• Journal of the Korean Society of Costume
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• v.31
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• pp.203-214
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• 1997

The neck is the human body is closely con-nected with the life and properties of keeping warm as one of the opening part in clothes. In ancient times it was put on necklace for the protection of neck and in Rome it was worn muffler called focale for the protection of neck throat. in addition cravat directly originated in necktie today was primarily worn for the protection of soldier's neck and has been turned into decorative purpose until today. As the ornament is developed to vari-ous kinds of form the neck decoration is changed and grown again and again. Therefore this thesis studies history of the neckwear and various the symbolic factor. The first factor is the social. The neckwear shows the social position class and status and does social mutual interaction as conversation starters. The second factor is the mental It express individuality fondness attitude and is felt to be indignity by being forced to be worn. The third factor is the political. it shows political tendency by indicating the royal sign or part's sign in necktie like the French royal-ist's green muffler The forth factor is the man's sexual. I expresses wearing stock being brave symbol-izing independence. The sixth factor is the traditional. It is worn with appearing traditionand custom and one of cultural movements. The seventh factor is the ideological. It symbolizes the freedom of suffragettes and emancipation of woman. The social factor is the most extensive among them. The neckwear is various in the way of expression like its kinds and is generalized, It functions as a independent part of clothes.

• Journal of the Korean Geographical Society
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• v.43 no.4
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• pp.599-619
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• 2008

Korean peninsula has a long history and a geopolitical location as a buffer tone, which has provided the conditions for cultural dynamism and diversity across space and time. The changing processes of place names in Korea is considered to be better suited to the study on cultural politics that is interested in the culture wars over the meaning of culture among different social subjects. In order to ensure the legitimacy of cultural politics for the study of place names in Korea, this study attempts to make a theoretical construction based on the concepts of place identity, territorial contestation, and the politics of scale. Cultural and linguistic theories to be best applied to the study of place names in Korea are the theories on Angehm's and Castells' identity, $P{\hat{e}}cheux's$ identification, Hall's decoding, and Voloshinov's ideological sign. Power relations involved in the inclusion and exclusion are necessarily concerned with the process of constructing a place identity or territorial identity by means of a place name, which represents identity and ideology of a social subject. In the examination of this process, it is necessary to take the elements of identity, ideology and power relations into consideration. In this study, therefore, the politics of scale is experimented for its applicability in the study of place name in Korea, which is expected to accommodate concepts of boundary, territory, territoriality and territorialization. In the end, it is suggested in this study that a series of basic and interdisciplinary studies on the cultural politics of place names in a range of area should be undertaken along with the enough theoretical knowledge of cultural politics.

• The Journal of the Korea Contents Association
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• v.18 no.5
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• pp.46-57
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• 2018

Fashion is a cultural element expressing general and common aesthetic awareness in a relevant region in the relevant times. On the aspect that shoes are also a part of fashion reflecting the unique aesthetic awareness of Korea, this paper aims to analyze the aesthetic awareness contained in the aesthetic features observed in the traditional boots. The aesthetic features in terms of the form were the balanced usage of each element including curves, straight lines, simple shapes, contrast colors and materials, and the application and ideological significance as the symbol of social position and status in terms of the contents. Aesthetic awareness pursues the beauty of moderation through the compromise between curves and straight lines, as both elements accept each other's features and keep balance without inclination to one element. Next, solid and void are naturally expressed by appropriately adjusting the expression on colors, materials and shapes through the harmony of composure and techniques. While traditional boots were used as the sign indicating social position and status as the unity of spirit and a thing, they pursue the value of rhythmic vitality by giving spiritual meaning to a thing.

• Cartoon and Animation Studies
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• s.32
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• pp.141-158
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• 2013

Comics are a genre that convey meaning through compositional arrangements of dialogue and images as well as through the flow of panels across a page. Communicating that meaning to readers through a combination of language and visual lexicons is the essential process of drawing comics, a process that in itself is significant. The semiotics of comics is a field of scholarship grounded in the broader discipline of semiotic theory in which all the components of comics, both visual and verbal, are the subject of study and research. By adopting a semiotic approach we are able to objectively analyze and understand the symbolic, social and ideological meanings embedded in the signs and sign processes expressed in comics. The fundamental pedagogical mission of teaching comics is to cultivate human nature through the study of theory as well as through the production and completion of original works that explore new modes of expression. To go further, interpreting those embedded meanings in the context of comics fosters effective and creative skills of expression that go beyond a mere fascination for the genre itself. In short, because the semiotic approach to understanding visual communication is the essence teaching comics, we can expect that the act of reading and creating comics plays a significant role in understanding visual communication.

• 기호학연구
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• no.57
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• pp.27-57
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• 2018

This paper aims at (re)investigating the interrelationship between Communism and language in terms of historical experiences of Soviet Union in $20^{th}$ century. Critically reviewing Boris Groy's famous thesis about Soviet communism as the "kingdom of language", in which Soviet system is regarded as the result of "linguistic turn, executed in the dimension of social practice", i.e., as a state of "total linguistification of society", I will examine it in comparison with another very interesting view on the language system of communism(socialism): Alexie Yurchak's controversial thesis on "performative shift" in late socialism. Yurchak's unique view on Soviet socialism as a specific discourse system, thoroughly illuminating peculiar paradox of Soviet discourse system in the period of late socialism, in which performative repetition of authoritative ideological discourses does not prohibit, but rather enable the possibility of creative deviation from or unexpected reappropriation of them, could provide us with profound insights on the problematics around the collapse (the end) of "linguistic imperial" of Soviet Union.

• Korean journal of communication and information
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• v.77
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• pp.111-136
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• 2016

This paper focuses on the national "flagging" as a current affair, important phenomenon. National flags, it sees, take over varous places, control the surrounding space, and even dictate everybody's perspective by being visualized everywhere anytime. It investigates the issue of national flags and their hoisting poles as a sort of apparatuses that interpellate me as well as us into patriotic 'gookmin'. The placement, arrangement of national flag poles around the country continued throughout 2015 and particularly speeded up in October of the year is regarded as a key symbolic, symptomatic sign to read the transformation of political conjuncture. Preparing a radically conjuncturist cultural study about the changing reality, the researcher will see the flagging poles as a phenomenal result, outcoming of certain intent and plan for reconstructing the political actuality. More precisely, he will interpretate the tall omni-present poles of national flags as a dispositif of appearing the neoliberal/neoconservative capitalist state, as a apparatus of constituting and expressing the masses' psycho-ideological condition of today. The researcher, who perceives the national flag poles as a kind of ISAs. will first review the increased flagging phenomenon and related media discourses. Next, he will critically investigate the 'love our country' 'national flagging' movements organized by the above and operated from the bottom. Then, he will focus more on the very tall national flag poles built and seen around the country. Finally, he will conclude the study with a critical remark, touching briefly the case of controversy over setting a pole in the center of Seoul city square.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.123-132
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• 2019

This paper analyzes the performances of actor Song Kang-Ho in the background of interdisciplinary and integrated film acting, using performance rather than acting as a general term. If the act is a concept limited to acting training or acting skills, performance is a broad concept that includes expressions, movements, and emotions. The performance on the screen can be explained in the context of film and can be extended to the social attitude of acting. In addition, I used the term screen in terms of representation rather than film referring to medium. Song Kang-Ho expressed the performances of various characters in more than 30 films. Although his facial expressions, gestures, and voices suitable for individual characters in various genres are represented in various ways, personality inherent in the actor Song Kang-Ho integrates persona with character. What drives it is the social attitude of screen performance. As a sign, acting is an ideological construct and foregrounds a character who describes a certain social and historical moment. Song Gang-Ho as actor, persona and character, who asserts the popularity, speaks to society and makes discourse. His comic performance is always confronting the tragedy of life, his face is the spirit of the times, and it expands into social meaning. The face of the close-up does not laugh at all, the gesture symbolized by the curved rear view is exaggerated disorderedly and disturbingly, and the voice using dialect accent does not follow the standard of the vocal.

• Cartoon and Animation Studies
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• s.50
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• pp.349-382
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• 2018

China is a great civilization which is a combination of various ethnic groups with long history change. As one of these important components of traditional culture, the lucky shape has been going through the ideological upheaval of the history change of China. Up to now, it has become the important parts which can stimulate the emotion of Chinese nation. The lucky shape becomes the basis of the rich traditional culture by long history of the Chinese nation. Even say it is the centre of this traditional culture resource. The lucky shape is a way of expressing the Chinese history and national emotions. It is the important part of people's living habits, emotion, as well as the cultural background. What's more, it has the value of beliefs of Surname totem. Meanwhile, it also has the function of passing on information. The symbol of information finally was created by the being of lucky shape to indicate its conceptual content. There are various kinds of lucky shapes. It will have its limitations when researching all kinds of them professionally. So, here the lucky shape of FISH will be researched. The shape of fish is the first good shape created by the Chinese nation. It is about 6000 years. Its special shape and lucky meaning embody the peculiar inherent culture and intension of the Chinese nation. It's the important component of the Chinese traditional culture. The traditional shape of fish was focused on the continuation of history and the patterns recognition, etc. It seldom indicated the meaning of the shape into the using of the modern design. So by searching the lucky meaning & the way of fish shape, the purpose of the search is to explore the real analysis of value of the fish shape in the modern enterprise identity design. The way of search is through the development of the history, the evolvement and the meaning of lucky of the traditional fish shape to analyse the symbolic meaning and the cultural meaning from all levels in nation, culture, art and life, etc. And by using the huge living example of the enterprise identity design of the traditional shape of the fish to analyse that how it works in positive way by those enterprise which is based on the trust with good image. In the modern Chinese enterprise identity design, the lucky image will be reinterpreted in the modern way. It will be proofed by the national perceptual knowledge of the consumer and the way of enlarge the goodwill of corporate image. It will be the conclusion. The traditional fish shape is the important core of modern design.So this search is taken through the instance of the design of enterprise image of the traditional fish shape to analysis the idea of the majority Chinese people of the traditional luck and the influence of corporation which based on trust and credibility. In modern image design of Chinese corporation, the auspicious sign reappear. The question survey is taken by people through the perceptual knowledge of the consumer and the cognition the enterprise image. According the result, people can speculate the improvement of consumer's recognition and the possibility of development of traditional concept.