• Journal for History of Mathematics
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• v.12 no.2
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• pp.135-141
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• 1999

It can be said that postmodernism shows a tendency to be anti-Descartes in the sense that it criticizes modern rationality which has started from Descartes. This paper suggests the relationship between modernism and postmodernism and that between. traditional Mathematics and fuzzy logic in three aspects, and shows that fuzzy logic tends to be a postmodern science in Mathematics.

• Journal of the Korean Society of Costume
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• v.61 no.1
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• pp.109-123
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• 2011

Postmodernism has affected general culture and arts as a powerful cultural image that has governed the later 20th century, and it is still a main subject as Zeitgeist representing modern society. Accordingly, this study is to verify the role and importance of the stage costume according to change of the art trend in the present age by clarifying relations between the postmodernism and the stage costume, and analyzing the postmodernism trend shown in postmodern classes. The postmodernism trend in costume is summarized as the deconstructionism, eclecticism and the populism. Hereunder is the conclusion of applying Postmodernism characteristics and creation mechanism commonly existing in theater and costume to the costumes of Korean theaters since 1990's. First, a deconsructionism trend of the Korean theater was visualized by the expression method of disembodiment and decomposition of stage costumes. Second, expression phase of interculturalism was concretely visualized through the stage costume, and it was considered that the postmodernism creation method. Third, a populism trend since 1990's was reflected to the stage costume, and deduced consensus with the audience and subculture familiar with the public as well as appeared as a phenomenon that emphasized a recreational elements. It is analyzed that this trend is a result that a concept of sportiveness was directly transferred through strong visual expression function of the stage costume. As a result of analyzing a Korean theater of the postmodernism disposition since 1990s, the costume reflected creational will of the postmodernism of works and played an important role as visual arts, created with a similar method and form.

• Journal of the Korea Furniture Society
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• v.24 no.3
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• pp.263-272
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• 2013

This study is the content of the environment-friendly is the tendency of one of postmodernism. Rather than end up post-modernism in the past, such trend has affected many in the design of modern furniture. Appeal to emotion in order to achieve an intimate relationship with the user, especially in the new material, you are the fulfillment of desire more than a simple function. In addition, designers of modern Many or even looking from the re-interpretation of the design past the motif of the design such as the time that post-modernism has arrived. Users who are using the furniture, because there is a tendency to features In addition to the primary that it has, you have to Want the meaning of one another, and to Serve by generating story distance from him this some. In this study, to target households that still is very important in modern design, and a historic of postmodernism the concept with a different meaning functional, the figurative to break free from meaning one-dimensional with the furniture I was analyzed on the basis of the flow.

• Journal of the Korean Society of Costume
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• v.63 no.8
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• pp.14-26
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• 2013

The purpose of this study is to compare and analyze Jacqueline Kennedy and Michelle Obama's fashion style from a perspective of modernism and postmodernism. The method utilized in this study was first, to examine the properties of modernism and postmodernism. Next, we explored the types of role performance of the first ladies and the application of their fashion as an aid to their roles through the precedents of the research concerning modernism and postmodernism. The results of the study are as follows. First, there was a trend of formalism and anti-formalism. Jacqueline Kennedy made her public appearances wearing a formal dress in order to express the first lady's authoritarian figure of restrained elegance. The fashion of the first lady aspired to formalism. Meanwhile, Michelle Obama followed more of a free style by eschewing the typical formality of the first lady. She created diverse styles utilizing a variety of items, which were not interrupted by form or by using heterogeneous items. Second, there is a trend of elitism and populism. While Jacqueline Kennedy preferred only haute couture designers' costume in order to show the prestige and dignity of the upper class, Michelle Obama patronized unknown designers' clothing or mid-level casual brand goods that the public favors in order to interact with the public through her fashion. Third, while modernism regards totality or unity to be important, postmodernism puts an emphasis on the eclecticism by pursuing complexity and diversity through the deconstruction of an indigenous genre. In case of Jacqueline Kennedy, this tendency featured monotone clothing color, which presented a unified full set dress that excluded decoration. Michelle Obama, in contrast, mixed and matched formal dresses and a casual cardigan or felicitously mixed luxury brand or low to middle priced brand goods.

• Journal of Fashion Business
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• v.19 no.6
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• pp.58-73
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• 2015

The purpose of this study is to examine the characteristics of men's wear designs unveiled while Hedi Slimane worked for Dior Homme and Yves Saint Laurent. The study will analyze and focusing on the modernistic characteristics in order to discover the postmodernism trends in his works. The results of the research are as follows. First, Hedi Slimane's fashion style can be cited as grunge and punk due to the trend of expressing the subculture of postmodernism. The design features shown in Dior Homme were straight lines, leather, metallic materials and dark colors used to reinterpret a grungy punk style, romantic patterns, glossy materials, elastic leather, and bright colors were the salient features of Yves Saint Laurent. Second, the feature of cultural pluralism of postmodernism appeared as a type ethnic style. He presented this through the Third World images in the Dior Homme but Spanish matador images, Marrakech's images and North African images in the Yves Saint Laurent. Third, he feature of his style is metrosexual feminizing men's fashion and breaking up gender stereotypes. I-type and X-type silhouettes that emphasize the human body and feminine design motifs such as a skirt are dominated in Dior Homme, and he completed the metrosexual style by using materials, colors and patterns such as bright feminine pink, red, laces, fur, floral and leopard prints, as well as flagrantly expressing body contour.

• Proceedings of the KAIS Fall Conference
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• 2008.05a
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• pp.135-138
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• 2008

포스트모더니즘의 한국에서의 수용이라는 지역적 관점에서 사조의 성격과 위치를 한국 문화의 절충주의적 경향과 연결해서 고찰해 보고자 한다. 이러한 관점을 통해 지역의 특성과 새로운 사조의 흡수전달이 어떻게 나타나는가를 살펴봄으로서 포스트모더니즘의 한국 건축에서의 영향을 살피고자 한다.

• The Journal of Art Theory & Practice
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• no.8
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• pp.123-144
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• 2009

The history of art during the first half of the last decade was founded the discussion with highly impressive and confident. The art might establish its unique area based on self recognition at that era. The self-confidence of modern art may be possible on enlightenment, which is the firm relationship for knowledge and reality. However the faith of modernism which shows rational tendency, objective, and the existence of universal knowledge has been drastically doubted and criticized thereafter. A internal ideological system which had leaded the modern art was exhausted. Postmodernism revolved to the dramatic openness leaning against the deoedipalizational confession. According to the dissipation of the vitality of modern art postmodern art has been evolved and then various phenomena which follow the trends has been emerged. The avant-garde and resisteive attribute of modern art was diluted fast due to the influx of popular culture. As time goes it can be attracted by spectacle taste than metaphysical peculiarity. It has to inevitably justified the drift of light and quick themes, contents, and images. Such as these phenomena realistically shows fact that postmodern art had been failed to open a new chapter of consilience which intermediates beauty and usual communication to overcome the solipsism of modernism. A trial to pursuit the opened esthetics conceived more 'heroic' 'Star-Subject' than before by dismantling the modern 'Hero-Subject'. Postmodernism has been recorded as a regression of art, which is the technology of profound spirit that mitigates antagonism and confrontation and mediates mutual encountering of human being. Prevailing of postmodern freedom had been accompanied by popularity, osetentation consumption, marketing, gambling level exitement, mixtures of desires with price fluctuations. We witness 'self-confinement' and 'lasting absence of exit' phenomena in postmodernism ideology and practice. We have to deal postmodernism as an 'ideology which closes the discussion for the future' in the context of 'absence of way' at this point. We are going to investigate how postmodern ideology and practice takes part in the prospection beyond thereafter through discussion. We also pay attention to the 'absence of prospection' as a internal problem in itself nevertheless mention the three merge points such as tradition or memory, earthy thought, the self who confrontation others as the clue of prospecting thought which is allowing coming over postmodern absence.

• Korean Institute of Interior Design Journal
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• no.14
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• pp.121-129
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• 1998

It opposition to visual luxury of Post modern Architecture a new tendency characterized as 'simplicity' emerged in architecture. It seems clear that such a tendency so called Minimal Architecture has risen as a reaction to the surfeit of sign and the mixture of languages generated by postmodernism. This new simplicity is also related to the tradition of Modern Architecture and the Minimal Art Movement is 1960's. They adopted simple is also related to the tradition of Modern Architecture and the Minimal Art Movement is 1960's. They adopted simple primary Volume to avoid the main fluence on the already chaotic urban environment As a result a strong monumentality is achieved. The main interests for 'minimal' architects seem to be the making of simple structure and the repetition of modular elements to achieve an economic and efficient construction method. Transparent and honest expression is preferred instead of attaching another ornament skin on to the skeleton of the architecture.

• Korean Journal of Human Ecology
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• v.13 no.1
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• pp.159-171
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• 2004

The purpose of this study was to compare the characteristic of Chanel style between modern and postmodern period. The documentary research method was used for this study. The modem period was limited from around 1920 through 1939 and the postmodern period from 1990 through present for this research. The results were summarized as follows: The characteristics of clothing style in modem period were 1) the preference of slim & straight body figure as ideal one and slim & straight clothing silhouette, 2) the high fashion image for the elite by simple & basic design, 3) the emphasis on the harmony by the unity, 4) the tendency of eliminating ornaments on clothing, 5) the discontinuation of traditional way of dress code & style, and 6) the modern style. The characteristics of clothing style in postmodern period were 1) the emphasis on erotic aspects of female body and sexy design, 2) the popularization of high fashion and certain social group's fashion, 3) the tendency of harmony by mix-match, 4) the preference of ornaments in clothing, 5) the preference of retro-fashion, and 6) the continuation of modem style.

• Journal of Science of Art and Design
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• v.12
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• pp.125-143
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• 2007

The politics penetrating through the contemporary art since modernism to postmodernism is to accomplish the 'Non-representation' in the artworks. This study argues that postmodernism did not put an end to the formalistic feature of modernism but intended to accomplish it. Modernist art aimed at purity, i.e. self-referential and self-definition art advocated by Clement Greenberg, and it carne to the end by accomplishing flatness and materiality. It was an 'evasion to the matter' which allocated the object from visuality of outer object to the psychic image of the subject. It failed being 'non-representational' as what it really achieved was transition of object. Jean Baudrillard's theory tried to overcome the representational quality by 'being simulacre'. In the representative artworks of the past, the meaning of artworks was reverted under the outer context or object. The meaning again failed being 'Non-representational' as it was restored to the psychic image of the subject in modernist artworks where the definite illusion was demolished Meanwhile, artwork advocating simulacre acquired Non-representational quality by liberating from both models. It did not deconstruct the self-referential tendency of modernism but maximized the Non-representational modernistic principle. After creating 'Non-representation' through simulacre, the existential status and function of an artwork is the inclination and moral of contemporary art as 'Non-representation'. The image theory of Henri Bergson sets the existential status of 'image' as it does not belong to either subject nor object. It provides significant foundation for arguing the existential status of simulacre. Moreover, though an artwork as a fragment forming a movement image in the world cannot represent the object, it can however sustain certain kind of fractal resemblance with the world by letting the two parties communicate. The theory of sense by Gilles Deleuze is of profound significance as it specifically indicated way how the stage of absorption through the unity of subject and object is realized in forms of artworks, and configured the latent and invisible energy.