• Fashion & Textile Research Journal
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• v.6 no.6
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• pp.723-730
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• 2004

The purpose of this study is to speculate on the history and the meaning of so-called "princess fashion" based on the feminist's viewpoint. While many designers in Korean fashion world have fostered the trend of princess fashion, relatively little insight has been developed regarding its socio-cultural meanings. For this problem, the researcher traced the historical background and the development of the princess fashion in both the western and the Korean fashion world. As a case of the princess fashion study, Andre Kim(a renowned Korean designer)'s collection was selected and analyzed since he has often been a central figure for the princess fashion trends in Korea. Here the operational definition of the princess fashion is the lavish dresses designed based on the western court dress styles. As a result, the researcher found that the princess fashion was originated from the eighteenth century in France. In the nineteenth century, male designers took over the role to make extravagant dresses such as empire and crinoline dresses which became the prototypes for the princess fashion. In Korea, the western court dress style was introduced at the end of the nineteenth century and it became a uniform of prostitutes during the Korean War. By analyzing Andre Kim's collection, it is found that his romantic dresses imitated the nineteenth century court dresses. Therefore, from the feminist's viewpoint, his princess fashion is a mere reproduction of anachronistic styles reflecting inferior and passive images of women. The researcher draws a conclusion that today's fashion should transcend the princess fashion that signifies the female's submissive-masochistic roles operated by the male's sexual expectation.

• Asian review of World Histories
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• v.1 no.1
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• pp.5-44
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• 2013

This essay offers a historically based critique of the idea of "alternative modernities" that has acquired popularity in scholarly discussions over the last two decades. While significant in challenging Euro/American-centered conceptualizations of modernity, the idea of "alternative modernities" (or its twin, "multiple modernities") is open to criticism in the sense in which it has acquired currency in academic and political circles. The historical experience of Asian societies suggests that the search for "alternatives" long has been a feature of responses to the challenges of Euromodernity. But whereas "alternative" was conceived earlier in systemic terms, in its most recent version since the 1980s cultural difference has become its most important marker. Adding the adjective "alternative" to modernity has important counter-hegemonic cultural implications, calling for a new understanding of modernity. It also obscures in its fetishization of difference the entrapment of most of the "alternatives" claimed--products of the reconfigurations of global power--within the hegemonic spatial, temporal and developmentalist limits of the modernity they aspire to transcend. Culturally conceived notions of alternatives ignore the common structural context of a globalized capitalism which generates but also sets limits to difference. The seeming obsession with cultural difference, a defining feature of contemporary global modernity, distracts attention from urgent structural questions of social inequality and political injustice that have been globalized with the globalization of the regime of neoliberal capitalism. Interestingly, "the cultural turn" in the problematic of modernity since the 1980s has accompanied this turn in the global political economy during the same period. To be convincing in their claims to "alterity", arguments for "alternative modernities" need to re-articulate issues of cultural difference to their structural context of global capitalism. The goal of the discussion is to work out the implications of these political issues for "revisioning" the history and historiography of modernity.

• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.66-82
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• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal boily shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Manipulation of physicality entails the reconstruction of the ideal body image through the clothes that modify physicality into unnatural body. Ruff collar, gigot sleeve, crinoline, bustle, stomacher, and corset were all used to materialize the fictitious curves symbolizing femininity, authority, healthiness, maternity, virginity, socioeconomic status, and fertility. Accentuating specific clothing parts represents emphasizing the symbolism of the correspondent body parts. Consequently, in this phase signifiant is $signifi\'{e}$. Aesthetic ideal of the body is visualized in the firm of a dress. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• Trans-
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• v.3
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• pp.87-107
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• 2017

In this paper, we tried to find out what is the cinematographic reality conceived by André Bazin. To this end, we examined the process of his long exploration of realism, focusing on his film criticism. Through this, we read his deep concern that the film medium, which is more imitative than any other medium, would not become artistic but rather stimulating mimicry. When photographs or movies first appear, people have been interested in saving money by simply storing scenes in front of them or imitating stimulating scenes before realizing their artistic value. In this way, Bazin warned us that when the cheap pleasure derived from the simple imitation of fact is concatenated with the logic of capitalism, the film falls into a subordinate medium and drops the value of human beings indescribably. He therefore argues that cinema must transcend simple imitative dimensions by exploiting various abstract expressions in its own language. His works about the realism in cinema is meaningful in that the value of true realism of the movie is important to build up humanism today in respect that the movie raises extensively the logic of capitalism through visual pleasure.

• Journal of the Korea Society of Computer and Information
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• v.10 no.3 s.35
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• pp.307-318
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• 2005

Cyber crimes caused unpredictable damages by influencing targets with means such as hacking and virus in virtual space. In specific, they transcend time and space because of their anonymity and it is difficult to punish the people who are involved in crimes. To manage such cyber crimes, we need an international cooperative systems beyond difference in legal systems between countries and 'Global Governance' was prepared as a reasonable alternative. These days, governance has been presented as an important concept to explain changed social systems or changed roles of government. It was not just a concept to replace traditional government of a single nation, but to overcome new problems on social actions of humans. So it is expected that it can help prepare reasonable measures through cooperation both in individuals and systems, and public and civil sectors. To countermeasure cyber crimes in terms of global governance, we can prepare general investigation systems and professional human resources through civil and public assistance, and provide a base on which international cooperation systems can be established.

• Journal of the HCI Society of Korea
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• v.5 no.1
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• pp.1-9
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• 2010

The objective of this study is to present a prototype of organic content, using 3 Screen as the basic concept, and to examine the possible applications of such models. Organic content is something with the characteristics of an organism, which adapts to each unit while maintaining connectivity without losing identity, according to the situation of the user and the characteristics of each unit, opposed to contents that exist without connectivity among units. To this end, I produced a prototype called "Fishing Phone," which crosses over TV, 모바일 and PC. In the Fishing Phone, the fish adapts to each unit as it interacts differently with users while maintaining its own identity. It is an organic content that travels freely through the 3Screen. Fishing Phone was created by using technology and products widely used and serviced today, such as WiFi, java networking, flash player 7, omnia2, and space censors. It demonstrates that organic content can transcend the limitations of space in existing contents, generating new value, realizing complex interaction, and ultimately providing advanced applications for marketing.

• Korean Institute of Interior Design Journal
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• v.17 no.3
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• pp.86-93
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• 2008

The purpose of this study is to find out how the otherness philosophy reveals itself in the principle of F.O.A construction space creation. The traditional philosophy of totality is self-centered and thoughts are based on the subject. It couldn't escape from the world associated with the self, and has subordinated the other to the main body. But the philosophy of otherness transcends the subject, to the open, creative way of thinking which acknowledges deconstruction, decentralization, and non-hierarchy. This is very similar to contemporary architecture, which pursuits change, and also to the current state of society. In construction by the construction group F.O.A, which is doing notable activity this generation, there is an attempt to transcend the fixed subject which is seen in the otherness discussion, and realize recategorization by overcoming the boundaries of subject and object. First, by the realization of landscape architecture using a topographical folding technique, boundaries of the subject and object are demolished in the relationship of the landscape construction, and recategorization. Second, by breaking up the meaning of the surface which is a visual and physical boundary for both the internal and external, recategorization is being done. Third, by making the boundary between the interior and exterior indistinct, cognitive threshold is dissolved, and the relationship between the subject and object is being recategorization. In conclusion, we can see that the many recategorization phenomenons that are happening in the F.O.A construction show the otherness that escapes from the conventional and stationary relationship, and recognizes each other at the same time, forming new relationships.

• Journal of Korean Society of Steel Construction
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• v.15 no.6 s.67
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• pp.621-628
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• 2003

Stud shear connectors are the most commonly used shear connectors: up to 22mm studs are usually used in steel-concrete composite structures. To expand the current design codes for stud connectors, large studs with a diameter of more than 25mm should be investigated. Through push-out tests on large stud shear connectors that transcend the limitation of current design codes, fatigue behavior was investigated and comparisons with design equations performed. The shear stiffness of the connectors in elastic range was evaluated through shear tests on 25mm, 27mm, and 30mm studs and compared with those from static tests. The fatigue behavior of large studs was discussed in terms of residual slip and load-slip curves. The initiation of fatigue cracks in the welding part could be detected through the history of displacement range. Test results showed that the design fatigue endurance of S-N curves in current design codes could be applied to large stud shear connector.

• Journal of Korean Society of Steel Construction
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• v.15 no.6 s.67
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• pp.611-620
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• 2003

Shear studs with a diameter of 19mm or 22mm are typically used in steel-concrete composite bridge. For the simplification of details in steel bridges, the convenience of removing concrete slab, and the efficient distribution of shear pockets for precast decks, large studs can be an excellent alternative. Through push-out tests on large stud shear connectors that transcend the limitation of current design codes, static behavior was investigated and comparisons with design equations performed. The shear stiffness of the connectors in elastic range and trilinear load-slip curves were proposed after shear tests on 25mm, 27mm, and 30mm studs. The ultimate slip capacity and ultimate strength of large studs were also evaluated, with the test results revealing conservative values for the design shear strength in Eurocode-4. For 30mm stud shear connectors, the welding quality and bearing capacity of concrete slab should be improved.

• Journal of Korean Classical Literature and Education
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• no.15
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• pp.421-461
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• 2008

Miss Ki, the heroine of (취유부벽정기) is the image on which Hong-saeng's mind is projected. And the mind of Hong-saeng(홍생) is the allegory of Kim, si-seop's(김시습) mind to king Dan-jong. So I think the mind of Ki who thinks patriotism is more important than her life is the allegory of Kim si-seop's patriotic sentiment to king Dan-jong. And I think the sorrow of Hong-saeng for the ruins of Ko-choseon(고조선) means sorrow of Kim, si-seop's(김시습) for the death of Dan-jong's. They felt sorrowful because values that they considered as absolute ones were damaged. However, everything in the world are fatally changed. Although people think the most important thing they think now is never changed, after long time they cannot but see all is changed. At last people realize the thing seemed most important will disappear in vain. So the writer of (취유부벽정기) made a image of Miss Ki who is a nymph of moon and was the princess of Ko-choseon to awaken Hong-saeng. He intended to change hong-saeng's mind to king Dan-jong with the change of Miss Ki's mind to her father. But the writer knew the fact that though Hong-saeng changed his mind, he could not become happy. So he wanted to transcend the real world, but he can't. After all he expressed his wants in fantastic lunar world.