• 국제교류와 융합교육
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• 제2권2호
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• pp.59-79
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• 2022

In recent years, "Korean Wave" has entered the life of college students with the carrier of popular culture such as popular music, TV plays and novels, which is unique to South Korea, and has been widely pursued by college students. The Korean wave culture inevitably exerts an important influence on their values. Based on this, on the basis of questionnaire survey, this paper takes Chinese college students as the research object. After understanding the attitude and contact status of contemporary college students towards Korean Wave culture, this paper explores the reasons for the prevalence of Korean Wave culture in China, and then specifically analyzes the influence of Korean Wave culture on Chinese college students from both positive and negative aspects. It also puts forward countermeasures and suggestions to correctly guide college students to face the Korean Wave culture from the four aspects of society, colleges, families and individuals. I hope to guide college students to rationally cope with the Korean wave culture, establish a correct outlook on life, and better integrate into the trend of The Times.

• 복식
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• 제54권2호
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• pp.105-119
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• 2004

Cultural hybridization and global cross-fertilization, begun since the 1990s, mean the hybrid mixture of the low-class popular arts and the high-class fine arts and have found expression in intertextuality by means of the thinking system of de-constructuralist post-modernism. This study was intended to investigate the artistic intertextuality between fashion and art frontiere, especially between such fields as 'animation', 'music', and 'performing arts' and 'fashion', which shows the greatest characteristic of the phenomenon that the non-mainstream culture flows into the mainstream culture. It also aimed to investigate the intertextuality between 'technology' and 'fashion' as the delivery room of the youth culture and copycat culture due to the benefit of technologies since the 20th-century digital revolution. Animation as the neo-pop art with the popular code coming to the forefront in the 21th century integrated high-class fashion and low-class fashion into one through the combination of fashion and humor, and the musical element referring to the social difference of the cultural field and the social strata is becoming the 21th-century fashion icon through its fusion with the pictorial tendency along with the leisure-time life of the non-mainstream strata. In terms of intertextuality in performing arts, fashion style performs an important role in the presentation of performing arts and since the de-construction of the fin-de-ciecle form and its fusion with media have taken place, fashion works become and element of the origin that has an influence on a series of film, dance, dramatic elements and the like. The paradigm of technology made it socially and culturally possible to achieve the architecture of clothing system necessary for fashionable technical clothing by allowing the possibility of imitation, the function of technology to form popular culture. The intertextual tendency in the 21th-century fashion began from the de-constructive phenomenon of existing norms and now takes the multicultural character of surpassing a certain domain or concept. And it positions itself as the total art of spearheading the low-class culture and the non-mainstream culture as the hybrid domain of mainstream and non-mainstream cultures or high-class and low-class cultures.

• International Journal of Costume and Fashion
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• 제8권1호
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• pp.75-84
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• 2008

This paper starts with the assumption that in order for hanbok to be made known to the world as a cultural code representing Korean beauty, it must first be made familiar among Koreans with opportunities for widespread use of hanbok in a way which forms an understanding with the fashion sense of young generations, and that wearing hanbok must be promoted. We observe the contents and problems of past hanbok festivals and provide methods to promote the wearing of hanbok among the population, creating an occasion for mingling with various cultures in hanbok events which may be experienced by the general population, and developing hanbok as a tourist item and promoting the hanbok industry through standardized hanbok festivals. Globalization of hanbok most occur through a combination of related academic fields, division of roles in fields of expertise, and a scientific understanding of hanbok. The re-creating of traditional hanbok will allow for affirmation of Korean image, a rediscovery of the value of Korean culture, and the establishment of cultural identity. The development of such global designs will form a foundation for hallyu wave culture within popular culture.

• 패션비즈니스
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• 제26권6호
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• pp.94-104
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• 2022

The purpose of this study is to analyze the art world's perspective on popular art and the contact point with pure art and to present the requirements of fashion as a popular art. To analyze the artistic value of fashion, this study analyzed and presented the requirements of art by linking the innate characteristics of fashion premised on mass consumption of popular art. The research method consisted of content analysis focusing on books and papers on art and fashion. A critical perspective on expansion of the artistic field amid the blurred boundaries of art is the basis of a critical comparison between popular art and avant-garde art and a critique of popular art as opposed to value-oriented art. Conversely, as a point of contact with popular art with fine art, art is discussed against the ideological strategy of fine art and the shift in hegemony brought about by erosion of the barrier between art and everyday life. In addition, the non-essentialist perspective contradicts the division theory of popular art. The requirements of fashion as a popular art were analyzed based on the value of self-expression through the aesthetic pursuit of creativity and aesthetic expression, discourse as art, and expansion of modern art from the inessentialist perspective of popular art.

• 한국엔터테인먼트산업학회논문지
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• 제15권8호
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• pp.45-62
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• 2021

본 연구는 셀러엑터를 활용한 문화콘텐츠를 <놀면 뭐하니?>의 멀티 페르소나를 중심으로 분석하였다. 셀러엑터에 내재된 멀티 페르소나가 한국 셀러브리티 문화의 특징을 어떻게 재현하고 있으며, 그 문화적 의미가 무엇인지 살펴보는 것에 그 목적이 있었다. 총 6개의 프로젝트에 대한 텍스트 분석을 통해, <놀면 뭐하니?>가 재현하는 멀티 페르소나는 어떠한 것인지를 살펴보았고, 이것이 한국 사회에서 갖는 문화적 의미에 대해 파악하였다. 또한, 대중의 정체성과 문화 형성에 영향을 미치는 한국 셀러브리티 문화가 어떠한 특징과 사회적 관계 속에 있는지를 고찰하였다. 연구 결과에 따르면, <놀면 뭐하니?>는 다양한 페르소나를 대중의 사고방식과 취향, 정서적 성향을 내재한 가상의 캐릭터 유형인 셀러엑터를 통해 드러내고 있으며, 환상(Fantasy), 도전(Challenge), 향수(Nostalgia)라는 세 가지 문화코드가 한국 셀러브리티 문화에 내재되어 있었다. 이는 동시에 <놀면 뭐하니?>의 셀러엑터는 사회적 관계와 자본주의 권력구조, 한국 사회에 존재하는 상징체계를 의상, 분장, 소품, 장신구 등 다양한 방법을 사용하여 그들의 몸을 통해 재현하고 있으며, 자본과 권력의 영향력, 도덕적 미덕과 선한 영향력, 그리고 위계질서 전통의 영향력이라는 세 가지 측면에서 문화적 의미를 드러내고 있었다.

• 문화기술의 융합
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• 제5권2호
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• pp.157-161
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• 2019

본 연구는 유아가 좋아하는 대중가요의 종류와 대중가요를 접하게 되는 경로를 알아보는 데 목적이 있다. 유아는 더 이상 동요만 부르지 않는다. 유아의 주변에 대중가요가 깊숙하게 자리잡고 있다. 연구참여자는 만 5세 유치원 원아 73명이다. 예비면담은 2018년 10월 1일부터 10월 11일까지 수행하였다. 예비면담을 통해, 구조화된 질문을 수정하여 본 면담을 수행하였다. 본 면담은 2018년 10월 22일부터 11월 9일까지 수행하였다. 면담기록을 모두 전사하였고, 전사된 자료를 바탕으로 유아가 접하는 대중가요의 종류를 대중가요, 대중가수, 장르로 구분하였다. 유아가 대중가요를 접하는 경로를 장소, 매체, 사람으로 분석하였다. 유아가 좋아하는 대중가요로 사랑을 했다, 대중가수로 iKon이, 장르로 k-pop이 제시되었다. 유아가 대중가요를 접하는 장소는 유치원과 집이 가장 많았고, 유투브를 통해 많이 접했고, 가족과 친구를 통해 많이 접했다. 연구를 통해, 대중가요는 이미 유아의 일상 속에 깊숙이 자리잡고 있는 것을 알 수 있었다. 이제는, 유아가 대중가요 리터러시를 갖추는 것이 필요하다.

• 트랜스-
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• 제5권
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• pp.29-48
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• 2018

본 연구는 미디어 플랫폼을 기반으로 대중화를 시도하고 있는 국내 무용계의 현상을 살펴보고 이를 문화 참여자들의 상호작용을 기반으로 고찰한다. 이는 무용의 대중화는 궁극적으로 무엇을 의미하는가? 미디어를 매개로 한 대중화전략은 어떤 특징을 띄는가? 이러한 시도들은 모두 같은 속성을 지닌 대중화 전략으로 이해될 수 있는가? 라는 의문에서 비롯된 것이다. 이를 위해 무용의 대중화 전략의 주요 매개로 사용되고 있는 방송매체와 최근 주목받는 온라인 커뮤니티 플랫폼의 특성을 살펴보고, 각 매체를 중심으로 관계 맺는 문화 참여자들의 의사소통 과정에 주목한다. 이를 통해 방송매체를 매개로 한 활동은 사업가(자본)에 의해 통제되고 조종됨으로써 창작자와 수용자(시청자)의 직접적인 커뮤니케이션이 불가능해지고, 사업가가 계획한 문화상품을 생산하는 데 그침으로써 매스컬처(Mass Culture)의 성격으로 분류됨을 밝힌다. 반면 사업가의 직접적인 개입 없이 창작자와 수용자의 직접적인 의사소통 및 상호작용이 가능하며, 창작의 권리가 보장되는 성격을 지닌 온라인 커뮤니티 플랫폼은 포퓰러컬처(Popular Culture)로 분류됨으로써, 무용의 대중화에 관한 담론 확장 및 방법에 적절한 미디어 플랫폼으로 기능함을 제안한다.

• 한국식생활문화학회지
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• 제32권3호
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• pp.185-203
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• 2017

This research analyzed consumer culture and usage of sugar in modern times based on 12 modern popular Korean cooking books with sugar recipes. Procedures were formed via textual analysis. The outcomes of the study can be summarized in brief statements. According to "Banchandeungsok", "Booinpilj", and "Chosunmoossangsinsikyorijebeob", sugar was utilized in 34 out of 663 or 5.1% of cooked foods during the 1910s to 1920s. According to books such as "Ganpyounchosunyorijebeob", "Ililhwalyongsinyoungyangyoribeob", "Chosun's cooking of the four seasons", "Halpaengyoungoo", "Chosunyorijebeob", and "Required reading for housewife", sugar was added to 165 out of 998 or 16.5% of cooked foods during the 1930s. According to the books like "Chosunyorihak", "Chosunyoribeob", and "Woorieumsik", sugar was an ingredient in 241 out of 756 or 31.9% of cooked foods during the 1940s. Sugar depicted within the 12 modern popular Korean cooking books primarily functioned as an alternative sweetener, starch, sweet enhancer, preservative, and seasoning. Similar to illustrated sugar from modern popular Korean cooking books, sugar has continually been favored by Korean cooks starting from the 1910s with 5.1% usage, the 1930s with 16.5% usage, and the 1940s with 31.9% usage. Despite its short history, sugar's culinary importance in Korea has been on the rise ever since the early 1900s. Although sugar is an exotic spice in Korea, it has gained social, cultural, and symbolic recognition as well as practicality within Korean food culture. Thus, it has become more internalized and familiarized as an inseparable sweetness that characterizes current Korean food.

• 한국지역사회생활과학회지
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• 제19권3호
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• pp.411-418
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• 2008

The purposes of this study were to investigate the effect of perceived Korea image on the evaluation and purchase intention of Korean apparel products and examine the effect of perceived Korea image on preference of Korean image and Korean apparel brand among Chinese female consumers. As variables of perceived Korea image, marketing stimulus and popular culture elements were included. Data were obtained from 350 Chinese women in the 20s and 30s who were living in Shanghi, China. Data were analyzed by frequency analysis, ANOVA, multivariate regression using SPSS WIN 12.0. The results of this study were as follows. First, the preference of Korea image was significantly affected by marketing stimulus and popular culture (e.g. TV drama of Korea). However, only marketing elements significantly affected on the preference of Korean apparel brands. Second, purchase intention of Korean apparel products was influenced by marketing stimulus, the preference of Korean apparel brands and the evaluation of Korean apparel products. Popular culture element which was main element of Hanliu was not affected significantly to purchase intention of Korean apparel products. As source of Korean brand image for apparel product, Chinese female consumers used more Korean TV drama and entertainers. This study provides an insight into Korean fashion marketers for developing market strategies in China.

• 복식문화연구
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• 제15권6호
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• pp.1063-1077
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• 2007

The purpose of this research is to comprehend the various range of expressions of fantasies and to summarize the expressive effects of fantasies that appear most commonly in today's popular culture such as film and fashion. The followings are the results of the research: Fantasy means a genre of literary arts, which uses magic and supernatural figures as the themes or plots. The characteristics of the expressive effects of the costumes in fantasy movies are summarized as metaphor and symbol, hybrid, otherness, grotesque. After analyzing the costumes in fantasy movies, it is concluded that these characteristics can be conceptualized as the characteristics of the expressive effects in the field of fashion and they can be used as the basis in setting the visual images. This research also aims at recognizing and predicting the fashion trend by understanding closely at the popular cultures, using the films as a tool, which can be led to examining the possibility of combining various popular cultures.