• 한국콘텐츠학회논문지
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• 제11권4호
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• pp.177-185
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• 2011

공예산업이란 과거에서 전승된 기술과 생산방법, 또는 현대에 새롭게 개발된 기술, 기법, 재료 등을 이용해 만들어진 것으로서 장식적, 실용적 특성을 지니며 일반 대중들이 사용하는 생활용구, 장식품, 기호품 등을 총칭하는 것으로 규정하고 있으며, 공예산업은 특정한 지역의 환경, 풍속, 유적 등의 특성을 기반으로 하여 지역의 전통적 또는 예술적 특성을 가진 제품을 생산하는 산업으로, 공예품에 내재하는 문화적 요소를 밖으로 끌어내어 가공, 생산, 유통 및 소비하는 일련의 과정, 즉 공예품의 상품화를 의미한다. 이에 미래지향적인 국가이미지를 위한 한국 고유의 정서와 전통을 바탕으로 하는 공예문화상품은 한국의 국가 이미지를 창출하는 데에 결정적인 역할을 할 것이라고 생각한다. 따라서 본 연구에서는 소비자들의 공예문화상품에 대한 인식과 시장성을 조사하여 국내의 공예산업의 현황과 실태에 대해 알아보고자 한다. 또한 이를 토대로 공예문화산업의 효율성과 문제점은 무엇인지를 연구하고 개선방안을 제시하고자 한다.

• 디자인학연구
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• 제20권
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• pp.135-144
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• 1997

이탈리아 디자인은 자유분방하고 개성적이며 예술성이 돋보이는 정체성을 가지고 세계적으로 강한 인상을 심어주고 있으며, 디자인 사적으로나 경제적으로나 중요한 위치를 차지하고 있다. 또한, 이탈리아는 지정학적 배경, 역사 및 문화적 특징, 감성적인 측면이 강한 국민성 등에서 우리 나라와 많은 공통점을 가지고 있는 관계로, 현재 한국의 디자인 정체성을 찾고자 다양한 노력이 이루어지고 있는 현 시점에서 가치 있는 연구 자료가 될 것으로 보인다. 본 연구에서는 사토 카즈코 씨의 저서‘시대를 살아가는 이탈리아 디자인’을 바탕으로 하여 이탈리아 디자인의 발전 사와 사례, 대표적인 디자이너와 기업의 특성 및 활동을 살펴봄으로써 이탈리아 디자인의 특질을 규명하고, 이를 우리 나라의 원형적 특질에 반영하여 한국적 디자인의 정체성 수립에 타산지석으로 삼고자 하였다. 또한, 현재 새로운 국면에 접어들고 있는 인류 문명 패러다임의 변화를 고찰하여, 우리의 원형적 특질의 가능성과 향후 발전 방향을 제시하는 것을 목적으로 하고 있다.

• 한국의상디자인학회지
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• 제10권3호
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• pp.111-126
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• 2008

This article aims to discover the current status and appropriate way to research Gyubang craft, expecting its development and preservation, and elevating it to Korea's unique artistic textile culture. It also searches improved methods for Gyubang craft as the following: First, in order to avoid confusions about Gyubang craft, appropriate concepts and definitions of Gyubang craft must be settled through a discussion among experts. Second, by activating economic activities at lower ratio, among purposes of Gyubang craft, achievements must be elevated. Third, in order to settle down the difficulties of Gyubang craft, a variety of methods such as effective sewing machines and manufacturing techniques as well as providing materials at a reasonable price, considering practical ways through diversifying products, elevating the economy of crafts, exploring sales routes, improving educational contents, and expanding educational places must be facilitated. Fourth, for nurturing talented and excellent human resources in the area of Gyubang craft, the followings should be considered: diversifying contents of education, developing textbooks, improving instructors' quality, providing reasonable cost of education, educating on the utilization and application of Gyubang craft, introducing efficient teaching methods through textbooks and multimedia, awarding 'certificates' to trainees, and permitting certificate holders' to instruct Gyubang craft. Finally, it is convinced that the achievement of production, pride of preserving tradition, pleasure of procedural work, economic activities as experts, and sales of products will be reinforced, and the population for Gyubang craft is also expected to increase. By elevating Gyubang craft into Korea's traditional textile art, Korea's global competitiveness in the area of textile should be strengthened.

• 한국생활과학회지
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• 제9권3호
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• pp.371-382
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• 2000

Fashion, a means of communication, is the symbol conveying the social information and the individual identity. The opulence of material and the development of civilization make the sign of fashion variable and individual; especially, The importance of hair style among the today's sign of fashion, as a determinant element in judging each person's look is emphasized. Kitsch, based on the variety and the individuality is the manner of art in diverse hobbies. In addition, it enlarges the sphere of modern an, creates new open aesthetic world. Therefore, we need to understand the symbol of Kitsch aestetic represented in hair style, which is meaningful. The method of this study is quality analysis by means of semiology, aesthetics, Fashion artical, magazine, atc. To support this statement, we will study the form, a primary symbol, and the ideology, a secondly one in $\ulcorner$Mythologies$\lrcorner$ of Roland Bartes(1972). Then by means of the form and the ideology, we will try to recognize the myth, an essential symbol. The result of this study is following like these three points. First, the Kitsch patterns of representation in hair style use the accumulation by an excessive ornamentation; the inappropriateness by the lack of form, the disagreement, the unbalance, and the nonfunctional form; and finally, the amusement by the reconstruction, the exotic, and the satire. The above three is true to the Barthes's primary symbol-the form. Second, the anti-traditionality(including the lack of form, the disagreement, and the unbalance), the homesickness(including the reconstruction and the exotic), and the eclecticism(including the parody and the mixed imitation) are created as the ideology of the liberal artistic notion, different from the past outlooks on aesthetic. This is true to the Barthes's secondly symbol-the ideology. Third, the form and the ideology enable us to express our own thoughts and to recover the humanity, which is the primary purpose of Kitsch aesthetic. The Kitsch hair style, as we witness, does lead the varied and liberal aesthetic world, create its accessible value, and place the art of hair style in a higher status.

• 한국콘텐츠학회논문지
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• 제15권6호
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• pp.73-80
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• 2015

에이젠쉬테인은 1939년에 쓴 "영화의 구조The Structure of the Film"에서 파토스(pathos)를 예술 창작의 기본 원리로 설명한다. 그의 페이소스 또는 파토스는 관객을 엑스타시(ecstasy)로 이끄는 효과로 정의된다. 관객의 감정을 질적으로 변화시키는 것을 목표로 하는 파토스 구성은 에이젠쉬테인의 몽타주와 동일선상의 영화형식이며, 영화 표현의 핵심이다. 이 연구는 에이젠쉬테인이 예술가로서의 지위에 머물지 않고, 관객의 변화를 이끌기 위해 몽타주를 실험하고 그 연장에서 파토스 효과를 구축하고자 했던 논의의 배경을 살펴보았다. 에이젠쉬테인이 설명하는 예술작품에서의 파토스적 의미를 고찰하고, 관객의 감정을 변화시키기 위한 목적의 파토스 구성을 그가 분석한 영화의 사례를 통해 살펴보았다. 위대한 영화감독 가운데 하나인 에이젠쉬테인은 영화예술의 이론화를 추구하면서, 충돌 몽타주, 지적 이미지론, 파토스 구성 등의 원리를 통해 영화의 창작과 이론을 융합하고자 했던 것이다.

• 패션비즈니스
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• 제19권4호
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• pp.57-74
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• 2015

The history of foot-binding was once regarded as a unique practice accentuating the beauty of a woman and the culture of the costume, to be found nowhere except in China. This thesis makes it an aim to understand the culture of costume in China by analyzing the beauty of foot-binding, and its meanings associated with the historical background of the costume. The method of investigation was by both previous literature on the topic and case analysis. The shoes were analyzed by colors, patterns and decorations; selecting 70 pieces easily accessible in the Tianjin Huaxia Shoes Culture Museum. In terms of form, the general type was of the most frequent, followed by one with an elevated toe, mixed type, and one of the downward toe, sequentially. The color of foot-binding shoes were mostly vivid chromatic colors, while the achromatic ones like black and grey constituting significant portions. In view of the patterns, plants patterns were the most frequent, followed by the mixed patterns of mostly flowers with butterflies, bats, and birds desiring the prosperity of descendants. In view of the ornaments, embroidery was the most frequent, while the mixed shoes included tassels, sequins, applique, and shoes without ornaments were of distributions. The forms, colors, patterns and ornaments clearly associated with the wishes of artistic beauty, sexuality, and rise in women's social status may be in the hope of leading others to understand the costume culture embedded in the Chinese by providing important clues about them.

• 패션비즈니스
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• 제20권5호
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• pp.1-15
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• 2016

The purpose of this study is to interpret the artistic nature of fashion from the point of view of George Dickie's Institutional theory of art, which defined art from a sociological context. Five notions to formulate the institutional definition of art were regarding the artist, work of art, public, artworld, and artworld system. These notions were applied to the fashion world, and they deduced the definitions of a fashion designer, a fashion product, a fashion consumer, and the fashion system, which indicated fashion's social status in the art system. Firstly, a fashion designer plays a collective role in the product with an understanding of the consumers, professional knowledge of the design, and knowledge of making images of fashion products. Secondly, a fashion product involves artifactuality in the form of clothes created by collaboration among producers and it is transformed into fashion by collective activity of distributors and consumers. Thirdly, a consumer is a set of people who play a leading role in the assessment and consumption of the fashion product, allow the fashion designer to read his or her taste and reflect it in the fashion product although they are not directly involved in its production. Fourthly, a fashion system is a social framework for the presentation of a fashion product by a fashion designer to a consumer, and a social institution which enables clothes to transform into fashion through design, production, display, distribution, and sales. As a result, fashion is defined as an artifact in the form of clothes created by a fashion designer and presented to a consumer by the fashion system.

• 대한가정학회지
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• 제12권34호
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• pp.663-677
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• 1974

The social and psychological approaches to clothing researches by Fluge,l, Hurlock and Barr in the early 1930's have since been developed greatly. It has now been generally agreed that clothing is the symbol of one's personality and social status, for clothing is regarded as the second skin and a manifestation of one's emotional states as well. Based on this consensus, this study was intended to observe the possible relationship between one's clothing design preference-in line, color and texture- and interest. For this survey, 200 college woman students from four universities were selected at random, and an interest-test standardized by prof. Jung Bum Mo and a questionaire made of 20 items on the clothing prferences were given. The results as commputerized and analyzed are as follows : 1. Line Preference a) Structural line : It is quite obvious that those like straight line are interested in fine arts, and curved line in physics. b) Out-line : Among tubular, bell and bustle of the silhouette, those like the bustle have shown particular interest in music, and the tubular in politics and business. c) Style : There is a salient tendency that those like a dressy style are much interested in music, and casual style in physics and physical exercise. 2. Color Preference a) Favorite color : Those like red, orange and yellow show a high interest in artistic activities and physical exercise, and black, grey and white in politics. b) Variety and combination of color ; These have shown no relationship to the interest. 3. Texture Preference a) The touch : Those like the texture with the feeling the crisp and rough are interested in fine arts, and of soft and smooth in the field of social service. b) Fabric surface : Those like naturalistic pattern, i.e. print of flowers, show much interest in music and literature, and plain fabrics in physical exercise.

• 한국연극학
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• 제40호
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• pp.401-450
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• 2010

This thesis purposes to suggest that creative stage directors have copyright ownership and we make them create high-quality of theatre direction. Stage directors are sincere creator of the theatre stage today. We have little judicial precedents about stage directors, no artistic examination related directing. Stage directors are performers who have neighboring rights, there is a problem that they won't have the exclusive right of making derivative works in this country. Others will make creation (such as cinemas, animations, novels) based on stage expression without permission, because stage directors don't have exclusive right of making derivative works. Copyright law can't protect the concept of stage directors and building blocks of them which are drama text, actors and theatre space, because copyright law don't protect idea according to idea/expression dichotomy. The expression of stage direction is belong to five fundamentals which are composition, picturization, movement, rhythm, pantomimic dramatization that are come from Dean & Carra's work. Directors' work is to make theatrical works based on literary works. Therefore, theatrical works are derivative works which based on drama texts. Also, theatrical works are able to be joint works. In the case of that stage directors write drama text and create expression on the stage, they have to own authorship of both works. Merger doctrine should not apply theatre directors' works strictly like any other functional works because stage directors usually create noble expression which have been not before. We need shift of the definition of theatrical works which are derivative works or joint works to protect theatre directors' creativity. Hereafter, the special legal section for dramatic(theatrical) works including the flexible legal definition for performing arts should be established, and 'contract form' for stage directors should be made. Acting edition(literary works) should be published to grant creative directors compensation. I emphasize to grant ownership of copyright to creative stage directors, to encourage directors' works. Therefore, copyright law will be the support for development of cultural arts institutionally.

• Acta Via Serica
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• 제6권2호
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• pp.37-60
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• 2021

Before the tenth century, the dress of elite women in and around China often reflected "Han" Chinese fashions and preferences. In funerary paintings and relief sculptures of Sogdian and Xianbei couples from the sixth century, for example, women wear "Han" Chinese-style clothing. Even in the Tang dynasty (ca. 618-907), when exchange with Central Asia via overland Silk Road trade impacted the styles and patterning of elite dress and men incorporated clear Central Asian attributes into their dress, elite women in the Tang sphere wore recognizably Tang fashions. Chinese-style dress in these centuries clearly conveyed cultural import and, likely, political power, especially after the founding of the Tang dynasty. However, the straightforward borrowing of Tang women's dress shifted in the Khitan Liao dynasty (ca. 907-1125). The Liao, in contrast to other states that shared a border with China in previous centuries, saw themselves as political equals to the Song dynasty (ca. 960-1278) court in the south. The Liao court was interested in Song customs and culture and incorporated artistic motifs and practices from the Song court. However, the Liao courtly idiom was never fully subsumed into the greater world of the Song - rather, the Liao used facets of Song courtly culture for their own ends. One way this is manifested is through the dual administrative system, a bureaucratic organization that, among other things, regulated and distinguished between who was permitted to wear Khitan and non-Khitan dress. In this paper, I will examine the material evidence from funerary contexts for how the dress of elite Liao women both engaged with the dress of the Song, while also maintaining a certain amount of cultural autonomy. Through their dress, elite Liao women signaled clear messages about their status, identity, and difference to their Song counterparts.