• Journal of the Korean Society of Costume
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• v.61 no.2
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• pp.1-19
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• 2011

As modern society advances, women's self-consciousness and attitudes toward beautiful appearances have changed. Amid this trend, the young and slim body of adolescent girls expressed in contemporary fashion incites fantasy on continuing youth among women. In modern society, women's youth is frequently regarded as a subject of consumption and a sex product in the mass media. In this regard, the study is focused on examining desire and psychology of worshipping women's youth and beauty in connection with flapper fashion in the 1920s. In the process, the study took a look at the social and cultural background of flapper fashion and conducted an analysis on formative characteristics and aesthetic sense of flapper fashion as follows: First, the formative characteristics include a short skirt that expresses straight lined shape and the beauty of exposure, lighter clothing, thick make-up, short hair style and black or vivid colors, and they lead to exceptional and innovative aesthetic sense in flapper fashion. Flapper fashion style is focused on completely denying outdated fashion worn by women in the age right before. Second, pursuit of mature, graceful and classical beauty that had continued in previous ages has gone through complete changes in the flapper era in the name of pursuit of youth, and the flapper fashion expresses sensual image through the exposure of slim arms and legs of a young girl. In the formative characteristics, aesthetic sense of youth and sensuality inherent in the flapper fashion was generated. Third, women's free-spirited lifestyle at that time and 'aesthetic sense of freedom and amusement that reflected the speed of machine civilization could be found in the flapper fashion. Material and decoration of the flapper fashion pertained to clothing that enabled a free expression through rapid movements. Aesthetic sense of the flapper fashion generated in the process could be defined as women's internal determination to express individual and free-spirited ideas through the use of fashion when tradition and order of the old age were torn down. And this aesthetic sense is continuously affecting modern fashion design.

• Journal of Korea Multimedia Society
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• v.16 no.9
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• pp.1119-1133
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• 2013

These days there is a flow of support for returning to design and handcraft, and the arts and crafts ideas of William Morris have an influence until the present over periods. The semanticity and methodology of guild production method supported by William Morris is studied. The foundation that human is in beautiful harmony with nature is on free labor and artistic life. In the organic relationship, the decline of art is understood as general crisis of culture, and human living condition should be changed in order to rouse the human sense of beauty and comprehension of art. Once human labor becomes artistic, the consumption living and local living become artistic as well. And then consumers desire more artistic works, structures, or urban spaces, and the demands for those move artificers to go toward producing more artistic works and structures. That is, the course of succession of art and culture through living is the driving force of social progress. Even if the period when Morris lived and the present are very different, this paper will shows that a large amount of art and culture will be greatly developed in twenty-first century which is 'the period led by cultural consumers', and the people directly creating art works will be also increased at the same time, as Alvin Toffler suggested. Furthermore, we can aware through this paper that such the people will rule the world. Finally it reached the period that we must face to 'making artistic life' as Morris expected a century ago. According to the result of this paper, we realized the study about Morris will contribute greatly to improve the quality of human life.

• Cross-Cultural Studies
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• v.21
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• pp.113-138
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• 2010

This writing verifies ideology producing unethical stratification or discrimination targeting on Grandeur's TV commercial after 2008. And attempts to point out the utopia desired by those commercials reproduces distorted ideology at Korean society. To achieve this, the analysis model was postulated utilizing narratology and semiotics system in application of methodology. The result of discussion, is that the 2008 'Grandeur New Luxury' commercial can have utilized the inflected patriotism and sexual fantasies as the core strategy of storytelling. The fact trebly othering women's body from the point of view of gender ethics can be pointed out as the biggest problem in this commercial. 2009 'Grandeur New Luxury' frankly stimulates costumer's desire of stratum rise and possessiveness, circulating the logic 'owning a vehicle' is a proof of their existence. Also considering the meaning woman narration takes up in corresponding commercial, criticism utilizing feminine signifier as a tool to reinforce male success legend was available. Finally 2010 'The Luxury Grandeur' commercial was able to make a judgement using the mechanism of present consumption culture cleverly which Baudrilliard and Althusser has critically recognized. Because commercial images precisely utilizes the mistake called the 'phantasme-$m{\acute{e}}connaissance$' or the 'reconnaissance-$m{\acute{e}}connaissance$' that consumers easily make. Reminding TV commercials exerts control power against unspecified many sitting in front of the TV, continuous studies with same interest are needed in the future. This writing will be able to have a meaning as attempting narratological methodology for analyzing the storytelling of car TV commercials. But systemizing the criticism about the commercial as a single narrative with going through theoretical supplementation is being respected in the future.

• Journal of Korean Philosophical Society
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• v.123
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• pp.87-110
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• 2012

The kitsch was emerged from the people's cultural desire in the conditions of the various duplicating technology, the capital economy system, and the civil revolution in the western modern mass society. But it is underestimated constantly because of the conspicious consumption and the aesthetic inadequacy. Even though some kitsches are elevated to the 'kitsch arts' in the historical description of the modern arts, still the most of kitsches are remained as 'just kitsches' and excluded from the aesthetic research according to the double standard. In this essay, I research for whether anti-kitsch theory is convincing theoretically and practically. Anti-kitsch theory criticizes the kitsch on the basis of the modernist aesthetics, in which the 'fine art' provokes the aesthetic pleasure in the disinterested contemplation. But kitsch purposes for the sensual gratification and the sentimentality. So the anti-kitish theorists conclude that the kitsch is the bad taste. In critically analyzing the argumentation of Greenberg's. Kaplan's and $C{\tilde{a}}linescu^{\prime}s$, I refute the privileged prejudice of the ideal critic. They don't justify the criteria of the classification of 'art'/ 'kitsch'. They supplement the economical and the political grounds for the evaluative theory of the kitsch. But the argumentation of the kitsch is consumed conspicuously and results in the unlettered masses is not sufficient. People produce and enjoy the kitsches in the various ways. People envelope the genres, styles and media of the kitsches and they try to suggest the new horizon of the popular aesthetics. So anti-kitsch theories cannot be accepted because they adhere to the elitism and formalism. The exclusion of the kitsch is the derogation for people's taste. Also they didn't reflect the contemporary cultural practice and the aesthetic needs in the system of post-art. The alternative aesthetics of the kitsch is the topic of my next essay.

• The Journal of the Korea Contents Association
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• v.18 no.2
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• pp.553-568
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• 2018

Popular music is a spce where intrinsic desires and values of young people are well exposed in its process of production and consumption. Previous discussions of Korean youth and youth culture have been proceeding mainly in the sense of their resistances to older generation. However, this is limited in that it neglects the inherent microscopic characteristics of youth culture. The purpose of this study is to investigate what the signs and discourses of youth generation make and share in popular music, and how it relates to social context through the 'Mimesis' theory. As a result, the songs of the 1990s remarkably showed the resistance to the old generation in its narrative structure and have signs which expresses repression and uniformity. On the other hand, the songs of the 2010s have many fragmented signs which has been reconstructed into individualized discourse structure. It is assumed that the songs have been able to gain a lot of empathy and popularity from the young generation by visualizing emotions and desires experienced by themselves in the social context. Through this study, it suggests to pay attention to the sensitivity, desire and creativity of young people in music in the social and cultural context of the time.