• 복식
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• 제23권
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• pp.197-209
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• 1994

The purpose of this study is to present a way to analyze and review the subjective view of the aesthetic for dress based on the framework of the aesthetic categories suggested by aesthetics. In order to define objectivism and subjectivism of the aesthetic of dress, theoretical studies on the aesthetic categories of dress were precded. And empirical studies on the aethetic categories of dress for selected period, the Renaissance (16th century) and the Baroque(17 th century). The results were follows : The objectivism of the aesthetic is the point of that an object causes human to feel and judge aesthetically, that is that of dress means judge aesthetically, that is that of dress means formal characteristic of dress and pervasive ideology expressed in dress. the subjectivism of the aesthetic is the point that the aesthetic is ruted in human, that is that of dress has been studied in relation to the image, the aesthetic consciousness m, or the aesthetic categories of dress. Especially, the aesthetic category is one of the universal and valid methods for the analysis of subjectivism of the aesthetic for dress. This study includes beauty, grace, elegance , the sublime, the tragic , the comic, aptness, ugliness as aesthetic categories of dress . Beauty is perfection and rule. Grace pleases human by sense. Elegance comes from the harmony of sense and spirit. the sublime comes into existence that human feels pleasure as well as displeasure simultaneously when human is overehelmed by objects. The tragic is the sense of the present of something valuable even if there is suffering. The comic is the sense of the presence of something amusing even if there is displeasure caused by contradiction. Apteness means utility in terms of the objectivism and , formality in terms of the subejctivism. Ugliness is opposite to beauty. As the result of emperical studies, the aesthetic categories of the Renaissance dress showed harmonious, balanced, and symmetrical beauty, and the magnificent, and enlarged sublime. In addition to these , grace and elegance were also found to some extent. Aesthetic categories of the Baroque dress show feminie, soft, cheerful, and fantastic grace, asymmetric , disarmonious, and extraordinary uglinesss, and the magnificient , grave, and dignified sublime.

• 한국콘텐츠학회논문지
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• 제12권9호
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• pp.93-105
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• 2012

다르덴 형제의 영화는 사회의 변방으로 밀려난 소수자들의 문제를 다룬다. 특히 오늘날 노동 시장에서 가치를 박탈당한 인간의 삶에 큰 관심을 가진다. 이 글은 칸 영화제 수상작인 다르덴 형제 영화의 근작 <로제타>, <아들>, <더 차일드>, <로나의 침묵>, <자전거 탄 소년>을 대상으로 그러한 다르덴 형제의 사회인식을 살펴본다. 그리고 그들의 사회인식을 적확하게 담아내는 고유한 형식미학적 스타일을 분석해 보고자 한다. 먼저 다르덴 형제 영화의 내용을 보면, 절망적인 생계의 문제에 봉착한 개인이 등장한다. 그들의 고통은 정도 차를 두고 실업 상황과 긴밀하게 연관되어 있으며, 그로 인해 불가항력적인 '불안'과 '소외'의 이미지를 내보인다. 유념할 것은, 다르덴 형제의 영상은 내용을 담는 단순한 플랫폼이 아니라, 본질적인 주제의식을 드러내는 고안된 양식이라는 점이다. 단편적인 예를 들면, 인물을 담아내는 카메라의 위치와 시선, 움직임 모두가 세계 내에서 인물이 처한 상황을 성찰하게 한다. 플롯에 대한 고려도 거의 없고, 극적 장치도 없으며, 평면적이고 직선적이기까지 한 다르덴 형제의 영화가 끊임없이 긴장을 안기는 이유도 그와 같은 독자적인 형식미학의 힘이라고 할 수 있을 것이다.

• 한국의류학회지
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• 제33권9호
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• pp.1374-1385
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• 2009

This study focuses on three points. First, how designers develop clothing and cosmetic culture (which reflect time and culture) into other fashion products in order to verify that attire and makeup can be the objects of aesthetics in addition to functionality. Second, why the fashion design of Christian Dior has been continuously popular for women of all ages and countries in the development of fashion, attire, and makeup. Third, this study analyzes how the aesthetical characteristics of the fashion of Christian Dior are reflected in clothing and cosmetic culture in order to clarify the brand outlook on attire and makeup as a source of France's luxury fashion industry. The philosophical characteristics of Dior's fashion were studied based on existing literature. First, her childhood background (that became the motif of Dior's design) and the philosophical ideology of fashion design, perfume, and beauty were the focus of this study. Second, this study examined how consciousness on beauty expressed in hairstyle, perfume, and cosmetics is expressed in connection with clothing. Third, the background with which Dior's fashion and perfume business became successful is examined in addition the necessity of the image strategy for success in the cosmetics market was studied. Domestic and international books on clothing and cosmetics, preceding studies, the internet, and related magazines are utilized to consider the cosmetics and beauty fashion of Dior. The results of this study show how Korean fashion and cosmetic culture can further globalize. This study encompasses the period of 1905 when Christian Dior was born until 1957 when he died of a heart attack; it also deals with well-known designers of the Christian Dior House from Yves Saint Laurent of 1957 to John Galliano of the present.

• 복식
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• 제55권4호
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• pp.62-78
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• 2005

The modern period was the time that the most radical and extensive social and mental changes were occurring throughout the history, and modernism was prevailing as a general cognition system of people. Modernism, which carries principles of progress, belief in application of scientific technology, worship of reason, ideal of liberty as a col-e value of civilization, was plated as a leading ideology in the realm of society, culture and art In the early 20th century. In this study, the formative characteristics of modernism seen in architecture and fashion are analogized and analyzed in four ways ell the basis of the theory of p. Greenhalgh. First, 'Standardization for mass-production', which is analogized which P. Greenhalgh's 'Decompart-mentalisation', 'Social Morality', and' Technology'. Standardization for mass-production in architecture focuses on the development of a design prototype in order to mass produce; the development of ready-made clothes is actively done ill the fashion area for the same purpose as well. Second, 'Rational functionality' coming from P. Greenhalgh's 'The total work of art' and 'Function'. While rational functionality in architecture puts an emphasis on the rational operation of all the functions in regard to the relation between each part and the whole, rational functionality in fashion call be mainly seen in a dramatic increase in physical activity which could be hardly found before the modernism period. Namely, all the fashion design elements are developed for a certain rational and functional design on each part as well as on the whole in order to greatly increase physical activity. Third, 'the pursuit for genuineness of objects and universality of beauty' is on the analogy of P Greenhalgh's 'Truth', 'Anti-historicism', 'Abstraction', 'Internationalism/Universality'. This idea is adopted in architecture in the form of design of geometrical abstraction. In the same way, design using geometrical abstraction comes to have a significant meaning in fashion of the modernism period. So to speak, modernism architecture and fashion can be reborn to become an inter·national style by giving up the decorative and regional design prevailing before modernism and by expressing universal aesthetics in the form of simplicity and abstraction instead. Fourth, 'Expression of progress through a change in a viewpoint' stems from P. Greenhalgh's 'Progress', 'Transformation of Consciousness', 'Theology'. In architecture, this concept appears by using new construction materials and methods and by representing new aesthetical idea. As a result, it makes it possible for people to make progress for better lives. Like in architecture, new attempts for material application and processing are made in fashion. This gives rise to a general change in a viewpoint related to fashion, so that a flew fashion design which there has never been before can come out.

• 디자인학연구
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• 제20권1호
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• pp.229-242
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• 2007

일본은 전통적으로 수공예를 대단히 존중하여 뛰어난 공예기술은 대를 이어 전수되어 오고 있다. 현대 일본의 산업직물은 이러한 전통기술을 현대 과학기술과 접목하여 현대적으로 재해석하고 재조합하여 미래와 전통의 양면가치를 표현하고 있다. 이러한 신기술과 수공예의 접목은 신기술 개발이나 디자인에 있어 다양성과 독창성을 타나내고 있어 현대 산업직물의 중요한 경향으로 부각되고 있다. 본 연구는 이 경향을 주도함으로서 현대 직물산업계에서 독자적 발전을 이룩한 일본 직물산업의 발전배경을 알아보고 이 새로운 경향이 제시한 현대 직물 개념과 조형적 혁신에 대해 고찰하여 현재와 미래의 창의적 직물 개발에 기여하고자 하였다. 본 연구 결과는 다음과 같이 된다. 신기술과 수공예의 접목 경향은 1) 일본인의 전통문화 존중 의식과 선진 섬유산업에 대한 빠른 인식이 결합되어 출현하게 된 것으로, 전통 수공예는 새로운 의미와 가치를 갖게 되어 결국 직물의 사회적 역할을 확대하였다. 2) 현대 산업직물에 요구되는 고품질, 고기능, 고감도를 위해 직물의 첨단화, 예술화, 감성화를 추구함으로서 직물의 현대적 개념을 구축하였다. 3) 산업직물에 조형적 혁신을 이루어 표현의 다양화, 재료의 다양성, 재질감의 강조로 새로운 디자인 발상과 새로운 스타일의 창조를 가능하게 하였다. 이와 같이 일본은 전통과 신기술의 접목을 시도하여 세계인이 공감할 수 있는 독자적이고 수준 높은 미를 제시함으로서 미래 직물에 대한 가장 중요한 지침을 제시하고 있다.

• 문화기술의 융합
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• 제6권3호
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• pp.193-204
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• 2020

21세기는 과학 기술이 발전함에 따라 정보화 사회가 급속하게 진행되었다. 그러므로 우리의 의식과 전통은 서구화의 조류에 휩싸이게 되었다. 따라서 한문이나 한자의 교육 등도 경시되어 자연스럽게 한시문학도 경시되거나 소외되게 되었다. 이는 물질문명의 풍요를 가져오게 되었으나 정신적인 면에서는 항시 쫓김이나 불안정함이 상존하게 하였다. 이러한 시대 조류 속에서 한시(漢詩) 창작의 외길 인생을 걸어 온 시인이 있다. 그는 향리에서 자연과 벗하면서 독특하게 한시만을 짓는 계산(溪山) 권승근(權丞根)(1940~, 이하 '계산')이다. 그의 한시는 자연에서 삶의 체험을 통하여 드러났기 때문에 공감을 일으켜주고 있다. 그의 시상의 발원은 자연이며, 자연에서 얻은 시정(詩情)은 곧, 순박과 순수이다. 그러므로 그의 시는 자연스러운 멋과 맛이 담기게 되었다. 계산의 한시문학은 자오(自娛)의 미학요소·자악(自樂)의 미학요소·자만(自滿)의 미학 요소·자적(自適)의 미학요소가 그의 문학에 체현되어 있다. 이를 바탕으로 한 그의 한시문학은 자연이연적(自然而然的) 초연(超然)·한원물유적(閒遠物遊的) 한담(閑淡)·생취청원적(生趣淸遠的) 일운(逸韻)의 심미경계를 띄고 있다. 이와 같이 계산 한시의 심미경계는 심도가 있음을 알 수 있다. 이는 21세기, 이 시대인이 짓는 한시의 심미경계이다.

• 복식
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• 제22권
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• pp.277-296
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• 1994

The progressive artists in Austria including Gustav Klimt organized the Viennes Se-cessionist in 1897 and they took an active part in the reformation of the reformation of the applied art by accepting the Jugendstil standing for the true art. The vocabularies which characterize this group are decoration literature and the power of symbol. Klimt especially expressed these characteristics and his strong person-ality. For he created his works with the sym-bolic and friendly splendor through his highly decorative talents by accepting the enwly changed artistic situation in those days and by getting out of the naturalistic trends he was regarded as an avant-garde artist as a major figure among the Symbolist artists who revived European culture which was destroyed through the World War I. The characteristics of klimt's works was to express the various human thoughts and minds through the decorativeness and the femininity and to use the decorative elements of old Greek and Egyptian culture and Japanese art as the motives of his works, His art is to be found between the naturalistic characteristics and formalization as well as between the in-dustrial arts and the fine arts. In his many portraits he preferred women by trying to express eroticism hidden behind the human inner world. For this he demonstrated the attractiveness and the characteristics of the models by designing the illusionary and unique clothes. In general his genius was to be seen through the costume which was decorated with metals and jewels and through the characteristics of the modern costume in which the previous solid silhouette was removed and the gentle and elegant me-dium color was used. by accepting the new artistic trends in the turn of the century by fully expressing those characteristics in his creative world and by taking his theme from the eroticism through the decorativeness and the expression of women Gustav Klimt's uniquely decorative ex-pression completely realized the aesthetics of Jugendstil symbol decoration and expression which displayed not only the external appear-ance but also the inner world. Especially he created a new appearance emphasizing the costume of the characters in his works. Also through the costume he expressed his artistic consciousness and psy-chology. He showed the characteristics of the reformed costume through the medium color the simple forms and gentle silhouette. Also he tried to symbolize the passionate inner pow-er by designing the small mosaics such as the geometrical patterns whirlpool patterns and the indecent meanings all over the costume. Klmt's this kinds of attemps shows a Stil Kostume as the external outcome of the inner spiritual activities like art and it establishes a basis for the theory of costume are which deals with the concepts of costume from the artistics points of view. This tradition playing an important role in the contemporary history of costume even has been still inherited up to today.

• 한국전통조경학회지
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• 제28권4호
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• pp.105-111
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• 2010

본 연구는 앞으로의 조경계획 및 디자인을 개선하기 위해 서안명성곽공원의 시각적 선호 이미지 요인과 성곽과 해자의 조화 정도를 파악하여 중국 도시공원 및 역사공원 설계 시 기초자료를 제시하는 것이 목적이다. 이 연구는 문헌 조사와 현장 조사를 통해 이루어졌다. 문헌조사는 서안명성곽 및 명성곽공원의 관련 자료들을 수집하였으며, 현장 조사는 현장관찰과 서안명성곽공원 이용에 관한 설문 조사를 통해 이루어졌다. 설문을 통해 얻어진 데이터는 사회 과학 통계 분석 프로그램(SPSS17.0 for Windows)을 이용하여 분석하였다. 설문을 통해 얻어진 데이터를 주성분 요인분석을 실시하여 3가지 요인이 추출됐다. 추출된 3가지 요인인 환경인자, 편리인자, 문화심미인자의 변수에 대해서 다중회귀분석을 실시하였다. 전체 만족도에 가장 큰 영향을 준 요인은 환경인자로 나타났다. 14가지 조경요소 중에 포장, 원림건축, 입구공간 등 3개 요소가 성곽과 조화정도에 큰 영향을 주고 있었고, 휴식공간, 수경, 포장 등 3개 요소가 해자와 조화정도에게 큰 영향을 주고 있으므로 나타났다.

• 한국연극학
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• 제40호
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• pp.207-237
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• 2010

Concentrating on the birth, life, and death of the Living Theatre, almost half a century avant-garde group, the primary purpose of this study at large is to explore its counter-cultural philosophy. While taking a chronological form adapting the biological order, the paper focuses on the troupe's productions: , , , , and . Through out these productions the philosophy of the Living Theatre seemed to included communal, anti-intellectual, politically radical, generally Utopian, and proselytizers for sexual freedom. The history of the Living Theatre interestingly parallels the history of the Beck's theatre in occupation and shut down. The first New York theatre was closed by fire inspectors for instance. The second theatre was declared unsafe, and locked up by the Building Department. The third theatre was seized by the IRS, consequently shut down. In 1984, after more than 25years from the third building, the Living Theatre settled once again on East Third Street in Manhattan. The theatre was however evacuated by the New York City Fire Department in 1993 and once more took to the road. With these struggles, the Becks' profound aspiration of the counter-cultural insurgency came to harden as strong as 'iron' in some ways. With the outstanding components of counter-cultural philosophy and style, the Living Theatre, in the course of the transformation, absorbed and then reflected virtually every phase for the Living Theatre were vehicles for more than just aesthetics. The group seemed to propagandize its beliefs rather performing productions. Accordingly, both on and off-stage action of the Living Theatre caused great controversy either through political activism of individual members or through the unconventional collective life style. No avant-garde theatre company was more emblematic of the rebellious spirit of the sixties than the Living Theatre. Like the first great transformation, the Becks' encounter, their personal values and the form of theatre they created had blended 'so inextricably that the vitality of each was dependent on the other.' The Becks always urged unity and harmony at all levels of human life, but not at any price. The anticapitalist ideal inspired the Becks to promote a politically motivated campaign throughout their productions. They believed the revolution is desirable but in the state of non-violence and the expansion of human consciousness. Julian Beck's gravestone identifies his as pet, painter, actor, and anarchist. The Living Theatre was a 'small umbrella' under which the Becks and its members could breath and unfold their dream on stage or in the street.

• 한국연극학
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• 제52호
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• pp.271-317
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• 2014

This essay studied the acting theories of Diderot, Delsarte, Meyerhold, and Artaud to know the historical formation of 'sign acting' and its theoretical and aesthetic appropriateness. The sign acting so far discussed shows the repetitive patterns of idea as follows. The sign acting (1) emphasizes the physical expression such as gesture and movement, (2) assumes that the physical expression functions as a sign evoking special emotion and thought, (3) thus recommends the imitation of the outer sign, (4) uses a tableau for the effective reception of outer sign, (5) aims for the spectator oriented aesthetics as it stresses the result of outer sign rather than the creative process of a role, (6) assumes that the emotional reaction or the intellectual understanding springs from the physical experience, (7) thus emphasizes the physical language rather than speech, (8) can attain the appropriateness of physical language by the recent theories of cognitive science. Besides having such commonness, the sign acting also reveals the individual differences. For instance, the intended sign for Diderot and Delsarte was the sign of emotion, for Meyerhold the stylized sign of circus and acrobatics, and for Artaud the spiritual sign. If Diderot and Meyerhold demands the cool consciousness for the correct sign acting, Artaud's sign acting tends to pursue the state of trance. And if Diderot, Delsarte, and Meyerhold think the sign acting on the level of sensory appeal, Artaud insists that the sign acting should dismantle the spectator's sense. As such the discussion of sign acting shows both recurrent ideas and new visions, forming an unity out of diversity. Perhaps the sign acting is a matter of practice before we consider it as a theory. It is not only supposed to have been existed practically since ancient theatre, but also used by actors consciously and unconsciously in expressing certain emotion and thought. We need to study the sign acting more academically, considering its long history and aesthetic potentials. In fact the sign acting has been an essential element of acting, in spite of bad reputation judging it as a banal and worn-out style. It is true that the sign acting, in the worst case, could produce a stereotypical expression. It was this aspect of sign acting that caused a fierce negative reaction of the realists who sought the natural expression based upon psychological truth. Of course the sign acting has a serious problem when it stays banal and artificial. But we need to see this issue from a different perspective. What is the natural expression of emotion? How is it free from the learned way of expression? In some respect, we use, in reality, a learned expression of emotion that could be accepted socially. For instance, when we attend a funeral, we use the outer sign of mourning gestures learned socially. If a semiotic expression pervades various aspects of our life, the acting, being the representation of life, seems not to be free from codified expression. The sign acting could be used consciously and unconsciously in all kinds of acting.