• 건축역사연구
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• 제11권4호
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• pp.87-98
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• 2002

The purpose of this study is to know the characteristics of the ancient city through the basic composition of Jericho city. But there are little documents in the ruins of Jericho, and so there are the limit to understand the basic characteristic of the ancient city. And so this study is going to know the symbolic meaning of the ancient city of the Jericho city, through the transcriptions remains. Producing the concept that Jericho is the old city in the world, this study is significant that utilizing with the basic document of helping to understand the basic composition and characteristic in the ancient city. Also because the bible documents of Jericho is explained the city in the bronze age, this study sets bounds to BC 15C, and to know the symbolic system in Jericho. In the christian transcriptions, it is represented the Jericho city BC 15C. Jericho city here is described the type of the labyrinth is composing of the city in the center and surrounding by the walls. The circular type of the labyrinth city has symbol of the 'protect' having the magic power against the opposite party. Also the walls of labyrinth are the boundary territory of 'abstract conception' to round seven times. The center in the shape of Jericho is 'closing field' against circumferences, and this is different from the labyrinth on the floor in the medieval Cathedral is symbolized 'opening field'

• 복식
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• 제57권1호
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• pp.66-82
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• 2007

This study has analyzed the main works of Hayao Miyazaki, a great master of Japanese animation, and inquired into the internal and external feature of characters depicted in his works. The creation of animation character starts from non-being in the planning step and becomes an important medium which will contain the story and the subject of drama. Therefore it's possible to analogize what he intends to represent through the identity, role and external feature of characters appeared in Hayao Miyazaki's animation. As a result of analyzing these external features, the message pursued by Hayao Miyazaki shows diversified girl character unlike the existing one of Japanimation, the girl characters in his works are sometimes sexless, sometimes androgynous, but they take the role to show the intention of director and to settle matters through new femininity free from any frame. In addition, the story of drama and other components show that the Japanese-typed is being sublimated worldwide with fantasy world through oriental appearance of girl character and various color symbols.

• 복식문화연구
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• 제2권2호
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• pp.247-263
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• 1994

This study is concerned with the slsl 瑟瑟. The identity, origins of the word, kinds, the place of production, and the sues of he sl sl were examined. The world sl sl means the sapphire. The Chinese word se se(seh seh), 瑟瑟 was derived from the Hebrew word, she she meaning marble. The use, meaning and the phonetic value of the sl sl between the Chinese and the Hebrew were the same each other. It indicates that the Chinese word se se(seh seh) was the transliteration of the Hebrew word she she. The sl sl were produced in the Middle East Asia and the sl sl used in ancient China was mainly originated from the Middle East Asia. The sl sl of Silla was also the sapphire and it was an article of the imported goods from the Middle East Asia. Women of Jin gol(true bone) were not use the sl sl as a material to decorate for their combs and headdresses. Also women of yuk du pum (six du pum) were prohibited to use the sl sl as a material for their combs. It indicates that the privilege to use the sl sl for a comb and in a head dress was restricted to the queen in Silla and it remained as a symbol of nobility and dignity.

• 복식
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• 제67권1호
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• pp.1-21
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• 2017

The Korean folk drama is one of the traditional art performances of Korean folklore, and it is usually characterized by mask dances. An investigation on the costume of Korean folk drama is of great historical significance because they present the variety of typical costume according to the characters. The Sandae-Nori drama of Seoul Gyeong-gi province which was designated as im- portant culture property, has the closest form to general Korean folk costume. The usual characters have their typical costume and reflect the costume of the latter Choson Dynasty period. The costumes are used as a tool of the drama to indicate the character, and the impression of the dance. The costume of the Korean folk drama is made to indicate the character because it is for the play. What is more, the costume of the Sandae-Nori drama of Seoul Gyeong-gi province shows the general aspect of folk costume of the world, which remains as the symbol of the traditional culture and shows more decoration and visibility.

• 패션비즈니스
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• 제5권3호
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• pp.63-71
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• 2001

The symbol of the sacred tree represents the world tree. They were influenced by Tree worship in Northern mounted nomadic groups, and the first is quite obvious, that the sacred tree is a palm tree. The Assyrian sacred tree possesses characteristics, making the tree iconographic and rather artificial. The tree typically has a thin trunk arranged in two or three tiers. Each tier is separated by horizontal plates or bands. The top of the tree is crowned with a palmette form. Wavy streamers emanate from the tree abd terminate in palmettes in a criss cross fashion. The central trunk is topped with a palmette and surrounded the trunk with palmettes emphasizing a link to date trees. The number of branches on the tree is limited, and there are usually seven, fifteen or thirty branches. The connection of these numbers with those of the week, and of the lunar wax and wane is so obvious. The branches on the tree may have indeed represented a calender of some sort. Mainly based on the excavated tomb articles of the three kingdoms and referred to Chinese and Japanese ones, Sacred Tree pattern showed that was lightly influenced by the times and area, but was slowly changed and developed to different types through those each ages generally. The Sacred Tree type was three part in according to the wavy streamers emanate from the tree abd, Sacred tree type I, Sacred tree type II, Sacred tree type III[the Mountain(; 山)-typed piled up Sacred Tree].

• 건축역사연구
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• 제2권2호
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• pp.89-106
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• 1993

Wherever Buddhism has flourished, there were stupas in the form of monuments which have their origin in the tumulm of prehistoric times. After the death of Buddha, his body was cremated following the Indian funeral custom. His ashes, which long reserved for the remains of nobles and holymen, were enshrined under such artificial hills of earth and brick. The Stupa was in origin a simple burial-mound. The form of the burial-mound was a symbolical or magic reconstruction of the imagined shape of the sky, like a dome covering the earth. The domical form of the earliest tumuli may have been concious replicas of the shape of the Vedic hut. There are relationships which may have originally existed between the stupa and West Asiatic monuments. Buddhist Stupa originally cosisted of an almost hemispherical tumulus(anda) and an altar-like structure (harmika) on its top, surmounted by one or several superimposed honorific umbrellas (hti, catta). This hemispherical form is associated with centralisation, lunar worship, mother earth, and Siva. Anda means a symbol of latent creative power, the harmika symbolizes the sanctuary enthroned aboved the world. The honorific umbrella, as an abstract imitation of the shade-giving tree is one of the chief solar symbols and that of enlightenment.

• 비교문화연구
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• 제26권
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• pp.43-71
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• 2012

In this article, we recognize the cross-cultural communication between Greece and Spain through El Greco's pictures. The Greeks of Crete kept to their culture and continued to look to the declining Byzantine Empire for spiritual and political guidance. For two centuries after the conquest, the strength of the Byzantine tradition had become the moral and spiritual sustenance of the conquered in Crete. The basic contribution of Cretan intellectuals or artists such as El Greco of the fifteenth and sixteenth centuries was the forging of connecting links between the Hellenism of the old Byzantine East and the rising, youthful Hellenism of the Renaissance West. In this way, Crete served as an important halfway point between East and West. The saint Mary Magdalene was symbol of Christian penitence, which represents the penitential life personified and became widespread during the Counter Reformation, when new emphasis was put on the value of prayer and repentance in the forgiveness of sin. In Spain, the Penitent Magdalene was popular and El Greco painted many versions, which at the first time, were reflected by Tiziano, on the contrary, at the time of Toledo, were recreated by his own style. Although El Greco was converted to Catholic in Spain, his faith in Greek Orthodox Church influenced on his original painting world. El Greco had never painted a picture whose subject treat with the emphasis of identification between Mary Magdalene and Mary, younger sister of Martha.

• International journal of advanced smart convergence
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• 제8권1호
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• pp.176-183
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• 2019

Rhyme of Truce is an educational program that helps you develop the ability to cope with cyber violence rightly. we aim to produce educational contents that will last a long time in the memory of specially children. By combining the room escape game and Leap motion / VR, the program reflects the user's motion and action in real time. The Keyboard Worrier comes into contact with the user and causes violence, and the user who is attacked by the monster see several negative messages written in red and hears abuses sound. Users enter the virtual space decorated as the cyber world. They can experience cyber-violence indirectly but vividly, and if language violence, which has been overlooked and recognized only as "letters", is executed offline, it will directly wonder if cyber-violence should also be regarded as a means of violence. Users have the opportunity to cope with violence autonomously. When a user is attacked by an in-game monster, there are two ways to choose from. First, fighting against with a keyboard (which is a symbol of language violence) just like a monster. Second, report the abuser to cyber bureau police. Both methods make them to escape the room, but when they get out of the room and return to the home and read the message through the monitor, users can recognize which action was right for.

• Asian Journal of Innovation and Policy
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• 제10권1호
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• pp.132-154
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• 2021

A mega sport event as the globalization phenomenon is not only the symbol of the process of modernization but also the vehicle to upgrade global power and hold a dominant position in the world competition under the post-industrial era. This study notifies the role of mega sport events as a strategy for urban innovation in the context of global and local. Comparing the different roles of mega sport events between developing countries and developed countries, we intend to answer two questions: 1) what explains the nature and role of mega sport event, and 2) what are the major evidences of the transition in the globalization era. The conceptual framework, based on the temporal and spatial perspective, provides the mechanism through which the strategy for urban innovation has been changed from 'motivation for modernization' to 'rethinking of localization.' Focusing on the case of Seoul, we also compare major issues between two phases: role of agent, urban form, and urban development. Finally, this study sheds light on the concept of 'glocalization' which means the convergence of globalization and localization; and suggests the roles of (local) agent for hosting mega sport events.

• 영어영문학
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• 제58권4호
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• pp.633-653
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• 2012

This paper discusses the two major Korean Shakespeares, Kim Myung-Gon's King Uru and Oh Tae-Suk's Romeo and Juliet, in answer to the request made by Stanley Wells at the 2006 Craiova Shakespeare Festival: theatre practitioners should have 'something worthwhile to say' before they put something of their own in Shakespeare's place. Kim and Oh, who have won international acclaim for their adaptations, present 'something worthwhile to say' by bringing Shakespeare to the world in the light of traditional Korean astronomy. The star map named 'Cheonsang yeolcha bunya jido,' which was founded in 1395 and designated as the No. 228 National Treasure of Korea in 1985, is employed as a means by which to bring 'something worthwhile to say' to Shakespeare: it works as a symbol of the cosmic power to restore the divided kingdom and strengthen the kingly power in King Uru; its concept of Hyeonmu, the northern seven lodges of the twenty-eight constellations, is associated with the deaths of not only the lovers but also the whole members of their families in Romeo and Juliet. It is representative of the sunny, light and fiery force of yang in King Uru, whereas of the shady, dark and watery force of yin in Romeo and Juliet. Thus these two productions differ in their approaches, although they make the relevance of traditional Korean astronomy recognizable by redrawing the bounds of Shakespearean tragedy genre: King Uru reminds us of the human capacity for self-recovery, while Romeo and Juliet the human capacity for self-destruction.