• International Journal of Computer Science & Network Security
• /
• v.23 no.6
• /
• pp.162-168
• /
• 2023

This article presents an examination of the major cognitive-semantic theories in linguistics (Langacker, Lakoff, Fillmore, Croft). The CST's foundations are discussed concerning the educational policy changes, which are necessary to improve the linguistic disciplines in the changing context of higher education, as well as the empowerment and development of the industry. It is relevant in the light of the linguistic specialists' quality training and the development of effective methods of language learning. Consideration of the theories content, tools, and methods of language teaching, which are an important component of quality teaching and the formation of a set of knowledge and skills of students of linguistic specialties, remains crucial. This study aims to establish the main theoretical positions and directions of cognitive-semantic theory in linguistics, determine the usefulness of teaching the basics of cognitive linguistics, the feasibility of using methods of cognitive-semantic nature in the learning process. During the research, the methods of linguistic description and observation, analysis, and synthesis were applied. The result of the study is to establish the need to study basic linguistic theories, as well as general theoretical precepts of cognitive linguistics, which remains one of the effective directions in the postmodern mainstream. It also clarifies the place of the main cognitive-semantic theories in the teaching linguistics' practice of the XXI century.

• Archives of design research
• /
• v.5 no.1
• /
• pp.45-56
• /
• 1992

In the 1970s, the term Post - Modernism came into use to lable work of graphic design who broke up the Swiss style that had defined clarity and order. The characteristics of Post - Modernism graphic design include pluralistic and eclectic style. Those innovation of graphic design concerned with our social, political. cultural, and econonic changes. Deconstruction is one of the theory of Post-structualism. Deconstruction refers to the breaking down of metaphysics, rationalism, totality and so on. Deconstructive graphic design destroys traditional harmony even more than Marinetti's claim. Totality in graphic design seems to be ignored. Post - Modernism in architecture appears as historical revivalism and pluralism. The eclectic revivals and eccentric reinventions in graphic design are far too pluralistic and diverse to fit such as a simplistic system of style. Another innovation in graphic design occurs by electronic revolution. The impact of computer upon graphic design is becoming even more pronounced. Most importantly, Post-Modernism can consider the rediscovered freedom in graphic design. Graphic design is undergoing profound changes. But the essence of graphic design as com$$\mu$ication tools will remain unchanged.

• Journal of Information Science Theory and Practice
• /
• v.8 no.4
• /
• pp.29-39
• /
• 2020

The diverse set of phenomena, concepts, and activities existing in academic disciplines could be studied from multiple perspectives. One of the promising approaches to explore phenomena is hermeneutics, especially in the form of hermeneutic phenomenology, which has been formed as a consequence of postmodern movements. Hermeneutic phenomenology has taken root in the original ideas of philosophers like Husserl, Heidegger, and Gadamer, and has become one of the fruitful research methodologies over time. After a brief review of the foundations of hermeneutic and phenomenological methodologies, the role of the hermeneutic phenomenology approach in supporting research and information services is discussed. The present article seeks to describe narratively the use of hermeneutic phenomenology in such issues as information technology, information behavior, knowledge organization, and librarians' roles as related to Information Science.

• The Journal of the Korea Contents Association
• /
• v.20 no.5
• /
• pp.665-680
• /
• 2020

This study analyzed changes in Korean online-game market from RPG to MOBA and FPS/TPS genre, based on Azuma Hiroki's database consumption theory. After selecting the representative game for each genre: World of Warcraft, League of Legends, and Overwatch, we analyzed the games' story, characters, progress, and simulacre produced by game users. The results of this study confirmed that changes in popular genre in the domestic online-game market proceed from consumers' verging toward database consumption. We also found that Korean game users prefer smaller stories and characters based on database, and that consumers have produced more rigorous simulacre than those in other cultural areas and re-databased it for next consumption. This study is the first to analyze changes in the domestic online-game market and adds a contribution to the literature in terms of incorporating Azuma Hiroki's consumption theory into the domestic game market.

• Journal of the Korean Geographical Society
• /
• v.40 no.6 s.111
• /
• pp.671-693
• /
• 2005

This paper is to explore critically environmentalism, especially in terms of environmental justice, suggested or implied in theory of liberalism which has been the ideological foundation of contemporary society. It begins with a brief look at liberal perspective in a broad sense, then interprets in-depth the classical liberalism of J. Locke, libertarianism (esp. R. Nozick) and utilitarianism (including cost-benefit analysis) from the environmental point of view. And finally it considers liberal pluralism and other alternative theories of pluralism, especially communitarianism (esp M. Walzer), postmodern pluralism (esp. I. Young), and cultural pluralism (esp. C. Taylor) in order to overcome limitations of liberal environmentalism and to find out some clues for theory of environmental justice. In conclusion, this paper argues that we need to transfer from liberalism (including liberal pluralism) to critical pluralism in oder to develop a proper understanding of environmental problems and to conceptualize a desirable theory of environmental justice.

• Journal of the Korean Society of Costume
• /
• v.50
• /
• pp.69-84
• /
• 2000

Th purpose of this study is three folds: to analyze postmodern fashion through the notion of pastiche to enhance an understanding of uncertain and confused situation in the late 1990s and to suggest a way of approach to creativity and originality in recent fashion design. The results can be summarized as follows: 1. Pastiche is an art work that borrows some parts of other artists authentic works and recombines them thus imitating their style technique or motifs selfconciously. 2. Pastiche is based onthe Deconstruction theory: the end of art as a result of deconstruction of the subject the collapse of the meaning the loss of history: the late Capitalism in which reality becomes chage into images or simulacre. 3. Pastiche represented by the death of author which means the exhaustion of creativity is shown in the fashion borrowing subculture styles and art works or religious images. Pastiche fashion which is equal to the play of signifiers floated as image is shown as graffiti and objects Time and space pastiche fashion can be explained by historical eclectism and ethnic looks, Finally pastiche means not the fixed aspect but the open concept of indeterminate condition which includes " anything goes" through the coesistence of various style in pastiche fashion.

• The Journal of Art Theory & Practice
• /
• no.6
• /
• pp.7-25
• /
• 2008

The following thesis has been composed with the inspiration attained from Paul Ardenne's conception on Contextual Art. In Europe and in the United States, there is a group of artists who emphasize in the importance of artist's participation in social, political, economical, environmental and moral issues. Since the 1960's, these artists have pondered on Modernism's ideas where art is contextually separated from humanly issues whereas the manners of such artists put on emphasis in the intent to participate in the real human social and ethical issues. Forerunner in this field of art such as Wolfgang Leib display hybrid or meta style in their work. His work displays a quadrilateral form of pollen which represents the simultaneous blending of two mixed ideas such as the abstract from the real. Thus heterogeneous style and philosophy which includes a range of medias and today's trend is observed in Contextual Art. Such art form is also found in landscapes where it is not seen as an observable object but rather an interactive object. It is correlated to Arte Povera of the Italian Art Movement, Support-Surface of the French Art Movement and lastly to the Fluxus. Through these art movements, we find a mutual antipathy towards putting art for sales in the capitalism market and reflect the social role of art in postmodern era.

• Journal of the Korean Society of Costume
• /
• v.61 no.8
• /
• pp.100-113
• /
• 2011

The earlier notion of feminism regarding gender equality was changed into that of Postfeminism because of gender differences. The idea of Postfeminism has been present since the 1980s but has been influenced by modern culture theories such as Postmodernism, Poststructuralism, Theory of Power and Discourse and Psychoanalysis. Various features of Postfeminism are found in the medieval warrior images of contemporary fashion. Warrior costumes were men's exclusive property in the medieval ages, but as it is introduced as women's wear in the 21st century, it shows us new fashion images which are constructed by gender deconstruction, differences and pastiche. In this regard, the purpose of this study is to examine a key characteristic of Postfeminism fashion. An article described the historical costumes of medieval warriors and refocused on the development processes of feminism and then conducted an analysis on formative characteristics and Postfeminism tendencies in contemporary women's wear from 2000 to 2011. The results were that materials such as metallic and flexible materials, monotonic and red colors and detailed patterns of armor were used to display forms of exaggeration and restraint. These elements fully and correctly expressed the image of a medieval warrior woman in contemporary fashion. Postfeminism fashion is constructed with feminine power, gendered identity, sensual elegance and a postmodern body. Postfeminism is the contemporary cultural icon and is continuously influencing modern fashion design in the 21st century in a positive and powerful way.

• Cross-Cultural Studies
• /
• v.20
• /
• pp.295-321
• /
• 2010

The trend of globalization has sharpened the debate on interculturality, which scholars examine from different and often conflicting points of view ('content' vs. 'practice', 'culture-specific' vs. 'universal', 'communication (meta)theory' vs. 'communication practice', 'individual' vs. 'collective', etc.). Whereas all these approaches are necessary to describe the multiple dimensions of interculturality, their dichotomous nature does not help to account for its internal complexity, which cannot be dissociated from the connections that exist among all these dimensions. The difficulty posed by the essentialist interpretations that tend to result from these dichotomies is compounded by the fact that in postmodern debates priority has been given to approaches that emphasize individual or collective agency over structural constraints which have to do with political economy or with cultural and linguistic codes and traditions. This paper aims mainly at suggesting that the dissolution of the boundaries that exist between these approaches should be pursued in order to get a fuller and richer approach to their common object of study. After discussing, by way of illustration, content-based and practice-based perspectives, we suggest that one way of getting beyond these dichotomies consists in focusing on the 'interactional' dimension of interculturality, which means laying emphasis on intersubjectivity and, particularly, on the individual subjects considered as members of different cultural communities who strive to transcend their sociocultural boundaries in order to reach harmonious interactions in a world in which inequality and the de-territorialization of people and cultures are central features.

• Journal of Science of Art and Design
• /
• v.2
• /
• pp.193-221
• /
• 2000

The postmodern culture since the later 20C breaks downa tradition a relation between the reality and languages or sign images expressing it. It develops in the way to review the meaning on the object's imitation or the representation to have been followed since Plato and represent the new state and concept of expressed things. Also, The visual art leads an change of paradigm by images giving up the visual resemblance or the function of representation and endowing them with the new sense. This essay has a purpose to study an important discussion about this change centered on Baudrillard and Lacan. A sociologist Baudrillard promotes the concept of 'simulation' through detecting the reality and the social and historical state of the image. Studying on the course of this change, he calls the step that the image escapes from the stage to reflect the reality and become the pure imitation by itself simulation. The image in the stage of simulation is called 'hyperreality' because it doesn't have any an indicator or a substitute and happens by models without the original or the reality. So he asserts that art is not to contain some absoluteness or transcendency as the past, but to be as the spectacle with characteristics of meaningless, emptiness, contingency. Lacan dismantles the concept of the absolute Cogito to have become the center of the western ideology, and creates the concept of 'Other'. He concludes also the reality exists but can't be captured, and it's impossible for the thinking subject can reach it. The concept of new image which can be thought as the Symbolic in Lacan is 'Signifier without Signified' since it isn't possible to be the transcendent Signifier fixing the meaning finally in it. His 'Gaze' theory is which to be emitted in other's area determines the subject. Equally Baudrillard and Lacan sets up the new state of the image through the end of representation system As for Baudrillard, art intends to the worthlessness and is nothing but imagination. But in Lacan a picture represents the subject being in process by the dialectic of desire.