• Cross-Cultural Studies
• /
• v.53
• /
• pp.1-24
• /
• 2018

This following research is a study on the use of French and de-locality in the modern Korean poet Lee Sang's poetry (1910-1937). His hometown was Kyung Sung, Seoul. He mainly wrote his works in Korean, Chinese character, and Japanese, using the language of education and his native language at that time. So then, what was the spirit that he wanted to embody through use of French words? By using words like "ESQUISSE", "AMOUREUSE", Sang's French was not a one-time use of foreign words intended to amuse, but to him the words were as meticulously woven as his intentions. French words were harmonized with other non-poetic symbols such as "${\Box}$, ${\triangle}$, ${\nabla}$", and described as a type of typographical hieroglyphics. Instead of his mother-tongue language, French was applied as a surrealistic vocabulary that implemented the moral of infinite freedom and imagination, and expressed something new or extrasensory. Subsequently, the de-localized French (words) in his poetry can be seen as poetic words to implement a "new spirit", proposed by western avant-garde artists. Analysis of French in his poetry, showed a sense of yearning for the scientific civilization, calling for his sense of defeat and escape from the colonized inferior native land. Most of all, comparing his pursuit of western civilization and avant-garde art to French used in his poetry, is regarded as world-oriented poetry intended to implement the new tendency of the "the locomotive of modernity," transcending the territory of the native country.

• International Journal of Advanced Culture Technology
• /
• v.10 no.4
• /
• pp.210-218
• /
• 2022

Chinese Opera-themed woodcut New Year pictures in Yangjiabu are representative of Chinese New Year pictures. This research takes cultural research as a breakthrough point, analyzes and combs its Context, Representation, Coding & Decoding, and finds that: After the imitation and restatement of traditional Chinese opera, the opera-themed woodcut New Year pictures have formed a dynamic intertextual relationship with Chinese culture and traditional Chinese opera. The understanding of this intertextual relationship is not only an important way to study Chinese folk art but also one of the ideas to show the aesthetic spirit of it.

• Journal of the Korean Society of Costume
• /
• v.30
• /
• pp.275-294
• /
• 1996

In fashion there was a move away from the ascetic of the Gothic according to the appear-ance of a new spirit at the beginning of the fourteenth centuries initially in Italy. The new spirit Humanism applied their interest not to the universal but to the individual and particular. The Renaissace costume style based on the Humanism was sharp angled and curvy and had a grotesque silhouette with the exaggerated and tense decorations. The purpose of this study is researching the background led to the balanced costume style characterized by unique details. out of the tastte for luxury and beauty grew a new style known as slashing in which seams were left open and colored linigs thrust through or cuts were made in an entire cos-tume and contrasting material puffed out of the cuts. With the slashes another element was characterized in the high Renaissance cos-tume style that was the use of points or lace to hold a costume together. For the masculint costumes pads became into a fashion and were used for forming the antinatural artificial and bulky silhouettes. The body was distorted and tensed by putting the pads into the sleeves and bodice. The jacket with a full rounded bodice like a bow known as peascod belly and haut de chausses a onion-shaped trunk hose with a codipiece ap-peared and grew one of the most characteristic of Renaissance style. According to these sociological changes the view of the beauty based on the human body and in both of men and women the costume style was changed very much to emphasixed their physical beauty and finally it grew a grotesque style and even more a exposed style that exposed a part of their body. Those backgrounds as were stated above can be said to lead to the appearance of the grotesque style in the Renaissance Age.

• Fashion & Textile Research Journal
• /
• v.8 no.1
• /
• pp.7-16
• /
• 2006

What enabled Armany to grow into a world fashion designer is based on two factors : postmodernism of the new spirit of the times and the fashion industry of Italy, his mother country. That is, his capability to connect the spirit of the times with his works and use local advantage for his works led him to be a maestro of fashion circles. Founding on his outstanding ability, he established his own world of unique design, where his philosophy of design remained. This philosophy was a distinctive character from other designers. Since he was founded on this philosophy, his own features that other designers can't imitate are dissolved in his designs. Armany is very suggestive to our design circles which look for globalization of fashion. A fashion designer should look straight at the fact that the final aim of fashion is to satisfy customers who buy it. In addition, he should recognize that understanding customers' demands and developing products with his fashion style in accordance with them are the way to success and study new things continually by setting up the direction of the future based on the recognition. It is essential to cultivate sensitivity to create a new beauty from a basis just like Armany expresses modern women's image by harmonizing rationality and functionality, the existing male features, with female pliability adequately. As well, the analyses of design made by Armany are thought to be helpful in reestablishing fashion design education so that unique design styles may be maintained and future-oriented international fashion products may be produced.

• Journal of the Korean Society of Costume
• /
• v.43
• /
• pp.203-224
• /
• 1999

As androgny presented by feminism still appear in contemporary fashion since mid 1980's feminism as a social phenomenon can be considered to habe influenced fashion history. This paper surveys the sex images of androgynous look that appeared in contemporary fashion into bisexual image and neutral images based on the feminist aspects of changes in contemporary fashion. As stated above bisexual images and neutral images of androgynous look shown in clothing are an attempt to reach one single integrated complete being by overacoming 'femininity' or 'masculinity' and combining the element of the two sexes. Consequently androgynous look creates new attraction by harmoniously coordinating characteristics of the two sexes instead of totally differentiating between masculinity and femininity that are represented in the form of clothing that has conceptual visual characteristics. Following are the conclusions of the reseach of this paper. First 'androgynous' as a feminist sex concept reflects the spirit of the times. Since the sex roles are divided and diversified and the concept of femininity is changing the concept of androgyny requiring both masculine and feminine characteristics in an essential sex concept for sucessful conduct of roles in a complex modern society. Second the integrated human image of androgynous look has led to a new culture with fashion trends that has been ahead of times by curing the functions of fashion to differentiate between men and women. Third androgynous look at the turn-of-the-centuy will not cease to exist but be a lasting fashion phenomenon while the sex concept presented by feminism has become the core to destrov the dichotomous fashion style of the 20th century. Fourth androgynous look is expressed in various manners in contemporary fashion since it shown how human beings accipt the adaptation method desperately required by the contemporary times. Androgynous look can be viewd as the desire for ultimate freedom that can be acquired by destroying the dichotomous sex concept and as the will to become a subject of the world as integrated human being. As we look into fashion culture creation of fashion is not the result of an accidental cause or an individual's work but the reflection of the spirit of the times. In this sense androgynous look introduced by a new sex concept to contemporary fashion has reflected the spirit of the times and led the cultural atmosphere and moreover it is an important fashion style that can characterize the contemporary times while lasting in the future.

• Journal of the Korean Society of Costume
• /
• v.51 no.1
• /
• pp.129-143
• /
• 2001

Particular historic events such as revolution and wars have given rise to fashion. Luxurious costume representative of the aristocratic culture since the French Revolution was changed into popular look with the collapse of the royal regime. With the restoration of the royal regime by Napoleon, rapid changes associated with the reemergence of the costume of aristocratic brought an opportunity for the revolutionary fashion of bringing about new fashion in the fashion field. Especially, the New Look Presented by Christian Dior in 1947 shortly after the Second World War would be the typical style of revolutionary fashion. Accordingly, this study attempted to analyse the characteristics of new fashion regarding how new fashion occurred and developed in changes in revolutionary fashion after the Revolution and the War, in conjunction with the zeitgeist(time split) of rapid social changes. The ultimate purpose of this study was find out the significance of fashion as to how and why fashion changed in relation to the factors of changes in fashion in the history and create new future fashion by reinterpreting new aesthetic consciousness about the characteristic of new fashion found in changes in revolutionary fashion.

• Journal of the Chungcheong Mathematical Society
• /
• v.15 no.2
• /
• pp.73-84
• /
• 2003

In this paper, we investigate the new quadratic type functional equation f(2x + y) - f(x + 2y) = 3f(x) - 3f(y) and prove the stablility of this equation in the spirit of Hyers, Ulam, Rassias and G$\breve{a}$vruţa.

• Journal of the Korea Furniture Society
• /
• v.15 no.2
• /
• pp.31-39
• /
• 2004

The works of Alessandro Mendini doing a big role in Italian design give us fresh impetus and the message on future design. His work activity has created new space and given the second life with arranging radical and fresh visual ornaments by using various materials. His design works have been challenged on fixed and ordinary thought. He applies gorgeous and plain natural colors. When he develops idea into the form, his works hold meditation and clear subjectivity. Alessandro Mendini makes us aware that his work of arts connects human spirit with thing.

• Journal of the Korean Society of Marine Environment & Safety
• /
• v.25 no.6
• /
• pp.749-756
• /
• 2019

This study verified the effect of public service motivation volunteer work on educational training of maritime police recruits. Results show sub-factors of motive for public volunteer work, self-sacrifice, commitment to public good and positive perception of public policy affected educational satisfaction, but one other sub-factor, compassion, did not affect educational satisfaction. The practical implication is that assets without form and that which exist internally within the individual, such as spirit of public volunteering and spirit of self-sacrifice, can increase educational satisfaction. Unlike ground police, maritime police bear the danger of being on water, which necessitates the need for enhencing intagible assets like public sevice value.

• Proceeding of Spring/Autumn Annual Conference of KHA
• /
• 2008.11a
• /
• pp.397-402
• /
• 2008

For the past years, Korean Housing policy have been focused on quantity rather then quality, when they provide housing. Focusing great quantity on housing led monolithic and standardized house forms in limited area. Most of our traditional residental environment, which made Koreans to communicate with neighbors, disappeared from the result of providing great quantity on housing. However, the increase of the income and standard of living, changed people's view. People start to demand for the place which is commodious and comfortable to live. Moreover, more leisure time caused people to communicate with their neighbors. To meet the demands of new forms of housing, they started to provide a community space to increase sense of belonging and community spirit for the residents in apartment house. The forms of past house which is defined by uniformity is delivered from rational thoughts. People can get emotional satisfaction from Community space because it provides opportunity of communicating and increase community spirit. This research is to classify the emotional expression in Community space and analyze the elements that is expressed in community space of apartment house.