• Title/Summary/Keyword: symbol of a social position

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A Study on the Social Position and Status of the Dress Symbolism Described in the Traditional Korean Folktale (전통설화에 나타난 복식의 사회적 지위 및 신분 상징에 관한 연구)

  • 김애련;김진구
    • The Research Journal of the Costume Culture
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    • v.10 no.4
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    • pp.419-432
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    • 2002
  • This research analyzes how our people use the social position and status symbolism of the dress in focus of the Chosun Dynasty Period by analysis data of traditional folktale. This research material was analyzed social position and status symbolism of the dress with basis on Korean Oral Literature grand volumes of 82 published by The Academy of Korean Studies and whole volumes of 7 of Korean Literature Traditional , Folktale written by Kimhyunrwong. The methods of study is that first, selected part of describing social position and status of dress from the traditional Korean folktale. Second, summmarized things classified such as clothes, shape of hair and belt. Third, analyzed social position and status of dress with basis on symbol theory to be pre-studied. As a result, 1 can get the next conclusion. First, in case of the dress symbolism of social position and status, we classify as class. occupation, surreal person. Second, the changes of the social position and status showed upward position or downward position, and occupation change. Third, symbolization of position disguise was classified disguise of social position, sex, occupation.

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Symbolism of Costume in the Genre Paintings of Shin Yoon Bok (혜원 신윤복의 풍속화에 나타난 복식의 상징성)

  • 정현숙;김진구
    • The Research Journal of the Costume Culture
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    • v.1 no.2
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    • pp.221-232
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    • 1993
  • This study analyzes the symbolism of costume in the genre paintings of Yoon Bok Shin, the great artist of Korea in eighteenth century, based on the symbolic interaction theory. We classify the symbolic character into tow categories, the symbolism of social status and position as a social factor, and erotic symbol as a sexual factor. The symbolism of the social status and position include the sex, age, class, occupation, and diginity. From the costume In the paintings, the symbolic character of the clothing in the social and sexual contexts can be visualized.

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Semiotic Approach of Korean Ginyoe Clothing (우리나라 기녀복식의 기호학적 접근)

  • 박춘순
    • Journal of the Korean Society of Costume
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    • v.22
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    • pp.297-312
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    • 1994
  • Today though the word ginyoe(gisaeng) was remained as a historic relic but they were firmly existed about 40 years ago and ginyoe's number was about three million in Chosun it's almost near 0.5% of the total population of Chosun. To think that point the ginyoe's so-ciety was considered a special one in the his-tory of Korean woman. The ginyoe as a special social class were specialize in technical art such as dancing and prostitute. Although they were low class they were luxurious slaves whoses clothing was almost equal to that of royal family. They were the leaders of fashion in woman clothing that's because their role was entertainer, This study can be summarized as follows. First ginyoe and public woman's clothing codes were nearly same in koryo but tatally separated in chosun. I could find that was came from those day's moral sprit. Second ginyoe's clothing was not only have luxuriance like royal family but also have unique clothing codes for them. Though they are low class ginyoe could use upper class's clothing codes. But upper class women could'nt use ginyoe's clothing codes are vary various and have their own clothing codes. Third I analyzed ginyoe's clothing codes and then derived 6 ginyoe's clothing messages. They were symbol of wealth symbol of power symbol of occupational function symbol of sexual attraction symbol of social position symbol of freedom.

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A Study of the Personal Ornaments and Make-up of Maroccan (모로코인(人)의 장신구(裝身具)와 화장(化粧)에 관(關)한 연구(硏究))

  • Lee, Soon-Hong
    • Journal of Fashion Business
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    • v.5 no.2
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    • pp.15-34
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    • 2001
  • Ornaments are accessories for the decoration of the body or dress. They aren't unavoidably required one, but serve to make one's dress perfect as decorative industrial art objects. In Morocco, ornaments were initially used as a sign of social position or the class or an incantatory symbol. In effect, they were originally employed to adjust one's dress, not just for decoration, and they were of use for household economy. Gold, silver and handcraft available for exchange were a means of increasing one's property and an indication of social standing and wealth. In particular, the dress and jewelry of a bride was a measure of her family's wealth, regarded as a symbol of her chastity and value. The ornaments symbolically back up people's faith in supernatural power, and their real value is based on implicit form or way of decoration, not the external shape. Specifically, there is a tendency to use the form of animal as a protector, not one to frighten people. In the artistic tradition of Morocco, fish pattern stands for water and rain, and eagle and bird are considered to be related to fate. Scorpion and lizard are depicted as an inquirer of sun, and snake is a symbol of abundance and sexual instinct, being viewed to have an ability to cure disease. Turtle pattern is a symbol of saint because it protects one from the evil. The ornaments are made of gold, silver, amber, clam, garnet, glass, nielle, enamel, glaze, coral or tree, and symbolic patterns are used, including hand(a symbol of five numerals), turtle, lizard, scorpion, eye, triangle, bird and eggs. They are very big and diverse, being categorized into ornaments for the head or the chest, neckless, fibula, earring, bracelet and ring. For Moroccans, make-up is a sort of instinctive behavior to meet aesthetic and sexual desire. They also wear make-up for practical purpose of protection, intentionally inflict a wound on the skin for ceremonial or religious purpose, paint the skin with pigment, or have the part of the body tattooed for incantatory purpose. All this actions are regarded as make-up. The raw material of cosmetics is aker, a vegetable dye. They get the lips or cheeks turn red and paint eyebrows with yellow saffran powder to have a bad devil lose its strength. Tattooing is mainly done by women and viewed as a sign of their value or social organization they belong to. Sometimes that is used to represent a woman's being old enough to marry or getting married already or the frequency of marriage. Besides, tattoo is believed to prevent or remedy loose bowels or cough, depending on its location or pattern, and they often change tattoo according to the change of beauty art.

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The Relation between the Perception of Price and the Propensity to Conspicuous Consumption in the Purchase of Clothing of College Students (대학생 소비자들의 가격지향과 과시소비 성향의 관계 -의복구매를 중심으로-)

  • Park, Sang-Mi;Lee, Eun-Hee
    • Korean Journal of Human Ecology
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    • v.16 no.2
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    • pp.367-380
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    • 2007
  • This study investigates the perception of price and the propensity to conspicuous consumption in the purchase of clothing among college students and the relation between the perception of price and the propensity to conspicuous consumption. The data for this study were collected from 1,015 Korean college students. In order to analyze the data, statistical methods such as frequency, percentage, mean, standard deviation, factor analysis, ANOVA, scheffe-test, Pearson's correlation, and Cronbach's a were used with the SPSS statistical package program. The major study findings were as follows. 1. The perception of clothing price among college students was classified into five factors: high price-oriented, discount-oriented, high quality-price rate-oriented, low price-oriented, and effectiveness-oriented. 2. The propensity to conspicuous consumption of clothing among college students was classified into four factors: brand name conspicuousness, conspicuous pursuit of vogue, symbol of their social position, and imported goods conspicuousness. 3. High price-oriented and discount-oriented were different significantly according to sex, age, father's educational level, monthly income, monthly allowance amount. High quality-price rate-oriented and low price-oriented were different significantly according to sex, father's educational level, monthly income, monthly allowance amount. Effectiveness-oriented was different significantly according to sex, age. 4. Brand name conspicuousness, conspicuous pursuit of vogue and imported goods conspicuousness were different significantly according to sex, age, father's educational level, monthly income, monthly allowance amount. Symbol of their social position was different significantly according to sex, age, father's educational level, monthly income. 5. High price-oriented, discount-oriented and high quality-price rate-oriented have the highly positive correlation with four factor of propensity to conspicuous consumption of clothing. Low price-oriented has the negative correlation with four factor of propensity to conspicuous consumption of clothing. Effectiveness-oriented has the lowly positive correlation with four factor of propensity to conspicuous consumption of clothing.

A Study on Symbolism of Man's Neckwear (남성용 네트웨어에 나타난 상징성)

  • 유태순
    • Journal of the Korean Society of Costume
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    • v.31
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    • pp.203-214
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    • 1997
  • The neck is the human body is closely con-nected with the life and properties of keeping warm as one of the opening part in clothes. In ancient times it was put on necklace for the protection of neck and in Rome it was worn muffler called focale for the protection of neck throat. in addition cravat directly originated in necktie today was primarily worn for the protection of soldier's neck and has been turned into decorative purpose until today. As the ornament is developed to vari-ous kinds of form the neck decoration is changed and grown again and again. Therefore this thesis studies history of the neckwear and various the symbolic factor. The first factor is the social. The neckwear shows the social position class and status and does social mutual interaction as conversation starters. The second factor is the mental It express individuality fondness attitude and is felt to be indignity by being forced to be worn. The third factor is the political. it shows political tendency by indicating the royal sign or part's sign in necktie like the French royal-ist's green muffler The forth factor is the man's sexual. I expresses wearing stock being brave symbol-izing independence. The sixth factor is the traditional. It is worn with appearing traditionand custom and one of cultural movements. The seventh factor is the ideological. It symbolizes the freedom of suffragettes and emancipation of woman. The social factor is the most extensive among them. The neckwear is various in the way of expression like its kinds and is generalized, It functions as a independent part of clothes.

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A Study on the Causes of Failure of the 'Failed' Modern Housing Projects ('실패한' 근대 집합주거의 실패요인에 관한 연구)

  • Sohn, Sei-Kwan
    • Journal of the Korean housing association
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    • v.24 no.6
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    • pp.151-161
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    • 2013
  • This research is an effort to clarify the causes associated with the 'failure' of public housing projects built in the 20th century. Two of the most brutal symbol of failure were selected: the Pruitt-Igoe built in St. Louis, U.S.A. and the Bijlmermeer in the south of Amsterdam, Netherlands. Many critics have attributed the problems of the selected housing projects to architectural failure, and proposed a series of new approaches to architectural design. The claim that many housing projects 'failed' because they were based on an agenda for social reform, derived from the ideas of the CIAM, presupposes that architects were in the position of authority over providing housing for the poor. This research tries to overturn the belief of architectural community which has placed the responsibility for the failure of public housing on designers. The sense of isolation and powerlessness felt by the residents, and the social problems attendant on those feelings, may be reinforced by design but is not caused by Modern Architecture. It should be stressed that the political-economic and social context is more significant than the architectural design for the failure of public housing projects such as the Pruitt-Igoe and the Bijlmermeer.

A Study on the Significance of the Costume with Khadi Campaign (카디 운동을 통해서 본 복식의 의미에 관한 연구)

  • 이자연
    • The Research Journal of the Costume Culture
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    • v.9 no.1
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    • pp.1-10
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    • 2001
  • This study is to reconsider the symbolic potential of the costume by investigating the role of cloth in Indian culture, noting the fact that Indians wore hand-woven cloth and adopted a flag with the spinning wheel in the center as part of their nationalistic programs for independence. The results are as follows; The Indian cotton industry had held the fist position in the world and spinning and weaving had been an Indian national industry until the early part of the 19th century. As for the Indian cotton industry under the rule of Britain, Indian was reduced to being a colony producing raw materials and a market of cheap British finished goods, and eventually fell into anarchy with economic poverty of the general public and peasants'uprising mixed with the complaint of the intellectuals. The Indian National Movement started as a resort to escape the British rule because of continuous poverty and social exhaustion, and its pivot was Gandhi. Gandhi launched a revolutionary noncooperation movement in Indian society with diverse races, religions and castes, and developed nation-wide campaigns such as Boycott, Swadeshi, the encouragement of spinning wheels, etc. Gandhi urged that Indians' weak identity and poverty were caused by the dissolution of their native craft and that the Indians should wear Indian products for economic independence. Accordingly, leaders of Indian National Congress regarded a spinning wheel as an economic necessity and national symbol, and approved manual spinning and weaving as part of their nationalistic programs in order to drew the general public to the nationalistic movement in 1920. They also decided that all Congressmen should wear hand-woven cloth, Khadi, and adopted spinning wheels as the logo type of Indian National Congress. Khadi, Indian national cloth, was a symbol of national unification, freedom and equality, and also a means of economic self-sufficiency, Swadeshi, and eventually led India to autonomy, Swaraji. Therefore, it can be concluded that the cloth converted Indias economic and political identity.

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Favorability's Difference of Beard Type According to Perceiver's Characteristic

  • Kang, Daeyoung;An, Jongsuk
    • Journal of Fashion Business
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    • v.17 no.6
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    • pp.44-59
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    • 2013
  • The modern people do express their personalities by appearance and actively use the appearance as the social tools, and the attractive appearance largely does influence the human relationship. As the appearance's importance is being magnified, the attractive appearance and favourable impression is an important standard for job performance and social position, and used as the way to reach the social goal. This study does investigate the design's kind and character of the beard which belongs to the male exclusive property and compare the differences of the impression's formation according to the beard design. The empirical results confirmed that the male beard design formated the various impressions according to the designs and their mutual relationship existed. Therefore, the beard is a symbol of maleness and an expression for the social position and personal character, whereas it possesses the very important meaning as the influencing factor on the impression's change. First, the pre stimuli were finished through the pre survey for composition of questionnaire in order to evaluate the impression after selection of experimental models and beard types for measuring instruments. Second, sixty three university students were surveyed by pre stimuli and questionnaire as pre experiment, and afterwards the measuring instruments and experimental design were revised. Third, the stimuli completed (nine beard designs) were intentionally well distributed as questionnaire by sex and ages in Seoul metropolitan and her environment. and the factorial analysis and the coefficient of Cronbach's ${\alpha}$ for reliability test were completed for questionnaire's validity using SPSS/PC+ Window Ver. 12.0.

The Aesthetic Consciousness Latent in the Korean People's White Clothes Customs (한국인의 백의풍속(白衣風俗)에 내재된 미의식)

  • Kim, Eun-Kyoung;Kim, Young-In
    • Journal of the Korean Society of Costume
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    • v.56 no.7 s.107
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    • pp.1-17
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    • 2006
  • This study purposed to examine Korean people's white clothes custom historically and to explain the aesthetic consciousness latent in the custom. Korean people preferred white clothes, even up to foreigners called them White-clad folk. Not only as in old historical literatures, but also in Soo-suh, Shin-Dang-suh including Sam-Kuk-Ji in China, white clothes were a real symbol to Korean people, ranging chronically far back to the age of ancient tribal countries, Sam-Kuk Period through Koryo Dynasty and even to modern age near the end of Chosun Dynasty, wearing with pleasure regardless of age, sex or social position. Even King himself in Koryo Dynasty is said to have worn white clothes when he was out of official hours. During the Koryo and Chosun Dynasty, white clothes were sometimes prohibited for various reasons including conflicts with the theories of yin-yang and the five elements but such regulations were not effective. To Korean people, white clothes were ordinary people's everyday dress as well as noble people's plain suits, saints' uniforms with religious meanings, ceremonial costumes, funeral garments, etc. The various uses show that white clothes have been worn by many people. The unique custom that a People have worn white clothes consistently for such a long time may contain very deep symbolic meanings representing the people's sentiments and spirits. The present study understood that the meanings come from religious sacredness, magical wish for brightness, the pursuit of purity originating from the people's national traits, assimilation with nature and the will to attain whole ascetic personality. Aesthetic attitudes based on aesthetic values summed up as sacredness, brightness, purity, assimilation with nature, asceticism, etc. are the aesthetic consciousness pursued by Koreans through their white clothes. For Koreans, white color is the origin of their color sense coming from primitive religions such as worshipping the sun and the heaven. In this way, Korean people's preference for white clothes began with primitive religions, was mixed with various social, cultural and religious influences and finally was settled as their durable spirit, symbol and beauty.