• 유통과학연구
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• 제18권3호
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• pp.37-41
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• 2020

Purpose: The purpose of this paper is to examine the recent resurgence of popularism and the possible impacts it may have on contemporary business and economics. Research design, data and methodology: This is an exploratory case study that examines the rise of popularism and identifies and analyzes the likely implications for contemporary business and economics. Results: Although populists tend to reject elitism, capitalism, economic globalization, and political establishment, their ethnocentric behavior is no different from those of the corrupt political and economic elites. Popularism does enable nationalism and protectionism and negatively impacts business and economic growth. Conclusions: Popularism existed for a long time, and this phenomenon will continue to exist as long as a triggered mechanism exist, e.g., income inequality, resurgence of immigration, recession, insufficient factors of resources and social welfare. The recent rise of popularism is not a fad or a short-lived anti-establishment and anti-elitism movements but, rather, a force to be reckoned with in the near future. The rise of economic nationalism limits international trade, integration, and cooperation. As a result, international capital, service, and product flows will decline, and countries and multinational corporations have to develop and restructure their international supply and value chain to cope with this phenomenon.

• 의정연구
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• 제27권1호
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• pp.117-155
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• 2021

이 연구의 목적은 포퓰리즘 수요측면에서 대중의 이념 정향과 포퓰리즘 성향의 관련성을 규명하는 것이다. 구체적으로 주관적 이념평가와 정당지지가 포퓰리즘 성향, 즉 반엘리트주의, 인민 중심주의, 반다원주의에 미친 영향을 분석하였다. 이를 위해 사회경제적 요인과 민주주의 인식 및 정치참여 방식 등을 통제변수로 설정하고, 독립변수 중 이념은 극보수·보수·중도·진보·극진보로 세분화하였다. 자료는 전국 단위의 온라인 설문조사를 통해 수집하였다. 분석결과, 첫째, 이념 정향과 포퓰리즘 성향 간의 강력한 친화성을 확인하였다. 보수 이념(특히 극보수)과 보수정당 지지는 반엘리트주의와 반다원주의에, 그리고 극진보 이념과 진보정당 지지는 인민 중심주의와 반다원주의를 추동하였다. 그리고 세 가지 성향을 종합한 결과에서는 보수(특히 극보수)와 극진보 이념이 포퓰리즘 성향을 결정하는 요인이었다. 둘째, 성별(여성)과 연령을 제외한 사회경제적 변수의 영향력은 나타나지 않았다. 셋째, 포퓰리즘 성향은 민주주의 만족도, 정부 신뢰, 외적 효능감, 투표 및 비투표 활동에 의해서 결정되는 다차원적 성격을 가졌다.

• 한국의류학회지
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• 제21권8호
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• pp.1427-1438
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• 1997

The art plastique is the part from which designers draw their inspirations to create fashion design. Many designers look for their inspirations from Art Plastique. Since the early 20th century, lots of designers led by Paul Poiret drew their inspirations from Art and co-works with artists. The direct involvement of those artists helped to position Fashion to be an art. Also, these co-works brought the mass media's attention and commercial profit. The most prevalent relationship between the fashion design and art plastique is the reproduction of art such as the 1960s 'Pop Art printed on T-shirts, which can be seen easily todays. After World War ll, art was popularized in a new society where young generation played a major role. Pop Art having image of the freedom and the rejection of tradition was considered as the major trend of 1960s. This study considers reflection of anti-traditionalism, anti-elitism and popularity as the kitsch of Pop. That is the attraction which youth culture looked for from Pop Art and the reason that 60's avast-garde cloth could position itself into the masses. Therefore, this study examines the influence of the kitsch of Pop and the expression of parody upon the major changes in 1960s fashion from which are the mini-look and women's trousers wearing. This study examines Andra Courreges who led 1960s Mini look and Yves Saint Laurent who introduced Pop dress, Smoking look and transparent blouse to find the way which makes it possible for avant garde fashion to have a close relationship with the public and to position itself to be a art.

• 철학연구
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• 제123권
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• pp.87-110
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• 2012

본 논문은 그린버그, 카플란, 칼리니스쿠를 중심으로 반키치론을 비판적으로 검토한다. 이를 통해 반키치론이 이론적 실천적으로 정당화될 수 있는지를 탐구한다. 반키치론은 근대 미학에서 '예술' 개념의 내포적, 외연적 기준에 근거하여 키치를 비판한다. 이들은 키치가 사심 없는 즐거움의 대상이 아니라 쾌적함과 감상성을 추구하므로 나쁜 취미라고 간주한다. 그러나 반키치론의 기초 개념인 '사심 없는 즐거움'과 '미적 판단의 보편성과 필연성'은 문화중재자의 편향성을 가정한다. 또한 미적/반성적 예술과 쾌적하고/감상적인 키치 개념을 분류하는 기준은 모호하다. 반키치론자들은 개념 논증의 결함을 보완하기 위해 경제적, 정치적 논거를 추가한다. 이들은 키치의 미적 부절적성을 증명하기 위해 과시적 소비와 정치적 우민화를 키치 평가의 논거로 제시하지만, 변화하는 문화 환경 속에서 대중들의 요구가 반영된 다양한 양태의 키치를 공정하게 다루지 못한다. 결국 반키치론자들은 엘리트주의와 형식주의 미학만을 제한적으로 승인하면서 키치에 대한 폄하를 계속한다. 예술의 죽음 이후 포스트예술 시대의 변화된 문화적 실천은 키치에 대한 재평가와 더불어 대안적 대중 미학을 필요로 한다.

• 복식
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• 제63권8호
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• pp.14-26
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• 2013

The purpose of this study is to compare and analyze Jacqueline Kennedy and Michelle Obama's fashion style from a perspective of modernism and postmodernism. The method utilized in this study was first, to examine the properties of modernism and postmodernism. Next, we explored the types of role performance of the first ladies and the application of their fashion as an aid to their roles through the precedents of the research concerning modernism and postmodernism. The results of the study are as follows. First, there was a trend of formalism and anti-formalism. Jacqueline Kennedy made her public appearances wearing a formal dress in order to express the first lady's authoritarian figure of restrained elegance. The fashion of the first lady aspired to formalism. Meanwhile, Michelle Obama followed more of a free style by eschewing the typical formality of the first lady. She created diverse styles utilizing a variety of items, which were not interrupted by form or by using heterogeneous items. Second, there is a trend of elitism and populism. While Jacqueline Kennedy preferred only haute couture designers' costume in order to show the prestige and dignity of the upper class, Michelle Obama patronized unknown designers' clothing or mid-level casual brand goods that the public favors in order to interact with the public through her fashion. Third, while modernism regards totality or unity to be important, postmodernism puts an emphasis on the eclecticism by pursuing complexity and diversity through the deconstruction of an indigenous genre. In case of Jacqueline Kennedy, this tendency featured monotone clothing color, which presented a unified full set dress that excluded decoration. Michelle Obama, in contrast, mixed and matched formal dresses and a casual cardigan or felicitously mixed luxury brand or low to middle priced brand goods.