• 복식
• /
• 제64권8호
• /
• pp.20-36
• /
• 2014

This research aims to identify and analyze the expression elements and features of Goth style observed in clothing of unique characters in movies directed by Tim Burton, and to build the database on diverse features movie costumes, so that such data can be used to develop new fashion design. The research-classified features of Goth style into romanticism overturns Satanism, grief, and sensuality. The results are as follow; First, Goth expressed romanticism by reminding the gloom and fear of medieval times through the image of clowns, medieval knights, werewolves and vampires. Second, The costumes in Tim Burton's movies overthrew the rules in reality using flexible changes, ambiguity of gender, distorted human beings, half-man-half-beasts, and ghost images. Furthermore, the positive expression on characters in gloomy and fearful costumes showed the overturn of common idea and value system in a society. Third, Tim Burton created fear using the image of a live dead body, shape of a devil, shape of death. Also, accessories suddenly changed into arms in his movies. He expressed Satanism by positively describing satanic shapes and shapes meaning death. Next, characters in Tim Burton's movies are mainly losers, aliens or outsiders. Sorrow, alienation and darkness inside them expressed the sadness through embodiment of mean animals in darkness, masks, veils and extreme black costumes. Finally, Sensuality was rarely shown in Tim Burton's movies, but expressed in various ways including pursuit of new beauty in excessive exposure, skintight silhouette, suggestion on sexualized violence and frightfulness.

• 복식
• /
• 제67권2호
• /
• pp.68-87
• /
• 2017

The New Look, which Christian Dior presented in 1947, has been a source of inspiration for contemporary fashion designers, as well as designers for the House of Dior, and has a great influence on them. The purpose of this study is to compare and analyze the aesthetic characteristics of Christian Dior's New Look and the New Look that Christian Dior House designers reinterpreted. The subject and the scope of this study were limited to Christian Dior and the New Look designed by Gianfranco $Ferr\acute{e}$, John Galliano, and Raf Simons who are regarded as worthy successors. The research method was a literature review on previous studies on Christian Dior and related literatures to examine the history of the House of Dior and the aesthetic characteristics of the New Look presented by Christian Dior. Then, an empirical study was conducted through the analysis of collection photographs from 1989 to 2016 that were gathered from the Mode et Mode and Hi Fashion, and websites (British Vogue, Firstview). The results of the study were as follows. First, the aesthetic characteristics of Christian Dior's New Look in 1947 used femininity to express an elegant and beautiful woman, structural property to render the contours of a woman's body, and innovation that changed the formal and gloomy social atmosphere in the post-war years. Second, the aesthetic characteristics of the New Look by Christian Dior were compared with those of the New Look made by designers for the House of Dior. The elegant femininity of Dior can be seen as gorgeous femininity, and sensual femininity, minimalistic femininity, structurality is represented by the spatial structurality of Dior and $Ferr\acute{e}$, the organic structure of Galliano, and the orthodox structure of Simons. Moreover, Dior's retro innovativeness appeared to be $Ferr\acute{e}^{\prime}s$ androgyny innovation, Galliano's deconstructive innovation, and Simons' romantic futuristic innovation.

• 한국의상디자인학회지
• /
• 제10권2호
• /
• pp.79-89
• /
• 2008

The purpose of this study is to evaluate the differences among visual images under variations in shoulder length and puff volume of the puff sleeve blouse. The stimuli are 21 samples: three variations of shoulder length and seven variations of puff volume. The data has been obtained from 40 fashion design majors, where they had been analyzed through frequency, factor analysis, ANOVA, Scheffe's test and MCA method. The results of the study are as the following: As a result, through factor analysis of the visual images according to the variation of shoulder point and puff volume, the following four factors had been identified. Factor 1 is the brightness from evaluation terms such as childish-precocious, cute-mature, bright-genteel, soft-hard, enlarged-reduced, particular-ordinary, interesting- uninteresting, etc. Factor 2 is the attractiveness from evaluation terms such as refine-rustic, stylish-dull, attractive-unattractive, modern-classic, urban-rural, cool-gloomy, spacious-tight. etc. Factor 3 is the comfortness from evaluation terms such as comfort-discomfort, intense-indistinct, etc. Factor 4 is the elegance from evaluation terms such as elegance-shallowness, womanish-manly, etc. These four factors were 66.7% of the total variables. Of the total variables, the first factor had been evaluated as brightness in 26.2%, attractive in 21.0%, comfortness in 11.1%, and elegance in 8.4%. From this study, the more puff volume and shorter shoulder length, the puff volume wrapped the shoulder naturally, thus making the shoulder look narrow, and giving a cute and bright image. However, by having less puff volume and excessively short shoulder length, the puff volume did not naturally wrap the shoulder, which gave an unnatural and unattractive feel.

• 한국의상디자인학회지
• /
• 제16권4호
• /
• pp.205-215
• /
• 2014

This study analyzed 'The representation of death' as expressed in the fashion photography posted on Facebook. Currently, there is a growing interest in 'Well-dying'. Also contemporary art and fashion is a trend that expressed what about death more than life. And today, Facebook is one of the current worldwide as a powerful communication. Death representation in contemporary fashion photography, as expressed in its first characteristic is 'Vanitas', and the main material was a skull. The shape of a skeleton of the symbol of death. Vanitas of inner meaning is vain, a mortal life's futility and death for the paradoxical emotion. The second characteristic is 'Phantom of the ruins'. This is like the darkness of death, and the shape represented in that space. And the death representation is depressed, gloomy atmosphere, dead-man and warm-less. Inner meaning is curiosity about the ghosts and the decadence romantic about the afterlife. The last characteristic is 'Grotesque'. This characteristic is the destruction of the body, fear of sadistic, and inhuman shape. This is parable with death that pain and fear of death, dark fantasy, the appearance of a contradiction modern society and cut off humanity. Inner meaning is the dark fear of death and the anger of wrong of the present society. At present, we have to reproduce the death, and what we want is eventually no one can escape 'Attention to death'. In addition, by expressing the solidarity between death and life is to want to get a consolation for the anxiety and afraid reality.

• 한국항해항만학회지
• /
• 제39권6호
• /
• pp.553-559
• /
• 2015

2014년 우리나라 선용품 시장의 규모는 5조 7천400억 원 정도로 추정되며, 대부분이 부산, 울산 등 경남권에서 이뤄지지만, 관련업체가 400여 개나 난립해 대부분 평균 매출이 20억 원 미만으로 영세한 수준이다. 또한, 세계 해운항만산업의 불황과 중국을 비롯한 개발도상국들의 저가 선용품의 생산 및 공급으로 인해 국내 선용품 업계의 전망은 그다지 밝지 않는 상황이다. 이에 본 논문에서는 선용품 산업의 활성화를 위한 방안 중 하나로 선용품 공동물류를 선택하였고, 공동물류를 운영함에 어떠한 요인이 중요한지에 대한 연구를 진행하였다. 선행연구 고찰을 통해 공동물류 운영과 관련된 16가지 요인을 도출하여 AHP, IPA 기법을 활용해 분석 하였다. 분석결과 비용측면이 선용품 공동물류를 운영하는 데 있어 가장 중요한 요인으로 나타났다.

• 패션비즈니스
• /
• 제7권5호
• /
• pp.1-12
• /
• 2003

In this study I surveyed the dress and the color symbolism of Scarlett and Melanie in the movie "Gone with the Wind" based on the novel by Margaret Mitchell. In investigating the dress and the color symbolism, I analyzed Scarlett and Melanie's image as described in the novel, and examined how the symbolic imagery is represented through coloration based on the DVD reproduction of the movie "Gone with the Wind" originally produced in 1939. In her novel, the author Margaret Mitchell introduced two women, Scarlett and Melanie, whose respective image sharply contrasts with each other. To express Scarlett's young, vigorous, lusty, and vivacious image, she uses green to depict the character, clothing, and background on the whole. Black, which mainly expresses the death image of the mourning dress. Red symbolizes her fast and lavish image. On the other hand, gray is used to describe Melanie's sedate, shyness, and modest image while alluding to her gloomy atmosphere. Brown symbolizes her sedate and plain image in the novel. In the movie, green symbolizes Scarlett's overwhelming image of youth and liveliness as also depicted in the novel. Melanie, however, seems to appear consistently in gray-blue or purple dresses to reflect her image of modesty, sedation and dignity. Melanie's blue image contrasts with Scarlett's blue image in that the latter is used to hint at the omen to a tragedy to come. Red is used to express Scarlett's passionate and fast image. Black symbolizes death or mourning in the movie.

• 대한한의학원전학회지
• /
• 제21권1호
• /
• pp.43-62
• /
• 2008

After parturition, woman in childbed's health can grow worse. Because when woman in childbed gives birth, Genital organ can be damaged, and lost a lot of blood, and also consume a lot of physical strengths. So, after parturition, woman in childbed is easy to fall in disease if do not take care in health specially. So after parturition, woman in childbed should be careful in stress, sleep, food etc. This thesis described Postpartum Spasm[痙病], Oppressive Feeling and Dizziness[鬱冒], Constipation[便秘], Abdominal Pain[腹痛], Diarrhea[下利], Annoyance[煩亂] and Vomitting Sickness[嘔逆]. Postpartum Spasm[痙病]'s major symptom is rigided body. This disease corresponds to Tetanus in modem medicine, and bacterial infection is assumed for cause. By Oriental medicine, after parturition, when blood is lacking, if patient takes wind, this disease breaks out. Oppressive Feeling and Dizziness[鬱冒]'s major symptom is dizzy head and gloomy eye. After parturition, when blood is lacking, if patient sweats too much and take cold, this disease breaks out. After parturition, if patient consumes a lot of resins of human body, Constipation[使秘] breaks out. There are four causes to Abdominal pain[腹痛]. First, due to deficiency and cold treats by Danggwisaenggangyangyuktang(當歸牛薑羊肉湯). Second, due to stagnation of Gi(氣) treats by Jisiljakyaksan(枳實芍藥散). Third, due to blood stasis treats by Ha-eohyeoltang(下瘀血湯). Fourth, due to lochiorrhea treats by Daeseunggitang(大承氣湯). After parturition, Annoyance[煩亂] and Vomitting Sickness[嘔逆] due to fever of difficiency treat by Jukpidaehwan(竹皮大丸). After parturition, Febrile diarrhea[熱性下利] treats by Baekduonggagamchoagyotang(白頭翁加甘草阿膠湯). This disease is similar with present Bacillary Dysentery. After parturition, Exteroceptive disease due to taking wind treats by Yangdaltang. Due to wind and fever treats by Jukyeoptang(竹葉湯).

• 한국노년학
• /
• 제38권1호
• /
• pp.103-123
• /
• 2018

본 연구의 목적은 남성 노인이 사별 후 어떻게 살아가는지를 탐구하고, 그에 따른 경험의 본질을 파악하는 것이다. 연구자는 연구의 목적을 달성하기 위해 사별 후 혼자 살고 있는 남성 노인 3명을 연구 참여자로 선정했으며, 심층 면담을 통해 자료를 수집했다. 자료 분석은 Clandinin과 Connely(2000)가 제시한 내러티브의 삼차원적 공간을 바탕으로 이루어졌으며 공통적 경험의 의미를 다섯 가지로 재구성하였다. 연구결과 '죄인의 삶이지만 남에게는 홀아비처럼 보이고 싶지 않음', '죽음에 대한 두려움 그리고 죽음 이후를 위한 준비', '자녀가 있어 생을 놓지 못하고 버팀', '침울한 삶에 활기를 찾기 위해 세상으로 들어감', '사회적 온정을 찾아 헤매는 짝 잃은 외기러기'라는 공통의 주제가 도출되었다. 공통 주제를 바탕으로 탐구한 경험의 본질은 '한쪽 날개가 꺾였지만, 다시 비상하기 위해 살아내려는 몸부림'임을 알 수 있었다. 본 연구는 남성 노인의 사별 경험을 시간의 연속성 차원에서 탐구하고, 사별 후 자신의 생을 살아내기 위해 이루어지는 개인 내적 사회적 상호작용을 살펴본 점에서 중요한 의의가 있다.

• 영어영문학
• /
• 제57권4호
• /
• pp.625-649
• /
• 2011

Even though "An Outpost of Progress" and Heart of Darkness were based upon Joseph Conrad the sailor's same experience in Congo Free State, their narrative strategies are quite different. The realistic representation of "An Outpost of Progress," with which Conrad was not satisfied at all, was converted into the modernistic narrative strategy of Heart of Darkness so that the sympathetic power of the story should be improved. The conservative value system of realism is expressed by the omniscient author in "An Outpost of Progress," whereas the frame narrator of Heart of Darkness is proved to be an unreliable one whose norms and behavior are not in accordance with the implied author. The glorious history of the British Empire, which was proudly presented by the frame narrator at the beginning of Heart of Darkness, was strongly opposed by Marlow, another narrator, who said that the British Empire had been "one of the dark places of the earth" when ruled by the Roman Empire. The feeling of the frame narrator was uneasily changed into the gloomy mood when he described the Thames as the flow which "seemed to lead into the heart of an immense darkness" at the end of Heart of Darkness. Similar to the straightforward narrative strategy of representation in "An Outpost of Progress," the realistic approach of Part I in Heart of Darkness is considered by Conrad as insufficient to reveal the darkest truth of imperialism, which was declared by Kurtz as "The Horror! The Horror!" Thus Conrad uses the Chinese-box structure, in which Kurtz' episode is enveloped by Marlow's tale which is enclosed by the frame narrator's story, in order to penetrate into the mind of ordinary readers in the novelist's age of New Colonialism, while attacking the ideology itself of imperialism instead of critisizing its inefficiency and individualism.

• 한국콘텐츠학회논문지
• /
• 제21권12호
• /
• pp.713-727
• /
• 2021

본고는 1950-2010년대 한국영화를 대상으로 광화문과 주변지역이 영화적 공간에서 어떤 의미작용을 하는지를 고찰하고자 한다. 첫째, 1950-1960년대 한국영화에서 명동(남촌)과 북촌·서촌·동촌은 강렬한 욕망과 치명적 좌절, 근대화의 그림자와 갈등을 통해서, 화려한 도시의 지하세계와 비극적 파토스를 보여주는 원초적·지각·실존 공간이다. 둘째, 1970-1990년대 한국영화에서 명동·종로(남촌·북촌)와 서촌·동촌은 자유/악의 이분법과 부/빈곤의 이분법을 통해서 공적 복수와 사적 소외를 보여주는 지각·실존 공간이다. 셋째, 2000-2010년대 한국영화에서 광화문(서촌)과 북촌·남촌·동촌은 국민의제와 저항운동, 욕망과 상실, 비참한 현실과 죽음을 통해 시민사회 에토스와 암울한 진혼곡을 보여주는 지각·실존 공간이다.