• 문화기술의 융합
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• 제8권1호
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• pp.395-402
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• 2022

영화 <벌새>는 십대 소녀의 시선을 통해서 한국 현대사와 개인의 역사를 교차시키며, 가부장제와 한국적 자본주의가 여성 주체의 성장과정에 어떤 방식으로 흔적과 내상을 남기는지를 면밀하게 탐색한다. 이 영화는 성장 서사에서 서술 주체를 소년에서 소녀로 전환시켰을 때, 그리고 여성주의적 관점을 기입하였을 때, 어떤 변화가 발생할 수 있는지를 보여준다는 측면에서 유의미한 텍스트이다. <벌새>는 에피소드적 서사 구성 속에서 십대 소녀의 시선을 통해서 가부장제적 상징 질서의 취약함을 드러내기도 하며, 또한 그 틈새들 속에서 여성들 간의 긴밀한 관계성과 유대의 가능성을 발견한다. 특히 주인공 소녀 은희의 한문학원 강사인 영지라는 인물은 그동안 한국 청소년 영화에서 유례가 없었던 새로운 여성 인물로서 은희의 내면성의 발견과 사회화를 연결 짓고, 궁극적으로 영지의 성장을 이끄는 이상적 조력자이다. 결과적으로 동시대 남성 십대 주체들의 반-성장서사와는 달리, <벌새>에서 우리는 성장의 고통을 '그런대로 괜찮은' 상태로 협상하는 새로운 여성 주체를 만나게 된다.

• 한국의류산업학회지
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• 제18권3호
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• pp.289-300
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• 2016

This study surveys children's costumes and games from the 11 Genre paintings by Junkeun Kim in the book "Korean Games(Stewart Culin 1858-1929)". The character of the general dress-costumes, games and the culture of life from the late $19^{th}$ century in genre painting of Junkeun Kim are as follows. The study results on the games are as follow. The boy's games are kite-flying, spinning tops, playing shuttlecock with the feet, blindman's buff, yut("Four-Stick Game"). Girl's games are seesaw with board, blindman's buff, marbles. Combined games are mount shoulder, sledge, tightrope walking for men with boy. The strengthen one's body type were seesaw with board, tightrope walking, the compete score type were playing shuttlecock with the feet, marbles and the multi complex type were yut("Four-Stick Game"), kite-flying. Through genre painting in the $19^{th}$ century we know a boy's 'Jeogori 'and 'Ba-ji' were similar to a modern man's and boy's 'Hanbok' with a traditional method of wearing. We believe that the originality of a traditional costume was an unchangeable characteristic. Girl's 'Jeogori' and 'Chi-ma' changed in length and width, and method of wearing; however, the basic shape did not change. The analysis for artist's genre painting which was ordered by a foreigner and the late of $19^{th}$ century's children's costume and game of life culture is useful to match the counters and show how to wear a modern Korean costume used to understand the 'Hanbok' and establish a costume of life.

• 한국의류학회지
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• 제33권5호
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• pp.691-700
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• 2009

"Lolita," a novel by a Russian-American novelist, Vladimir Nabokov, has been the center of controversy since its first publication in 1955. As it gained wide fame across culture, it has exercised a great influence, altered or developed to diverse forms. Lolita, the title of the novel as well as the heroine's name, now takes a significant part in our society through all cultures and is used as various meanings and symbols. The purpose of this study is to reanalyze and reinterpret the current use of Lolita based on the characteristics initially portrayed in Nabokov's novel. The traits of the heroine were categorized into purity, seductiveness, and dualism and the commercial use of each in the mass media and fashion in Korea was closely examined. First, purity was interpreted as the archetypal image of a 12-year-old girl, while seductiveness was construed to involve temptation and enticement, ultimately leading a man astray. The dualism of an under-aged sexualized nymphet delineated in the novel as a poor little girl as well as a depraved temptress was stated as another trait of Lolita.

• 복식문화연구
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• 제29권5호
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• pp.651-664
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• 2021

The purpose of this study is to first examine the relationship between appearance-enhancing beauty practices and feminism, and secondly, to analyze public images of contemporary women using this paradigm. Through the lens of this relationship, we present a literature review and empirical research focusing on the evolution of public image trends among girl groups, with special attention to the Refund Sisters, a South Korean supergroup currently drawing mainstream attention as female icons. The scope of analysis includes girl groups dating from the 1990's to the year 2020 and photos of the Refund Sisters. Our results indicate that firstly, free sexual expression is evident based on active use of sexuality; images contain bold demonstrations of females desire, expressions previously considered taboo. Secondly, we note deviations from more standardized female images, unique adornment of outward appearance, and rejection of normative female images through freer forms of self-presentation. Lastly, there is greater cultural and racial diversity, rejection of modern race and gender binaries, and increased representation of queer identities. However, the relationship between appearance-enhancing beauty practices and feminism is sometimes considered paradoxical, with some arguing that beautifying one's outward appearance is a compulsory strategy and that it should be rejected in order to resist aesthetic pressure.

• 한국콘텐츠학회논문지
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• 제15권10호
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• pp.83-91
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• 2015

본 연구는 도시 디자인과 공공예술 이론을 고찰하였다. 그 결과 기존의 벽화예술은 기획력이 부족하고 시대적 요구에 부합하지 않는다는 것을 발견하였다. 본 연구는 벽화를 예술적 영역에만 국한되기 보다는 공공의 공간으로 확장한 실험적 접근을 시도하였다. 그 사례로서 부산에 소재한 주례여자중학교의 벽화를 공공디자인 영역으로 발전시켰다. 그 결과 문화가 포함된 벽화는 도시 공공 환경과 오히려 잘 어울린다는 것을 설문을 통해 발견하였다. 설문조사는 주례여자중학교 학생과 주변사람들 무작위로 선발하여 총 107명 대상으로 하였다. 설문 결과 환경 친화와 문화적 함의가 상대적으로 높게 평정 되었다. 벽화예술은 우리 사회의 발전, 문명의 진보와 더불어 더욱 세밀하게 사람들이 살아가고 있는 공간으로 주목받게 되었다. 어떻게 더욱 뛰어나게 벽화 예술과 현대공공 환경공간의 관계를 조화롭게 만들어야 할지가 앞으로의 과제이자 추세인 것이다. 본 연구는 다양한 벽화내용을 통하여 공공환경에 생기와 활력을 불어 넣고 자신의 독특한 분위기로 대체할 수 없는 사회적 가치를 제시한다.

• 한국의류학회지
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• 제41권2호
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• pp.224-241
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• 2017

This study considered the change process for Western style shoes in Korea during the time of modernization in the 1920s to 1930s. Western style shoes were one of the items imported by foreigners since the Joseon Dynasty and had a significant impact on Korean dress code. It influence started to spread in the 1900s; however, few high level people wore Western shoes until the 1920s. The trend started to spread through newspaper advertisements and news articles after the mid 1920s. Western shoes such as modern girl and modern boy in the 1930s then entered into Korean culture. Korea under Japanese colonial rule was reorganized on a war footing in the latter half of the 1930s and the main materials for western shoes (cow leather, horse leather and sheepskin) were mobilized as materials for war production; subsequently, new materials using rubber were introduced. The representative material is 'Marine Leather (水産皮革)' and Sharkskin 'Gyoheok (鮫革)' and Whaleskin 'Gyeongpi (鯨皮).' Form is like the material has changed over time. This study also observed the flow of westernized Korean modern shoes as well as analyzed the details of materials and shape of western shoes by period. This represent basic materials to understand the legacy of western shoes in the age; in addition, systemic summary is organized by each kind, shape and materials for each style of western shoes.

• 복식문화연구
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• 제17권3호
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• pp.431-446
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• 2009

The purpose of this study was to analyze the gender role changes of Korean women reflected on their costumes during 20th century. To analyze the diachronic gender role changes, social environments(education, job, economy, family systems, mass-media) of 20 th century were inquired by 10 years and comparatively analyzed with 680 images of representative costumes each periods. The results are as followed. 1) $1900s{\sim}1910s$: The most representative women's gender role was a wise mother and good wife. Therefore the adopted western costume, a symbol of civilization, were represented women as a passive and sexual object of man. 2) $1920s{\sim}1930s$: 'Shin Yeosung(Modern Girl)' was the representative gender role of that time. They were the symbol of enlightenment and new education. Their costumes influenced to the changes of traditional Hanbok in functional side. 3) $1940s{\sim}1950s$: In World War II. a strong and stubborn women were wanted to support their family. They threw feminity and changed their costumes into an active and functional 'Mombbe'. 4) $1960s{\sim}1970s$: Women asserted Gender equality and resisted the traditional women's gender role. Mini Skirts and Unisex costumes were symbolic costumes reflecting the changes. 5) 1980s: The self confidence of women's gender role affected the androgynous look and body-conscious look in modern fashion. 6) $1990s{\sim}2000s$: Now, the dichotomy of gender role is not no longer effective way to understand the social changes and fashion trend rather than personal characteristics and lifestyle trends.

• 복식
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• 제61권2호
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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.

• 패션비즈니스
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• 제17권1호
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• pp.98-113
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• 2013

This study is an attempt to analyze the daily life of the Western-yearning Seoul citizens and the inflow of the Western culture into certain social classes. The customs of the characters in the film are studied to illustrate the process of deconstruction of Korean traditional clothes due to the Western influence. The combined application of the Western and Korean styles is also observed. All this study leads to the sense of homogeneity of the times and the conformity to the culture the Korean women shared, which boils down to the social identity of the Korean women who sought an escape from the men-centered social structure by displaying their competence in the field of global modern fashion. As Seonyeong Oh, the main character of the film, , was wearing in the movie the Korean traditional dress, socks, rubber shoes, and then a western-style coat, it well shows that in 1950's, the traditional dress and ornaments were mixed with Western styles. In time, men's wear were completely changed from the traditional Korean clothes to suits, while women's could not break off from the traditional clothes and become westernized, which indicates that the men-centered conservative ideas to keep women within the feudal regime of the society remained. The military look of Seonyeong Oh while she was acting in the society was a symbol of anti-bias against women and anti-convention as well as the will of freedom as an independent woman. Besides, the modern girls would wear clothes of military fashion, Dior's trapeze line, and knit styles flattering the figures. All these well show their desires to embrace Western cultures, especially their dress fashions as well as manners as so-called enlightened ladies. All these elements show that the director was trying to represent the progress of the drama, characters, and psychological states by means of the dress and ornaments.

• 영미문화
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• 제17권1호
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• pp.55-79
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• 2017

Ella Hepworth Dixon's The Story of a Modern Woman is a pioneering female writer?s important work which was not deeply studied yet very influential in new women literature and its cultural global impact. Although women had been often praised for their beauties specially by romantic poets but their self-realization and innate values were not widely recognized until new women writers advocated their desires and active roles in the society at the end of the $19^{th}$ century. The new women writers including Ella Dixon gained popularity with their professional skills as the journalists or the contributors to the journals which were suddenly popular and actively circulated among Victorian women. From the 1880s to 1920s, in contrast with the traditional images of wives as ?the angel in the house?, these women new women writers broke the yoke of subjugated womanhood and instead tried to freely express their independent spirits and demanded their roles in the society. Although they were criticized sometimes as "the daughter of a new guise" "a lady of restless sex" or "the wild women," new girls? perky images in new women fiction brought into the new cultural phenomenon which led to the ?flapper? girl in the 1920s. Ella Dixon?s protagonist Mary Erle, strikingly similar to author herself, was a representative new woman who displayed a wide range of new cultural perspectives from a feminist?s viewpoint, but her untimely desire in the capitalized society was not fully accomplished, just promising the potentiality of the female solidarity which might be achieved later by her feminist posterity.