• Journal of the Korean Society of Costume
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• v.54 no.8
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• pp.129-146
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• 2004

The Purpose of this study is to search the characteristics of aesthetic sense from the spiritual root of anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings inside contemporary Japanese fashion. This study considered contemporary Japanese fashion design from 1970 to 2000 to figure out the anti-decoration culture in contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japanese anti-decoration culture. 2. deducing the distinctive aesthetic ideology from the anti-decoration culture 3. finding aesthetically the inside meaning of anti-decoration culture in contemporary Japanese fashion. The conclusion on this study is as the followings. Anti-decoration culture has three aesthetic ideology. First, faintful aesthetics implies the aesthetic ideologies of Wabi, Sabi from Heian period and it appears the aesthetic sense to be natural beauty. simplicity, minimalism and temperance. Second, ambivalence aesthetics is based on nothingness and has the characteristic of multivocal and variableness without biased view. Third. playful aesthetics has the meaning of humorous. witty and mischievous which is the basic factor of Japanese formative arts. The aesthetic range of this study are the beauty of simplicity. poverty, incompletion, vagueness and humor. First, beauty of simplicity is composed of minimal lines and area through strict temperance and elimination. Second, beauty of poverty came from the aesthetic concept of Wabi which means honorable poverty and plainness. Third, beauty of incompletion means emptiness which is within the range of possibility. Forth, beauty of vagueness could be explained as incorporeal, colorlessness and voiceless. Fifth, Okashi which was the middle ages in Japan, shows the vein of humor in anti-decoration culture. As a result, anti-decoration culture does not mean the opposite of decoration culture, but accomplishes extreme artificial beauty by strict temperance and elimination. Also it is concerned as intentional poverty of decorative effect.

• Journal of English Language & Literature
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• v.56 no.4
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• pp.667-690
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• 2010

This essay attempts to read Percy Bysshe Shelley s The Mask of Anarchy by attending to a political agenda that Shelley seeks to propose and embody in the poem. This poem was written as a response to an exceptional political event, the Peterloo Massacre, and thus it is evident that Shelley intended to engage in contemporary politics by writing this poem. As many critics have pointed out, however, the way in which this poem addresses social, plitical issues is ambivalent and even confusing, since it contains many elements that contradict each other, and sometimes its political visions are based on incoherent conceptions. For this reason, this poem has been considered to be a failure as an occasional poem which should provide the reader with a clear direction for political actions. Faced with this critical problem, this essay proposes that the ambivalence this poem reveals-e.g., the confrontation between moderate artistic fantasy and radical tenets-is not a retreat from political activism, as some critics suggested, but a result of its creation and embodiment of a public sphere which invites various social classes and their positions. The mode in which Shelley conceives this unified public sphere in the course of writing The Mask of Anarchy can be interpreted in terms of the following three features. First, this poem underscores the significance of thoughts in constituting a communal space between people, thus asking the reader to participate in this process of thinking on given issues. Second, this poem suggests that people should enlighten each other by engaging in communicative reciprocations. Lastly, the public sphere formulated by the previous two features should incorporate various socio-political agents beyond class boundaries (even oppressors themselves) into its own working field. After explaining how these three features are manifested in the poem, this essay argues that the unified public sphere thus formed in the poem is the very agenda that Shelley aims to propose for the contemporaneous politics and culture. As a conclusion, this essay highlights how Shelley s project of creating a unified public sphere finally failed in contemporary history through observing two contrasting receptions of Shelley s works.

• Journal of English Language & Literature
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• v.55 no.4
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• pp.641-659
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• 2009

Since Plath killed herself in 1963, the theme of death has become one of the central motifs and allusions in her work. The biographical emphasis continues to blur the boundary between the artistic world and the material world. While approaching Plath's work from the perspective of personal experience, the objective of this paper is not to suggest that we encounter Plath's personal voice and emotions directly in her work. Rather, I emphasize how Plath's work of mourning is substantiated in the act of writing. Plath protects herself from the unnamable or the existential void by writing poems. She shows the way in which art or writing enables the subject to confront traumatic memory. While the death drive propels Plath towards destruction, artistic formation serves to alleviate her psychic crisis. What I shall suggest in the paper is how works of art lead the melancholic subject to challenge traumatic events. Plath herself suggests the therapeutic power of language. Plath's hostility toward women as well as men situates her work nearer to the Kristevan psychoanalytic theory which examines depressive anxieties intrinsically linked to the loss of maternal objects. Kristeva's particular focus on the concept of "death-bearing mother" or the unnamable offers a fruitful reading of the representation of infantile fantasies, sexuality, anger, and ambivalence toward lost loved object which clearly dominates most of Plath's poems. Kristeva elaborates mourning and melancholia through the framework of signification and it is of especial relevance in deciphering the recurring death drive and melancholic rage in Plath's work. Melancholic subjects in Plath's work are characterized by an amorphous state, occupying a borderline state regulated by the death drive.

• Korean Institute of Interior Design Journal
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• no.16
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• pp.106-115
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• 1998

Latest modernism shows general idea of phenomenal space through nature of place motility and experience sinceded from standard form and it has general idea of space. therefore this study presents the tension and the relaxation as a method looking for spatal change and value that in spatial experience. For the analysis of work the Conference Pavillon of Tadoa Ando in the furniture company in Vitra Fire Station of Zaha Hidid is analyzed in spatial experence. As the result the result the systematic straight mixture that has a superrimotion with long retangle which the space acts independently and is shown in the drawing of absolutism is formed and collapses theregularity of construction form by decomposition annexation mixing collision and ambivalence. The spatial experiance in this unstable form changes the grade of rank of space by opposite phenomenon by the change of spatial flowing the disorted and vague space that is occurred by superrimotion which has no direction and change of lirht and place and consolidates dynamic strain makes possible to construct against the gravity. And it also creates experienced space thatis reaxed with maintenance of organization of unity harmony, and stsbility.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.15 no.11
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• pp.2500-2504
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• 2011

Living organisms are composed of cells that can replicate themselves through growth, division packed with tons capacity. On DNA mutations, ie mutations in the offspring's survival and reproduction can be held against you, and packed with tons ambivalence that could benefit. In this study, the DNA double helix is used as a template for replication, we first separated into single strands of the double helix must be opened Combining the double helix portion of the location of errors in the bond provides a way to find and repair.

• English Language & Literature Teaching
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• no.6
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• pp.25-34
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• 2000

This paper will examine the way Philip Larkin as a modern poet views unfavorable but inescapable past experiences with ambivalent attitudes. Larkin has written poems which concern the matters of time, aging, and death. Out of these related themes, the past has offered one major subject for Larkin's poems. Those poems on his personal experiences, coming out of his deep interest in the past and in the relationship the past has with his present and future life, reveal much of the poet's personality. Because of Larkin's conflicting attitudes towards past life, however, the poems about his past create both ambivalence and attraction in the readers' minds. The unusual restraint of emotion and conflict revealed in the poems about past life render rare modern lyrics that are unlike exuberant romantic poems.

• Korean Journal of Child Studies
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• v.28 no.6
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• pp.53-72
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• 2007

The purpose of this study was to understand the meaning and nature of long term boarding care of children provided by grandparents in surrogate foster homes. Data were collected from 10 children 15 to 18 years of age by in depth interviews and observation from May 2007 to July 2007. Analysis of data was by the phenomenological analytic method of Giorgi(1970). Seven essential themes were extracted: (1) ambivalence about being labeled "family headed by a child," (2) recognition of the burden to grandparents with appreciation for their care, (3) resentment and yearning for parents, (4) economic hardship, (5) discord with grandparents, (6) maladjustment to school life, and (7) overcoming such obstacles as poor economic conditions and loneliness.

• Journal of the Korean Home Economics Association
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• v.35 no.1
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• pp.237-256
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• 1997

Women's clothes which represent feminity was one of the female oppression polices in the society of phallocentric sexual order. Many women were eager to good-looking as a comouflage for inferiority of their own sex which was the theory of fashion of Freud. He insist that it's the driving force for women fashion. Thight-lacing corset high heel and foot-binding which was made for men's pleasure limited women's social activity and unfortunately recycled. Such clothes or shoes makes women belong to men's power but its also one of the self controls for women. The materialization and sex objects of women was due to fashion which encouraged by men. Many facts of fetish gradually emerged I fashion and fetishism itself is no more than sexual perversion or low class sex culture. This paper is focused on relationship between fetishism and fashion which approaching based the feminism. We investigated how human ambivalence which persuit both modesty and fetishism is manifested in clothes. We also compared modern fetish fashion with corset and shoes which are sterotypes of classic fetishism

• Journal of the Korean Home Economics Association
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• v.38 no.9
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• pp.1-18
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• 2000

The purpose of this study is to investigate the Korean value about family and kinship in urban and rural families. For this purpose, we surveyed 716 subjects with structured questionnaires in Seoul and 593 subjects in rural areas. From this survey, we reached the following conclusions: 1) In urban families, most of the respondents are found not to support familism, materialism, boy preference, and they show an ambivalence about the child value in the viewpoint of the reward and the cost. 2) Most of the respondents in rural families are found to support familism, materialism, and rewardable child value. But, as the same as urban families, they don't show boy preference. 3) Comparing urban families with rural families, the latter are found to support familism more strongly. And there are sleight differences in boy preference significantly. On the other hand, urban families are found to show costly chad value more strongly.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.8
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• pp.1325-1336
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• 2009

This study is to find the interpretation of Korean aesthetics with emotional, relative, synthetic thinking in the ambiguity of characteristics of multi-culturalism and ambivalence in contemporary beauty design. Beauty design incorporates makeup and hair design to complete the total images with clothing in fashion shows and Korean aesthetics based on Korean religion and art that include the symbolism of humor, irregularity, moderation, harmony, unification, and emptiness. This study analyzes 864 works of make-up and hair design from 2001 S/S to 2009 F/W to understand the beauty design to summarize the natural, eclectic, classic, poor, humor, and decadent tendencies. The characteristics of aesthetics sense of Beauty Design are summarized as artless naturalism, integrate pluralism, de-constructive deviation, and temperate poverty.