• 비교문화연구
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• 제37권
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• pp.51-79
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• 2014

Seriously depressed by the failure in the first performance of his own drama ${\ll}$The Government Inspector${\gg}$, N. Gogol sought out a space, Italy, which is obviously a turning point for the writer. Here in Italy, the writer could be able to explore an essential foundation for the national identity as well as self-identification of Russian traditional culture, all of which have already been epitomized in the Renaissance period in Italy. The city Rome itself provided Gogol with its grandness and harmonious perfectness, influencing something 'spiritual being' upon the writer. The work under discussion, "Rome," is thus created through these literary circumstances. Though it is made under the different title as "Annuntiata" and it delivers a love story between lovers, the story lines gradually turned into a fiction about the city, Rome. In comparison with city Paris, Gogol himself presents a negative view of the French metropolitan, saying that it is nothing but a by-product of the 19th century civilization. Interestingly enough, Rome for Gogol is totally different; it is the place of sublimity, that is a locus of harmonious, holy, and eternal city. Likewise, this pattern can be said of another description on the two contradictory cities: Paris and Rome. Again, Gogol fully pictures the city Paris as centripetal and Rome as centrifugal, in which the main protagonist makes the reader indulge in his own world. Throughout the story the writer tells us a transformation experienced by his character, and the work ends with an open denouement. Like Jerusalem, Rome is the city of resurrection for Gogol. Yet, this kind of possibility of transformation in the story is exposed to the hero, and it arguably depends on the extent to which he explores the readiness for encountering of 'eternity' in this "eternal city."

• 기록학연구
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• 제14호
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• pp.289-323
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• 2006

본 연구의 목적은 혁명력 2년 메시도르 7일(1794년 6월 25일)의 법령을 통해 초기 문서보관소의 체계와 문서분류 방법 및 그 조직만이 아니라 역사적 자료의 관리주체에 관한 초기의 논쟁을 살펴보고자 했다. 이 법안에는 오늘날의 문서 관리자들 혹은 역사가에게 경탄을 자아낼만한 두 가지 주제가 존재한다. 첫째로, 이 법령은 역사에 관련된 사료 문서들과 그것에 속하지 않는 다른 문서들 사이에 차이가 존재한다는 점을 분명히 한 점이다. 둘째로 역사적인 문서를 소장하는 장소와 관리 주체는 국립문서보관소가 아니라 국립도서관이라는 점이다. 결론적으로 프랑스 혁명 이후 기록 보존에 관한 국가의 책임, 국민의 자유로운 접근권 보장 등의 전통이 혁명력 2년 메시도르 7일의 법령을 통해 확립되었다. 그리고 동법을 통해 입법부와 문서보관소 위원회를 중심으로 국가 차원의 통일적인 관리 체계가 확립되었으며, 기록보존 장소는 지방분권적으로 이루어지는 전통이 확립되었음을 확인할 수 있었다.

• 비교문화연구
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• 제40권
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• pp.185-212
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• 2015

브루노 뒤몽의 2014년도 작품 <릴 퀸퀸 P'tit Quinquin>은 잔혹하여 보기 힘든 것들로 가득한 신극단주의 경향의 200분짜리 긴 영화이다. 잔혹함과 불가해함으로 가득한 이 영화가 현실에의 어떤 시선을 가능케 한다면, 그것은 무엇 때문일까? <릴 퀸퀸>은 기묘한 현실의 내막을 집요하게 보아내려 한다. 그러나 끝내 아무리 보려고 해도 현실의 실체는 보이지 않는다. 볼 수 없는 현실의 '볼 수 없음'이야말로 이 영화가 그토록 집요하게 보려 하고, 우리에게 보여주려 하는 것은 아닐까? 그렇다면, 영화 매체에서 '볼 수 없음'의 의의란 무엇일까? 이 논문은 사실적인 것을 태생적으로 보여줄 수밖에 없는 매체인 영화가 '볼 수 없음'을 탐지하는 것이 <릴 퀸퀸>이 만들어내는 영화적 새로움이라는 생각을 전개한다. 보이는 모든 것을 보아도 볼 수 없는 것이 영화가 보여줄 수 있는 현실의 내면이라면, 어떻게 영화는 '볼 수 없음'을 통해 새로운 영화적 세계관을 나타내는지 이 글은 탐색한다.

• 한국지역지리학회지
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• 제1권1호
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• pp.81-91
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• 1995

본 연구는 프랑스에서 지역지리연구가 등장하게 된 시대적 배경과 주요 연구성과, 그리고 2차 대전 이후의 침체과정을 개괄적으로 살펴봄으로써, 오늘날 우리 국토공간을 연구하는데 하나의 이론적 및 실천적 합의를 제공하려는 목적을 가진다. 프랑스에서는 1871년 보볼전쟁에서의 패배를 계기로 지리학, 특히 지역지리연구가 중요하게 인식되기 시작하였다. 초중등학교 교육에서 지리과목이 중시되고 대학에서는 지리학 강좌가 정식으로 개설되었으며, 특히 해외 식민지 개척을 위한 지역연구가 크게 각광을 받게 되었다. 비달은 지표현상을 분리하지 않고 통합적으로 기습하늘 과학적인 지역연구를 수행하여 소르본느대학을 중심으로 독특한 지역지리학파를 형성하였으며, 이는 브뢴느, 갈로와, 마르똔느 등 수많은 지리학자들에 의해 계승 발전되었다. 그러나 2차 대전 이후 프랑스에서의 지역지리연구는 급속히 침체하기 시작하였다. 프랑스에 있어서 지역지리학의 쇠퇴는 곧 지리학 전반의 쇠퇴를 의미하는 것이었는데, 이러한 지리학의 위기는 지리학 자체에 대한 실망에 기인한다기 보다는 프랑스인들의 생활이 현대화되면서 생겨난 변화를 반영하늘 것이라 볼 수 있다.

• 복식문화연구
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• 제16권5호
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• pp.878-890
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• 2008

As a pioneer of modem dance, $Lo{\ddot{i}}e$ Fuller($1869\sim1928$) was important because she introduced a free style dance using a new style of stage costumes. Also, $Lo{\ddot{i}}e$ Fuller was an important motif in $fin-de-si{\grave{e}}cle$, French arts, posters, sculptures, and so forth. This study aimed to clarify the characteristics of Fuller's dance and costumes, and to analyze the modernism in both. To better understand Fuller's dance, this article talks about research on Fuller's career, dance, and Fuller's own biography. Stage costumes, letters for patent, and photographs were are also studied. The most important elements of Fuller's dance were her costumes and the electric lights which could make free style expressions a fantastic representation of dance. To clarify the modernity of Fuller's dance, first of all, this study researched Fuller's career in dance and then analyzed representations of Fuller's dances in visual arts; posters, sculptures and lastly, the characteristics of Fuller's stage costumes. As a result, this article analyzed characteristics of Fuller's dance in three points. First, Fuller used sculptures of silk cloth's drapery to express physical movements and actions. Second, Fuller used lighting and electrical effects that had just been developed in the late 19th Century. Third, Fuller made an application for patents against stage costume and stage mechanisms for her original shows. This study focused on $Lo{\ddot{i}}e$ Fuller's stage costumes which played a main role in expressing fantastic sculptures for the first time in costume, visual arts, and dance studies. This study clarifies the characteristics of the stage costumes in Fuller's dance and is estimated as pioneering and fundamental research.

• 한국실내디자인학회논문집
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• 제21권4호
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• pp.21-30
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• 2012

Interior space of modern society has a request for non-functional considerations as well as a need for function. French sociologist Jean Baudrillard defined this phenomenon as a dialectical relationship between the functional system and the non-functional system in his book "The System of Objects". The main goal of interior design is the pursuit of non-functional aspects which can satisfy emotional needs of human being without ignoring functional side. This means that designer should exceed the limitation of the functional system and overcome it by his own idea and method. Under this recognition, this paper tried to understand how Shiro Kuramata and Takashi Sugimoto accomplished the overcoming successfully. Sugimoto breaks through mechanical monotony introducing the non-functional objects into the functional system. His objects have power and form of the nature. They also shows traces of manufacture and labor. They works as media transferring old life and values. Sugimoto sometimes adopts the non-functional system such as collection, so it reveals time of collecting and arrangement of various objects. In contrast to Sugimoto, Kuramata erased the form of functional object and turned over the everydayness of the functional system. Instead, aesthetical phenomena substitutes form. Having doubts about the geometrical order of functional system, he opened a discourse for its meaning and limitation. However they have something in common which works as a blueprint for establishing subject's discourse. This discourse is comprised of their own memories of scenes. These subjects' discourse institute worlds through their design works based on each methodology. From the Heideggerian point of view, the worlds offer a foundation which allows the establishment of art in interior design.

• 복식
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• 제66권3호
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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.

• 한국의류산업학회지
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• 제20권2호
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• pp.143-155
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• 2018

The purpose of this study is elucidate the status and role of fashion house museums including art museums that are affiliated to luxury fashion brands. This study is significant in that it offers profound understanding of the history of luxury brands and the direction of communication these luxury brands are taking through online and offline museums. For research methods in this study, literature review and case studies were combined. Based on the luxury type classification by Sicard, the scope of research was determined to include the French classical luxury brands to modern luxury brands and contemporary luxury brands. Examining the current status of fashion house museums, it was found that Cartier Foundation for Contemporary Art is an art museum operated by the luxury fashion brand, Cartier. Other fashion house museums in operation included $Herm{\grave{e}}s$ Museum, Foundation Louis Vuitton Museum, $Crist{\acute{o}}bal$ Balenciaga Museum, Yves Saint Laurent Museum, Gucci Museum, Christian Dior Museum, Prada Foundation Museum, Ferragamo Museum, Armani Silos, and so on. As for online museums, there was Valentino Garavani Virtual Museum. These luxury fashion brands' museums serves the following roles: provides references to the fashion industry professionals and researchers; differentiates the brand as means of experience marketing; promotes the brand and enhances brand communication through exhibitions of the founder and designers; archive the brand's design and builds the brand's history as a means of storytelling marketing.

• 한국언론정보학보
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• 제70권
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• pp.277-305
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• 2015

후기구조주의 프랑스 철학자 질 들뢰즈와 펠릭스 가타리는 소수성과 소수자에 관한 논의를 통해 현대사회는 이미 소수자의 시대가 도래하고 있음을 강조한다. 즉, 노인과 같은 사회적 약자이자 특이성을 지닌 소수자들의 '- 되기'를 제시하고 있다. '- 되기'는 어떻게 하면 기존의 동일성에서 분열하여 다른 삶, 다른 주체로 살아갈 것인가에 대한 실천적 방법론이다. 연구 목적은 '여성 - 되기'를 위한 노인 미디어 교육을 탐색하여 노인여성들이 주체적으로 참여할 수 있는 노인 미디어 교육의 실천 방안을 모색하고자 한다. 이론적 논의는 들뢰즈와 가타리의 주요 개념과 사유들을 검토하고자 한다. 이러한 사유를 전제하는 이유는 기존의 양적 기준으로 정의되었던 소수자와 소수성에 대한 재해석을 통해 소수자로서 노인여성들의 욕망을 '- 되기'라는 생성의 차원으로 재조명하고자 함이다. 이를 통해 구체적이고 긍정적인 효과를 낼 수 있는 노인 미디어 교육의 방향을 제시하고자 한다.

• Archives of Plastic Surgery
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• 제40권2호
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• pp.91-96
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• 2013

Background A thinned anterolateral thigh (ALT) flap is often harvested to achieve optimal skin resurfacing. Several techniques have been described to thin an ALT flap including an adipocutaneous flap, an adipofascial flap and delayed debulking. Methods By systematically reviewing all of the available literature in English and French, the present manuscript attempts to identify the common surgical indications, complications and donor site morbidity of the adipofascial variant of the ALT flap. The studies were identified by performing a systematic search on Medline, Ovid, EMBASE, the Cochrane Database of Systematic Reviews, Current Contents, PubMed, Google, and Google Scholar. Results The study selection process was adapted from the Preferred Reporting Items for Systematic Reviews and Meta-Analyses statement, and 15 articles were identified using the study inclusion criteria. These articles were then reviewed for author name(s), year of publication, flap dimensions and thickness following defatting, perforator type, type of transfer, complications, thinning technique, number of cases with a particular area of application and donor site morbidity. Conclusions The adipofascial variant of the ALT flap provides tissue to fill large defects and improve pliability. Its strong and safe blood supply permits adequate immediate or delayed debulking without vascular complications. The presence of the deep fascia makes it possible to prevent sagging by suspending and fixing the flap for functional reconstructive purposes (e.g., the intraoral cavity). Donor site morbidity is minimal, and thigh deformities can be reduced through immediate direct closure or liposuction and direct closure. A safe blood supply was confirmed by the rate of secondary flap debulking.