• 한국의류산업학회지
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• 제14권3호
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• pp.371-380
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• 2012

Based on results using factor analysis, Women's definition of "Ideal beauty" can be materialize into four key factors, "Confident beauty", "Graceful beauty", "Lively beauty", and "Genuine beauty". Factor analysis was conducted to materialize Women's definition of "Ideal beauty"and the above four factors were representative of 56.31% of total variance. "Ideal beauty" defined by age category was also found significant difference, indicating existence of different "Ideal beauty "definition for age groups. Itemized age category's "Ideal beauty" definitions are as follows, 18-22 years, bright and lively, 23-27 years, cute and confident, 28-32 years, sensible and confident 33-37 years, hard-working, 38-42 years, ability and composure, 43-47 years, casual and graceful, 48-52 years, refined and noble, 53 years and above, healthy and proper as "Ideal beauty" definitions. The defined "ideal beauty" was steadily shifted with age group. Women 38 years and younger were defined external attributes to "Ideal beauty", as women 38 years and older were defined inner attributes to "Ideal beauty". Women's definition of "Ideal beauty" can materialize into four key factors, "Confident beauty", "Graceful beauty", "Lively beauty", and "Genuine beauty".

• 논리연구
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• 제14권1호
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• pp.1-23
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• 2011

이 글은 잠자는 미녀의 문제에 대하여 엘가의 1/3주의자의 견해를 지지하고, 루이스가 주장하는 1/2주의를 비판한다. 특히 최근 1/2주의를 옹호하는 흥미로운 견해를 제시한 프란체스치의 논변을 비판한다. 나아가서 보스트롬과 김한승의 절충주의는 논점을 선취하거나 잠자는 미녀의 문제가 진정한 역설임을 입증해야 하는 부담을 지닌다고 주장한다. 이 글의 주된 목적은 잠자는 미녀의 문제에 대한 1/3주의의 주장이 직관적이라는 주장과 함께, 1/2주의자의 주장의 오류가 무엇인지를 밝히는 것이다.

• 한국농촌생활과학회지
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• 제10권1호
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• pp.43-57
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• 1999

A style of art is an expression of human aesthetic desires, social environment and other cultural yeatures of that time. costume as a means of physical existence of such expression cannot be studied apart from the art style of any given time. In this paper an attempt is made to find out the characteristics of costumes in Renaissance and Barogue by examing the theory of Wolfflin. The organic relationship with the manifestation of human beauty in the genuine art and its formality was clear so that the fact that the dress and its costume are actually a synthetic art and there is close connection with genuine art were made clear. In conclusion, costume and art style are in different genre, they pursued the same way in the same category of Wolfflin's theory in Renaissance and Baroque.

• 복식
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• 제56권6호
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• pp.114-131
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• 2006

An Asian Ethnic Look is based on its own values of traditional costumes and the fashion accessories that are influenced by its own genre within their own culture. In this thesis, it contemplates the study of visual values and the traditional influences of the Modern Western Designers and Asian Designers' definitions and the considerations of an Ethnic look in the countries like Middle East, India, Korea, China and Japan. The standard procedure to understand their Visual and Aesthetic values is acknowledgement of body. From that foundation, an Asian Ethnic Look and its Visual and Aesthetic Values were researched through out the Middle East Asian Look, Indian Look, Korean Look, Chinese Look and Japanese Look which effective after 1990's. The studies are further researched to the comparisons and interpretations of the Western Designers and the Asian Designers, and the definitions of an Asian Ethnic Look and its Visual and Aesthetic Values in between those. According to each country's religious attitudes, a beauty of concealment and a beauty of negative space appeal which emphasize an ethics on humanity and non-materialistic attitudes. It takes meanings of a phenomenon of nature's worship, Yin-Yang five elements of principles, oneness of body-mind and oneness of universe-mankind. Following the studies of Visual and Aesthetic Values of an Asian Ethnic Look, in 1990's Western Designers' interpretations were prominent use of the Asian Traditional Motif3. However, the interpretations of the Asian Designers were based on their own traditional ethics and they minimized decorative elements but enhanced naturalism, feminism, calm and sober designs compare to the past. The Asian Designers' interpretations of their visual values were based on their Asian mentality, beauty and its straightforward genuine perspective and respects of their own culture.

• 디지털융복합연구
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• 제18권7호
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• pp.405-410
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• 2020

패션은 미용과 함께 신분, 지위, 혼인 여부, 개인 성향 등을 표현하는 시각적 수단이며 과거의 생활습관까지 유추할 수 있는 중요한 실용문화 유산이다. 현대사회에서는 헤어, 메이크업, 네일아트 등의 미용뿐만 아니라 여성 정장, 하이힐, 모자, 장갑, 핸드백, 목걸이 등과 같은 패션도 여성의 사회적 존재를 부각하면서 경쟁력을 배가시키는 요인으로 작용한다. 봉건적 가치관과 고정관념에 저항하면서 시대적 선도성을 발휘한 일제 강점기 신여성은 혁신적 여성상의 모범이며 21세기 과학기술의 급진적 발전에 부응하는 여성성의 표본을 제시하기 때문에 진정한 양성평등(兩性平等) 사회를 향한 원동력이자 발전적 미래설계를 위한 발판으로 작용한다. 신여성들의 패션스타일에서 발산되는 여성성에 대하여 뷰티 전공 여대생 관점으로 요인을 분석한 본 연구를 통하여 건설적 자조론(自助論)을 정립한 여성성의 표본 제시가 가능해짐과 동시에 현대 여성들의 자존감 정립과 성공하는 혁신적 여성성의 확고한 기틀도 마련되리라 사료된다.

• Journal of Ecology and Environment
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• 제32권1호
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• pp.1-8
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• 2009

This paper describes the role of ethnoecology in supporting tourism. We conducted a case study on the island of Bali (Indonesia), the famous tourism destination. We review the culture, nature and ecotourism prospects of Bali and then extend our discussion to examine the role of indigenous philosophies in building the destination’s image. Bali has a rich culture and natural resources that have been utilized and managed through an indigenous philosophy called Tri Hita Karana. Ethnoecology is widely applied and appreciated in the society and has produced Balinese cultural landscapes that have become significant tourism attractions. There has been a recent increase in tourist desire to explore genuine Balinese culture, so ethnoecology has a significant role in the quest to preserve and conserve such indigenous cultural landscapes. Ethnoecology is a key to ensuring and sustaining the images and authenticity of Bali Island. In this paper, we considered the landscape of rice paddies as a cultural landscape and resource for tourism. The structure and function of paddy terrace landscapes is based on the ethnoecology of Tri Hita Karana; therefore, in order to understand nature and ecotourism in Bali Island, knowledge of indigenous philosophy is indispensable. Cultural landscapes that link human and natural systems are not only places of natural beauty but also provide background information about the history of human adaptations to nature.

• 복식
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• 제56권9호
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• pp.112-126
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• 2006

In this study, to study the aesthetic properties of the Italy fashion, the internal fashion contents are defined according to the cultural characteristics of Italy and based on the definition, the external features are investigated. The cultural characteristic was analyzed based on the reference literatures on the Italy culture. The aesthetical properties of the contemporary Italy fashion can be analyzed as follows: ${\cdot}$ Functionalism is a feature showing the Italian cultural environment where the genuine humanism is retained. It enables the practical designs by applying details and materials that wouldn't put a limit to the movement of the human body. ${\cdot}$ Naturalism focuses on the natural beauty of the human body without any artificial forms or exaggerated ornaments. Natural texture or materials are used to express the human body itself, or to emphasize the natural aesthetic effects flowing with the human body. ${\cdot}$ Localism is the expression of folk spirit affected by the natural environment. It expresses local atmosphere by unique craftsmanship in material, pattern, color and details. Based on this result, the aesthetic properties of the contemporary France fashion, examined through ${\Iceil}$A Cultural Approach to the Aesthetic Characteristic of the 20th Century French Fashion${\rfloor}$ and those of the contemporary Italy fashion are compared.

• 조형예술학연구
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• 제13권1호
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• pp.11-21
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• 2008

It seems to be difficult to bridge between human and nature. All depictions of nature are not necessarily reflections of reality. Thoughts are projected into nature, then nature will reflect us. The world is composed of natural and cultural environment. There are differences between depiction of nature based on correspondence and construction of world. Environmental aesthetics is an emerging field of study that focuses on nature's aesthetic value as well as on its ethical and environmental implications. Allen Carlson, a pioneer in environmental aesthetics, provides challenges as well as a wealth of resources for those who would appropriate his ideas in the service of environmental protection. Carlson's positive aesthetics, his focus on the functionality of human environments, and his integration of aesthetics and ethics have great import for those seeking to use aesthetics to assist in addressing environmental controversies. Environmental ethics would benefit from taking environmental aesthetics more seriously. Environmental aesthetics is an emerging discipline that explores the meaning and influence of environmental perception and experience on human life. Arguing for the idea that environment is not merely a setting for people but fully integrated and continuous with us, Arnold Berleant explores the aesthetic dimensions of the human-environment continuum in both theoretical terms and concrete situations. Aesthetic experience is always contextual. The aesthetic aspect of any human habitat is an essential part of its desirability. The aesthetic perception of environment shows us the reciprocity that constitutes both person and place. The genuine beauty lies in the coexistence and harmony with natural environment.

• 복식
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• 제57권3호
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• pp.176-190
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• 2007

As the globalization has increasingly brought in the disintrgration of boundary between cultures, the hybrid of styles, or fusion styles in various cultural spheres have been introduced as important theme. With this new trend, the traditional culture of Asia appeared as the source of inspiration for the West, and as the source of enhanced pride and asset for ethnic groups which have been considered "the Other" by the West. 1990's witnessed a drastically increased interest in Orientalism and Ethnic trends in most social aspects, especially in culture and art. They have been the main theme in fashion, providing the source of inspiration with elements such as the unique color schemes, composition methods and geometrical simplicity. The creative application of traditional culture into modern design as well as fashion can make a significant contribution and be a solid foundation for the development of national culture in general, since images containing cultural authenticity are the visual representation of the nation and they can be important tools for the globalization of design. This study aims to find out the formative characteristics of Korean traditional embroidery and the ways they are applied in modern fashion by world-renowned Korean fashion designers. The purpose of this study is to make a fundamental source for further study by the same author on creative design development utilizing the result. The study methods are literature study combined with research of genuine articles from museums and personal ownership as well as photos from magazines and internet. The significance of this study lies in enhancing the appreciation of Korean traditional culture and expanding the possibility of its globalization by modern application.

• 한국가구학회지
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• 제19권5호
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• pp.328-340
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• 2008

This study examined the characteristics of furniture design in the early Modernism that occurred in the early 20th Century through the relationship with modern arts. The furniture design of the early Modernism was established in the early 20th Century based on the simplicity and honesty of the Art and Crafts Movement and Anti-Historicism in Art Nouveau. During this period, the necessity of mass production became critical due to the radical industrialization and new social demands. In such periodic stream, the furniture design of the early modernism pursued simplicity and geometric beauty based on functionalism. The efforts to discover the fundamental structure of furniture were intensified. It was not limited to furniture design but was also exercised in the huge periodic transformation that progressed in every field of art including architecture. The Modernism art has also been connected to Cubism and spread into an abstract direction. While questioning the potential essence and progressing the study on genuine characteristics, the Modernism art tried to return things into their substantial looks and reorganize them conceptually, rather than reproducing external objects. The furniture that was secondary to a part of architecture and interior accessory transcended its decorative purpose. It pursued the structure to follow its fundamental purpose as furniture. Such tendency corresponded to the direction that Post-Modernism followed. Likewise, both art and design had the revivable and abstract characteristics based on the identical objective in ideology. For this reason, the formative and geometric characteristics of the early modernism furniture design have a mutual relationship with modern arts. Particularly, such tendency intensified and progressed through the Bauhaus in Germany. Based on such facts, this study proved that the early Modernism furniture design in the 20th Century tended to appear in common arts including the art and design according to the social demand of the huge periodic stream. Furthermore, the ideology that was adopted in art and design, as well as its formative characteristics, was examined through the mutual relationship of modern arts and design.