• Journal of the Korean Society of Clothing and Textiles
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• v.18 no.4
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• pp.460-472
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• 1994

The Purpose of this study was to find in the art the basis of originality appeared on the fashion design and investigating the erotic expression appeared on the ornaments how art surrealism, pop art, post moderninism-formularize in the modern fashion. This study about the expression of eroticism and modren costume, through the source of pictures contained in art books and mode magazine and documents investingation has resulted as follows: First, the formality and contents that related art and fashion shows us a various aspect. That based on modeled characteristic and various technique of the art. Second, the expression of eroticism in fashion expressed differently in style, material and expression method that is more strongly, sometimes metaphorically with spirit of the time's. Third, the expression of eroticism in fashion whether direct way or symbolic way has appeared as partial exposure of the body. It is appearing to the course that can display individuality of each person over the taboo of the part and the previous limitation of fashion.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.5
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• pp.27-45
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• 2021

The purpose of this study is to trace the path of policy for urban parks and greenbelts (PUPG) pursued by Seoul Mayor Kim Hyeon-ok, who was a protagonist of Seoul's modernization and to reveal the policy's characteristics. A high modernism perspective was projected to advance his PUPG discussion. High modernism was an unavoidable phenomenon that appeared in post-war urban reconstruction projects and emerged in the form of a belief that the national elite creates the ideal social order and rational planning. Its characteristics were to build with legibility, immediacy, and convenience by power, with private participation and profit creation, while realizing the spectacle of "the city being built". As a high-modernist, Seoul Mayor Kim Hyun-ok's urban planning aimed to deal with the booming population and the expansion of Seoul's territory. Although his PUPG extended the parks to the outskirts of Seoul, he showed a dualistic attitude, diverting parks away from the city center. On the other hand, he induced the participation of the private sector to create parks. However, he showed the other side of modernization, eliminating the placeness and excluding related systems. The path taken by Mayor Kim Hyun-ok's PUPG was started to respond to population growth and resolve the encroachment of parks. The ultimate goal was to accept the realization of urban planning and experiment with non-financial methods. The characteristics of his PUPG reflecting high modernism were: First, elites were represented in the National Land Planning Association, HURPI, and Jang Moon-gi participated; second, legibility was ensured by using east-west and north-south axes, elevation standards, and rational planning. Third, parks were quickly released to respond to the rapid urban change. Fourth, it showed off events and spectacles to attract private capital.

• English & American cultural studies
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• v.18 no.2
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• pp.51-78
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• 2018

To put it simply, thing theory is a study of meaningful capacities of materiality. Although T. S. Eliot regarded pathetic fallacy as the bad example of objective correlatives in his modernism poetry theory, it is clear that many objects in literary works reflect diverse human desires. Among many, Victorian sensation novels are the most distinct genre where the various paraphernalia in them indicate the distorted and exaggerated greed of the industrial revolution era. Whereas the male protagonists are usually related with the norms objects of authority such as portrait and locket, the female characters' connection with cosmetics and white dress shows their oppressed and fragile position in the patriarchal and hierarchical society. In the (post)modern society, the ambiguity of things has grown rapidly due to the increasing discrepancy between objects and things. In special, the new journalism and the psychological realism novels often reveal the post-truth phenomenon because consumerized audience depend more upon the attraction and affect than the mere evidence and facts. For the individual, according to object relations theory, these alternative facts are rather internalized into their mind as the internal object when they are motivated by the non/contact with primary caregivers in their childhood. The dominant material imagery in (post)modern fiction becomes the site of resistance because of their reconstructed and extended meaning. The object relations theory and thing theory can be effectively used to uncover the complicated meanings of desired objects by using the human-object's meaningful relations and early mental images that are secretly alive still in the present.

• The Journal of Art Theory & Practice
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• no.15
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• pp.51-79
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• 2013

This paper examines the characteristics of post-modern self-portrait photography. Characteristics of postmodernism associated with the "loss of centeredness," such as the death of the author, interdisciplinarity, and intertextuality, brought about a number of changes within the self-portrait. The distinction between post-modern and modern self-portraiture can be characterized by the following qualities: appropriation, the use of photography, and the utilization of the human body as an art. The characteristics of post-modern self-portrait photography can be represented through the works of Cindy Sherman, Orlan, and Morimura Yasumasa. By presenting prototypical women in her works, Cindy Sherman not only represents images of those women, but also exposes her fictitious role in the work. She creates a distance between herself in the works and herself in reality and discloses a paternalistic gaze. Meanwhile, Orlan transforms her face into a distorted image and presents it as an alternative identity that is representative of postmodernism. She corrodes the standard concept of identity through plastic surgery and treats the face not as a place where the identity stays, but as a simple body part or fragment of skin. Orlan's post-human face is malleable according to the artist's desire to raise the issue of what the human face is, and opposes the structure of modernism. Morimura Yasumasa also appropriates images from masterpieces and presents a hybrid identity between Eastern and Western, male and female, original and replica, and subject and object. In order to dissect social prejudice, he puts forth every single structural dichotomy that coexists in his self-portrait and suppresses a strong ego. He also studies the relationship between 'seeing' and being 'seen' by trading the painter's role from that of the subject to that of the object.

• Trans-
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• v.1
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• pp.1-19
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• 2016

Arts have changed continuously reflecting the times with the political atmosphere and social systems. As political, economic, and social big changes have occurred since World War II, antihistorical tendencies rejecting modernism in the early 20th century have come to appear in culture and arts as well. With these social changes, radical, avant-garde and artistic tendencies with strong experimental spirits, which rejected modernism took place especially in American dancing world. Trends of improvised elements and experimental trials were dominated discovering expressions of new movements in intentions and expressions of works. The purpose of this study is to investigate the effects on choreographic forms of modern dance until today by exploring choreographic characteristics of this postmodernism. To examine post-modernist inclinations in works, Trisha Brown who led American post-modern dance stressed dance for expressions of movements in themselves and pure movements by actively accepting into dance works American social flows which played a major role in postmodernism starting from 1960s. American modern dancers considered body in itself as important one and any emotional expressions and individual sensitivity is excluded as their physical expressions are factual, realistic, and due to their movements. They imprinted dance as valuable art by recreating ordinary behaviors into dance, using space excellently and forming experimental dance shapes. Therefore, it can be said that through analyzing brown's works, we proposed a new direction getting out of limits of arts and provided a direction of essential dance alt to movements of modern dance and choreographic shapes.

• Journal of Science of Art and Design
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• v.3
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• pp.145-177
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• 2001

The artist's interest has been captivated by ecological phenomena in Nature. Her keen captivation has then been focused into plastic art depicting the image of primitive life. The wide sweep of her work encompasses the totality of nature which consists of the human's subconscious power and imagination which she then portrays by organic images. These organic images are in contrast to scientific, mathematical and logical inference and consciousness. This research examines the character of the organic images in modern art by her analysis of some representative works by others. The image is an essential concept in the art which appeared in very different ways and in different perspectives. The image in the artwork appears to be the realistic expression until the early part of the 20th Century. Well into the 20th Century, it began being expressed in various ways such as combined images by imagination which is combined or rejected in the story of artwork. It also began being expressed by transferred images by changed original conditions. It is the main purpose of this research is to study of various expressions of organic images in the artwork of the Post-Modernism era. The character and meaning of organic image painting helps people to approach the human instinct more easily to find out the natural essence. It is also an objective of the organic image to tenderise our human sensibilities, thus helping us to regain vitality and recover our poor humanity in the barren wilderness of modern society. 'Life communion with nature' is a meeting point and common ground for Oriental Philosophy and organic image painting. Through this research, organic image painting is characterised in the four following ways : 1st) Organic image painting seeks regularity and perfection of outer shapes, in contrast to disordered and deformed nature, resulting in organic and biotic formalistic mode of plastic art. 2nd) Organic image painting seeks the formative. 3rd) Organic image painting pursues the priceless dignity of life by researching the formatted arrangement and figure, which contains primitive power of life. 4th) Organic image painting makes crystal clear the power of human and nature, which is a historic and biological phenomenon. This, in turn, exposes the humanistic view of the world from modern society best characterised in lost self-understanding, isolation and materialism. The representative organic image painting artists are Elizabeth Murray, Kusama Yayoi, and Niki do Saint Phalle. Elizabeth Murray used shaped canvas and a round construction of relief works. Kusama Yayoi used Automatistic expressionism originating from the realms of unconsciousness and which is represented by the mass and shape of a water drop. Niki do Saint Phalle shows the transcendence of universal life and anti-life to respect the dignity of life and the eco-friendliness relationship of human and nature in the post-modernism in art history. This is accomplished by surrealistic, symbolic, fantastic and humoristic expression. These three artists' works express the spirit of the organic image in contemporary art. It contains the stream of nature and life to seek not only the state of materialism in the reality, but also the harmonized world of nature and human which has almost lost the important meaning in modern times. Finally, this organic image is the plastic language of the majestic life. It is the romantic idea that the intimacy of nature and the universe and Surrealism, which emphasizes the unconsciousness , is the source of truth and spirit. Also it is influenced by primitive art and abstract art. According to this research, the subject 'Research About Organic Images' is not only an important element in the plastic arts from primitive society to the present, but is also fundamental to an true understanding of Post-Modernism.

• Journal of architectural history
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• v.8 no.2 s.19
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• pp.87-108
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• 1999

Since 1960, the change of architectural trend was dominated by two factors ; the one, the introduction of theory of language (including semantic, syntactic, pragmatic, linguistic, semiotic, structuralism, post-structurism) in design concept, the other, the adaption of high technology in building construction. In particular, the theory of language played an important role in the emergence of new tendency, which could be the alternative of modern architecture. Post-modernism and Typology in the 1960-70s, Deconstructivism in the 1980s and 'Folding' architecture in the 1990s, have continually borrowed a theoretical base from the thee of language. Placing the focus on the relation of contemporary architecture and theory of language with the interdisciplinary view, this study comes to the conclusion that the diverse architectural tendencies since 1960 depend on the 'champ d'enonce', which Michel Foucault, French philosopher, defined in his . The writings of many architects, like Robert Venturi, Micheal Graves, Aldo Rossi, Peter Eisenman, Rem Koolhaas, Bernard Tschumi, Gerg Lynn demonstrate our conclusion. This is an important finding which make possible consistent understanding about contemporary architecture.

• Korean Institute of Interior Design Journal
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• v.23 no.3
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• pp.108-116
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• 2014

Postmodernism, a cultural movement which occurred in the mid-20th century, avoided functional form, one of the features of modernism, and pursued post-rational and post-centric pluralistic thought which puts human emotions in importance. Postmodernism set a high value on emotional instincts of humans and focused on creation of empathy. It includes scepticism of rationalism and indicates the significance of emotional and psychological instincts of humans, or 'emotions'. Along with the big change in that time, more dynamic and unprecedented indoor spaces had appeared. Nigel Coates, who had taken various kinds of artistic activity from the early 1980s to the late 1990s, had tried to make a new approach of objet-focused emotional spaces. Such an approach made in the time when science and technology had rapidly developed and social structure had changed was considerably fresh, liberal, and futuristic. He interpreted spaces by escaping from realistic intentions and communicating with drawings, and designed object-focused emotional spaces by actively employing objets on the basis of ideas. He tried to make emotional sharing between the public and spaces through objet, and showed unique spaces in his own way by reinterpreting the meanings of spaces and stimulating human emotion. This study was intended to look into his artworks to show his way of approaching objets, and to find an application plan and the future possibility of the plan.

• Archives of design research
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• v.12 no.2
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• pp.185-196
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• 1999

It has been known that deconstruction has affected various fields as literature, architecture, an, film, industrial design, and so on. Especially, deconstruction has applied into a wide scope of the design related fields through diverse ways and the results also show that there is a great potentiality in the ways of it's expression with different styles. Deconstruction design has been approached in connection with post-modernism, deconstruction theory of J. Derrida and pluralistic post industrial society. In particular, it is obvious that deconstruction philosophy has deeply affected the fields of visual design and typography which are mostly communicated with symbols and texts. This study intends to examine how the deconstruction theory has been practically applied into the typography by analyzing the change of deconstruction typographic styles and exploring the distinctiveness of the change.

• Journal of English Language & Literature
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• v.56 no.1
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• pp.47-64
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• 2010

It is unfair that environmental pragmatism has been regarded as a mouthpiece for industrial expediency and business boosterism. John Dewey's radical pragmatism known as 'Instrumentalism' has provoked ecological fundamentalists' criticism more vehemently than any other pragmatic philosophies. However, most of the presumptive misunderstandings of such critics as Holmes Rolston, J. Baird Calliott, Erich Katz, C. A. Bowers and many others come from their limited or reduced reading of Deweyan pragmatism. The following three aspects of Deweyan pragmatism can work out in opening up a dialogical space with those eco-centrist thinkers mentioned above. First, the concept of Dewey's 'primary experience' can articulate the foundationalist view of nature, which is often found in aboriginal cultures. Second, as Andrew Light points out, ecological essentialism can share its metaphilosophical position with the pragmatist epistemology. While Anthony Weston pursues pluralism, admitting that the foundationalism might be one of the efficient approaches to nature, Eric Katz is also clearly attracted to the metaphilosophical element in Weston's argument that anyone who attempts to claim the 'inherent value' of non-human nature never possibly avoids a pitfall of anthropomorphism. Lastly, in a more comprehensive perspective, Dewey's pragmatism shows a philosophical complexity, what Larry A. Hickman calls 'post-postmodernism.' a dynamic interaction between modernism and postmodernism. Significantly enough, the environmental version of this complexity can procure a meeting ground between foundationalist ecology and the pragmatic view of nature.