• International Journal of Costume and Fashion
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• 제7권2호
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• pp.49-63
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• 2007

In this study, we inquire into the general concepts of eroticism as it appears in literature and the arts, and use this as a foundation to meditate on the eroticism of attire throughout history. We also ascertained external forms based on the range of "The way we look" by Delong. In this way we inclusively studied both the content and form of modes of eroticism in the perspective of Brodsky's "linked solution." The original concept of eroticism is a technique by which one attains physical passion, referring to a nature which is deeply rooted in the cultural traditions, myths, habits. religion and arts of mankind, inducing expressions of sensual love. We integrated this eroticism in 4 categories: sensuality, which induces beauty; naturality, denoting idealization or rational beauty; primitivity, characterized by grotesque expressions or direct and natural sexual depictions; and symbolism by which sex is symbolically or mechanically projected. The concept of eroticism contains both positive and negative aspects, but rather than dealing with sex in a mechanical or perverted manner to express eroticism, it is more appropriate to guide the direction of modes of eroticism by stimulating the "desire to show" and the "desire to see" with the dialectic of obstruction and exposure as a figurative expression of true passion, and narcistic phenomena in which beauty is expressed through exaggeration or magnification and adhesion.

• 패션비즈니스
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• 제9권6호
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• pp.86-100
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• 2005

This paper has examined how ugliness has aesthetically been portrayed in modern make-up. In the past, ugliness was regarded as an antonym of beauty, but it recently plays a role on part of beauty, as independent portion of art. It was Schegel who initially maintained the view. According to his theory, ugliness represents interesting things including suffering reality, shock, attention, humor, surprises brought by distort and deformation. Hegel had a different view on it. As for him, he had the notion that ugliness was the opposite to beauty and that it had to be dependent in art, he argued that art was subordinate to philosophy, and that it was just nostalgia for the past, not representing reality, therefore, it could not be a foothold in contemporary art. In this context, some images of ugliness can be classified accordingly to Schegel's view deteste, decadence and androgynous can be fallen into a category describing reality; fetish, kitsch and grotesque can be included in interesting things. There is no fine line between the two. There are sometimes things they have in common. They mutually draw attentions by distancing themselves from general images of beauty, or making many changes and distorts in its part, using unique materials, unprecedented attempts of colors which result in creative and shocking images. Attempts made in ugly images in modern art are widening its concept to depicting reality on the body of human beings, also creating its new definition, playing a major role in independent part of modern art, not in the past way like wearing make-up on the face to make it look better.

• 비교문화연구
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• 제37권
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• pp.109-130
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• 2014

In 1920s, Russian society was unstable and tremendous. After the 1917 Revolution, Russian government had initiated "New Economic Policy" embedded in a partial market system in these times. Also, Russian culture had been exposed to a new trend of culture, for instance, Russian Modernism. In the field of Russian literature, satirical comedy became very popular. One of famous satirical comedy writers was V. Mayakovsky who was trying to express his ideal society which consisted of both tensions and harmonies between the old and the new periods. In this context, V. Mayakovsky was recognized as a poet with futurism who loved to write a comedy expressing social suburbanity and governmental bureaucracy. His two comedies, "Bug" and "Bath" were his famous comedies, dealing with Russian modernistic historics and theatricality in 1920s. In this article, authors try to look into their artistic characteristics of 1920s Russian literature involving a new trend of social change, for instance, Grotesque and Tragicomic features. In the same context, this article focused on its inner dilemma of satirical comedy which had been existed in 1920s Russian literature.

• 복식
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• 제53권2호
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• pp.153-169
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• 2003

I think that apparel attaches importance to the degree of satisfaction of visual expression in one ornamental culture in which it is clothed on human body. whereas a tattoo attaches more importance to part of the expression of one's own identity in the same context. However. modern tattooing act was highlighted only as an element of act which was negative in the purpose and the degree of taste or which assumed the grotesque meaning of a particular group. away from pure concepts such as simple ornament or an amulet according to the flow of the world. A tattoo is gradually being seen as one of avant-garde methods of art again these days, and TATTOO LOOK is being popularized as street fashion as an effective method of one's own satisfied desires and peculiar expression of personality. I have got the following conclusions as the result of having studied on a tattoo which is establishing itself as another plastic art that is matchable with the fashion of dress and its ornaments in which human incessant instinctive desire for the ornament of body has been beyond nostalgia for the past and simple ornament which were pure in up-to-date modern society First, a tattoo is of personality. In that it solidifies one's own personality of another side by being transformed, one's own attraction can be transferred to a fashion tattoo with which one can emit one's own personality. Secondly. a tattoo is fashion. As a new body ornament called transformation by a tattoo was emerging, the fashionableness owned by a tattoo had in its area ample room for the fashionableness with which it can coexist with the culture of dress and its ornaments. Thirdly. a tattoo is popularized. TATTOO LOOK in which one's own satisfied desires and the expression of personality are properly applied is being recently transmitted easily everywhere in the world and popularized as street fashion. Fourthly, a tattoo is not depraved art. It's because of the point that a tattoo which had been recognized only as a decadent expression in which avant-garde elements of unknown nationality appeared mixed showed the possibility that it could establish itself as fashion art. If we go on studying and complementing the problems of individual sides about a tattoo also in the future, the infinite fashionableness for the elements called personality. sense and emotion owned by a tattoo suggested ample possibility as future industry to be highlighted.

• 복식
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• 제65권6호
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• pp.99-111
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• 2015

The purpose of this study is to identify the expression methods of uncanny images shown in contemporary fashion through the visual expression methods of plastic arts. The study results are as following. First, there is a concept-forming element of 'The return of Repressed', which is a psychological mechanism for generating uncanny sets to the component of 'repression' and 'return'. 'Repression' herein consisted of 'unconsciousness', 'the other', and 'anxiety', while the return was composed of 'trauma' and 'repetition compulsion'. Second, there are visual expression methods of the uncanny in contemporary art. The subject of 'repressed things' was expressed as grotesque and having a terrible look. 'Fragmented body' was analyzed as 'dismantling' by mutilation, 'combination' placing cut body parts in other places, and 'damage' suffering from an illness or accident. 'Fear of death' was shown as 'anatomy' reminiscent of death and 'iconography of death' meaning return of the dead. 'Post-human' was a surrealistic being such as a monster and mechanized human, and was analyzed as 'gene variation' and 'cyborg'. Third, the methods of visual expression of the uncanny reflected on contemporary fashion was analyzed as 'fragmented body', 'fear of death', and 'post-human'. 'Fragmented body' appeared as the object reminiscent of the fragmented body, 'dismantling and combination of the body', and 'damage of the body' through the distortion of the clothing construction principle. 'Fear of death' visualized the characteristic elements of the subject reminiscent of death as 'iconography of death' and 'symbolic object of death' through the motif. 'Post-human' was the description of the subject beyond the body's function and form, and was shown as 'gene variation' and 'cyborg'.

• 한국의상디자인학회지
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• 제10권1호
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• pp.25-44
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• 2008

Geisha's gorgeous kimonos and grotesque make-up was the object of envy to Japanese women. There is a line in the movie like "Kimonos to the Geisha is the same as colors to the painter." Likewise, splendid patterns and colorful kimonos were an indispensible method or symbol for showing their artistic accomplishments. The purpose of this study is to investigate concept and origin of Geisha and their dress and decoration, analyze the dress of the people which appear in the movie, , arrange the expression of Geisha's dress as a movie costume, compare the difference of the dress by the career of Geisha and look back the disappearing aesthetic sense of Geisha. First, since Geisha appeared for the first time in Kyoto in 1751, it has become the world-wide representative of Japanese woman's images so that its existence oneself has become the tradition. Second, Geisha created fashion of various clothes, adornments, and hair styles as a creator of the popularity. Third, the strict regulation without exception is applied in Geisha's clothing, make-up, and motion tuned Samisen, Japanese traditional strings, and there is some difference in their hair style and dress by age of Maiko. Fourth, it is famous for unique make-up that Geisha makes up their faces, necks, and shoulders white, newly paints eyes, nose, lip line like drawing a picture in a pure white paper. Geishas put a little make-up as they have a higher position. Fifth, a heroin, Chiyo, shows clothing as a maid, an apprentice Geisha-Maiko- and a formal Geisha according to time flow. The length of kimono, textures, and hair decorations are longer, more splendid, and are more various as time goes. On the other hand, her make-up is lighter.

• 한국콘텐츠학회논문지
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• 제20권10호
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• pp.57-75
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• 2020

본고는 1960년 동시대 제작된 한국영화 두 편 <하녀>와 <마부>의 이미지를 바탕으로 계층에 따라 근대화 전이과정에서 나타난 교차징후의 상징성에 관해 탐구하였다. 이에 표현방식과 주제를 다루는 부분에서 사회적 계층의 확연한 차이를 보이는 <하녀>(1960)와 <마부>(1961)를 대상으로 영화가 재현하고 있는 근대화 전이과정의 혼재된 양상은 어떠한 형상을 취하고 재현을 통해 영화가 던져주는 당시의 메시지를 살펴보았다. 영화 <하녀>는 새로운 계층으로 등장한 중산층의 내면을 관찰자의 시선으로 바라보며 억압과 욕망으로 인해 해체양상을 드러낸 집단의 이면을 상징적으로 표현하면서 새로운 인식을 만들었다. 반면 <마부>는 사실적 묘사를 바탕으로 빈민층이 겪는 고단한 삶 속의 고통과 희망의 충돌을 보여주면서 주체성을 상실한 구성원들에게 새로운 인식으로 표현했다. 결국 두 편의 영화는 당시 근대화의 유입에 따른 혼재된 상황, 즉 구질서와 새로운 질서 사이에서 발생하는 충돌적 징후들로 인하여 생산되는 사회적 모순에 의한 사회문제에 대하여 우리에게 재인식의 기회를 제공한다고 볼 수 있다.