• The Korean Publising Journal, Monthly
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• s.313
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• pp.6-7
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• 2001

• Journal of English Language & Literature
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• v.58 no.4
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• pp.611-632
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• 2012

Beckett's life-long struggling with death may be illuminated in terms of the Western tradition of thanatology as well as Philippe Ariès's anthropological classification of death. Among the Western tradition, Beckett's oeuvre incarnates memento mori, timor mori, nihilism, theatrum mundi, life as afterlife, and the transsubstantiation of the self. Among the five views of death Ariès suggests, Beckett appears to foreground the death of the self and the invisible dirty death. In a world devoid of transcendental Signified, Beckett's resident is "a poor player/That struts and frets his hour upon the stage." Our contemporary vision of death is dominated by the dirty death and timor mori resurrected from the cultural icon of danse macabre in the late Mediaeval age as vividly dramatized in W;t by Margaret Edson. Beckett stands in no man's land: Lucky complains of divine aphathia as well as scopes at the possibility of God's existence like Hamm. Beckett's way of getting out of the dilemma is laughing a mirthless and dianoetic laugher. To bourgeois class who shudder at the sight of Grim Death after forgettable years of indulgence and addiction to capitalist consumption, Beckett seems to preach, your life is a death-in-life, you are not born yet until you are baptized with existential awakening as Gregor Samsa in Kafka's Verwandlung, or Tolstoy in Confession.

• Journal of the Korean Society of Costume
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• v.64 no.2
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• pp.98-112
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• 2014

Since 2010, Goth styles have risen rapidly in prominence as one of the major trends of fashion. This study intends to understand the Goth style shown from the modern fashion by examining its historically formative characteristics and internal meanings of the Goth style. With mystic attitude toward the medieval Gothic culture, Goth style refers to its reproduction over the cultural circles including music, literature and arts. From the result of the historical review, the formative characteristics of the Goth style may be divided into darkness, distortion, memento mori and bricolage. The historical review of the Goth style contains symbolic meaning of mystery, terror, escape and theatricality. After 2000, Goth style, in combination with factors such as postmodernism and human desire, has been established as the main trend of modern fashion, going with the popular culture. The formativeness of modern Goth fashion is the same as that of Goth style examined from the historic review. However, in modern Goth fashion, the symbolic meaning has the processes of the new: unconsciousness, kitsch, overthrow and popularity.

• Journal of the Korean Society of Costume
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• v.63 no.5
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• pp.1-17
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• 2013

As style is the center of subcultural identity and the clothes and adornments are the most visible symbol of its membership, the style of Goth symbolizes the strong subcultural identity and acts as the practical basis to demonstrate commitment to the subculture. In the turn of the third millennium, fashion designers have drawn upon and extracted elements from many subcultures to use in their collections. High fashion designers have introduced the Goth style since its inception in the 1980s. The energy and authenticity of Goth has been considered to be desirable in high fashion. The aesthetic property of Goth subcultural style defeats the established notion of standardized fashion and stimulates new consciousness, which makes room for diversification and subdivision. This study attempts to forecast the trends of the 21st century via researching the diffusion of Goth style in high fashion. In order to investigate the aesthetics and styles of Gothic chic, along with literature research, this study investigates the fashion collections from the late 1990s to 2000s as well as the images of street fashion magazines.