• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.129-143
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• 2004

The beauty of the body could separately be defined from area to area, but there can't be any universal definition of it that is applicable throughout the world. The modern discourses on the body have frequently dealt with that, and the beauty of the body should be studied in light of sociocultural background. In today's world fashion industry, the body is represented in various ways, and how to express the body itself is considered from diverse perspectives. As it's now required to approach to fashion from the sociocultural standpoint of the body. a semiotic interpretation method was introduced. The reason was that from the viewpoint of semiotics, the beauty of the body has different implications for society as cultural sign, and they also could be regarded as sociocultural codes. In order to improve new light on the aesthetic consciousness of the body and how it's represented in modern fashion, earlier studies and existing theories were examined. The semiotic interpretation method was used to find out what the aesthetic consciousness of the body stood for and what implication it had for fashion. And in which way fashion represented aesthetic consciousness, including satire, pleasure, grotesque and decadence, through the body was examined. Fashion creates an artificial beauty of the body, and change in the body is followed by change in fashion.

• English Language & Literature Teaching
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• v.16 no.4
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• pp.223-238
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• 2010

This article analyzes and discusses M.M. Bakhtin's dialogics with the perspectives of what it emphasizes and how it makes the Russian Formalism and the Marxist literary theory together in his dialogics. This article considers conversion in the literary texts the central idea of dialogics, and it takes place through satire and parody. As Bakhtin stresses in his works, this article also examines the novel as the dominant genre in the nineteenth and twentieth centuries. Such satire and parody shows the ambivalence of the Russian Formalism and the Marxist literary theory. Bakhtin states that novel per se is very conversing. It has turned over the position that has been occupied by epics (poetry) and play for thousands years, and taken it over in the nineteenth century. Thus, novel is a literary genre in which a variety of conversing struggles occur throughout the texts, which makes it different from epics and play. Throughout such analyses and discussions, this paper considers Bakhtin's dialogics a complex of semantic, pragmatic, and semiotic elements.

• Iberoamérica
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• v.21 no.2
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• pp.25-52
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• 2019

Esperpento denotes a literary style in Spanish literature first established by Spanish author Ramón María del Valle Inclán that uses distorted descriptions of reality in order to criticize society. And esperpento's narrative strategy is similar in many ways to Mikhail Bakhtin's carnivalism. Especially Valle Inclán's first esperpentic theatre, Luces de Bohemia contained various carnivalistic elements of Bakhtin. The various techniques of Valle Inclán's esperpento used in Luces de Bohemia can be explained by Bachchin's carnivalist techniques. Therefore, this paper aims to re-examine the esperpentic techniques in Luces de Bohemia of Valle Inclán in terms of Bakhchin's carnivalism. Because the esperpentic tecniques of this play pursue the subversion of power or authority through the carnivalistic aspects such as polyphony, subversion of seriousness, parody, grotesque realism, plaza, ambivalence, anomalous structure of space, time and plot, etc. Esperpento and carnivalism serve as a tool to interpret the social reality, beyond criticism and satire of Spanish society. The characters act passively on all the external factors that determine human destiny, rather than actively carving their own destiny like the classic heroes. Modern man cannot defy or control the external situation of the modern civilization. So they are tragic. In this situation, the protagonist of the tragedy who challenges reality disappears and a puppet figure like Max Estrella, the protagonist of the Luces de Bohemia, takes his place on a satirical level. This is the satire and the true meaning of carnivalistic humor that Valle Inclán tried in his play.

• Journal of the Korean Society of Costume
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• v.60 no.2
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• pp.35-50
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• 2010

In this dissertation, the analysis of the study of female customs from late Joseon Dynasty and their genre painting to research humors and its aesthetic senses in that certain era. The purpose of the genre paintings is to look at general populations in an objective point of view and endeavor better value of public life style to embody clear understandings of humanity. The artists such as Hong-Do Kim and Youn-Bok Shin expressed their arts based on reasonable reality with sarcastic but humorous and creative ways to criticize the society's problems with clear statements. Therefore, the formative characters are realism, exaggeration and coloring of the whole arts that represents as innovative and original genre of it's time. Hong-Do Kim and Youn-Bok Shin expressed the women in society as open minded with versatile and refined looks in their paintings as the reality was repressed and closed mind for women figures in late Joseon Dynasty. The female customs in the paintings has both suppression and expression in their dresses and exaggerated shapes of accessories and the use of color were also found. All of these elements has the aesthetic values of satirized eroticism, the hint of next evolution of the late Joseon Era under the conservative disposition of social characters and freedom of expression of playfulness. These elements were new developments and a step forward of female 'sex' and expression of satirized eroticism. The exaggerated and distorted forms and accessories demonstrates unbalanced and asymmetrical elements in humorous characters and they include spontaneity. Also, using the five traditional color schemes of Korean art displays humor in playfulness of an art with splendid and purity, duality of positiveness and artless, smart and elegance looks.

• Cartoon and Animation Studies
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• s.15
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• pp.151-164
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• 2009

The discussion on folk painting (minwha) has been continued till recent in various ways. MinWha is applied by painting artists and also utilized as a basic material of design. These are the attempts approved by the viewpoint of the 'Korean beauty'. In saying so, minwha symbolizes for typical types of Korean painting, and is articulated as an aspect of forgotten spirit. However, despite the fact of Minwha's frequent application, and its evident originality, it remains only the thread of the existence. Although minwha has a lot of commonalities and similarities with the characteristics of cartooning, a decisive attempt of cartooning is hardly shown through. Therefore, this paper is aim to classify creative paintings by the distinctive features of minwha, such as exaggeration and abridgment, sarcasm and current affair aspect, common technique of art drawing, caricatured element, expression of an ideal world, various techniques from artist's different comprehension, etcetera and to make opportunity to constructively apply these features in cartoons. The types of minwha are mostly classified by the contents of the painting. However, since the purpose of this thesis is to find caricatured aspects in minwha, it will be largely classified by the elements of animal, plant, human, insect species, finny tribe, feathered tribe, and nature phenomenon. This classification takes advantage of accessibility to understand the characterization of the object, and leads to take a positive approach.

• Archives of design research
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• v.15 no.4
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• pp.111-120
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• 2002

Folk paintings influence the lifestyle of the general public, and is visible practical communication presenting emotion, feelings and phenomenon through various functions and aesthetic molding specificity. Illustration as a medium for conveying information in modern society is time communication forming time circumstance based on a creative image, becoming an importance in the means of molding an active information society. Folk paintings and illustration express the subject of various kinds of stories of surroundings of daily lives ironically, humorously and symbolically, convey it in an accurate and detailed way in the various use of color and shape representation, and have a similar specificity as the general public's art influencing the society, culture, and environment, the general public's emotion and feelings of that time. The current research is to suggest the possibility and direction of Korean image representation in illustration by analyzing folk painting and illustration characters based on social, cultural function and role and molding specificity.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.190-217
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• 2012

This research has studied the building awareness of Nu-Jeong that a view of nature and aesthetic consciousness to unite the nature are inherent by considering Nu-Jeong of scholars who left fame and wealth behind and retired to hermitage in the backwoods in the 16~18 Century. This is to clarify correlation with leaving nature as it is, namely, an ideal state that scholars at the time would enjoy, through landscape awareness accepted into Nu-Jeong literature. In addition, this research has tracked the ideologic flow that acts on space formation by clarifying Korean unique meanings inherent to Nu-Jeong's cultural landscape. As a suggestion for this, the interpretation through 'Pungsu location Nu-Jeong name's analysis Nu-Jeong literature analysis', etc. was tried, so its integrated conclusion is as follows. It is not a chance that scholars of Joseon have left numerous literature works singing the nature. They already had huge interest and knowledge on the nature, and achieved active poetic exchange by sublimating the praise of nature as literature. Nu-Jeong, which was a place of exchange like this, had cleanliness of the nature and ideological purity as an oppositional space on turbid political realities. The Nu-Jeong literature drew the nature into a literature space as it is, without doing abstraction or ideation on the nature. The owner of Nu-Jeong exclusively possessed such natural landscape in grim and independent postures, so it provided a clue of Nu-Jeong cultural landscape that this research aimed to discuss. Scholars who aimed to raise wide and large vigor filled in between the sky and earth got to convince that people are born from the nature, grow in the nature and finally return to the nature. What people are born from the nature and finally return to the nature is just consistent with Taoistic and Zhua-ngzi thoughts denying human work, and leaving nature as it is or nature itself remained intact which is an ideal state. The construction at the time is a vessel containing the spirit of the times of the era. This thesis has proved that the Nu-Jeong culture of scholars located on the central line of Korean landscape was the flower of Joseon's scholar culture by interpreting it semantically.

• Journal of Korean Classical Literature and Education
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• no.38
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• pp.37-63
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• 2018

The purpose of this study is to determine in the minor characters in alternative versions of Pansori stories. Because, unlike the variations in the main characters, the changes in the minor characters seemed to clearly reveal the specific reasons to the enjoyers of Pansori literature. Bangja in Chunhyang-jeon serves as a narrator by providing information about characters and events, and enlivens the text by satirizing and ridiculing the feudalism class. He appears in certain narrative unit of Chunhyang-jeon and further expands in the order of encounter unit, farewell unit, and reunion unit. At the encounter unit, he helps the bachelor Lee and Chunhyang meet And in the farewell unit, he urges their separation and goes to Han Yang with his master Lee. At the reunion unit, Chunhyang's letter is delivered to the bachelor Lee. The following can be seen from the information above discussion. First of all, the 'Bangja' acquires the better occupation of stories. The enjoyers have changed that he regards as a important figure. Next, in Chunhyang-jeon, the expansion of the role of the Bangja was done in the direction of converging the few characters such as Mabu, Tongin, and the farmer. Especially, the increase of his proportion in the Pansori works can be related to the expansion of the theatricality. Finally, Bangja's frequency increases in the direction of the whole narrative, but it can not be seen as an increase that his role or function has increased. Because his function as a guide expands, but his function as a critic has diminished.

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.61-70
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• 2019

The painting group of Late Ming and Early Qing Dynasty is an era of confusion between the orthodox who faithfully cooperated with the Qing Dynasty and the individualist who had a hostile attitude. The country was ruined by these dynasties, and the family left the real world with the suffering of the breakdown and stayed in the mountains.Paldaesanin and Seokdo, the representative Yumin painters, did not form any a sect as a unique expression style for finding a true self.And, through his work, he expressed on madness and oddity through new ideas and composition that he feels misery and anger in his heart. The paintings of these paintings had semi-normative and impromptuous views of nature, which even the self burdened with grief was forgotten.And I expressed my own individuality and originality by forming a simple and free, on madness and oddity art aesthetic. The paintings of these paintings had semi-normative and impromptuous views of nature, which even the self burdened with grief was forgotten.And I expressed my own individuality and originality by forming a simple and free, on madness and oddity art aesthetic. Paldaesanin portrayed a strange figure with a spirit of resistance and a sad and angered emotion, through a unique technique of painting.The content is cynical, satirical, ironic, and on madness and oddity. On the other hand, Seokdo explained "ilhoeg" that the method of writing and the method of writing in "Hwaeolog" agree with each other.This has allowed us to achieve autonomy as a "rule without rules" that goes beyond the existing rules. And he delicately portrayed beauty, desire, and emotion with the use of sensuous brushes and the beauty of the colors.Their unique paintings were later conveyed to yangjupalgoe and led to the flow of paintings in the 18th century.

• Cartoon and Animation Studies
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• s.47
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• pp.81-101
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• 2017

The present study argues that film director Lee Ae-rim animation works depict the world of the grotesque and not only are important sociocultural phenomena but also hold the significance of humor and subversion. The grotesque exhibits the intriguing characteristics of expressing a perspective critical of the existing society through the sensibilities of minorities and is used broadly as a term not only in the aesthetic sense but also designating sociocultural phenomena. Although discussed separately in terms of Mikhail Bakhtin's carnival grotesque and Mary Russo's uncanny grotesque, the grotesque fundamentally rejects existing order and conventions and is externalized through unique expressions, thus opening up a rich possibility for rejection, humor, satire, transformation, and deconstruction of and regarding the authority of the mainstream. Although they constitute a fictional medium, animation films are social products as well so that they are affected by society, culture, and history and stand as important texts that must be interpreted in terms of the relationships between humans' instinctive desires and society and between the overall culture and artistic media. However, the rarity of grotesque portrayals in South Korean animation films also proves that it is a society where even problems that are in themselves sensitive must be manifested ingeniously on a conventional level. South Korean society has a unique history of colonialism and national division and is simultaneously in the unique situation of a society that has undergone growth at a nearly unprecedented rate. Consequently, the society exhibits closed yet dynamic particularity where everyday tension and rigidity, wariness of others and extreme competition are intertwined in a complex manner. Intensively analyzed in the present discussions, director Lee's animation films and are characterized mainly by grotesque images, nonlinear narratives, and vivid depictions. In such a context, these works not only are artistic products of South Korean society but also rejections of a rigid society and share the significance of the aesthetics of the carnival grotesque, which consists of subversive expressions directed at a new world.