• Journal of the Korea Furniture Society
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• v.21 no.3
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• pp.253-260
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• 2010

The drop handle in the Chosun-Dynasty played a role lifting up the cabinet and box which was attached to and besides this had the decoration function. The scope of this study should include the drop handles from the $18^{th}$ century up to now by investigating and analyzing their definition & function and furthermore the types of their designs. The object of the study was the drop handle having 2 golden fixing parts which are definitive difference from ring or loop, and the design typology of drop handle was concentrated on the handle part, and it can be classified in two types. The one is the figuration of bow, bat, bamboo, fish and bird and so on from the motive of nature on the handle part, and the other one is the drop handle of the simple ㄷ-shape, the temple-symbol shape or geometrical forms. According to the analysis of relics & literature from the past it was found that there were more quantitative nature-motive figurations than the geometrical forms. The nature-motive figurations were again classified in box-, bat-, cloud- bamboo-, fish- and bird-type, and the geometrical forms in ㄷ-shape, the temple-symbol shape and others. The cases applied to furniture are roughly divided into the front-attached type and the side-attached type. In comparison of the drop handle in the Chosun-Dynasty with that of modern times, ㄷ-shape and bow-type keep the long tradition of the drop handles despite of the constructive change partly. Ring-type is similar to the just ring or loop of the part and drop handle with one golden fixing part, while the knob-type shows almost same forms in the past as well as in the modern times. Which type among handles in the modern times has little connection with the past is the reclaimed type, and it was showed in the Chosun-Dynasty and also is showed up to now identically that the man-made hole on the front side of the drawer for the function as handle.

• Journal of Science of Art and Design
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• v.8
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• pp.211-239
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• 2005

The purpose of this thesis is to explore a common characteristic of the diverse oriental images mainly from the figurative point of view, and apply it to the contemporary expressions and methods of painting. To do that, I separated the concept of figure into two factors - form and image - and then approached and solved the problems of figure by explaining the two factors respectively. Separating form from image is neither to set two factors against each other nor to isolate any of those values. It is worth dividing the form and the image not only because the image of the oriental painting has a figurative value constituted from an external frame of the form, but also because it has a close connection with the meaning that the form holds inside. These are the reasons why I conceptualize the individual language of form and image. Furthermore, I attempted to investigate how those two factors and mutual relations between them make real figurative images under the principle of harmony and coexistence. The theme of this thesis - the figurative aesthetics and its contemporaneity in the oriental paintings is analyzed based on the understanding of 'figure' within the framework of oriental paintings. A research of image from the figurative point of view is valuable in that it criticizes the past method of thinking, and proposes an alternative formula for new way of thinking. In this regard, I indicated the limit of the theory of form-and-spirit that has been one of the most important conceptual theories . Instead, I' accessed to various aesthetic concepts - that are created in the course of image formulation - from the actual figurative point of view, and then even interpreted it as a figurative value of the oriental paintings and it's application within the specific and practical scope. During the course of research, I explored the conceptual elements of the tradition and the principle of figuration. I expect this study to make a footstone for bringing traditional aesthetics to the contemporary context of oriental painting.

• Journal of Conservation Science
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• v.29 no.4
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• pp.367-378
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• 2013

Microstructures and nonmetallic inclusions of five forged iron axes and one cast iron axe were analyzed. The axes were excavated from the Proto-Three Kingdom Period site located in Yangchon, Gimpo. The forging objects were made of almost pure iron and low carbon steel, and only one among five were quenched after its figuration. Malleable cast iron structures showing on the casting suggest that the decarbonized casting method were applied. According to the results of nonmetallic inclusion analysis, the axes were produced by hammering the iron bloom which was attained with low-temperature -solid-reduction-method. Showing higher Fe content over $SiO_2$, it is assumed that the re-collecting rate of Fe was low because of the insufficient forging temperature and the impurities were included during the smelting process. It is assumed that the lime was used as a preparation because of detecting high Ca contents.

• Korean Institute of Interior Design Journal
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• v.15 no.6 s.59
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• pp.43-51
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• 2006

The purpose of this study is to present possibility about applying space design of urban theory focused on collective memory. Urban which is the final data of human's collective life has been recognized creative circumstances human collective is living. It can not think without collective from its motivation to problem of form as well as building as element which compose these cities. It is to recognize essential attribute of construction in the collective that think architecture with urban, and It means that recognize actuality of architecture that can talk as the most collective product that represent human. There was discussion for collective and urban. But, this problem was proceeded to clear human knowledge of architecture mainly in other discipline, and even if speak as field of architecture, it could just pass confined meaning by refering at process that clear several main aspects of architecture as doing not pass over more than it. Problem of form that is ultimate aspect of architecture remained by different thing still doing not combine with collective architecture, and occasionally happened the case that make collective of architecture and relation of form overly incommodiously reducing form by a tool for diagram, shape, figuration in the aspect of collective. This research study concept for memory collective in the urban and collective of architecture, and choose urban planning methodology and their work by specific example between Aldo Rosi and Rem Koolhaas dealing with architecture and urban, and present possibility about space design of urban.

• Journal of Digital Contents Society
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• v.18 no.3
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• pp.543-550
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• 2017

Superhero films have formed a new genre convention encompassing all the generations. Figures derived from image contents are solid figures produced by means of professional figuration skills. Possession of figures has a symbolic meaning as a medium connecting the imaginary world and real one. From this perspective, figures hold an important position as a character product derived due to market expansion of the content industry. In this context, the study, which analyzed how appraisal of outward visual elements in superhero action figures might affect consumer's purchase intention, aimed to identify their purchase patterns. For this, the study established colors, types of physical body, facial figures and motions as independent variables for appraisal of outward visual elements, and purchase intention as a dependent variable and then conducted a multiple regression analysis. As a result of the analysis, the study found that colors, types of physical body and facial figures had a positive influence on purchase intention, while motions had no significant influence.

• English & American cultural studies
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• v.10 no.2
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• pp.149-207
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• 2010

Written simultaneously with Prometheus Unbound, Shelley's "Julian & Maddalo" is a masterwork of dramatic poiesis, of doubling embedded in its couplets, dialogic debate on human nature and contrasted symbolic emblems. The emblems mirror each other and are themselves sites of generative paradox: the "heaven illumined" but "dreary tower" of the Maniac and the glorious sunsets on the "ever-shifting sand" of the Lido, a wasteland that is a place of self discovery but also of "abandonment" and barren mingling figured, inter alia, in its "amphibious weeds," a trope of the poem's personae. This essay also explores the poem's dramatic structure and various rhetorical devices, beginning with the Preface, a threshold of complex identity disguise that Shelley uses for veiled self-presentation, as in "Alastor," mirroring and literary references replete with nuanced ironies. I focus mainly on the complex figures of liminality Shelley uses to develop his own thoughts (as well as his ongoing debates with Byron) about man's potential for growth in thought, insight and empathy, in political reform and interpersonal and individual healing. Advancing Shelley's most optimistic ideas, Julian, escorted by Maddalo observes the Maniac, -- a living ruin whose pained eloquence reveals the link of eros to poiesis and the limits of the latter's ability to 'transform a world.' The Maniac is the core of muse-work (remembering, thinking and song) and Shelley presents him as its emblem. He also is prefigured in and reflects the quintessentially liminal Lido with its "barren embrace" of sea and land. Yet it is less the Maniac's feeling that his grief is "charactered in vain…on this unfeeling leaf" than Julian's rationales for leaving the site of pain that point to Shelley's final comment on poetry's transformative limits. As the primary haploids of the drama's meiosis re-combine and two of them, Maddalo and the maniac fall away, an analogy I briefly develop and embedded in the erotic dynamics of poiesis, Shelley suggests, as he did at the beginning of his poetic lyricism in "Alastor" and at its end in "the Triumph of Life"that images mislead and delude; that "the deep truth is imageless" and redemption is not in but beyond figuration.

• Lingua Humanitatis
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• v.2 no.2
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• pp.223-265
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• 2002

In United States black mothers have consistently been treated as national outsiders, as women whose children, although ostensibly entitled to full citizenship, are in practice rarely provided with equal protection within the nation′s borders or under its laws. From the time he began writing in the aftermath of the failures of national Reconstruction, the African American public intellectual and political activist W. E. B. Du Bois realized that a truly effective anti-racist politics would also have to contend with the particular ways in which U.S. racism targeted black mothers. In short, he understood that an effective anti-racism would necessarily have to be a form of anti-sexism. This article examines the myriad ways in which Du Bois attempted to reconstruct the relationship between race and reproduction in the interest of producing anti-racist, anti-nationalist, as well as internationalist thinking. In so doing it treats the various representations of black maternity and child birth that Du Bois created, and elaborates on the rhetorical and political function of these representations in combating the racialization of national belonging on the one hand, and in articulating universal black citizenship, or what this article theorizes as racial globality on the other. The article begins by considering Du Bois′s attempts to transcend ideas about the racialized reproductive body as a source of national belonging within the United States, particularly his efforts to contest the idea of the reconstructing nation as a white nation reproduced exclusively by white women. Through analysis of Du Bois′s depiction of the birth and death of his son in his monumental work The Souls of Black Folk (1903) it demonstrates his reluctance to build an anti-racist politics founded on the idea that belonging within the nation is something that can be bestowed by one′s mother. The article proceeds by turning to Du Bois less well-known romantic novel, Dark Princess (1928) in which, by contrast, he depicts the birth of a "golden chi1d" who belongs not only within the United States, but within the world. This child, the son of an African American man and an Indian Princess, is cast as a messenger and messiah of a utopian alliance between pan-Asia and pan-Africa. In exploring the relationship between these two reproductive portraits, the article moves from a discussion of Du Bois′s critique of the ideological construction of the U.S. as a white nation reproduced by white progenitors, to an examination the literary figuration of a b1aek mother out of whose womb a black diasporic anti-imperialist alliance springs. In contrast to previous scholarship, which has tended to focus on the critique of U.S. racial nationalism that Du Bois expressed in his early work, or on the internationalism that he later embraced, this article pays close attention to how Du Bois′s anti-nationalist and internationalist politics together subtended by subtle, but constitutive, sexual politics.

• The Journal of Art Theory & Practice
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• no.16
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• pp.107-137
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• 2013

This paper examines a number of Korean artists-Whanki Kim, Po Kim, Byungki Kim, Lim Choong-Sup, Min Byung-Ok and etc-working in New York in the 1960s and 1970s, focusing on their motivations to head for the U.S. and their life and activity in the newly-emerged city of international art. The thesis was conceived based upon the fact that New York has been one of the major venues for Korean artists in which to live, study, travel and stay after the Korean War. Moreover, the United States, since 1945, has had a tremendous influence upon Korea politically, socially, economically, and, above all, culturally. This study is divided into three major sections. The first one attends to the reasons that these artists moved out of Korea while including in this discussion, the long-standing yearning of the Korean intelligentsia to experience more modernized cultures, and American postwar cultural policies that stimulated them to envision life beyond their national parameters, in a country heavily entrenched in Cold War ideology. The second part examines these artists' pursuit of abstraction in New York where it was already losing its avant-garde status as opposed to the style's cutting edge cache in Korea. While their turn to abstraction was outdated from New York's critical perspective, it was seen to be de rigueur for Koreans that had developed through phases from Art Informel in the 1960s to Dansaekhwa (monochromatic paintings) in the 1970s. The third part focuses on the artists' struggle while caught between a dualistic framework such as Korea/U.S, East/West, center/margin, traditional/modern, and abstraction/figuration. Despite such dichotomic frames, they identified abstract art as the epitome of pure, absolute art, which revealed their beliefs inherited from western modernism during the colonial period before 1910-1945. In fact, their reality as immigrants in America put them in a diasporic space where they oscillated between the fixed, essentialist Korean identity and the floating, transforming identity as international artists in New York or Korean-American artists. Thus their abstract and semi-abstract art reflect the in-between identity from the diasporic space while demonstrating their yearning for a land of political freedom, intellectual fulfillment and the continuity of modern art's legacy imposed upon them over the course of Korea's tumultuous history in the twentieth century and making the artists as precursor of transnational, transcultural art of the global age in the twenty-first century.

• Journal of the Korean association of regional geographers
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• v.16 no.5
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• pp.441-456
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• 2010

While the Dong Hae was originally named for the point of the compass, it became a proper noun containing knowledge on the long history. The Dong Hae has played host to a number of historic events and cultural meanings and is a geographical space in the nature. This study examined the geographical cognition of ancestors about the Dong Hae among the historic and cultural meanings of Dong Hae and a variety of figurations described in literature. Intellectuals of the Joseon period identified the global geography on a higher level an recognized the geography and topography of the land in the structure that they identified. In this aspect, Mt. Baekdu, one of two mountains which dominated the world, ruled the geography of Liaodong field, the Korean peninsula and Japnn. Historical geographers mentioned the Dong Hac whenever discussing Mt. Baekdu and Baekdudaegan (Great Range) from long ago. Baekdudaegan and the Dong Hae are the complete symbol of national territory with great size, depth, height, width, dignity and magnanimity. The cultural figurations of the Dong Hae were classified into four categories. In Korean literature, the Dong Hae strengthened the spirits of those who lived in the Korean peninsula. Second, the Dong Hae was the basis to see through and deliberate the reasons of life and the world. Third, the view of the Dong Hae from Baekdudaegan changed the cognition about the land. Finally, the Dong Hae was where the hard life of people in the fishing villages occurred and a variety of customs and trades were dynamically deployed.

• The Journal of the Korea Contents Association
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• v.17 no.2
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• pp.415-428
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• 2017

This article is a socio-cultural research on the fitness members by employing an original synthesis of the work of Elias and Bourdieu. The purpose of this research is to provide a multidimensional and in-depth analysis of fitness members, by researching the relationship between body groups with differing economic and cultural capital (e.g. Gangnam and Gangbuk, private and public center). Through interviews and participant observation, the established and outsider relations of fitness members in both Gangnam and Gangbuk are examined (Gangnam 12: Gangbuk 12). Participants in social space differentiated by fitness capital and socio-economic positions gather in certain spaces that identify them as members of the same class location: the established body in Gangnam (Gangnam E), the outsider body in Gangnam (Gangnam O), the established body in Gangbuk (Gangbuk E), and the outsider body in Gangbuk (Gangbuk O). The E-O figuration of the body in fitness clubs shows differences in their body tastes and habitus (selecting a fitness centre, body ostentation, social assessment, making muscles, participation in other sports) and civilizing process (fitness manners and etiquette). The fitness centers in Gangnam and Gangbuk were not simply spaces for exercise but symbolic spaces that both recreate and perpetuate socio-cultural hierarchies between members.