• 복식문화연구
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• 제5권2호
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• pp.269-284
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• 1997

Followings are the analysis of the two areas'costumes, the Renaissance and Baroque, as the analytic and synthetic structures. From the analytic structure of the costumes, the analytic body and of the Renaissant man's outer garments is manteau, pourpoint, trousses, bas du chausses, and codpiece of the hat is toque. And the analyic body of the Baroque, man's costume is pourpoint and rhingrave, of the under garments is chemise, of the hat is felt, of the shoes is shoes. In the analytic structure of woman's costume, the analytic body of the Renaissant outer garments is robe, of the under garments is corps-pique, chemise, and vertugadin, of the hat is french hood. And the analytic body of the Baroque outer garments is skirt and overdress, of the undergarments is corps-baleine. The results we have got from the analysis of the synthetic structures of the costumes is that other analytic elements are chosen and united as the component features of the major analytic elements among the analytic elements in the tables of 3-1, 3-2, 3-3, and 3-4. If we compare the two analytic bodies of the two areas, we can see that the names of the costumes were changed and the component features about the names were changed according to an area, too. And we can see the synthetic structures were changed according to the analytic body in the analytic structures were changed according to the analytic body in the analytic structures with the synthetic structures.

• 패션비즈니스
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• 제12권3호
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• pp.62-71
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• 2008

Costume elements are closely related with human living environment and also play an important role in the costume patterns. The East and the West have influenced and adopted each other's culture through mutual trade, which are well reflected in costume patterns and textile patterns. These days world wide fashion shows the designs applying costume details of the East and the West, which is much affected by the orientalism. The purpose of this study is to compare the sleeve patterns which take an important part in women's costume design of the Joseon Dynasty and the European Monarchy in the 16th century. Korean women's costume showed sleeves in rectangular shape with same width and long length, together with cuffs. Later they changed to diagonal shape of getting narrower toward the wrist. Western women's costume showed sleeves with puff and slash patterns. Then they were classified into French, British and Spanish styles which were getting narrower toward the wrist. Later they adopted the shape of leg of mutton which was puffed in middle and narrower toward the wrist. I n Korea and Europe, they showed respective changes in sleeve patterns, but also similarity of getting narrower toward the wrist. The East and the West are now exchanging their culture in every aspect such as politics, economics and social matters. Costume fashion is not an exception. The characteristic designs of traditional costumes are shown on global fashion, which is influenced by the orientalism.

• 한국식생활문화학회지
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• 제38권1호
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• pp.15-25
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• 2023

This study researches the restaurant industry in Seoul during the late 1940s. The research was based on the four major newspapers in Korea. The data included a total of 227 businesses with 164 non-fusion restaurants that served single-nation type food consisting of 101 Korean, 31 Western, 20 Japanese, and 12 Chinese. Some examples of South Korean dishes are Masan, Daegu, and Jeolla-do-style local foods. As for North Korean food, Pyongyang-style bulgogi, Naengmyeon, Hamheung-style janggukbap, and Gaejangguk were introduced frequently. Chinese restaurants that appeared were high-end places with Beijing-style cuisine. In the case of Japanese restaurants, they mostly had Sukiyaki with Joseon food served as well. Moreover, Western restaurants were fusioned with Japanese as in pork cutlet and curry rice. Others are comprised of "French Cuisine", "Indian curry rice", "Steak", and "Russian soup". This analysis indicates that foreign cuisines had actively entered the market.

• 디지털융복합연구
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• 제12권1호
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• pp.281-286
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• 2014

본 논문은 인문학적 지식은 학문적 경계를 극복하고 충분히 다양하게 활용될 수 있으며, 다른 분야로의 확장이 가능함을 확인할 수 있는 융합교육을 위한 학습도구로서 애플리케이션 콘텐츠 설계를 제안하였다. 애플리케이션 콘텐츠를 활용한 문학학습은 다음과 같은 융합학습의 효과를 달성할 수 있다. 유비쿼터스[ubiquitous]환경의 스마트 디바이스 기반 앱은 뉴런의 구조와 같은 정보체제 갖추고 있다. 따라서 애플리케이션은 그중 원하는 정보만 선별하여 융합교육을 위한 하나의 학습콘텐츠로 제작이 가능하며, 동시에 보다 풍부하고 확대된 정보체제의 환경을 제공할 수 있다. 이로서 학습자는 보다 심화된 인문학적 지식의 함양을 도모할 수 있음은 물론이거니와 새로운 지식으로 이끌어 낼 수 있는 능력을 이 과정을 통해 키울 수 있다. 마지막으로 앱 콘텐츠 수업을 통해 문학은 문화, 예술 등 다방면에 필요한 새로운 지식을 창출할 수 있는 기반이 될 수 있음을 확인하게 된다. 이로서 융합교육의 최종목표인 학문의 탈경계화를 확인하게 된다.

• 복식
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• 제60권5호
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• pp.71-87
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• 2010

The purpose of the study is analyzing Japanese modern costume, through examining legislation process and the relics of Chickimkwan's and Juimkwan's court costume. The results of the study are as follows. First, the proposer of civil court costume, established in 1872, was Iwakura Mission dispatched to America and Europe. The Mission realized the importance of preparing western-style costume in civilization from experience wearing traditional clothing at ceremony of presenting credentials in America. Afterwards, the Mission proposed that the government accept western-style as civil court costume and became first wearers in Japanese in England. Second, the difference, between ordinance and actual clothes worn by Iwakura Mission, occurred in process of legislation in 1872. That might be considered as trial and error in introducing different culture. The coexistence of England and French styles was unified into French style by the revision of civil court costume in 1886. Third, the pattern of paulownia embroidered on civil court costume was utilized as symbol of Japan. While the costume of Chickimkwan was embroidered by the pattern of 7 and 5 leaves paulownia, that of Juimkwan was 5 and 3 leaves expressing their grades. Fourth, relics research showed how formed manufacturer information and enacted design were in embroidery. The relics seemed to be manufactured in Japan, because emblem of Mitsukosi tailor was embroidered on inner part of the back of collar of Chickimkwan in Nara Women's University, Japan and that of Yamasaki on left inner pocket of Juimkwan in the Independence Hall, Korea. The embroider techniques comprised forming by filler particles according to the design, filling up coiled gold threads and expressing stem with gold threads and spangles. As preemptive study, establishment process of Japanese civil court costume in this study will help understand form characteristics appeared in civil court costume act of Korean Empire.

• 비교문화연구
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• 제45권
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• pp.33-54
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• 2016

본 연구는 프랑스의 시인 기욤 아폴리네르, 폴 엘뤼아르와 한국의 이상의 시에 나타나는 상형적인 시어들에 대한 비교 분석이다. 그들은 글꼴이나 문장의 모양과 행간을 회화적으로 배열하는 타이포그라피 기법을 응용하고, 알파벳의 철자, 수학적 기호, 원이나 점, 선 등의 도형적 요소들을 혼용하여 특징적인 시화를 펼쳐 보인다. 시각적인 서정으로 평가되는 그들의 작품은 반시어들이 조화를 이루고 있으며, 기존의 시어나 문법의 규범을 벗어난 글자와 기호들의 자유로운 구사는 병렬적이고 대립적인 특성을 보여준다. 그들의 상형적 시어들은 공간의 확장과 같은 역동적인 이미지를 불러오고, 이상의 기하학적인 기호들을 응용한 상형적 시어들은 형이상학적이고 추상적인 그림시로 형상화된다. 결과적으로, 우리가 분석한 세 시인들의 상형적인 시어들은 조형의 미학으로 귀결된다. 변형된 글자와 암호와 같은 기호의 회화적 구성은 시적공간의 확장이 불러오는 입체적 미학을 구현하고 있다. 나아가 세 시인의 상형적인 시어들은 프랑스와 한국의 현대 시문학에 파격적인 표현기법으로 당대의 새로운 예술정신과 해방정신을 실현한 전위적인 시적 언어들로 평가할 수 있다.

• 복식
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• 제13권
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• pp.73-79
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• 1989

During nineteenth century, there broke out a great revolution in the history of girl's costume and with new condition toward girls. 1. Girl's costume followed their mother's attitude of the era and it was influenced by mother's costume. 2. Girl's costume was closely related with politics, economy, society culture and thought of the era. 3. Rousseau's Englightment made a revolution on girl's costume and it was direct revolution which affected on the French Revolution and the independence America. 4. Development of textile industry by industrial revolution brought on a change in raw material, quality, and quantity of textile, more gave a variety to raw material and ornament of girl's costume. 5. The invention of Sewing machine made it possible ready made production of girl's costume.

• 비교문화연구
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• 제34권
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• pp.237-257
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• 2014

Paragraph of the early 20th century, China has begun to blow hot air creative realism. Chinese intellectuals at the time of national crisis, China is facing a national transformed into a modern nation must be performed in order to challenge literary realism to recognize the most suitable literary thoughts. But realism is screwed literary thoughts introduced from the West. Shen Yan Bing in 1922 revolves around a discussion of realism and naturalism in France started to spread all over Europe for historical realism and creative learning originates from the well came from the intended operating suggesting. In addition, writers of Wenxueyanjiuhui is influenced by the Russian realism directly. In this paper, the realism of the French and Russian for the study and development of Chinese accept.

• 비교문화연구
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• 제20권
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• pp.225-240
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• 2010

Soon after joining the Canadian Confederation in 1867, the province of Quebec adopted the phrase Je me souviens ("As I recall") as its 'national' motto, although many Qu?b?cois do not remember today what they were supposed to memorize, as collective subject, when their government voted this motion. My thesis is that contrary to other countries which have a strong sense of history based on a secular tradition, this process was more complicated in Quebec - as if a collective memory loss lied at the heart of it's history. Through a rereading of Hubert Aquin's cult novel, Trou de m?moire (in its English translation Blackout), first published in 1968, I try to illustrate this paradox and to emphasize the heuristic functions of memory blanks, gaps and lapses in certain postmodern narratives, after the historical breakdown of "the great narratives" (Lyotard). In this perspective, the example of Quebec, through the voice of one of its more gifted yet controversial novelist, can be seen as emblematic of what happens when the mnemonic impossibility of rewriting history opens up new possibilities for writing fiction.

• 수완나부미
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• 제7권1호
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• pp.107-137
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• 2015

This article utilizes interdisciplinary methods in order to critically review the existing research on the Mother Goddess of Champa: Po Inâ Nâgar. In the past, Po Inâ Nâgar has too often been portrayed as simply a "local adaptation of Uma, the wife of Śiva, who was abandoned by the Cham adapted by the Vietnamese in conjunction with their conquest of Champa." This reading of the Po Ina Nagar narrative can be derived from even the best scholarly works on the subject of the goddess, as well as a grand majority of the works produced during the period of French colonial scholarship. In this article, I argue that the adaption of the literary studies strategies of "close reading", "surface reading as materiality", and the "hermeneutics of suspicion", applied to Cham manuscripts and epigraphic evidence-in addition to mixed anthropological and historical methods-demonstrates that Po Inâ Nâgar is, rather, a Champa (or 'Cham') mother goddess, who has become known by many names, even as the Cham continue to re-assert that she is an indigenous Cham goddess in the context of a majority culture of Thành Mẫu worship.