• 복식
• /
• 제55권5호
• /
• pp.14-27
• /
• 2005

These new Phenomenon influences with the new terminology 'fusion' on the way of our life in all areas of our society including the clothes and foods. Along with post-structuralism, which aims at diversification and senses deconstructionalism is a characteristic of this time post-structuralism is based upon the deconstructionalism. Especially the arts in the modern society which is called an information-oriented society lack the totality of a text and become fragmentary, and therefore it follows that traditional values are destroyed and at last a new code such as fusion which is incomprehensible if we would be in mono-linear perspective. Dislikes toward excessively formative and orthodox elements of modern pictures and constructs ; features of kitschs and subcultures against materialism are revealed in diverse objects and materialism. In such a situation of mingling of diversifications with no time to evaluate an object, another diverse forms come into the world and there is no room for evaluating. Therefore, this study will make a light on what are tendencies in the fashion design from the end of 20C to the beginning of 21C, and foreground the concept of fusion in modern fashion which is relevant with digitals and its generative background.

• 복식
• /
• 제44권
• /
• pp.153-167
• /
• 1999

The purpose of this study was to supply the opportunity of being used as a material which can predict future fashion. This study had been divided the symbolic meaning into three parts. The first part was the symbolic expressions in the materials of modern fashion, and the second part was symbolic meaning which was expressed in the accessories, and the last part was the symbolic meaning which was expressed in the physical ornament. The results could be summarized as follows. First, among the forms of heraldry were expressed in modern Fashion, were such as animals like a lion and eagle, which evoked the powerful and lively mood. A vegetable heraldry was expressed on a pattern of textile fabric to pursue the beauty of dress, represented female and classical beauty. A inanimate object heraldry was included all natural material that didn't have all lives the world, represented the mystery and intensity of nature as using the design that sets off the idea through color and figure. Second, in the case of being the forms of heraldry used as a mark or logo in modern fashion, it was visualized the fashion of traditional sense, marine look and military look. This mark or logo had important characteristics of symbolic in that the product had a special meaning and function by trade mark. Third, tattos were used to heighten the people's union in the various subordinate cultures. By ornamenting their bodies, they expressed their special identity and consciousness. Tattos represented a unique menas, which effected a mood of fashion.

• 한국의류학회지
• /
• 제19권2호
• /
• pp.380-392
• /
• 1995

The purpose of this study was to investigate a comparison between method of depaysement of Surrealism and modern costume. Surrealism was based on Freud's theory of uncon\ulcornersciousness and Hegelian dialectic. I found that its method of expression and inspiration have a continuous influence on a field of fashion through preceding study. Surrealism stimulated Elsa Schiaparelli (1890-1973) to make creative and innovative costume which created a sensatio.i1 the world of fashion in 1930. And it have been influence on modern fashion. From this point of view, I examined surrealistic painter of Rene Magritte (1898-1967) to use shocking method of depaysement through literature and photographes. And I made researches on Paris London collcetions from 1989 to 1994 in the cause of analysis a comparison with depaysement in painting of R. Magritte. As the result of analysising main works of R.Magritte according classification of Suzi Gabric (an art critic), he was expressive of usual object in various of depaysement. I also proved that modern fashion which was new shocking, innovative and avant-garde presented unconsciousness through these expression of depaysement with common subject. In consequence, the method of expression of surrealism have been a durable influence on modern costume.

• 터널과지하공간
• /
• 제23권3호
• /
• pp.161-168
• /
• 2013

세계적으로 Modern High-Power TBM을 이용한 터널공사가 점점 많아지고 있다. 특히 오늘날의 고성능 TBM의 개발로 많은 터널공사에서 성공적인 결과를 가져왔으며, TBM 동력의 향상과 커터 등 면판설계 기술의 발달, 및 TBM 굴진율 예측 소프트 웨어의 사용 등으로 터널공사의 자동화, 기계화가 이뤄 졌으며, TBM 장비조달은 OPP 방식을 이용한 발주자 직접 구매 방식이 TBM 선진국에서 효과적으로 사용되고 있다. 최근 많은 나라에서 환경 민원 등의 문제로 인해 도심지의 발파공법사용이 금지되어 TBM을 이용한 터널의 기계화 시공이 세계적인 추세이다.

• 비교문화연구
• /
• 제36권
• /
• pp.61-95
• /
• 2014

At the turn of the century in which European colonialism was reaching its zenith and modernization was gathering speed, public museums were institutionalized. This paper looks into the part these European modern museums played in territorializing academic disciplines like anthropology and art history. The museums to deal with are the British Museum and the National Gallery in London, Mus?e du Louvre in Paris, and Museumsinsel in Berlin. Rather than in-depth detailed analysis of each museum, the aim is to explore the ways in which these museological institutions interacting with modern disciplines in the wider colonial context objectified other cultures and formulated a framework of the world through classification and comparison of material things, on the basis of the judgement of their artistic values. This exploration is also to rethink theoretical positions and perspectives on the museum in Korea. It is remarkable in Europe that such academic fields as history, art history, anthropology and cultural studies look for new possibilities of museology in conjunction with the recent proliferation of studies on the museum as a medium to construct and deconstruct knowledge. Meanwhile, the mammoth European museums which are often considered a stronghold of museology advocate the 'universal museum' themselves, quite the modern idea but in a revised rendering. Under these circumstances, this paper seeks to shed light on the definition of the museum as an arena in which scholarly discourses about art, culture and history can be created and contested, on the effectiveness of the museum as a communication medium in a postcolonial era, and on the need to pay trans-disciplinary attention to the museum in its broadest sense.

• 영어영문학
• /
• 제55권6호
• /
• pp.961-973
• /
• 2009

Walter Benjamin expresses his concern that the new technologies of mechanical reproduction robs the artwork of its own uniqueness, its "aura." Benjamin uses the word "aura" to refer to the sense of awe or reverence one presumably experiences in the presence of works of art. This aura does not merely inhere in the works of art themselves, because Benjamin extends his notion of aura to the level of how he both understands and positions the modern subject in the world of uncertainty and transitoriness. The theoretical framework of Benjaminian aura becomes a crucial and efficient strategic apparatus to read The Education of Henry Adams. As for Benjamin the modern implies a sense of alienation, a historical discontinuity, and a decisive break with tradition, Adams observes that modern civilization has wiped out "tradition," a mythic home in which man can experience order and unity. Adams claims that the growth of science, reason, and multiplicity at the expense of religion, feeling, and unity has been accompanied by a parallel growth in individualism at the expense of community and tradition. To Adams the collapse of traditional values such as maternity, fecundity, and security in America is a waking nightmare of the moral dilemmas of a capitalist society, in which the cruel force of the modern Dynamo is becoming a prime governing principle.

• 비교문화연구
• /
• 제51권
• /
• pp.133-160
• /
• 2018

아피찻퐁 위라세타쿤과 차이밍량의 영화는 현대 아시아 영화의 주요 특징 중 하나인 육체성을 잘 보여준다. 이들의 영화에서는 인물들의 다양한 감정이 언어가 아닌 몸을 통해 표현되고 교환되며, 이들의 영화 세계는 언어가 그 기능을 상실한 세계이자 상징적 질서가 무너진 세계라 할 수 있다. 아피찻퐁과 차이밍량의 영화에서 신체 언어는 일반 언어보다 더 중요한 기능을 담당하고, 몸은 야생, 반-문명, 제의, 소외, 환영 등을 지시하면서 다양한 기호작용을 수행한다. 이처럼 다양한 몸의 기호작용의 근저에는 현대 아시아 국가들에 급속하게 이식된 서구 물질문명에 대한 거부감이 공통적으로 자리하고 있으며, 문명 이전 혹은 문명 너머에 대한 동경도 그 공통적인 특징으로 드러난다. 아울러, 두 감독의 영화에서 야생 혹은 반-문명의 기호로서의 몸이 억압적이고 비인간적인 현대 문명으로부터의 도피나 은신의 의도를 내포하고 있는 것에 반해, 환영의 기호로서의 몸은 문명에 대한 저항 혹은 버티기의 의지를 나타낸다. 이들의 영화에 나타나는 환영의 경험은 궁극적으로 현실의 물리적, 정서적 압력에 저항하며 비이성적인 버티기를 계속하려는 의지의 발현이라 볼 수 있다.

• 영어영문학
• /
• 제55권2호
• /
• pp.359-382
• /
• 2009

Eliot's The Waste Land represents the last century in many respects. While working on the poem in cooperation with Pound, Eliot intended to make "Gerontion" a prelude in The Waste Land. But, as we read in his letter to Eliot, Pound advised him against it. As a result, Eliot had excluded it from The Waste Land. "Gerontion" was published separately, as an independent poem. Between "Gerontion" and The Waste Land, we find that the theme and the techniques are very much alike. However, for this very reason Eliot and Pound must have had thought differently. Eliot must have thought that "Gerontion" would serve well as a preface to the long poem, The Waste Land. It will provide a good introduction to the long poem, he may have thought. In the meantime, Pound must have thought that such similarities in theme and techniques would weaken both works, which would be redundant. To Pound, it would be too much to have the summary of everything that is to be repeated in The Waste Land. Eliot intuitively followed Pound's judgment. Both "Gerontion" and The Waste Land have similarities in theme and techniques. The theme of both works is "aimlessness, spiritual sterility, barrenness" in modern man living in the waste land. For example, in "Gerontion," there appear an old man Gerontion, Mr. Silvero, Hakagawa, Madame de Tornquist, Fraulein von Kulp, who are representative of spiritual barrenness of modern world; in the same context, in The Waste Land those who are most representative of modern world are the Typist, clerk, Thames's daughters, Madamn Sosostris, Tiresias, Phelabas. And in terms of techniques, "Gerontion" and The Waste Land both use dramatic monologues, allusions, and the techniques of modern art, such as montage and mosaic. Here in these works Eliot in fact practises his theory of the "Objective Correlative" that he has invented.

• 영어영문학
• /
• 제55권1호
• /
• pp.83-105
• /
• 2009

Modern poetry begins as criticism of modernity and, by so doing, rejects its idea of time. Modernity emphasizes sequential, linear, and irreversible time and progress. Williams rejects the modern view of time, and attempts to substitute literature for history assuming that literature can take us into the immediacy of time. His poetry asserts the true moment of experience as an immediacy, of words co-existent with things. He suggests that modernity and its idea of time already led to World War I and could clearly lead to an actual, manmade apocalypse with continued technological progress. Already in the 1920s, Williams sensed that he was living in a world where such an end could come all true, which is why Spring and All, his greatest early achievement, begins with a parody of the modern apocalypse. Throughout the work, Williams criticizes "crude symbolism" and expresses his longing to annihilate "strained associations," for he believes that the metaphoric or symbolic association is related to order, the center, and the traditional concept of time itself. The metonymic model of Spring and All substitutes a self-reflexive, open-ended, and indeterminate structure of time for the linear and closed one. Instead of supplying an end, Williams only asserts the rebirth of time and attempts to arrive at immediacy while attacking the mediacy of traditional art. His characteristic use of fragmentation and abrupt juxtapositions disrupts the reader's generic, conceptual, syntactic, and grammatical expectations. His radical poetic experiments, such as the isolation of words and the disruption of syntax, produce a sense of immediacy and force the reader to confront the presence of the poem. His destruction of traditional forms, of the tyrannous designs of history and time, opens up rather than closes the possibility of signification, and takes us into a moment of beginning while disallowing temporal distancing. Spring and All, as a criticism of the modern idea of time, asks us to view Williams's work not as an ahistorical text but as a cultural subversion of modernity.

• 영어어문교육
• /
• 제13권4호
• /
• pp.193-210
• /
• 2007

This essay is an attempt to give a theoretical articulation of novelistic mimesis as the narrative form of modernity. With the passage to modernity, what assumes the locus of the symbolic authority is no longer God, Father, or tradition, but the cultural gaze or the ego-ideal. At the same time, this gaze paradoxically coalesces with the "spectacle of the world," on the side of the reified "other": the gaze is both the desexualized ego-ideal and its instantaneous transmogrification and resexualization in the opaque world of objects. The imaginary ego or the eye on the side of the subject of representation is held at abeyance in a state of perpetual fascination and desperation in relation to the gaze as the world of "others," which lies always at one remove from the purview of the imaginary ego. This understanding of the inadequation of the ego to the cultural gaze of the reified world provides a critical fulcrum upon which I base my theory of the modern narrative mimesis as the "perverse" field of spatial arrangement, in which the split of the subjectivity into the imaginary ego and the ego-ideal is suspended over the phantasmatic world of bodies and territories.