• Fashion & Textile Research Journal
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• v.12 no.1
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• pp.31-37
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• 2010

The purpose of this study is to investigate the causes of clothes phenomenon of the ruling class women on the Heian period of Japan in the aspects of politics, economics, society, culture, and religion. The findings of the study are as follows. The main characteristics of the Heian period of Japan may include a rare sense of internationalism, low sense of nationalism, and frequent cases of political intrigue. However, noble culture, centered on royal court, was flourished and it enabled to develop sophisticated and graceful culture. During the Nara period and the Heian period (from $8^{th}$ to $12^{th}$ century), there were enormous changes in the clothes, starting from the mid $10^{th}$ century. The clothes of the ruling class in the Heian period underwent changes from the imitative clothes-imitating the clothes of the Tang age of China- to Japanesque clothes-adding the aesthetic consciousness of Japanese ruling class people. Particularly, the clothes of the ruling class women became massive, majestic, and decorative. The changed clothes had also features such as layered look, utilizing underwear as outer garments, using a wide variety of colors, and using hard and solid materials to make clothes. It can be concluded that the clothes of the ruling class people in the Heian period were affected by plural factors such as national and international political situation, economics, society, culture, and religion. The clothes were used by ruling class people as means of expressing their noble and sophisticated beauty, which led to produce humanistic beauty. The Heian period can be described as an era of the highest reach of humanity.

• Journal of Fashion Business
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• v.18 no.5
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• pp.15-24
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• 2014

The aim of this study is to examine the patterns of expressing contemporary beauty from the perspective of Laotzu's philosophy in order to suggest its concept and characteristics and to suggest specific cases through cosmetics advertisement. In doing so, the study attempted to understand that contemporary beauty is more humanistic and liberal in terms of expression patterns than in any other time period. The research results are as below. The frame concept of Laotzu's philosophy includes 1. Naturalness, 2. coexistence in Conflict, and 3. Non-otherness. The characteristics of contemporary beauty are natural and healthy, People can foresee changing beauty by the cycle of life and, by admitting this philosophy, people can understand one's individuality and discover self-esteemed beauty. Also, the results from the cases of cosmetics advertisement are as below: 1. Naturalness was remarkable. Such phenomenon was common in representative brands of the research subjects. Expression pattern was based on soft, natural make-up and hair style. 2. For conflict and coexistence, they introduced the ancient image of the situation, and the situational image using food and herbs demonstrated a functional, situational image, which was used for the cosmetics advertisement based on the mutual coexistence concept instead of dichotomy of period or material. 3. Non-otherness advertisement, of which there was none, we expected that maximized marketing effect would be achieved if non-otherness cosmetics advertisement expressed the contemporary beauty because it could solicit sympathy form many consumers.

• The Research Journal of the Costume Culture
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• v.8 no.4
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• pp.562-576
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• 2000

The purpose of this study is to semiotically reinterpret the Korean beauty and symbol inhering in the modern clothing of Korean designers as the context of traditional culture through regarding the clothing including hegemony that is controlling the Korean society and culture as a sign. The theoretical framework for analysis was derived from the semiotically analytic methods of F. Saussure and R. Barthes. The results of the study are as follows ; Korean images reflected in the modern clothing designed by Korean designers are humanistic image, environmental-friendly image, totemic and mythlogical image, equal and peaceful image, and metaphorical and metonymical image. Conclusively, developing a creative design based upon the interpretation of our unique and traditional culture, the clothing could be newly made of historical and cultural resources in the modern lives. If so, I think that the clothing will be not only the visual and decorative art, but also an information which contains implication of our culture, and finally can be established.

• Journal of the Korean Society of Clothing and Textiles
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• v.46 no.4
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• pp.600-612
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• 2022

This study analyzed the learning effect, through a satisfaction survey and NVivo qualitative analysis, of fashion design classes using humanities self-reflection writing. The results are as follows. First, with regard to learning satisfaction, learners perceived the class as efficient and showed overall satisfaction. Second, learners' opinions were classified into self-reflection writing, design process, new experience of expression, and the understanding of class activities. Third, in self-reflection writing, learners discovered their tendencies and values while exploring their identity through deep thinking. Fourth, in the design process, learners set the design concept consistently through writing. Fifth, in the new experience of expression, learners recognized the idea produced through writing as the result of thought and considered it a new expression method for design. Sixth, in the understanding of class activities, learners were interested in the process and considered it an activity through which to build their own style in design expression. Design class activities using self-reflection writing drew a positive response and presented the possibility of educational use. The teaching method of this study is expected to be used as a humanistic method for expressions in various design fields.

• Industry Promotion Research
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• v.8 no.3
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• pp.125-136
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• 2023

This study tried to establish a system of service paradigm by re-examining the Korean play culture through the people who play in the era of King Jeongjo and revealing the integration of modern service culture. The results of this study are as follows. First, King Jeongjo inspired the autonomy and creativity of the participants through the patronage of Changdeokgung Palace and led the renaissance era of Joseon as a creative play. The creative play of the service industry is reborn as a place of innovation that realizes development through a communicative intellectual network. Second, the 60th birthday Jin Chan-yeon and the aesthetics of slowness that evoke artistic play are the language of innovation that transcends language and culture. Artistic play becomes a channel of communication to share happiness with people around the world based on absolute beauty and aesthetic sensibility. Third, Jeongjo was a humanist in Joseon. This humanistic ideology leads to humanistic religion. K-service, which uses religious play as a medium, has a turning point towards healing and happiness as all participants in the service experience sacredness. There is an implication in that it pioneered a service culture by presenting a new paradigm by combining play and service, and laid the groundwork for building a unique area in global business.

• (The) Research of the performance art and culture
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• no.35
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• pp.373-404
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• 2017

As an art, Korean dance is a history, a tradition, and a continuing activity of consciousness. It is a present and future activity in the past that will continue the identity of Korean people. So storytelling is not just a description of the historical background, but of eternity that is being recreated. From this study, the inquiry of artistic beauty of Korean traditional dance is questioning the original essence and value of 'storytelling' through old tradition and historical art. If the study of the Korean dance among them was a study of the theorists for the aesthetic essence or the ideological system, the point of view of the storytelling of the Korean dance is that the public understanding about the core structure and reason of Korean dance and the study of the humanistic value It reminded me of a desperate attitude. The meaning of this study is to verify the usefulness of storytelling as a way to construct various contents of Korean dance in conceptual definition of storytelling. In the symbolic meaning of Korean dance, Cheoyongmu text formed the deep meaning network of the original art beyond the linguistic narrative structure and suggested the importance of storytelling development as DB of original contents.

• Lingua Humanitatis
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• v.1 no.2
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• pp.47-63
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• 2001

"A Variation of Love" is a characteristic Kim Soo-Young poem, in that it embodies the poet′s innovative use of language and proceeds speedily, like many of his other poems. Above all, the poem reveals the core of Kim′s poetical spirit, his speculation about love. The poem is difficult to understand because it broadly uses run-on lines and even run-on stanzas, a technique that many readers are unfamiliar with. The semiological approach of this paper will bring new light on the poem by restructuring the relationship between signs, that is, by taking apart the sign system of the original text and reconstructing its sentence structure. If we rearrange the poem from its original six stanzas and fifty-one lines to four stanzas and twenty-three lines, we will discover a close connection between stanzas 1 and 2, and between stanzas 3 and 4. Of the many keywords of the poem, we may establish the dominant word as "love," into which every poetic word converges and from which each word emanates. Another important keyword is "fatigue of the city" in stanza 4. Similarly negative aspects of the city may be found in the line "the same may be said of Bombay, of New York, of Seoul" in stanza 3, as well as in the words "desire" in combination with "the lamplights of Seoul like leftovers in the pig sty" in stanza 1. The persona of the poem tries to overcome the "fatigue of the city" by "love," but the way he realizes love is, somewhat peculiarly, through stillness and silence. The persona aligns "the stones of the peach and the apricot and the dried persimmon" with the his faith in love. He calls the stones "beautiful hardness" presumably because that hardness (the stillness and silence) may blossom into beauty. In the earlier stanzas, the persona′s quest for love results in an awareness that love is omnipresent, but the persona determines "not to shout it out loud." The reason for this determination is found in stanza 4. Those who experience the "fatigue of the city" will be able to realize it by themselves. This seemingly defeatist conclusion by no means suggest pessimism, for the persona holds the conviction that "there will come a day when [one] will rave for love." This conviction rescues the poem from the dismal mood suggested by the "fatigue of the city." At all events, it is important to note that the "fatigue of the city" should not be considered apart from "love." Yet, strangely enough, the poem embodies a severe critique of the city, and further investigation is necessary in order to clarify why this critique appears in the form of "love." But this will be the treated in another paper.

• (The)Study of the Eastern Classic
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• no.56
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• pp.209-239
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• 2014

Aimed to the aesthetic implication about being a source of Akryul of 'Sungkijiwon' study in this paper. Akyul was kibonyulof HwangjongYul from ancient times. Hwajongyul consists of Yaungyuland Eumyoe, namely 12yul. Sungkijiwon was a role of seedling fundamental to the structure of the Hwangjongyul.Akyul is seen in nature. Nature which is the root of Akyul, it is inherent fully to human So that is the origin of Whangjongyul the source of the sound that the human kee of the fully implicit a world Sungkijiwon. The Sungkijiwon soon 'JeckjajIsong'. JeckjajIsong' is A first Ho, respiration that at birth the human, and the height of the sound is constant sound at this time. This sound is Preserving intact the nature of the human, Seong, Eum. Ack of Ackyul was derived from the expression from a nature of humun. Has a feature that is evident in the degree of Dosu always in the process of being extended to Yaungyul and Eumyoe, is 'original Sungkijiwon. Sungkijiwon comes from Wonkee of Taekuk of Habsanweil. The fundamental Dosu originate from 1. Hwangjong is calculated Kee including 1. 1 of Taekuk 1 of Eum and 1 of Yaung. This is a 3 and 1, the combined Yum-Yaung around Taekuk Similarly, 1 of chun, 1 of gi, 1 of In are three Samjae, And become 1, premier In of chun ji. Yulyoe is generated a 12yul. Yulryo becomes the kijuneum having Habsanweil through the differentiation, and generates the 12yul. Therefore it is possible to know that is based on humanistic a source of neutralizing beauty also original ackyul.