• Journal of the Korean Society of Costume
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• v.57 no.5 s.114
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• pp.45-57
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• 2007

This study is on the aesthetic characteristics of Balenciaga design succeeded to by Nicolas Ghesquiere, and tried to understand his pursuing brand's new design concept and aesthetics. The three key characteristics of Balenciaga designed by Nicolas Ghesquiere are Retrospecitvness, Eclecticism, Deconstruciton. First, Balenciaga looks retrospective sense through reinterpreting tradition. Nicolas created a new sense of expression by mixing his proper instinct with Balenciaga's original properties, historical components of the past western dress, and various design elements of assistants who used to work in Balenciaga. Second, Balenciaga expresses uncertain meaning by compromising between contrast and synthesis among the past and the future, the males and the females, simple and ornament, or different styles. Third, Nicolas's experimental and outsider-oriented view of Deconstruction through reorienting of thought is considered a try for a new formative concept as a designer who is not limited by general rules.

• Journal of the Korea Furniture Society
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• v.12 no.1
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• pp.103-112
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• 2001

This study explored the background of contemporary furniture design called New Design furniture, which newly expresses the aesthetics of communication in the postmodern era. Qualitative conceptual analysis as the principle methodology was used to explore the background of the decorative and meaningful contemporary furniture in postmodernism. Thereby, the postmodern concepts of Charles Jencks, Robert Venturi, and Michael Graves were analyzed in terms of their postmodern architecture and furniture. As initiatives of postmodern architecture and furniture, Jencks, Venturi, and Graves explored the pluralism and eclecticism, the decoration, the semantics, and the materials reestablished from the traditions of craft. As a result, their furniture was expressed by various wood and color; the furniture was beautiful, decorative, pluralistic, and eclectic for communicating symbol, metaphor, narrative, and/or humor with people; the furniture has influenced the communicative elements on the contemporary furniture design called New Design furniture design, which shows the blurring of fine arts and craft distinctions.

• Journal of the Korean Institute of Rural Architecture
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• v.2 no.3
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• pp.49-56
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• 2000

Korean modern houses should admit modern requirement, Korean climate and way of living. These elements should be expressed through not only plan but also form and design. The aim of this thesis is to understand the expression tendency of the traditional design elements in idyllic houses. For this purpose, I investigated following things : 1) The culture and social theory about the tradition and the design elements. 2) The concept of Korean traditional design elements and factors as the design elements sources. 3) The methods of Korean traditional design elements expressed in idyllic houses. As a result, the methods of traditional reception can be classified as copying, eclecticism and abstraction.

• The Journal of Korean Medical History
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• v.35 no.1
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• pp.119-134
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• 2022

This study is about Cho Heon-yeong's 『Eastern Medicine Series (東洋醫學叢書)』. It consists of 5 clinical books, 『Therapy for People (民衆醫術理療法)』, 『Tuberculosis Eastern Medical Treatment (肺病漢方治療法)』, 『Neurasthenia Treatment (神經衰弱症治療法)』, 『Gastrointestinal Disease Treatment (胃腸病治療法)』 and 『Gynecological Treatment (婦人病治療法)』, which were published between 1935-1941. This series mainly succeeded 『Donguibogam (東醫寶鑑)』, and was influenced by 『Kyeongakjeonseo (景岳全書)』, and 『Hwangjenegyeong (黃帝內經)』. Cho Heon-yeong's medical philosophy appears in two ways. First, he emphasized invigoration in treatment for the people who lacked nutrition and medical care at the time. Second, eclecticism of Korean Medicine and Western medicine is specifically revealed through this series. He aimed for a comprehensive medicine that consists mainly of Korean medicine and includes only a part of Western medicine.

• Fashion & Textile Research Journal
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• v.14 no.6
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• pp.889-897
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• 2012

This study suggests a direction for stage-costume design by making stage costumes based on amusement, eclecticism, and the masquerade, which are the criteria for approaching stage costume designs according to characteristics of the mask theatre presented by P. G. Bogatyryov. The conclusions of this study are as follows. First, criteria to approach stage costume design for mask theatre can be classified into amusement, eclecticism, and masquerade according to the characteristics of the mask theatre presented by P. G. Bogatyryov. Second, the stage costume of a mongrel dog showed amusement through the expression of the image of therianthropy through the combination of a fur-lined vest and wristlet, Korean traditional trousers with the paw-prints of a dog. Third, eclecticism contains diverse characteristics and escapes from being singularly defined due to the fusion of severally different heterogeneous objects. The stage costume differently used a method of wearing clothing in a different period, of choosing clothing materials, and of expressing color in every character to indicate ambiguity to which the drama points through the integration of various expression elements. Fourth, the masquerade present characters (Taembang, Daejang, and Changseok)who simultaneously play the role of fairies after having changed into a white mask and having worn Korean a traditional overcoat (Durumagi) on the original clothes; the, result is the change of the theatrical structure into another time and space inside the theatrical scene of imagination through a concealment of the original clothing.

• Korean Business Review
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• v.14
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• pp.189-210
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• 2001

According to Ferber (1988), philosophy of science considerations are particularly important for an area like consumer research that seeks to be interdisciplinary. The fact that the topic is studied by so many disciplines with different research traditions immediately raises the question of how one evaluates the (often conflicting) knowledge claims of its various practitioners. Closely related to this is the issue of whether it is even possible to study the topic in a truly interdisciplinary manner or whether a multidisciplinary approach is worth trying. In fact, this issue has triggered heated debates on positivism and relativism in consumer research and a significant number of consumer researchers, though majority of them still resorts to the traditional positivist paradigm, has rejected the tenets of positivism and has turned instead to relativism as the emergent paradigm for knowledge generation. The purpose of this paper is to elaborate on the possibility of eclecticism between positivism and relativism in consumer research. However, self-justifying system of each research camp let any comparison or attempt to reconcile regress to the questioning of philosophical assumption, "Objective reality does exist?", which can not be resolved. As Kuhn (1970) noted, philosophy of science may be chosen for reasons that are ultimately personal and subjective. Therefore, the possibility of eclecticism may be reserved. Rather, complementarity of each research practice can be suggested to make consumer research achieve holistic disciplinary status. Both camps can get nowhere by challenging respective philosophical underpinnings but can advance knowledge on substantive and methodological domains by complementing each other.

• Journal of the Korean earth science society
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• v.23 no.5
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• pp.397-405
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• 2002

This study investigated science gifted middle school students' philosophical views on scientific knowledge, and the effects of discussing and reading related to the knowledge. Ten eighth-graders in a science gifted class participated in this study. The results can be summarized as follows: 1, At the beginning, the students had one of six positions: (a) relativism (n = 2); (b) falsificationism (n = 2); (c) borderline between relativism and eclecticism (n = 1); (d) borderline between falsificationism and eclecticism (n = 3); (e) borderline among relativism, falsificationism, and eclecticism (n = 1); and (f) borderline inductivism and eclecticism (n = 1). This result indicated that most students had on almost modern philosophical view of scientific knowledge. 2, Some students, who had chosen the item of inductivism in some questions of the instrument at the beginning, maintained their selection despite discussions and readings related to scientific knowledge. The data were examples which indicated the difficulty of changing from a traditional view to a modern view of scientific knowledge.

• The Research Journal of the Costume Culture
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• v.6 no.4
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• pp.213-228
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• 1998

The purpose of this study is to defined the conception and characteristics of Post-Modernism and dealt with how they are expressed in costume. Major characteristics of Post-Modernism are Historicism, Pluralism, and Eclecticism and these are reflected in the costume. 1. Historicism of Post-Modernism is a trend recreate artistic symbolism which Modernism lacked in reference to historical factors of the past. It has been as a trend of restoration and an ornamental trend can be included in the category of historicism in that it restored historical ornaments. 2. Pluralism of Post-Modernism means an open-hearted attitude toward everything. In costume, it has been expressed as a trend of mixed fashion style such as ecology, street fashion and futurism, collapse and mix of genres, diversity of materials and emphasis on texture caused by assemblage, change of the use to escape from the conventional system and avant-garde. 3. Eclecticism of Post-Modernism is expressed as a blended fashion style based on the principal of de-dualism. It has several trends ; exotic trend by mixing both oriental and western culters, androgyny which is a mixed image of an and woman, and a trend to use many kinds of materials together influenced by collage which is an eclectic mode.

• Journal of the Korean Society of Costume
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• v.53 no.2
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• pp.71-85
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• 2003

In the turn of the century, fashion designers have not just drawn upon one or two subcultural styles but have extracted elements from many subcultures to use in a single collection. In true postmodern style these are freely combined with historical, cross-cultural and futuristic influences to create new fashions. The process could be explained by bubble-up phenomenon, retroism. pastiche and pursuit of pleasure. In the course of illustrating subcultural styles transformed into mainstream fashion, the case of Punk was studied as a turning point of modernist and postmodern period which have been introduced by high fashion designers since the birth in 1976. The following cases have continued to appear entering upon the third millennium and the aesthetic value of those can be summarized as ambiguity, eclecticism, and deconstruction. In other words. the energy and authenticity of Punk has been considered to be desirable in high fashion, however designers focus on clothing and adornment rather than ideology and lifestyle. The aesthetic property of subcultural style defeats the established notion of standardized fashion and stimulates new consciousness. which allows a room to be diversified and subdivided.

• The Research Journal of the Costume Culture
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• v.8 no.1
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• pp.87-101
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• 2000

The purpose of study is explaining the Historicism as a result of compromise, historical eclecticism, between historical things and current cultural background instead of regarding it as an imitation from the past. It means that external factors in history help internal esthetic value surface out as costume. Fashion s history is more than the classified thing according to the appearance with the changes of the times. Intrinsic cultural elements should be added in creating new fashion. One of the different features between Modernism and Post-modernism. When coming to the period of Post-modernism, it connected with the historical factors to make something new by fragmenting, magnifying, or minimizing them. This is calles 'Historicism'in the world of art. It revived the past, not the past itself, in new ways : quotation, reuse, metaphor, and mixture. To represent the image, parody, pastiche, or bricolage was usually used. In post-modernism fashion, parody is a technique for imitating the past or the preceding forms with artists'own critical points of view. This technique gives us shock or surprise by using satirical, ironical or paradoxical expressions. pastiche shares the same part with parody in imitating particular or unique style, and it can be renamed empty parody, because it doesn't have any hidden motivation or satirical impulse. bricolage is a mixture of quotations from other works. It contains fragments that deepen the image. Like the techniques uttered above, the revival of history through parody, pastiche or bricolage is historical eclecticism and it is included in Historicism.