• 한국복식학회:학술대회논문집
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• 한국복식학회 2000년도 춘계학술대회
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• pp.39-39
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• 2000

• 복식
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• 제57권4호
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• pp.173-187
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• 2007

The purpose of this study is to analyze the fetishist characteristics and the aesthetic values of glamour style based on the premise that fetishism is the theoretical root of glamour style expressed in fashion throughout history. The following results are from analysing fetishist characteristics of glamour style. First, luxury was analysed from an angle of commodity fetishism. Every culture develops images and stories that portray a world in which its ideals are realized: a paradise, a utopia, a golden age, etc. Consumer goods often serve as 'bridges to these ideals'. People thus can fantasize about owning the perfect life. Crucially, however, they must never get everything they picture. That is why luxuries often take on displaced meaning. Glamour gives the displaced meaning visual form, making it beautiful and real. Second, the attention on the glamour of luxury goods as a bridge to ideals is connected to the glamour icon who is simultaneously a consumer of these luxury goods and a producer of cultural goods. Glamour icons including the courtesan of the late 19th century, the actress of the 1930s' Hollywood golden age and today's celebrities appear to efface the traces of production and create fetishist images in culture. Through this artificial principle, the commodity-cum-glamour icon comes to life as a splendid image of spectacle. Third, masquerade and seduction were analysed from an angle of sexual fetishism. A magnificent image of masquerade as sexual fetishism is often equated with femininity, especially in Hollywood movies, because the artificial seduction of the feminine -namely glamour- can be effected by the absence or silence of being. That is to say, the aesthetic revelation of femininity coincides with the fleshing out of artificial signs. Masquerade and the seduction of the feminine are connected with glamour's artificial sensuality from this point. Fourth, since 1980's when homosexuality as sexual deviation resurfaced as a hot topic, sexual ambiguity and bisexual image have gained attention as perverse sexuality. Next came queer theory, which reduced gender itself to a matter of surface rather than depth. According to queer theory, gender itself can be revealed as a kind of drag act. Drag's imitative performance may reveal that womanliness is just about 'dragging up'. Queerness as a decadent play makes a connection with the wicked origins of glamour. From these characteristics, four aesthetic values were deduced: ostentatious luxury and mysterious idolatry by commodity fetishism, artificial sensuality and playful queerness by sexual fetishism.

• 패션비즈니스
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• 제5권5호
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• pp.49-64
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• 2001

Fur is conceived as a material signifier, not only with its commodity value as luxury goods but also as its symbolic value as objects invested by one's libidinal desire. In this study, complex meanings of fur as multi-layered signs of political and sexual power focusing on fetishism shall be explored, especially on the spectacle fetishism acted by mass media during the anti-fur movement in the 1980s. In conjuction herewith, a highlight shall also be made to the symbolic value in fashion design since 1990s. In this study, first, as a theoretical investigation, fetishism, that has been traditionally considered only as sexual fetishism in fashion discourse will be explored in socio-economic level. Second, in historical context, how the meanings and values of fur have become realized in various cultural spaces, such as literature, art, film and finally, fashion will be viewed. In fashion, fur is a product of desire and power influenced by commodity fetishism as well as sexual fetishism. During the anti-fur movement, mass media has developed the concept of spectacle fetishism. Fur is a sign of animal-victim, and fur-clad women is viewed with images full of imperialsm, sexism and racism, thus act as derisive spectacles of consumerism. Since 1990s as a reflection on anti-fur movement, fetishistic characteristics, which challenge traditional operation method, are expressed by disguise, parody, and returning to the nature. First, fur as disguise is intended to hide sexually perverse, decadent characteristics and expensiveness of fur by texturing or patterning techniques. Second, fur as parody uses fake fur or dyed fur in order to satirize erotically and ethnographically fetishized meanings of fur. Third, aboriginal design of fur is adapted to use symbolic values outside the West, which can potentially mobilize antagonistic oppositions out of their fetishistic regimes. In conclusion, fur as sign of female sexuality and its libidinal profits of exchange, has significant symbolic values expressed in fashion.

• 대한지리학회지
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• 제46권4호
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• pp.554-566
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• 2011

소비 자본주의는 상품 물신화 전략을 통해 상품에 내재되어 있는 실재적인 지리적 지식을 상상적인 지리적 지식으로 대체시켜 나간다. 이로 인해 현대의 소비자 세계 속에서 학생들은 상품의 실재 세계와 단절되고 상품이 가지는 지리적 삶을 망각하게 됨으로써 결국 자신과 상품을 관계적으로 사고 할 수 있는 능력이 약화되고 있다. 그래서 학생들은 상품의 글로벌 네트워크 속에서 자신이 가지는 위치의 의미와 자신과 상품 네트워크 사이의 상호 관계성으로 인해 발생되는 환경 문제를 윤리적으로 인식하지 못하게 된다. 이러한 문제 의식과 현실 상황 속에서 본 연구는 햄버거 커넥션을 사례로 상품 소비와 윤리의 관계를 살펴보면서 학생들로 하여금 관계적 사고를 통해 상품과 학생 자신의 관계를 바라볼 수 있는 안목을 가질 수 있도록 하는 것이 지리 교육의 역할임을 주장하고자 한다.

• 영어영문학
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• 제55권5호
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• pp.767-792
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• 2009

The two fields, economics of art and literature, tend to be put together as part of cultural economic studies; yet the former has been widely popular as compared to the latter. Economics of art has been known as part of social science which studies art economically. Similarly, economics of literature is likely to be an interdisciplinary study of literature and economics. Literature is suggested usually to reflect the economic base of a society as a form of its superstructure in view of classical Marxism; so, it is interesting to see social, economic activities, such as individual values and social institutions, income, price and opportunity cost, in a particular way of analyzing economic ideas in literature. Capital seems to have an innate property of self-expansion in literature; this property thus features actual economic life since in capitalism money is the universal value between persons and literary works. Specifically, the field of economics of literature starts with such ideas: economics of literature is part of cultural economics; and economics of literature deals with the economic value of literature. Putting interdisciplinary fields of literature and economics together, this study is to examine the economic value of literature in which Karl Marx talked about commodities with exchange value, use value, and fetishism. The exchange value is commercial worth, the actual exchange value of a publication; yet, the use value is innate worth, the aesthetic use value of literature. With commodity fetishism, profit seems not as the outcome of a social relation, but of a work- "reification" as the would-be Marxists suggest. As a commodity, the literary work appears to be able to animate life and power in reality. As a result, this paper asserts that social, economical activities in literature as we may apply to the study of economics of literature increase its economic value, implying commercial and innate worth, as the capital in the marketplace.

• 한국언론정보학보
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• 제70권
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• pp.165-188
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• 2015

오늘날 변화된 미디어 지형에서 미디어를 이용하는 활동이 자본의 가치증식 과정에서 어떤 역할을 하는지에 대한 논의는 미디어 정치경제학과 비판언론학에 새로운 연구 영역과 노동가치론의 시각을 제시해줄 수 있다. 이 논문에서는 미디어 이용 활동을 포스트 포드주의 축적 체제의 새로운 노동 범주로 파악하거나 자본이 스스로 생산하지 못하는 지대라는 관점을 넘어설 새로운 매개 개념을 제안했다. 이를 위해 수용자상품론을 또 다른 상품의 생산을 위한 자본재로 파악하는 입장을 토대로 미디어 이용 활동을 이 자본재를 생산하기 위한 노동의 대상임을 주장했다. 또한 이러한 자본재 생산의 노동이 이루어지는 시공간으로 미디어 플랫폼이 그 중심에 있음을 논했다. 이러한 재개념화를 통해 미디어 정치경제학의 연구 영역은 플랫폼을 통한 가치의 창출이라는 범위로 확장될 수 있을 것이다.

• 한국의류산업학회지
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• 제11권2호
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• pp.200-209
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• 2009

Mirrors often appear in fashion advertisements. This study aimed to analyze meanings of the images represented in fashion advertisements using mirrors. This study analyzed the meanings of mirror image in Western art history, and also studied meanings of female representations in the paintings. Based on previous studies, this study classified mirrors' expressions in three types and analyzed their meanings. To analyze the meanings of the three types, this study researched the symbolic meanings of the mirrors in visual arts chronologically, first. And then, this study interpreted that in the context of consumption cultures and consuming ideologies in view of feminism, consumption ideology, desire theory, and fetishism. The results of this study were as follows; 1. Narcistic body expressions associated with strong and independent women, while associated submissive being overwhelmed by consumption cultures. 2. The method of revealing the female body throughout mirrors was meant to attract the attention of consumer. 3. Multiplied body images meaning was like a commodity in fashion advertisements.

• 영어영문학
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• 제64권4호
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• pp.531-550
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• 2018

This paper contemplates egalitarian ethics and ecumenical consumerism suggesting expansive possibilities of Northern Ireland's sectarian limits towards unlimited spatialities in Robert McLiam Wilson's Belfast novel, Eureka Street. This paper argues that Northern Ireland's (Belfast's) (post)modernity and a social ethics promoting outwardly mediated relationships are a vision for nonidentity Eureka Street espouses against the identity politics of Protestant-Catholic schism. Eureka Street remarkably challenges Northern Irish sectarian politics propelling inwardly unmediated relationships by ethical possibilities of infinitively mediated relationships. In the argument for a postmodern view of the novel, commodity fetishism and consumerism are considered as key to a prospect of emancipation of Northern Ireland from the political fetters of total identity the partisan communities impose on themselves. This paper also demonstrates that a post-national cosmopolitanism Eureka Street envisages embraces a new social solidarity predicated upon socio-political pluralisms against Northern Irish sectarian identities.

• 한국의류학회지
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• 제29권2호
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• pp.267-278
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• 2005

Fashion luxury products, which used to mean high-quality, handcrafted not-so-trendy items, are nowadays regarded as expensive fashion merchandise produced under the name of imported well-known brands. People cunsuming fashion luxury products distinguish themselves from other people according to the luxury fashion brands they are using, and as a result, advertisements of fashion luxury products are taken as a kind of international language. The purpose of this study is to point out the socio-cultural meanings of consuming fashion luxury products, by analyzing images shown in advertisements of fashion luxury products focusing on women's images. To do so, this study is based on general theoretical background on fashion, consumer culture advertising and analysis advertisements of fashion luxury products shown in fashion magazines in recent three years. The result of this study is as follows; The images of the advertisements of fashion luxury products could be categorized as (1) elegance, (2) kitsch and (3) fetish. Elegance is a taste of high society, aesthetically chic and feminine. Fashion luxury products, which are merchandise of extravagance, dignity, refinement, feminity and harmony, exhibit high-quality grace through their advertisements. Kitsch represents the vulgar and popular images of trivial commodities of industrial society. In the advertisement of fashion luxury product, it is shown as inappropriateness, excessiveness, stereotyped pleasantness, exaggeration an playful satisfaction. Finally, fetish images represent erotic or perverted sexuality, based on psychoanalytic fetishism which objects are regarded s substitute of sexual orgasm. The advertisements of fashion luxury product are characterized as (1) popularization of luxury, (2) objectification of sex and body, and (3) re-aestetification of anti-aesthetics. The asvertisements of fashion luxury products are actually targeted to the middle class with successful career women's images. They objectify female bodies through fetishistic images. Also, the deviant subcultural style, represented a new kind of cultural capital, is now reproduced as a new commodity aesthetics.

• 영어영문학
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• 제55권5호
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• pp.865-883
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• 2009

The mock-heroic, "the single most characteristic and individual literary form of the neoclassical era," as Brean Hammond puts it, epitomizes the process of the "novelization" of the 18th-century British culture. Bakhtin mentions that when the novel reigns supreme, almost all the remaining genres are "novelized"; Hammond borrows the term "novelization" from Bakhtin and uses it as a "shorthand way of referring to the cultural forces that render epic anachronistic." Indebted to Hammond's apprehension of novelization, this paper reads Alexander Pope's Rape of the Lock in the context of novelization, particularly focusing on 'probability,' 'contemporaneity' and 'domesticity,' three important signatures of the novelization of the 18th-century British culture. First, Sylph as a counterpart of god in epic is presented in The Rape of the Lock just as a helpless, fictional and irrelevant thing that hardly affects the empirical world. It indicates how the mock-epic 'mocks' the classical world of 'epic' and stands closer to the world of the novel. Second, Pope's poem displays an accurate picture of the author's contemporary reality, a capital concern of the novel, such as imperialism, consumer society, commodity fetishism, or reification. Lastly, The Rape of the Lock lays out the construction of modern gender ideology, another quintessential interest of the novel, particularly with the fixed female image of a coquette. It efficiently silences and nullifies Belinda, a typical coquette, who stands as a threatening force to the ascendent domestic ideology.