• Journal of Korean Philosophical Society
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• v.123
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• pp.87-110
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• 2012

The kitsch was emerged from the people's cultural desire in the conditions of the various duplicating technology, the capital economy system, and the civil revolution in the western modern mass society. But it is underestimated constantly because of the conspicious consumption and the aesthetic inadequacy. Even though some kitsches are elevated to the 'kitsch arts' in the historical description of the modern arts, still the most of kitsches are remained as 'just kitsches' and excluded from the aesthetic research according to the double standard. In this essay, I research for whether anti-kitsch theory is convincing theoretically and practically. Anti-kitsch theory criticizes the kitsch on the basis of the modernist aesthetics, in which the 'fine art' provokes the aesthetic pleasure in the disinterested contemplation. But kitsch purposes for the sensual gratification and the sentimentality. So the anti-kitish theorists conclude that the kitsch is the bad taste. In critically analyzing the argumentation of Greenberg's. Kaplan's and $C{\tilde{a}}linescu^{\prime}s$, I refute the privileged prejudice of the ideal critic. They don't justify the criteria of the classification of 'art'/ 'kitsch'. They supplement the economical and the political grounds for the evaluative theory of the kitsch. But the argumentation of the kitsch is consumed conspicuously and results in the unlettered masses is not sufficient. People produce and enjoy the kitsches in the various ways. People envelope the genres, styles and media of the kitsches and they try to suggest the new horizon of the popular aesthetics. So anti-kitsch theories cannot be accepted because they adhere to the elitism and formalism. The exclusion of the kitsch is the derogation for people's taste. Also they didn't reflect the contemporary cultural practice and the aesthetic needs in the system of post-art. The alternative aesthetics of the kitsch is the topic of my next essay.

• Proceedings of the Korea Society of Costume Conference
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• 2003.05a
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• pp.47-47
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• 2003

산업화된 현대 사회의 다양한 대중 문화 속에서 새로운 미적 가치를 지니며 하나의 문화 현상으로 나타나고 있는 키치(kitsch)는 기성세대의 사고 방식을 부정하고 기존의 고정관념에서 벗어나 파괴라는 형태를 통해서 자신을 부각시키는 미적 부적절성을 내포하고 있다. 본 논문에서는 키치의 대중적인 취향과 미적 특성의 실증적인 자료를 통해서 97년 이후의 키치적 요소의 헤어스타일을 분석하였다.

• Archives of design research
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• v.11 no.2
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• pp.251-262
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• 1998

This study is about the special quality which has craft-kitsch as a typical objects in modern mass consumption society. Today, kitsch is one of the most general object for understanding of our lifestyle. Accordingly, there is close correlation between craft objects and kitsch. But, discussions on the relation between craft and kitsch have not dealt quite satisfied up to the present. This paper draws up as a basic study on craft-kitsch. The purpose of this study was to examine the relation of kitsch and craft in modern society. The result of the study were summarized as follows: kitsch-characteristics in craft production 1. style of compromise 2. a false presentation kitsch-characteristics in craft reception 1. nostalgia in the past 2. ostentation and distinction 3. cultural enjoyment as self-consolation 4. self-satisfaction as possession

• The Journal of the Korea Contents Association
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• v.6 no.5
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• pp.96-103
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• 2006

'Kitsch', having emerged after the Industrial Revolution in the 19th century, has been playing a role of interconnecting pop culture with high level culture, now claiming new aesthetic values in a variety of pop cultures of our industrialized modern society and holding its position as a cultural phenomenon. In the realm of fashion which is very much attached to everyday life, kitsch has also been expressing new forms of beauty through the liberation from and destruction of the fixed ideas. This study addresses the issues as to how we obtain the basic understanding of kitsch and shows how it was expressed in the fashion of the actors starring in the recently released Korean comedy movies.

• Archives of design research
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• v.18 no.3 s.61
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• pp.199-208
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• 2005

This study analysis if the concepts of kitsch and vernacular remains as cultural elements for product design. Because their function and aesthetic value have vivid possibilities for general product design fields. For the purpose, this study limits its range within post modernism, kitsch, and vernacular, and analyzes their relationships. Against functionalism, post modernism had cultural pluralisms to approach into popular styles, and some of them was amusing design. That post modernism designs stimulated human beings' emotion by decorations or some symbolic forms from specific objects is similar to the symbolism, regionalism, or pluralism of kitsch or vernacular. Kitsch is a free style that is not limited in any specific trends. It is a Meta culture that has influenced into various fields including design, so kitsch does not have a parallel position with a product or design. In product design, kitsch is the behavior and result of imitating existing objects' images. It could have amusement according to which objects are imitated. So if human beings feel amusement by kitsch, it could be same as the direction of post modernism. Kitsch is determined by design atmospheres. They cannot be specified abjectly, and can be different according to people. With symbolism and regionalism, kitsch and vernacular appeared according to people's needs. While kitsch is consumer's tastes-oriented, vernacular is cultural tradition-oriented. Kitsch has symbolism that specifies products' functions or design concepts, and it is a communication method between human being and products. Because vernacular is province-oriented, it has a lot of styles according to regional living environments and cultural differences. So vernacular design reflects continued traditional lifestyles. By restorative memory, regionalism, cultural pluralism, amusement, and symbolism, kitsch and vernacular could be understood the sub or parallel concepts of post modernism. They might be easily miss-understood mixed concepts that have western and national characters. But in kitsch and vernacular concept, modernizing pas by using the pluralism of post modernism should be considered positive. So, the range of the further study is also supposed to be focused on more widened fields to, to establish cultural identification in design.

• Proceedings of the Korea Contents Association Conference
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• 2005.05a
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• pp.248-251
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• 2005

'Kitsch', having emerged after the Industrial Revolution in the 19th century, has been playing a role of interconnecting pop culture with high level culture, now claiming new aesthetic values in a variety of pop cultures of our industrialized modem society and holding its position as a cultural phenomenon. In the realm of fashion which is very much attached to everyday life, kitsch has also been expressing new forms of beauty through the liberation from and destruction of the fixed ideas. This study addresses the issues as to how we obtain the basic understanding of kitsch and shows how it was expressed in the fashion of the actors starring in the recently released Korean comedy films.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.148-158
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• 2013

This research attempts to analyse the 'Gangnam style' which has achieved worldwide recognition and became the first YouTube video to reach a billion views on December 2012, since it has released on 15th of July, 2012. Why 'Gangnam style' is so popular and how Cy's music video has spread across the world remarkably in very short period of time? It is suggested that the 'Gangsnam style' phenomenon can be explained by 'Kirtsch' and 'Meme', however there is no pertinent analysis in an academic way. In this respect, this research is concerned with addressing the 'Gangnam style', global cultural phenomenon, by the Kitsch related to the acceptance of global audience and the Meme engaged with global diffusion of music video in a cultural view. Therefore, this research reviews a broad range of literatures and seeks characteristics of two theories, on the ground of this, 'Gangnam style' will be investigated to verify the reason caused cultural phenomenon.

• 대학교육
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• s.75
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• pp.146-150
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• 1995

• Korean Architects
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• s.652
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• pp.130-133
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• 2023

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.298-307
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• 2012

Contemporary design of food and beverage(F&B) space reflects various needs, not only of eating, but also environmental ones. As a way of meeting this conceptual change and the various needs of contemporary consumers, kitsch expression is often utilized actively. Thus, this study intends to analyze the design characteristics and methods of kitsch expression found in contemporary F&B space and their correlations with sensitivity factors, focusing on relevant cases. Specifically, it examined the definition, origin, and changes of kitsch, and identified the sensitive role of kitsch in interior space. Next, it classified the kitsch characteristics and design methods found in interior design, finally analyzing the characteristics of kitsch expressions in contemporary F&B space by sensitivity factors and their correlations with design methods. As a consequence, it was found that the attempts in contemporary F&B space design to differentiate space through active introduction of various kitsch expressions were fulfilling the sensitive needs of changing consumers by providing new cultural experiences. That is, such attempts are considered to have improved the satisfaction of consumers who value sensitivity, by means of wide exchange of sensitivity between designers and consumers. To raise the sensitive satisfaction of consumers more in future, it is necessary to further continuous and in-depth research on the correlation between kitsch expressions and sensitivity factors in interior design.