• 복식
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• 제64권6호
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• pp.102-119
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• 2014

The purpose of this study is to develop various designs through renewing and changing perception of accessories by examining various and arbitrary Kitsch. For the method of this study, literature review was mainly used for research of formative characteristics in Kitsch fashion. 798 pieces of work from fashion magazines and website with a focus on Milan, Paris, London and New York collections, in the decade of 2000-2010 were collected. The results of this study are as follows. First, the characteristic of exaggeration is classified into two types: the visual exaggeration, which is characterized by psychological expression through excessive images and (2) the collecting exaggeration, which is not simple but a want of large quantities. Second, the characteristic of satire is classified into two types: (1) the imitation-satire, which satirizes messages to societies with creative humor by using easily consumed materials and (2) the resistance-satire, which is destructive and offensive against isolation and desolation of a capitalistic society. Third, the characteristic of amusement is classified into two types: (1) the playful-amusement, which raises a laugh slyly by using clever materials and (2) the childish-amusement, which involves childish imagination and humor-sense because of desire to be a child. Fourth, the characteristic of nostalgia is classified into two types: (1) the romantic character expressing a departure from modern society, which is desolate because of the urbanization process, and (2) the intermediate character recreating an esthetic category by interacting with different and relative elements. Fifth, the characteristic of inappropriateness is expressed through a deliberate mistake, and it denies existing senses of beauty by overturning common sense and creating new senses of beauty, expressions in distortion and modification of stereotype.

• International Journal of Costume and Fashion
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• 제5권2호
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• pp.68-77
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• 2005

In contemporary advertising market, one of main trends is to speak surrealistic visual language which provides 'enjoyable spectacles'. Specially, in the beginning of 21st century, there discovered more and more exhibitions and discourses about surrealism reinterpreted from the viewpoint of postmodernism. Surrealism as a creative style of expression based upon free association, has been a great inspiration for fashion ads for commercial communication as well as fashion design since its origin. However, there has been ignored the idea of analyzing surrealistic image expressed in fashion ads in spite of their flood. Accordingly, the purpose of this study is to grasp its cultural meaning through analyzing aesthetic characteristics of surrealistic image expressed in fashion ads. It will provide a better understanding of surrealistic image in fashion ads reflecting popular taste and preference directly as popular visual culture, focusing on post modern context. A case study of surrealistic fashion ads limits to TV or print commercials and digital ads as image ads stimulating visual expressions. The Results can be summarized as follows. Surrealism is an avant garde style which deconstructs the established meaning system as well as the existing formalistic order and then put them together in the frame of 'dream' and 'unconsciousness'. Defamiliarization questioning the whole edifice of representation can be adapted to. By means of paradox and metaphor, unfamiliar new visual world can be represented. The plastic characteristics of surrealistic image in fashion ads are founded as surrealistic styling of time and space, distortion of object by methods of automatism, depaysement, parody and trompe-l'oeil which bring about the deconstruction of gestalt. Aesthetic values of surrealistic fashion ads appear as dualistic representation, allegoric symbolism, fantastic romanticism. Ultimately they lead to marvelous. mysterious, humorous visual effects. Foster reinterpreted these effects of surrealism from Freud's 'Uncanny Concept'. 'Uncanny' means the phenomenon recurring to familiar being defamiliarized by repression. Surrealistic fashion ads strengthen this shocking effect more and more dramatically in company with our post modern needs for fantastic adventure and thrilling spectacle. It can be thought that surrealistic fashion ads reflects uncanny as an alternative which can relieve us of our stress and anxiety and which realize our potential desire in contemporary post industrial stage.

• 한국의류학회지
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• 제40권4호
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• pp.600-614
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• 2016

This study specifies the definition and characteristics of fake fashion by categorizing cases through an analytical framework that uses the concept of simulacre, which is one of the theories that explains the reproduction of images and symbols in a modern consumer society. The presentation stages of modern fake fashion based on Baudrillard's concept of simulacre are as follows: Stage 1 focuses on the realistic imitation of the original, Stage 2 maintains a similarity with the original while transforming through the distortion of shape or visual perception, Stage 3 is the reality of the original which has become significantly vague and actively involves the designer's creativity, and Stage 4 forms a new value and an independent aura beyond reproducing the original. The presentation techniques of modern fake fashion viewed in the concept of simulacre can be classified into optical illusions by reproduction, use of a fake object, use of unusual shapes, and re-signifying through borrowing. As a result of applying the collected cases to the analytical framework, image reproduction in Stage 1 with imitative nature is a counterfeit that cannot be regarded as fake fashion, and fake fashion in Stage 4 (that can be referred to as simulacre) is fashion with symbolic and multiple meanings with new and creative designs. Modern fake fashion analyzed in the concept of simulacre transforms or reproduces the preexisting original with the purpose of merely creating original designs as well as acts as a new symbolic signal that creates a new aura and sets a trend with a message.

• 한국언론정보학보
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• 제33권
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• pp.193-225
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• 2006

이 연구의 목적은 방송통신 융합 환경을 설명하는 하나의 인식론이자 접근 방법으로서 정치경제학의 가치를 재고찰하는 것이다. 이를 위해 기존 정치경제학 연구의 특징과 맹점을 밝히고 변화하고 있는 미디어 환경의 특징적 현상을 도출함으로써 정치경제학이 본격적으로 다루어야 할 영역이 무엇인가를 제안하고자 한다. 이를 위해서 정치경제학의 역사적 총체성이란 거시적 문제 틀을 방송통신 융합 시대에 새롭게 조명할 필요가 있다는 점을 지적했으며, 그에 입각해서 정치경제학의 원리와 연구경향을 살펴보았다. 그리고 미디어 자본의 소유구조에 대한 비판만으로 정치경제학의 범위를 한정시켰던 '경제주의 적' 경향을 극복하기 위해서 수용자 이론의 적극적 재개념화가 필요하다는 점을 강조했다. 아울러 재개념화의 이론적 출발점으로 신자유주의적 시장론의 문제점, 능동적 수용자론의 왜곡, 수용자 상품론의 한계와 창조적 긴장을 논의했다. 마지막으로 이 연구는 미디어 정치학의 현장 속으로 들어가기 위한 수용자 중심의 정책 이념의 확보 방안을 제안했다.

• 문화기술의 융합
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• 제9권4호
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• pp.351-356
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• 2023

본 연구는 영화 <자산어보>(2021)가 19세기 성리학적 질서가 흔들리며 서서히 몰락해가는 조선을 어떤 방식으로 재현하고 있는지를 분석을 통해 살펴보기 위해 기획되었다. 분석에 앞서 역사극의 내레이션 특성을 고려하여 역사극의 분석틀을 제시하였다. 우리는 역사극의 분석틀을 활용하여 <자산어보>가 유배 서사의 플롯 구조를 기반으로 정약전, 장창대가 시대의 한계와 가능성 사이에서 주체적 개인으로 자신의 삶을 살아가는 모습을 재현하고 있음을 확인하였다. 흑백과 컬러 이미지의 대비, 보이스 오버 내레이션의 적극적 활용, 한시 자막과 음악 등으로 만들어낸 중심기억과 잉여기억을 통해 영화는 주체적 개인으로 살아가기 위해 필요한 것이 무엇인지에 관한 보편적인 질문을 우리에게 던지고 있다.

• 한국도서관정보학회지
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• 제9권
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• pp.115-144
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• 1982

In ordinary modern wester expression 'the Renaissance' was used to denote the impact made by dead Hellenism civilization in western Christendom, particularly Italian literary and artistic movement at Northern and central Italy in the late medieval period. However, A.J. Toynbee examined the renaissance from the different aspect of view. In his great work "A Study of History" in vol. IX, he succeeded in establishing the theory of historic civilization encounters in space and in time; and in time, civilization of the present and the past or between dead and infant successor contacts on the analogy of parenthood and sonship in the relation of A n.0, pparentation-and-Affiliation. The distinguished his view of 'Renaissance' was illustrated in the sense of encounters between a grown-up civilization and the 'ghost' of its long-dead predecessor. The renaissances (by the process of evocation of ghost of its parent society) has not only one single aspect of literary and artistic field but also in politics, law, science and philosophy, languages and literatures and visual arts, and religion. The main theme of this study is to examine the development of libraries and its historical meaning through Toynbee's literary renaissance. His renaissance of Languages and Literatures has three typical steps: They are: 1st step-to restive the dead literature's remains: 2nd step-to remaster their meaning: 3rd step-to reproduce them in counterfeits... Through its first and second steps, collecting and editing, annotating by compiling an anthology, thesaurus, lexicon or encyclopedia, and in its third step publishing mostly imitation of classics took place. Toynbee depicted the five outstanding eminent representatives of literary renaissance who had a n.0, ppeared on the state of history down to the time of writing. They are: Assurbanipal, Constantine prophyrogenitus, Yung Lo, K'ang Hsi, and Ch'ien Lung and the last four had all been emperors of imperia rediviva. As the result of the examination of these five emperors with three steps of literary renaissance, the common result may be summarized as follows: 1. Those emperors of imperia rediviva interested in intellectual work and study, they also were deeply involved in collecting classics in an ostensible reason. 2. There were strong political intention of collecting materials as an a n.0, ppeasement policy of civilization by transferring scholars energies to an intellectual field. 3. Under the rulers of a resuscitated universal state, the literary renaissance were a product of political plane and that the total size of collection and work were huge. 4. Since there were strong exercise of sovereign power, an active censorship by distortion and elimination was inevitable. 5. There existed newly developed strained atmosphere between grown-up and long-dead parent civilization, whenever the book collection movement had occurred. 6. Over adhesion to the parent civilization caused imitation of classic work and the creative activities were stagnated.stagnated.

• 복식
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• 제24권
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• pp.121-142
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• 1995

The Expressionism took shape in the early twentieth century, so called as the time of change and innovation which intermediated between the time of extreme prosperity and peace and the time of disruption. This study is based on the wide sense of Expressionism out of various concepts of Expressionism. The afore-mentioned phenomenon was emphasized all the more in the French Expressionism and it is the most important and substantial object in the Art to make a direct transference of emotion , feeling and thought and it could be regarded as one of characteristics of the French Expressionism . In Addition, the Expressionism produced " Aesthetics on Ugliness "Aesthetics des H lichen )" in creating work of art. It was an expression of the Existentialism based on Humanism for modern people who lived at time of nihility and such artistic movement accepted polarity and ambivalance concepts claimed by Nietzsche into three specific fields in accordance with thought and technique in the work of art and those are the Intuitional Expressionism. Cubistic Expressionism and Fantastic Expressionism. This study makes a close analysis of costume style trends on the basis of the categorized Expressionism enumerated as above. The characteristics of Intuitional Expressionism is that poverty and a sense of alienation dominated all society and thus the social reality brought a trend of social participation . This social reality effected significantly modern costume style and a reformative costume turned up at last . This reformative costume was classified into Gar onne look, Military look and Lingerie look by characteristics of style in order to make a close examination for the relationship between social reality and the reformative structure. Cubistic Expressionism effected costume forming and changed costume style through " Deformation " and " Distortion" in forming technique , and also it has developed geometrical style of costume, which could be symbolized by mechanism. And on the other hand, this Cubistic Expressionism has emphasized exaggerated expression ability to produce rigid and stiff style of costume. Fantastic Expression pursued basic artistic worth from the primitive and ethnic customs and accepted fantastic oriental Exoticism . This Fantastic Expressionism effected costume style of twentieh century and such designers as Lon Bakst, Paul Poiret, Elsa Schiapareli adopted intentive primary color. It also applied " Depaysment" to modern costume style , which introduced avant-garde design to give an impact through destruction of the existing traditional concept. This study also analized seven major representative costume designers of the early twentieth century. They are L on Bakst, Paul Poiret, Madeline Vionnet, JeanPatou, Gabriel Chanel and Elsa Schiaparelli. These designers deployed creative costume design work with peculiar expression technique based on the French expressionism. The costume study related to art history was so far made mostly to approach costume forming but only a few study is found to have approached idealistic background of art history in connection with creating costume. From that point of view, it is profoundly significant for this study to analize idealistic background and characteristics of Expressionism and relationship between costume and expressionism and to examine modern costume of twntieth century in conjunction with technical characteristics and spiritual sense of Expresionism.eristics and spiritual sense of Expresionism.

• 미술이론과 현장
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• 제13호
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• pp.73-95
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• 2012

In terms of element and process, art today has already been fully systemized, yet tends to become even more systemized. All phases of creation and exhibition, appreciation and education, promotion and marketing are planned, adjusted, and decided within the order of a globalized, networked system. Each phase is executed, depending on the system of management and control and diverse means corresponding to the system. From the step of education, artists are guided to determine their styles and not be motivated by their desire to become star artists or running counter to mainstream tendency and fashion. In the process of planning an exhibition, the level of artist awareness is considered more significant than work quality. It is impossible to avoid such systems and institutions today. No one can escape or be freed from the influence of such system. This discussion addresses a serious distortion in the selection system as part of the system connotatively called "art museum system," especially to evaluate artistic achievement and aesthetic quality. Called "studio system" or "art star system," the system distinguishes successful minority from failed absolute majority and justifies the results, deciding discriminative compensations. The discussion begins from work by Hunter Jonakin and Dan Perjovschi. The key point of this discussion is not their art worlds but the shared truth referred by the two as the collusive "art market" and "art star system." Through works based on their experiences, the two artists refer to these systems which restrict and confine them. Jonakin's Jeff Koons Must Die! is avideo game conveying a critical comment on authoritative operation of the museum system and star system. In this work, participants, whether viewer or artist, are destined to lose: the game is unwinnable. Players take the role of a person locked in a museum where artist Jeff Koons' retrospective is held. The player can either look around and quietly observe the works, which causes a game-over, or he can blow the classical paintings to pieces and cause the artist Koons to come out and reprimand the player, also resulting in a game-over. Like Jonakin, Dan Perjovschi's some drawings also focuses on the status of the artist shrunken by the system. Most artists are ruined in a process of competition to survive within the museum system. As John Burger properly pointed out, out of the art systems today, public collections (art museums) and private collections have become "something unbearable." The system justifies the selection system of art stars and its frame of reference, disregarding the problem of producing numerable victims in its process. What should be underlined above all else is that the present selection system seriously shrinks art's creative function and its function of generating meaning. In this situation, art might fall to the level of entertainment, accessible to more people and compromising with popularity. This discussion is based on assumption and consciousness on the matter that this situation might cause catastrophic results for not only explicit victims of the system but also winners, or ones defined as winners. The system of art is probably possible only by desire or distortion stemmed from such desire. The system can be flourished only under the economic system of avarice: quantitatively expanding economy, abundant style, resort economy in Venice and Miami, and luxurious shopping malls with up-to-date facilities. The catastrophe here is ongoing, not a sudden emergence, and dynamic, leading the system itself to a devastating end.

• 유통과학연구
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• 제12권6호
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• pp.15-20
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• 2014

Purpose - In general, researchers try to abide by the code of research ethics, but many of them are not fully aware of plagiarism, unintentionally committing the research misconduct when they write a research paper. This research aims to introduce researchers a clear and easy guideline at a conference, which helps researchers avoid accidental plagiarism by addressing the issue. This research is expected to contribute building a climate and encouraging creative research among scholars. Research design, data, methodology & Results - Plagiarism is considered a sort of research misconduct along with fabrication and falsification. It is defined as an improper usage of another author's ideas, language, process, or results without giving appropriate credit. Plagiarism has nothing to do with examining the truth or accessing value of research data, process, or results. Plagiarism is determined based on whether a research corresponds to widely-used research ethics, containing proper citations. Within academia, plagiarism goes beyond the legal boundary, encompassing any kind of intentional wrongful appropriation of a research, which was created by another researchers. In summary, the definition of plagiarism is to steal other people's creative idea, research model, hypotheses, methods, definition, variables, images, tables and graphs, and use them without reasonable attribution to their true sources. There are various types of plagiarism. Some people assort plagiarism into idea plagiarism, text plagiarism, mosaic plagiarism, and idea distortion. Others view that plagiarism includes uncredited usage of another person's work without appropriate citations, self-plagiarism (using a part of a researcher's own previous research without proper citations), duplicate publication (publishing a researcher's own previous work with a different title), unethical citation (using quoted parts of another person's research without proper citations as if the parts are being cited by the current author). When an author wants to cite a part that was previously drawn from another source the author is supposed to reveal that the part is re-cited. If it is hard to state all the sources the author is allowed to mention the original source only. Today, various disciplines are developing their own measures to address these plagiarism issues, especially duplicate publications, by requiring researchers to clearly reveal true sources when they refer to any other research. Conclusions - Research misconducts including plagiarism have broad and unclear boundaries which allow ambiguous definitions and diverse interpretations. It seems difficult for researchers to have clear understandings of ways to avoid plagiarism and how to cite other's works properly. However, if guidelines are developed to detect and avoid plagiarism considering characteristics of each discipline (For example, social science and natural sciences might be able to have different standards on plagiarism.) and shared among researchers they will likely have a consensus and understanding regarding the issue. Particularly, since duplicate publications has frequently appeared more than plagiarism, academic institutions will need to provide pre-warning and screening in evaluation processes in order to reduce mistakes of researchers and to prevent duplicate publications. What is critical for researchers is to clearly reveal the true sources based on the common citation rules and to only borrow necessary amounts of others' research.

• 한국조경학회지
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• 제36권6호
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• pp.1-11
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• 2009

본 연구는 현대조경의 추상유형에 관한 연구로서 현대조경의 탈장르적 경향과 건축, 조경, 예술 장르간의 하이브리드화에 의해 현대조경의 형태나 예술성은 과거의 픽쳐레스크식의 조경이 표현할 수 없었던 많은 부분들을 표현해 내고 있다. 이러한 영향으로 인해 현대의 조경은 한편의 거대한 추상예술을 보는 듯하고, 그 난해함은 정도를 더하고 있어 일반대중들 뿐만 아니라 전문 조경가들조차도 추상적 현대조경에 대한 해석이 분분하고 정확한 이해나 해석에 어려움을 토로하고 있어 현대조경의 추상성에 대한 연구가 제기되고 있다. 이에 본 연구는 조경, 건축, 미술 등 여러 다양한 예술분야에서 예술의 창작원리로 작용되어온 '추상성'에 대해 근본적인 탐구를 하여 추상에 대한 이론정립, 추상성 변천과정, 추상성의 현대적 의미를 파악하여, 조경학적 시각으로 각 예술분야와의 연계성을 밝히고 현대조경작가와 작품에서 표현되어 나타나는 추상형태, 추상언어, 추상특징을 추출해봄으로써 현대추상조경의 진리를 파악하고자 하였다. 본 연구를 통하여 현대조경의 추상유형은 다음과 같이 세 가지로 구분할 수 있다. $\cdot$연역적 추상조경(inductive abstract)은 논리적 과정에 의하지 않고 직관적이고 선험적인 정신성, 그리고 초월적 관념 표상을 의미하며 예술가의 내면의 세계 즉, 다시 말해서 외부 대상이 없이 예술가 자신의 관념이나 마음 속을 그리고자 하여 대상의 재현이 아닌 작가 내면의 표현 또는 표출되는 것이다. $\cdot$귀납적 추상조경(deductive abstract)은 전통적 사실주의에 입각하여 대상을 객관적 사실에 대해 지적이고 논리적인 사상(捨象)의 과정을 거쳐서 대상을 단순화하거나 왜곡, 과장, 확대된 논리적 조형성을 표현한다. $\cdot$복합적 추상조경(complex abstract)은 연역적 추상조경과 귀납적 추상조경이 복합적으로 나타난다. 이상으로 살펴본 바와 같이 현대조경의 추상유형에 관한 연구는 추상조경작품에 대한 가치를 재평가하는 계기가 될 수 있고 현대의 추상조경작품에 대한 이해를 높이며, 미래의 조경에 더욱 긍정적으로 작용할 것이다. 따라서 보다 심도 있는 연구와 이의 근본이 되는 추상성에 대한 연구는 앞으로도 지속되어야 한다.