• The Research Journal of the Costume Culture
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• v.19 no.2
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• pp.283-295
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• 2011

This study deals with the interchange with art that is contained in the works of Yves Saint Laurent, and it is disclosed through his works that modern fashion is part of expressive art while pursuing creative function as a work of art. The study has been performed on the basis of the references, the pictures of his works and interviews posted in domestic and overseas fashion magazines such as Vogue, Fashion News, Mode & Mode, Gap, Collections, etc. Regarding the scope of this study, it specifically deals with works he created from 1958 until 2002, when he announced his last collection. The results of the study show that with respect to Post-Impressionism, his works were greatly affected by van Gogh(who had used colors as active media in depicting his internal mental state) which gave birth to gorgeous and handicraft-like 'Couture-style clothes'. With respects to Fauvism, the works of Matisse also had an impact on Yves Saint Laurent, who added a sense of fauvism in his works through the use of colors, motif, or full reproduction of images from paintings. We see the influence of cubism upon Laurent when we examine his works of 'clothes with artistic value,' which utilized applique, beaded decoration, patchwork, embroidered patterns, relief-like ornaments, etc. using motif or objet much as we see in the works of Picasso and Braque, artists who expressed a new dimension of the formative arts. Laurent's use of neoplasticism, or plainness of painting, demonstrates a new formative art on the three-dimensional human body by using the works of Mondrian, which consist of black lines and primary colors, although generally Laurent's 'neoplastic'works differed from the works of Mondrian by more actively utilizing the lines and colors when designing dress and its ornament. In addition, the paintings and poems of surrealism artists and poets were directly used in the clothes or their images were sometimes borrowed. In order to express respect toward the spirit of surrealism and its artists, the human body motifs such as lips and eyes(which were frequently used by the surrealism artists) were applied to embroidery, printing and beaded decoration. Finally, being inspired by such Pop artists as Andy Warhol, Roy Lichtenstein and Tom Wesselman, Laurent further emphasized the aesthetic value of the popular consumer image in his own work, resulting in the wide recognition of the designs of Yves Saint Laurent as representing the new wave of the Pop Art school.

• Journal of Science of Art and Design
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• v.3
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• pp.33-61
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• 2001

Dans les arts modernes, nous ressentons souvent un $probl\`{e}me$ $disloqu\'{e}par$ rapport aux humains. Ceci ne viendrait-il pas $peut-\^{e}tre$ do notre $pens\'{e}e$ dans l' $\'{e}change$ culturelle entre le monde et nous qui s' appuie trop une $temporalit\'{e}$ et logique? Cette $the\`{s}e$ approche ce $probl\`{e}me$ $\`{a}$ travers one perception anthropologique do monde, en $\'{e}tudiant$ les arts tridimensionnels avec ses $\'{e}schelles$ qui deviennes plus on plus agrandis. Maurice Merleau-Ponty, dans son livre 'la $ph\'{e}nom\'{e}nologie$ de la perception', bien $r\'{e}sumait$ une $intersubjectivit\'{e}$ entre l' espace et nous. Selon lui, l' homme prend conscience do la forme des objets avec son environnement parce quil est un corps on interaction avec eux. Donc nous $r\'{e}f\'{e}rons$ ce livre pour notre set. Et on essayera ici d' $\'{e}tudier$ le travail do Constantin Brancusi, de Alberto Giacometti, do Richard Serra et do quelques d' autres travaux d' artistes L' oeuvre do Brancusi 'la Colonne sans fin', la taille plus de 29 m, produit one impression sur le spectateur relativement $\grave{a}$ la forme continue et $r\'{e}p\'{e}t\'{e}e$ $\`{a}$ linfini de $mani\'{e}re$ unifome. La pratique de Giacometti qui tenait compte do son envergure et de la longueur do son corps ainsi que do distance et de la mesure do sos bras, Il $d\'{e}formait$ aussi les silhouettes et transformait les objects en les $\'{e}tirant$ dans la perspective. Rosalind Krauss parler $\`{a}$ loeuvre do Serra, dans son livre 'l' originalit de lavant-garde et sutres mythes modernistes' (pp. 319-333), le spectateur est toujours on mouvement on liaison entre l' horizon do corps et celui do monde. Cette $transitivit\'{e}$ abstraite $r\'{e}ciproque$ entre le regardeur et le $regard\'{e}$, qui est comme le sujet de nombreuses oeuvres do Serra. Cependant le Maximalisme est $\`{a}$ l' origine Minimalisme qui s' $\'{e}tend$ dans ses efforts $th\'{e}oriques$ jusqu' au l' espace architecturale. Ces sculptures do grandes dimensions so situent autour de $b\^{a}timent$ ou dans lespace environnementale, comme ils sent l' architecture et le paysage. On suppose ici, leurs concepts de l' espace $\'{e}largit$ $\`{a}$ celui d' architecture. La sculpture et l' architecture $r\'{e}ciproque$ l' espace tridimensionnel entre eux, mais selon l' argument do Herbert Read pour la distinction de ces deux arts originaux sont, deux saisies de l' espace, ici englobant, $l\`{a}$ $englob\'{e}$. On $\'{e}tudie$ dans co set de concept de l' espace et de l' $\'{e}chelle$ d' objet par rapport au corps humain.

• The Journal of Art Theory & Practice
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• no.6
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• pp.101-121
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• 2008

An artist, Oh Yun(1946~86)'s theory of people's art during his final period is summed up in his essay 'Expansion of Artistic Imagination and World' (1985). Emphasizing the mystic and traditional characteristics of Oh Yun's artistic oeuvre during his final period, some critics focus on Oh Yun's experience of medical treatment and shamanistic custom at Jin Do island, and his belief in Jeung San Do, the dao of Jeung-san, the Ruler of the Universe. However, they forget the practical intention and implication of his theory of art during his final period, which aimed to overcome the contradiction of revelation itself. Oh Yun's essay criticized the loss of artistic imagination and the ignorance of traditional culture that resulted from the elevation of science to a religion, and insisted that the stereotyped idealism, scientism and elitism in art should be overcome in order to recover the full reality in realism and to continue traditional cultures. The essay is comprised of 18 paragraphs. Oh Yun criticized monochromatic art, conceptual art, hyper-realistic art, objet d'art, and neo-dadaist art, saying that they were simply mechanical forms of modern art derived from scientism and a fetishistic lens culture. In addition, he criticized naturalism in art, which had continued as a tendency in the development of western art, for the same reason. He pointed out that even the world of realism had been diminished by elite stereotypes and diagrams. He declared the need to overcome the imitation of shells or stereotyped propaganda, and recover full realism, which seems to have started with a reflective examination of current problems in 'Reality and Utterance', in which he participated. Especially, he thought that universality and the extension of full realism could be achieved by building on the views of traditional cultures, which is meaningful. This logic is same as the theory of epic theatre that Bertolt Brecht(1898~1956) has developed under the ancient Greek masque and Pieter Bruegel the Elder(1525~69)'s story-like picture style. The universality of realism and the extension of acquisition to include incantation art, rather than move toward incantation art, is what Oh Yun intended to propose in 'Artistic Imagination'. This attitude is same as Bertoh Brecht's aesthetic viewpoint in the 1930s. But regrettably, Oh Yun's style wording, which seems covert and far-sighted, is often misunderstood as 'mysticism'. In the flow of people's art in the 1980s, Oh Yun was a traditionalist in a narrow sense, and an realist in a broad sense. However, his critical mind, which comprehends tradition and reality, was attempting to expand universality and extend full realism, and this attempt found many sympathizers and had an influence on the next generation of people's artists, such as "Levee" which is field-centered, to which we should pay attention. This means that while their works thought about 'tradition', we should be careful not to connect them with 'aesthetic conservatism' or 'classical art'. This is the why the meaning of Oh Yun's theory of art during his final period should be closely examined again.

• The KIPS Transactions:PartD
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• v.11D no.7 s.96
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• pp.1399-1408
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• 2004

Because there are so many spatio-temporal data in Moving Object Databases, a single disk system can not gain the fast response time and tota throughput. So it is needed to take a parallel processing system for the high effectiveness query process. In these existing parallel process-ing system. it does not consider characters of moving object data. Moving object data have to be thought about continuous report to the Moving Object Databases. So it is necessary think about the new Declustering System for the high performance system. In this paper, we propose the new Dechustering Policies of Moving objet data for high effectiveness query processing. At first, consider a spatial part of MBB(Minimum Bounding Box) then take a SD(SemiAllocation Disk) value. Second time, consider a SD value and time value which is node made at together as SDT-Proximity. And for more accuracy Declustering effect, consider a Load Balancing. Evaluation shows performance improvement of aver-age %15\%$ compare with Round-Robin method about $5\%\;and\;10\%$ query area. And performance improvement of average $6\%$ compare with Spatial Proximity method.

• Journal of the Korean association of regional geographers
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• v.19 no.4
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• pp.627-640
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• 2013

Cette $\acute{e}$tude a pour objet d'analyser le processus de morphogen$\grave{e}$se de l'$\hat{I}$le rocheuse de Baek. Nous y voyons une cl$\acute{e}$ pour apprendre son relief marin et le processus de morphogen$\grave{e}$se des l'$\hat{I}$les m$\acute{e}$ridionales de Cor$\acute{e}$e du Sud. Le granit porphorique qui compose l'$\hat{I}$le rocheuse de Baek est une roche magmatique qui s'est form$\acute{e}$e il y a 60 million d'ann$\acute{e}$es. La cause principale de formation de l'$\hat{I}$le rocheuse de Baek, est une ligne de d$\acute{e}$lit vers le NE-SO et l'ENE-OSO, un soul$\grave{e}$vement de la plaque tectonique et une $\acute{e}$rosion par les vagues. L'$\hat{I}$le rocheuse de Baek pr$\acute{e}$sente un caract$\grave{e}$re d'$\acute{e}$ruption de magma de calc-alcalin par analyse g$\acute{e}$ochimique de son granit porphorique et fait partie du granit de l'arc volcanique. Il s'agit d'un magma qui s'est form$\acute{e}$ dans la subduction pr$\grave{e}$s du continent. Il est aussi n$\acute{e}$ssaire d'examiner un soul$\grave{e}$vement qui est plus $\acute{e}$lev$\acute{e}$ qu' un mouvement ascendant de la surface de la mer $\grave{a}$ l'$\grave{e}$re quaternaire environ de l'$\hat{I}$le rocheuse de Baek malgr$\acute{e}$ que, selon nous, nous y trouvions une faille et une terrasse marine.

• The Critical Review of Religion and Culture
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• no.25
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• pp.77-122
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• 2014

A Japanese director Sion Sono(園子溫, born in 1961), who is not so familiar to us yet, has been depicting the world of violence and sexuality filled with poetic and philosophical messages through the shockingly impressive works such as Strange Circus(2005), Love Exposure(2008), Cold Fish(2010), Guilty of Romance(2011), and so forth after the great success of Suicide Circle(2001) and its second film Noriko's Dinner Table(2005). In addition to these, he has also presented a kind of realistic visions in much more direct ways by Himizu(2011) or Land of Hope(2013) after 3 11 disaster. The purpose of this paper is to try a psychoanalytic interpretation of Sion Sono's film, centering on his Guilty of Romance(愛のむきだし), in terms of the concepts of Jacques Lacan(1901-1981), for example, gaze, objet petit a, fantasy, desire, the imaginary-the symbolic-the real, jouissance, etc. In so doing, this paper will pay special attention to the discourse of love on one hand, exploring the way how to show any new perspective to the religious studies by reading film and religion in association with Lacan on the other hand.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.325-330
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• 2021

This study set out to investigate the forms, attributes, and escape methods of post-subjects projected on the investigator's works in connection with rhizomatic thinking proposed as a way of social transformation by Deleuze and Guattari and examine their social connotations. Post-subjects projected on the investigator's works are not completed wholes of some sort, but like materials whose constant premise is change and creation. In the investigator's works, post-subjects have conscious and unconscious desire. It is the desire of creation with positive attributes including Deleuze's and Guattari's pursuit of changes in a contradicting society. When desire is deployed in post-subjects, they will carry out an escape. This way of escape is rhizomatic proposed by Deleuze and Guattari. It deconstructs contradicting things and repeats connection, contact, and severance with the outside world, building a new order. Rhizomatic post-subjects appearing in the investigator's works depict the escape process and method in abstract ways through the variable installation of objets combined with a color field of repeating brushes. In this work, the goal of post-subjects is to make a safe landing in a space where beings are recognized for their values and free and creative lives. These post-subjects are nomads creating a new landscape continuously, wandering around vast plains, and also artists and literary figures resisting a contradicting society. That is, they are connected to the concept of a war machine proposed by Deleuze and Guattari as a concept of social transformation and to the concept of Nietzsche's Agon to devise and create new values and politics based on street passion. They seek after a space where they can co-exist with otherness recognized rather than the complete deconstruction of the old order.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.113-125
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• 2021

This research has the purpose to approach 'Audience participation theatre' through applying the concept of 'Hybrid' which newly come to the fore after 21st in a theatre space. In fact, 'Hybrid' has been suppling crucial power to create and pass a culture down for a long time, and it could not different to a theatre space. The hybridity in previous traditional theatre which is central 'text' and 'architectural theater' is limited movement only on the stage, such as 'an actor between presence and absence', 'a theatrical time between real and fiction' and 'an objet between An Sich(thing itself) and Fur Sich(thing with inner meaning). However after 20st's 'Avant-Garde' with 'decomposition sprit', the hybridity become broader from only on the stage to entire theatre space including auditorium caused by collapse the boundary between auditorium and stage. In other words, 'auditorium' and 'audience' are considered as 'a theatrical element' coequal with other elements, and it can create various special results through they are mixed equally. Therefore, 'Audience participation theatre' could regarded a kind of hybrid phenomenon between 'auditorium and audience' and 'actor and stage' which are most disparate relation, and it is also approached 'hybridized audience', 'hybridized space' and 'hybridized text' as a new identity.

• Trans-
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• v.15
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• pp.57-79
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• 2023

This study aims to explore the strategies and effects of SNS images used by four popular male beauty influencers to gain identification with their female fans. The research selected four male beauty influencers, namely Li Jiaqi, Jeffree Star, James Charles, and Bretman Rock, with a high number of subscribers on Instagram, YouTube, and TikTok as of July 21, 2023. By observing the content they posted on SNS, the study analyzed the types, characteristics, and relevance of male beauty influencer images with their female fans using Lacan's gaze theory. Additionally, concepts related to gaze, such as the mirror stage, the screen, and objet petit a, were supplemented to conduct an in-depth analysis of the characteristics of male beauty influencer images and the motivations of female viewers. The study results suggest that male beauty influencers can maintain an intimate relationship, referred to as 'girl-friendship,' with their female fans through the identification formed by the homogeneity within the feminized mirror images. Furthermore, male beauty influencers can transform female viewers from being seen as objects to seeing them as subjects by presenting images that embrace diversity in gender identity, challenging the traditional notions of societal gender norms. Therefore, the images of male beauty influencers not only challenge gender stereotypes but also cater to the demands for independence and equality of modern young women, promote understanding of feminine gaze, and explore the potential for democratization and inclusivity on social media platforms from a new perspective.

• Journal of the Korean association of regional geographers
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• v.17 no.6
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• pp.738-752
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• 2011

La c$\hat{o}$te m$\acute{e}$ridionale de la Cor$\acute{e}$e du sud, et principalement la ville de Yeosu et ses environs pr$\acute{e}$sentent un int$\acute{e}$r$\hat{e}$t particulier puisque le paysage offre de nombreuses presqu'$\hat{i}$les, baies et $\hat{i}$les. Pour tirer profit de ces paysages naturels il est d'abord n$\acute{e}$ssaire de les prot$\acute{e}$ger. Malgr$\acute{e}$ la haute valeur de ces paysages naturels, ils demeurent peu connus et les analyses $\acute{e}$cotouristiques de la ville de Yeosu et ses environs sont encore incompl$\grave{e}$tes. Par ailleurs, la protection de ces paysages naturels est rendue difficile par la d$\acute{e}$sagr$\acute{e}$gation d$\hat{u}$e aux sels halo$\ddot{i}$des. Cette recherche a pour objet l'$\acute{e}$tude du tourisme physico-$\acute{e}$cologique et sa contribution au d$\acute{e}$veloppement $\acute{e}$conomique d'une r$\acute{e}$gion de Yeosu en Cor$\acute{e}$e du sud. Nous nous int$\acute{e}$ressons particuli$\grave{e}$rement au d$\acute{e}$veloppement d'une route $\acute{e}$cotouristique, aux crit$\grave{e}$res de s$\acute{e}$lection du lieu $\acute{e}$cotouristique et $\grave{a}$ la pr$\acute{e}$sentation des explications touristiques, en tenant compte de l'$\hat{i}$le de Sado et de ses paysages naturels sur le plan de l'$\acute{e}$cotourisme. Il y a plusieurs ressources $\acute{e}$cotouristiques sur l'$\hat{i}$le de Sado et dans ses environs: la plage de sable et la falaise de l'$\hat{i}$le de Sado; les traces fossiles de dinosaures, la ripple-mark et la crevasse dans le sol boueux de l'$\hat{i}$le de Joungdo; le tombolo, l'affleurement tufac$\acute{e}$ et le dyke de l'$\hat{i}$le de Silouseom; le trou provoqu$\acute{e}$ par les sels halo$\ddot{i}$des et le dyke de l'$\hat{i}$le de Jangsado; la mer ass$\acute{e}$ch$\acute{e}$e entre l'$\hat{i}$le de Naquek et l'$\hat{i}$le de Choudo. On a, g$\acute{e}$n$\acute{e}$ralement, d$\acute{e}$velopp$\acute{e}$ les reliefs li$\acute{e}$s $\grave{a}$ la couche s$\acute{e}$dimentaire et les fossiles de la derni$\grave{e}$re p$\acute{e}$riode du m$\acute{e}$sozo$\ddot{i}$que. La route $\acute{e}$cotouristique part de l'embarcad$\grave{e}$re de l'$\hat{i}$le de Sado et continue du Nord jusqu'au Sud.