• 자연과학논문집
• /
• 제8권2호
• /
• pp.289-321
• /
• 1996

조선 후기는 임진.병자 양난을 계기로 사회전반에 급격한 변화를 겪으며 근대 사회로의 전환기를 맞는다. 즉 전쟁으로 인한 국가제도의 문란과 혼란해진 사회구조 속에서 신분제도가 해이해졌고, 상업경제체제와 화폐경제의 발달로 인한 부유한 중인 계층이 대두되었고, 사상적으로는 유교가 공리공론에 빠지면서 유교윤리의 약화현상이 나타나면서 현실치중 의식을 보이는 실학사상이 등장 하였다. 또한 서민문예의 대두로 서민의식을 가진 서민계층(서민의식을 가진 양반계층 포함)이 등장하게 되었다.이 서민 계층의 등장은 복식에 있어서의 대중복식문화를 부각시키면서 유행현상이 출현되었다. 그리고 대중은 이 전환기 사회에서 변화된 그들의 역할과 가치관은 이제 더 이상 지배층에게서 영향력 행사할 충분한 권력이나 매력을 찾지 못했다. 따라서 이들은 새로운 상징적 선도자(Symbolic leaders) 즉, 모범을 보여주는 새로운 대상을 찾았고, 그들의 상징적 선도자는 바로 '자유분방하고, 사회활동을 하는 독립된 여성, 그리고 시와 가무를 즐기는 풍류가이고 또한 신체적으로 매력을 지닌 멋장이인' 기녀들 이었다. 선도자 그룹인 기녀계층에 의해 제시된 새로운 Fashion과 Style인 Erotic Mode와 사치 Mode는 그 시대 사조를 반영하면서 대중이 의식과 기호에 크게 맞아 떨어지자 큰 호응을 얻고 수용되었다. 즉 이들대중은 선도자 그룹을 모방 함으로써 그들과 자신들의 동일시를 성취하고 선도자의 Prestige를 나누어 가지고자 했던 것이다.이러한 이유로 해서 기녀들은 하류계층임에도 불구하고 조선후기 시대의 "패션의식적인"사회집단으로서 대중으로부터 주목받고 대중의 기호를 장악하며, 그들의 복식행동은 대중으로부터 강한 수용을 받게 되면서 대중의 의복 행동에 크게 영향을 미치는 유행선도자(Fashion leader)였음을 보게 된다.

• 한국의류학회지
• /
• 제36권9호
• /
• pp.916-927
• /
• 2012

In the $21^{st}$ century, woman leaders are able to influence society through improved social status and economic power. From 1980-1990 there was a rapid global social development of feminism and improved media perceptions. The progression of this process is reflected by female characters in feminism films that included a new dress style. The power suit emerged in the U.S.A of the 1980s, as a dress code that showed the workplace uniform of a professional woman and spread to Korea as an influential style. This study defines the different and similar aspects in the development of women's position and the role involved in a structural background through a comparison of the socio-cultural meaning of the power suit expressed in American and Korean feminism films. For analysis, this study chose American films in the 1980s and Korean films in 1990s that fulfilled elements about feminism films. Subsequently in American feminism films, the power suit expressed an equal authority with men, strategic use of femininity according to task type, and a dissipation of symbolic effects like a rich look. In Korean feminism films, the power suit expressed an end of femininity like female transvestite, independent female images with the masculinization of appearance, and a mix of new and traditional styles.

• 한국의상디자인학회지
• /
• 제15권3호
• /
• pp.109-118
• /
• 2013

Fashion icons of 21st century are not only the fashion leaders that show fashion trend but also the typical fashion signs or symbols that show visually changes in sensibility trends. The purpose of this study was to analyze the framework of 21st century fashion by the public to recognize through these changes. In this study, the background of the occurrence of various 21st century fashion icons and their characteristics were investigated and the changes of revealed features and symbolic meanings were examined compared with them of 20th century. The 24 celebrities which have been called as the bests of fashion icons since year 2000 were selected by searching the most popular search engines such as daum, yahoo and google, and 13 of them were picked as the highest in preference and awareness by surveying 50 students majoring in fashion. And then their fashion styles, backgrounds, and influence on the public fashion were studied. As a result, the 21st century fashion icons reflecting the cultural characteristics such as convergence and exaggeration and the sensitivities of fusion, collaboration, hybrid sensibility in art were powerful enough to create innovative styles destroying the era and the standard. Their styles have constantly created new looks. The exposed new individual sensitivities on media-fusion of two or more sensibility and coordination techniques without being tied to the existing anchorage system-were as influential as high fashion and leaded the imitation and reproduction by dazzling the public. As the media become more powerful, the influence of fashion icons interacted more closely with the public and has been evolved through the sensitivity of the reversal, cultural, economic, visual, or temporal fusions. To sum up, it is shown that the outstanding fashion styles suggested by the leading fashion designers have approach to the public more closely by the fashion icons.

• International Journal of Human Ecology
• /
• 제8권1호
• /
• pp.53-66
• /
• 2007

The purpose of the study is to microscopically re-clarify the reality of renovation and conflicts that females faced within their families since the modernization period. The research method is the literature review. Families have been considered based on the formation of individual spaces for housing by husband and wife. The study will analyze changes in daily lives and housing consciousness to understand how such housing areas are transforming. The results of the study are as follows. From the perspective of symbolic interaction, in a traditional society, Korean females have been experiencing alienation and isolation in private areas in their daily lives due to family centrism and male chauvinism. Since industrialization, the female's role as the major consumer has been emphasized. Also, in terms of housing space, the symbol of family interaction was influenced more by utility, rationality, and equality than spatial hierarchy. From the perspective of the dailiness of phenomenological traditions, the modern girl's housing consciousness, which appeared during modernization under colonial rule, is considered as revolutionary from traditional society. Soon after in industrialized society, females appeared as leaders of 'sweet home'. They also became the main body to create the space for living by giving meaning to the interior of housing. Considering dailiness from the Marxist perspective, under the colonial social system, females became the subject of colonization through education, socialization, and the labor market. The modern public system presents the female as 'a wise mom and good wife' or laborer causing the colonization of her life. After industrialization, the socialization of housing and prioritization of spending caused the daily lives of females to become colonized by the consumption market.

• 복식문화연구
• /
• 제9권1호
• /
• pp.1-10
• /
• 2001

This study is to reconsider the symbolic potential of the costume by investigating the role of cloth in Indian culture, noting the fact that Indians wore hand-woven cloth and adopted a flag with the spinning wheel in the center as part of their nationalistic programs for independence. The results are as follows; The Indian cotton industry had held the fist position in the world and spinning and weaving had been an Indian national industry until the early part of the 19th century. As for the Indian cotton industry under the rule of Britain, Indian was reduced to being a colony producing raw materials and a market of cheap British finished goods, and eventually fell into anarchy with economic poverty of the general public and peasants'uprising mixed with the complaint of the intellectuals. The Indian National Movement started as a resort to escape the British rule because of continuous poverty and social exhaustion, and its pivot was Gandhi. Gandhi launched a revolutionary noncooperation movement in Indian society with diverse races, religions and castes, and developed nation-wide campaigns such as Boycott, Swadeshi, the encouragement of spinning wheels, etc. Gandhi urged that Indians' weak identity and poverty were caused by the dissolution of their native craft and that the Indians should wear Indian products for economic independence. Accordingly, leaders of Indian National Congress regarded a spinning wheel as an economic necessity and national symbol, and approved manual spinning and weaving as part of their nationalistic programs in order to drew the general public to the nationalistic movement in 1920. They also decided that all Congressmen should wear hand-woven cloth, Khadi, and adopted spinning wheels as the logo type of Indian National Congress. Khadi, Indian national cloth, was a symbol of national unification, freedom and equality, and also a means of economic self-sufficiency, Swadeshi, and eventually led India to autonomy, Swaraji. Therefore, it can be concluded that the cloth converted Indias economic and political identity.

• 기록학연구
• /
• 제3호
• /
• pp.139-177
• /
• 2001

'Inha University' (Inha Institute of Technology) was founded on April 1954. The establishment of Inha University has several special meanings. First, I tried to examine the establishing process of Inha University in the context of emigrations and nationalist movements. Inha University was established to commemorate the 50th anniversary of emigration to Hawaii, with the seed money of $150,000 which came from the sale of 'Korean Christian Institute' in Hawaii. Korean Christian Institute had taken charge of teaching the children of Korean residents in Hawaii. Rhee Syhngman, the fist president of Republic Korea was the leader in founding Korean Christian Institute and Inha University, but behind him there were donations of both Korean residents in Hawaii and common Korean people of the 1950's. The establishment of Inha University has a nation-wide and national meaning in that the spirit of nationalist movements in Hawaii and donations of Korean people at home and abroad were linked together. Second, I tried to examine the economic and educational policies after the liberation in 1945. In the 1950's Korea planned to set up self-supporting economy with the aid of America. Accordingly, the educational policy had to be considered in view of economic independence, too. 'Inha Institute of Technology' was the result of these national economic and educational demands. Consequently Inha Institute of Technology took a special position of carrying out national policies with the intervention and protection of the Government, including the president Rhee Syungman in person, even though it was neither national not public but private college. Third, I tried to examine the local history of Incheon. How did Inha Institute of Technology come to be built in Incheon? That's because the emigrant ships departed from Incheon. For those Korean emigrants, it is quite natural that the city of Incheon has a symbolic and commemorative meaning. In addition, Incheon is a port city neighboring the capital Seoul and has 'Seoul-Incheon Industrial Complex' in it. Graduates from Inha Institute of Technology were expected to act as competent scientists and technical leaders of that complex. Really Inha Institute of Technology trained many a good technicians with short-term courses and re-educated them after. The history of university has been usually underestimated as that of mere institution. In dealing with the history of Inha University as an example, I tried to re-examine the history of university in the context of Korean history and to emphasize the importance of keeping any all records relating universities.

• 동남아시아연구
• /
• 제28권1호
• /
• pp.83-120
• /
• 2018

2017년은 리콴유라는 구심점을 잃은 싱가포르의 여러 도전 과제들이 부각된 한 해였다. 첫 여성 대통령이 탄생하였지만 국민들은 새로 개정된 대통령 선출 방식에 대해 불만을 표출하였다. 리셴룽 총리의 권력 남용 논란은 온 국민을 충격에 빠트렸으며, 집권당은 차기 승계 구도에 대한 명확한 청사진을 제시하지 못했다. 경제적으로는 보호무역주의 극복과 증세 압박에 놓였으며, 중국의 외교 압박이 거세지면서 실용주의 외교의 실효성에 대한 의문이 제기되었다. 리셴룽 총리의 9월 방중으로 중국과의 관계는 다소 회복되었지만, 2018년 아세안 의장국으로서 미-중 사이에서 아세안의 중심성을 이끌어야 하는 난제를 안게 되었다. 한편 사회문화적인 측면에서 2017년은 싱가포르 사회가 좀 더 성숙한 다인종, 다문화 사회로 나아가고, 서로의 다양성과 다름을 추구하는 한 해였다. 특히 할리마 야콥 대통령의 당선은 말레이계이자 여성인 이중 약자가 대통령이 될 수 있다는 싱가포르의 통합적인 면모를 상징적으로 내보일 수 있는 좋은 기회가 되기도 했다. 하지만 동시에 싱가포르 정부가 정치적 의도와 목적으로 주창하는 '상징적'인 다양성이 아니라 실질적인 차원에서 소수 집단의 권익과 다양성이 인정되는 좀 더 통합적인 사회로 나아가야 함이 강조되는 계기도 되었다. 따라서 2018년 싱가포르 지도층은 후계구도를 명확히 함으로써 현재 직면한 여러 도전 과제들을 풀어나가려 할 것이며, 이를 통해 싱가포르 사회는 다인종, 다문화의 다양성을 포용할 수 있는 보다 통합적인 사회로 나아갈 것이라고 전망된다.

• 한국전통조경학회지
• /
• 제32권4호
• /
• pp.24-36
• /
• 2014

동악산 청류구곡 일원은 아름다운 계류를 따라 와폭(臥瀑)과 담(潭), 소(沼), 대(臺) 등의 암반경관과 성리문화의 전형으로 향유되어온 구곡문화가 실증적으로 대입된 사례로, 1872년 곡성현 지방도에서 "삼남제일암반계류 청류동(三南第一巖盤溪流 淸流洞)"으로 명기된 바와 같이 풍치가 탁월한 승경처임을 보여준다. 경물(景物)과 경구(警句)가 육로와 수로에 쌍으로 설정되어 차별성을 갖는 청류구곡은 일제강점기인 1916년 이전, 정순태와 조병순의 주도로 설정된 것으로 판단되지만 성리학자들은 물론 불교지도자, 독립운동가 등 선현들의 장구처 등이 다수 발견되는 것으로 볼 때 오래전부터 명인(名人)들의 산수탐방과 은일처로 활용된 것으로 추정된다. 도림사계곡의 기반암 암상에 구성된 청류구곡은 산지형 하천으로 총 길이 약 1.2km, 평균 곡거리 149m로 국내 여타 구곡에 비해 짧은 것으로 나타났다. 전남지역에서 유일하게 확증된 동악산 3개 구곡의 바위글씨는 총 165건으로 국내에서 가장 많은 바위글씨의 집결지로 판단된다. 특히 112개소로 집계된 청류구곡 바위글씨의 내용 분석결과, '수신(修身)'의 의미가 49점(43.8%)으로 가장 많았으며 다음으로 '인명' 21건(18.8%), '경물' 16건(14.2%), 장구처 등 장구지소' 12건(10.6%) 등이었고 '시구(詩句)'가 차지하는 비율은 6건(3.6%)으로 나타났다. 육로상의 제1곡 쇄연문과 수로상의 제9곡 제시인간별유천(除是人間別有天)은 박세화(朴世和)가 충북 제천에 설정한 용하구곡(用夏九曲)의 제1곡 홍단연쇄(虹斷烟鎖) 및 제9곡 제시인간별유천과 일치하는 것으로 동일한 시원(始原)을 갖는 구곡명으로 유추된다. 또한 육로상 제6곡 대은병(大隱屛)은 주자 무이구곡의 제7곡과 일치하는 것으로 구곡원림의 거점으로 인식되며, 7곡과 8곡 사이의 '암서재(巖棲齋)'와 '포경재(抱經齋)' 바위글씨와 석축 흔적 등은 무이구곡 은병봉 아래 무이정사와 비견되는 것으로, 기호사림의 청류동 활동거점으로 파악된다. 선사어제(鮮史御帝), 보가효우(保家孝友, 고종), 사무사(思無邪, 명나라 의종), 백세청풍(百世淸風, 주자), 청류수석 동악풍경(흥선 대원군) 등 명인들의 명구들이 망라된 동악산 구곡은 높은 유가미학적 가치를 표출함은 물론 의미론적 상징문화경관의 보고라 할 수 있다. 아울러 청류구곡은 수심양성을 위한 유가적 가치체계와 불교 및 도교적 관념 등이 공존하는 유불선(儒彿仙) 3교 문화경관의 결집체로 특성이 부각된다. 청류구곡은 최익현(崔益鉉), 전우(田愚), 기우만(奇宇萬), 송병선(宋秉璿), 황현(黃玹) 등으로 대변되는 조선 후기 사림계층이 성리학의 도통의식을 계승하고 '위정척사'와 '존왕양이(尊王攘夷)', '항일의지 고취' 등의 수단으로 설정되고 활용하는 과정에서 배태(胚胎)된 항일 역사문화 항쟁의 거점으로서 장소성과 의미론적 특성에 충일하다.