• 복식
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• 제65권3호
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• pp.15-27
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• 2015

This study is the first research that examines the fashion manufacturers and merchants of the late 18th century France. Fashion specialists, (known as) Marchande de modes, started to appear in literature in the mid 18thcenturyandthe profession was officially recognized by the guild system in 1776. Rose Bertin was elected as the first representative. At the same time, there were two types of fashion specialists, tailleur and couturi${\grave{e}}$re. Tailleur had monopolized the production of the bodice and the skirt, which were the most important female dress parts. On the contrary, couturi${\grave{e}}$re only had the right to make petticoats, but they were not allowed to decorate it. In 1781, the couturi${\grave{e}}$re obtained the right to make and decorate the other parts of the dress, and this resulted in the two groups fighting over the rights to make dresses. And during this struggle, the Marchand de modes started to appear as a new occupation. Marchande de modes were privileged fashion merchants making or selling trimmings for dress and coiffure, and had authority to make capes and bonnets. Contemporary critics praised their talents for creating innovative and beautiful fashion styles, while some criticized them as women who just made luxury items. These records revealed how marchande de modes were viewed during that time.

• 영어어문교육
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• 제13권3호
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• pp.99-116
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• 2007

Indeterminacy, along with the traces of the unknown identity V, plays a crucial role in building a new possibility in the narrative V. While the characters search for the single identity of V, Pynchon never lets readers and critics reach any final destination or goal in analyzing the novel. Exploring the multiple possibilities and meanings of life, the characters merely keep traveling and searching, without ever reaching any final conclusion or destination. The journey without ever reaching a final destination equals going beyond the boundary and embracing the margins of various possibilities. It concerns the Others and breaks off the hierarchy of Western metaphysics, which is quite similar to what the theorists of deconstruction seek to do. The search without ever reaching a final destination not only designates the multifarious aspect of truth, but it also suggests the possibility of the multiple meanings of words that the characters create. Just as their stories are abundant, the meaning that they produce with their stories can be open-ended. The notion of indeterminacy and broadness in this text, which can be well explained by Derrida, makes it possible for one to search for something other than the fixed meanings or truth claims. The text becomes multifarious in meaning as well as in structure, thus rejecting any kind of singular signifying act.

• 대한수학교육학회지:수학교육학연구
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• 제14권2호
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• pp.157-170
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• 2004

본 연구에서는 최근까지 공식적인 검토의 과정 없이 한 가지 형태로만 지속되어 왔던 교육과정 개정의 방식에 대하여 수학교육이라는 각론적 입장에서 비판적으로 논의를 끌어내고, 이어서 바람직한 수학과 교육과정 개정방식에 대한 안을 수학교육의 입장에서 제시하였다. 이를 위해서 먼저 기존의 수학과 교육과정 개정방식에 대한 반성적 고찰을 하고, 이를 바탕으로 수학과 교육과정 개정방식에 대한 개선방안을 제시하였으며, 총론 교육과정 개정방식에 대해서도 수학교육의 각론적 입장에서 제언을 하였다.

• 한국실내디자인학회논문집
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• 제20권3호
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• pp.49-58
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• 2011

The purpose of this study is to find out the way of embodying architectural concept in Nussbaum Museum for complementing present abstract and generalized research. This study tries to examine the close relationship between a certain concept and Nussbaum museum through analyzing architectural characteristics and searching its principles by concrete application of concept. The Architectural concept "Museum without exit", which Libeskind applied to Nussbaum Museum, is based on the dramatic life of Jewish painter Felix Nussbaum with relation to Holocaust, physical background of site and features of program, Libeskind Applied his architectural concept from the beginning to the most parts of the museum. His new museum subverts notions and logic of general features of existing museums. Libeskind's architectural concepts are especially applied to site plan, massing, circulation and spatial configuration. "Museum without exit" creates labyrinth like circulation based on stories including Nussbaum's life, his painting tendency and circumstances of those days. It also realize sensuous space through spatial shape and light control. Although some critics criticize that this museum is not suitable for paint collection because of overwhelming strength of architectural space. However, considering this museum's function of a kind of Holocaust museum beyond personal art gallery, Libeskind's 'museum without exit' shows effective realization of architectural concept for Jewish painter Felix Nussbaum's museum.

• 한국주거학회논문집
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• 제24권6호
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• pp.151-161
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• 2013

This research is an effort to clarify the causes associated with the 'failure' of public housing projects built in the 20th century. Two of the most brutal symbol of failure were selected: the Pruitt-Igoe built in St. Louis, U.S.A. and the Bijlmermeer in the south of Amsterdam, Netherlands. Many critics have attributed the problems of the selected housing projects to architectural failure, and proposed a series of new approaches to architectural design. The claim that many housing projects 'failed' because they were based on an agenda for social reform, derived from the ideas of the CIAM, presupposes that architects were in the position of authority over providing housing for the poor. This research tries to overturn the belief of architectural community which has placed the responsibility for the failure of public housing on designers. The sense of isolation and powerlessness felt by the residents, and the social problems attendant on those feelings, may be reinforced by design but is not caused by Modern Architecture. It should be stressed that the political-economic and social context is more significant than the architectural design for the failure of public housing projects such as the Pruitt-Igoe and the Bijlmermeer.

• 한국디지털건축인테리어학회논문집
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• 제12권3호
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• pp.67-79
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• 2012

The purpose of this study is to suggest the interior architecture design studio through the pedagogical method of educational technology for college students who lack self-directed learning. The pedagogical method has been organized to make a student-centered class based on the operation of existing architectural design studios. This teaching and learning method emphasizes the role of teachers as facilitators to help students lacking in self-directed learning in the design process, the BIM visualization to give students an expression of design project and the critics to give students an experience of working circumstances. The results of this study can be summarized as follows. First, This pedagogical model can improve the self-directed learning of students, accomplish the design process well through teamwork, and provide problem based learning (PBL) to settle obstacles that come up during the project. Second, through this model, students can improve their field design capacity by instructor, design feedback and criticism. Finally, This model can suggest new pedagogical methods for interior architectural design studios and management of student-centered studios.

• 한국의류학회지
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• 제31권7호
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• pp.1052-1063
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• 2007

This study focuses on the analysis of body images appearing in the fashion illustrations since the 1990's and thereby attempts to determine relationship between their expressional features and aesthetic values in reference to theory of post-structuralism. Especially among numerous post-structuralist, Michel Foucault, Gilles Deleuze/Felix Guattari, and Julia Kristeva set unique arguments on body, which provide valuable leads to decipher the image of body. For that reason, body images shown in the fashion illustration are categorized into grotesque body, fragmented body, humanoid body, and post-gendered body, and reviewed their characteristics and aesthetic values based on critics of above three scholars. Findings are summarized as follows: First, image of body entails meaning of an resistance of traditional social concepts and order, and second it serves the purpose of creating a new and unique sense. Finally, it is not an object of representation of physical facts, but rather a representation of the real itself, apart from presenting the original material. Given arguments enhance understanding of images of body in fashion illustration in a broader sense.

• 영미문화
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• 제17권1호
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• pp.163-189
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• 2017

The mourning and grief practice richly registered in Shakespeare's Hamlet is one of the abiding themes that critics have been fascinated with. This paper attempts to take a fresh look at the issue by building its arguments on Benjamin's insight that the modern art (mechanically) reproducing the exhibition value brings about the destruction of the ritual value and favors the conditions of melancholy. Instead of taking for granted that Hamlet's performance of grief is fundamentally different from those of other characters such as Gertrude, Ophelia, and Laertes, this paper argues that Hamlet's performance comes to be recognized masculine and different from others, only because he presents himself to be so through his theatrical performance as well as his princely power that the subjects (others in the story) ought to ascribe to. To prove this point, this paper closely analyzes Hamlet's rhetorics and the ways he constructs his mourning self, which is emblematic of the shift in art history that Benjamin has characterized with the terms of "ritual value" and "exhibition value." In conclusion, this paper suggests that Shakespeare's Hamlet marks the change of the historical horizon, a permanent removal from the past in which the ritual value had been once protected, pushing us to a new age to live with melancholy and the disconnection from things and their muted language.

• 영어영문학
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• 제55권6호
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• pp.937-959
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• 2009

The Queen of the Air, John Ruskin-s highly elliptical publication of 1869, elaborates a complex mythology as a way of responding to the prevalence of scientific thinking, widespread environmental degradation, the pernicious effects of political economy, and mechanistic labor. Benjamin-s desire to rescue human experience from prevailing scientific conceptions is reminiscent of Ruskin-s fear that the peculiar power that shapes the unities of the natural world is simultaneously being "beaten down by the philosophers into a metal or evolved by them into a gas" and obscured by the dreams and theories of philosophers and theologians. As a critic remarks, in Benjamin-s-and, we would add, Ruskin-s-view, "what the modern era lacked was a basis for continuity which would prevent experience from disintegrating into a desultory and meaningless series of events." Despite its frenetic hyper-associativity, then, The Queen of the Air contains a key element that Benjamin believes is necessary for "redemption": the desire for a new form of consciousness that recognizes links to the past and thus to the longings and dreams of our forebears. Thus, although Ruskin most immediately influences Proust, who in turn influences Benjamin, Benjamin-s thought is far more Ruskinian than critics have heretofore observed. Just as Benjamin helps us make sense of the ways in which The Queen of the Air is caught in the grip of the shocking associativity of modern life, so Ruskin assists us in discerning similar impulses in Benjamin-s attraction to a form of archaic consciousness that can, by altering the modern form of perception, reenchant the present.

• 예술인문사회 융합 멀티미디어 논문지
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• 제7권3호
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• pp.151-161
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• 2017

일제강점기에는 신문과 잡지뿐만 아니라 단행본-『요지경』(1910), 『절도백화』(1912), 『개권희희』(1912), 『앙천대소』(1913), 『깔깔우슴』(1916), 『소천소지』(1918), 『고금기담집』(1923), 『만고기담』(1924), 『조선팔도 익살과 재담』((1927), 『세계소화집』(1934) 등이 출간될 정도로 웃음서사들이 유행했다. 본 연구에서는 『별건곤』 각 호에 흩어져 있는 서사들의 큰 제목을 중심으로 그 서사들이 근대성을 획득하는 방식을 논하고, 서사들의 내용을 살펴서 『별건곤』(1926. 11-1934. 8)에 실린 웃음서사들의 특성을 밝힌다. 잡지에 수록된 웃음서사들은 149개에 이르고, 특히 서사를 아우르는 제목들에서 당시의 잡지 편집인들의 고민을 읽을 수 있다. 서사들은 '신부후보자 전람회', '신랑후보자 전람회', '넌센스 특설관', '현대 조선 10대 발명품 신제조법', '소화방송실', '소화방송국', '자유행진곡', '신춘 폭소대회', '유모어 오케스트라' 등처럼 우리의 전통문화에서는 찾아볼 수 없는 새롭게 유행하는 문화용어들과 결합함으로써 근대성을 획득하고 있다. 서사는 재치, 계몽, 세태비판, 그로테스크 등의 성격을 지니며 독자들에게 웃음을 전해주고 있다. 『별건곤』 잡지에 수록된 서사는 일제강점기의 우울한 시대를 웃음으로 견뎌낼 수 있게 했다는 데 그 의미가 있다.