• Journal of the Korean Society of Costume
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• v.62 no.2
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• pp.122-135
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• 2012

The purpose of this study is to figure out what the beauty of the modern body means and symbolizes from the aesthetic, sociocultural, and psychological perspectives and to investigate how it was formed in the modern Korean society. The data were obtained from the magazines and newspapers published from 1920 to 1939 and analyzed by qualitative content analysis. The results were as follows: First, the modern body from an aesthetic standpoint was characterized by the beauty of westernization, healthy body shape, sensuality, curvaceousness, activity, balance and harmony, and artificiality. The beauty of the modern body from a sociocultural perspective symbolized modern culture and implied the value evaluated by visual appearance. Therefore, the modern body became an object of consumption and the physical capital that gave women chances for their social success and happy marriages. The beauty of the modern body from a psychological viewpoint expressed individuality as a modern ego. Second, the formation of modern body esthetics was explained within the context of social comparison theory. The ideal body suggested by mass media was internalized as the aesthetic standard women used to create modern bodies and with which they compared their created bodies.

• The Research Journal of the Costume Culture
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• v.17 no.5
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• pp.886-896
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• 2009

Acjurumpo is one of the most representatives daily outfit of Joseon Dynasty is a clothes which has a characteristic of having creases under the armhole and it has a lot of chance to use on modern clothes design. This study wants to provide a information on traditional clothes to the public and modernize traditional clothes by designing modern women clothes by adapting Acjurumpo, one of Joseon Dynasty's men' daily outfit which is not very well-known to publics as a link of traditional clothes modernization. Acjurumpo's characteristic is usually having a knife-shape collar and having two sup and one sup, but outside sup of having two sup was more common. There were tongsu, duri, as a example of shape of sleeve. For Mu the combinations were different from Acjurum starting with a shape of trapezoid, triangle to big Mu on a body of side line. For Gorum there were two pairs of long and short Gorum, two pairs of short Gorum or one pair of short or long Gorum. Slit of po was on both side or back. Acjurumpo which was adapted on modern clothes, it was usually used on Hanbok companies that used traditional shape or similar shape to design children' clothes. This study designed three summer one-piece and two winter jacket for women clothes adapting Acjurumpo. And it was designed by using modern material adapting Acjurumpo's characteristics, changing knife-shape collar, Acjurum, mu and Gorum. This study expects for popularization of many traditional clothes developed by modern design in future.

• The Research Journal of the Costume Culture
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• v.24 no.3
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• pp.349-357
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• 2016

As a solemn and serious uniform, military uniform can be differentiated easily from any other clothing in the aspects of color, material and style. Inspired by military uniform, fashion designers have been applying military uniform elements into modern fashion design in recent years, which helps to bring military uniform from the trench onto international fashion runway. The primary method of this research is theory analysis method and exampling study method. Based on the collected materials of modern military uniform, this paper takes the fashion and cultural study theory of the famous American scholar Susan B. Kaiser as the leading theory to analyze four subject positions embodied in military uniform, including nation, rank, gender and time and space. By analyzing the subject positions embodied in military uniform, it shows the rich cultural connotation of military uniform and the function of various small details. Meanwhile, by giving specific examples, this paper explores the influences of military uniform on modern fashion design in respect to color, style, material, pattern and accessory. Through the conduct of this research, it comes to the conclusion that military uniform also has the characteristics and properties described in the fashion and cultural theory of Susan B. Kaiser, in addition, designers can be inspired by every specific object around them, which shows the talents of designers.

• Journal of architectural history
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• v.21 no.1
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• pp.27-46
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• 2012

The core idea of the critical regionalism could be summarized as a self-conscious synthesis between universal civilization and world culture. After World War II, it has been applied to architecture for overcoming the problem of Industrial Capitalism and uniformity of 20th century Modern Architecture. Naturally, religious architecture cannot also be an exception in this cultural trend, thus we can also apply the critical regionalism to the Korean Catholic Church Architecture with the basic premise that the Traditional Western and Modern Style Church Architecture should be regarded as universal civilization, and the Traditional Korean Architecture and endemicity as one of world culture. In the context, this article attempts to analyze the regionality of Korean Modern Catholic Church Architecture constructed between the 19th century and 1980's, and how it has been differently transformed with the view of the critical regionalism. Its analysis will be carried out within three types; transformation of the Traditional Korean Architecture and the influence of Japanese Modern Architecture, representation of the Traditional Korean Architecture, and abstraction of the Traditional Korean Architecture with each advantages and disadvantages.

• The Research Journal of the Costume Culture
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• v.10 no.4
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• pp.461-472
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• 2002

The purpose of this study was to analyze the expressive style of radical feminism and post-modern feminism appearing on the contemporary denim fashion by examining pictures from professional fashion magazine Vogue. For this study, I investigated documents to study the characteristic of radical feminism and post-modern feminism and classified the contemporary denim fashion into erotic look, endrogynous look and deconstructive look. The results of study on the expression style of feminism reflected on the contemporary denim fashion were as follows: First, radical feminism emphasizes that women's sexual feature is never inferior to men's. Therefore in denim fashion, erotic style which emphasize on women's sexual beauty is represented by making hot pants, mini skirt, halter blouse of denim and by using colored jeans and flower print or beads on denim. Second, post-modern feminism has been represented by disregarding or intergrating the existed rule as refusing sexual discrimination. It has been represented in fashion as an endrogynous style by representing neutral gender image. Today, it is represented in denim fashion by mixing a different fabric with denim and matching womanish design with mannish design. Third, post-modem feminism are classified into unfixed expression of genders and the deconstructive expression of methodology. The deconstructive expression of denim fashion is represented by using the damage of fabric by making a hole or tearing intentionally or fraying edge of denim. Also the unfinished designs and transformed dressing are used to express the deconstructive character in denim.

• Journal of the Korean Society of Costume
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• v.55 no.1 s.91
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• pp.151-164
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• 2005

In the modern popular culture, a significant code is not the truth itself but the seeming truth. To fulfill this function, it is a mythology that has a transcendental power to eliminate any doubt and mystery. That is to say, cultural uniqueness is understood as an identical thing through mass communication, and people perceive it as a similar cultural community. In this process, mythology form and accumulate the matrix of mythological meaning by eliminating the difference between the reality and the illusion. Such a matrix forces a meaningless and unconditional truth and practice without any criticism and reconsideration. This paper tries to extract art and cultural characteristics of mythological image through examining the relationship among mythological image, history, and ideology. For this aim, we make use of Roland Barthes' signs and Daniel Boorstin's image as a basic analytical tool. After that we examine the characteristics of mythological image appeared in modern cultural discourses and the relationship between mythological image and modern popular culture. Furthermore, we consider the mythological image expressed in modern fashion, which has the nature of commodity aesthetics.

• The Journal of the Convergence on Culture Technology
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• v.1 no.1
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• pp.27-36
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• 2015

The purpose of this research is to try to enrich human life by applying the convergence energy of humanities and science to modern poetry. "Communication and entertainment", as modern poetry with modernist aesthetics, must indulge people's lives, which is simply to live happy lives. Entertainment is especially crucial because it is a method through which people can lead humane and satisfactory lives. The prerequisites for achieving this are true liberty and happiness. If these two prerequisites derive from humanity's consciousness, "communication and entertainment" can be born from "convergence of information technology and modern poetry", as the author insisted.

• Journal of Fashion Business
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• v.23 no.6
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• pp.1-15
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• 2019

Appropriation is of considerable significance in a cultural trend of thought, as one of the means of realizing the post-modernism period. With the increasing use of appropriation techniques in modern fashion, it is necessary to study the external performance and internal aesthetic value of appropriation in fashion. In the book of cultural appropriation, American scholar James o young divides into three categories of appropriation in culture, namely: object appropriation, content appropriation, and subject appropriation. Based on James O Young's three types of appropriation techniques summarized in the theory of the cultural appropriation, the purpose of this study is through the appropriation of the poncho of traditional Mexican clothing in modern fashion as an example; analyzing the external appropriation characteristics and internal aesthetic significance of different appropriation type. The results are as follows. First, designers take the Originality in modern fashion by expressing Mexican Poncho's form, color, pattern, and material as it is through object appropriation technique. Second, through the Mexican folk poncho's style, designers used these to show the similarity produced by content appropriation in modern fashion. Third, designers used the poncho's design concept or poncho's culture, blending the theme of the collection, adding different color, pattern or materials such as fur, lace, and wool, and presenting a new image different from folk costumes through creative subject appropriation technique.

• Cross-Cultural Studies
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• v.36
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• pp.61-95
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• 2014

At the turn of the century in which European colonialism was reaching its zenith and modernization was gathering speed, public museums were institutionalized. This paper looks into the part these European modern museums played in territorializing academic disciplines like anthropology and art history. The museums to deal with are the British Museum and the National Gallery in London, Mus?e du Louvre in Paris, and Museumsinsel in Berlin. Rather than in-depth detailed analysis of each museum, the aim is to explore the ways in which these museological institutions interacting with modern disciplines in the wider colonial context objectified other cultures and formulated a framework of the world through classification and comparison of material things, on the basis of the judgement of their artistic values. This exploration is also to rethink theoretical positions and perspectives on the museum in Korea. It is remarkable in Europe that such academic fields as history, art history, anthropology and cultural studies look for new possibilities of museology in conjunction with the recent proliferation of studies on the museum as a medium to construct and deconstruct knowledge. Meanwhile, the mammoth European museums which are often considered a stronghold of museology advocate the 'universal museum' themselves, quite the modern idea but in a revised rendering. Under these circumstances, this paper seeks to shed light on the definition of the museum as an arena in which scholarly discourses about art, culture and history can be created and contested, on the effectiveness of the museum as a communication medium in a postcolonial era, and on the need to pay trans-disciplinary attention to the museum in its broadest sense.

• The Journal of the Convergence on Culture Technology
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• v.9 no.3
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• pp.509-518
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• 2023

Although German Neo-expressionism and Chinese modern ink painting are separated by thousands of miles in geographical space, they have a similar origin time, and there are many commonalities between them. In the aspect of creative attitude, artists of both styles can absorb and resist foreign styles, return to the past and conquer the tradition. In the aspect of formal expression, the objects of both paintings are representational rather than realistic, and the material characteristics of the media are emphasized. At the inner spiritual level, both expressionism and modern ink painting pay attention to social concern, and show the uncertainty of postmodernism together. The commonality between German neo-expressionism and Chinese modern ink painting does not mean to eliminate the difference, but to maintain the coexistence of difference and commonality.