provide first impressions of the village in which the main Soswaewon garden is located, whereas poems 3 to 8 and poems 10 to 12 describe the space inside Soswaewon. Poems 13 to 30 depict the beautiful scenery around the outer garden of Soswaewon. In general, about 30% of the compilation in "30 Poems of Soswaewon" celebrates the inner Soswaewon, and the remaining 70% depicts the scenery around Soswaewon (i.e., views of the outer garden). It is presumed that Gyeong-Ji Yang employed this structure to achieve some type of order. Between the "48 Poems of Soswaewon" - also describing Soswaewon - and "Soswaewondo," which is a woodprint drawing of Soswaewon, "30 Poems of Soswaewon" offers the widest coverage of Soswaewon. Compared to "48 Poems of Soswaewon," which addresses the scene inside Soswaewon, new buildings such as the Jaeweoldang, Buhweondang, and Hancheonsa appear in "30 Poems of Soswaewon." Thus, the latter covers a much wider range. Chimgye Munbang - Gwangpunggak, Yangdandongo - Aeyangdang, Byeongseogjuggeun - Jajukchong, etc. are mentioned in both compilations. The use of a wide range of natural objects in these 30 poems, including mountains, birds, and the sky (instead of trees and flowers), shows that the author perceived Soswaewon as an area with a much higher and wider view than that of a typical living space. Moreover, natural regression ideologies, or seclusion ideologies, are evident.

• (The)Study of the Eastern Classic
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• no.43
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• pp.233-258
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• 2011

This paper is about Zhuzi(朱子) writings entitled Yixueqimeng("易學啓蒙"). There are only four research articles on Yixueqimeng("易學啓蒙"), although it had taken important role in the process of formation of Zhuzi(朱子) study of changes, comparing with 30 different kinds of research on his works after this Yixueqimeng("易學啓蒙"). In line with this, the author intends to make this paper as a full-scale research article on Zhuzi(朱子) work - Yixueqimeng("易學啓蒙"). Zhuzi(朱子) exposes the meaning of the Xiangshuyixue(象數易學), to wit, the emblem and numerology of Emblem and Numerology in interpreting Zhouyi("周易") again by accepting Hetu("河圖") and Luoshu("洛書"). When discussing the Zhouyi("周易"), Yiliyixue(義理易學) had drawn supports from Wangbi(王弼) Deyiwangxianglun(得意忘象論). Likewise, Zhuzi(朱子) tried to ruminate upon the meaning of the Hetu("河圖") and Luoshu("洛書") through the Yixueqimeng("易學啓蒙"). As he interprets all things through Hetu("河圖") and Luoshu("洛書"), these two systems of emblem have become essential. Even in Shifa(筮法), he elicited Dayanzhishu(大衍之數) from Hetu("河圖") and Luoshu("洛書") so that he related the divination rule to Hetu("河圖") and Luoshu("洛書"). By doing so, Zhuzi(朱子) concatenates Dayanzhishu(大衍之數) to Hetu("河圖") and Luoshu("洛書") too. Furthermore, by interpreting Yongjiu(用九) and Yongliu(用六), which belong to Qiangua(乾卦) and Kungua(坤卦) as prognostication that will be referred to when all six-line symbols are changed, he had made a great contribution to the history of Zhouyi("周易") study. Zhuzi(朱子) is responsible for a sizable part of the history of Zhouyi("周易") study as much as Wangbi(王弼) and Chengyi(程?). Of course, there are some parts where efforts were made in vain, however, the method to interpret the Zhouyi("周易") have developed day by day owing to the efforts of Zhuzi(朱子).

• (The)Study of the Eastern Classic
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• no.35
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• pp.471-498
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• 2009

The aim of this study is to see how bamboo paintings developed and what is the iconographical meaning of them through bamboo Ti-hua-shi(poems on paintings) found in Sheng-Hua-Ji, a leading compilation of Ti-hua-shi(poems on paintings) of Song Dynasty. Bamboo paintings give shapes in a simpler and more direct way in drawing, which means bamboo paintings reveal concretely more characteristics of Ti-hua-shi (poems on paintings). Bamboo paintings, which flourished during Northern Song Dynasty, often had the image of the dragon, specially a lying dragon or a winding dragon, which suggests a great man in obscurity. Snow-laden bamboos were also a symbol of a great man, very wise man in Confucian tradition. This shows Confucian ideal examples were embodied through bamboo paintings. Another aspect of bamboo paintings is that bamboo paintings were regarded as a means of self-expression, which identified Confucian sadaebu (scholar-officials) who advocated simplicity and austerity in their life. Contrary to professional painters, who added color and decoration to their paintings, Confucian scholars of Song Dynasty reduced color and embellishment in their bamboo paintings in black-and-white to reveal their own identity, focusing on spirituality rather than the image itself. Therefore, drawing and appreciating bamboo paintings were highly respectable pastime among the literati of Song Dynasty. In short, Bamboo paintings in Song Dynasty were not only a Confucian symbol of a wise and virtuous man but also reflected the taste of Song sadaebu class who thought of bamboo as a symbol for moral and cultural responsibility of Confucian society.

• The Journal of the Korea Contents Association
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• v.21 no.6
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• pp.435-444
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• 2021

This paper discusses the geometrical interpretation of the Taegeuk Shapes of Kameun Temple through the geometric analysis of mathematics. Based on the literature, This paper attempted to clarify that the origin of Gameunsa's founding of the spirit of patriotism may coincide with historical records through historical literature and geometric meaning. First, the background of the founding of Kameun temple, geographical location located near the East Sea, especially the history of the ancient Chinese mathematics at the time, And that mathematical knowledge influenced all fields such as agriculture, architecture, and art. Secondly, it is related to the historical record as the space of about 60 centimeters, which is uniquely underground, was identified as the structure of the excavated space. It is thought that there is a strong correlation with the origin that the King Munmu changed into a dragon, and set up the temple to be able to stay. Based on these, the clues of the interpretation of the taegeuk and the triangular pattern were searched in the samcheon yanggi(參天兩地) of the Oriental and circumference of the Western. The taegeuk and triangular patterns represent the symbols of yin-yang harmony, which correspond to the origin of its creation. the Korean people regarded the mysterious dragon as a symbol of yinyang harmony. In conclusion the Shapes of Kameun temple's stone is consistent with the contents mentioned in the historical record.

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.32-51
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• 2021

Architectural evidence of Gaya is insignificant than any other area. In this situation, house-shaped earthenware is particularly helpful in the study of Gaya architecture. However, house-shaped earthenware is not a building, it has just the shape of buildings. So, we have to find out architectural evidence from that. In this paper, I tried to estimate the architectural characteristics of Gaya through house-shaped earthenware in detail. I also consulted historical records, archeological results, and other scholars' papers. The results are as follows. First, house-shaped earthenware can be classified into three types according to its shape, and each type has distinct architectural structural characteristics. Second, house-shaped earthenware generally has a gambrel roof, and the characteristic of architectural design with the gable side of the gambrel roof as a front is the biggest feature of Gaya architecture. Third, various types of buildings existed according to their functions in Gaya architecture, and house-shaped earthenware was showed buildings of ancient storage, pens, and residences, which are symbols of the richness among various types of buildings.

• Journal of the Korea Convergence Society
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• v.13 no.4
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• pp.245-259
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• 2022

Smart rural construction is an important direction for the Chinese government to promote the cause of "Rural Revitalization". In this paper, in the Xikou village project of the "future community" smart rural demonstration development project proposed by the local government of Zhejiang Province, China, the researcher participated in the design of the intellectualization of the smart rural life circle from the perspective of UX design and through qualitative and quantitative research methods. Through field investigation, understand the users' needs for intelligent design of smart countryside, and on this basis, design the maximum space of the region as a cognitive smart rural demonstration park, and quantitatively analyze the user experience feedback after the completion of the project. Before and after the actual design and application of the "Xikou village" in the demonstration area, chapters 3 and 4 are the symbols that can remember the rural era, the Rural Cultural Exchange Square. In the intelligent office space and living space, the user needs are composed of the design results. In order to reduce the anxiety of residents and tourists caused by the intelligent environment, the artificial manual service part is also designed. Now, as a case of intelligent rural space design, resident residence is developing continuously.

• The Journal of the Convergence on Culture Technology
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• v.8 no.4
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• pp.219-225
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• 2022

1950-meter-tall goddess is Seolmundae Grandmother with the head of the 1950m Hallasan Mountain Baengnokdam and the body of the mountain ridgeline. Seolmundae Grandmother in Jeju is a folk belief that has been passed down from generation to generation in Jeju. Unlike inland, Seolmundae Grandmother, which had femininity in the customs of Jeju, which was a matrilineal society, developed into an absolute faith in Jeju, metaphorizing that in some way it was inevitable. Seolmundae Grandmother was the only subject that could mentally solve the biggest problem for Jeju residents, even if they were disconnected from the mainland. In other words, Seolmundae Grandmother was unable to make underwear for Seolmundae Grandmother because it was short of 100 bottles of silk, the god of Hallasan, a huge being and a physical symbol. Therefore, Semyungju Grandmother gave up the bridge connecting the mainland and Jeju. In this paper, focusing on the fact that Mt. Halla, covered with snow in winter, is like a skein of silk thread that we usually use in our daily lives, the etymology of Seolmundae has been changed to Saengmyeongju, - Semyungju, which is a skein of fine silk. As a basis for this, there is a custom of tying a thread of silk in 'Semyungju', a shrine to Semyeongju in Halmangdang, 'Hanmosal' along the coast of Pyoseon-myeon. The silk thread is the core of the Packing DNA gene. The summit of Mt. Halla, Ninety-Nine Valleys, and five hundred generals, found in Seolmundae Grandmother or White Silk, expressed the symbols of Jeju. The Packing DNA gene was found to originate in the Jeongnang