• International Journal of Costume and Fashion
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• v.4
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• pp.131-144
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• 2004

“The ultimate aim of the anthropology of art ［fashion］ must be the dissolution of art ［fashion］.” Alfred Gell, Art and Agency (1998) This study aims to rethink fashion by examining issues that have emerged out of recent writings in the anthropology of art. Since their inaugural coinciding, sound discussions have emerged between the anthropology of art and the art world, addressing such subjects as： ‘artworks and artefacts’, ‘Western and non- Western discourse’, and ‘art and agency’ (Gell 1992； 1993； 1996； 1998). This study is comprised of a series of discussions, the subjects of which follow： the relationship between fashion and art； art and the anthropology of art； and in parallel with this, examining the possibility for an anthropology of fashion. This study employs a qualitative approach based on the discussion of relevant literatures dealing with fashion, art and art theory for its methodology, followed by a brief examination of a case of the Vivienne Westwood exhibition at the Victoria and Albert Museum in terms of an empirical account.

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• 2004.06a
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• pp.13-20
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• 2004

This study aims to rethink fashion or, namely, the anthropology of fashion through examining issues generated by the relationship between art and the anthropology of art. Since their crossing paths, sound discussions have emerged between the anthropology of art and the art world, such as subjects about 'artworks and artefacts', 'Western and non-Western discourse' and 'art and agency'(Gell 1992; 1993; 1996; 1998).(omitted)

• Cross-Cultural Studies
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• v.36
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• pp.61-95
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• 2014

At the turn of the century in which European colonialism was reaching its zenith and modernization was gathering speed, public museums were institutionalized. This paper looks into the part these European modern museums played in territorializing academic disciplines like anthropology and art history. The museums to deal with are the British Museum and the National Gallery in London, Mus?e du Louvre in Paris, and Museumsinsel in Berlin. Rather than in-depth detailed analysis of each museum, the aim is to explore the ways in which these museological institutions interacting with modern disciplines in the wider colonial context objectified other cultures and formulated a framework of the world through classification and comparison of material things, on the basis of the judgement of their artistic values. This exploration is also to rethink theoretical positions and perspectives on the museum in Korea. It is remarkable in Europe that such academic fields as history, art history, anthropology and cultural studies look for new possibilities of museology in conjunction with the recent proliferation of studies on the museum as a medium to construct and deconstruct knowledge. Meanwhile, the mammoth European museums which are often considered a stronghold of museology advocate the 'universal museum' themselves, quite the modern idea but in a revised rendering. Under these circumstances, this paper seeks to shed light on the definition of the museum as an arena in which scholarly discourses about art, culture and history can be created and contested, on the effectiveness of the museum as a communication medium in a postcolonial era, and on the need to pay trans-disciplinary attention to the museum in its broadest sense.

• English & American cultural studies
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• v.9 no.1
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• pp.1-25
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• 2009

This paper attempts to illuminate the significance of the myth or mythical method used in The Waste Land, which Eliot adapted from Jessie L. Weston's From Rituals to Romance and Sir James Frazer's Golden Bough. While he was composing a modern epic, James Joyce's Ulysses and Igor Stravinsky's Le Sacre du Printemps made him sure that the mythical method would be the best way to make the non-relational and chaotic modern world into a work of art. Although he accepted F. H. Bradley's epistemology that one's actual experience is non-relational, he strongly put an emphasis on 'the unified sensibility' in John Donne's poetry with which a poet changes all the dissociated material into art. He also found another effective method to give the chaotic experiences an order, and to make them modern art: the mythical method in his contemporary anthropology. With the mythical method he incorporated the various barren, horrible and ugly aspects of modern world into a new unity in The Waste Land. In addition, he embraced his contemporary anthropological theory that a primitive life described in myths is a culture just different from modern culture, and heartily employed some aspects of primitive culture to make modern poetry as well as modern culture rich and exuberant.

• The Korean Journal of Quaternary Research
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• v.18 no.2 s.23
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• pp.87-92
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• 2004

The rock engraving of the Korea are dated by a very few direct archaeological contexts by linking their images to objects of known prehistoric date-although many of the figures are 'abstract'. This paper focuses on the rock art of Bangu-dae, located in the south-east of Korea. I try to the date of engravings from their contexts and the ways in which they can be studied.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.2
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• pp.191-200
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• 2014

This study represents "an artialization of fashion" that may be regarded similar to art with a focus on luxury fashion brands. In the $20^{th}$ century, fashion began to share a similar language with art and became a central part in popularizing art. Fashion and art were drawn to each other in mutual fascination. Fashion studies arouse from disciplines like anthropology, sociology and art history as well as from aesthetic experiences and commercial characteristics. Fashion is very complicated phenomenon; therefore, a study on the artialization of luxury fashion brands needs to be approached for aesthetic and commercial aspects simultaneously. This study combines a literary survey with a case analysis of the relation of fashion and art as well as inquires on the artialization of luxury fashion brands based on discourses. The discourses are: first, fashion is an art, second, fashion and art differ in relation to the intention, third, fashion and art have mutual-borrowing. In view of the results achieved in this study, luxury fashion brands can achieve increased effectiveness through art. This study reveals the effects that luxury brands achieve through art versus a discussion on if fashion is art or not and if the relationship is moral or not.

• Journal of the Korean Society of Costume
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• v.52 no.4
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• pp.15-23
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• 2002

The purpose of this study was to pave the way to improve the quality of historical clothing and textiles and to search for the advisable direction of future studies by examining and analyzing the interdisciplinary approach of historical clothing and textiles related articles published in The Korean Society of Costume. For this analysis, the data were included 124 historical clothing and textiles research articles published in The Korean Society of Costume from 1980 to 2001 March. The followings show the results of this study. 1. The five dominant interdisciplinary fields of historical clothing and textiles were Identified : anthropology, art history, pop music, archaeology, sociology 2. The interdisciplinary research has been actively approached in historical clothing and textiles. 3. The most frequently approached field of the interdisciplinary researches of historical clothing and textiles was art history 4. The period that has most variety interdisciplinary fields was the present age. The studies of future historical clothing and textiles should be approached in more diverse areas of interdisciplinary way and time periods.

• Korean Institute of Interior Design Journal
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• v.15 no.1 s.54
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• pp.131-138
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• 2006

This paper compares presentation methods which are characteristic among museums of natural history in Korea. The different medium for exhibitions are divided into Specimen, Model or Panel Type Displays, Video Presentations, Sound, and Tactile Exhibits, and further classified as Fixed (A Type), Observable (B Type), or Performance Art (C Type) Displays. The museums we studied were the Seodaemun Museum of Natural History, Ewha Womans University Museum of Natural History, Seoul National Science Museum, Gyeryongsan Natural History Museum, the National Science Museum, Mokpo Natural History Museum, and the JejuDo Folklore and Natural History Museum. A study of these museums' approaches to display composition, and exhibition methods according to their exhibit types and contents, revealed the following results: The museums of natural history rely more on Fixed type displays to show information, with appropriate uses of the Observable and the Performance Art type exhibitions. Better utilization of appropriate medium is desired for display contents of Astronomy Space Earth, Minerals Rocks Geology, Animals, Plants, Insects, Prehistoric Organisms Environment, and Anthropology.

• SUVANNABHUMI
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• v.10 no.2
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• pp.121-142
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• 2018

Area studies are sometimes framed as focused on specific localities, rooted in deep linguistic, cultural and historical knowledge, and hence empirically rich but, as a result, as yielding non-transferable/non-translatable findings and hence as theoretically poor. In Europe and North America some social science disciplines like sociology, economics and political science routinely dismiss any reference to local specifics as parochial "noise" interfering with their universalizing pretensions which in reality obscure their own Euro-American parochialism. For more qualitatively oriented disciplines like history, anthropology and cultural studies the inherent non-universality of (geographically constricted) area studies presents a predicament which is increasingly fought out by resorting to philosophical concepts which usually have a Eurocentric pedigree. In this paper, however, I argue that concepts with arguably European pedigree - like religion, culture, identity, heritage and art - travel around the world and are adopted through vernacular discourses that are specific to locally inflected histories and cultural contexts by annexing existing vocabularies as linguistic vehicles. In the process, these vernacularized "universal" concepts acquire different meanings or connotations, and can be used as powerful devices in local discursive fields. The study of these processes offer at once a powerful antidote against simplistic notions of "global"/"universal" and "local," and a potential corrective to localizing parochialism and blindly Eurocentric universalism. I develop this substantive argument with reference to my own professional, disciplinary and theoretical trajectory as an anthropologist and historian focusing on Vietnam, who used that experience - and the empirical puzzles and wonder encountered - in order to develop theoretical interests and questions that became the basis for larger-scale, comparative research projects in Japan, China, India, South Africa, Brazil and Europe. The subsequent challenge is to bring the results of such larger, comparative research "home" to Vietnam in a meaningful way, and thus overcome the limitations of both area studies and Eurocentric disciplines.

• (The) Research of the performance art and culture
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• no.22
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• pp.223-252
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• 2011

If we remember that modern world history has built systems of meaning through the concepts "difference," "different," and "other-ness" and has constructed new identity based on opposing hierarchy, music anthropology which tried to build "difference" between the west and the non-west was thoroughly west -centered, in the sense that it has perceived the heterogeneous symbolic systems among nations, as well as the barrier between the two cultures. On the other hand, world music, which has emerged as the most attractive field in culture industry and concert-art-market by crossing over global capitals, markets, and barriers, can be considered the most post-modernist and glocal. However, it is interesting to note that world music, which has been described as post-modern and glocal, has "difference" and "different" in its basis, just like the precepts for modern music anthropology (Meintjes 1990; Guilbault 1993; Taylor 1997; Frith 2000; Feld 1988). Furthermore, one can understand that the "different" and "difference," generally termed as being "non-western," are fundamentally based on ethnic or national imagination. In this sense it is interesting and important to examine such ethnic imagination in the "non-western ethnic musics" in music anthropology and in world music. Notwithstanding the attention paid and research made by music anthropologists, they have failed to elevate the "non-western ethnic musics" to become universally communicative, and these ethnic musics were reborn as "global" and "world music," through the process of "acculturation," "derivation," and "hybridization," with the west as major site for production and consumption. Meanwhile, the audience for world music, which did not exist before the birth of world music as a term, was now born as world music emerged. They are global populace who consume the musical "difference" and "imagined ethnicity," who through their consumption are constructing new social meanings including ethnicity, race, nation, and class identity. This study, by examining current discourse, performance, and process for the world music through media and field studies and scholarly debates, attempts to understand the production and consumption of "imagined ethnicity." This will also shed light on how "ethnicity" is created and consumed, and how this is involved in the process of world music.