• International Journal of Costume and Fashion
• /
• v.8 no.1
• /
• pp.18-35
• /
• 2008

As an essential factor of plasticity in fashion, color reflects socio-cultural trends and has possessed different symbolism in its historical development. This study aims to search for an academic approach towards finding out how the concepts and symbolism of the color white were expressed in actual clothing. This will be realized through the investigation of the various meanings this particular color possesses. The secondary purpose of this study is to give shape to the results of above said academic investigation by proposing their integration into actual fashion design. The methodology employed in this study and results are as follows. First, the symbolism of the color white abstracted from the research of literature on this subject was classified into six categories; purity, grace, abstinence, sublimity, decorativeness, and avant-garde. Second, for empirical research, six designs were developed and produced into white dresses. The development of these dress designs was realized by presenting the symbolism of the aforementioned six categories into images, and the formative constructions of these images by applying various design details, expressive techniques, and characteristics of the materials. Through an investigation into the color white, which has been excluded from previous chromatics research as a major color, integration of the symbolism and chromatic image of this color into the actual fashion design process is made possible. The significance of this study is in that it proposes multifarious possibilities in fashion design, and also in extending the horizon of chromatics research in fashion through the realization of the above process.

• English & American cultural studies
• /
• v.9 no.1
• /
• pp.27-50
• /
• 2009

Henry James tries to describe minutely in The Wings of the Dove the process in which a bad faith grows, is practiced in one's self, and spreads to a society. Through this fictional specificity, he embodies an analogy between a bad faith and social role-playing. That is, he shows, through the main characters such as Milly Theale and Merton Densher, how self interacts with the other and a society. In this interaction, there is some essential element, namely, an organic relationship between a self identity and a social role-model, which James describes very meticulously. Therefore, the characters are depicted as seeking to define self identity and eventually distorting it. Thus, The Wings of the Dove can be seen as a tragedy in which the characters who have this wrongly distorted self identity come to experience its effects. The distorted self identity appears to function as a social role. Milly distorts her true self identity by internalizing a dove-image for it. This results in a bad faith. Moreover, the American girl Milly utilizes it as a convenient social role-model which makes it easy for her to interact and engage with the others in the European society. Merton also evades adventurous and painful self-reflection and self-criticism by sticking to the mannerisms of gentlemanship and imitates the sublimity which Milly shows him. Thus, Milly and Merton clearly omit self-inspection and self-inquiry for the contact between a free self and a society, which is essential to obtain social objectivity, namely, intersubjectivity.

• Journal of English Language & Literature
• /
• v.64 no.2
• /
• pp.299-305
• /
• 2018

Near / Miss, Charles Bernstein's poetry collection, is replete with poems of distinctive styles and pluralistic forms in his idiosyncratic and artistic cosmos. With poetic antics, queerness, sarcasm, irony, and humor, the book showcases the motif of loss, chaos and trauma in postmodern America and the world. The multiplicity and multi-dimensional $M{\ddot{o}}bius$ effect in Near / Miss echo earlier Bernstein's poems, as well as poems by ancient and contemporary poets, with visual artists and musicians, and rabbis and Jewish philosophers. I argue that Near / Miss offers an apotheosis of echopoetics, which has been launched in his previous book Pitch of Poetry. Poems in the book reveal the dark and thick "pitch," namely the queer, the uncanny, the invisible, the disabled, the dispossessed, and the silenced poetic Other and make it explicit. The estrangement and alienation of $clich{\acute{e}}$ through diverse malaprops, mondegreens, non-sequiturs and fragmentations in Near / Miss aim at deconstructing the fixation of language so as to display the poetic Other. The motif of "nothingness" in echopoetics significantly multiplies its meanings. Nothingness mainly refers to the loss of origin, the defiance of tyranny, and the sublimity of the universe and the poetic Other. Melding his personal loss and misfortune, the current political discontent and the postmodern chaos in America and the world, nothingness in echopoetics resonates with American literary tradition and Zen with a healing and transforming power.

• Korean Institute of Interior Design Journal
• /
• v.26 no.4
• /
• pp.57-64
• /
• 2017

Modern Christian spaces are developing from the past architectural styles to the phenomenological aspects. This study was conducted since it was judged that research and analysis is desirable with the application of religious phenomenological theories which fit the characteristics of religious spaces. A scholar of religion, M. Eliade studied religious phenomenology based on religious studies. This study analyzed the characteristics of religious phenomenology of the Christian spaces based on his theory. As a research method, this study analyzed the category of religious studies and religious phenomenology derived from them and selected M. Eliade as one of the theorists in the field of religious phenomenology. Study drew out the characteristics of Christian spaces from the perspective of M. Eliade's religious phenomenology as follows; In the Christian spaces, characteristics of experiential spatiality and ambiguous spatiality appeared in relation to the spaces of 'Sacred' and 'Profane' which M. Eliade aimed to explain. The characteristics of Christian spaces drawn out from the time of 'Sacred' and 'Profane', which is M. Eliade's theory, were fundamental temporality, environmental temporality and subjective temporality. From the structure and form of 'Sacred' and 'Profane', which is M. Eliade's theory, the characteristics of Christian spaces can be considered to be formative symbolism and physical naturalness. Various characteristics of Christian spaces materialize the concepts of 'hierophany' and 'sublimity' vaguely felt in religious spaces. The results of this study is expected to provide researchers, religious people and general public who study Christian spaces with research basis to further objectify results of their studies as well as basic data on the phenomenological methodology of religion.

• Journal of the Korean Society of Costume
• /
• v.54 no.6
• /
• pp.101-117
• /
• 2004

Opposed to following the contours of the human body, the voluminous enlargement in costume, which characterizes the distinguished enlargement in space rather than the contour of human body, mean the enlargement aspect involving the vertical protrusion and the expansion of shape and volume as well as the extension of length. The costume enlargement as a different method of expression is a symbol showing a meaning of something and an aesthetic expression containing man's will. This voluminous enlargement of costume, as an aesthetic expression, has different formative characteristicsand immanent meanings according to ideals and thoughts as well as social and cultural background of each age Accordingly, the aesthetic consciousness also differaccording to the change of the times. To study the aesthetic consciousness of costume's voluminous enlargement, focous had been given to milieus that show comparatively conspicuous voluminous enlargement Periods that have been subjected to this study include costumes of the ancient Egypt, the Gothic period in the Middle age, the Renaissance, the Baroque Rococo of the recent times, and the modern era (Empire, Romantic, Art Nouveau. etc) With focus given to the principle of design obtained through this study were used to analyze the aesthetic characteristics, Futhermore, based on the spirit of the times and the socio-cultural symbolism, research on immanent meanings, as supported by objectivity and universal validity, was also made, the enlargement beauty of costume had been placed under the aesthetic category and, by interpreting the analogies of presented in aesthetic consciousness, the true nature of the voluminous enlargement in costume had been traced. To Conclude, the aesthetic consciousness of the voluminous enlargement of the costumes in history was found to have following characteristics: (l) Metaphorical (2) Unlooked-for irregularity (3) feeling of satisfaction driven by self-enlargement (4) Dignified sublimity (5) Symbol of wealth and class (6) Ceremonial dignity (7) Tradition of the nobility (8) Aesthetic ornament (9) Ideal contour of the body

• Cross-Cultural Studies
• /
• v.37
• /
• pp.51-79
• /
• 2014

Seriously depressed by the failure in the first performance of his own drama ${\ll}$The Government Inspector${\gg}$, N. Gogol sought out a space, Italy, which is obviously a turning point for the writer. Here in Italy, the writer could be able to explore an essential foundation for the national identity as well as self-identification of Russian traditional culture, all of which have already been epitomized in the Renaissance period in Italy. The city Rome itself provided Gogol with its grandness and harmonious perfectness, influencing something 'spiritual being' upon the writer. The work under discussion, "Rome," is thus created through these literary circumstances. Though it is made under the different title as "Annuntiata" and it delivers a love story between lovers, the story lines gradually turned into a fiction about the city, Rome. In comparison with city Paris, Gogol himself presents a negative view of the French metropolitan, saying that it is nothing but a by-product of the 19th century civilization. Interestingly enough, Rome for Gogol is totally different; it is the place of sublimity, that is a locus of harmonious, holy, and eternal city. Likewise, this pattern can be said of another description on the two contradictory cities: Paris and Rome. Again, Gogol fully pictures the city Paris as centripetal and Rome as centrifugal, in which the main protagonist makes the reader indulge in his own world. Throughout the story the writer tells us a transformation experienced by his character, and the work ends with an open denouement. Like Jerusalem, Rome is the city of resurrection for Gogol. Yet, this kind of possibility of transformation in the story is exposed to the hero, and it arguably depends on the extent to which he explores the readiness for encountering of 'eternity' in this "eternal city."

• Journal of the Korean Institute of Landscape Architecture
• /
• v.34 no.2 s.115
• /
• pp.80-98
• /
• 2006

This study originated from following questions. What can we understand the conception of deconstruction, which has been the core idea of new discourses developed in various ways since modernism? How can this question be interpreted in landscape design? What is the conceptional frame of integration the prominent hybrid post-genre movements and phenomena? The frame can be epitomized with the deconstruction phenomenon. 'Deconstruction' is the core conception appeared in late or post-modern ages in the embodiment of modernity and can be viewed as an integrating or a hybrid phenomenon between areas or genres in formative arts. Therefore, the author regards the hybrid movements widely witnessed in the post contemporary formative arts as one of the most important indicators of de-constructive signs. It is safe to say that the phenomenon of this integration or hybridism, of course, does not threaten the identity of landscape design but serves as an opportunity to extend the areas of landscape design. One of the consequences of this integration or hybridism is the voluntary participation of users who have been alienated in the production of the meanings of design works and hybrid landscape design with the hybridization of genres that is characterized with transformation in forms. This view is based on the distinction between hybridization of interactions between the designer (the subject) and the user (the object), and hybridization of synesthesia. Generally speaking, this is an act of destroying boundaries of the daily life and arts. At the same time, it corresponds to vanishing of modern aesthetics and emerging of post-contemporary aesthetics which is a new aesthetic category like sublimeness. This types of landscape design tries to restore humans' sensibility and perceptions restrained by rationality and recognition in previous approach and to express non-materialistic characteristics with precaution against excessive materialism in the modern era. In light of these backgrounds, the study aims to suggest the hybrid concept and to explorer a new landscape design approach with this concept, in order to change the design structure from 'completed' or 'closed' toward 'opened' and to understand the characteristics of interactions between users and designs. This new approach is expected to create an open-space integrating complexity and dynamics of users. At the same time, it emphasizes senses of user' body with synesthesia and non-determination. The focus is placed on user participation and sublimity rather than on aesthetic beauty, which kind of experience is called simulacre. By attaching importance to user participation, the work got free from the material characteristics, and acceptance from the old practice of simple perception and contemplation. The boundaries between the subject and object and the beautiful and ordinary, from the perspective of this approach, are vanished. Now everything ordinary can become an artistic work. Western dichotomy and discrimination is not effective any more. And there is 'de-construction' where there is perfect equality between ordinary daily life and beautiful arts. Thus today's landscape design pays attention to the user and uses newly perceived sensitivity by pursing obscure and unfamiliar things rather than aesthetic beauty. Space is accordingly defined to take place accidentally as happening and event, not as volume of shape. It's the true way to express spatiality of landscape design. That's an attempt to reject conventional concepts about forms and space, which served as the basis for landscape design, and to search for new things.

• Journal of Korean Philosophical Society
• /
• no.123
• /
• pp.137-185
• /
• 2018

This article aims to deconstruct the mechanism of male domination that constantly reproduces the hegemonic class of men. In order to overcome misogyny, we should no longer deny the ontological dimension of the reality of women's oppressions and the pre-eminence of the material condition of women's existence. In addition, the possibility of the category of women as a modality of resistance should be taken into consideration. First, I will highlight the correlation between penis and phallus according to which the phallus refers to the penis which is malleable and fragile and which disappears without being castrated by the external factor. From here we could deduce the fragility and imperfection, the non-absoluteness of the phallic order. Secondly, I will analyze the mechanism of penis-narcissism, which is the modality of the constitution of the individual identity of man. The penis is not only a physiological organ, but a site of self-estimation and the validity of the succession of power and authority of the father's law. With this penis-narcissism, man is constituted as a hegemonic body that can let itself go without worrying about the reactions of others. Thirdly, I will focus on the mechanism of the penis-cartel which is the modality of the formation of the collective identity. The penis-cartel is reinforced by the mutual affirmation of the superiority of men among themselves, but also by the permission and the tacit agreement of their absurdity and lack of rationality and corruption. Because the privilege of men is not monopolized by a small part of the elite, but is consciously and unconsciously shared by all men who are part of the hegemonic and collective category. In order to deconstruct the penis-narcissism and the penis-cartel, it is necessary to demonstrate that the penis is not a self-sufficient body, nor a closed and impermeable body, but that it is a porous body where the organ serves both ejaculation and urinary ejection. The penis is a porous body that is at once the site of sublimity and degradation, purity and impurity. In addition, the penis is no longer an all-powerful and aggressive organ, but it is a malleable and fluid flesh that constantly changes its shape. Linked to a phallus-organ that is the notion of Jacques-Alain Miller, it is a site of deficiency and vulnerability that is not the axis of the penis-cartel. It is through the notion of the double porosity of the penis and the phenomenology of the flesh of the penis, I try to provide the modality of undoing the reproductive mechanism of predatory masculinity. Because this would be an effective strategy to overcome misogyny.

• Korean Journal of Heritage: History & Science
• /
• v.44 no.4
• /
• pp.172-205
• /
• 2011

Go bears significant meanings in terms of cultural and entertaining functions in Asia Eastern such as China and Japan. Beyond the mere entertaining level, it produces philosophical and mythic discourse as well. As a part of effort to seek an identity of Korean traditional garden culture, this study traced back to find meanings of rock-go-board and taste for the arts which ancestors pursued in playing Go game, through analysis and interpretation of correlation among origin of place name, nearby scenery, carved letters and vicinal handed-down place name. At the same time, their position, shape and location types were interpreted through comprehensive research and analysis of stone-go-boards including rock-go-board. Particularly, it focused on the rock names related to Sundoism(仙道) Ideal world, fixed due to a connection between traces of Sundoism and places in a folk etymology. Series of this work is to highlight features of the immortal sceneries, one of traditional landscaping ideals, by understanding place identity and scenic features of where the rock-go-boards are carved. These works are expected to become foundation for promotion and preservation of the traditional landscaping remains. The contents of this study could be summarized as follows; First, round stone and square board for round sky and angled land, black and white color for harmony of yin and yang and 361paths for rotating sky are symbols projecting order of universe. Sayings of Gyuljungjirak(橘中之樂), Sangsansaho(商山四皓), Nangagosa(爛柯故事) formed based on the idea of eternity stand for union of sky and sun. It indicates Go game which matches life and nature spatiotemporally and elegant taste for arts pursuing beauty and leisure. Second, the stone-go-boards found through this research, are 18 in total. 3 of those(16.1%), Gangjin Weolnamsaji, Yangsan Sohanjeong and Banryongdae ones were classified into movable Seokguk and 15(83.9%) including Banghakdong were turned out to be non-movable rock-go-boards carved on natural rocks. Third, upon the result of materializing location types of rock-go-boards, 15 are mountain stream type(83.9%) and 3 are rock peak type(16.1%). Among those, the one at Sobaeksam Sinseonbong is located at the highest place(1,389m). Considering the fact that all of 15 rock-go-boards were found at mountainous areas lower than 500m, it is recognizable that where the Go-boards are the parts of the living space, not far from secular world. Fourth, there are 7 Sunjang(巡將) Go with 17 Hwajeoms(花點), which is a traditional Go board type, but their existences, numbers and shapes of Hwajeom appear variously. Based on the fact, it is recognizable that culture of making go-board had been handed down for an extended period of time. Among the studied rock-goboards, the biggest one was Muju Sasunam[$80(82)cm{\times}80(82)cm$] while the smallest one was Yangsan Sohandjeong Seokguk ($40cm{\times}40cm$). The dimension of length and breadth are both $49cm{\times}48cm$ on average, which is realistic size for actual Go play. Fifth, the biggest bed rock, an under-masonry with carved Go-board on it, was one in Muju Sasunam[$8.7m{\times}7.5m(65.25m^2)$], followed by ones in Hoengseong Chuiseok[$7.8m{\times}6.3m(49.14m^2$] and Goisan Sungukam[$6.7m{\times}5.7m(37.14m^2)$]. Meanwhile, the smallest rock-go-board was turned out to be one in Seoul Banghak-dong. There was no consistency in directions of the Go-boards, which gives a hint that geographical features and sceneries of locations were considered first and then these were carved toward an optimal direction corresponding to the conditions. Sixth, rock-go-boards were all located in valleys and peaks of mountains with breathtaking scenery. It seems closely related to ancestors' taste for arts. Particularly, rock-go-boards are apprehended as facilities related to taste for arts for having leisure in many mountains and big streams under the idea of union of sky and human as a primitive communal line. Go became a medium of hermits, which is a traditional image of Go-game, and symbol of amusement and entertainment with the idea that Go is an essence of scholar culture enabling to reach the Tao of turning back to nature. Seventh, the further ancient time going back to, the more dreamlike the Go-boards are. It is an evident for that Sundoism, which used to be unacceptable once, became more visible and realistic. Considering the high relation between rock-go-boards and Sundoism relevant names such as Sundoism peak in Danyang Sobaeksan, 4 hermits rock in Muju and Sundoism hermit rock in Jangsu, Sundoism hermit rocks and rock-go-boards are sceneries and observation spots to express a communication of worship and longing for Sundoism. Eighth, 3 elements-physical environment such as location type of the rock-go-boards, human activities concentrated on 8 sceneries and Dongcheongugok(洞天九曲) setup and relevancy to Confucian scholars, as well as 'Sangsansaho' motif and 'Nangagosa' symbolic meaning were used as interpretation tools in order to judge the place identity. Upon the result, spatial investigation is required with respect to Sunyoodongcheon(仙遊洞天) concept based on enjoyment to unify with the nature rather than Dongcheongugok concept of neo-Confucian, for Dongcheon and Dongmoon(洞門) motives carved around the rock-go-boards. Generally, places where mountain stream type rock-go-boards were formed were hermit spaces of Confucianism or Sundoism. They are considered to have compromised one other with the change of times. Particularly, in the rock-go-board at the mountain peak, sublimity-oriented advent of Sundoism is considered as a significant factor to control place identity. Ninth, including where the rock-go-boards were established, the vicinal areas are well-known as parts of Dongcheongugok and Palkyung(八景) mostly. In addition, many of Sundoism relevant expressions were discovered even in the neighboring carvings written by scholars and nobility, which means sophisticated taste based on longing for Sundoism world played a significant role in making go-board. The rock-go-board is an integration of cultural phenomena naturally managed by seclusion of scholars in the Joseon Dynasty as well as remains and essence of Korean traditional landscaping. Some rock-go-boards out of 17 discovered in South Korea, including ones in Sobaeksan Sinsunbong, Banghak-dong, Chungju Gongili, Muju Sasunam, Yangsan Eogokdong Banryongdae Seokguk, are damaged such as cracks in rocks or fainted lines by hardships of time and hand stains. Worse yet, in case of Eunyang Bangudae Jipcheongjeong board, it is very difficult to identify the shape due to being buried. Rock-go-boards are valuable sculptures in terms of cultural asset and artwork since they reflect ancestors' love for nature and longing for Sundoism world. Therefore, they should be maintained properly with right preservation method. Not only rock-boards itself but also peripheral places are excellent cultural heritages and crucial cultural assets. In addition, vicinal sceneries of where rock-goboards and pavilion spots are the representative remains of embracing prototype of Korean traditional landscaping and major parts of cultural properties.