• 비교문화연구
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• 제34권
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• pp.173-199
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• 2014

This study was attempted to suggest a new viewpoint to regulate foundation myth as Akijangsu legend narrative's antistructure. The problem is that Akijangsu legend has been regulated as reversed narrative of foundation myth in precedent research history. Following this viewpoint, it is impossible to explain context that Gangchaeyoon's Akijangsu narrative is collected in Sejong's sovereign myth. But Gangchaeyoon is changed as helper to found ideology order and his Akijangsu narrative is collected in sovereign myth's context. Therefore in this point it is necessary to sound out foundation possibility of new thesis the found myth is reversed narrative of Akijangsu legend. Choosing this standpoint, it is possible to regulate Sejong's sovereign myth as narrative dramatization of successful Akijangsu legend. At the same time it is possible to regulate Cheongkijun as Akijangsu that was situated in Sejong's sovereign myth as antagonist, competing and failing with Sejong to replace existing order by own ideological order. This study investigated that found myth is reversed narrative of Akijangsu legend.

• 복식
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• 제61권5호
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• pp.34-47
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• 2011

Grotesque make-up causes a visual shock among modern people beyond the standardized beauty definition, attracts their attention, and manifests itself as a phenomenon of "something bizarre, extremely unnatural, ugly, and funny." The purposes of this study were to investigate the characteristics of grotesque in today's make-up as well as its concepts and features and to figure out its aesthetic characteristics based on the results. The research scope was limited to the fashion make-up of the collections from 2005 to 2010 and the advertising make-up during the same period. In the make-up phenomenon examined according to the grotesque characteristics, the pale skin expression, frightened eyes, and emphasis on black induce disgusting fear, sadness, death, sin, fear for life and death, and obsession. As the make-up emphasized only one part by neglecting the original form and exaggerated it to the point of distortion, the exaggerated abnormality led to a sense of social crisis, desperation, and absence of form. As for devilish playfulness, the make-up accompanied by grotesqueness and humor brought the suppressed, closed world in a tight framework out to fluidity and openness, conveying satire, ludicrousness, ridicule, and accusation of the modern society. The heterogeneous disharmony was found in the use of objects in heterogeneous combinations, presenting unreality, fiction, displeasure, ambivalence, and loss of value of human existence.

• 복식
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• 제58권3호
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• pp.131-148
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• 2008

Each stylistic period through history has its own unique look. The characteristic look of each period is completed and visualized with its prevailing ideologies, aesthetic consciousness and morality by means of 'form'. A period expresses its characteristics in accordance with form according to the widespread preferences of the time. Among the various cultural factors that form the look of the time, those that the period holds as ideal aesthetic values create the concept of 'ideal beauty' for that period. This study begins by establishing the conceptual definition of 'ideal beauty' and develops the premise that dress reflected ideal beauty. To attain the goal of the study, the selected objects are dresses represented in paintings, the actual garments from the Renaissance to Baroque periods and written references about art, art history, and history of costume. The results, based upon a theoretical study of the zeitgeist and aesthetic values of the 16th and 17th centuries, are as follows: first, ideal beauty influences the substance and form that constitute dress style. It is a byproduct of the spirit of time, the zeitgeist. The concept of ideal beauty is born within the lifestyle pursued by the ruling class and focuses on the body as an epitome of beauty, moral values, custom, lifestyle and taste as it becomes visualized via form. Second, the aspect of dress representing the ideal beauty of particular time varied according to the times. In both periods, power and dignity were used to achieve the ideal aesthetic values. In the Renaissance, power was expressed by the horizontal extension of dress (i.e. wide farthingales and sleeves) and in the Baroque period, by vertical extension (i.e. long and tall wigs, fontanges and trains). It can be said that fashion in both periods achieved an ideal, such as power and dignity, via the same means, by extending dress sizes, but the ways in which those ideals were portrayed in each period's dress yielded very contrary styles. It is understood through this study that ideal beauty influenced the dress style of the Renaissance and Baroque periods and played a decisive role in determining its forms and symbolic meanings.

• 디자인학연구
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• 제17권3호
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• pp.51-60
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• 2004

그로테스크의 미학과 그 오락적 가치는 애니메이션이라는 표현매체가 갖는 특징과 그 속성에서 많은 공통점을 지니고 있으며 이러한 애니메이션에 나타난 그로테스크한 이미지 표현 방식은 현대 이미지 디지털화 기술이 발전하면서 그 표현 영역이 확대되었다. 실사와 애니메이션의 합성, 오브제 애니메이션으로 표현되던 그로테스크 이미지는 Full 3D 애니메이션의 기술, 그리고 모션캡쳐로 인한 가상캐릭터에 대한 현실감 있는 움직임 부여로 좀 더 사실감 있게 그 부조화성을 발전시키고 있다. 그 소재 또한 현대 과학문명의 발달과 더불어 다양해 졌다. 그 한 예가 사이보그 캐릭터의 등장이며 이러한 그로테스크한 이미지는 현대에 이르러 그 여러 특징 중에 인간소외를 다루는 애니메이션에서 주로 등장하기 시작한다. 그리고 이러한 그로테스크 이미지 표현방식의 변화는 향후 영상기술의 발달과 더불어 방법적 양식을 달리하여 VR 형태, 인터랙티브한 영상으로 그 표현매체를 옮기면서 그로테스크한 이미지와 성향은 비인간성을 강조하는 영상장르로 대변되어 갈 것으로 본다