• 제목/요약/키워드: 엘리자베스 1세

검색결과 9건 처리시간 0.021초

스페인의 무적함대를 격파하고 북아메리카와 인도 등지에 대규모 식민활동을 하는 등 많은 업적을 이룬 엘리자베스 1세

  • 주장환
    • 월간 기계설비
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    • 10호통권183호
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    • pp.95-98
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    • 2005
  • 지난 5월호부터 파이낸셜뉴스 논설위원인 주장환의「인류의 CEO, 이것이 다르다」를 연재하고 있다. 태초의 인류가 역경을 극복하고 이 땅에 자리잡은 독특한 경영이론에서부터, 처칠, 케네디, 주원장, 카네기 등 인류를 이끌어간 위대한 인물들의 삶을 경영학적 관점에서 추출하여 오늘날 우리 기업인에게 필요한 새로운 CEO관을 제시해주고 있다.

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"불꽃처럼 나비처럼"과 "ELIZABETH-THE GOLDEN AGE"의 영화의상 비교분석 - 명성황후와 엘리자베스 여왕1세를 중심으로 - (Comparative Analysis of the costumes in the film "The Sword With No Name" and "Elizabeth: The Golden Age" - Focusing on Empress Myeong-seong and Queen Elizabeth I -)

  • 안미화;장애란
    • 복식
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    • 제61권9호
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    • pp.60-73
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    • 2011
  • The movie costumes, artistic and figurative, serve to maximize the dramatic conveying effect of the movie's theme, actor's character, and the image of a dramatic situation expressed through clothing. It is considered that research would be meaningful if it studied on how the movie costumes are implied with symbols in order to present a dramatic image depending on the situation. Therefore this research compared, analyzed, and interpreted the historical plays produced on historical backgrounds, "The Sword With No Name" and 'Elizabeth - Golden Age'. In other words, five dramatic situations were extracted in order to compare and analyze the costumes of Empress Myeongseong to the costumes of Queen Elizabeth. The costumes presented according to the storyline and the personalities of the two characters with these five as the basis are compared and analyzed, and the implied symbolic meaning could be interpreted and analogized based on the results. Therefore it is suggested that symbolic meaning, along with the expression of the dramatic atmosphere, needs to be implied in the design of the movie costumes.

영국 르네상스 시대의 무대의상 연구 -엘리자베스 1세 시대를 중심으로- (A Study on the Theatra Costumes in the English Renaissance -Focusing on the Period of Queen Elizabeth I-)

  • 배수정
    • 복식
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    • 제48권
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    • pp.53-70
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    • 1999
  • The theatre costume in English Renaissance which is scarce in its historical materials can be inferred and imaginarily reconstructed from classifying it according to types of theatre costumes and considering its specific form in that age. The history of fashion could be also approached in the light of theatre costumes and it might be some help to the present theatre costume. Thus the purpose of this thesis is for contributing to the study of theatre costume by inferring the English Renaissance theatre costume from classifications and research of its pattern in detail. This thesis consists of the overview of the periodical background of English Renaissance and then analysis of the stage surroundings ar that time and classification of the theater costume acording to the types and finally inferences of the pattern of forms of the theatre costume. The theatre costume in English Renaissance can be divided into these group:(1) for foreigners such as Roman Turk Spanish and Jews (2) for supernatural beings such as a nymph god, goddess, ghosts, and witches(3) for professionals such as a clown, a clergyman. doctors and senators(4) for cast of animals such as a lion a bear and pigs. In the Elizabethan period theatre costumes were used together with Elizabethan costumes on the stage. Generally the theatre costumes in the age were typically made of very expensive materials and spectacles to the audience and compensating for the poor stage settings.

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초상화 복식을 중심으로 본 퀸 엘리자베스 1세의 영화 의상에 관한 연구 (A Study of Queen Elizabeth I's Cinema Costumes Viewed from Her Portrait)

  • 성광숙
    • 복식
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    • 제62권8호
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    • pp.55-70
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    • 2012
  • In 16th century, during renaissance time, Britain's queen Elizabeth I, as a means to express her authority, had an exaggerated clothing styles and was the fashion leader of the time. Thus, through a media of Cinema, tried to find out the characteristics and different aspects of the history of clothing styles, of how they changed, ascertained, restored, and reappeared in the modern time. The research was based on the consideration of Elizabeth I's 33 portraits and her clothing styles; and the research is also from analysing the movies from 1937 to 2007, a total of 9 Cinema and 102 clothes. Movie costumes' most important mission is representing the cinema's timely and spatial background. Thus, it is inevitable that ascertaining and restoring Elizabeth I's portrait should be done. However, the movie costume has to show her dramatic lifestyle, dignity, absolute authority, and other visual images. In addition, the costume has to contribute in making artistic effect and thus the creativity of a designer to satisfy all these needs should be added. Based on the findings from the research, the characteristics of Elizabeth I's Cinema costume are first, ascertaining and restoring portraits, second, mixture of silhouette and detail depending on time period, third, partial change on clothing style design, fourth, emphasis of ruff collar, fifth, magnification colors, sixth, avoiding excessive swelling and decoration, and applying modern style on Protective costume. Thus, based on the research, creative design in Cinema clothing, plays an important part in the history of clothing design. I hope this research could work as a foundation reference for clothing design's history.

엘리자베스 1세의 초상화에 나타난 16세기 러프 칼라와 러프 커프스의 미시적 변화 연구 (A Study on the Exquisite Revolution of the 16th Century Ruff Collar and Ruff Cuffs in the Portraitures of Queen Elizabeth I)

  • 배수정
    • 한국의류학회지
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    • 제35권2호
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    • pp.167-180
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    • 2011
  • The portraits created in the age of Queen Elizabeth I show a very exquisite description about the ruff collar and cuffs representing the notable evolution of periodical costumes from a detailed viewpoint. This thesis analyzes the ruff collar and cuffs of the portraits of Queen Elizabeth I. The method used selects 32 pieces from the portraits of Queen Elizabeth I that are considered excellent depictions of a ruff collar and cuffs, to investigate size, form and decorations. Conclusively, the ruff collar tends to be extremely enlarged and thickened (coinciding with the development of glue) while the cuffs denote the aspect of double cuffs coupled with the turn-back cuffs without a change in size. These traits were widely shown from 1585 to 1587, while after 1588 the ruff cuffs completely disappeared in the portraits of Elizabeth I. At the same time, the change of a ruff collar was remarkable, the collar being in the erect position behind the head (with the use of supporters), of a consistent thickness and decoration of elaborate lace. During the transition period from the $16^{th}$ century to the $17^{th}$ century the earliest change was in cuffs followed by collars. This research is a helpful guide to detect the relatively exact date of portraits not definitively identified in the latter part of the $16^{th}$ century and to observe the microscopic evolution of costumes in the latter part of the $16^{th}$ century.

엘리자베스 1세의 초상화에 내재된 복식요소의 상징성 연구 (A Study on the Symbolism Shown by the Costumes in the Portraits of Elizabeth I)

  • 배수정
    • 한국가정과학회지
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    • 제3권1호
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    • pp.73-87
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    • 2000
  • The purpose of this thesis is to make clear the symbolism expressed by the gorgeous costume elements in the portraits of Elizabeth 1. After English paintings in 16th century and the Portraits of Elizabeth I being investigated in view of its characteristics, the symbolism in the costume of the portraits was studied in analysis. The flowers, the pearls and the sieve denoting a pure virgin predominantly appeared, snake for discretion and wisdom, phoenix for eternal youth and renewal, pelican for motherhood, and eyes and ears for almightiness and sound judgement as an utmost power was found. The color was mainly of black or white and sometimes of these two mixtures. The white means a purity and black, eternity and the mixture of them signifies a virtue of purity. This thesis may help people understand the gorgeous costume of Elizabeth 1. not as an external extravagance, but as an internal emblem or signs delivering its specific significance.

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르네상스시대 궁정가면극 의상과 영국복식의 관계성 연구 -엘리자베스 1세와 제임스 1세 통치기간을 중심으로- (A Study on the Relationship between the Costume of Court Masque and English Renaissance Fashion -Focusing on the Elizabethan and Jacobean Period-)

  • 배수정
    • 복식
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    • 제52권3호
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    • pp.1-18
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    • 2002
  • The purpose of this study is to investigate the relationship between costumes of court masque and the fashion trend at that time, by the analysis of the portraits. The period in this thesis is from Elizabeth I (1588-1603), until James I (1603-1625), when Inigo Jones was actively involved in court in masque, and when the traits of court masque began to appear in costume. The research material of this thesis is from the papers, costume design sketches, portraits and miniatures. As a result the costume of court masque which is the mixture of that of ancient Greece, Rome, middle age, and the exotic style of Ireland and Persian, had a great impact on the general fashion, and the unique pattern f costume became prevalent in the end of 16th and the early 17th century. This thesis might help us understand and special costume of that age and study the way how it come to have an influence on the fashion of the costume pertaining mainly to the privileged class.

영화의상에 나타날 엘리자베스 여왕 1세 로브의 표현효과 (The Expressive Effects of Queen Elizabeth I's Rebes in Cinema)

  • 조윤영;양숙희
    • 복식
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    • 제53권3호
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    • pp.89-106
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    • 2003
  • The purpose of this study is to analyze the expressive effects of Queen Elizabeth I's robes in cinema and also to present two examples of Queen Elizabeth I's robes designed and made based on these expressive effects. To this end, this study wilt first examine Queen Elizabeth I's robes in her portraits according to the visual definers and emblematic meanings. Then on the basis of these knowledges, analyze visual definers and viewing priorities of Queen Elizabeth I's robes in five movies. Thereinafter, these robes will be classified based upon Belong(1998)'s four expressive effects. excitement. calmness, strength and delicacy. Finally, this study will demonstrate calmness and delicacy among four expressive effects through two robes made for the purpose. After analyzing the expressive effects of robes in five Queen Elizabeth I's movies, one can conclude excitement. calmness, strength, and delicacy can be found according to the flow of the story. Since this analysis focuses mainly on one particular person during one Particular period of time, there was a fundamental silhouette prevalent among the Queen's robes which then can be classified into different forms. Moreover, Queen's character in itself embodies authority and grace which. in turn, facilitates the presentation of the four expressive effects along the story line. In conclusion, thorough historical research on the character and the period. in addition to analysis of the visual definer and viewing priorities, is imperative when designing a historical costume.