• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.3
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• pp.165-181
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• 2016

This study looks into the Korean traditional costume formation and the thoughts of the Korean people that form the foundation of that Korean traditional costume formation. And the goal of this study is in linking the thoughts and formative characteristics reflected in the Korean traditional costume formation to the fractal geometry, in an attempt to reveal correlation between Korean traditional costume formation which have existed for thousands of years to contemporary science of the West. The fractal theory that appeared as the new paradigm of contemporary science displayed similarities with the traditional ideologies of Korea, and the fact that formation principles of fractal appear in the formation of Korean costume, formed based on the Korean ideologies, show magnanimous capacity of the traditional Korean culture. When we look at the concept of fractal, the word fractal refers to the structure in which the shape repeats, where small structure is similar to the whole structure in form in endlessly repeating structure. In other words, 'fractal' means a structure that geometrically untangles the concept of 'self-similarity' which possesses the same shape in parts and in whole, and its major characteristics include 'self-similarity', 'circularity' and 'repeatability'. Korean costumes were formed based on the Han-thoughts, with a structure that possesses parts within the whole and the whole within parts, in accordance with the self-similarity theory of 'fractal'. This study compared studied fractal phenomenon which appear in formation characteristics of Korean traditional costume, which were formed based on the Korean traditional ideology, in other words, Korean costume formation and formation principles of fractal geometry were compared studied.

• The Research Journal of the Costume Culture
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• v.15 no.6
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• pp.1053-1062
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• 2007

This study purposed to restructure representative traditional patterns formatively, manufacture actual cultural products with traditional dyeing technique using persimmon, and commercialize the results of the research. Traditionally in Korea, the dying of natural fiber such as cotton, flax and silk with persimmon was called Galmul dyeing, and clothes made through Galmul dyeing were called Galot. Galot was very useful because it is strong, does not pick up dirt easily, dries easily, and is cool in summer. In addition, cloth dyed with persimmon becomes stiff, so it does not need to be starched or ironed after washing. Moreover, it does not transmit heat under direct rays and is highly air-permeable, so it is cool and useful for standing the heat. In this study, we used traditional persimmon dyeing technique, printing traditional patterns fit for contemporary people's aesthetic sense not through dip-dying but through printing. When persimmon dyeing is used in expressing patterns, it produces not only visual effect but also embossing effect due to the characteristic of persimmon that makes printed patterns stiff, so we can obtain unique texture distinguished from other printing methods. We chose seven motive patterns, which were lotus pattern symbolizing eternal life, peony pattern symbolizing wealth and rank and prosperity, character Su(壽) pattern widely used as a symbol of health, bird and cloud pattern in the Goryeo Dynasty, Sahapyeoeuisohwa(四合如意小花) pattern printed on brocade in the Goryeo Dynasty, lattice pattern, cloth pattern on wall paintings from the Period of the Three Kingdoms. From each pattern chosen as a motive was extracted unit patterns and the original pattern was restored using Adobe Illustrator. Restored patterns were restructured to be applied to cultural products fit for contemporary formative sense. Fabrics used in dyeing were cotton, linen, ramie, silk, and polyester. Although the same persimmon dyeing was applied, we produced different feelings of patterns using various fabrics and in some cases gold and silver powder was added for the effect of gloss in addition to the embossing of patterns. Using printed fabrics we manufactured tea pads, place mats, cushions, wrapping cloth for gifts, wallet, lampshades.

• The Research Journal of the Costume Culture
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• v.26 no.4
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• pp.485-502
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• 2018

In this research, we conducted an empirical study using the theory of sociologist Jean Baudrillard to examine the phenomenon of contemporary people in Korea acquiring tattoos. The researcher classified the consumption behavior of modern society, as described by Baudrillard in The Consumer Society, into three keyword phrases: consumption by personal taste, coded consumption, and recyclage of consumption. Using this as the premise of the study, 18 men and women in their 20s and 30s completed questionnaires and interviews, and the results supported labeling tattoo consumption as consumption by personal taste, tattoos as coded consumption, and recyclage of tattoo consumption, similar to the consumption pattern that Baudrillard sees. First, the younger generations have consumed tattoos according to their personal preferences. They express themselves by tattooing for self-complacency, self-marking, pursuing individuality, overcoming the appearance complex, and seeking pleasure. Second, they have consumed socially coded tattoos. They say that tattoos domestically act as negative codes and symbolize individuals. Although tattoos are a symbol of artists who are relatively free from social norms, they are still a symbol of social misfits created as such by negative perceptions. Third, the pattern of tattoo consumption is like that of contemporary consumption. Tattoos already have become part of popular culture in Korea, and there has been a changing trend in tattoo culture. This study has significance in that tattoos were regarded as a consumption behavior that deviated, from the perspective of deviance. That phenomenon of today's tattoo culture of today was confirmed through the empirical study.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.2
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• pp.11-25
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• 2015

This study analyzed features in contemporary men's collection to provide data for characteristics of kitsch in men's collection. The research method was to see background of the concept of kitsch through the domestic and international publications, the Internet, paper. Five designers' collections that have characteristics of kitsch were selected. The range of collection is from the 2000 S/S to 2011 F/W in Men's collection. The results are as follows: kitsch characteristics could be classified by amusements, inappropriateness, satire. First, exaggerative amusements in men's collection appeared exaggerated form, large size, which is ridiculous at the same time. Infantile amusements represents the image of a pure concentric matching accessories such as toys to the children express. sensual amusements reveals the sexual instincts and desires and people can feel satisfaction through sensual amusements. Second, inappropriateness is characteristic of kitsch to escape from normal life. Clothing does not fit the body and destroyed the design or design of this feature appears. It looks clumsy and strange. Inappropriateness characteristic in men's collection can be divided into inadequate performance and sexual inappropriateness. Third, satire can be divided into resistant satire, imitative satire, and popular satire. Resistance satire with anti-social tendencies through their clothing is achieved by expressing their needs. It was affected by sub-culture like Hippie or Punk. Imitative satire is to imitate other culture, customs and race. It is to resolve complaints through the consumption of things in disparities of wealth and materialism in the society. Popular satire is to express emotions that are free using materials that can recycling like can, bottle or paper.

• Journal of the Korea Furniture Society
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• v.21 no.3
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• pp.216-228
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• 2010

Recently, there is a new issue, among the contemporary people, for new life style, such as green design and well being. This trend brought up the necessity that there should be alternatives for interior spatial design. In order to catch up with these new issues, the new convenient and environment friendly methods are in need. Space composition using setting-up is skill that can express both the structural aspect and esthetic because it represents traditional beauty into the contemporary age through the structural rigidity and formal beauty. Also the lumber, as main materials for setting up, is in line with well being life style and environment friendliness. The construction of structure by setting-up has advantages in terms of the reuse and the convenience in that the construction of structure is adjustable according to environment. And setting-up has enough plasticity not only because of its own role as linking the objects but also because of being framed by itself. Therefore setting-up will be a design element, if it is expressed outward. Thus, this study aims to give a guide line about how to apply the result from the evaluating that "what is the most suitable setting-up" and "what is the most suitable detail setting-up", based on that structural rigidity, decorativeness and the ease of works. As a result of evaluation, the most excellent types of setting-up in terms of structural rigidity are "Jangbu" and "Panjae" and "Yeongui". The most excellent types of setting-up in terms of decorativeness are "Panjae" and "Yeongui", and the most excellent type of the ease of work is "Mat". And also the most applicable detail setting-up for the utilization of spatial composition is proposed.

• Journal of Fashion Business
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• v.5 no.4
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• pp.14-26
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• 2001

A lot of designers are adopting a mixed imitation as techniques of cretion because cultural boundary and structure of meaning in the era of post-modernism are collapsed and dissolved. I raise up a question mark to how can genuine and creative designers can be identified at this epoch when we are today familiar with the trend of informationalization, opening and globalization. Characterisitics of multi-culturalism and compromising blending are meshed with appearance of a theory of disorganization and consumer-driven economic activity of multi-national enterprises in the age of post capitalism. Accordingly it can be said that designers are leaning upon public and consumeroriented pattern rather than pursuing a creative cultural production. With mass media in rapid advancement and public culture in father dissemination, mass production and mass re-production became a natural cultural phenomenon strengthen ing its root. Creative designers somewhat slow and limitative in pace of adaption to rapid changing society amid such social backgrounds and flooded information are coming to dead-end of wall. A mixed imitation as techniques of creation is a result of borrowing, duplicating or re-combining of existing things because the mixed imitation is equivalent to borrowing, copying, compilation and recombination of well-known artworks, motive, diverse people's cultural features, image, techniques and the likes. It is too delicate thing for one to definitely distinguish such cultural phenomenon from either one as creative work or a plagiarized work. Looking into the facts as they are, we should recognize the designers limitation in their creative works by means of the mixed imitation. thus we can have a view upon them from a criticizing standpoint against the designers creation and imitation. On the other hand, when we look at things how the mixed imitation appears in the fashion as a piece of culture, we can understand something of the contemporary designers. I try to find a significance in seeking out a method of approaching to creative fashion designers direction in future times.

• The Research Journal of the Costume Culture
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• v.10 no.2
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• pp.160-177
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• 2002

Wedding ceremony is a most basic and significant rite of religion. Clothing fur the ceremony is also assumed religious in essence. Thus this study focuses on ideas and religious qualities implied in wedding dresses for women in the latter period of Chosen. Among those wedding dresses for women in the public class, in this study, Yeom-Eui(염의), Won-Sam(원삼) in green and Hwal-Ot(활옷) are discussed. Yeom-Eui seemed preferred by only some of the nobel class who still considered manners and customs as very important. The rest people often wore a brilliant Hwal-Ot rather than Yeom-Eui under influences of a loosened social position system and sumptuous moods. Since a wedding is the reflection of social condition and at the same time a religious rite, the above mentioned difference in wedding dresses between the class of scholars obsessed with Confucianism and the rest public seems attributable to differences in values and religious views between the two groups. Of course, Hwal-Ot was also transmitted from the Chinese nation of Tang, so it complied with a contemporary flunkeyism about Chinese culture. Won-Sam and Hwal-Ot were designed with patterns representing the very significance of wedding and those wishing worldly blessings more children and more sons, longevity and wealth and prosperity. The fact that wishes of more children and more sons were more often implied by patterns of wedding dress in the latter Chosen indicates the legitimate oldest son-oriented patriarchical family system at that time influenced to such contemporary dresses. Meanwhile, those patterns used for Won-Sam and Hawl-Ot were influenced mainly by Confucianism, but sometimes based on Buddhism and Taoism. It suggests that the Chosun dynasty emphasized Confucian manners and customs to restore previous values which had been about to be collapsed since wars with the Chinese Ching and Japan, but nevertheless in the public class, Buddhism and Taoism were more deeply prevailed. This was supported by patterns and colors shown in wedding clothing.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.229-270
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• 2014

Ostermeier's Hamlet has no particular contemporary reinterpretation. Alternately devoting to show retrospect in illusion and existence through revenging actions. However, Shakespeare's metaphorical and implicative language is dissipated and the style of the play is not an illusive space-time, but a tragic theatrical production that uses rough language to express the depth of the story. The Perfomance of Hamlet is a sensuous jumble up of a diverse range of mass media. The double roles that the actors carry out give an affect of isolation between the audience and the play itself showing both empathy and liberty. Ostermeier's Hamlet distinctively shows a post-modern performance through the prominent elements of dirt, the use of mixed genre, theatric emphasis, making an image and the fulfillment of acting. Nonetheless, Ostermeier's performance stays off the point on the breakup strategy of the post-modern drama without suspending the narrative of Shakespeare's Hamlet. Besides aiming to show a performance centered by the imagery of physical expression, his performance shows New Realism in the 1960's, showing everyday life. Ostermeier thinks, that theatre helps give contemporary people an accurate reality check in the constant unstable periods of time. Therefore, Hamlet shows post-modern physical expression and outspoken dramaturgy using the effects of mass media in New Realism without breaking up realistic narration. With being the aberration of the Castle Helsingor, the main character Hamlet, expresses lunacy and can be considered as metaphor for young adults whom are broken down and isolated from the economic system. He is a substitute for those who experience agony, anger, torment, etc. and other suppressed emotions in everyday life. With the method of direction in the portrayal of Hamlet show signs of succession in the abundant popularization of the classics by communicating with the audience by following the trend of modern mass media and audio-visual perception; emphasizing the point of the philosophical topic 'life and death,' 'life and theatre,' and 'illusion and reality.'

• English & American cultural studies
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• v.17 no.1
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• pp.129-162
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• 2017

Ruth Ozeki(Japanese-American female novelist)?s recent novel, A Tale for the Time Being (2013) draws our attention because the fiction shows very interesting fictional experiments, especially in terms of post-humanism. Indeed, the novel is not a science fiction at all which has been, and still is, the typical fictional field employed in the discussion for the transhumanism and posthumanism. It also does not include any cybogs, robots, or aliens which provoke the posthumanism-related issues like mind/body, human/nonhuman, nature/culture relations. Indeed, it seems "merely" represent realistic day-to-day lives of ordinary people living in contemporary Japan and Canada, and in very minute and particular details at that. Indeed, the central action of the main characters of the novel seems very traditional, that is on the one hand writing a diary by a teenage girl who is counting the days and weeks before her suicide and on the other hand reading it by a female novelist who happens to find her diary several years later. Nevertheless, I would like to suggest that underneath this traditional narrative surface are simmering post-humanist and post-anthropocentric worldviews beyond liberal Humanism which takes human beings to be exceptional against human or non-human others. Not only in narrative contents and characterizations but also through narrative structure and strategies, the novel enacts post-humanist and post-anthropocentric worldviews which are interestingly drawn from both age-old Buddhist ideas and modern eco-philosophy and quantum physics. I would like to stress that what triggers the author's fictional experiments helping our rethinking and redefining "what human beings are" and "what the relation between humans and nonhumans" is not merely intellectual interests but her keen and passionate response to the heart-breaking pains and sufferings of human and nonhuman beings caused by the contemporary natural-artificial catastrophes and techno-scientific predicaments.

• English & American cultural studies
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• v.16 no.2
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• pp.71-88
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• 2016

Cormac McCarthy's The Road depicts a post-apocalyptic future in which the time and reason of catastrophe are not specified, but it can be seen to project the contemporary social and ethical concerns in the dismal setting. In this respect, the journey the man and boy depart for to the South is on one hand a journey to seek a warmer place to support their lives in the literal sense and, on the other hand, a journey to seek 'what a human being is' in the devastated world in a metaphorical sense since they face extremely harsh and tremendously poignant conditions in which their creed as human beings is tested. This paper aims to explore the hazards of the current society that the text criticizes and the morality and ethical values to be preserved and pursued. The second chapter examines how the text describes the contemporary crisis through the dark and coldness of the land and its sterility. The land produces almost nothing as the entire surface was scorched and is now covered with thick ashes. It shows perfectly a destroyed and irrecoverably frozen land. Throughout this desolate and ruined land, the atrocity and violence of the survivors goes beyond the limit. Ravaging strangers and plundering villages are widely spread. These conditions mirror the apparent selfishness and immorality of the recent society. The third chapter analyzes the man's inconsistent or dualistic narrative on the good. He knows what the good is but doesn't allow the boy to demonstrate the good behavior on others. His conflict is rooted in his hope to protect his son from being attacked by others. Therefore it can be interpreted that the meaning and orders of living in this post-apocalyptic period are uncertain and indecisive. The fourth chapter examines the belief the man and the boy clings to. Unlike the man's contradictory decisions, he shows definite firmness to be 'the good' by not eating people and carrying 'the fire.' Until he dies, the man endeavors to protect his son and have him acquire the moral conviction and strength to carry the fire in the world. In conclusion, the text reads the current society critically and highlights the importance of the humanity that must not be discarded throughout the generations.