• Journal of the Korea Furniture Society
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• v.17 no.4
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• pp.115-129
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• 2006

This study explored the literature review for intending to make contemporary furniture expressed as postmodern aesthetics accessible to the broadest possible public, particularly through an examination and realization of art and everyday life, using qualitative analysis about the related literature as the principal methodology. The postmodern furniture aesthetics of communication expressed through double-coding, which was seen by Charles Jencks as the defining element of Post-Modernism, is characterized by the use of ideas from the traditions of craft. Hence, I dealt with pre-Modern furniture and Modern-furniture aesthetics as the background of postmodern furniture called New design furniture. As a result, contemporary furniture called New design furniture represented the use of ornament, craftsmanship, or beauty from the traditions of craft, which was a main source for communication value in postmodern furniture aesthetics.

• Journal of the Korean Society of Costume
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• v.50 no.5
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• pp.143-157
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• 2000

The pastiche is one of the most unique characteristics in the post-modern period. The pastiche fashion design is an intentional imitation expressed by deconstructivity of the design. It has become the major creation method of post-modern fashion by expressing the image from the variety and creativity. The concept of imitation in pastiche is the important fashion subject which lead the dynamics and creativities of fashion when It has freshness and spiritual energy. The values of creative area of pastiche are as fellows - firstly, it provides the delightness through the disharmony by being released from the restraint and stress of the restricted society. Secondly, the characteristics of restoration generated by development and reproduced from imitation has become an origin of creation. Thirdly, the boundary between subculture and high-class culture would be dismantled and the elements of these culture are mixed to become a unique image through its abundance and compromise vague public culture. Fourthly, the pastiche fashion dismantles the basic structure of clothes to endow avant-garde esthetic appreciation. Fifthly, the folklore fashion representing the culture of minority and neighboring countries would become a new destroying the historically fixed clue. sixthly, the reinterpretation of pastiche fashion discovers the new regulations and beauties from Imitation to provides tow Important elements of post-capitalism fashion, dynamics and creativity. Lastly the consistent adaptation of image of fashion design with strong technical and theoretical basis can establish new fashions of this era with its unique creativeness.

• Korean Institute of Interior Design Journal
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• v.13 no.3
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• pp.43-51
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• 2004

1"his Study is to make research a Image and Symbol in the Gothic Architecture. Firstly, the concept of the symbol and the image effect are essentially based on the meaning that the activity of consciousness take on the constitution of the symbol. Therefore the image represent the deepest content of human nature has been imagination and reality. Secondly, the symbol concept showed in Gothic Architecture was associated with the passion of the order of middle ages. The world, the cosmos and the history had been revealed in Gothic architecture. In Gothic Image, Emile Male maintained the symbol of the Catholic Church as above mentioned. The Catholic Church was mirror of the natural, the institution, the moral and history, then this passion of the order was a christian order. Especially, E. Panofsky said that the scholastic method was shown in Gothic architecture. He assert that it was especially dialectic method used in theology. That is, he explained the transfiguration of Gothic Architecture with the process of thesis, anti-thesis, synthesis. These symbolize light, magnitude, clearness. Finally, symbolic image is important in Post-Modem architecture at present. Post-Modern architecture is associated with the public and the Pluralism. Post-Modern architecture attempt to communicate as symbolic language among the assumption for diverse aspect of culture.

• English & American cultural studies
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• v.18 no.2
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• pp.51-78
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• 2018

To put it simply, thing theory is a study of meaningful capacities of materiality. Although T. S. Eliot regarded pathetic fallacy as the bad example of objective correlatives in his modernism poetry theory, it is clear that many objects in literary works reflect diverse human desires. Among many, Victorian sensation novels are the most distinct genre where the various paraphernalia in them indicate the distorted and exaggerated greed of the industrial revolution era. Whereas the male protagonists are usually related with the norms objects of authority such as portrait and locket, the female characters' connection with cosmetics and white dress shows their oppressed and fragile position in the patriarchal and hierarchical society. In the (post)modern society, the ambiguity of things has grown rapidly due to the increasing discrepancy between objects and things. In special, the new journalism and the psychological realism novels often reveal the post-truth phenomenon because consumerized audience depend more upon the attraction and affect than the mere evidence and facts. For the individual, according to object relations theory, these alternative facts are rather internalized into their mind as the internal object when they are motivated by the non/contact with primary caregivers in their childhood. The dominant material imagery in (post)modern fiction becomes the site of resistance because of their reconstructed and extended meaning. The object relations theory and thing theory can be effectively used to uncover the complicated meanings of desired objects by using the human-object's meaningful relations and early mental images that are secretly alive still in the present.

• Proceedings of the Korea Society of Design Studies Conference
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• 2002.11b
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• pp.124-125
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• 2002

• Proceedings of the Korea Society of Design Studies Conference
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• 2002.11b
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• pp.36-37
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• 2002

• Journal of the Korean Society of Costume
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• v.57 no.2 s.111
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• pp.190-201
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• 2007

The purpose of this study Is to reinterpret sexuality represented in modern fashion with the conception of plural sexuality from post-structuralism in socio-semiotic approach. It consists of two parts.: The first part provides the theoretical background and the methodological framework of this study. The second part ultimately accomplishes this study by empirical research, which is to infer plural sexuality articulated with fashion images in men's and women's popular fashion magazines in Korea since 2000 and sexual ideology signified in modern fashion. In this part the theoretical background was focused on the conception of sexuality on the basis of Foucault's idea, and then the framework for this study was made up from socio-semiotic perspective. The conception of sexuality in Foucauldian post-structural idea maintains the view of plural sexuality, which floats by power relationship between dominant and oppositional discourses in a specific historical context. Socio-semiotics suggests a contextual methodology to analyze the phenomena of material culture by articulating the range of material objects with that of ideology. The socio-semiotic model applied to sexuality represented in fashion is the framework of classifying into the several versions of fashion images from fashion as a material object and then inferring sexual ideology codified in them. In addition, three stages of producer/object/user in socio-semiotics were revised into 'dominant sexuality' with mainstream fashion out of dominant discourses,'oppositional sexuality' to create anti-fashion from oppositional discourses of subculture, and 'alternative sexuality' to be appropriated to dominant discourses by the mix of mainstream fashion and anti-fashion.

• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.205-213
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• 2010

The importance of communication which is oriented to interaction, fusion and connection is more increased in the post-information society. The information environment is already realized as interface to reach immediately and freely to the databased information and knowledge. The contemporary libraries execute very important roles as an intellectual infra of modern times to deliver the great human achievement and create new culture. In the mean time, the rapid information-oriented society and the development of digital technology bring out big change in the traditional dispatch and receipt method of information. For this reason, libraries as the community space of visitors integrates physical space - electronic space and reconstructs new temporary culture and value to build the new interface that connects human to human, human to space and human to information. On the premise of these awareness, this study analysis the creative interface factor of Tama Art University New Libraries in Ito Toyo in order to research the function and the application method of modern libraries. And the results are follows. 1)We can make sure the significance of communication and the integration consciousness between digital technology and analogue sensitivity that is the characteristic of the post-information society. 2)We can classify for the creative interface factors by the character as space factor(Arcade, Gallery, Lounge, AV Booth, Cafe), facility/equipment factor(Laboratory, Media, Bar, Info Shelf, Media Seat) and furniture factor(Carrel, Desk, Mag Table, XI Shelf). 3)We can see that these interface factors change the stream of library users and that the library is constructed for library users to create and discovery something easily from books and modern technologies. And we can realize also that these factors are creative installation to lead out naturally the latent liberty sense of users.

• Journal of English Language & Literature
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• v.56 no.2
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• pp.301-328
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• 2010

Many recent British novels engage with the construction and deconstruction of history and identity; and in dealing with these historical, or historicised novels it seems to be an untouchable ground that truth is beyond grasp. Even when approached, its authenticity should be examined under the post-modern "incredulity toward metanarrative" discourses. Julian Barnes's 1998 novel England, England may be one of these. Yet, unlike others it achieves a complicated and controversial status as a new kind of historiographic metafiction by providing selfconscious reflections on the invention of innocence and the questionable notion of historical authenticity against the background of current postmodern historical, cultural, and literary explorations. The book, set in a near-future, namely post-post-modern England, starts with a story of a young girl, Martha Cochrane, whose first memory goes back to her early infantile years. Yet, the narrator comments that it is a lie, "her first artfully, innocently arranged lie," since memory, or history, is a product of identity, and vice versa. Her memory of the jigsaw puzzle is both a reminiscent and a significant component of who she is now, both a simulacrum and the original of herself. The correlation between her individual memory and identity parallels that of a region, England, in formation of its history and nationality. "England, England" is the replicated miniature of the former glorious Kingdom as well as a becoming der Ding an sich (the thing itself). In search of the English history and identity, the author satirizes the modern mind's perception of the unreliability and arbitrariness of memory and history, and further explores the alternative to the postmodern discourses by suggesting the probability of inventing innocence glimpsed in children's face "believing while disbelieving." In doing so, the author reconstructs not only the history of Englishness on the ground where nothing seems to be solid, but more importantly also the postmodern theme of relativity in relation to memory, history and identity.

• Archives of design research
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• v.17 no.2
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• pp.403-412
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• 2004

Animation has been developed with trying a transformation of a reality continuously. The animation's trio is needed to study how the reality is expressed, transform, and developed through postmodernism, which the culture characteristic is one of culture phenomenons. First of all, to study, it s need to define what is animation and postmodernism. And then, the characteristic of postmodernism is studied to figure out how to relate with the reality in animation by the definition, and the reality is classified and expressed properly by a animation film. According to the study, the theory of simulation in animation based on Jean Baudrillard is to express the reality of post modern animation. 11 also shows what master narration is collapsed by the disorganization an outlook on consideration of an idealism and an absolutism and by the reality based on the implication aesthetic through the stream of the times. Finally, according to the combination of the genre such as the mixing 3-Dimensional and 2-Dimensional images, the appearance of the new genre is a result of the autogenous efforts in the animation which makes up the lack of the narrative due to the magical character of the hyper-realism image and the external image caused by the rapid development of technology. In this paper, the post modern reality is analyzed by a animation film such 'Animatrix', and the paper discusses how to express and re-analyze post modern reality in the animation.