• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.2
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• pp.214-225
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• 2000

The objective of this study was to investigate images of Korean traditional patterns. The subjects consisted of 369 male and 356 female undergraduate students. The experimental materials used in this study were 48 stimuli and questionnaires, composed of 7-point semantic differential scales of 23 bipolar adjectives. Twelve motifs selected from 3 groups of Korean patterns were used as motif stimuli. Twelve repeated patterns were constructed from them to be applied on a CAD-simulated dress. The data was analyzed by factor analysis, ANOVA, Duncan's multiple range test. The major findings were as follows: 1. Four dimensions were emerged accounting for the dimensional structure of the images of Korean traditional patterns. These dimensions were 'simplicity', 'quality', 'interest', and 'modernity' dimension. Among them, 'simplicity' and 'quality' were the major dimensions. 2. Category, interpretation type, composition type, and application object of motif had significant effects on the images of above-mentioned dimensions. The application object had a significant effect on 'simplicity' and 'modernity' image, and the composition type on 'quality' and 'interest' image.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.308-316
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• 2012

The purpose of this study was to analyze the characteristics of exterior look and interior space of Boutique hotels in Prague and to identify how the tradition and the modern styles were integrated in each element. The subjects of this study were 12 tradition and modern style integrated hotels in Prague. From the collected data, the followings were investigated; what are traditional and modern elements, how they are integrated, and what the ratio of the tradition and the modern style is. The results are as follows. First, regarding the level of integration of tradition and modernity in Boutique hotels in Prague, exterior look showed conservativeness and interior space showed innovation. Second, in the conservative combination of exterior look, the traditional facade made conflicts with the modernity of the signage but the expression was limited to the modern expression of façade and signage maintaining the traditional form. Facades were modernized with the limitation such as not to interfere its traditional atmosphere and signs were designed to be compatible with facade. Third, in the innovative integration between the traditional and the modern of interior lobby, they partially maintained traditional elements or reinterpreted the traditional elements in modern terms in ceiling, walls, columns and windows and used modern expressions in most of ornamental elements.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.6
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• pp.69-80
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• 2019

This research focuses on 10 modern museums built in Europe near important cultural assets of UNESCO World Heritage level. This study aims to reveal the coexistence of European laminated history and contemporary architecture by considering various aspects of respecting the existing and maintaining their identity as modern buildings, using these cultural assets as a basic concept of planning while minimizing conflicts with the past. The four measures of respecting existing cultural heritage are arranged by showing respect by lowering oneself, sympathizing with others, preparing for harmony with modernity, and communicating by looking at. The measures that reveal the identity of modern buildings are confirmed by classifying them as modern and post-modern approaches, each with several options. Through this study, we have been able to extract useful lessons for us, as well, while the past and present coexist successfully, by taking history as a reliable guide to take a fresh leap from it, rather than as a solidified remnant of inertness.

• Cross-Cultural Studies
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• v.25
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• pp.7-33
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• 2011

In this paper we attempt to read a film by Haejoon LEE entitled 'Castaway on the moon' from the Bauman's modernity perspective that draws our attention to uncomfortable problems relative to wastes and wasted lifes in the global consumer society we all live in. The so-called consumer society is a post-modern society designed according to the following two criteria: on the one hand, beauty and ugliness and on the other hand, competence and incompetence. Classified as ugly as well as incompetent in this society, the two heros in this film are condemned to live their lifes isolated. Miss Kim is confined to her small room while Mr. Kim is exiled to an uninhabited island called 'Bamsum' in the Han River. In these spaces, neither inside nor outside, they perform what we would like to call 'surplus act', using wastes at their disposal. In this paper we ask ourselves whether or not this act is able to challenge the two criteria and the solidarity of the two wasted lifes can bring about change in the consumer oriented society. As well as Bauman, Agamben will help us approach this question from a theoretical point of view.

• Journal of English Language & Literature
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• v.55 no.6
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• pp.937-959
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• 2009

The Queen of the Air, John Ruskin-s highly elliptical publication of 1869, elaborates a complex mythology as a way of responding to the prevalence of scientific thinking, widespread environmental degradation, the pernicious effects of political economy, and mechanistic labor. Benjamin-s desire to rescue human experience from prevailing scientific conceptions is reminiscent of Ruskin-s fear that the peculiar power that shapes the unities of the natural world is simultaneously being "beaten down by the philosophers into a metal or evolved by them into a gas" and obscured by the dreams and theories of philosophers and theologians. As a critic remarks, in Benjamin-s-and, we would add, Ruskin-s-view, "what the modern era lacked was a basis for continuity which would prevent experience from disintegrating into a desultory and meaningless series of events." Despite its frenetic hyper-associativity, then, The Queen of the Air contains a key element that Benjamin believes is necessary for "redemption": the desire for a new form of consciousness that recognizes links to the past and thus to the longings and dreams of our forebears. Thus, although Ruskin most immediately influences Proust, who in turn influences Benjamin, Benjamin-s thought is far more Ruskinian than critics have heretofore observed. Just as Benjamin helps us make sense of the ways in which The Queen of the Air is caught in the grip of the shocking associativity of modern life, so Ruskin assists us in discerning similar impulses in Benjamin-s attraction to a form of archaic consciousness that can, by altering the modern form of perception, reenchant the present.

• Journal of English Language & Literature
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• v.64 no.2
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• pp.273-298
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• 2018

This paper, postulating that Lowell's Imagism is not some "Amygism" that wobbles with "emotional slither," "mushy technique" and "general floppiness" as Pound once mocked, but another kind of poetic discourse that deserves the fullest re-consideration, goes back to the very scene where Pound left for Vorticism, condescendingly allowing Lowell and her supporters to use the name "Imagism" for three years. There, it tries to illuminate how Lowell, making the most of the opportunity given to her, picked up what Pound had left behind, grafted it on the soil of America, and finally fulfilled her literary passion to awaken the common reading public to the taste for poetry reading. For the purpose, it looks into her critical reviews in Tendencies in Modern American Poetry, and stresses her creative critical efforts to re-address Pound's principles of "Imagisme." In particular, given the limit of space, it focuses only on the second principle of her Imagism and examines the modernity of her concepts of "a cadence," "suggestion," and "the real poem beyond." Then it reads "Patterns" in the context of Japanese poetry and Noh drama and analyzes the poetic patterns that Lowell made through a creative adaptation of Japanese aesthetics for Imagist poetics. In doing so, this paper aims to provide reasonable evidences to evaluate the modernity of Lowell's Imagist ars poetica and to consider her a truly serious Imagist poet worthy of a place in the history of American poetic modernism.

• Journal of English Language & Literature
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• v.55 no.6
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• pp.961-973
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• 2009

Walter Benjamin expresses his concern that the new technologies of mechanical reproduction robs the artwork of its own uniqueness, its "aura." Benjamin uses the word "aura" to refer to the sense of awe or reverence one presumably experiences in the presence of works of art. This aura does not merely inhere in the works of art themselves, because Benjamin extends his notion of aura to the level of how he both understands and positions the modern subject in the world of uncertainty and transitoriness. The theoretical framework of Benjaminian aura becomes a crucial and efficient strategic apparatus to read The Education of Henry Adams. As for Benjamin the modern implies a sense of alienation, a historical discontinuity, and a decisive break with tradition, Adams observes that modern civilization has wiped out "tradition," a mythic home in which man can experience order and unity. Adams claims that the growth of science, reason, and multiplicity at the expense of religion, feeling, and unity has been accompanied by a parallel growth in individualism at the expense of community and tradition. To Adams the collapse of traditional values such as maternity, fecundity, and security in America is a waking nightmare of the moral dilemmas of a capitalist society, in which the cruel force of the modern Dynamo is becoming a prime governing principle.

• Journal of the Korean Society of Food Culture
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• v.24 no.1
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• pp.23-32
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• 2009

This study was conducted to generate fundamental data required by food coordinators and food space creators for planning and directing table settings. The results of this study were then used to suggest an ideal model of table settings for Korean-style food equipped with simple, sophisticated, and practical characteristics. Specifically, this study evaluated the importance of hygiene (safety, cleanness, arrangement), decoration (dignity, form, stylishness, presentation of food on plates), naturalness (seasonal beauty, comfortableness, natural beauty), and modernity (modern style, chic style, urban style). These factors were evaluated according to the preference of the table setting and the characteristics of the meeting, which fit various meal cultures, times, places, and objectives. The results of this study indicate that people prefer hygiene and decoration for family meetings (bansang setting), hygiene and modernity for friendly meetings (simple buffet setting), hygiene and decoration for company meetings (simple buffet setting), and hygiene and decoration for academic meetings (tea party). Hygiene and decoration were highly evaluated in most cases, which indicates that individuals at meetings for special purposes give weight to the meeting's atmosphere, but also consider the hygiene and cleanliness of the food.

• Journal of English Language & Literature
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• v.56 no.3
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• pp.445-459
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• 2010

William Carlos Williams discovers important sources of inspiration in the revolutionary avant-garde movements, in particular, Dada and Surrealism and attempted to embody the innovations in them in his poetic theory and practice. Williams's passion to create an indigenous American poetic work is compatible with his Dadaist experimentation with objets trouvés. Williams pays deep attention to objets trouvés, physical objects and marginalized people he comes across and transcribes his observations with poetic words freed from their instrumental contexts. In his characteristic poems written in the 1920s and 1930s, Williams records the social ruination and his task to give voice to the conflictual and fragmentary character of modernity is pursued through the Surrealist formulation of montage. In the Surrealist formulation of montage, the dialectical image is a central trope for reading the myth of modernity; it is positioned as both subject and object in the historiographic narratives of Walter Benjamin and Williams. As Benjamin tries to obliterate all traces of the author in the Arcades Project, Williams's montage poems like Spring and All only disperse argument into materialistic, dialectical images. The dialectical image in Williams's poetics becomes an organon of historical awakening so that truth can emerge from an unmediated juxtaposition of "things."

• SUVANNABHUMI
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• v.6 no.1
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• pp.161-191
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• 2014

The entry of the logging industry in the once heavily forested riverine middle Agusan Valley where aboriginal Manobos live meant the entry of the material practice of wage labor into this out-of-the-way place. Wage labor converted the once relatively isolated, subsistence animist Manobos into laborers of the expanding capitalist regime. A symptom of modernity, this wage labor also accompanied the coming of Visayan settlers (also loggers paid by wage) who introduced indigenous Manobos the compadrazgo social relationship. This friendly relationship across ethnic identities legitimated social ties and is a social material practice represented in recent bilingual Manobo possession rituals where the Visayan spirit is incarnated along with Manobo spirits. To understand the idea behind spirit embodiment, I explore Manobo ritual as mimesis or poeisis. This representation is shaped by concrete material realities as much as these realities, in turn, are reconfigured by ritual practice. In the older Manobo cosmology, which is based on subsistence economy and dependent on the forest and rivers, individuals have an externalized self (as manifest in the idea of twin soul), in which the inner vital principle is co-extensive with a spirit double in cosmos. Manobos imitate the perceived workings of nature in ritual so as to control them in times of illnesses. In contrast, the mimesis of the Visayan spirit is based on a different political economic set up with its attendant asymmetrical interpersonal relationship. By symbolically representing the Visayan patron as friend, Manobos are able to negotiate the predicament of their subalternity in local modernity.