• Korean Institute of Interior Design Journal
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• v.15 no.5 s.58
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• pp.12-19
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• 2006

The artistic features of German Expressionism in the early twentieth century are often recognized for its abstract and emotional representation in art and architecture. Expressionism departed from the paintings, notably the works of Der Blaue Reiter and the Bruck, but the architectural works with curve and organic features were also taken as expressive. German architects Hans Scharoun (1893-1972) and Hugo Haring (1882-1958), in this regard, have long been regarded as Expressionist architects, but recent studies suggest that their architectural designs include a profound idea of modem functional building. Scharoun and Haring held a socialist utopian vision as other modernists have also had, but their inherent view upon modern architecture was function which was mistakenly viewed as Expressionism in earlier documents. This paper intends to exemplify how Expressionism is inappropriate to represent the expressive presentations of Scharoun and Haring. Despite the fact that their designs possess certain expressionist elements, their works can also be constructed as an advanced functionalism. Many young architects in Germany were not given chances to build due to economic hardship after the First World War, and they were naturally led to imagery sketch designs for future architecture. Abstract Idea was freely exposed in its preliminary visual form, and it is also uneasy to draw a borderline between expressive presentation and the Expressionism itself.

• Proceedings of the Korea Society of Costume Conference
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• 2004.08a
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• pp.356-357
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• 2004

• Broadcasting and Media Magazine
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• v.10 no.1
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• pp.75-84
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• 2005

• Proceedings of the Korea Society of Design Studies Conference
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• 2003.11a
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• pp.138-139
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• 2003

• Proceedings of the Korea Society of Design Studies Conference
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• 2003.05a
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• pp.182-183
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• 2003

• Proceedings of the Costume Culture Conference
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• 1998.04a
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• pp.12-15
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• 1998

• Trans-
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• v.16
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• pp.135-162
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• 2024

This study examines the concepts and characteristics of Interculturalism and extracts artistic expressions of intercultural characteristics shown in Nouvelle Danse and Non-Danse, which were the birthplace of the contemporary dance flow in Europe. The discussion and composition of these dances will be analyzed from an intercultural perspective by selecting three works by each choreographer representing Nouvelle Danse and Non- Danse. In doing so, we would like to examine what creative acceptance was achieved based on the values and understanding in the clash and encounter between different cultures in art. Dance and interculturalism emphasize exchanges and encounters between one's own culture and other cultures. In addition, it has the potential to contribute to dance studies through the humanistic perspective of dance, as it also contains issues about diversity and identity due to exchange between cultures at the center of globalization. Therefore, the purpose of the study is to read the artistic expressions of choreographers in Nouvelle d'Anse and Non-d'Anse through intercultural understanding with an in-depth understanding and to interpret them by adding multi-layered time to the study.

• Archives of design research
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• v.21
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• pp.55-64
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• 1997

This paper is a study on the 'primitivism' which is constantly being applied on modem and contemporary textile design as a aItanative expression of the serious environmental phenomena of materialism. Starting with the analyzation of the 'concept of primitivism' , this paper is to research the 'origin of primitivism' which was first recognized by the modem artists. Primitivism on modem textile design will be suggested through 'trend terms'. The purpose of this paper is to be a basic material source for the creative development in design as well as to be of help in development of theoretical the study on contemporary textile design.

• Proceedings of the Korea Society of Costume Conference
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• 2003.05a
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• pp.26-26
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• 2003

학문적 논의를 중심으로 했던 1, 2세대 페미니즘에 비해, 현대의 젊은 페미니스트들에 의해 주장되고 실행되는 3세대 페미니즘은 젊은 여성들의 분노와 쾌락을 표출하고 있으며, 특히 걸 파워는 개인주의, 독립성, 적극적 섹슈얼리티 등을 통해 여성 권력을 주장한다. 본 연구는 3세대 페미니즘을 성(도덕), 문화, 인종, 공간, 성적 소수자 관점에서 파워 페미니즘, 포스트펑크 페미니즘, 3세계 페미니즘, 사이버페미니즘, 퀴어페미니즘으로 분류하고, 3세대 페미니즘을 표현하는 매체로 대중음악의 걸 파워를 선정하여, 걸 파워 의상에 표현된 여성성과 그 미적 특성을 연구했다.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.168-183
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• 2013

Contemporary era has witnessed a diversity of emotion and emotions being expressed through consumption. This paper examines the relationship between social paradigms and emotional design by means of literature study. In sections 2 and 3, I examine the prevalent social paradigms and the concept/development of emotional design. In section 4, I show the correspondence between social paradigms and specific types of emotional design. More specifically it is shown that "pluralism and decentrality" has led to fun design, individual design and participative design; "emotional revolution" has given rise to multi-sensory design, design with positive feelings, design with negative feelings and aesthetic design; "non-materialistic values" have their correspondence in design as performance and story-telling in design; and "organic worldview" finds its expression in ecological design with a wellness emphasis, and in interactive emotional design.