• 영미문화
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• 제13권1호
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• pp.83-103
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• 2013

This paper focuses on the function of suicidal images in the history of art including literature. Death has been romanticized or repoliticized into an existential act of defiance and rebellion in literary works, so questions remain about the correlation between literary suicide and the essence of suicide. Although Jacques Ranciere insists that the order of art contrasts with the order of common people whose acts and gestures can express either their specific purposes nor the rationalities of their frustration, literary suicide reflects the outside life of readers. In fact, images of suicide produces the order of things about the real world. William Shakespeare's Hamlet handled two oppositional self-murder significantly. As Ron M. Brown pointed out, Hamlet, by choosing confrontation, seeks out an end which is voluntary, thus he avoids self-destruction and feels triumph of heroic fashion. Ophelia's self-chosen death stems from loss, frailty and the disintegration of reason, which demeans the act and diminishes her from the tragic to the pathetic(16). In the $19^{th}$ century, the resurrection of Ophelia acted as the context for later periods where life itself is fictionalized from the differing periods of network of signifier and texts. Finally, in Ophelia's case, fiction became life(Brown 285). Her suicidal image was fixed in the Victorian Culture whose visual discourse was strikingly similar to that of the men. Likewise, the ambiguities of the suicide became intertwined with the social, cultural issues of a certain period, and the paradigm of suicide was conformed to the changing needs of successive generations. However, if literary art understands that a European culture grappled with the almost impossible task and coming to terms with this strangest and most persistent of phenomena, it will be able to focus on of the multi-layered suicide by recognizing the inherent instability of the verbal sign which cannot reveal the design and grammar of truth.

• 복식
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• 제57권5호
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• pp.166-182
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• 2007

The purpose of this study is to reinterpret sexuality represented in fashion since the latter half of the 19th century in a contextual view, on the basis of Foucauldian idea of post-structural sexuality. As for research methodology, literary research was undertaken from the conception of sexuality to a historical review of the culture and dress. Foucault maintains the view of plural sexuality, which floats by power relationship between dominant and oppositional discourses in a specific historical context. In contextual approach sexual ideology codified in fashion since the latter 19C shows the following aspects: First, the traditional sexual ideology in the latter 19C is a capitalist value, which gives a priority to bourgeois man's profits, and the Victorian discourses of sexuality constructs the dichotomized fashion of the period. Next, the former half of the $20^{th}$ C is regarded as the period of conformity rather than opposition with various alternatives appropriated to the mainstream, so the traditional sexual ideology in fashion of this period is still preserved. Finally, in post-capitalism period of the latter 20C a variety of anti-fashion visualized plural sexuality from the enormous oppositional discourses. Although it doesn't all mean deconstruction of sexuality in fashion by the anti-fashion re-appropriated without oppositional meanings, pluralization of sexuality implies dynamics of sexual discourses in the next historical period. As a result, fashion since the latter 19C has been changed as a means for expressing age and sexual desire out of gender and class. And mainstream fashion in even postmodern period keeps the modern value on the center of the hegemonic heterosexual masculinity though the increase of Androgynous Femininity in women's fashion may connote the meaning of femininity. The plural sexuality represented in fashion has a contextual flexibility, thus sexuality floats with a specific socio-cultural context and fashion represents a masquerade as an identity vehicle.

• 영어어문교육
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• 제13권1호
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• pp.211-233
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• 2007

Caryl Churchill achieved spacial politics to resist dominant ideology in Cloud Nine. It is suggested that heterotopia is a counter-site to the places which are controlled by colonialism and sexuality. Churchill juxtaposes African colony of Victorian period in the first act and modern London in the second act. It implies that individuals are similarly oppressed by dominant ideology until now though several conditions for individuals are drastically improved. White heterosexual men in the play try to build their utopia to keep their privileges. If they find anything abnormal to their standard, they systematically classify people and organize them into the different ranks and levels to seclude them from their utopia. Actually, the ideal people in the ideal place are oppressed by patriarchal ideology, compulsory heterosexuality, and colonialism which are covertly associated with gender. Therefore, Churchill uses the cross-casting to challenge the artificiality of gender, sexuality, generation and race in the play. People realize that they need to find their own desires free from gender, compulsory heterosexuality, ethnic, and race and their subjectivity flowing in and out of space. It is the site that all the binary oppositions are deconstructed and creates new multiple nodes to expand the boundary of their communities to heterotopia in real places.

• 패션비즈니스
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• 제13권2호
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• pp.50-65
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• 2009

The main purpose of this study is to identify characteristics of shapes of John Galliano's Dior Collection as the chief executive designer of Christian Dior Maison during $1996{\sim}2007$ after he showed himself in Paris in 1990. This study was based on the analyses of John Galliano's design trends of his collections, the pictures of his works in Christian Dior's collection, real works, documents and fashion magazines, newspapers, mass media, internet sites and other visual materials. The study identified characteristics of shapes in Dior Collection until 07/08 F/W as the chief executive designer of Christian Dior Maison, and the design trends before his post-Paris period. Followings are the conclusions of the study. First, Galliano was open to any types of cultures as a liberalist, and also respectful to the tradition or principles. He led the fashion business with new trends by exploring both sides. Second, he succeeded in commercializing his avant-garde feature. Especially, His creativity changed the image of Christian Dior to younger and more casual one. Third, born in England and worked in French, he always took both English (Victorian Style) and French(Napoleon era, Femme Fatal style) sides, and showed excellent formulation that the times needed by combining topical Chinese, Japanese, Egyptian styles.

• 복식
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• 제60권10호
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• pp.118-132
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• 2010

The purpose of the research is to develop a systematic model to interpret makeup signs through a case analysis of makeup shown in Alexander McQueen's ready-to-wear collections from 2001 to 2010 and to prove an importance of makeup as a communication medium to deliver social and cultural values. This research employed Panofsky's Iconology theory to analyze data. This theory consists of three steps to interpret the meaning of a work: (1) pre-iconographical description, (2) iconographical analysis, and (3) iconological interpretation. Alexander McQueen's makeup was analyzed with the three steps in order. As a result of the pre-iconographical description step, makeup styles (icons) in his collections are identified which are Egyptian style, Gothic style, Androgynous style, Victorian style, Fantasia style, and Futuristic variant style. The iconographical analysis step identified that the elements used in his makeup are inspired by his identity and life. In the final step of iconological interpretation, the researcher concluded that Alexander McQueen's makeup expresses social, cultural, and aesthetical value of the time period when the collection was created. His makeup shows postmodernism that accepts a diversity of views (the pluralism) and humanism, romantic narcissism that is his personality trait, and avant-garde that pursues a new, creative aesthetics.

• 한국의류학회지
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• 제19권3호
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• pp.397-415
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• 1995

The purpose of this study was to identify the change and characteristics of 20th men's fashion. The result of the Study as follows; 1 In the period 1890's-World War I there was a display of opulence and extravagance Therefore men's fashion pursued with elegance and grace. The rise of sports and an erosion of rules of Victorian society were evident influences before 1914. So men's silhouette resembled athletic appearance and less formality was shown in masculine attire. 2. During the period World War I-1920's the new equality of social relations between the sexes had an influence in fashion. Unisex look evolved so boyish shaped became the feminine ideal, men wanted to boyish fitted leaner stylings and natural shoulder suits. In the twenties youth, who seemed to have a social dominance, asserted their own testes in fashion. New style of men's fashion such as oxford bags and Ivy League Look appeared. After World War I "comfort" is the aim of fashion so casualness was reflected in fashion: vests often were discarded and man wore a soft, detachable collars. 3. In the thirties depression marked a shift in mood from gaiety and progressivism of the twenties to the conservative, even reactionary values. The role of men and women returned to more traditional attitudes, Every men's general appearance was bold and manly: his chest was broad and well-built, his shoulders square and muscular. The effects of World War ll were not on style but on textiles and clothing construction: lighter weight fabrics appeared and construction was simplified 4. Men's dress changed only in detail and not in essence. But there was a continued increase in the variety of clothes and color in men's fashion.

• 대순사상논총
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• 제16권
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• pp.151-166
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• 2003

Contemporary Buddhist scholarship in Korea has been strongly affected by its origins in the Victorian era, when Western religious scholars sought to rationalize and historicize the study of religion. Modern Korean scholars, trained within the Western scholarly paradigm, share this prejudice which tends toward the rational. The result is a skewed understanding of Buddhism, emphasizing its philosophical and theoretical aspects at the expense of seemingly "irrational" religious elements based on the direct experience of meditation practice. This paper seeks to look at the historical context in which modern Korean Buddhist scholarship had been shaped during the colonial period of Japan. Two case studies will be examined particularly in the light of post-colonial perspectives of Buddhist studies: the case of Jonghong Bak(1903-1976) and the case of Donghwa Gim(1902-1980), two pioneering scholars in the field of Buddhist studies. They share similarities as well as differences. Both were born and active at almost the same period, during which Korean peninsula experienced modernization forced upon by Japanese colonialism. And thus, the experience of colonialism and modernization brought them into conflict between tradition and modernity. Their responses, however, were different. Pak, originally trained in Western philosophy, especially German philosophy, wanted to study Korean Buddhism in the context of the so-called Korean Philosophy per se. He was motivated to seek for the national and cultural identity of Korea. And thus his scholarship on Korean Buddhism naturally led him to look for an original Korean Buddhism distinct from the Buddhism of India, China and Japan. On the other hand, Gim, who became a monk in his youth, later went to Japan for college where he was exposed to modern Buddhist scholarship. He was the first to introduce modern Buddhist scholarship to Korea, and since then, contemporary Korean Buddhist scholarship owes much to his contributions. Despite his contributions to contemporary Korean Buddhist scholarship, if we look at his efforts in the light of post-colonial perspective, his ideas need to be reevaluate.

• Neonatal Medicine
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• 제25권1호
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• pp.7-15
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• 2018

We need to understand the outcomes into adulthood for survivors born either extremely low birthweight (ELBW; <1,000 g) or extremely preterm (EP; <28 weeks' gestational age), particularly their blood pressure and cardiovascular metabolic status,respiratory function, growth, psychological and mental health performance, and functional outcomes. Blood pressure is higher in late adolescence and early adulthood in ELBW/EP survivors compared with controls. In some studies, expreterm survivors have higher insulin and blood lipid concentrations than controls, which may also increase their risk for later cardiovascular disease. ELBW/EP survivors have more expiratory airflow obstruction than do controls. Those who had bronchopulmonary dysplasia (BPD) in the newborn period have even worse lung function than those who did not have BPD. As a group, they are unlikely to achieve their full lung growth potential, which means that more of them are likely to develop chronic obstructive airway disease in later life. Although they are smaller than term born controls, their weight gradually rises and ultimately reaches a mean z-score close to zero in late adolescence, and they ultimately attain a height z-score close to their mid-parental height z-score. On average, ex-preterm survivors have intelligence quotient (IQ) scores and performance on tests of academic achievement approximately 2/3 SD lower than do controls, and they also perform less well on tests of attention and executive function. They have similar high rates of anxiety and depression symptoms in late adolescence as do controls. They are, however, over-represented in population registries for rarer disorders such as schizophrenia and Autism Spectrum Disorder. In cohort studies, ex-preterm survivors mostly report good quality of life and participation in daily activities, and they report good levels of self-esteem. In population studies, they require higher levels of economic assistance, such as disability pensions, they do not achieve education levels as high as controls, fewer are married, and their rates of reproduction are lower, at least in early adulthood. Survivors born ELBW/EP will present more and more to health carers in adulthood, as they survive in larger numbers.

• 한국콘텐츠학회논문지
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• 제17권12호
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• pp.417-425
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• 2017

본 연구는 영화 <아가씨>에서 변형된 시공간과 캐릭터를 통해 흥행 요인을 분석하고자 한다. 원작 소설이 있는 영화는 소설의 내러티브를 기초로 영화의 경험재적 특성을 감소시켜 관람 욕구를 유도한다. 본 영화는 소설의 배경인 빅토리아 시대와 다른 일제강점기를 선택하여 식민주의 남성성의 특징을 구현하는 캐릭터를 만들고, 남성에게 억압받는 여성들이 계급성을 초월하여 탈주하는 내용으로 변형하였다. 이를 통해 원작소설의 동성애 요소가 여성의 성장과 연대로 치환되어 부정적 요소를 감소시켰다. 또한 영화 개봉 시기 발생한 여성 대상 범죄의 젠더 담론은 캐릭터들의 공감 요소를 증대시키고 영화의 주제와 부합하였다. 그외 감독과 배우의 스타시스템과 영화 예고편의 효과적 공개 마케팅, 영화제 진출작 선정을 흥행 요인으로 볼 수 있다. 영화는 소설의 각색을 통해 다원적인 창작 역량을 증대하고 관객의 공감 요인을 확대한다. 흥행하는 각색 영화의 차별성은 변형된 내용이 창의적이면서도 시공간을 초월하는 보편적 인식과 상응할 수 있는 주제를 내포하고 매체적 특성을 효과적으로 표현하는 데 있다.

• Asian-Australasian Journal of Animal Sciences
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• 제14권11호
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• pp.1610-1615
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• 2001

Three studies were conducted to determine the effect of sex on pre- and post-weaning performance of pigs. These studies were conducted in response to observations that female pigs appear to grow faster than male pigs after weaning. In addition, female pigs have been found to grow faster than male pigs when supplied with supplemental milk before weaning. The aims of the present work were to further characterise the ontogeny of sex differences growth of nursing and growing pigs. In the first study, piglets sucking 32 sows were crossfostered to produce litters of 10 boars (n=9), 10 gilts (n=l 1) or 5 boars and 5 gilts (n=12). Liveweight of the sucking pigs was then measured weekly until weaning at 4 weeks of age. In the second study, 80 boars and 80 gilts were weaned at 26 days of age and growth performance measured until 21 days post-weaning. In the third experiment, 40 boars and 40 gilts were weaned into groups of 5 pigs at either 17 or 25 days of age and pigs were weighed until they were approximately 90 kg liveweight. All-boar litters grew more slowly than the all-gilt and mixed litters such that by 14 days of age the all-boar litters were 10% lighter than the all-gilt or mixed litters (39 vs. 43.8 kg, p=0.050). The proportional difference in litter weight appeared to be maintained at 21 days of age (53.9 vs. 59.4 kg, p=0.063) but was diminished by 28 days of age (66.5 vs. 70.8 kg, p=0.28). In the second study, gilts grew more quickly than boars over the first 7 and 21 days post-weaning and as a consequence were 10% heavier than boars at 21 days after weaning (13.7 vs 12.48 kg, p=0.001). In the third study, gilts grew more quickly than boars in the immediate 7 days post-weaning (40 vs. 5 g/day, p=0.014) whereas from 7 until 35 days post-weaning there was no significant difference in growth rate (381 vs. 360 g/day, p=0.19). Gilts also grew more quickly than boars over the 14 days after being moved into the grower (631 vs. 570 g/day, p=0.013) and finisher (749 vs. 688 g/day, p=0.038) sheds. However, these differences were not maintained over the entire period in each shed. These data support the hypotheses that gilts handle the stresses of weaning and other transitions better than boars.