• Korean Architects
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• no.3 s.359
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• pp.78-81
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• 1999

• Proceedings of the Korea Society of Costume Conference
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• 2004.05a
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• pp.3-12
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• 2004

$\square$ 디지털폐인 탐구 -폐인, 언어, 리플문화, 사진합성, 그외 작품활동 등 $\square$ 어떻게 읽을 것인가 -가상공간은 포스트 모더니즘의 현대 소비문화가 식민화된 형태 - 폐인사이트 요소분석과 심층인터뷰를 통한 포스트모더니티 분석 $\square$ 소비문화적 함의 - 능동적 소비문화 - 대항적 소비문화 - 키치적 소비문화 (중략)

• Lingua Humanitatis
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• v.2 no.1
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• pp.213-235
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• 2002

The purpose of this paper is to study on the aesthetic modernity of Baekseok's poetry. They say that Baekseok's poetry have the motives of the folk-customs and his native language which have been studied for the purpose of showing the subject character of Baekseok's poetry. Baekseok's poetry consisted of the dark imagery are based on the reality of our national loss and his lose living, so the approaching for the purpose of showing the subject character is more suitable for the understanding of the world of his poetry. But this paper Is approached by what the aesthetic modernity of Baekseok's poetry is, because the understanding of how the modem poetry are composed of is more important reading pattern on them. The special feature of his poetry is composed of the ironic poetics figured by the anti-subjectivity like the stylistic of the Imagism, the child narrator, and the pessimist narrator. His poetry written by the Imagism stand for the Apollo Modernism, and his poetry written by the child narrator and the pessimist narrator stand for the Dionysus Modernism. His poetry anti-subjected through the Imagism have been written with the motives of the home-nature and the native people, which have created the objective modernity. His poetry through the child narrator have been written with the motives of our folk-customs, and them through the pessimist narrator have been written with the paradoxical speech, which have created the subjective modernity. Especially, the Shamanism-poetry through the child narrator have created the aesthetik of the Schreckens. Others have created the ironic poetics through the anti-subjectivity and the exaggerated paradoxical rhetoric. In conclusion, it is more reasonable point of view that the special feature of Baekseok's poetry is based on the dual modernism like the Apollo and the Dionysus.

• Journal of English Language & Literature
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• v.55 no.1
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• pp.83-105
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• 2009

Modern poetry begins as criticism of modernity and, by so doing, rejects its idea of time. Modernity emphasizes sequential, linear, and irreversible time and progress. Williams rejects the modern view of time, and attempts to substitute literature for history assuming that literature can take us into the immediacy of time. His poetry asserts the true moment of experience as an immediacy, of words co-existent with things. He suggests that modernity and its idea of time already led to World War I and could clearly lead to an actual, manmade apocalypse with continued technological progress. Already in the 1920s, Williams sensed that he was living in a world where such an end could come all true, which is why Spring and All, his greatest early achievement, begins with a parody of the modern apocalypse. Throughout the work, Williams criticizes "crude symbolism" and expresses his longing to annihilate "strained associations," for he believes that the metaphoric or symbolic association is related to order, the center, and the traditional concept of time itself. The metonymic model of Spring and All substitutes a self-reflexive, open-ended, and indeterminate structure of time for the linear and closed one. Instead of supplying an end, Williams only asserts the rebirth of time and attempts to arrive at immediacy while attacking the mediacy of traditional art. His characteristic use of fragmentation and abrupt juxtapositions disrupts the reader's generic, conceptual, syntactic, and grammatical expectations. His radical poetic experiments, such as the isolation of words and the disruption of syntax, produce a sense of immediacy and force the reader to confront the presence of the poem. His destruction of traditional forms, of the tyrannous designs of history and time, opens up rather than closes the possibility of signification, and takes us into a moment of beginning while disallowing temporal distancing. Spring and All, as a criticism of the modern idea of time, asks us to view Williams's work not as an ahistorical text but as a cultural subversion of modernity.

• Archives of design research
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• v.11 no.2
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• pp.167-176
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• 1998

The modern contains many problems that cannot be solved by the reductionism based on western natual science. Up until now, it has been formed determinism over the basis of empiricism or rationalism, this can be called a mechanical view of the world. In the field of natural science since 20C, however, raised the standard of revolt in traditional determinism, plural theory headed up. Consequently, in the name of post modernity, western reason became to deconstruct, further, new theory came to need. This new paradigm also affected design, and was studied to overcome the limitation of modern design.

• Journal of architectural history
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• v.15 no.4
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• pp.37-56
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• 2006

Introducing International Style, P. Johnson and H. R. Hitchcock gave three standards to be the Modern, volume and surface, regularity, and exclusion of applied decoration. In spite of the negation of stylistic, formal approach in the Modernist Manifestoes, one usually have understood Modernity in Architecture with its formal character, especially with no ornament and flat, abstract, white surface. Modernism as a new paradigm in architecture have emphasized that there is no representation of anything outside and only present architecture in itself. They said that Modernism only cared about the language of Architecture without figural reference. So apparently there is no way to prove to its Modernity with formal condition. Modernity is in Spirit and contents. But actually we understand well its existence by visual communication This study deals with this difficult situation how Modernity represents itself without visual media and asks the question how simultaneously it presents its thingness and materiality In order to analyse contradictory situation between representation and presentation in Modern Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. With the crisis of representation the role of ornament have seriously changed and divided. It caused the two situation in pre-Modern Architecture. Firstly, Architecture tend to be a high art and formal expression became important much more. The Use of Ornament became a kind of fashion to show the power, class, money. Secondly, Ornament lost its cultural weight and the structure and material aspect became the central in architecture. Rational Structuralism would be the essential character in Modern Architecture. Here the theory of G. Semper and A. Loos on cladding(dressing) and Ornament can help its problems and limits. In the situation without conventional ornament Modernists need to present modernity with new media that only show the thing itself and by that it does not represent any thing else as like the value, idea outside buildings. They believed that only it concerned esthetics and morality in architecture. But in reality it referred to art and machines as like ships, aircraft, and cars. By excluding Ornament and showing the process of clearing, abstract, flat, white surface 'represent' Modernity by the indirect way referring the concept of transparency, reason, sanitation, tectonics, etc. An Ideology and myth intervened architectural discourse to make the doxa about the representation in Architecture. Surface must be a different kind of media and message that can communicate in different way with compared to conventional Ornament. Decorated Shed by R. Venturi and Post-Functionalism by P. Eisenman, that are the most famous post-modern discourse, shows well difficult and contradictory condition in contemporary architecture concerning representation and form, meaning and form.

• Journal of architectural history
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• v.24 no.4
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• pp.45-54
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• 2015

This research aims at a critical discourse on the relation between the concepts of the uncanny and posthistoire, on the basis of descriptions in The Architectural Uncanny (1992) by Anthony Vidler. For the purpose, Histories of the Immediate Present (2008), another book by Vidler that discusses posthistoire philosophy to which he is not positive, is also investigated along with the former thesis; and various publications related to the themes by the influential writers such as Freud, Lyotard, Vattimo, and Habermas are referred to, too. Firstly, this paper will illustrate an essential understanding of the uncanny, an outgrowth of the sublime, and the history of posthistoire respectively; and then analyse contexts where the posthistoire was mentioned in The Architectural Uncanny. In the 'Introduction' and 'Losing Face' chapters of the book, this paper argues, the two concepts are connected by the notions of 'repetition' and 'losing the classical facade' as well as the uncanny as 'a metaphor for a fundamentally unlivable modern condition'. Though Vidler's recognition of posthistoire in the two chapters are differently interpreted, each as 'the emptiness of capitalism' and 'the decomposition of representation', both can be understood in terms of 'modernity' that is 'still open'. If modernity is 'an unfinished project' as maintained by Habermas, who Vidler relies on, we need to continue innovative experiments and internal investigations in architectural creation beyond the categories of modernism and postmodernism.

• Korean Institute of Interior Design Journal
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• v.19 no.1
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• pp.63-74
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• 2010

The purpose of this research aims to retrieve the communication which is the essential publicness in the built environment design and the self-management which is the original value in terms of sociology. To examine this, the way in which the characters of the design of the publicness have been changed will be concentrated on in the public area since 1980s, Particularly, this research has been focused on the Second modernity design which is against the aggressive utopia - oriented modernization and Reflexive Modernization which has been mentioned by Anthony Giddens, Ulich Beck, and especially Scott Lash. Also, to understand Reflexive Modernization, the realism art in the view point of the objective recognition of modernity and identity emphasized by Scott Lash will be examined. Through the analysis of the Nene Sachlichkeit which is a part of the realism art, how the reflection of the design can be the function of the design will be addressed and some examples will be analyzed in terms of communications and self-education in the design of the publicness. Thus, Contemporary Built Environment Design features are categorized into universality, objectivity, and rationality; it reaches that the past Neue Sachlichkeit meets the spirit of art; it concludes that the efforts of the reflection of the modernity, intensity and development in design are the challenges for the purpose of the design of the publicness.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.2
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• pp.317-334
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• 2021

This study aims to examine the expressive characteristics and meanings of modern in contemporary fashion, especially focusing on Vogue and The New York Times. First, modern signified originality born out of borderless fusion and compromise. It was also expressed to signify diversity and tolerance not bounded by conventions, TPO, areas, ethnic groups, seasons, or gender. Second, modern meant functionality encompassing the comfort of body and mind. It was used to refer to convenient mobility and activity fit for the lifestyle of busy modern people. Third, lightness and naturalness were used as new meanings of beauty in modern fashion. In the fashion of the twenty-first century, the principal meaning of modern was lightness, which was sought after in everything including materials, modes of wearing, and ways of thinking. Finally, modern fashion was expressed as a democratic tool for social reform and used in the meaning of enlightenment to benefit society as well as oneself. The results of this study indicate that constant changes in trends, lifestyles, and psychology of contemporary society have the potential to give new meaning to the concept and the use of the term modern.

• The Research Journal of the Costume Culture
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• v.16 no.5
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• pp.878-890
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• 2008

As a pioneer of modem dance, $Lo{\ddot{i}}e$ Fuller($1869\sim1928$) was important because she introduced a free style dance using a new style of stage costumes. Also, $Lo{\ddot{i}}e$ Fuller was an important motif in $fin-de-si{\grave{e}}cle$, French arts, posters, sculptures, and so forth. This study aimed to clarify the characteristics of Fuller's dance and costumes, and to analyze the modernism in both. To better understand Fuller's dance, this article talks about research on Fuller's career, dance, and Fuller's own biography. Stage costumes, letters for patent, and photographs were are also studied. The most important elements of Fuller's dance were her costumes and the electric lights which could make free style expressions a fantastic representation of dance. To clarify the modernity of Fuller's dance, first of all, this study researched Fuller's career in dance and then analyzed representations of Fuller's dances in visual arts; posters, sculptures and lastly, the characteristics of Fuller's stage costumes. As a result, this article analyzed characteristics of Fuller's dance in three points. First, Fuller used sculptures of silk cloth's drapery to express physical movements and actions. Second, Fuller used lighting and electrical effects that had just been developed in the late 19th Century. Third, Fuller made an application for patents against stage costume and stage mechanisms for her original shows. This study focused on $Lo{\ddot{i}}e$ Fuller's stage costumes which played a main role in expressing fantastic sculptures for the first time in costume, visual arts, and dance studies. This study clarifies the characteristics of the stage costumes in Fuller's dance and is estimated as pioneering and fundamental research.