Namely, humor is one of the significant design elements which has potential to be applied and developed for the future. This study is about humor and its application in Korean traditional space, which merges culture, design, and preservation. Moreover, the humor creates intimacy and a unique sense of place so that it attracts viewers. Unlike that of Western countries, humor in Korean traditional space is soft, metaphoric, and human. The examples focused on are found in temples and palaces since those are relatively well preserved Korean traditional spaces. Through the design analyses of case studies, unique characteristics of Korean traditional humor were found, and the importance was also discussed. Ultimately, the contents of this book will become an essential design guideline for both Korea and the western world. The purpose of the research is to seek humor as a significant design concept in Korean traditional space, and establish it through the examples. Each humor in the examples is interpreted based on culture and the mentality of the age, such as religion, ideology, and customs. Also, forms and functions of humor are examined.
Finding the Hidden Design Philosophy in Korean Traditional Space. Humor, the Inner Resource of Old Wisdom
|Формат:|| Страниц 108|
Книга по Требованию
Скрытая метафора "мир-сцена" как структурный элемент трагедии Уильяма Шекспира...
Вся трагедия «Гамлет» буквально пронизана «театральным языком», её герой постоянно употребляет слова и выражения, связанные с театральным представлением и актерской игрой. Но только небольшая часть этих слов имеет отношение к театру, как виду искусства. А сцены, в которых участвуют актеры - профессионалы, занимают не очень большое, но важное место во всей трагедии. Так Гамлет говорит Розенкранцу, об актерах, приезда которых ожидают в Эльсионоре "He ha plays he ki g shall be welcome , he humorous ma space e d his par place he adve urous k igh shall use his foil a d arge ; he lover shall o sig gra is; he clow shall make hose laugh whose lu gs are ickles o' he sere Wha players are hey?" (2,2; p. 42-43). " he ragedia s of he ci y" – отвечает Розенкранц (2,2 p. 42-43). « he players» - имеются в виду актерские труппы, для которых писал Шекспир образованные из осевших в Лондоне бродячих актерских трупп. Они еще не стали вполне оседлыми и, снимались с насиженного места, часто путешествовали не только по Англии, но и по Европе (главным образом по Дании и Германии). " he adve urous K igh shall use his foil a d arge "- "странствующий рыцарь пустит в дело свой меч и кожаный щит".
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