• Korean Journal of Human Ecology
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• v.22 no.6
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• pp.649-658
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• 2013

Various paper ornaments appear in Gut, the rite of shaman in Jeju, and these are frequently called Gime, Gimekijeon or Gimejeonji. Gime are slips of white or colored paper, made to resemble the shape of god and used in the ritual shaman dances of Jeju. These Gime are hung around an altar, fastened to the end of a green bamboo pole, or held in the shaman's hands when they dance. The purpose of the study is to develop textile design based on the formative features of Gime, as a way of using Myth of shaman in Jeju. This study is used Gime made by 'Kim Yoon-Su' Simbang (shaman) who plays a role of Intangible Cultural Assets of The 71th 'Jeju Chilmeoridang Yeongdeunggut'. As a result, it was to develop the Komusaljang pattern, Seongjukkot pattern, Jijeon pattern, Jowoangki pattern and Cheoljjukdae pattern design of Jeju image using Gime that is one of the unique, indigenous pattern of Jeju.

• Journal of the Korean Home Economics Association
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• v.18 no.4
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• pp.1-11
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• 1980

A la suite de notre essal " Etude sur le Costume Byzantin", o nous avions d cel le probl me du costume au niveau de l'art pur qui r pond un besoin primitif consistant ext rioriser et concr tiser les id es dans l'esprit humain, nous avons essay cette fois de consid rer le m me probl me, c'est- -dire le probl me de composition de formes des costumes, travers ceux de Louis XIV et la classe des nobles, relativement l'arri re-plans de la soci t . Le style de costumes baroques consiste pritncipalement embellir l' tre de roi, pare la vie de palais et composer les costumes de la classe des nobles pour accentuer leurs luxe, majest , l gance, dignit etc., tant bas sur r gime monarchique et mercantilisme,en les faisant avec le brocart, le velours et la soierie de couleurs somptueuses, enjoliv s de broderie, ruban et dentelle.

• Journal of the Korean Society of Costume
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• v.65 no.2
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• pp.144-156
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• 2015

This research aims to develop textile patterns using mythical motives based on Buldoje in the Jeju myth. this textile design is not only decoration effect by filling the space, but also plays the original role of a pattern by expressing its symbolic meaning. The research methods are as follows: 1) Using integral analysis on materials related to the myth of Jeju and Gime used in Buldoje Gut, where Halmangbonpuli story is performed to set formative elements for textile design and their meanings; 2) Designing motive by composing formative elements; 3) Coloring properly; and 4) Layout motives. Adobe CS5 (Photoshop, Illustrator) and TexPro, a design CAD program, were used for textile design. Motives were combined in a various ways. Two-directional, four-directional, set, rotating, toss layout techniques, which are frequently used in apparel design and able to reduce cloth use, were used in developing patterns. Coloring methods including tone-in-tone and Faux camaieu were used to deliver coherence and soft effects. Developed textile design symbolizes the desire for the conception of a child, birth, and health, so it is made on baby clothes. In doing so, the plan for development of a fashion-cultural product applying Jeju myth symbol is suggested.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.7
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• pp.73-80
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• 2019

This paper tried to investigate the features of French garden pavillons (jardin pavillons) in the 17th and 18th centuries, in which the royal built them, publicly enjoying culture or privately having a refuge. The scope of the garden pavilions covered those associated with a pleasure place that accommodated performances, dancing, and dinners. They included not only rustic, Chinese, Turkish and Gothic pavilions but also grottos, nymphaeums, and artificial ruins built for banquets and festivals. This paper identified the features of the 17th and 18th century French garden pavilions as follows: Those pavilions firstly established French Neoclassicism, secondly applied the techniques of pastiche, thirdly reflected women's influence, and lastly revealed the short cycles of their vicissitudes. In conclusion this study, with the summary of the main text, explained the influence of the French pavilions on Europe and America.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.9
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• pp.901-915
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• 2012

This study comparatively analyzes the characteristics, changes, and differences in class-based costume typology according to a concept of $17^{th}$ and $18^{th}$ century common people in France. The methods and contents are as follow. First, the scope of common people is grasped according to the historical background and a concept of $17^{th}$ and $18^{th}$ century common people in France. Second, through considering a prior research on analyzing the data of ancient documents on the economy of clothing, it classifies common people into bourgeoisie, urban common people, rural common people, and the destitute. It then examines diachronic evolution, and class-based synchronic difference in the consumption of $17^{th}$ and $18^{th}$ century common people's costumes in France. Third, it analyzes the appearance frequency by period according to type of common people's costumes, which were shown in pictorial materials with 283 sheets of engravings and 54 pieces of paintings; in addition, it reconstructs the succession and expansion in typology. It grasps differences and changes in morphology by class, space, and period of typology for common people's costumes. Common people's consumption of costumes was understood to have grown in qualitative aspects as well as a rise in the whole clothing demand. A class-based structure formed and indicated that a fashion cycle existed. As a result of analyzing common people's clothes (shown in pictorial materials of the $17^{th}$ and $18^{th}$ century) 41 items were grasped by gender and according to costume kind. Typology in common people's costumes (classified into bourgeoisie, urban common people, rural common people, and the destitute) showed a change by period. A change in typical costume typology was accepted more by the bourgeoisie than by urban and rural common people, and was accepted more by rural communities than by urban populations. Thus, a difference was formed through an expansion with a temporal difference that depended on class and space.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.203-233
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• 2014

Depuis les $ann{\acute{e}}es$ 1990, sous l'influence de la $pens{\acute{e}}e$ postmoderne, des ${\oe}uvres$ $d{\acute{e}}constructivistes$ ont fait leur apparition dans le $th{\acute{e}}{\hat{a}}tre$ $cor{\acute{e}}en$. Cependant, cette approche est plus remarquable dans le domaine du $th{\acute{e}}{\hat{a}}tre$ pratique que dans celui de $l^{\prime}{\acute{e}}criture$ dramatique. Par exemple, ce mouvement a $commenc{\acute{e}}$ avec les metteurs en $sc{\grave{e}}ne$ OH Tae-suk et GUI Gook-seo au $d{\acute{e}}but$ des $ann{\acute{e}}es$ 1990. Leur ont $succ{\acute{e}}d{\acute{e}}$ ensuite les metteurs en $sc{\grave{e}}ne$ CHOI Yong-hoon, de la troupe de $th{\acute{e}}{\hat{a}}tre$ Chak Eun Shin Hwa, et PARK Kun-hyung. De plus, actuellement, de jeunes metteurs en $sc{\grave{e}}ne$ travaillent avec $perspicacit{\acute{e}}$, tels que KO Sung-woong, KANG Lyang-won et YOUN Han-sol. A $l^{\prime}oppos{\acute{e}}$ de ce $th{\acute{e}}{\hat{a}}tre$ pratique, $l^{\prime}{\acute{e}}criture$ dramatique des $pi{\grave{e}}ces$ de $th{\acute{e}}{\hat{a}}tre$ demeure au niveau de $l^{\prime}{\acute{e}}criture$ $repr{\acute{e}}sentative$ et est encore sans grande valeur. Pour $r{\acute{e}}fl{\acute{e}}chir$ ${\grave{a}}$ ce $probl{\grave{e}}me$, nous $consid{\acute{e}}rerons$ les $pi{\grave{e}}ces$ de Michel Vinaver dont la dramaturgie oppose $l^{\prime}{\acute{e}}criture$ $d{\acute{e}}constructiviste$ au principe $repr{\acute{e}}sentatif$ et ${\grave{a}}$ $l^{\prime}{\acute{e}}criture$ traditionnelle en ${\acute{e}}chappant$ au principe de $causalit{\acute{e}}$. Avec sa $strat{\acute{e}}gie$ de montage $sp{\acute{e}}cifique$, il $proc{\grave{e}}de$ avec une ${\acute{e}}criture$ $fragment{\acute{e}}e$ tout en $ins{\acute{e}}rant$ des dialogues $h{\acute{e}}t{\acute{e}}rog{\grave{e}}nes$. Il trouve ainsi le silence des mots, un $pr{\acute{e}}sent$ sensible, la $mat{\acute{e}}rialit{\acute{e}}$ des mots et des images ostensives ${\grave{a}}$ travers des dialogues $juxtapos{\acute{e}}s$, une $simultan{\acute{e}}it{\acute{e}}$ et une $discontinuit{\acute{e}}$ du dialogue. En examinant ses $pi{\grave{e}}ces$ de $th{\acute{e}}{\hat{a}}tre$, nous explorons cette nouvelle ${\acute{e}}criture$ qui $r{\acute{e}}siste$ au $r{\acute{e}}gime$ dramatique de la $repr{\acute{e}}sentation$. Toutefois, nous n'encenserons pas seulement cette ${\acute{e}}criture$ postmoderne. Plus $pr{\acute{e}}cis{\acute{e}}ment$, nous $rel{\grave{e}}verons$ ses limites, dans les circonstances $pr{\acute{e}}sentes$, en $r{\acute{e}}fl{\acute{e}}chissant$ aux limites du $th{\acute{e}}{\hat{a}}tre$ postmoderne depuis le $d{\acute{e}}but$ des $ann{\acute{e}}es$ 2000. Ce faisant, nous souhaitons $d{\acute{e}}finir$ de nouvelles $possibilit{\acute{e}}s$ $esth{\acute{e}}tiques$.