• 한국조경학회지
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• 제31권6호
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• pp.28-40
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• 2004

The purpose of this study is to identify the characteristics of monuments in the Seoul Foreigners′ cemetery at Yanghwajin, a place where many prominent Christian missionaries and other Christians have been buried near Choltusan. In considering the characteristics of gravestone details, the researcher has divided the details into 4 analysis categories: forms, symbols, epitaphs, and materials. For this research, 281 monuments were selected including 68 of missionaries, 26 of U. S. Army Soldiers, and 13 of teachers. The analysis revealed that there were 26 types of monuments. This includes simple and standardized types like the tablet, headstone, marker, and monolith. These were used more often than other shaped types such as the Cross, obelisk, sculpture, etc. Standardized types made in Korea have been preferred after the 1950s even though the beauty of the gravestones has been degraded. Symbolical decorations related to religious, social, professional or military emblems were also introduced to strengthen their symbolical objectives. Among them, fie Cross was the most predominant Christian symbol and emblem. The families wanted to inscribe epitaphs, the greater part of which originated from the Bible, poems, idioms related to tribute, rest, supplications to deity, love, achievement, to express human sentiment and religious faith. When using materials for making monuments, monument makers have mostly used stone because of its durability. Until the 1950s, various stones had been used to make monuments, for most marble and granite were brought from foreign countries. These were very different from the Korean white marble stone used for many monuments. After the 1950s, the source of stone has been limited to Korean stone, for Korean could make stone monuments that foreigners were agreeable. Especially, a black marble stone called "O-Suk" which means black stone, has been used as a main material. The study identified the following characteristics of monument details in the Seoul foreigners′ cemetery at Yanghwajin. First, Christianity has been applied as the main concept, while symbolizing the homogeneity of religious, family, social, professional or military groups by having the symbolic form, symbol, and epitaph in common. Second, monuments made after the 1950s have been standardized into unattractive and monotonous forms by the limited materials, and so the beauty of the monuments has been degraded.

• 디자인학연구
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• 제12권4호
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• pp.263-272
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• 1999

창조적 판매환경은 소비자에게 기업 이미지를 효과적으로 전달하여 소비욕구를 증진시키고 신뢰감을 형성하며, 이는 결과적으로 기업의 이윤확대로 이어지게 된다. 따라서 오늘날과 같이 기업간의 경쟁과잉으로 인해 그 차별성이 모호해진 경우 소비자의 개성충족을 위한 매장 디자인은 더욱 중요한 부분으로 대두되고 있다. 이에 본 연구에서는 소비자의 다양한 요구와 무분별해진 상업공간의 이미지 차별화를 위한 방안을 제시함에 있어서 벽을 중요한 요소로 인식하였다. 패션전문점에서의 벽을 기존의 구조적이고 단순판매를 위한 진열적 성격의 한계성에서 벗어나 공간에서 시각적 기능을 가진 요소로 해석하였다. 기존 구조벽이 갖는 물리적인 중요성보다 상징적, 시각적 측면에서의 기능성과 구성방법의 측면에서 접근하였다. 또한 구조 내력벽을 중심으로 시지각(視知覺) 빈도가 높은 내벽면과 사인성을 가진 파사드의 상호연관성을 분석하여 패션전문점에서의 벽면 구성에 의한 효과적인 이미지 표현방법을 제시하고자 하였다.

• 한국조경학회지
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• 제13권1호
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• pp.109-121
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• 1985

A study on the image identification of urban streetscape is valuable for illuminating identity that is not yet fully approached in the field of environmental design. This analysis of urban streetscape for image identification allows us to make a more detailed exploration of an important approaching methods in dealing with the structural characteristics of identity. As a matter of fact, the earlier indirect studies on this image identification were made by environmental designers, such as architectural and urban designer in the field of environmental perception and came to its environmental cognition & environmental pattern research with assistances by such researchers as K. Lynch A. Rapoport & Christopher Alexander. Through its environmental perception research, we can see its structural characteristics that is aesthetic & visual structural contents of physical environmental elements. And we can see its cognitive characteristics through the environmental cognitive research, that is continuity, territoriality, identity of place, uniqueness or individuality, meaning & symbolism. Through its environmental pattern research, we can see its physical, socio - economic, cultural and symbolic pattern identification contents, that is physical form of the city, style of the street, pattern of streetscape, socio- economic & geographical locality, arid life cycle, life style, common style of the behavior, cultural pattern of the activity, socio - cultural expression of the symbol. In these process, we can set up a set of the environmental design criterias from those three integral studies for identity. And for an environmental research, Tongsung-Ro around the CBD (central business district) in Taegu City was selected for a case study, because this streetscape is suitable for that approaching methods in this study.

• 동남아시아연구
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• 제21권2호
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• pp.263-291
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• 2011

The purpose of this study is to see and compare the contemporary Korean-Thai female poems from a feminine standpoint to newly clarify the textuality of their poems. The textuality defined in this manuscript is the text of Korean-Thai contemporary female poems. To newly clarify the textuality of their poems are to go against the existing discussion method and to newly read out the text as re-vision method. This discussion is to analyse deeply how the central exis composing a text which is the identity of woman in a body, appearance of uttrance, or action of abjection is exposed in gender space and to identify the poem's textuality. In other words, through in-depth analysis of the text of poems, which are very complicated as a skein of yarn, place a high value of Korean-Thai female poems. Transcending time, nations and races, if the text of female poem would not free from a biased male-dominated thinking or make a mystery of female poem textuality without critics or tend to be stereotype the text of poem as pathos of female, it would not get out from man-centered reading. To escape from the state of sexual discrimination, the new reading method was seriously analysed and found out that the female text poems not only implicate sexual discrimination but also link to expansive cultural and social structure. And for that reason, this study raise a question to male-dominant sexual discriminated norm. It is very significant that through this elaborate and in-depth text poem analysis, a creation process of female poem is traced. Eventually, the comparative study on Korean-Thai female poems is meaningful and worthy in regard to the contribution to promotion of cultural exchange between korea-Thai two nations and furthermore extend to East Asia to make a basement for the vitalization of Asia comparative literature.

• 비교문화연구
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• 제26권
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• pp.445-463
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• 2012

Beltenebros is Antonio Mu?oz Molina's third novel. Its plot originates in a criminal act. Darman, the main character, arrives in Madrid to kill a traitor of the undercover organization to which he himself belongs. Treason is paid with death and Darman is in charge of the executions. The intricate story of espionage and intrigue is absorbing. Unlike other novels of the genre, in Beltenebros we can witness a unique psychological development of the main character. In his fiftieth anniversary, Darman becomes conscious of the painful and devastating effects of his criminal acts on the lives of the people he has crossed paths with. Then, for the first time, he acts like a Romanesque heroe by killing Valdivia-Ugarte, a deceitful mole who has been manipulating the strings of the plot to his own benefit. The story unfolds along an almost uniform progression of chronological time, only interrupted by random memories of a past that twenty years ago destroyed Walter's life, and in which Darman and the rest of the characters are all implicated. Few references to the Spanish Civil War inserted in the discourse are, however, of paramount importance as the depiction of a historical trauma, as a triggering force for the episodes of the novel, or as justification to Darman'scrimes as well as those of the clandestine Comunist Party. Indeed they were the victims of the conflict and the winners inflicted upon them hatred, repression, treason and disloyalty. As in other Mu?oz Molina's novels, the literary space, in this case Madrid, propels the development of the plot, and plays a protagonist role only equal to that of the main characters. It is in Madrid where Darman lives until he becomes prisoner of the enemy army, or where the symmetrical deaths of Walter and Andrade take place. Other spaces inhabit Madrid: the Universal Cinema, symbolic territory of the secret and hidden, where the story, as well as the relationships of the characters start and end the warehouse; or the Bo?te Tab? the nightclub that frequents Valdivia-Ugarte through secret passages connected with the Universal Cinema.

• 대한건축학회논문집:계획계
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• 제35권7호
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• pp.63-72
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• 2019

The purpose of this study is to apply the types of urban street pattern and the shape of streets to the master plan of a religious community complexes. The street pattern is a framework of urban structure and to understand the urban structure is helpful to understand the nature of urban streets. By analysing the precedent researches, the types of street patterns are classified as a serial pattern, a branching pattern, a grid pattern and a web pattern. The street patterns are hierarchically composed and classified as a differential development and sequential development. There are boundaries and gates where the street space is differentiated to the more private level. The urban streets continue to the architectural streets such as arcades, deck streets, corridors, lobbies and halls. The purposes and results of the master plan of this religious community complexes are as follows. 1) The school area, housing area and service area are properly separated and connected. They are separated by the building masses and connected by the street space in between. 2) The street pattern of this complexes is a serial pattern where the streets are the center of each functional building groups. The entry square is divided by the symbolic building. The one branch is school street and the other is living street. These streets are combined again to the festival street. 3) The architectural streets are organically related to the urban streets. 4) Each street spaces are of adequate form according to its properties as a place. 5) There are boundaries or gates such as a gab between buildings, posts, arches and deck streets according to the relationship between streets.

• 영미문화
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• 제10권2호
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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.

• Journal of Information Technology Applications and Management
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• 제28권3호
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• pp.77-87
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• 2021

The color gray in the cinema expresses the private or public memory and oblivion in the reminiscence scenes. The aesthetic function and meaning of gray that interacts with other elements in cinematic time and space are expanded in various ways. This study was analyzed the cases in which gray was used as the main visual style by limiting the scope to Korean films. Based on the traditional cultural symbolic meaning of gray, I analyzed how it was applied and transformed in films, and interpreted the cultural-social meaning by the interaction between gray and other elements. In film history starting from monochrome, gray has been used as a visual device suitable for realizing cinematic or imaginary reality. Gray is adopted when dreams or recollections are visualized as imaginary reality, and it is used when dreamy imaginations of daydreaming are demonstrated. Gray, which reproduces the dreamlike reality of imagination, is the concrete and realistic way of expression. First, in Korean films, gray is a flashback visual device that recalls the past, and is an intermediary visual form that materializes the imaginary. In films such as Ode to My Father (2014), DongJu (2015), A Resistance(2019) and The Battle : Roar to Victory (2019), the gray of the past is a visual device for cultural memory that builds the homogeneity and identity of the group. In the era of hyper-visibility, gray in black and white images is intended to be clearly remembered by unfamiliarity rather than blurry oblivion by familiarity. Second, in genre films with disaster materials such as Train To Busan (2016) and Ashfall (2019), the grays of rain, fog, clouds, shadows and smoke highlight other elements, and the gray color causes anxiety and fear. In war films such as TaeGukGi: Brotherhood Of War (2003) and The Front Line (2011), gray shows a more intense brutality than the primary color. In sports films such as 4th Place (2015), Take Off (2009) and Forever The Moment (2007), gray expresses uncertainty and immaturity. Third, gray visualizes the historical memory of A Petal (1996), the oblivion in Oh! My Gran (2020) and Poetry (2010), and the reality of daydreaming Gagman (1988) and Dream (1990). At the boundary between imagination and reality, gray is a visual form of dreams, memories and forgetfulness.

• 한국조경학회지
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• 제28권5호
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• pp.68-75
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• 2000

The purpose of this paper is to define the spatial scope and landscape structure of the capital city of Shilla Dynasty. We have tried to analyze the locational characteristics, the location and landscape form of the Yonggang-Dong pond site which was assumed a part of a king's place, and had the important implicitness in delineating the spatial scope of capital city of Shilla Dynasty. The research took the theory of landscape cognition as a tool, and processed with the book review related simultaneously. The results of study are as follows; 1) It has been almost conformed that the Yonggang-Dong Pond Site was a part of the North Palace of Shilla Dynasty, and it took the form of fully enclosed by the forest, such as the names of Imjungsu and Gosungsu, and so on. This fact has leaded to the special landscape form of 'Forest with Palace' that is an similar pattern of Forest with Tumulus, Forest having Well, Forest having Well, Forest having Mountain. Each of them is symbolizing the place of holiness in the Shilla Dynasty. 2) The Yonggang-Dong Pond site and its surrounding forests made them together be the north border of the Capital City of Shilla Dynasty. This fact made it possible to consider the form of landscape of the Najung Forest with Posugjung Pavilion as the same on which was on the southern border of the city. 3) The above mentioned facts lead to clues that the border of the capital city of Shilla Dynasty does mean that it was not the mere functional one, but symbolic one. Thus, this paper suggests that the spatial scope of the capital city of Shilla Dynasty should include not only the area of block system, but also the surrounding natural area of mountains, forests, and so on, including the artificial elements of palace and pavilion. 4) This type of borders with the natural elements show basically the different type and function. We could find out some examples from China's and Japan under the same block systems and in the same era. It should be more identifiable in the form and the meaning of landscape of the capital city of Silla Dynasty in ancient Korea.

• 건축역사연구
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• 제16권6호
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• pp.67-86
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• 2007

Choseon Dynasty, from many aspects, saw the institutional establishment of its royal palaces in the 17th and 18th century, with 'donggwol (east palace)' as the most representative form in the era. In that period, palaces were managed in the best way that fits the royal etiquette and order to maintain the Confucian framework of the times. While the royal palace was the place for the king to conduct state affairs, it was also a compound for the royal family to lead a life in. Since the royal family was also based on the Confucian system, women in the royal palace seldom revealed their existence to outside world. Yet daebi,(a Queen Mother) who was often called 'dongjo,' enjoyed the highest level of honor not only as a member of the royal family but in the hierarchical order of the dynasty. As they often engaged themselves in political affairs, daebi raised their reputation through rites and rituals. So, in the 16th century, they largely used Changgyeong-gung palace in the eastern part of the royal compound since they sometimes had to go out of the royal residence. While it was called 'dongjo' because it was seated in the eastern part, it was also used as a word symbolizing daebi. And, therefore, it has become a general principle of royal palaces to build the palace for daebi in the eastern wing of the compound. However, the residence for daebi was not always built in the eastern part in the 17th and 18th century and, instead, edifices for daebi were sometimes erected in several points within the royal compound. Beside, daebi's residence in this period had additional spaces for ceremonies since they had a number of official events there. Construction of daebi's residences in this era was not confined to the symbolic institutions and they became the peculiar palaces with specific characteristics for official ceremonies of the queen mothers. Consequently, it could be said that the architectural style of dongjo, which was the place of the supreme female in the hierarchical order, stemmed from donggwol where daebi spent the longest time of the royal life.