• 복식
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• 제58권10호
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• pp.95-111
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• 2008

Now when Wests meet Easts, they approach with a motive of acknowledging Eastern or Asian value, concretizing and sharing philosophy. As the result of this study through comparing Eastern and Western view of thinking, First, East is the cosmic beauty of harmony that pursues the harmony with the nature involving emotional and humane affection, and West has the tendency of proportional beauty of harmony involving order and balance. Second, East pursues the metaphorical beauty of mimesis which implies more in invisible parts, and West has the tendency of pursuing visual beauty of mimesis which has contents in visible parts. Third, East is the sublime beauty of nothingness which suggests a blank is endless infinitude of doctrines and mind breath, and West pursues the sublime beauty of being which desires to fill tangible existence without blank. Fourth, East is the expressive beauty that has the intuition of pleasure, which gives weight on non-clearness, emotional joke, and satire, and emphasizes a comic phase, and in West pursuing clearness of order, the concept of the ugliness of disformation is the intuition of defiance, and close to intuition of sadness.

• 인문언어
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• 제2권2호
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• pp.109-128
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• 2002

The six fabliaux of the Canterbury Tales are a notable artistic achievement. Of all of them, however, the Merchant's Tale is the most notable to show Chaucer's development of the scope of this genre. We will look briefly at the characters of the fabliau narrators who are crucial to Chaucer's drama of relationships in the course of the Canterbury pilgrimage framework. To distinguish the accomplishment of the Merchant's Tale, we will consider the relative merits of each of the other five fabliaux in the Canterbury Tales. The least flawed of the fabliau narrators, the Merchant will tell a powerful tale about an old man's lust turned into a hasty marriage gone wrong that aims its satire at the noble ruling class of the land, not the usual targets of Chaucer's or most other writers' fabliaux. Further, unlike the light-hearted and dismissable endings of the other Chaucerian fabliaux, the Merchant's Tale has what we will call an Act 6 of continued deception at all corners of the love triangle represented by the senex amans January, his young wife May, perhaps now pregnant after her tryst with Damyan in the pear tree, and the still present young lover Damyan. This triangle of mutual deception will continue into the unknown future under the male and female forces at odds as personified in the king and queen of fairies, Pluto and Proserpina.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2006년도 추계 종합학술대회 논문집
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• pp.185-189
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• 2006

만화 속에서 카툰은 가장 긴 역사를 가지고 있고 풍자를 바탕으로 한 시사만화를 통해 만화의 독자층을 성인으로까지 확대시켰다. 오늘날 카툰은 내용적 측면에서 시사적 내용뿐만 아니라 일상다반사까지 다루면서 다양성을 시도하고 있고, 형식적인 측면에서 웹툰, 모바일툰, 오브제툰 등의 새로운 매체로 표현하는 방식을 확대하고 있다. 그러나 카툰의 이와 같은 노력에도 불구하고 코믹스에 비해 카툰 산업은 활성화되어 있지 않다. 따라서 본 논문에서는 새롭게 시도되고 있는 오브제카툰을 통해 카툰의 산업화 가능성을 제안하고자한다. 즉 수사법을 통해 다양한 방식으로 표현 가능한 오브제카툰의 상품개발 방향을 제시함으로서 카툰 산업을 활성화시키는데 본 논문의 목적이 있다.

• 대한가정학회지
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• 제36권9호
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• pp.13-33
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• 1998

The purpose of this study is to examine the styles of street fashion in youth sub-culture which has the leading power of 1990's Korean fashion flow. This topic has been explored in documentary studies about the youth sub-culture and the background of street fashion. Then, it also continued to classify street fashion styles in order to grasp the meaning as a young fashion. The results of this study are as follows. Street fashio of Korean youth are composed of four styles. ; The first is a hip-hop style. The hip-hop of Korea is started by 'Taiji Boys' and their representative apperances are the big-baggy pants, the reversed cap, the thrown backpack. The second is a reggae style. It is formed by the singer 'Kim Gun Mo'. It features the primary color and the use of ethnic fabrics. The third is a kitch style. The kitch is definitely represented by the old, the childish and the satire appearances. It came up with the rock band 'pipiband'. The forth is a sporty style. It comes from 'basketball' and 'skateboarding' which the young people prefer. Its designs are applied from the back-number of players, the names of the teams, the stripes of active-feeling. Based on this study, I designed cloths with 3 concepts to present a new design direction of Street Fashion. Work 1, 「JOY-RIDE」 represented the freedom and the release which are shown by pop music and dance. Work 2, 「GAMMA ENERGY」 represented the dynamic energy through sports games. Work 3, 「AROUND THE CORNER」 represented the form of street including comers, walls, roads etc.

• 복식
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• 제61권5호
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• pp.34-47
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• 2011

Grotesque make-up causes a visual shock among modern people beyond the standardized beauty definition, attracts their attention, and manifests itself as a phenomenon of "something bizarre, extremely unnatural, ugly, and funny." The purposes of this study were to investigate the characteristics of grotesque in today's make-up as well as its concepts and features and to figure out its aesthetic characteristics based on the results. The research scope was limited to the fashion make-up of the collections from 2005 to 2010 and the advertising make-up during the same period. In the make-up phenomenon examined according to the grotesque characteristics, the pale skin expression, frightened eyes, and emphasis on black induce disgusting fear, sadness, death, sin, fear for life and death, and obsession. As the make-up emphasized only one part by neglecting the original form and exaggerated it to the point of distortion, the exaggerated abnormality led to a sense of social crisis, desperation, and absence of form. As for devilish playfulness, the make-up accompanied by grotesqueness and humor brought the suppressed, closed world in a tight framework out to fluidity and openness, conveying satire, ludicrousness, ridicule, and accusation of the modern society. The heterogeneous disharmony was found in the use of objects in heterogeneous combinations, presenting unreality, fiction, displeasure, ambivalence, and loss of value of human existence.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2006년도 춘계 종합학술대회 논문집
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• pp.285-289
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• 2006

현재 국내에서 카툰(Cartoon)은 풍자(諷刺)와 유머를 바탕으로 한 호흡이 짧은 내용의 만화(漫畵)를 통칭한 용어로 사용한다. 오늘날 카툰의 표현양식은 전통적 표현양식과 더불어 디지털을 통한 표현양식들을 적극적으로 활용하기도 하고 미술의 표현양식인 판화나 동양화적 느낌을 차용하여 표현하고 있으며 컵, 핸드백 등 오브제(object)를 활용한 입체적 표현양식의 카툰도 있다. 본 연구는 촉각적 감각을 가미한 입체적 표현 양식으로 카툰의 영역확장이 가능하다는 전제 하에 이루어졌다. 또한, 본 논문의 목적은 카툰의 새로운 표현 양식을 통해 카툰의 콘텐츠 산업화와 에듀테인먼트로서의 가능성을 제언하는데 있으며, 카툰의 새로운 영역확장에 필요한 기초적 학문 연구의 토대가 되는 데 있다.

• 복식
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• 제56권3호
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• pp.129-142
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• 2006

The historicism and romanticism of John Galliano's designs are rivaled only by the spectacular and theatrical nature of his fashion shows; romantic silhouette, the complexity of the cut and, of course, the painstaking attention to historical detail. Galliano's approach is very much that of a British designer in that he absorbs wildly diverging historical and cultural elements to invent new hybridizations of the contemporary. Galliano started his career as part of the wildly uninhibited avant-garde London design scene. His designs were twisted and artfully torn, weired and also beautiful. The purpose of this study is to investigate the Comic Expression depicted on John Galliano's works by borrowing the Comic. The Comic or the Comedy is a kind of art form that signifies exciting effects, and so, is a means of raising a laugh. The similar concepts of the Comic already were depicted by means of transformation and distortion of form, satire, fantastic pastiche and reversion of substances on Cubism, Dada, Surrealism, Pop Art and Postmodernism. Therefore, John Galliano selected the quixotic expressional methods to seek for having playful fun. The aesthetics of the Comic is the beauty based on quantitative or qualitative contradiction between expectations and realizations. That is, the Comic is characterized by getting rid of stress through laugh with clarifying a subject of contradiction. This study found that John Galliano's designs are expressed the quixotic comic on Historical image, Exotic image and Primitive image to make a complaint against the social evils.

• 복식
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• 제45권
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• pp.179-199
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• 1999

Indeterminancy is one of the thought systems which explains all things with not 'either-or' but 'both-and' the conditions and qualities of human identities and inner state. A view of the world of Dionisos of Nietzsche's and the character of Manneristic trend which has resolved the sense of alienation of men by paradoxic expression has succeeded to romanticism surrealism and postmodernism. 1. Cross-dressing has increased under contemporary conditions. There also have been various cross-dressing phenomena in the past but it appears strongly now that it would destroy the cultural stereotypes and give rise to the cultural insecurities in contemporary conditions. 2. The indeterminancy of status that is wealth versus poverty impacts on variations of contemporary dress. This has been represented by neglecting traditional code which is related to wealth in costume by conversion of the symbols of wealth and poverty as disguise with moderation simplicity and additionally poverty image instead of ostentation. 3. In the cultural aspect that is mother culture/ subculture the author has investigated black street fashion which has newly become visible. The black street fashion is wide spread in black popular music such as jazz Rhythm & Blues Reggae and Rap which is subculture against white. The external values of indeterminancy in fashion are n대-manneristic tendencies as deformation eclectic friction and irrational structure and graffiti method. The inner values by indeterminant expression in fashion are irony and paradox grotesque satire and amusement.

• 복식문화연구
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• 제28권3호
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• pp.330-343
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• 2020

This study defines the concept of the fashion meme, which has recently emerged as a fashion trend, influential fashion keyword. After analyzing the concepts and characteristics of traditional memes from prior studies, examples of fashion memes were collected from online community and social network services, while a literature study and case study analysis were conducted in parallel drawing on related articles and journals. Modern fashion memes refer to fashion-related symbols and fashion images that are spread online by word-of-mouth, together with fashion styles and items that spread as a result of being worn. Fashion memes in cyberspace are mainly spread through social network or message services, and sometimes combine text, images, videos, hashtags, and emoticons. Fashion memes are a type of collective action of the people in response to social problems in the world, and often involve humorous antics, satire, shock, and eccentricity. Shared fashion memes reflect the expression of personality expression and fun, and at the same time are used as an expression of designer and brand creativity and are integral to marketing. Fashion memes are classified into four types, based on two central axes as follows: non-commercial/commercial and anti-fashion/fashion-friendly. Unlike traditional memes, Internet-based fashion memes emphasize elements of transformation through creativity as well as imitation, which has become a persisting contemporary trend beyond temporary phenomena.

• 한국의류학회지
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• 제37권3호
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• pp.399-412
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• 2013

This study introduces a new delivery method for designs as observed in the artwork trends of Damien Hirst and reflected in the unique expression methods of Modern fashion Collections. The study analyzed numerous resources (literature, dissertations, magazines, and the internet) about Damien Hirst and the examination of a modern fashion timeline is limited to after the 2000s. The 'grotesque trend' that appears in Damien Hirst's works can be classified into five categories (fragmented animal, mismatch, excessiveness and exaggeration, comedy and awfulness, and abnormality). Based on this, the study found that heterogeneous, abject abhorrence, double sided of the play, exaggerated atypia and devilishness in Modern fashion. This study suggests a positive direction for the 'grotesque technique' that could be recognized as one of the delivery methods for a unique fashion design based on the attachment of an aesthetic value that supersedes bizarreness and strangeness to expand various methods of expression.