• 기독교교육논총
• /
• 제67권
• /
• pp.415-447
• /
• 2021

본 연구의 목적은 기후변화의 위기에 있어, 기독교교육이 생태학적 교육으로서 나아가야 할 방향을 모색해보는 데 있다. 기후변화가 보여주는 것은 불과 2-3도만 지구의 온도가 올라가도 생존이 불가능하다는 사실이다. 그러나 현재 우리의 모습은 삶을 변경하지 않는 한에서 기후변화의 위기를 염려하고 있다. 이를 위해 먼저 기후변화의 의미와 그 원인에 대해 살펴보았다. 인간중심주의적 세계관, 현대의 산업적, 과학기술적 성장, 그리고 소비지향적 사회구조 등을 그 원인으로 들 수 있는데, 인간중심주의적 세계관은 모든 것을 인간의 관점에서 정당화하며, 자연은 인간의 지배대상이나 하나의 도구로 간주해왔다. 또한 인간의 경제활동 규모가 커지면 커질수록 에너지 소비량은 증가하고, 이 증가에 따라 생태계 파괴의 위협도 증가한다. 개인의 소비증가와 풍요가 생태계 긴장을 가중시키는 것이다. 이러한 기후변화의 문제를 해결하기 위해서 성서 속의 창조를 통해 인간과 자연의 관계가 상생과 공존임을 규명하고, 안식의 원리를 통해 인간과 자연의 회복을 가져올 수 있으며, 성육신의 관점에서 세계를 하나님의 '몸'으로 이해하는 생태교육적 단초들을 발견하였다. 이 단초들을 토대로, 인간과 자연이 배려와 존중의 관계성을 가지는 생태적 패러다임으로의 전환, 창조영성의 회복, 청지기로서의 책임과 지구 차원의 연대를 이루어가기 위해 생태적 상상력의 함양을 제시함으로써 기독교 생태교육의 방향을 모색해보았다. 기후변화의 위기에 있어, 기독교의 생태교육적 단초들을 통한 기독교교육적 접근을 통해 지구의 회복이 이루어지고 책임적 존재로 다시금 설 수 있기를 기대해본다.

• 복식문화연구
• /
• 제24권5호
• /
• pp.626-641
• /
• 2016

Maximalism in modern fashion, which is contrary to the current fashion market that emphasizes functionality and practicality, is an important notion that has been expressed in a variety of ways through designer's unique sense with a mixture of experimental design. With such creative work that suits a trend in novel fashion design, Rei Kawakubo is a current representative of Comme des Garcons who has not only introduced deconstructivism and Japanese-style avant-garde to the fashion industry for the first time. Our research, thus, analyzed the characteristic of maximalism's expression based on the features represented in her collection. Firstly, Expandability is classified as a method of distorting parts of a body and a method of excessively overinflating the silhouette of clothing. Secondly, decorations are expressed in the other as blending different types of materials together. Thirdly, fantasy evokes a fresh and stimulating surreal sensation that may only be felt in an imagination by assigning supernatural and amusing expression to the garment. The forth, fusion refers to a creation of novelty from combining various types of elements and images. The fifth, experiment is unique trait that develops mysterious images, consisted of various details. The sixth, non-structure is different from an initial form of garment that maintains a bilateral symmetry. The importance of our research lies in proposing a fundamental data for development of creative design as well as in expanding a range of possible expression for maximalism, by analyzing the characteristics of maximalism seen in Rei Kawakubo's collection.

• 대한가정학회지
• /
• 제42권10호
• /
• pp.115-128
• /
• 2004

Social structure has diversified, and changed into the form of pluralism since entering the 21st century. Specially, entering in the 21st century modem fashion is expressed to the luxurious feminism which expresses sensual, strong, and decorative elegant based on the womanly beauty. The gorgeous image is a splendid and luxurious image. Also it is the fashion image which is expressed strongly by the decorative detail elements among the design components. Then, it appears often in modem fashion as the pursuit image of modem persons. Therefore, the purpose of this study was not only to analyze the meaning providence and the diagnostic elements about the gorgeous image that appears often in modem fashion, but also to help the various fashion image representations by arranging the presenting principle and the method of fashion image systematically setting in the trend toward modem fashion. The method of this study was a theoretical research of the literature materials concerned with fashion images by the clothes. Also, the questionnaires were completed by selected specialists as investigation subjects who were variously engaged in the fashion-related fields in order to research the gorgeous image. In the above results. the gorgeous image's diagnostic constituent was grasped laying stress on the characteristic of the clothes. Then, the whole concept named Luxury Imagination was chosen, and 4 suits of the gorgeous image were produced by these results In the diversified and personalized modem fashion with he above results the flowing of the gorgeous image is the part able to be expressed exactly in the view of the image pursued by the public.

• 복식
• /
• 제56권7호
• /
• pp.58-67
• /
• 2006

This study of popular culture is in based on an academic point of view and based thereon an investigation of popular culture from a fashion standpoint follows. This study is to suggest that the popular culture theory can be a basic framework to examine the characteristics of fashion Icon and to verify that the characteristics of Fashion Icon is similar to the codes of the popular culture of today, This study considers the characteristics of popular culture as commercialism, mass-media relationship and a symbolic interaction. The images of movie stars projected through diverse entertainment media are the very fashion icons and strong role models that are copied by consumers. Now, the public take the lead in cultural industry, and they create new images as positive receivers of the images of fashion icons, not as mere imitators or followers. Fashion irons have contributed to diversifying the styles of ideal feminine beauty, and their lift pattern and image are one of the major sources to stir up the imagination and inspiration of people. Thus, the times, fashion and entertainment media have continued to evolve, closely affecting one another, and fashion icons play a role of fashion leader, through entertainment media, who takes the initiative in mass fashion without just being confined to the field of entertainment. This study meaningful from the aspect that discussion of popular culture has been placed in a position that recognizes the entity of and interest in popular culture. through this study, I hope that the scope of interest in Fashion design will expand and that approaches to popular culture will become more diversified.

• 한국콘텐츠학회논문지
• /
• 제17권10호
• /
• pp.463-471
• /
• 2017

이야기콘텐츠 창작 시 작동하는 무의식의 세계가 있다. 작가도 모르는 심연의 무의식 층은 전 인류가 연결되어있기 때문에 작가자신도 모르게 공통의 이야기를 만드는 길로 간다. 이렇게 만들어진 이야기가 원형신화고 오늘날 중요저작도구로 사용되고 있다. 이 원형신화가 발견되기 전에 제작된 무성영화 '달세계 여행'의 구조를 분석하면 여전히 원형의 틀을 찾을 수 있다. 이 영화는 동시대 네 작품으로부터 받은 영감을 작가가 직관적 상상으로 제작한 것임에도 원형의 틀이 완벽하게 드러났다. 이점은 신화의 원형이 지역이나 시간과 상관없이 관계하고 있는 것이다. 짧은 시간에 창작된 이야기가 오랜 시간 전승해온 신화와 같은 구조를 가지고 있는 이유는 인간의 집단 무의식속에 이야기의 원형들이 있기 때문이다. 이 원형이 이야기의 길을 결정해준다. 인간의 두뇌가 무한히 자유로운 상상을 하는 것이 아니라 이 원형의 길을 따라서 겉칠을 하며 응용을 하 는 것이다. 좋은 이야기 콘텐츠는 우리의 집단무의식속 원형이 제시하는 길을 가지 않으면 성공할 확률이 줄어든다.

• 한국콘텐츠학회논문지
• /
• 제17권4호
• /
• pp.532-540
• /
• 2017

본 연구는 스토리텔링을 기반으로 한 '플레이백 씨어터(Playback Theatre)'를 즉흥연극과 비교 분석하면서 특징과 가치를 논하고 있다. 1975년 죠나단 팍스에 의해 창안된 플레이백 씨어터는 대본 없이 관객의 스토리텔링을 바탕으로 구성되는 상호소통적인 즉흥연극 형식이다. 스토리텔링은 상상력과 창의력을 요구하며, 화자와 청자의 공감을 전제로 하고, 타인에 대한 이해와 소통을 중요시한다. 이러한 스토리텔링의 가치를 근거로 즉흥연극과 구술문화의 현장성, 사이코드라마의 교육적 치유적 가치를 오늘날에 맞게 재창조한 연극 형식이다. 플레이백 씨어터는 관객에게 이야기를 나눌 수 있는 기회를 연극형식 속에서 제공하며, 배우들은 관객의 이야기를 듣고, 들은 이야기를 즉흥적으로 연기하여 화자와 관객에게 다시 보여준다. 이러한 의미에서 '플레이백(play-back)'이다. 이 과정에서 개인과 공동체는 교육적 치유적 효과를 경험하게 된다.

• 복식문화연구
• /
• 제15권2호
• /
• pp.352-367
• /
• 2007

Viktor and Rolf, despite their short career in the field, has been continuously giving a fresh impact on fashion design by grafting a surrealistic approach to their design works. As a basis of this study, we review the features of surrealistic drawing and the surrealistic features expressed in surrealistic clothes. The purpose of this study is to analyze the surrealistic features detected in the clothes designed by Viktor and Rolf on the basis of the above standard and review and predict the future trend in fashion. As for the research method, we review the previous researches and analyze the drawing works by some representative surrealistic artists, in particular, Schiaparelli's clothes in the 1930s, the clothes of surrealistic trend since 2000, and Viktor & Rolf's clothes. The result of the analysis is as follows. The surrealistic features of Viktor & Rolf clothes can be found in the movement of natural objects, the movement of everyday materials, the movement of clothing items, and visual illusion on clothes. As a whole, the surrealistic features clearly stood out in their clothes. High technology will rapidly change the modern society and we humans are likely to resort to something fresh or different as our emotion and feelings are getting tired and weary. Something that stimulates our feeling and emotion hidden behind our reason or logic will be reflected in design far more than something complex and functional. For this reason, as it reveals human imagination inherently, surrealism is expected to establish itself as a mega trend in the future.

• 복식
• /
• 제64권6호
• /
• pp.102-119
• /
• 2014

The purpose of this study is to develop various designs through renewing and changing perception of accessories by examining various and arbitrary Kitsch. For the method of this study, literature review was mainly used for research of formative characteristics in Kitsch fashion. 798 pieces of work from fashion magazines and website with a focus on Milan, Paris, London and New York collections, in the decade of 2000-2010 were collected. The results of this study are as follows. First, the characteristic of exaggeration is classified into two types: the visual exaggeration, which is characterized by psychological expression through excessive images and (2) the collecting exaggeration, which is not simple but a want of large quantities. Second, the characteristic of satire is classified into two types: (1) the imitation-satire, which satirizes messages to societies with creative humor by using easily consumed materials and (2) the resistance-satire, which is destructive and offensive against isolation and desolation of a capitalistic society. Third, the characteristic of amusement is classified into two types: (1) the playful-amusement, which raises a laugh slyly by using clever materials and (2) the childish-amusement, which involves childish imagination and humor-sense because of desire to be a child. Fourth, the characteristic of nostalgia is classified into two types: (1) the romantic character expressing a departure from modern society, which is desolate because of the urbanization process, and (2) the intermediate character recreating an esthetic category by interacting with different and relative elements. Fifth, the characteristic of inappropriateness is expressed through a deliberate mistake, and it denies existing senses of beauty by overturning common sense and creating new senses of beauty, expressions in distortion and modification of stereotype.

• 인문언어
• /
• 제6권
• /
• pp.51-75
• /
• 2004

Is there a pattern in history? How and why does social change occur? Are we to distinguish between the methods to be employed in the study of man and the study of nature? How does linguistic, or 'philological', knowledge contribute to unearthing historical facts? These are the queries that Vico grappled with throughout his life. Vico, however, was an outsider to the intellectual atmosphere of his own day, dismissed as obscure, speculative, and unsound. Only after his death did he begin to inspire enthusiasm among diverse readers, and as long as we remain concerned with the queries mentioned above, Vico's reflections will come alive with contemporary relevance. Actually he has been regarded as the founder--unrecognized by his contemporaries--of the philosophy of history and as a thinker whose ideas anticipated such later intellectual movements as historicism, pragmatism, existentialism, and structuralism. There are many among modern minds who find Vico fascinating for his view of myth as concrete thought and of an age of myth as a necessary age in the intellectual evolution of the human race. James Joyce, for one, was deeply impressed by Vico's view on myth, on metaphor, on Homer, on language, on psychology, and much else besides. 'My imagination grows when I read Vico,' he once confessed, 'as it doesn't when I read Freud or Jung.' Some philosophers, critics, psychologists, social scientists and even geographers would describe themselves as 'Vichians', sharing the view that Vico was a poet and a lawyer, a platonist and a baconian rolled into one. His refusal to be confined within any one discipline, his imaginative effort to understand different cultures, and his insight in dealing with some fundamental problems in the study of humanity all compel admiration and deserve to be emulated in our age--an age when the split between the literary and the scientific approaches to the understanding of society is widening into a chasm. Vico has left some of his most important ideas underdeveloped or even undeveloped, to be excavated and polished by us afier our own fashion. It is surprising that Vico is still a man of obscure name in the academia of our country, Korea.

• 한국의류학회지
• /
• 제39권3호
• /
• pp.353-368
• /
• 2015

Walter Van Beirendonck expresses a fairy tale world of perverted sexual desire of sadism and masochism, violence, and aggressiveness that breaks from a transient one-time concept as is an essential element of fashion. This study classifies the aesthetic characteristic shown on the design of Walter Van Beirendonck and analyzes the intent of his symbolism and meaning. The attempt has a meaning in exploring a new directionality of fashion by conveying a critical message to this end, contemporary fashion breaks down boundaries with artistic genre and connects a problematic consciousness that exists in life with fashion. The results of study on the aesthetic characteristics of Walter Van Beirendonck are as follows. First, Beirendonck emphasized an interpersonal image about body by giving a question through the deconstruction of image on a perfect body into race, age, and body based on body modification. Second, fetishism appeared as a consciousness that human identity and character can be changed by connecting a fetish element of sexual identity, and sadism and masochism with fashion's imagination. Third, infantilism as an amusement expression of the form metaphorically satirized life of modern people. Fourth, makeup shown on performance or festival of an African tribe was used in the way of mixture or reuse for ethnography to obtain inspiration from ethnography. Fifth, pop art combined a popular culture code as amusement through mass production and mass media. Aesthetics of Beirendonck do not have norm and are bold in using form, color, pattern, print, and styling because Beirendonck reinterpreted critical attitudes about essential problems that human life entails into a motif of his symbolic meaning in amusement. In regards to his design aesthetics, Beirendonck expanded fashion to the scope of Gesamtkunstwerk in a consistent and continued theme combined with philosophical creativity and differentiated from other fashion designers.