• 한국의상디자인학회지
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• 제16권4호
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• pp.15-25
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• 2014

The purpose of this study is to promote the artistic value and formative aesthetic of clothes in daily life through a proposal of inventive fashion design by utilizing Depaysement of Surrealism, which visualizes a more realistically and more specifically than fact in illogical and unfamiliar situation, Focused on details of Korean traditional costume silhouette. The method of this study, the literature and existing researches related to Depaysement were analyzed through theoretical review for establish the expressive techniques of Depaysement expressed in contemporary fashion. Conclusions from this study are as follows: first, the expressive techniques of Depaysement are derived that are 'change of scale', 'change of materials', 'combination of heterogeneous objects', 'arrangement of object in a strange space', 'overlapped object', 'paradoxical image', 'variable awareness of boundary.' Second, expressive techniques of Depaysement present a new methodology which can express an irrational thinking, which is not controled by reason such as unconsciousness, dream, and fantasy etc, in a way that is easier and more realistic rather than thinking centered on an art which is ruled by consciousness. Third, unique and free-form fashion design, which destroys a general idea, was could develop by using abundant materials and composing items borrowed various silhouette for expressive the techniques of Depaysement. Forth, Through this study, the concept of Korean fashion design, that was limited by the standard form when we approach Korean fashion design as identity of social culture, ideology of reflection and expression, object of commercial expression, was could think outside of the box.

• 영어영문학
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• 제58권1호
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• pp.117-142
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• 2012

The education of children is one of the most important parts in children's literature. Children's literature, whose implied readers are both children and parents, is a good means to teach how they should behave and interact. Therefore, literary conventions of children's literature tend to be conservative with happy endings or fairy tale elements. Most of the children's literature of the 18th century were read as a conduct book which teaches children good manners and proper behavior, and at the same time served as a guidebook which tells parents how to discipline children. It emphasized the need of discipline to ascertain the hierarchy and order of the family, and cherished the close relationship between parents and children. In the 19th century, the ideal of family becomes more internalized. In the early 20th century, the ideology of family still remained, even though the world wars and economic depressions caused the cracks and collapses of the family. In the later 20th century, the disintegration of the traditional family was accelerated. The ideal of family based on the close relationship between parents and children, has had problems from the start. The attachment and over-closeness became stressful and sometimes could be poisonous. Recent children's literature shows the process of disintegration of the traditional nuclear family, children suffering in the fractured family, children's mental trauma, and nostalgia for the lost family. However, modern children's literature manages to find the lost or ideal surrogate family, and often shows fairy-tale elements such as mystical and heroic child protagonists or helpers who might solve all the difficult problems at once, despite the collapse of the family in reality.

• 한국전통조경학회지
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• 제30권2호
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• pp.142-154
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• 2012

옛 부안 관아(官衙)터 반석(磐石)위에, 19세기 초 현감 박시수가 쓴 초대형 초서체 바위글씨 '봉래동천(蓬萊洞天) 주림(珠林) 옥천(玉泉)'의 의미는 혜천지역의 바위글씨와 맞물려 이 일대가 곧 신선의 세계임을 반증하고 있다. 바위글씨가 집중된 상소산 아래 서림(西林)과 금대(琴臺)그리고 혜천(惠泉)등 경물 지칭의 바위글씨는 이 고장 출신으로 여류시인이자 관기(官妓)였던 이매창이 교우했던 인물들과 밀접한 관련성을 보이며, 이곳이 부안의 풍류와 선비정신이 교융(交融)된 지역 명소이자 정원 후원으로서의 역사성을 배태한 장소임을 상징한다. 이 지역 바위글씨의 대부분은 19세기부터 20세기 초반에 걸쳐 각자된 것으로, 총 34건 중 경물(景物)관련 4건, 경색(景色) 관련 8건, 인명(人名)관련 5건 그리고 시문(詩文)15건, 기타 2건 등으로 분류되었고, 전체적으로 시문의 비율이 월등히 높았으며, 시문 속 주제어의 중심에는 '상소산'과 '혜천'이 자리 잡고 있다. '봉래동천'은 물론 '소산사호(蘇山四皓)'의 표현이나 연단로에서 제조된 신선의 단약에 비견되는 '혜천의 샘물'은 신선사상의 영향이 강하게 누적되고 관성화되어 착근된 장소정체성의 단면을 보여주는 경관어휘이자 봉래동천, 주림과 옥천 바위글씨의 조합과 조응하는 것으로 이 일대가 '신선의 세계'임을 상징화하고 있다. 헌종11년(1845년)현감 조연명의 인위적인 식수 이후, 체계적으로 가꾸어온 숲인 서림과 그 숲에 조성된 정각 서림정과 주변에 산재한 '혜천 금대'등 바위글씨가 새겨진 암반 등은 신선사상이 깃든 관아(官衙)의 후원이자 임천정원(林泉庭苑)으로서의 성격과 면모를 보여주는 흔적이며, 이곳에 깃든 장소정체성의 핵심이다. 또한 낙토(樂土), 부안의 중심인 관아지역과 풍류 시회처(詩會處)로서 후원 혜천지역은 선계 동경적 아취와 상상력을 바탕으로 생활 속의 공간으로 구현 정착되어 왔음을 볼 때, '상소산과 서림'그리고 '동천과 혜천'의 관련성과 상징성이야말로 이곳 장소정체성의 본질이라 할 만하다. 내변산과 격포지역이 부안관광의 중심인 현실을 볼 때, 서림공원 일대의 바위글씨를 중심으로 한 문화유적은 부안의 대표적인 관광명소이자 부안 읍치를 대표하는 역사문화경관으로 자리매김하기를 기대한다.

• 한국전통조경학회지
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• 제41권4호
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• pp.21-29
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• 2023

문화예술의 전성기였던 북송시기는 중국 원림사에서 큰 변화를 가져 온 시기이다. 이전 당대(唐代)에 발전하였던 은둔과 사념(思念)들이 문학과 회화 그리고 예술과 결합되며 원림은 예술작품으로 인식되는 경향을 보이고 있다. 특히 북송시기 문학과 예술을 관통한 소식의 등장은 개인적 정원조성을 뛰어넘어 공공원림의 발전과 원림의 다변화에 영향을 주고 그의 오랜 폄적기간들은 지역문화와 특색을 이해하고 원림에 반영하는 계기가 되었다. 이에 본 연구는 다양한 원림을 경영하였던 소식의 사상에 주목하여 그의 폄적생활과 사상의 관계성을 통해 문인으로서의 그의 원림 경영을 살펴보았다. 이를 위해 소식이 경영한 현존하는 혜주의 백학거 원림을 중심으로 소식이 경영한 문인원림의 양태를 살펴본 결과 다음과 같은 특징과 가치를 표출하였다. 첫째, 유불도 삼가(三家)에 능통했던 소식은 백학거의 입지와 원림 구성요소에 사상과 독특한 조망 기법을 결합하여 경관을 즐기고 있다. 고택은 소박한 형태이나 내경과 외경의 결합을 통해 확장성을 지니고 있고 내경은 단일공간으로 인식되도록 구성하되 공간의 중첩적 경험과 다경관의 동시적 감상이 가능하도록 계획되어 있다. 반면 공간에는 반드시 위계를 설정하여 질서를 두고 있다. 둘째, 원림은 지역의 특징을 반영하여 아열대성 식물이 다수 나타나고 있고 건조물과의 색채적 대비를 고려하여 활색생향(活色生香)적 식재 형태가 나타나고 있다. 또한 시의적 정신세계를 원림에 투영하여 심신수양과 이상세계의 탐구적 장소로 원림을 차용하였고 거욕과 수심적 마음수행을 위한 장소로서 식재는 간결하되 특징을 잘 내보일 수 있는 수종을 선별 식재하여 원림 공간에 율동감과 입체감을 주고 있다. 셋째, 백학거는 시대별 변화를 보이고 있으나 근본적으로 후손들에 의해 소식이 조영한 원림의 양태와 원림 요소들이 현존하여 유산적 가치를 확인할 수 있다.

• 인문언어
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• 제2권2호
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• pp.143-161
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• 2002

This essay explores the theories of Italian poet and filmmaker Pier Paolo Pasolini on the language of cinema. In essays such as "The Cinema of Poetry" and "The Written Language of Reality" composed during the 1960s, Pasolini argues for the special status of film language as "pre-grammatical" and links it to visual signifying processes such as dreams and memories. He also views cinema as the inroads towards a general semiotics of reality since, for him, the basic unit of film language is not the shot but those objects of reality that constitute the mise-en-scene of the shot, hence cinema is posited as the written language of reality whose minimal units of articulation are the very objects of reality itself. Accused by semioticians such as Umberto Eco of semiotic ingenuousness in trying to reduce the facts of culture to nature, Pasolini responded by arguing that he was trying to do the opposite, that is to say, to culturalize nature by examining it as a language. Against the constructed naturalism of both commercial and neorealist films, Pasolini argued for the creation of a poetic cinema able to exploit its constitutional pre grammatical, oneiric and sacred relationship with the world. The essay concludes with an analysis of the film Medea in which Pasolini′s attempt to restore a sacred vision of reality merges with his concerns over the cultural genocide of traditional and emarginated peoples at the hands of neocapitalist homologation.

• 대한가정학회지
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• 제35권6호
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• pp.289-315
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• 1997

Living culture, which is a pattern of peoples' everyday living, is influenced by the socio-economic conditions as well as ideology of the society. south and North Korean societies have been segregated during the past 50 years with different socio-those two societies share the same traditional culture. This project was developed to identify the differences in living cultures between South and North Korean societies, and to make suggestions for their successful integration. The first part of the project was concentrated on finding out the current living culture of North Korean families. References on North Korean living culture were reviewed, and North Korean movies related to family living were also analyzed. Besides, in depth interview was conducted with ten people who escaped from North Korean after 1990. The subjects with various demographic backgrounds were asked about lifestyles concerning food, clothing, housing, time management, consumption, child rearing, and family living that they experienced when they were in North Korea. The subjects were also asked to respond to the questionnaires measuring collectivism, materialism, and familism, which were developed for the study to find out the relationship between value orientation and lifestyles. This study revealed differences in many aspects of living cultures of South and North Korea, and relationships were suggested between value orientation and lifestyle. This exploratory study was intended to provided ground for more objective study with large number of subjects in the following year.

• 한국의류학회지
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• 제35권6호
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• pp.687-699
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• 2011

Folk costumes in East Asia are characteristic in their colors of the five-element colors based on natural colors or achromatic colors (such as white or black) that imply the beauty of nature or the beauty of naivety. The Asian look adopts forms of Asian costumes into western costumes in terms of structure, silhouette, ornament, pattern, and color; in particular, color had very limited attributes. This study is a comparative study on colors, shown in East Asian folk costumes and the Asian look. It discovered the differences of color in East Asian folk costumes and the Asian look to discuss the backgrounds of difference. For research, it simultaneously conducted literary reviews and empirical research based on the Asian look. Asian colors that appeared in some costumes of the Asian look were influenced by East Asian costumes, while the primary color of playfulness or color for low chroma or black exuding a contemporary nuance (common in the western fashion) were prevalent. This revealed that the costume that had the attribute of playfulness in terms of structure, ornament, or patterns is adopted in western fashion through the fusion of eastern forms and pastiche. Colors of the Asian look are different from those of East Asia with superficial imitation, in which all the East Asian spirits and symbolism are lost. While folk costumes of East Asia hold symbolism derived from Asian spirits, the Asian look disintegrates the ideology of East Asian costumes and replaces it with a Postmodern playfulness.

• 시큐리티연구
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• 제8호
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• pp.45-64
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• 2004

The pivotal emphasis of the physical training for the security agents of the security headquarters in the North Korea is to inspire them with the defense physical training-centered ideology and the war spirit. Their special martial arts is the protectee-centered offensive arts rather than the self-centered arts. It puts emphasis on training black belt-holders in diverse martial arts rather than in a certain martial art. Thus, the physical training for security agents in the South Korea should be also developed into the ways to rear them as black belt-holders in diverse martial arts rather than to foster them as high grade-holders in a certain martial art. And also, professors majoring in security and physical science have to develop jointly the measures to improve the physical and mental agility and the basic physical strength to inspire rapid handling and perseverance, to develop the physical training program to reduce mental and physical stress of security guards, to develop the standard for the examination of physical strength suitable for the body figures of Korean people and the regular evaluation with the standard and to apply traditional folk-games such as the swing and the seesaw to the physical training for security guards.

• 복식문화연구
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• 제18권3호
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• pp.550-558
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• 2010

Russian Constructivism, which took the lead in the Russian trend of art until the late 1920's, was influenced by European Cubism and Futurism. Breaking away from the previous realistic tendency, Russian Constructivism, to meet the ideology of the revolution, insisted the "Art into Street" and the "Art in Industry" with its abstract and geometric design. Russian Constructivism effected paintings of mid 1920's, as well as Industrial design and costume design. This operated remarkable changes in Russian form of costume and textile area. An unusual situation like revolution had provided the social justification to develop a new costume design not for the special class of people, but for the general public. In this atmosphere, the plan of clothing mass production began to progress. Although the Russian Constructivism costume of arts shows the similarity in the trend of fashion and the physical forms of those days, its fundamental idea in manufacturing costumes was 'to create costumes to be possible to mass-produce and to be wearable to anyone regardless of the social class'. Therefore, Constructivism costume of arts pursued dynamism and geometric form through non-objective design that has broken away from the handcrafted and traditional standards of the past. These distinct characteristics served as a momentum to seek costume design based on productivity and functionality.

• 복식
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• 제64권6호
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• pp.176-191
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• 2014

This article focuses on the late 19th to early 20th century gat, the Korean top hat for men, to understand the diverse meanings behind the hat. During the late 19th to early 20th century, the Joseon Dynasty (1392~1910) was plunged into confusion and turmoil as it was nearing its end. It was a period of drastic changes in regards to philosophy and ideology. To that end, the hats of society mirrored such changing times, as well as the differences in the awareness of Joseon's internal subject entities and external observers. Based on the analyses of the relevant documents, this study takes a multi-faceted approach to the process in which traditional Korean hats, which were once a symbol of the Joseon civilization, became reduced to an outdated object, as well as observing the awareness and attitudes of the entities involved in such a pivotal process.