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

• The Journal of the Korea Contents Association
• /
• v.19 no.1
• /
• pp.413-420
• /
• 2019

The purpose of this study is to analyze the main character characters of the movie [THE HANDMAIDEN]. All four characters in the movie [THE HANDMAIDEN] have in common is that they all have seen 'the Existence' and have the factors behind the villainous figure. Kozuki and Hideko had clear and typical symptoms, have been diagnosed as a structural layer of perversion and neurosis by Lacan's psychoanalysis Methodology. On the other hand, since Sook-hee and Ko-pandol have the nature of being a criminal, they have long been faced up to the existence. It was difficult to approach to the structural layer of psychoanlysis Methodology. Therefore, the PCL-R diagnosis used to analyze the personality type of Sook-hee and Ko-pandol and add structural analysis again. As a result, Kouzuki had an Sadist, Hideko had an obsessive compulsive and Sook-hee had an anti-social lifestyle, but she was in a normal emotional category. It was noted that the Ko-pandol was a potential Sadist and part of a sociopath.

• Cartoon and Animation Studies
• /
• s.10
• /
• pp.137-148
• /
• 2006

The purpose of this article is to study the aspects of transformation of Treasure Island(1883), Robert Louis Stevenson's novel in two feature animations (1987) of Osamu Dezaki and (2002) of Ron Clements and John Musker by analyzing characters. In the original novel, as a typical wicked villain and traitor, Long John Silver functioned as an obstacle in Jim Hawkins' Bildungsroman. And Osamu Dezaki laid great emphasis on the friendship between Jim and Stiver His might be an excellent example of the faithful adaptation. But in Disney's , from initial mistrust, to friendly co-worker, to mentor and protege, and finally, to mutual rescuers, Jim and Silver have created a permanent bond that can never be broken - their coming together has changed both their lives forever. Jim's voyage of searching for treasure is not just for the discovery of material riches unimaginable but also for the discovery of his own true worth. Making the Sliver/Jim relationship more focused, Jim ends up discovering not just an obvious treasure; he discovers an inner treasure. From this viewpoint, this feature film could be an outstanding transformative adaptation.

• Communications of Mathematical Education
• /
• v.27 no.3
• /
• pp.179-203
• /
• 2013

The purpose of this study was to discuss the example that developed geometry model textbook based on storytelling using real-life context. To achieve this purpose, we first elaborated the meaning of the textbook based on storytelling with real-life context, and then we discussed the outline of the story and the summary of each lesson. This study defined the storytelling textbook with real-life context as the textbook consisting of activities that explored and organized mathematical concepts by using real-life situations as materials of stories. The geometry textbook we developed employed two real-life materials, a map and a set square: we used a map for the coordinate geometry and a set square for the equation of a line. To attract students' interest, we introduced confrontation between a teacher and two students and a villain. We implemented experimentation with the textbook based on storytelling in order to verify its validity. The participants were 25 students that were enrolled in a high school in Seoul. Among them, 17 participants were surveyed. Students' answers from the survey questionnaire suggested that the geometry textbook we developed based on storytelling helped them learn mathematics and that the instruments such as a map and a set square helped them understand mathematical concepts. However, their opinion implied that the story of the textbook needed to be improved so that the story reflected more realistic contexts that were familiar with students.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.32 no.4
• /
• pp.50-60
• /
• 2014

This study aims to sort out the plants in "Poetry of the South" what is in the written by Qu Yuan in the Kingdom of Chu and to analyze the utility and appreciation of plants. The conclusions are as follows. First, there were 80 plant names and 56 plant species were sorted out, and these results can confirm that the plants were existed in the 340-277 BC. Second, through analyzing the utility of the plants, herba lycopi, basil etc. as the garden plants; lotus, chrysanthemum etc. as the ornamental plants; galangal and cannabis sativa as the present; basil, musa basjoo, etc. as the sacrifice plants. Third, through analyzing the appreciation of the plants, golden birch, chrysanthemum etc. for gustatory appreciation; herba lycopi and pine tree etc. for tactile appreciation; bamboo for sensory appreciation. Forth, through analyzing the token of the plants, calamus and basil etc. are the symbol of personal character noble; wormwood and caltrop etc. are the symbol of villain. Based on the research of "Poetry of the South", it can help to understand the plants culture in 340-277 BC, and it will be a useful information for the plant design.

• Cartoon and Animation Studies
• /
• s.35
• /
• pp.155-180
• /
• 2014

The roles of the characters of 3D animation Toystory3, which was released in 2010 and achieved worldwide success, can be classified into typical, simple and easy-to-understand roles such as hero, villain, princess, and assistant. However, the process, in which each character's role is finally recognized by the audience, is embodied in a very colorful and exquisite manner and makes the curiosity of the audience continue effectively. The stream of the diverse role changes of the characters of Toystory3 is represented through "visual rhythm of the lighting design" and such rhythm can be confirmed most clearly in the digital colorscript stage. This researcher analyzed the characters' role changes in the work based on Propp's folktale character analysis theory, and extracted the core scenes that lead to inference, doubt, performance, reinforcement by character in order to grasp how the audience gasps major characters' role changes. The visual differences of the lighting design, which the four core scenes of each character show, were represented in graph and analyzed, and the results showed that the changes that one character has constituted rhythmical, visual contrast gradually and the rhythms of each independent character achieve visual contrast and harmony each other like the voice part of polyphony. This researcher calls this "the visual counterpoint of character's changing" and derives the conclusion that a dual visual counterpoint is hidden in the character production of the full-length animation Toystory3. Along with this, this researcher proposes the production of full-length animation that actively utilizes constructive aesthetics.

• Cross-Cultural Studies
• /
• v.41
• /
• pp.85-112
• /
• 2015

This article studies The Complete Story of JinTai(金臺全傳), a Korean and Chinese xylographic book, and wishes to makes a case for the value of this work. The Complete Story of JinTai, is an anonymous Xia-Yi (俠義) novel from the late Qing Dynasty. The oldest edition is at Nanjing Rare Book Library. This work was published in 1881 when Emperor Guangxu (光緖) ruled China. Currently, a copy of this book is at the Kookmin University Rare Book Library, however, it is somewhat different in form from that in the Nanjing Library. But it is almost the same story. The Complete Story of JinTai narratives the life story of the hero, Jintai (金臺). Jintai's appearance, alliance, ordeal, contribution, and return proceed sequentially, thus, the story gradually explicates Jintai's heroic aspects. Jintai is a young hero. Exceptionally, he married an official dancing girl. He values honor, hangs out with friends, slays a wicked villain, to the defense of the country, and eventually becomes a king. The hero of more than 500 is categorized as conductor, strategist, activist, intuitive type. They are from Geumsan Mountain, took a pledge of brotherhood, and try to resolve a national crisis. The remarkable Jintai fights wicked enemies and does battle with the villains in many conflicts.

• Cross-Cultural Studies
• /
• v.50
• /
• pp.483-507
• /
• 2018

Shylock in Shakespeare's play, The Merchant of Venice has been considered as either a devilish villain, or as a victim who was persecuted unfairly by the Christian society in Venice. By focusing on the matter of the Other, which has been summarily overlooked in literary texts and the literary criticism, it is noted that the New Historical and Cultural criticism interpreted Shylock as the racial, religious, and economic Other in the Venetian society which at the time was dominated by Christian ideals. The purpose of this paper is to show how Shylock becomes an abjected Other, that is, the abject, based on Julia Kristeva's theory of abjection. According to Kristeva, an abjection is the process of expulsion of otherness from society, through which the subject or the nation tries to set up clear boundaries and establish a stable identity. Shylock is marginalized and abjected by the borders drawn by the Venetian Christian society, which in a strong sense tries to protect its identity and homogeneity by rejecting and excluding any unclean or improper otherness. The borders include the two visible borders like the Ghetto and the red hats worn by the Jews, and one invisible border in the religious and economic fields. By asking for one pound of Antonio's flesh when he can't pay back 3,000 ducats owed, Shylock tries to cross the border between Christians and Jews. Portia frustrates Shylock's desire to violate the border by presenting a different interpretation of the expression, 'one pound of flesh,' from Shylock's interpretation. And in doing so she expels him back to his original position of abject.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.37 no.2
• /
• pp.30-39
• /
• 2019

In this study, 27 representative plants with symbolism and appreciation were extracted from 68 plants collected in Li Yu (1611-1680)'s monograph named 'Xianqingouji Zhongzhibu'. The interpretations were as follows. First, symbolism of plants could be summarized as 1) Li Yu thought that Paeonia suffruticosa was called 'the king of flowers', not only because of its beauty, but also because of its upright character. The only flower that could compete against Paeonia suffruticosa was Paeonia lactiflora Pall.. This flower was called 'the flower prime minister' by common people. But Li Yu thought that Paeonia lactiflora Pall. should also be included in the feudal princes. 2) Prunus persica and Camellia japonica were compared to 'beautiful cheeks', and Malus spectabilis (Ait.)Borkh, Jasminum sambac, Rosa multiflora var. platyphylla, Narcissus tazetta, Papaver rhoeas were compared to 'beautiful women', expressing his love for flowers. 3) Li Yu called Nelumbo nucifera a 'gentleman in flowers' and Buxus sinica Rehd. et Wils. Cheng a 'gentleman in trees'. On the contrary, Daphne odora was compared to 'villain in flowers'. 4) Ilex integra was compared to a hermit, and Campsis grandiflora was compared to an immortal. Second, appreciation of plants could be organized by 1) Appreciation of plants required assistive tools. When going to suburb to enjoy the scenery, tents needed to be prepared. Paper screens should be used to appreciate Prunus mume in the courtyard so as to gain more elegant. Li Yu also proposed that ornamental objects should be properly placed near Orchidaceae so as to gain more elegant. 2）Li Yu took Lagerstroemia indica and Prunus armeniaca L. as examples to interpret that plants were as perceptive as animals and human beings. 3) Li Yu took Salix pierotii and Albizia julibrissin as examples to interpret that people should communicate with plants through five senses to produce resonance. And took Nelumbo nucifera and Rosa rugosa to emphasize the ornamental and practical value of plants. 4) Plants were metaphored sth. similar to them. An interesting example was Celosia cristata L. which was more like an auspicious cloud in the sky than the crest on the cock's head. To sum up, Li Yu personified plants and thought that people should communicate with plants by multi-sensory world when appreciating plants. Through this, it fully showed his love for plants. Meanwhile, Li Yu's symbolism and appreciation of plants, to some extent, reflected the elegant life of literati in the early Qing Dynasty.