• Archives of design research
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• v.18 no.1 s.59
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• pp.245-252
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• 2005

In this paper, I am going to analyze a commercial film narrative focused on a temporal order through the theory of narrative discourse by Gerard Genette. Advertisements has a special quality or feature to be convertible into mythological hyper reality to advertise an product effectively. In this process, narrative in a commercial film has visual variations using a temporal order to show an glamorously advertisements in television. The reason that narrative in a commercial film is subject to variation with a temporal order, duration, frequency is to get some aesthetic effect for making sure people see them. Under the influence of postmodernism, image making like a pop-art became the first consideration in a commercial film with the consequence that representation as a signifier came to be more important than object as a signified. As a commercial film have more sensational image as a result of visual variation, images in a commercial film became vague so that it does not explain or express an advertising concept dearly. However, those aspects have assets that it gives the TV audience a room for interpretation in advertisements by themselves.

• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.63-78
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• 2008

Since 1960, minimalism has been one of the fashion phenomenon and turned out in many different ways. After postmodernism which contains negotiation and pluralism, appeared in 1980, there was a new wave of post minimalism that inherited 1960's minimalism. Minimal style which come out of 60's fashion, is marked by simplicity, minimal expression, and monochrome color, and it shows up simple style with no decoration. It opened up a young fashion period, and we saw minimal style in sports wear which utilized simplicity and function with spread of sports in the 70's. And also since 1980, Post-Modern widely influenced the idea about modern culture as well as complicated clothes getting rid of fixed concept, seeking to break the boundary between culture and life which were seek in fashion and personality as well as various characteristic, Accordingly in different ages, The style and image were borrowed from different culture and natural environment mixing the image, cultural phenomena like these appearing in complexity and expression, variety and possibility of new vision was expanded. Since 1980, Fashion has become more gradually diversity, high classed, required of each individuality. The phenomenon of fashion reappearance which was influenced by minimalism is continued to 2000. The Oriental style fashion is still attracted, so The new term "Ethic Minimalism" has appeared along with the trends which is put together. Therefore the purpose of this study is to search the concept and the characteristics of ethnic minimalism, to consider the relationship between minimalism and ethnic minimalism, and reveal the characteristic of ethnic minimalism happened to modern fashion. The study method went through literature research and practice research. The range of this study is oriental fashion spanning of from 1960 to current day. Photo records from this period show well the spirit of the oriental and the personality of minimalism. The oriental representative designer and western representative designer are centered Consequently, The formative characteristics of ethnic minimalism are simple, pure, unbalanced free style and representing the phenomena of compromise, blending oriental and western fashion. Structually, Elements of space and plane are emphasized, colors are restricted, and materials are composed mainly of natural fiber. So, minimalism based on simplicity combined with a structure of oriental spiritual depth and space, It could be called ethnic minimalism as a rational fashion.

• The Journal of Art Theory & Practice
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• no.1
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• pp.71-92
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• 2003

This study examined the condition of an educational discourse, relating the concept of creativity, culture, culture-centered, and critical thinking, to explore Culture-based Art Education(CBAE). In particular, art education practice was examined using interpretations of creativity and critical theory positions from the field of education. Discourse analysis was used as the research method to contextually situate and analyze the ways in which art education theory and practice of creativity and of critical studies encoded meanings. The study helped build an understanding that creativity was formed as a modernist discourse in the humanistic stance. In education, creativity became the fundamental concern for progressive educators who pursued innate ability of individuals. The way to enhance creative potential of students was to induce their motive, as was the same case in art education, while in artist training, free expression was its main method. In this way, as creativity was intimately connected with the concept of expression, in art education art making is the only course for enhancing creativity. However, because creative process cannot intelligently be regarded as logically distinct from the creative product, and creativity can only be said by product, it seems valid to think that creativity is the quality not to be achieved by teaching. Furthermore, its emphasis on art making resulted in unbalance of art making and art appreciation in art education. It was the late sixties when several alternatives for creative education were made their appearance. Critical studies in art adopted critical theory as its theoretical background has developed as an alternative of creative art education, when research and theory for creativity could not be adequate to deal with the problem of practice. Critical theory is a broad and diverse field of theory and practice drawing on aspects of the modernist perspective of the later Frankfurt School, feminism, Freirean pedagogy, postcolonial discourse as well as postmodernism to construct a practical approach to education. It is very this eclectic nature to provide the mosaic that need to experience cultures from different perspectives in a pluralistic society. Because one's personality is formed by multiple aspects of culture which is very complex and is made up of what we do and value, creativity cannot make part of educational discourse with the philosophy of culture centered. On the other hand, critical studies, as a school art program of critical theory, can perform the role of CBAE, because it would have to deal with the investigation of social and cultural issues form multiple personal, local, national, and global perspectives.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.15-23
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• 2019

This paper aims to identify the characteristics implied in the process of change of Stephen Sondheim's musical style and to derive the structural communication tools that connect the creator and audience and the implications. The strategies that appear in Sondheim's musical works are the following. First, Sondheim's early musical works follow the principles of book musical and emphasize the integration faithful to the basic elements such as the rhythm and meaning of the lyrics. Second, in the era of early postmodernism, Sondheim attempts the principle of extreme deconstruction through the concept musical Company and pursues rational thought through fragmented dramatic flow. Third, while maintaining dramatic linearity to overcome the lack of immersion caused by extreme deconstruction, Sondheim realizes a more elaborate and formalized fusion style of the principles of integration and deconstruction through the choruses and the songs of the characters in Little Night Music and Sweeney Todd. Finally, Sondheim attempts multiple experiments to break down the boundaries of act and scene and to express new subject matters through his works such as Sunday Park with George and Into the Woods. In conclusion, Sondheim's fusion experiments and strategies are the process of finding a framework and a medium of communication to induce dramatic immersion of audience and at the same time create rational thinking about social problems to deliver the message of the creative work with the leading aesthetics of the modern musical's box-office success.

• Archives of design research
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• v.13 no.3
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• pp.221-234
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• 2000

This thesis aims to study the space concept of the constructive mode in the work space of the postmodernism artists since 1970s. According to the changing view of the world artists, they are searching for the characteristics of having the parameter of formative organization on how they are related to the constructive system which represents the work styles. First, this study searches for the theoretical approaches of the constructive system and parameters that were studied by Le Corbusier - the module concept as the meaning of order system being used for the basic formative construction Second, when it is regarded as a formative construction in making art as the'principles of organization'(the law of living form), which was defined by Suzanne Langer in the formative theory as the organized structure shown in growth structure in mu and ecological system, the principles governing the module rules were arthmetically analysed art-work space through the dynamic symmetry of Jay Hambidge. Therefore, this study shows the principles working on the parameters for new formative organization as follows: First, the module in the work space should be designed and built from the dynamic symmetry. Second, the module should satisfy the human needs that it must be acceptable, efficient, flexible, which are the necessary and sufficient condition for the dynamic symmetry. Third, the dynamic symmetry which has the principle of Reciprocity and the principle of Complement as its primary construction principle has the common properties and the reciprocity in the construction of the work space and when it has the self similarity, it segments organically the total space without damaging the continuum.

• The Korean Journal of Archival Studies
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• no.80
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• pp.197-232
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• 2024

This study aims to understand archival art, which is spreading in the art world, and to look at records in a new way. Archival art refers to the act of creating and exhibiting art using records as a medium of expression. Archival art is attracting attention as a method of exhibition and creation of works, forming a trend in contemporary art. Archival art was born amid changes in art creation methods resulting from the rise of conceptual art, the development of media including photography and advancements in digital technology, and the influence of Foucault and Derrida's discourse on archives. The encounter between archives and art, which originated from photographic aesthetics in the 1920s, led to archival turn in contemporary art in the 1990s, thanks to the spread of conceptual art, digital technology, and postmodernism. Archival art not only subverts traditional art creation methods, but also includes criticism and deconstruction of social systems, including modern archives. Archival art rearranges and reorganizes records according to the artist's intention, and even accepts fiction rather than fact. The essence of records in archival art is not the reproduction of the past, but the expression of present needs. The way records are utilized in archival art shakes up the concept of records in archival science, calling for a new look at records as objects with not only legal and administrative value but also aesthetic value.

• The Journal of the Korea Contents Association
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• v.12 no.7
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• pp.86-93
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• 2012

The foundation of the development in modern typography is based on the era of International Typographical Style and Modern Typography that valued morphological functionality and rationality to achieve an accurate conveyance of meaning. However, with the advance of postmodernism, the view that the aesthetic and conceptual aspect must be included in its interpretation rather than its rational functionality was prominent. Indeed, the works of Dan Friedman and April Greiman, two graphic designers that are known to be the most representative of the post-modernistic era, displayed that graphic design works can also serve as a method for a more free artistic expression, unlike works of Modern Typography. This move towards aesthetic graphics was first started by Wolfgang Weingart. His various attempts at expanding the concept of typography had a significant impact on the development of New Wave and his experimentalist attitude brought about a ground-breaking change to the functional design and formative expression of modern typography. However, this thesis will consider the theoretical background of the typographical designs displayed in Wiengart's works and the experimental methods thereof, and will not attempt to evaluate Weingart's pioneering role and achievements. Furthermore, this thesis will shed new light on the argument that the Weingart's works are not based on the authorship view of post-modernistic typography and are rather utilized to expand the concept of typography based on a syntactical approach.

• Korean Journal of Social Welfare
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• v.63 no.3
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• pp.239-260
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• 2011

It is very interesting phenomenon that despite a broad consensus on the need for social worker to take cultural aspects into professional practice, thus to be a culturally competent, a number of materials criticising the concept of cultural competence have emerged in these days simultaneously. The main purpose of the study is to clarify such phenomenon, which means that this article is trying to analyze the contents of such critical discourse on cultural competence and the validity of those contents. The result of the study finds out that most of the arguments can be categorized into three aspects: epistemological, ethical, ontological, and that most of the main ideas of the critical discourses have been borrowed from a branch of critical social work theories, especially highly influenced from Foucault and Derrida. This article argues that critical discourses have some significant problems which make a conflict with traditional values and tenets in social work as a human service profession. First, epistemologically, the critical discourse fails to differentiate the matter of discovery from that of justification, which brings the cultural competence to the brink of agnosticism. Second, ethically, insisting that there should be no foundational criteria for cultural hierarchy in term of rightness or goodness, the critical discourses reveal their intrinsic limitations in solving ethical dilemmas and conflict in real world, which can be considered as a kind of evasion of responsibility in disguise of cultural relativism. Third, in practical vein, critical discourses are largely in effective in specifying the concrete model to realize their own ideas, and furthermore they unintentionally promote context-blind perspectives that eclipses the significance of structural and systematical impacts on the cultural identity.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.5-59
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• 2014

This paper investigates the development and aesthetics of Korean political theatre from its quickening period 1920s to democratization era 1990s. Political theatre before 90s developed an antithesis resistant movement toward Korean modern history that had been scattered with suppressing political circumstances such as colonial era and dictatorial government, the movement has powerful activity and social influences. Just like the 20 century political theatre had been quickened under the influence of Marxism at Russia and Germany in 1920s, Korea's political theatre began in socialism theatre movement form around the same time. Proletarian theatre groups had been founded in Japan and Korea, and developed into practical movement with organized connection. However, the political theatre movement in Japanese colonial era was an empty vessel makes great sound but not much accomplishments. Most performance had been canceled or disapproved by suppression or censorship of the Japanese Empire. The political theatre in liberation era was the left drama inherited from Proletarian theatre of the colonial era. Korean Theatre alliance took lead the theatrical world unfold activities based on theatre popularization theory such as 'culture activists' taking a jump up the line and 'independent theatre' peeping into production spot as well as the important event, Independence Movement Day Memorial tournament theatre. Since 1947, US army military government in Korea strongly oppressed the left performances to stop and theatrical movement was ended due to many left theatrical people defection to North Korea. The political theatre in 1960s to 70s the Park regime, developed in dramatically different ways according to orthodox group and group out of power. The political theatre of institutional system handled judgment on sterile people and had indirect political theatre from that took history material and allegory technique because of censorship. In political theatre out of institution, it started outdoor theatre that has modernized traditional performance style and established deep relationship with labor spot and culture movement organizations. Madangguek(Outdoor theatre) is 'Attentive political theatre', satirizing and offending the political and social inconsistencies such as the dictatorial government's oppression and unbalanced distribution, alienation of general people, and foreign powers' pillage sharply as well as laughing at the Establishment with negative characters. The political theatre in 1980s is divided into two categories; political theatre of institutional system and Madangguek. Institutional Political theatre mainly performed in Korea Theatre Festival and the theatre group 'Yeonwoo-Moudae' led political theatre as private theatre company. Madangguek developed into an outdoor theatrical for indoor theatre capturing postcolonial historical view. Yeonwoo-Moudae theatre company produced representative political plays at 80s such as The chronicles of Han's, Birds fly away too, and so on by combining freewheeling play spirit of Madangguek and epic theatre. Political theatre was all the rage since the age of democratization started in 1987 and political materials has been freed from ban. However, political theatre was slowly declined as real socialism was crumbling and postmodernism is becoming the spirit of the times. After 90s, there are no more plays of ideology and propaganda that aim at politicization of theatre. As the age rapidly entered into the age of deideology, political theatre discourse also changed greatly. The concept 'the political' became influential as a new political possibility that stands up to neoliberalism system in the evasion of politics. Rather than reenact political issues, it experiments new political theatre that involves something political by deconstructing and reassigning audience's political sense with provocative forms, staging others and drawing discussion about it.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.229-242
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• 2021

The purpose of this study is an empirical case study that focuses on bring about changes in clients through narrative therapy using scaffolding. Through this, the purpose was to find the preferred values and hopes of the future among the stories that the client's has lived in. As the research method, we proceed through unstructured interview and loose structures in qualitative research. On this premise, the counselor did not diagnose or explain the 'decentralized but influential' attitudes and problem. And there was no order in the conversation, and I didn't decide in advance how to react to it before the client made any expressions. This study has the following significance on a practical and academic level: First of all, counseling through scaffolding further enrich the curiosity, temperament, and wishes of the client. Second, the scaffolding provides a concrete picture of the relationship between a counselor and a client in narrative therapy. Third, the scaffolding made in therapeutic dialogue presents a 'learning tasks'. Fourth, counseling through scaffolding has an active meaning that it can develop the higher mental function of clients in charge. Finally, we presented an application of narrative therapy in Vygotsky's theory through analysis of empirical cases. Based on this information, this study did not simply intend to position the client as a research object in narrative therapy. It is meaningful that they have identified the factors necessary to become the subject of narrative therapy and the role of the counselor in the process. In addition, this study has implications in that it contributed to the expansion and substantialization of the research scope of narrative therapy in that it utilized the concept of scaffolding, which has not received much attention in the domestic research.