• The Research Journal of the Costume Culture
• /
• v.16 no.3
• /
• pp.475-487
• /
• 2008

The purposes of this study are to find the values of playful design by exploring what forms of playful expressions and characteristics appear in the haute couture collections that feature "high culture" other than street fashion or popular fashion and to help expand the scope to include newer and more creative design ideas. Concerning theoretical background, the study reviewed the literature to understand the concept of playfulness and see what types of playfulness there are and how it is expressed. Based on the results, the study examined the features of playfulness by analyzing the works of haute couture collections which since 2000. The results can be summarized as follows: First, designers in the haute couture collections constructed their own identities by expressing their instinctive desire for playfulness through graffiti such as cartoons or scribbles and delivering direct and specific messages or ambiguous and symbolic meanings through such things. Second, the haute couture collections revealed the human body in a transformed or distorted shape through deformation of clothes or accessories presented brand-new dressing styles by breaking away from the past ways of dressing; and expressed playfulness intentionally with distorted materials. Third, is the "depaysement" technique. This collage technique selects all possible objects going beyond inartistic routine matters or boundaries of which we are aware and changes their positions and purposes of use to express the playfulness of "harmony in disharmony." Fourth, the haute couture collections created a feeling of playfulness by featuring parodies of retro elements, a slice of popular culture, or a variety of painting styles. Finally, like using dolls or toys as accessories or making direct use of parts of clothes, combinations between attributes given by the images of those accessories themselves and creativities found in haute couture dresses are just as fun of authoritarian bias in favor of prestigiousness.

• Proceedings of the Korean Society for Bioinformatics Conference
• /
• 2005.09a
• /
• pp.361-365
• /
• 2005

Over the past few years, the complex and subtle roles of microRNA (miRNA) in gene regulation have been increasingly appreciated. Computational approaches have played one of important roles in identifying miRNAs from plant and animals, as well as in predicting their putative gene target. We present a new approach of comprehensive analysis of the evolutionarily conserved element scores and applied data compression technique to detect putative miRNA genes. We used the evolutionarily conserved elements [19] (see more detail on method and material) to calculate for base-by-base along the candidate pre-miRNA gene region by detecting common conserved pattern from target sequence. We applied the data compression technique [20] to detect unknown miRNA genes. This zipping method devises, without loss of generality with respect to the nature of the character strings, a method to measure the similarity between the strings under consideration [20]. Our experience to using our new computational method for detecting miRNA gene identification (or miRNA gene prediction) has been stratified and we were able to find 28 putative miRNA genes.

• Journal of Korean Theatre Studies Association
• /
• no.52
• /
• pp.229-270
• /
• 2014

Ostermeier's Hamlet has no particular contemporary reinterpretation. Alternately devoting to show retrospect in illusion and existence through revenging actions. However, Shakespeare's metaphorical and implicative language is dissipated and the style of the play is not an illusive space-time, but a tragic theatrical production that uses rough language to express the depth of the story. The Perfomance of Hamlet is a sensuous jumble up of a diverse range of mass media. The double roles that the actors carry out give an affect of isolation between the audience and the play itself showing both empathy and liberty. Ostermeier's Hamlet distinctively shows a post-modern performance through the prominent elements of dirt, the use of mixed genre, theatric emphasis, making an image and the fulfillment of acting. Nonetheless, Ostermeier's performance stays off the point on the breakup strategy of the post-modern drama without suspending the narrative of Shakespeare's Hamlet. Besides aiming to show a performance centered by the imagery of physical expression, his performance shows New Realism in the 1960's, showing everyday life. Ostermeier thinks, that theatre helps give contemporary people an accurate reality check in the constant unstable periods of time. Therefore, Hamlet shows post-modern physical expression and outspoken dramaturgy using the effects of mass media in New Realism without breaking up realistic narration. With being the aberration of the Castle Helsingor, the main character Hamlet, expresses lunacy and can be considered as metaphor for young adults whom are broken down and isolated from the economic system. He is a substitute for those who experience agony, anger, torment, etc. and other suppressed emotions in everyday life. With the method of direction in the portrayal of Hamlet show signs of succession in the abundant popularization of the classics by communicating with the audience by following the trend of modern mass media and audio-visual perception; emphasizing the point of the philosophical topic 'life and death,' 'life and theatre,' and 'illusion and reality.'

• Journal of the Korean Society for Library and Information Science
• /
• v.27
• /
• pp.215-228
• /
• 1994

This study is to analyze the background and circumstances of the bibliographical description method appearing in the Hong-ssi Tok-so-rok, or an annotated classified bibliography of Korean and Chinese books edited for the Hongs and their clan. The conclusions are as follows. Each entries of the bibliography are entered under titles, and generally followed by bibliographic elements of volumes, written age, author's name, functional word of authorship, and annotation. The written age is stated by the dynasty name for the first authors within each classes. However some anonymous works and government compiled works are recorded the king's shrine name or the reign title. Entries of the bibliography are arranged by the chronological order in each classes. The writer's name is generally described by 'surname + given name'. However it is sometimes also recorded in the one of the following forms; Appellation (hao, 호) or posthumous title + surname + given name. Sumame + appellation or posthumous title + given name. Appellation ( (hao, 호) or posthumous title + sumame + Sonsaeng (선행) + given name. Sumame + government position title + given name. Appellation (hao, 호) + surname + cha(자, master). surname + ssi(씨). ect. Married women's names are stated by her husband's surname followed by the Chinese character 부 or 절부 which signifies wife or virtuous women, and then her given name. The works written or compiled by King's order (명찬서) are generally described in the form of 명제신+ functional word of authorship. Names of government agencies are occasionally stated as the authors' for the government publications or government compiled works. The functional words of authorship are described in the phrase of 소작야, 소편야 instead of 저, 찬, ect. It is more noticeable that in the case of the collections of individual writers' works the wording of 지문야, 지시야 is written after the name of the author. More complicated descriptive forms are seen in the entries of works for the shared authorship and mixed responsibility. Two or more than two monographic works of the same author classed in the same class are annotated all together.

• Cartoon and Animation Studies
• /
• s.15
• /
• pp.151-164
• /
• 2009

The discussion on folk painting (minwha) has been continued till recent in various ways. MinWha is applied by painting artists and also utilized as a basic material of design. These are the attempts approved by the viewpoint of the 'Korean beauty'. In saying so, minwha symbolizes for typical types of Korean painting, and is articulated as an aspect of forgotten spirit. However, despite the fact of Minwha's frequent application, and its evident originality, it remains only the thread of the existence. Although minwha has a lot of commonalities and similarities with the characteristics of cartooning, a decisive attempt of cartooning is hardly shown through. Therefore, this paper is aim to classify creative paintings by the distinctive features of minwha, such as exaggeration and abridgment, sarcasm and current affair aspect, common technique of art drawing, caricatured element, expression of an ideal world, various techniques from artist's different comprehension, etcetera and to make opportunity to constructively apply these features in cartoons. The types of minwha are mostly classified by the contents of the painting. However, since the purpose of this thesis is to find caricatured aspects in minwha, it will be largely classified by the elements of animal, plant, human, insect species, finny tribe, feathered tribe, and nature phenomenon. This classification takes advantage of accessibility to understand the characterization of the object, and leads to take a positive approach.

• Journal of the Korean Society of Costume
• /
• v.61 no.5
• /
• pp.93-105
• /
• 2011

This research is aimed at examining the characteristics of the fun fashion design in the emotional consumption era from a broad perspective, and it is meaningful in the sense that it presents the ideal direction for the development of fashion products that can satisfy the changing desires of the consumers today and tomorrow. For this, the documentary study and practical case study have been executed. This paper examined the two aspects of the fun definition when it comes to the characteristics of the fun fashion design that are manifested in the emotional consumption era. First, fun fashion design that is presented by designers from the consumers' position manifests in the form of deviation from the every day life rules, use of the child-like expression mediums and unexpected turning, fun fashion design when it pertains to the deviation from the every day life rules is expressed freely, adopts object and forms it, and mixes in the alien elements, fun fashion design when it pertains to the use of child-like expression element is manifested in the form of child-like expression, child-like expression of the form, child-like drawing, introduction of the child-like object, character and graffiti. Moreover, fun fashion design of the unexpected turn is expressed with illusion and storytelling. Next, fun fashion design from the participants' position is a design created by the active participation of the consumers. As the producers who participate actively in the product design process, design is modified by the design of participation and users so that the users can enjoy it. Likewise, it is manifested in the form of design of participation.

• Korean Institute of Interior Design Journal
• /
• v.20 no.4
• /
• pp.74-82
• /
• 2011

All the phenomena and subjects of nature and society are within correlation interconnection, and they are inseparably connected one another. The elements of this interaction can be found out through the concept of transparency in the space composition of Korean traditional architecture. This study is focusing on the access space, in other words, a gate-house that is a buffer zone playing a process role up to the main space among successive spaces. It was chosen to be the subject of the study since it strengthens convergence into the main building and with the effect connecting spaces, it could show well the spatial possibility of transparency. Besides, the subject of the study is limited to the Moonru Multi roofs that improves the functionality of spaces between gate-houses, and it is intended to progress contents by comparative analysis of two kinds such as Seo Won gate-house and temple gate-house. Korean traditional architecture places emphasis on harmony within the whole spaces. There are intimate relations between surrounding environment, external spaces and internal spaces, and it is important understand the spatial relations according to the shape appearing through interactions of parts in the whole spaces. In conclusion, the Moonru Multi roofs is analyzed with the method of extracting the concept that is contained in the frame of analysis and through ecological views through a visible and structural method. It can be understood what kinds of method for communication were used for ancestors to recognize and use spaces with the deduced concept through the analysis of the Moonru Multi roofs with different character.

• Journal of architectural history
• /
• v.3 no.1
• /
• pp.161-172
• /
• 1994

This is part of a study on the origin of modernist forms and settings. Forms in Modern Architecture are totally new as though they seemed to be originated from some remote culture. Archaeological studies and Laugier's primitivist attitude to the classical architecture provided a way leading, in the end, to pure structures and abstract forms. An application of the classical elements was combined with the ultimate image of nobility, simplicity and rationality. What the seventeenth and eighteenth century theorists realized in the ruines of the classical structures were not the ones with their original organic vitality but the deteriorated, naked and abstracted ones. The essence of the classical structures has been the one of the main references of the modern white architecture. Ration and Nature were the quintessential terms in the design process of the Enlightenment architects of the late eighteenth and nineteenth centuries as they were in the twentieth century architecture. Pure geometric and symbolic forms were new inventions for the new revolutionary age after the development of architectural Styles, successive until Baroque and Roccoco, ceased to go on to the next phase. Many of their buildings appeared so modem in character, for they were omitted all but the essential structure and decoration. Other sides of rationality in the pre-modern age were evolved in terms of the paradigmatic research and the logic in structure. Durand developed a systematic typological approach to the forms. Geometry was the basis of his designs and his illustrations resembled endless simple geometrical problems. One of the other rational approaches was mainly developed by Viollet-le-Duc. To him, Gothic architecture was the model in which each members functioned actively and exerted counterpressure and the Middle Ages invented new fantastic forms. The several ways of rational approaches in architecture were led to the 'tabula rasa' planning in modern architecture. Nature was remained untouched and not deformed as Ledoux's houses in the $H{\hat{o}}tel$ de $Th{\acute{e}}lusson$ were setted on informal gardens. It is part of the modem image that Nature flows or interpenetrates through the white prisms of the strictest classical purity and machines.

• Journal of Fashion Business
• /
• v.17 no.1
• /
• pp.98-113
• /
• 2013

This study is an attempt to analyze the daily life of the Western-yearning Seoul citizens and the inflow of the Western culture into certain social classes. The customs of the characters in the film are studied to illustrate the process of deconstruction of Korean traditional clothes due to the Western influence. The combined application of the Western and Korean styles is also observed. All this study leads to the sense of homogeneity of the times and the conformity to the culture the Korean women shared, which boils down to the social identity of the Korean women who sought an escape from the men-centered social structure by displaying their competence in the field of global modern fashion. As Seonyeong Oh, the main character of the film, , was wearing in the movie the Korean traditional dress, socks, rubber shoes, and then a western-style coat, it well shows that in 1950's, the traditional dress and ornaments were mixed with Western styles. In time, men's wear were completely changed from the traditional Korean clothes to suits, while women's could not break off from the traditional clothes and become westernized, which indicates that the men-centered conservative ideas to keep women within the feudal regime of the society remained. The military look of Seonyeong Oh while she was acting in the society was a symbol of anti-bias against women and anti-convention as well as the will of freedom as an independent woman. Besides, the modern girls would wear clothes of military fashion, Dior's trapeze line, and knit styles flattering the figures. All these well show their desires to embrace Western cultures, especially their dress fashions as well as manners as so-called enlightened ladies. All these elements show that the director was trying to represent the progress of the drama, characters, and psychological states by means of the dress and ornaments.

• The Journal of the Korea Contents Association
• /
• v.16 no.8
• /
• pp.601-610
• /
• 2016

The 21st century is as an age of culture, and cultural goods presenting the cultural spirit of one nation should reflect the tradition, culture, and techniques of that nation. The twelve horary signs of the gods are the creatures of our nation's native religion and thought have existed from the unified Silla period to today. Therefore, many things belong to the category of cultural goods, but in this study the guidelines for the design of cultural goods are limited to the characters of the twelve horary signs. For this study concept and classification of cultural goods, Korean traditional formative special qualities, concepts and composite elements, symbolic meanings and special qualities, personifications, and unique images of twelve horary signs of are researched. According to the results of the research guidelines for the design of cultural goods, images of cultural goods, classifications applying to each subject, the formative special qualities of Korean traditions, personifications, and concepts on the development of cultural goods are presented..