• Journal of the Korean Society of Fashion and Beauty
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• v.5 no.3
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• pp.105-110
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• 2007

With the beginning of seventeenth century, the men in France royal palace began to wear wigs and by eighteenth century wig became sole possession of men. Then, it had been become a satire thing filling one side of the era with the pouf that had been for women. All these things were closely related with the unstable social situation. The bourgeoisie expressed the anger for the privilege that come from the disparity of class consciousness. The reaction against the discriminative treatment by the illuminists stimulated the outbreak of the French Revolution on 14th, July in 1789. This paved way of characterizing the wig styles of the time. The symbolism of cultural-historical meaning in the west is not confined only in Europe. The worship of hair that is different from one cultural area to another had started with their own unique taboo consciousness and had developed to the form speaking for the expression of masculine, the symbol of man power and the extravagance of the privileged class.

• Journal of Fashion Business
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• v.4 no.2
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• pp.1-17
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• 2000

Kitsch is one of the various mass-cultural phnomena in the late 20th century, with it's own new aesthetic value, 'self-expression' through 'destruction', denying the existing established way of thinking and escaping from the stereotypes or fixed ideas. This is called 'aesthetic inadequacy'. The purposes of this study are to examine the different preferences between the western and the domestic Kitsch Fashions to investigate the formative and aesthetic characteristics of domestic Kitsch Fashion based on substantial data, and to propose the creative Kitsch design. The results of this study are as follows; 1. The formative characteristics of domestic Kitsch Fashion are marked by amusement, disharmony, epicureanism, satire, and use of imitation. 2. Then, based on theoretic research, this study applies aesthetic characteristics of Kitsch to the creative design. According to the formative characteristics for Kitsch Fashion, the Design Concepts are developed in order of Optimism, Multi Form, Decadence Chic, Neo-Naturalism, and Poor Vintage. And the Fabric direction is given in Design Story with sub theme such as Cheerful, Game, Decadence, Environment, and Grunge.

• The Research Journal of the Costume Culture
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• v.17 no.2
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• pp.283-295
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• 2009

This research covers the ways in which typography, which has been expressed in a diverse range of fields and changed communication functions from the era of reading to the era of feeling according to the change in the times and social demands, has been represented in modem fashion, along with examining its inherent aesthetic characteristics. I reviewed the general information of typography's fundamental notions and functions through documented records, and analyzed the inherent aesthetic characteristics by examining the typographical patterns shown in modem fashion based on art works in domestic and international collections after 2000. The result of this research is that typography in modem fashion has been used for improving brand image, expressing social slogans, expressing images, linguistic function for playful expression and the interdependent relationships of modeling functions. Typography in modem fashion has always been diversely expressed harmoniously with linguistic and modeling functions. Through this, the aesthetic characteristics were firstly parodies through direct sentences addressing political and social ideologies, economic gaps, environmental issues and anti-war protests. Secondly, by using brand logos, typography was used as a commercial means like brand-image transfer and separation through customization of other brands. Thirdly, the aesthetic and artistic value of fashion were expressed after being used as experimental visual components like image, motive and patterns which are all elements of fashion design. Fourthly, by distortion and transformation of characters or childish decorations, along with the harmonization of words, cathartic humor was provided for the calloused senses of modern people.

• The Korean Journal of Physiology
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• v.7 no.1
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• pp.37-40
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• 1973

As a continuation of efforts to elucidate the influence of ginseng upon nucleic acid content of various tissues, a study was carried out which measured testicular RNA and DNA contents of rats following administration of ginseng. Thirty male rats $(body\;weight:\;180{\sim}230\;gm)$ were equally divided into a ginseng and a saline group. Once a day for 5 days they received subcutaneously 0.5 m1/100 gm body weight of ginseng extract solution (4 mg of ginseng alcohol extract in 1 ml of saline), and the same amount of satire, respectively. On the 5th experimental day, all animals were sacrificed 2 hours after the last medication and their testicular RNA and DNA contents were measured using the chemical method of Schmidt-Thannhauser-Schneider. Following results were obtained: 1. Testicular RNA and DNA contents were significantly higher in the ginseng group than in the saline group. 2. RNA/DNA ratio of the testis was lower in the ginseng group than in the saline group. However, the two groups did not differ significantly with regard to the RNA/DNA ratio. The ginseng is inferred to raise RNA and DNA contents of testis in rats.

• Journal of the Korean Society of Fashion and Beauty
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• v.2 no.1 s.1
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• pp.65-74
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• 2004

The purpose of this study is to investigate the trends and characteristics of the anti-aesthetic shapes have been expressed in Fashion Show Make-up from 1995 to 2003 and to enlarge the possibility of expressions through various formative elements and to anticipate the prospect of the Make-up in the future. Anti-aesthetics means the beginning of criticism that destroy the system of modernism and the anti-aesthetic shapes in Fashion Show Make-up have been distorted, deformed, destroyed through asymmetrical arrangement or abnormal transformation or extreme reduction or omission and so on. It means that is to enlarge the range of expressions through a new interpretation. The anti-aesthetic characteristics in Fashion Show Make-up can be summarized as Avant-garde, Satire, De-construction, Poverty, inhumanity and most of shapes show experimental techniques in unlimited method. The differences at the turning point in 21C is to increase the experimental attempts such as informal and collage and graphic Make-up and so forth.

• Journal of Oriental Neuropsychiatry
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• v.30 no.4
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• pp.305-317
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• 2019

Objectives: The purpose of this study was to analyze domestic qualitative research papers of the Satir Transformational Systemic Therapy and suggest the possibility of applying it to Korean medicine counseling. Methods: Domestic research papers were gathered by keywords 'Satire Counseling' or 'Satir Transformational Systemic Therapy' and 'Qualitative Research' in RISS (http://www.riss.kr/), KISS (http://kiss.kstudy.com/), OASIS (http://oasis.kiom.re.kr/). The results were seven papers. Seven papers were selected based on grounded theory and case studies. Researchers analyzed the phenomena during the course of counseling to discuss the mechanism of the Satir Transformational Systemic Therapy and consider its applicability to Korean medicine psychotherapy. Results: The Satir Transformational Systemic Therapy has three points: 'Self', 'Communication', and 'Family'. Positive changes such as 'Self-recovery', 'Consistent communication', and 'Recovery of relationships' are derived from these three points. And techniques such as iceberg exploration, family maps, three-members in a born family, and the family sculpture are also effective means. Conclusions: The Satir Transformational Systemic Therapy is valuable in the clinical fields of Korean medicine counseling, especially relative to problems stemming from relationships.

• English & American cultural studies
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• v.9 no.1
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• pp.91-112
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• 2009

Referring to John Irving's 2001 published fiction The Fourth Hand, the publisher commented, "It seems, at first, to be a comedy, perhaps a satire, almost certainly a sexual farce. Yet, in the end, it is as realistic and emotionally moving as any of Mr. Irving's previous novels." In his early six novels, John Irving shows the world suffused with grief and deception. But his novels finally turn out also as a comic and robust novel. The writer's success in achieving this thick description of the contradictory modern world is largely due to his development of the idea of the flawed hero. Despite loss, sadness and abandonment, Irving's heroes maintain classical heroic traits such as intelligence, tenderness, protectiveness, strength, bravery, sense of humor, independence, attractiveness. In this article, I tried to emphasize these graces potent in Irving's heroes as the most attractive and influential device for the writer's consistent popularity among the general public. The cinematization of his four fictions attest to audience's sympathy toward rewarding vulnerability and truthful exaggeration in the depiction of Irving's heroes. By taking full responsibility for their own fate despite having the flaws, Irving's protagonists still appeal to many readers as heroes resilient in a modern chaotic world without losing their graces.

• The Research Journal of the Costume Culture
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• v.30 no.1
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• pp.33-49
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• 2022

The purpose of this study is to analyze the expressive elements and techniques of graffiti appearing in the Moschino collection by Jeremy Scott. A theoretical examination of graffiti art and Moschino's creative designer Jeremy Scott was conducted using previous studies and publications. Accordingly, keywords about the expressive elements and techniques of graffiti and Moschino were identified, as follows: expressive elements of 'message (slogan)', 'symbolized letters or forms', 'logo and brand symbol', 'graffiti (scribbles)', 'child-like elements', 'daily element's and expressive techniques of 'using primary colors (color contrast)', 'deformation', 'distortion', 'exaggeration', 'illusion (trompe l'oeil)', 'collage (repetition)', 'simplification (flattening)', and 'borrowing heterogeneous objects'. These keywords were then used to analyze Moschino's collection, comprising seven years of Moschino's collection photographs officially recorded in the fashion magazine Vogue, ranging from the 2014 F/W to 2020 F/W collections. A total of 761 photos were initially collected, from which 561 were selected by the researcher. Expressive characteristics of graffiti in Moschino's collection were analyzed, and identified in the following categories: 'child-like playfulness', 'commercial satire', 'using daily elements', and 'borrowing non-representative techniques'. Accordingly, it was confirmed that expressive characteristics of graffiti were found in the Moschino collection by Jeremy Scott. This study anticipates the possibility of various interpretations from which fashion that communicates closely with contemporary art can be understood.

• International Journal of Advanced Culture Technology
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• v.10 no.2
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• pp.86-91
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• 2022

The purpose of this study is to study the tragic world perception that appears in Kim Sung-han's novels 'Frogs' and 'Five Minutes'. The main emotion that emerges in his novels in the 1950s is non-polarity. His novels "Frogs" and "Five Minutes" satirically express the relationship between God and humans, and the human figure in comparison to animals In the 1950s, in Korean society, individual lives were distorted in postwar situations, and the relationship between individuals and society was inconsistent. Kim Sung-han wanted to create new ethical and social values through novels. In "Five Minutes" and "Frog," Kim Sung-han expresses and criticizes the crisis in Korea's post-war society as a tragic reality that God has no ability. In the novel, Kim Sung-han criticizes the degenerate reality of humans without God and criticizes the slave grit of humans who cling to God. After all, what he wants to say in the novel is the perception of human free will and existence. In the two novels, the author talks about a tragic world perception that denies the realm of God, but finds out that there is no other world to live a new life that denies God.

• Journal of English Language & Literature
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• v.58 no.6
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• pp.1193-1213
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• 2012

This essay "Twain's Contestation of Emersonian Transcendental Manhood in Huckleberry Finn" explores how Mark Twain's Adventures of Huckleberry Finn (1884) manifests his postwar contestation of Ralph Waldo Emerson's transcendental manhood that endorses the dogmatic, egocentric, and decorporealized position of the Cartesian subject, who believes his being's unity, elevation, and centrality through his fantasy of possessing direct access to divine truth. The connection between Emerson and Twain is based not on Emerson's influence on Twain but on their common interest in American landscape as a site for the redefinition of manhood and masculinity. I examine different types of manhood in their association with nature in Huckleberry Finn by comparing them with the two fundamental concepts of Emerson's philosophy: "a true man" in "Self-Reliance" (1841) and transparent eyeball vision in Nature (1836). Twain's use of Huck's ambivalent position-his centrality as a protagonist in the novel in spite of his marginality in society-renegotiates Emerson's valorization of nonconformity, wholeness, and nonchalance as the characteristics of both boyhood and "a true man," Emerson's term for the ideal individual in "Self-Reliance." I also read Twain's satire of two different types of masculine characters-Bob and the Child of Calamity, boatmen of the Southern frontier, and Colonel Grangerford, patriarch of a Southern aristocratic family-as Twain's denouncement of the antebellum desire for transcendental vision, which Emerson crystalizes into his notion of transparent eyeball in Nature.