• Journal of Fashion Business
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• v.7 no.1
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• pp.135-151
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• 2003

This study was carried out in order to become that it helped a base of education to train creation of movie costume. The object is the movie costume of the movie, The Age of Innocence that got the Academy award in movie costume. This study analyzed the costume and color symbolism of the film based on the novel, The Age of Innocence written by Edith Wharton who is a realism writer, and a master of manners and customs novel, is the first Pulitzer Prizewinner as a woman. And this study created the movie costume and hair-style of two heroines, May and Ellen who lead the huge irony that is principal stream of a novel. May stands for 'irony of innocence' and Ellen does for 'absolute innocence'. And each image represents on a display of the front and back of 'innocence' symbolically. The costume design of them was planned along the character which was analyzed and interpreted irony of a drama in a viewpoint of Wharton through this study and expressed with illustration. And using 57cm Porcelain doll, produced a hair-style and costume.

• Journal of the Korean Society of Costume
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• v.49
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• pp.95-112
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• 1999

The purpose of this study was to research of color symbol on white in the Virgin Mary and an Infant jesus icons. For this purpose icons were selected and analyzed from the medieval ages to the 18th century. The results were as follows. Icons on the subject of the Annnunciation and the Nativity should be expressive of nobility immaculacy and innocence of the Virgin Mary and an Infant Jesus. With this view white was used to be color of candle a waxing moon lily kettle dress bedspredad towel wall encircled garden and became symbolic color in the Icons. As a result the color symbol of white the meaning of immaculacy and innocence disseminated according to spread of the Christian religion. In these days though elimination of the religious meaning the white color is using continuosly as a symbolic color of immaculacy and innocence.

• FLOWER RESEARCH JOURNAL
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• v.19 no.4
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• pp.251-254
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• 2011

A new standard white-pink flower rose cultivar 'Innocence' was bred from the cross between white standard cultivar 'Juvena' and green-white standard cultivar 'Green Success' at the Jeollanamdo Agricultural Research and Extension Services (JARES). The cross was made in 2001 and, 'Innocence' was finally selected in 2006 after investigating characteristics for three times from 2004 to 2006. 'Innocence' a white-pink standard cultivar has good flower shape with few prickles. The major characteristics of this cultivar were $118.7stems{\cdot}m^{-2}$ in year yield, 68.0 cm in length of cut flower, 10.9 cm in flower diameter, 34.4 in petal number, and 10.7 days in vase life. This cultivar can be propagated by both cutting and grafting. The consumer's preference of this cultivar was relatively higher than that of control cultivar, 'Rose Yumi'.

• Journal of the Korean Society of Food Culture
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• v.28 no.4
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• pp.329-338
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• 2013

Korean culinary culture is traditionally studied through the analysis of foods ingested. However, this study attempts to dialectically reinterpret Korean culinary culture through its relationship to Korean literature. In our study we consider culinary culture prior to the development of scientific techniques and economic growth related to food as "dietary lifestyle of the innocent world" and time since then as "the dietary lifestyle of the experience world". The former represents a simple means of survival without food processing (the "slow food" world), while the latter represents the "fast food" or processed food culture as a modern concept. People living in the age of economic growth and overflowing individualism have lacked an organic life and an opportunity to commune with nature. As a result, they have returned to values of the past, seeking the "slow food" culture to benefit their individual health. A series of return processes, however, were transformed into "the dietary life style of the higher innocence," called "a well-being dietary life style" involving a new healthy conception passing through the dietary life style of the experience world. Therefore, the purpose of this study is to investigate the dietary lifestyles of the "innocent" world and the "experience" world based on dialectic concepts. Individual concepts of "thesis" and "antithesis" are applied, as well as the developmental concept of "synthesis" for the way both symbolic worlds changed to "the dietary lifestyle of the higher innocence" and formed complementary relationships to each other.

• Cross-Cultural Studies
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• v.53
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• pp.73-102
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• 2018

The purpose of this study was to explain, using Jacques Lacan's theory of desire, how Ellen Olenska functions as the object petit a in her relationship with Newland Archer and to connect the impossibility of Newland and Ellen's love with the impossibility of desire, in Edith Wharton's The Age of Innocence. In New York society in the 1870s, the unpleasant truth was avoided, personal opinions were excluded, no room for imagination existed, and other-ness was expelled. In that society, Newland realized that true love and true emotions were lacking in his life. For Newland, Ellen was the gap in New York society and the object that could fill that gap. Ellen functioned as the object petit a. But the romance between Newland and Ellen was forbidden in New York society, where everything was dominated by strict social codes, and especially because Newland was engaged to Ellen's cousin, May Welland. Ellen became inaccessible to Newland and this set Newland's desire for Ellen in motion. He idealized Ellen as the objet petit a, based on the fantasy that she would fill the void in his life. However, at every critical moment, Newland delayed unification with Ellen by resorting to social codes. His actions betrayed that the goal of his desire was not the fulfillment, but the reproduction of desire, with its circular movement. His decision not to see Ellen in Paris again at the end of the novel can be interpreted as Newland's effort to maintain Ellen as the inaccessible object, objet petit a, forever. It is this impossibility of desire that the romance of Newland and Ellen is predicated upon. Another purpose of this study was to expand this impossibility of desire to the relationship between man and woman and to interpret The Age of Innocence as a story showing the characteristics of the relationship between the sexes. The relationship between Newland and Ellen shows that there is no harmonious relationship between the sexes and that woman exists only as a fantasy object, objet petit a for man.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.265-299
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• 2021

The purpose of this research paper is to facilitate the understanding of the synesthetic aesthetics in the film The Age of Innocence through the intertextuality among the narrative, paintings, and music in the film. In this paper, a two-dimensional intertextual analysis of the paintings in relation to the narrative is conducted on the paintings owned by Old New York, the paintings owned by Ellen, the portraits of unknown artists on the street outside of Parker House, and Rubens' painting at the Louvre. A three-dimensional intertextual analysis of performances in relation to the narrative is conducted on the stages and the box seats at the New York Academy of Music, in which Charles F. Gounod's Faust is performed, and the Wallack's Theatre, in which Dion Boucicault's The Shaughraun is performed. An intertextual analysis of music in relation to the narrative is also conducted on the diegetic and non-diegetic classical music of the film, including Beethoven's Piano Sonata No. 8 and Mendelssohn's String Quintet No. 2, as well as Elmer Bernstein's non-diegetic music of the film. The constituent event of The Age of Innocence represents the passion trapped in the reflection of love and desire that are not lasting, and the supplementary event embodies the narrow viewpoint and the inversion of values caused by the patriarchal authority of Old New York. The characters in the film live a double life, presenting an unaffected surface and concealing the problems behind it. The characters restrain their emotions at both the climax and the ending. The most powerful aspect of the film is the type and nature of oppressive life, which are more delicately described with the help of paintings and music, as there is a limit to describing them only by acting. In intertextual terms, paintings and music in The Age of Innocence continuously emphasize "feeling of emotions that cannot be expressed in language." With a synesthetic image, as if each part were imprinted on the previous part, the continuity "responds to continuous camera movements and montage effects." In The Age of Innocence, erotic dynamism brings dramatic excitement to the highest level, switching between the satisfaction of revealing desire and the disappointment of hiding desire due to its taboo status. This is possible because paintings and music related to the narrative have made aesthetic achievements that overcome the limitations of two-dimensional planes and limited frames. The significance of this study lies in that, since the identification in The Age of Innocence is based on the establishment of a synesthetic aesthetic through audio-visual representation of the film narrative, it helps us to rediscover the possibility of cinematic aesthetics.

• International Journal of Costume and Fashion
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• v.1
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• pp.83-96
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• 2001

• Proceedings of the Korea Society of Costume Conference
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• 2001.08a
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• pp.88-88
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• 2001

• Archives of design research
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• v.18 no.4 s.62
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• pp.237-246
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• 2005

This study was intended to enlighten two-faced desires of the Bauhaus, revealing that it is closely related with the child education rooted in Frobel. The Bauhaus declared to disconnect with the traditional education standing for Academies and asked students to go bad to such 'innocence' as children had. The faculty of Bauhaus tried to understand of the essence of the world through primary geometrical forms as 'purity' without any inessential things as $Fr{\ddot{o}}bel$ did. Their attempts not to admit any nonessential things, however, and dinging to purity was rather a sort of neurosis. The modernism is not different from the child art hiding sadistic and dictatorial elements behind the myth of 'innocence'. Considering the child education was born and grown with nutrition from the bourgeois development, it was not compatible with democratic ideals of the Bauhaus. While the new types of schools for children provided an excellent preparation for the Bauhaus to initiate a new design education, people of the Bauhaus were going toward a different direction from aspiration of the bourgeois, strong supporters of the new schools.

• 중국학논총
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• no.62
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• pp.71-84
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• 2019

Brothel in China is another word of origin and a noble expression at the same time. Brothel has long been used as a symbol of prestige and wealth as a synonym for integrity innocence. According to documentary records, brothel was used as a place where people with a lot of power and wealth. This meaning in the literature continued until the Late Tang period. In addition, the brothel was also used to refer to the place where the King resides. Therefore, the meaning of Brothel in the Tang period is generally understood as a place where people with high status symbolize the integrity of innocence. However, the image of the brothel, which is connected to the characteristics of a lot of young and beautiful women is increasingly recognized as a place where young ladies reside. For this reason, entering the Tang period the brothel eventually turned into a dwelling of a young woman in a prestigious and wealthy house. Since the time of Ming-Qing, brothel has already been used to refer to prostitute and brothel. In this article, we will look at the historical process of the change of brothel, and examine the process of brothel culture through the environment of brothel and cultural literacy of residents. We hope that this study will provide new perspectives and data to the study of women's cultural history in China.