• 복식문화연구
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• 제11권5호
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• pp.778-792
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• 2003

This study is to review, in the social and cultural context, the main causes for the sportism that prevails in modern fashion, and to analyze the typical expressions in the domestic fashion. Many factors attribute to the advent of sportism such as rapid development and cultural changes toward sports, increase in leisure time and abundant opportunities, new fashion materials resulting from new technologies, emerging youth culture and increasing preference for such culture, and the postmodernism. With this background, sportism, which has been appearing in the domestic fashion, falls into 5 categories as follows based on the type of its expression. “Urban Street Sportism” is affected by the new sports culture of urban young people, which is characterized such that body line is disregarded with over-sized garment in layered style without considering T.P.O. concept. “Romantic Sportism” applies colors, fabrics and details of romantic images to sporty items, or culminates the feminine and elegant sportism by using the sporty fabrics and details along with romantic items. “Vintage Sportism” is characterized by its well-refined, high quality expression of naturally worn for long time, which is affected by the postmodernism. “Urban Utility Sportism,” which is developed with such design factors as fabrics, styles, details and colors with emphasis on their utility and functionality, explicitly accommodates the changed modern life styles particularly in urban areas. Lastly, the military image, which was developed during the Iraq War along with simultaneous anti-war activities, and the peace messages, which deliver the mankind's hope for the world peace and social wellness, formulate the “Military Sportism”.

• Architectural research
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• 제15권2호
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• pp.87-94
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• 2013

Throughout the history of architecture, sometimes the main focus of design was determined by a particular visual representation method, and other times a particular form of visual representation method was required by perception of a particular architectural issue or an architectural form or idea. That is why the visual representation method of architects becomes an important means of reading the flow of idea and thinking behind architecture. This study is an investigation on the relation between architectural thinking and visual representation method expressed through the conceptual drawings by avant-garde architects of the 1970s and 80s, a period of the emergence of postmodernism. Rather than proving the objective reality regarded important by traditional architectural drawing, attempts are made to express the design concept in which the project has its base. Such interpretation and explanation regarding the concept become the main interest of the drawing. It is not that the architecture itself was not expressed in the contents, but it may not be the main subject of expression in the drawing. The value of architectural drawing recovers its value as an art work in itself, as a means of communication, and as an important conceptual tool in the design process. It can be seen that the visual representation method in postmodern architectural drawings is breaking free of the traditional objective depiction of matter and is changing and developing as a design tool of the architect.

• 한국가구학회지
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• 제15권2호
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• pp.41-51
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• 2004

Since Cubists represented a way of expressing image moving away from traditional illusion effect, new realities represented by collage and assemblage. Furthermore, Marcel Duchamp, a French Dadaist, suggested the concept of ready-made that everyday objects exhibited in an odd way in a gallery. These early fine art cases highly influenced to furniture design in the second half of the twentieth century. The use of objects in contemporary furniture is closely related to the emergence of Pop Art in the late 1950s and that of Postmodernism. After the 1970s the use of found objects were frequently utilized in furniture design of all over the countries. As an ecological issue became a new consideration to furniture designers, found objects also gave a chance to use recycled materials. Even in studio furniture area which is considered wood as a major material at the early stage, many studio furniture designers began to adapt found objects in their designs as a new source of Inspiration after the 1970s. This study explored various examples of found objects in furniture design and examined the meaning of the use in different designers and regions.

• Journal of Yeungnam Medical Science
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• 제37권2호
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• pp.79-83
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• 2020

In the 21st-century postmodernism era, which represents diversity and relativity, one of the most essential elements in the field of education is to strengthen individual human values. Accordingly, we must focus on developing capacity in order to adapt to change. It is clear that the medical field maximizes the need for new judgments to solve life-related problems constantly, and this problem-solving capacity is an essential skill for a physician. Problem-solving capacity can be achieved simultaneously with creativity to apply them in an appropriate manner based on standardized expertise and well-trained skills. Creativity is also a key element that medical education is currently pursuing. Many studies on creativity have resulted in confusion and misunderstandings on the concept of creativity due to similar terms and varied definitions, such as creation, innovation, etc. In this study, we attempt to identify the importance of creativity in medical education by comparing and organizing concepts related to creative capacity.

• 여성건강간호학회지
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• 제4권1호
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• pp.36-46
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• 1998

This paper describes why maternity nursing need to be extended and expanded to women's health nursing. Women's health nursing was developed and influenced by philosophical reasoning such as existentialism, feminism, and postmodernism. Also social changes accelerated to progress the maternity nursing to women's health nursing. Reproductive health is the core concept of women's health nursing as well as maternity nursing. The major content of women's health nursing includes maternity nursing area. Thus those researchers who study women's health nursing should take initiative role in multidisciplinary researches to solve health problem and improve the quality of women's life.

• 미술이론과 현장
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• 제2호
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• pp.49-74
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• 2004

It has been frequently pointed out that the established art history with the stylistic and iconographic interpretations and monographic analysis is fallen behind the currency of modern art. Among those who claimed the crisis in the discipline of art history, there is a suggestion that the art historical study should be fostered by other factors in the fields of the humanities. The so called New Art History or 'visual Culture Studies' insists that art history has to be restructured to integrate the broader study of culture and society, and by now, such an opinion is not a novelty at all. One of the most significant yet overlooked elements that induced the new currency of art history is properties of contemporary art that conflict the traditional claim of art historians. Although the idea that art is not purely aesthetic but that it has many other functions has been brought up by the art historians, it was the artists that provoked such a perception. When Arthur C. Danto and Hans Belting proclaimed the End of Art and Art History in the 1980s, the concept of art has been changed radically through the avant-garde tendency of Modernism and a new pluralism of Postmodernism. One dominant concern that strikes art historians is to find a new approach to art, since the traditional method and goal of analysis for past art and past art history seem unavailable. The perplexity arising from the situation is intensified in the field of teaching art, especially for those who teach art history in art school. Basically art history is a pursuit of learning of art in history, and its purpose is to reconcile the present with the past and the future as well. Since Modernism, as it is confusing sometimes because it implies the present state, somehow art became considered 'tradition-less'. It does not mean that a work of art stands aloof from the past attainments, hut modern art imposed itself on a task seeking after the new for its own sake, turning its back on the tradition. And now in the era of Postmodernism, an historians face the requirement to revaluate the whole history of art including modernism. The necessity of art history in art education is indisputable, but methods and contents in the academic courses should he reexamined now. Because artists' concept of history and past art has been altered, and art history as a humanistic discipline can only maintain its identity through incorporation with art itself. Academics teaching art history, or, strictly speaking, past works of art and history, to the student in art school, confront with the need to rethink the object of art history and its meaning to the artists.

• 복식
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• 제52권5호
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• pp.79-89
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• 2002

We can see various cultural elements appeared in modern fashion, of which Korean traditional cultural elements are being reinterpreted in many different ways. This study is to analyse on the basis of togetherness concept Korean traditional elements, which have been considered difficult to interpret by postmodernism and find the ways how to carry on our traditional culture practically in order to prepare the foundation for globalization of our tradition. Togetherness means 'with' or 'simultaneously', which also conveys the meaning of common cause and result, addition and annex, opposition and juxtaposition, or accumulation and integration. Characteristics of the togetherness appeared in Korean fashion are as follows. First of all, it shows the aspect of mixing and integration of different cultural fashion elements around the globe, which have been made possible in the course of globalization and development of information technology. The second characteristic is crossing and synchronization, which means that many different individual fashion elements in terms of time and space are being crossed over and integrated these days. Thirdly, continuation meaning 'without cease' and 'keep going' shows that togetherness is to create a whole new fashion trend by mixing postmodern revivalism and past clothing elements. Togetherness makes it possible for us to find reasons why tradition aspects are expressed so vividly in the modern clothing, gives us a standard to classify the reasons, establishes an identity and offers theoretical background for globalization of traditional clothing in the course of modernization of our tradition.

• 복식
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• 제58권1호
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• pp.116-132
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• 2008

Continuity and discontinuity is a relative concept, and there are various categories of the continuity and discontinuity in our circumference. In the thought of postmodernism of the late of 20th Century, continuous creations of the difference and the repetition have being regarded as a discontinuity. But, because of that catches the moment occurring qualitative skip though the flowing of the everlasting time, this has been known to a shortsighted viewpoint overlooking characteristic of the qualitative continuity of an organism, which have being created continuous formation for life through the flowing of the time. Therefore, this had studied like this complex social condition and various relationships expressed in modern fashion focusing on permanently creative movements and behaviors equal to the qualitative continuity. This Thesis is following study about continuity, and aims at understanding of those formative characteristics through consideration about characteristics of qualitative continuity. And, this analyzes formative characteristics of the qualitative continuity into 5 sets: enlargement, conversion, structural variability, mutual combination, and deconstruction. This thesis intends to grasp complex modern social phenomenon and modern fashion into qualitative continuity that means continuous formation and the change of various relationships according to recognition about the course toward open thinking.

• 패션비즈니스
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• 제7권2호
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• pp.26-36
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• 2003

The purpose of this study is to examine the concept of modern consumer society and to analyze how the meaning of postmodern-feminism is consumed into what image of preference in fashion. The function of modern society has changed into the system which is centered around consumption from the one that emphasizes labor and production of mass consumption age by mass production. In this consumer society, consumption means just not to waste of production but to consume the commodity sign reflected on the desire of a moderner. In other words, it means what is consumed will be the meaning, preference, symbol, and image mood not goods itself with physical feature. Existing feminism has affected by postmodernism. Due to that, postmodern-feminism has developed, taking to pieces the paternal argument since the late 1960s. It has tried to give up hope this idea, regarding sex distinction as a socially organized category contrary to women's identity of biological aspect suppressed in the paternal system of value. Especially it has demanded only one type on sex should be translated into a distinctive quality, multiple meaning, and sex. Accordingly in modern fashion, this aspect is expressed like the followings : distinction into women's image evaded fixation, multiple meaning into image of androgyny, multiple sex into that of mixture. And this is used as the image of symbolic goods, also the purpose of brand difference.

• 복식
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• 제57권1호
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• pp.130-146
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• 2007

Thought of postmodernism accepted between variety and differentiation is characterized by variability and indeterminacy aimed at continuous change. For that reason, modern fashion has been grouping a lot of manners for creation of the various different form and structure. This paper studies the characteristics of the folding system, which expands efficiency of the spatial utility and shows various forms. Folding system expressed in modern fashion could be divided the pleats, which were made of the folding, and the dreaperies, which were made of bending. This selects the pleats as a enlarged concept of the folding system that contains between the former and the letter. Pleats did not mean two dimensional folding surfaces, but three dimensional spatial structures. For understanding of the folding system as a three dimensional spatial structure, this is utilized with the thought of the 'le pli' of G.W.Leifniz and G.Deleuze. The pleats expressed in modern fashion can subdivided into 4 sets; crinkle system, origami system, fractal pleats by folding system, and drapery system. And Formative characteristics of the pleats are analyzed with enlargement, fluidity, deconstruction, irregularity.