• Journal of the Korean Society of Costume
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• v.66 no.3
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• pp.51-74
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• 2016

The purpose of this research is to analyze the relationship between the inspirations and designs of Dries Van Noten's Men's collections from 1992 S/S to 2014 F/W. The specific questions of this research are as follows: what are the important design features of the Dries Van Noten's Mixed collections from 1985 S/S to 1991 F/W? What are 'the roots of inspiration' of Dries Van Noten's Men's collections from 1992 S/S to 2014 F/W, and what are the aesthetic criterions of Noten's works? How can the roots of inspiration be categorized and what are its features? How did these roots of inspiration influence the Noten's designs? The paper is a reference of how ideas turn to practical works, and what the relationship between inspiration and design. Researchers utilized a qualitative research method providing a systematic review of the previous studies by analyzing the content. To conclude, roots of inspiration of Dries Van Noten's Men's collections can be classified into nine categories: 'Interpretation', 'Ethnic', 'Multiple Contents', 'Subculture', 'Region', 'Artist', 'Fashion Item', 'Sports', and 'New Trend'. Through the roots of inspiration, sensibility of Belgium, England, Italy, French chic, inquiry of ethnic, artist, sports, the neuter gender image, 1950's, 1960's & 1970's trend & style of street fashion, elegance for men, romanticism, zoot, rock 'n' roll, teddy boy, mods, punk, new romantic and 19th century's Anglo-Saxon style are extracted and applied to the designs through cross impact. The identity of Dries Van Noten's Men's collections are cross culture contents and harmony of the old generation and new generation.

• Journal of the Korean Society of Costume
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• v.65 no.5
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• pp.14-34
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• 2015

The aim of this paper is to analyze the relationship between the inspirations and designs of Dries Van Noten's women's collections from 1994 S/S to 2014 F/W. From the research purpose the following questions arise: how are the brands of Dries Van Noten developed and what are the important features? What are 'the roots of inspiration' for Dries Van Noten's women's collections from 1994 S/S to 2014 F/W, and what are the aesthetic criterions of Noten's works? How are the roots of inspiration categorized, what are the features of each category, and how do these roots of inspiration influence the Noten's designs? The paper is a practical reference of how ideas turn to practical works and what is the relationship between inspiration and design. Researchers utilized a qualitative research method to provide a systematic review of the previous studies. To sum it up, roots of inspiration of Dries Van Noten's women's collections can be classified into seven categories: 'ethnic', 'trend & style', 'flowers', 'artists', 'interpretation', 'fabric & pattern' and 'multiple contents'. Through the roots of inspiration, sensibility of Belgium, inquiry of ethnic & oriental, Artists, England, longing of street fashion, 1920's & 1950's trend & style of French high fashion, romanticism, atmosphere of medieval, gypsy, punk and hippie are extracted and applied to the designs through cross impact. The identities of Dries Van Noten's women's collections are fusion and harmony of cross culture and diversity.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.6 s.165
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• pp.985-996
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• 2007

The purpose of this study is to analyze the symbolism of traditional Korean patterns which reflect an emotional cultural background of Korean people, to apply modernized and developed patterns to Textile Design for fashion cultural products, and to explore productive direction of developing designs of fashion cultural products. The process of developing Textile Design of fashion cultural products which applied symbolism of traditional Korean patterns was conducted as follows. Firstly, based on '05 S/S-'07 S/S fashion trends, a design concept wat decided(man-urban ethnic style, woman-romantic ethnic style). Secondly, motive was abstracted from selected traditional patterns to develop into modem patterns. Thirdly, items were selected according to symbolic meaning of traditional Korean patterns. Man's items included shirts, necktie, and handkerchief which were highly preferred by Korean and foreign visitors. Finally, developed textile designs were diagrammed by item using textile CAD and an illustrator 10 and presented as images. The following results were obtained. First, textile designs for fashion cultural products, in which apply traditional patterns may reflect the understanding of traditional aesthetic beauty and philosophical approach by applying symbolic significance inherent in patterns as well as the aesthetics of the patterns. Second, traditional patterns have been recognized as old fashioned to consumers because they have been often used for traditional handicrafts or folk products. If their unique shapes are changed or simplified, emphasizing images, and trend styles and colors are used, they will be recreated as a modem design. Third, textile designs using traditional patterns may provide various images and visual effects according to techniques and production methods. Then, the method will be applied to many items. Finally, since traditional patterns in fashion cultural products can be used as our unique design elements, they can be utilized as the source of design inspiration for the development of value-added products.

• Archives of design research
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• v.18 no.3 s.61
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• pp.117-128
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• 2005

The French Belle Epoque is a period where the literary and artistic movement was very activated. The birth of the cubism reflects this atmosphere of the times and the change of paradigm in all fields. The Bergsonism is often designated as one of the important backgrounds of cubism. The problem consists in knowing if Bergsonian ideas gave real influence on the cubist movement and up to what point. Our analysis will show that it is not homogenous and very variable according to painters. In the case of Picasso and Braques it seems be a simple inspiration of Zeitgeist. But the influence upon Metzinger and Gleizes is explicit. The text of 1912, Du cubism, prove their attachment to his thought. The key concept of cubist theory, influenced by Bergsonian philosophy, is the concept of simultaneity. Cubist simultaneity is in one hand a reflection of an artist's psychological experience and the other hand a synthesis of multiple views for grasping the object in itself by the way of conceptual representation. The temporal simultaneity could be identified with the notion of memory, which is a temporal continuity connecting the past to dynamic present. The spatial simultaneity is a juxtaposition of multiple views obtained by the movement around the object. But the dose reading of Bergson's text shows that there is a divergence between the notion of cubist simultaneity and his ideas. The biased interpretation is often, as well as the strict understanding, like the history shows us well, a great source of inspiration and creativity. The cubist mouvement is not far from this case.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.377-382
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• 2021

《Mu Yang Ai Hua, 牧羊哀話》 is known as the first Korean-sanctioned novel in the history of modern Chinese literature, and is famous for a novel created by the author himself visiting Korea and being inspired. The translation of 《牧羊哀話》 is constantly being re-translated (4 types). These translations also reflect the characteristics of each period, and the translation strategies used have their own characteristics. The results of the comparative analysis of the four types of translations in this study are as follows. The role A was published during the Japanese colonial period, and some parts were reduced and omitted according to the intent of the translator, and a foreignization translation strategy was used. B, C, and D have implemented content equivalence by utilizing many of the localization translation strategies, and added supplementary explanations in part to help readers understand. Since translation is a process of communication, it should not just convert the source text to the target text, but the target reader's response to the work should be the same as that of the reader. Therefore, translation must be able to understand the environment of the times and the readership, and it must use all possible methods to elicit the same emotion and empathy as the reader has read the original text. Therefore, translators need to use their nationalization and foreignization strategies at the same time based on their understanding of the target language and the politics, economy, history, culture, etc. of the destination country.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.189-219
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• 2020

This study is an analysis of Handol Heung-Gun Lee's Tarae, which is a coinage combining the Korean words for "playing an instrument" and "song", in terms of narrative and aesthetics. The components for analysis are the phenomena and nature of binary oppositions between nature and human beings, between alienation and interest, between division and unification, and between diaspora and people of the national community. Tarae in the period from the late 1970s to the early 1990s described the experience of pain and loss from non-resistance and disobedience in protest against social problems that emerged during the era of miliary dictatorship, such as industrialization, urbanization, reckless development, Westernization, university-oriented education, the gap between rich and poor, human alienation, and the conflicts arising from the division of the nation. After Handol overcame the lack of creative motivation with self-reflection and effort, Tarae took the form of a diaspora epic meta-narratives integrating the "sound of nature and his true nature" and "the awareness of diaspora and the spirit of the Korean people". The epics of the homeland, the national soil and the people, which began with "Teo", became more intense in terms of a sense of diaspora as they shifted their focus from an origin to a path with "Hanmoejulghi" as the turning point. Handol seeks inspiration in the source of narrative rather than in music. His Tarae focuses on "adding rhythm for lyrics". For this reason, the semiotic features of Tarae have a limitation in that its extrinsic phonology is simple even if its intrinsic meaning (i.e., emotion of sadness) is profound and subtle. In order to elicit sympathy from the audience and impress them, it is necessary to strike a balance between the implicit (semantic) part and the explicit (phonological) part. To share the emotion of sadness with more people, it is necessary to strengthen phonological elements. Sympathy for sadness and deep impression on the audience are more often induced by the mood of similar sentiments than by the stories of the same experience. The aesthetics of sadness in Tarae began with the narratives of past experience which were expressed in the contexts of loss, loneliness, and poverty that Handol had experienced since childhood. However, the aesthetics of sadness, deepened over the period of a long hiatus in Handol's career as a composer, formed the narratives of ultimate salvation, embodying even the diaspora experience of others (e.g., displaced people, overseas adoptees, ethnic Koreans in Russia, victims of Japanese military sexual slavery, etc.). This gave Tarae the potential to go beyond the limits of the ethnic group of Korea. Tarae, as a "dispersed sound", can benefit from the appeal of deep sadness at the point of contact with other forms of world music. It may form a global diaspora discourse because Tarae is oriented towards interculturalism rather than anti-multiculturalism. The future challenge and goal of Handol's Tarae would be to continue to find areas of sympathy and broaden the horizon of awareness as diaspora music.