• 제목/요약/키워드: pleasure of expression

검색결과 97건 처리시간 0.031초

어머니의 불안정 애착성과 유아의 놀이성 간의 관계에 대한 어머니의 놀이중심지지 신념의 조절효과 (The Moderating Effect of Mothers' Play Support Beliefs on the Relation Between Mothers' Insecure Attachment and Children's Playfulness)

  • 채민경;장경은
    • 한국보육학회지
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    • 제19권1호
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    • pp.59-73
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    • 2019
  • 본 연구는 어머니의 불안정 애착성과 놀이중심지지 신념, 유아의 놀이성 간의 관련성을 알아보고 어머니의 불안정 애착성과 유아의 놀이성 간의 관계를 어머니의 놀이중심지지 신념이 조절하는지 확인하였다. 연구 대상은 서울, 경기, 충청 지역에 소재하고 있는 유치원과 어린이집에 재원 중인 만 3세, 4세, 5세 유아 254명과 그들의 어머니와 담임교사이다. 어머니의 자기보고 자료와 담임교사가 측정한 유아의 놀이성 자료를 분석한 결과, 어머니의 불안정 애착성은 어머니의 놀이중심지지 신념 및 유아의 놀이성과 부적인 상관을 보였으며, 유아의 놀이성 중에서 사회적 자발성과 즐거움의 표현과 부적 상관이 있었다. 그러나 어머니의 놀이중심지지 신념은 유아의 놀이성, 특히 신체적 자발성 및 즐거움의 표현과 정적 상관을 보였다. 또한, 어머니의 불안정 애착성과 유아의 놀이성 간의 관계에 대한 어머니의 놀이중심지지 신념의 조절효과에 있어서 유아의 즐거움의 표현에서만 어머니의 놀이중심지지 신념의 조절효과가 나타났다. 그러나 유아 놀이성의 다른 하위요인과 놀이성 전체에 대해서는 조절효과를 보이지 않았다. 본 연구의 결과는 어머니가 놀이의 중요성을 인식하는 것이 어머니의 불안정 애착성이 유아의 즐거움의 표현 능력과 관련된 놀이성에 미치는 부정적 영향력에 대한 완충 작용을 할 수 있음을 보여준다.

성리학(性理學)과 산수화(山水畵)의 발전에 관한 연구 - 송대를 중심으로 - (Research of the Neo-Confucianism and the development of Landscape painting in Song Dynasty)

  • 장완석
    • 한국철학논집
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    • 제32호
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    • pp.309-336
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    • 2011
  • 본 연구는 성리학과 문화예술이 밀접한 관계에 있다는 데에서 출발하며, 특히 송대에 흥성한 산수화의 발전에 이론적 근거가 되었음을 연구하였다. 성리학은 고대 동양사회의 정치, 경제, 사상, 문화 예술 심지어 생활에 전반에 걸쳐 근간을 이루어 왔던 유학의 새로운 경향이다. 성리학은 중국의 북송(北宋)대 다섯 학자인 주돈이, 소옹, 장재, 정호, 정이가 그 기틀을 새우고 남송(南宋)의 주희가 집대성한 학문이다. 중국의 원(元)나라를 통해 고려후기에 우리나라에 전래되어 조선의 건국의 기틀이 되었고, 퇴계 이황, 율곡 이이를 거쳐 '문화 전반'에 미치지 않은 곳이 없게 되었다. 본 연구에서는 성리학과 예술론과 관계하여 격물치지, '리', 우주의식, '생의', '기상', '예'와 '도'의 관계 등이 산수화와 산수화론을 통해 어떻게 표현되었는지를 연구하였다. 산수화나 화조화에서도 신유학에서 말하는 천지의 '생의'의 미와 '어진 사람은 만물과 더불어 하나'라는 사상을 화폭에 표현하고자 노력하였다. 또한 시와 회화의 통일을 주장하였다. 동양에서는 송대 이전부터도 시와 회화의 관계를 중시했지만, 송에 이르러 시와 회화의 통일을 이루게 된다. 예를 들어, 명나라 때 조성된 졸정원(拙政園)과 같은 강남 정원 문화는 송대 산수화로부터 기인했다. 산수에서 등장하는 산속의 작은 정자나 가옥들이 정원에 옮겨진 것이다. 이는 곽희가 "임천고치"에서 말한 "가볼 수 있고, 바라볼 수 있을 뿐만 아니라, 노닐 수 있고, 살 수 있는 곳"을 화폭 속에 그려야 한다는 것이 명 청대에 이르러서는 현실로 옮겨진 것이다. 또한 현대에 있어서는 환경디자인에 이르기까지 그 영향을 미친다고 할 수 있다. 이와 관련된 지속적인 연구는 앞으로 가상현실, 증강현실 등 디자인 발전 연구, 더 나아가 문화산업의 기초자료로서 복합학문, 학제간 교류에 있어서 없어서는 안 될 중요한 기초자료가 될 것이다.

니키 드 생 팔의 트라우마를 통해 살펴본 아상블라주와 사격회화의 양면적 특성 (A Study on the Ambivalent Characteristic Displayed in Niki de Saint Phalle's Assemblages and Shooting Paintings by Looking Into Her Trauma)

  • 유가은
    • 미술이론과 현장
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    • 제6호
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    • pp.77-99
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    • 2008
  • The purpose of this study is to show that the reason behind the ambivalent characteristic displayed in Niki de Saint Phalle's works is in her trauma and how such characteristic can be extracted from her works. During her creative years, Saint Phalle worked on various materials from different genres such as assemblages, shooting paintings, a series on Bride and Monster, 'Nana', 'Tarot Garden'and public sculptures. One commonality found among her various works is the ambivalent characteristic that contains contrasting elements simultaneously. Saint Phalle suffered a terrible psychological damage inflicted by her parents during her childhood. Specifically, she was sexually assaulted by her father and emotionally neglected by her mother, the trauma that affected her for the rest of her life. As a result, she came to develop extreme love- hate relationships with her parents and this became the main reason for the ambivalent characteristic displayed in her works. The love-hate relationship Saint Phalle developed can be identified through various researches done on the subject of the affect of sexual assault. It is common for incest victims to develop ambivalent feelings towards the perpetrator and Saint Phalle was no exception. Dissociation disorder and a snake well explain the trauma from her father. It is a generally accepted belief in the field of psychology that dissociation disorder commonly occurs to children who experience incest. And dissociation disorder is similar to the characteristic of ambivalence in the sense that a single entity contains more than two contrasting elements at the same time. In addition, the amputated doll objects used in her assemblages coincide with the expression of body detachment of people with dissociation disorder. These facts clearly indicate that the trauma from her father is showing through in her works. A snake is a subject matter that reflects the ambivalent tendency of Saint Phalle that resulted from her trauma. She remembers her father's rape as an image of a snake which is related to a phallic symbol in mythology or art reflecting her trauma. Moreover, she displays a similar pattern of ambivalent emotion like love and hate or fear towards a snake and her father. This is also confirmed by her portrayal of a snake as a monster or reversely as a creature with fundamental vitality in her works. The lack of affection from her mother can be explained by her mother's maternal deprivation. It appears that Saint Phalle's mother possessed all the causes for maternal deprivation such as maternal separation, personality disorder and inappropriate attitude towards child rearing. Especially, a study that shows mother's negative attitude towards child breeding tends to increase dissociation experience of children is another important evidence that supports Saint Phalle's dissociation tendency. These traces of Saint Phalle's trauma are clearly revealed in her assemblages and shooting paintings. The violent objects in her assemblages such as a hammer, razor, nail represent the rage and defensiveness towards her father. The objects such as fragments of broken plates of feminine patterns, pots and mirrors that her mother used symbolize the affection towards her mother. On the other hand, the destructed objects can be interpreted as her hate and resentment towards her mother. Shooting paintings contain her extreme fury and hate. Things such as acts of shooting and the image associated with blood after shooting are blunt expressions of her bursts of emotions. I have tried to define and classify the ambivalent characteristics shown in her assemblages and shooting paintings as hate, rage, violence, calm, love and pleasure according to the frame of Thanatos and Eros. Out of the six, hate, rage, violence and clam are associated with Thanatos while love and pleasure are associated with Eros and they correspondingly form an ambivalent structure. These ambivalent characteristics can be found in her assemblages and shooting paintings. The objects in her assemblages such as a razor, saw, hammer imply hate, rage, violence and the silence felt throughout her works represent calmness. And, as mentioned, the feminine objects can be seen as symbolizing love. In shooting paintings, hate, rage, violence can be found in the use of force and in the traces of watercolor after shooting, and a sense of pleasure in her feelings of catharsis after her shooting. Moreover, a shielded calmness can be found on the plywood all covered with plaster before the shooting. This study looked into the ambivalent characteristic of Saint Phalle's works by examining her trauma to find its correlation, and a meaning of this study can be found from the fact that it refocused the origin of Saint Phalle who is generally known as a feminist artist. Additionally, a meaning of the study can be found also from the fact that it examined the ambivalent characteristics of her works through a frame of Thanatos and Eros.

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패션에 나타난 카무플라주 패턴의 시각적 표현특성 (A Study on the Visual Characteristics of Camouflage Patterns in Fashion Design)

  • 최정화
    • 한국의류산업학회지
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    • 제15권5호
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    • pp.682-693
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    • 2013
  • Camouflage is evaluated by scientific principle in the fields of biology, military science, and art. It has a strong influence on contemporary fashion and means exposure with concealment. This study analyzed the visual characteristics of camouflage patterns in fashion design through documentaries and fashion photos. The fashion design results areas follow. The simple blending of a disruptive motif indicated an inaccurate repetition of a disruptive motif, the discontinuous or continuous connection of disruptive motif, the irregular repetition of a disruptive animal silhouette, the collage of a different disruptive motif, the craft of a disruptive motif and the intensive color match of a disruptive motif. It represented the maximization of complication, fantastic and fanciness. The overlap of a disruptive motif showed the overlap of disruptive print patterns with transparency and an overlap of different fabrics with a disruptive pattern. It represented spatial relationships of three dimensions as well as the maximization of visual illusion and the reinforcement of attractiveness. The blurring of a disruptive motif showed the pointage of disruptive motif, the pointage of image, value gradation, the whole blurring of a disruptive pattern cluster and stained appearance. It represented the obscurity of motif form, the uncertainty of object and double meaning. The trompe l'oeil of a partial background object showed the realistic and the painterly imitation of color and texture for partial objects through a close-up. It represented amazement and pleasure by illusion, scarcity and the decoration of surface and synecdochical remind. In conclusion, camouflage in fashion was weakened and modified from a classical military context by a unique expression of various motifs.

1990년대 이후 현대 남성복에 나타난 패션 경향에 관한 연구 (Study on the Fashion Trend of Contemporary Men's Wear Since 1990)

  • 김혜정
    • 패션비즈니스
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    • 제14권5호
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    • pp.78-92
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    • 2010
  • The culture phenomenon, which the desire of self expression is noticeable and the diversity of gender identity is widely accepted, simply makes a difference in the lifestyle of one human being rather than the dichotomous classification of male and female. Now, the delicate and aesthetic sensitivity classified as the feminine characteristics is no longer the exclusive property of female and this refers to substituting it as a social gender from the concept of biological sex. This phenomenon has influenced on the male culture and is creating various codes according to the cultural gender extended from the gender as a social role. Also, the transition into the western lifestyle has extended the aesthetic emotion to accommodate new codes from the diversification and globalization of lifestyle. The mansumer power, which does not care too much about the money for the emotionally attached items, has enabled various fashion styles. After analyzing the diversified clothing behavior conducted by these people in connection with the social phenomenon, First, this shows the phenomenon of emotional value pursuit that finds pleasure over the clothing as the item of augmented reality is added to the concept of play, in which the real space referred to as garment and virtual space of playing the rock, paper and scissors game meet together within the augmented reality. Second, the convergence concept has enabled the coordination of new style by obscuring the area of design concept and this refers to the changes in design from the development of new items and transformation into double-style details. Third, the divergence that intensively provides specific use/convenience and specialized value shows a change in the fashion market from the phenomenon that admits various gene rations of culture and specifically, takes differently about the recognition of middle-aged males. Fourth, the variety seeking tendency receives attention as the value of future design together with the phenomenon of discriminative value pursuit. In the male fashion, it is linked to the collaboration with the design area and this tells that the fashion with the narcissistic cross-dressing and motto of neutral gender without being sided to male/female is rising.

현대복식에 나타난 팝아트 요소의 코드화 -2000년대 초기를 중심으로- (A Study on the Code of Pop. Art in Modern Style of Clothing -Since the Early of the 2000's-)

  • 위재선;나수임
    • 복식문화연구
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    • 제12권3호
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    • pp.441-454
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    • 2004
  • This article aimed at semiotically analyzing and encoding the characteristics of Pop. Artistic style of a dress in the 2000's, and understanding social and cultural meaning to characteristics revealed at modern style of a dress. As research methods, Pop. Art factors were adjusted to non-individuality, openness, eroticism, parody through precedent research comparing and considering Pop. art, and 61 photos were selected, and they were analyzed into signifier and signified. It's analysis results are as follows. Non-individualistic image revealed modern style of a dress was intensively indicated at the pattern aspect of Pop. Art style of a dress, and any remarkable characteristics were not shown at the form aspect. Non-individuality was actively and progressively expressed due to the effect of the 2000's trends to pursue of frank desire, artistic and sensual life. For open image revealed at modern style of a dress, the characteristics were intensively highlighted at the details and accessories of style of a dress, and at the details and accessories of style of a dress, and at textile and pattern aspect, and notable signifier did not turn up. Pop. Artistic eroticism in the 2000's could be seen to unconditionally expose, or commercialize sex, but fashionably and gorgeously re-interpret it, which was found that the expression to women was changed in a free and emotionally-oriented way by the influence of feminism, expansion of feministic thought and optimism on New-millenium. At parody, simple and humorous parody rather than deep intended or heavy mattered one was seen, which means the effect of the 21st culture pursuing pleasure, fun and humor appeared as an positive parody phenomenon. It is found that the Pop. Art style of a dress in the 2000s shows up as a feministic, bright, cheerful Pop. Art in that it creates exaggerated harmony mixed with decorativeness ad functionalism, and pursue for frank desire and reflects optimistic trend of New Millenium seeking for fun and humor.

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한국·중국·일본의 도시경관조명 현황 및 정책 분석 - 서울, 상하이, 요코하마를 중심으로 - (An Analysis on the Outdoor Lighting Situation and Policies in Korea, China, Japan - focused on Seoul, Shanghai, Yokohama-)

  • 안현태;김정태
    • KIEAE Journal
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    • 제3권3호
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    • pp.35-42
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    • 2003
  • It is required impressive expression of urban night environment that makes city as the safe pleasant, convenient place for the economic activity, cultural pleasure and landmarks. This study aims to establish the proper direction to the outdoor lighting in Seoul by analyzing and comparing the lighting situation and policies among Seoul, Shanghai and Yokohama. 1986 Asian Game and 1988 Olympic Game became very important role of activation of outdoor lighting in Korea. Then, outdoor lighting were facilitated in the cultural heritages and bridges along Han river. Millenium Light Plan, Outdoor Lighting Field of Seoul Architectural Award, 2002 Lightscape Local Plan, hosting 2002 World Cup have been good opportunities for the improvement of outdoor lighting in Seoul. In China, outdoor lighting was introduced to the city of Shanghai according to the orders of the president in 1988. Outdoor lighting of Shanghai have created unique lighting with beautiful color and intensive brightness under the direction of city government. Outdoor lighting of Shanghai needs the standard of lighting design and improvement of lighting facilities. Outdoor lighting was introduced to Japan with 1964 Tokyo Olympic games. Urban outdoor lighting plan was carried out in Yokohama in 1986. In Yokohama, outdoor lighting of civilian and public facilities have been harmonized. And the city government of Yokohama established the committee of promotion of outdoor lighting in its government to support and manage the outdoor lighting with corporation of civilian organization. As the result of comparative analysis on Seoul, Shanghai, Yokohama, Seoul Metropolitan Government needs the criteria and incentive system of outdoor lighting.

제품디자인과 종교적 사상의 근접성에 관한 연구 - 기독교적 창조사상을 중심으로 - (A Study of Approach to the Religious Faith in Industrial Design - Especially on the Creative Idea of Christianity -)

  • 박규현
    • 디자인학연구
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    • 제12권3호
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    • pp.29-40
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    • 1999
  • Walter Gropius, famous architect of Bauhaus, once treated of pure mind which was revealed in the system of object and its phenomena through sense of sight while examining material being and illusive being. And Thomas Aquinas said that man can have a creative power only with modest mental state void of prejudice saying that he expected God to come to him after his soul went out of him. The same thing was said by so many great philosophers and thinkers other than him. I think his saying, "God comes after Soul's escape from the body for a new creation", has a real truth for all times and places and beauty itself beyond expression. Why\ulcorner The reason why the saying is so true is because it has a Yin and Yang Idea, that is, the Soul means a dark spirit correspondent to Yin between both oriental ideas and God does a bright spirit correspondent to Yang between them. By reason of this idea, I would like to assert that we should take it granted that we stand in need of the same bright Yang's spirit as God has for the new creation, and let the Yang's bright spirit come to our minds. We can call it divine 'Providence', or call it God's guidance, which we cannot help accepting as a man's fatality. As God was pleased after he made man and all the creatures by dint of his design, so man was pleased after he made everything he needed by the same design that he accepted from God. In spite of pleasure of different dimensions from what God and Man has each other, their way of empathies were all the same. In this paper I compared a worldly lower conception by which man designed his products for his sensuous satisfaction with a higher conception by which God designed his creatures for his mental satisfaction. I intended to infer what destined relation there must be between both God's and man's creations, trying to remind designers that they have to confess to have not so divine a providence as God has for creation because I think the real truth is that they had regarded their works of product design as a routine occurrence for their physical convenience in the industrial plans.ial plans.

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현대 스포츠 스타 패션 연구 - 데이비드 베컴과 타이거 우즈를 중심으로 - (A Study on Contemporary Sports Star Fashion - Focusing on David Beckham and Tiger Woods -)

  • 한수연;양숙희
    • 복식문화연구
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    • 제17권2호
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    • pp.296-308
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    • 2009
  • The purpose of this study is to comprehend the contemporary sports star fashion and to contemplate aesthetic characteristics of sports star fashion, thereby to establish the styles of sports star fashion. For such purposes, this study first examines aesthetic characteristics of sports fashion and star fashion based on previous studies, in order to analyze aesthetic characteristics of sports star fashion, and conducts a case study by analyzing photographic materials of fashion styles of well-known male sports stars such as the English soccer player David Beckham and American golf player Tiger Woods. The result of this study is as follows: the aesthetic characteristics of the contemporary sports star fashion are virility, functionality, sensuality and deconstruction. (1) Virility emphasizes manly features by displaying trained and disciplined body. (2) Functionality is expressed through structural simplicity and temperance of decoration. High-tech textiles and fibers are favored in order to fit in comfortable bodily movement for the heavy exercises. (3) Sensuality, as an expression of indulgence of sexual pleasure, is expressed through bodily exposure. Lastly, (4) deconstruction, which means destroying existed boundaries of cultural categories, is shown as co-existence of design elements from different times and places, stereotypes and sensibilities. Virility and functionality are prominent characteristics expressed in sports uniforms and training costumes. Sensuality and deconstruction are shown in daily fashion and formal dress outside the sports field.

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영상애니메이션 트랜지션의 메타모포시스 시각 표현에 관한 연구 (A Study on Expression Visual of Metamorphosis Transition of Image Animation)

  • 주해정;김치용
    • 한국정보통신학회:학술대회논문집
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    • 한국해양정보통신학회 2010년도 춘계학술대회
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    • pp.347-350
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    • 2010
  • 뉴 미디어 시대의 도래로 우리는 움직이는 영상 이미지의 세계에 살고 있다고 해도 과언이 아니다. 매체의 발달과 함께 일상에서는 이미지와 함께 순간을 지나며 느끼며 그것을 일부처럼 공존하며 소통하고 있다. 이러한 시대에 논리적이고 현실적인 사고보다 감각적이고 형상적인 이미지가 더 많은 것을 전달하고 설명하기도 한다. 움직이는 이미지를 보는 행위는 언어적이고 개념적인 의미의 전달 이전에 색채와 화면을 구성하고 있는 조형적인 요소와 그것들이 만들어내는 변화가 먼저 인식된다. 특히 서사의 구조를 가지는 영화영상 애니메이션에서는 그 영역이 더욱 크게 작용하며 이러한 장면의 이미지를 연결시키는 트랜지션의 기법 역시 본연의 단순한 기능에서 의미소통의 기능으로 확대되고 있다. 이러한 트랜지션 효과는 단순한 장면전환의 전통적 기법에서 시각적 유희성을 제공하고 서사의 흐름에 도움을 주는 내러티브 기능으로 수행되는 관점에서 시각적 표현의 연구는 지속되어야 한다.

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