• Trans-
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• v.5
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• pp.83-111
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• 2018

This study aims to analyze early works of contemporary Europe female choreographer Anne Teresa de Keersmaeker, which are Rosas danst Rosas, Elena's Aria in terms of feminism. Started from 18C, feminism movements have changed the perception and conception of women. Since then, women in the work of art have been portrayed to be more powerful and independent than weakened images. The influence of feminism in this era made transition to let female artists act more outstandingly nowadays. Therefore, the study began with the need to reflect the image and role of female dancers in the artistic work with the viewpoints of feminism in the flows of social and cultural background. Works of Rosas danst Rosas represents the aspects of radical feminism. Physical suppression of female dancer reflects liberation of free will. Post-modern feminism is displayed at Rosas danst Rosas which escaped from original portrait of women and exposed new active contemporary image of woman. The Elena's Aria, Radial feminism is represented physical suppression of female dancer reflects liberation of free will. Through analysis of Anne Teresa's works with feminine sight, her works were mainly influenced by feminism occurred after 1980's. Having found other possibilities to explore her choreographic philosophy, insufficiency of domestic data about Anne Teresa was once again reckoned. The researcher hopes that by studying Anne Teresa from the feminist point of view, the various images produced by dancers will not disappear right away, rather creating a sense of unity and development without losing the meaning.

• The Journal of the Korea Contents Association
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• v.16 no.8
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• pp.435-447
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• 2016

In the 21st century, the phenomenon of interaction in between fine art and design has become more increasingly prevalent. In this paper, the author has analyzed the major works of Spanish artist Eva $Armis{\dot{e}}n$ on a cultural criticism perspective, and has proposed a framework for a deeper understating of the artworks, which reflected the characteristics of contemporary art and culture such as deterritorialization of art and design. As a result, it has been found that the main theme of her artworks is about preferred attitude of a human being in relationship with others, unlike daily lives or innocence of childhood which are well-known subjects to the public. Her main female character could have been formed by blending all of her aesthetic reason, and characteristics of this era and cultural elements. It means that the area where the public enjoys the sense of beauty have been extending from the area of the beautiful to the beauty of universality. It has been found that deterriorialization phenomena, which is a characteristic of post-modern art and design work to dismantle an existing order, the repression, appeared in her work. However, several research areas of her works such as relationship between text and image or formative elements or aphorism etc. still have remained to be solved.

• Archives of design research
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• v.13 no.4
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• pp.11-21
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• 2000

Due to the explosive growth of the internet, terminology like "information society" and "virtual space" is frequently used, but often in a confusing manner. Some Social theorists and many people are fascinated by "information" and "media" as key characteristics of the contemporary world and rely on the unproven opinion that "Knowledge is a source of value and information moves the world". In this regard, Boudllian defines contemporary culture as a culture of signs and insists that we are surrounded by signs and forms of meaning. There isn't anything behind the signs but signs only exsist, so we cannot escaped from its inauthenticity and consider it improper to insist on it. If people can understand that signs are just simulation of reality, that would be alright. But in fact anything cannot be alright.In this matter Boudllian's conclusion is that we produce images in bulk which are not worthy seeing. Today we reach the conclusion that most images are the letter(character) image itself which shows nothing special.Consequently, this kind of world is a postmodern-world that seems meaningless but has signs to experience and enjoy, many examples of which are shown in the media, such as the internet. We can get to the conclusion that the audience neither sees nor hears anything, but they just can experience many interesting things which characterize the present age. The purpose of this research is to help you to understand current design philosophy and the direction of media while considering both a positive social phenomenon about the new design paradigm of information and media, as well as critical thinking about it.

• Korean Institute of Interior Design Journal
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• no.14
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• pp.82-89
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• 1998

During the boom of museum building in the 1970s-80s two museum wee erected in Germany. They are James Stirling's Neue Stattsgalerie Stuttgart and hans Hollein's Stadtisches Museum Abteiberg Monchengladbach, These two museums share the folowing point of similarity : Stirling's Neue Stattsgalerie Stuttgart and Hollein's Staditisches Museum Abetiberg Monchenbladbach both manifest the conditions of the times in light of their respective cities' local characters and historical contexts without being bound to traditional formality. Stirling and Hollein attempted to grasp the meaning of the 기nuseum as a city in miniature." Taking into account the t two museums’s territorial characteristics of being situated on a slope, both Stirling and Hollein made the walker to pass t through their building complex and introduced the concept of a public square within them. As a result, the museums are not j just two large buildings but are architecture composed of a collage of various structures. S Stirling’s architecture employs the method of attaching additional elements on top of basic constituents, which is suggestive '||'&'||'#61551; of the historical fragment from Shinkel's Altes Museum. On the other hand, Hollein applies a collage-style method as if he w were doing urban planning, maintaining the distinctiveness of each of the various forms and materials of buildings. T The object style buildings of the two museums actively demonstrate the contrast of double meaning to represent the a ambiguous and multifarious characteristics of the modern times. Stirling explores the theme of opposition and coexistence in h his Neue Stattsgalerie Stuttgart by placing a series of opposing concepts, such as the past and present and histor${\gamma}$ and t technology, in one space. Thereby, the contradiction and its appeal are manifested. Hollein made use of the visual illusion and c contradiction in alluding to the irony of the modern reality induced by nature and culture and history and technology. F For the above reasons and methods, James Stirling ’ s Neue Stattsgalerie Stuttgart allowed the penetration of art into daily l life and became the general public’s favored museum for its free and unrestrained environment. Likewise, Hans Hollein’s S Stadtisches Museum Abteiberg Moncbengladbach contribute to the development of museum function as it an expression of art i in the form of a complex piece of scupture on its own.ts own.

• Journal of the Korean association of regional geographers
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• v.13 no.5
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• pp.543-562
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• 2007

Busan Biennale, began from 2000, has been argued that it would improve 'intrinsic introspection related to localism' against 'a lifestyle forced by capitalism in a global dimension', by promoting urban esthetic imagination in the public sphere of the city and reflecting it upon exhibited artworks. But Busan Biennale seems to reflect partly an attempt for new place marketing or urban reimagineering as a part of postmodern culture, even thought it has been planned to be an authentic stage or public-place art for citizens. This paper is to examine Busan Biennale 2006, held from Sep.16 to Nov.25 in Busan main theme of which is 'everywhere', constituted with three major projects: the Contemporary Art Exhibition, Sea Art Festival, and the Busan Sculpture Project. Ths paper considers first some implications of the transformation of modem to postmodern city, focusing on spatial representation of the city and public place art, and then tries to evaluate whether Busan Biennale is really embedded in the local authenticity and esthetic imagination for citizen or not. As concluding remarks, this paper suggests that Busan Biennale would be continuously developed, when it is oriented more towards local public-place art for citizens with their active participations rather than towards urban reimagineering strategy to make and promote an image of Busan as a global city.

• Cartoon and Animation Studies
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• s.41
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• pp.487-510
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• 2015

In recently, thanks to the development of computer and internet, and reinforcement of digital media literacy of ordinary people, many users of comics and animations recombine contents into various ways, including UCCs. In a glance, it seems these outputs violates the copyrights of contents. But in reality, they helps the growth of the ecosystem of contents market, with increase of contents users. The reason of these reproductions inclines the characteristics of animation media. Animation, which are constituted by plastic symbols, auditory symbols, and narrative symbols, and Comic, which supports stories of Animations, affects as 'Imaginary signifier'. These signifiers helps users of contents to dismantle and reassemble stories. These aspects are seen in doujin culture, animation soundtrack fandom, and voice actor fandom. But In this article, we will concentrate into cosplay culture. Cosplay culture shows more active appearances than another fandoms. In especially, cosplay stage and daily cafe show more active reproductions of characters and communications. However, they are done by youth fans, which has not enough financial abilities: therefore, events are not sustainable and discontinued. And they have another limits, like lack of opportunity of performance. In the reality of Korean society, which needs of community making by community member, and hybrid culture, comics and animation productions in Korea are in need of access positively and encourage reproductions of active receivers of animations.

• Korean journal of communication and information
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• v.75
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• pp.9-42
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• 2016

This study critically examines the social and personal meanings that luxury consumption have in contemporary Korean society through understanding the consumption experiences of men in their 30s. Interviews with nine male consumers who are committed to luxury brands, especially those that produce suits, watches, fountain pens, and shoes, were conducted to collect qualitative data. We found that participants are satisfied with the whole process of luxury brand consumption including buying, using, and managing and try to consume the products for self-expression, congruent with their lifestyle and identity. Individuals have learned how to consume the luxury brand from their role models. Their consumption follows hybrid and postmodern patterns and combines luxury brand products with non-luxury one. In contemporary Korean society, using the luxury products is considered necessary to achieve some advantages in social contexts and can be also functioned as a sort of social signifier and self-help, as well as, a tool for self satisfaction or well-being.

• Korean Journal of Family Social Work
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• no.60
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• pp.73-100
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• 2018

This study aims to develop a scale to capture various components of the family value and apply for comparative study of the family value of East Asian countries. Through literature review and experts consults, 27 preliminary questions of the East Asian family value were developed. A total of 3,000 people of East Asia countries(Korea, China, Japan) aged 20~59 were responded to the questionnaire. For validating the family scale developed, an explanatory factor analysis, confirmatory factor analysis and reliability analysis were conducted. The results were as follows. Two of the 27 questions were deleted because those questions were found to have high correlation with other questions. Through the exploratory factor analysis 5 factors composed of 15 items -post-modern family value, traditional family value, confucian family value, instrumental family value and gender equality family value-were extracted and confirmed the factors with confirmatory factor analysis and reliability analysis. The results revealed that the family value scale was appropriate for measuring various family values in East Asian countries and would contribute to the development of Asian family theory. However, this scale can not cover all the family values and further studies would be needed to confirm the validity of the family value scale.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.51-84
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• 2012

In Korea, historical plays took an epoch-making turn from the previous historical plays in terms of approaches to topic and material and methods of rewriting history in the 1990s. Historical plays became dehistoricized with individual, everyday life, and faction emerging as major codes of historical plays according to mistrust in history and grand narrative as the original and disappearance of trust in the growth and totality of history. A new trend became dominant of presenting fictionality prominent instead of reproduction of history and freely playing with history outside the context. While modern historical plays were subject to the content of history, post-modern historical plays sought after new history writing to tell a new story on history within a framework of fiction. Focusing on some of the trends in post-modern historical plays since the 1990s, which include play with history, daily life-style history writing, and reproduction patterns of colonial modernity, this study examined the goals, representations, and text strategies of new history writing in three historical plays, Generation After Generation(2000) by Park Geunhyung, The Mercenaries(2000) by Park Sujin, and Chosun Detective Hong Yunshik(2007) by Sung Giwoong. In Generation After Generation, the author adopts a plot of starting with the present and tracing back to the past, breaking down the myth of racially homogeneous nation. At the same time, he discloses that the colonial history is not just by the oppressive force of Japan but also by the voluntary cooperation of Korean people. That is, we are also accountable for the colonial history of the nation. The Mercenaries contrasts the independence movement during the colonial period against the modern history developed after Liberation, thus highlighting the still continuing coloniality, namely post-colonial present. The past is presented as the "phantom of history" making its appearance according to the request of the present hoping for salvation. The author politicizes history and grants political wishes to history by summoning the history by personal memories such as fictional diaries and letters with Messiah-like images opposed to the present of collapse and catastrophe. In Chosun Detective Hong Yunshik, the author makes an attempt at the microscopic reproduction of daily life by approaching the 1930s as the modern period when capitalist daily life started to take root. The lists of signs comprising daily life in colonial Gyeongseong are divided between civilization and savagery and between modern and premodern. With the progress of narrative, however, they become mixed together and reversed in the representation system in which the latter overwhelms the former.

• Cross-Cultural Studies
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• v.43
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• pp.115-138
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• 2016

The Milk of Sorrow (La teta asustada) (2009) is a Peruvian-Spanish film by a young, female Peruvian director, Claudia Llosa (1976 - ). By applying the theories that feminist and subaltern scholar Gayatri Chakravorty Spivak presents in "Feminism and Critical Theory", the present work questions the ironic term, "Feminism in the Third World" by considering the Latin American context. Would the term refer to the feminism of Native Indian women or white creole women? The present work raises this question via Llosa's The Milk of Sorrow, in which a white creole woman, Aída, takes advantage of a quechua woman, Fausta. Through analysis of this film, this work demonstrates that in the Latin American context, even in a single country, there should be various types of feminism, since what Native Indian women fight against is different from what white creole women fight against. Thus, it insists that feminism in the Third World should develop in a deconstructionist manner, in which each woman has the ability to interpret her own social and political stance. Furthermore, it can be said that cultural appropriation is taking place in the "real" world as well as on the screen: a white creole director, Llosa, is taking advantage of a hot-button issue in our postmodern era, the violation of the human rights of minorities, especially those of Latin American Native Indian women, since Llosa became a success and won many prizes in international film festivals for her work.