• 한국의류학회지
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• 제31권2호
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• pp.280-291
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• 2007

The purpose of this study is to research characteristics of costume which is expressed in Gustav Klimt's Paintings. In the end of 19th century and the beginning of 20century Vienna, considered to be the fashion Mecca after Paris, the creativity of such artists allowed the 'Anti-Fashion Movement' to set itself up against the frippery of the costume of the time. The Secession Movement received the effect of Art Nouveau and Symbolism and Klimt led of this movement as a forerunner in Vienna. Many women appealed in Klimt's Painting with unique costume which contrast to traditional fashion that period time. The characteristics of costume in his paintings are as follows. Firstly, Klimt drew in the women's costume which made by designers of Vienna Workshops, at one of motive of his work of art. Costume got a opportunity became a new art field, because there was no conceptual thinking of a fashion designer at that time. Secondly, the costume of Klimt' paintings had both anti-fashion design and elements of fashion, so he gained considerable support from leaders of high fashion who was the upper classes. Thirdly, both anti-fashion and fashion appeared in his painting at first period. Costume which made at the Vienne Workshop appealed portraits of Klimt paints at the second period. Klimt interested in Naturalism, Japonism, Orientalism and Greece style and expressed his characteristic techniques at the last period. Lastly, Klimt liberated the woman from a physical and spirit restriction through his various artistic presentations.

• 건축역사연구
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• 제20권6호
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• pp.57-76
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• 2011

This study is on the pedagogical convention of architectural history in Korea, especially that of Western Architecture. Recent institutional change in architectural school in Korea has caused overall restructuring of academic program. In spite of extension in the field of history there was no progress of method and way of thinking. There is no change in the point of view to see the western architecture and its history as a unique and specialized phenomenon in the civilization of mankind. Because of no recognition about for what, for whom, and how to, and because of orientalism, the cultural position of western architectural history and its narrative was not asked. With the help of post-colonialism, de-constructivism and critical historiography this paper tries to show the fundamental premise of western architectural history as a myth and show its prejudice as not being justifiable. The background of the discourse there has been a representation effect with regard to knowledge as a power. we need to escape from this kind of cognitional frame With the analysis of the its premise and narrative we can find it is a historical construct that was made in the age of imperialism. In fact it has a lot of false information and problematic point of view. The Identity and originality of western architecture and its history has no logical reason or foundation if we think that it depends on the difference and comparison with other civilization. For example the explanation of its historical origin western architecture has big difference with Islamic architecture in spite of the resemblance each other. This paper try to show several reasons that discourse of western architectural history can not be survived any longer. So we need to reconstruct new pedagogy with deconstruction for the students of non western, or Korean students. Because it has important effect to see and think about architecture and its history.

• 영미문화
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• 제18권3호
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• pp.1-29
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• 2018

Nadine Gordimer's The Pickup, published in 2001, well shows how the social issues have been changed in a way to reflect the South African society which is more complicated in the post-apartheid era. Examining the two different geographical territories between Johannesburg, South Africa and an unnamed nation in Middle East, putting aside the domestic racism between white and black, she extends her issue of racial other to global one with new rising issue of immigration in South African society. It seems that Gordimer's such issue is well represented by two main characters: Julie Summers who comes from a wealthy family and falls in love with Abdu, an illegal immigrant who was born from a poor country in Middle East and is now working at a garage in a downtown of Johannesburg with hiding his real name Ibrahim ibn Musa. Having an official relationship with Ibrahim and joining the regular meeting at the El-Ay (L.A.) Cafe where all participants can enjoy the freedom of expression/speech except for Abdu, she begins to have interest in his silence and his presence, orientalized as the Arab Prince for her imagination. Arriving at Abdu 's nation later, she also keeps projecting the 'less civilized' images to his nation where there are only desert, uneducated people, and dirty houses and streets. In doing so, Gordimer leads reader to a never-ending issue of Orientalism in the Western literature. Moreover, the writer attempts to create a female-centered community at the male-centered Islam community by marginalizing the presence of Abdu who finally leaves to America alone. As Julie is successfully acculturated to the unknown Abdu's community, she begins to place herself at the center of the community and plays a role as a mediator/communicator who can change/civilize it with her western knowledge of language and culture. By replacing the male-centered with the female-centered through Julie, Gordimer seems to be creating an idealized community with the notion of matriarchy. However, Gordimer places Abdu as an unstable subject who has to endlessly move back and forth for his undetermined national and cultural identity while Julie achieves the determined identity in both nations.

• 비교문화연구
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• 제22권
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• pp.29-49
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• 2011

This study is focused on looking into the essence and application in the modem history of 'Martial Art Culture' that is a representative cultural code in the East Asia. Doubting and reconstructing the paradigm of the past and present, Postmodernism in the 21st century has defined marital arts as a new cultural phenomenon. This study begins by doubting whether the essence of martial arts was a cultural conduct to train both bodies and spirits. Practically used as a fighting skill since the primitive age, martial arts has fallen into sports or cultural behaviors due to the invention of the state-of-the-art modern weapons. However modern people misunderstand that martial arts of East Asia is originated a kind of cultural behaviors. It implies there is a fundamental mistake in the wat Western civilization evaluates the orientalism. This study analyzes this mistake through access method based on realities of modern history. This trial will contribute to expanding the thinking range, inquiring into varied cultural phenomena including martial arts which are misunderstood in modern history.

• 한국실내디자인학회논문집
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• 제20권1호
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• pp.80-88
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• 2011

Designs of Takashi Sugimoto suggested new concepts on the space after broking out fixed ideas, and attempted spatial expressions differently from existing interior decorations through independent thoughts and new interpretations. It is showing orientalism's influences strongly based on Japanese traditional beauty unlike western country's design trends. Takashi Sugimoto is implementing unique own design viewpoints by using materials in nature rather than artificial ones, and stressing extra ordinary view of the world having been edited with daily life through traditions and local cultures along with recycling old daily goods and wastes rather than pursuing modem and futuristic spatiality. Sugimoto thought that beautiful designs and uncommon ideas could be gotten from simple daily experiences, and thus materialized it with a technique of extraordinary daily life's implementation through such design viewpoints. Also, He pursues designs in which dense communications are made variously between spaces, space and user, and this becomes design techniques having been used mostly in his projects. It creates soft boundaries through using certain objet as an intermediate of doing communication or erasing physical boundaries, and then induces close communication within the space. This design viewpoints and techniques of Takashi Sugimoto have directed own discriminated designs nowadays.

• 영어어문교육
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• 제15권4호
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• pp.109-136
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• 2009

This study investigates English medium instruction (EMI) in an institution of higher education in Seoul, Korea to see whether this course creates cultural correction (reproduction of inequitable relations of power in EMI settings) or cultural continuity (opportunities for transporting students into a third space and enabling them to explore cultural diversity and to create new knowledge for themselves). A single site where EMI is carried out, a class on fairy tales and child education taught by a native English speaking professor, was chosen because it was hypothesized that the professor would display some of her unconscious dominant cultural orientation. The results of the study show that there more cases of cultural correction than there were of cultural continuity. Cases of cultural correction included lack of knowledge about the local context, fixing Korean classroom discourse as if it were American classroom discourse, and reproducing orientalism in the local educational setting. Cases of cultural continuity included using comparison to consider the cultural reality of the milieu, creating new knowledge for the local milieu, and learning as a dynamic ongoing process. Implications of this research are discussed including the important realization that EMI should be managed by subject specialists who are trained in language education and have knowledge of the students' needs and discourse in the L1 and in the local context.

• 한국실내디자인학회논문집
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• 제23권4호
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• pp.149-156
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• 2014

In the Russian 'spirituality' which played an important role in realization of 'abstraction' in modern arts, the three elements of Universalism - Oriental thoughts, Universal ideas, and Froebelian influence - can be found with no difficulty. More notable is the fact that, along with theosophy, the emergence of modern existential thoughts such as Bergson, Schopenhauer, Nietzsche is a new search and a new recognition of nature and human as views of panentheism and humanism, essentially of Humane and Divine. Therefore, it goes without saying that the thoughts constituting the Suprematism or Constructivism in Russia are, in a word, implicit in the existential humanistic ideas of Panpneumatism or Panentheism that is explained as the nature of Russian religious ideas. Furthermore, which is not only Suprematist's metaphysical principle but also the expression of universal thoughts; interestingly, which is closely akin to several Oriental mystic ideas including Taoist thoughts, as well as the contents of Universalism including mystic Christianity, by extension, which ideas and principles have a remarkable resemblance with thoughts and principles of Froebel.

• 복식
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• 제25권
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• pp.21-39
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• 1995

By 1980, there are two main flows in the world fashion. One is the traditional Paris fashion by Houte Couture, and the other is the American casual fashion by mass production. However, the appearance of Japanese designers and their new styles on the stage of Paris fashion have had a strong influence on the change of the world fashion since 1980s. So, the purposes of this study were first to research the process, the background and the power which let the Japanese stand and suc-ceed in the stage of Paris fashion, second to research on the Fashion World and Fashion Trend from the beginning of 1980s to present (1994). The results were as follow ; Hanae Mori and Kenzo were the pioneers who let the West know the existence and the level of Japanese fashion. Issey Miyake was the new innovator in the 20th century Fashion. and became the foundation of the New Wave Fashion in 1980s. Rei kawakubo completed the philosophy of beauty by the imperfection and has led the Postmodernism in the Fashion. The constant efforts of the these Japanese designers have inspired the orientalism and Art-to Wear, showed up the new construction and material in clothing by layering and drap-ing and stimulated the traditional Paris fashion to become popular, casual and diverse. The success of Japanese designers and the boom of Japanese fashion were not only the effort of individuality but also the power of economics, the spirit of cooperation and the affection to the culture and tradition on the background. The New Wave fashion by Japanese designers in the beginning of 1980s have promoted the appearance of Avant-garde fashion in London, the new fashion spirit in Milano, and the various fashion styles of different sections in the West and East. Finally, it becomes popular in 1990s and leads the fashion spirit in the end of 20th century.

• 복식
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• 제59권5호
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• pp.19-40
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• 2009

The purpose of this study is to grasp the world of Galliano works who lead Dior Couture and to make use of this knowledge to comprehension of general trend in Haute Couture and $pr{\hat{e}}t-{\acute{a}}$-porter in the future. The method of research is to search for the characteristic of Haute Couture and the general tendency of Galliano works, and to view the inclination of Dior Couture by Galliano. For sphere of research, 2000s is discussed with focus on Haute Couture, exclusive of ready-to-wear. As a result, Galliano's Couture works were distinguished into four specificities. First, the historicity including historical event, personage and epoch. Second, the orientalism. Third, the pictorial characteristic including synthetic art and public art. Forth, the quality of humor. These subjects bring about a result that break down each boundary, in the method of interpreting, as try out mixing between every elements. Galliano pursue a new domain through the fusion of East and West, past and present, classic and pop, artistry and commercialism, this induce more familiar Haute Couture to the public, breaking the strict form of Couture. It seems that this tendency will be advanced toward extrovert Couture producing the low-age phenomenon in Couture, the mixture of multi-culture and the vitality. This fusion suggest the popularity and the commerciality of Couture, which is predicted decrease the difference between Couture and $pr{\hat{e}}t-{\acute{a}}$-porter.

• 한국실내디자인학회논문집
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• 제13권5호
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• pp.11-20
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• 2004

F. L. Wright was, from his early days, influenced by Japanese Culture and endeavored his original concept of orgonic orchitecture. In his 1st Golden Age, he devoted to establish an architectural concept of Organism which was proved by the theories of New Science and also had been universal in ancient Orient. Later, in his 2nd Golden Age, he tried to embody his unique concept in prairie houses and office buildings. The organic structure and spatial unit that actually applied to these works, were good examples of realization of the simplicity and continuity which he found out in Japanese culture. This paper is to study on the influence of Japanese culture on a course of Wright's embodying his organic architecture, and to study on a way of its realization in his works. To be concrete, main contents of the study are as follows; 1) the relationship between Wright's integrate perception and the orientalism 2) the influence of the traditional Japanese painting like woodblock prints and the aesthetic theory of the traditional Japanese pictorial art on Wright's design principles 3) the influence of Wright's experiences in Japan on his design principles 4) the influence of Wright's analysis of the traditional Japanese dwelling on his design principles 5) the course of Wright's embodying his organic architecture concept, and the way of its realization in his works.