• 한국콘텐츠학회논문지
• /
• 제22권6호
• /
• pp.487-494
• /
• 2022

이 연구의 목적은 대중문화예술인들의 행복감에 긍정적인 효과를 줄 수 있는 성격강점기반 집단상담프로그램을 구성하고 그 효과를 검증하는 것이다. 이를 위하여 서울시 및 경기도 소재 연예기획사와 예술고등학교 소속 예술인 중 16명을 모집하여 실험집단과 통제집단으로 배정하고, 두 집단 모두에게 성격강점과 행복검사지로 사전·사후 검사를 실시하였다. 프로그램의 효과 검증을 위해 실험집단은 주 1회, 회기당 60분씩 총 8회기의 성격강점 프로그램을 시행하였으며, 통제집단은 무처치 하였다. 연구결과 프로그램에 참여한 집단의 성격강점과 행복감이 통제집단에 비해 유의하게 향상되어 성격강점을 강화하는 훈련은 청소년 대중문화 예술인들의 행복을 증진시켜 보다 행복한 삶을 영위할 수 있음을 보여주었다. 이는 대중문화 주체들의 정신건강을 관리하는 시작점을 만들었다는데 그 의미가 있으며, 결과를 토대로 후속연구를 위한 제언과 시사점을 논의하였다.

• 복식
• /
• 제50권3호
• /
• pp.13-30
• /
• 2000

The purpose of this study was to analyzed the types of Deformation dipicted on the late 1990s western costumes. The late 20th century cultural experience or lifestyle is interpreted with 'popular culture' ,popular culture is described as cultural phenomenon in postmodern condition. Contemporary popular culture may no longer be strictly 'working-class' as the idealistic purists of political formalism would like to , but does emerge from subordinate cultures, from the inventive edges of the consensus, and from the previously ignored and suppressed. It gestured through a widening democratization of styles, sounds and images, to an important remarking , to new possibilities , new perpectives, new projects. The growing importance of popular culture as a source for change of expression in the art, expecially new desire and will of artists has been caused lots of ' Deformation' in their works. Deformation, doesn't mean to represent object faithfully as it were seen through the artist's eyes. In a sense it implies that artists deform it with conscious or unconscious form. So in this study , the phenomenon of the postmodern western costumes is to describe ' formative language' called 'Deformation.' and it is classified three types, that is, 'Deformation of human-body image.' , Deformation of silhouette.' 'Deformation of detail.'. First , Deformation of human-body image is represented by deconstructive , subversive image in western costumes, a lot of costumes types of deconstruction have been shown by fashion designers are emphasized empathy with Deformation of human-body image. Second, Deformation of silhouette is also represented subversion of traditional manner and ultiity, underwear and outwear structure and ugly image. parody image of postumodernism , and so on. Above all, the late 1990s western costumes with Deformation of silhouette was an infinitely larger and more complex world than it appeared from outside and has expressed as a rejection against the values which traditional aesthetic concept had pursued, And parody through the change of internal meaning is to bring about parodox, irony, contempt, satire , unexpectedness by applying the original to inapproporate subject through its substition, inversion. Third, Deformation of detail is represented overdecoration, exaggerative distortion of for , overlapping and fetish image, parody image, kitsch image, and so on , Once fetish achieve a certain' style factor' among trendsettler, they are picked up by internationally famous fashion designers, The characteristics of kitsch are overdecoration , unfitness , imitation , used western costumes.

• 문화기술의 융합
• /
• 제4권3호
• /
• pp.41-50
• /
• 2018

본 논문은 문화예술이 갖는 '기억의 재생과 잠재된 변화 욕구에 대한 민중들의 의지를 불러내는 매개자'로서의 기능과 역할에 주목하였다. 진보적 문화예술 활동이 광주민주화운동을 기점으로 사회변화의 기폭제가 되었다는 판단에서 이들 사이의 상관성을 살펴보고자 하였다. 다시 말해 광주민주화운동을 기점으로 조직화된 민중문화 혹은 민중예술이 한국사회의 변화에 어떠한 영향을 주었는지 확인하고자 한 것이다. 문화에 대한 정의는 너무 광범위하여 특정할 수는 없지만 여기서 문화는 5.18민주화운동이라는 특정한 사건에서 시작하여 한국 민주주의 발전이라는 사회변화의 지속 과정에 치열하게 참여했던 일련의 행위에 초점을 맞추고자 했다. 그런 점에서 민중문화운동과 민중예술인들이 한국사회의 문화를 바꾸는데 기여한 바는 충분히 평가되어야 한다고 판단한다.

• 비교문화연구
• /
• 제23권
• /
• pp.295-319
• /
• 2011

This study examines how Latinidad can be reclaimed as a site for exploring affinities of Latinos in Latin music industry, especially from the 90s. By looking at sites where Latinidad is constituted, such as the case of Jennifer $L{\acute{o}}pez$ becoming Selena, it intends to suggest that the concept can be deployed as a political bridge to connect latinos. And by examining Cuban-American artists' self identification in Latin Grammy Awards, it reveals that the latin music business definitions of Latinidad is coded differently for them as 'Caribbean' to erase a natural resonance of Cuba. In addition, by dealing with Shakira's somewhat contradictory representation of Colombianidad, the study argues that Latinidad serves as a social construct and newly emerges as a convenient interstitial place between the Latin American and the US Latino. Shakira's case serves to show how the transnational trends of latin music contribute to create a simultaneous sense of Latinidad and Colombianidad. Focusing on the commercial significance of understanding of what latino is or should be, this paper aims to interrogate current understandings of Latinidad in the realm of latin music and popular culture.

• 복식문화연구
• /
• 제19권2호
• /
• pp.283-295
• /
• 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.

• 비교문화연구
• /
• 제26권
• /
• pp.43-71
• /
• 2012

In this article, we recognize the cross-cultural communication between Greece and Spain through El Greco's pictures. The Greeks of Crete kept to their culture and continued to look to the declining Byzantine Empire for spiritual and political guidance. For two centuries after the conquest, the strength of the Byzantine tradition had become the moral and spiritual sustenance of the conquered in Crete. The basic contribution of Cretan intellectuals or artists such as El Greco of the fifteenth and sixteenth centuries was the forging of connecting links between the Hellenism of the old Byzantine East and the rising, youthful Hellenism of the Renaissance West. In this way, Crete served as an important halfway point between East and West. The saint Mary Magdalene was symbol of Christian penitence, which represents the penitential life personified and became widespread during the Counter Reformation, when new emphasis was put on the value of prayer and repentance in the forgiveness of sin. In Spain, the Penitent Magdalene was popular and El Greco painted many versions, which at the first time, were reflected by Tiziano, on the contrary, at the time of Toledo, were recreated by his own style. Although El Greco was converted to Catholic in Spain, his faith in Greek Orthodox Church influenced on his original painting world. El Greco had never painted a picture whose subject treat with the emphasis of identification between Mary Magdalene and Mary, younger sister of Martha.

• 한국콘텐츠학회논문지
• /
• 제15권1호
• /
• pp.86-94
• /
• 2015

본 연구는 2014년 7월29일 시행된 '대중문화예술산업발전법'의 핵심인 청소년 대중문화예술인의 보호 조항의 적절성 여부를 비판적 관점에서 분석하여 미비점 등 법률 개정 방향을 모색하고자 실시되었다. 분석 결과 이 법률은 성매매 알선, 노예계약, 제3자의 수익 편취 금지 등 논란이 되어온 사회적 요구를 포괄적으로 수용하였다. 그러나 연령별로 노동시간을 차등적으로 규정하지 않은 데다 청소년에게 강요해서는 안 되는 위험한 연기장면의 사례, 수면권 건강권 학습권 보장의 절차와 방법, 위반 시 벌칙(처벌) 조항 등을 충분하게 규정하지 않아 구체성과 적용성을 충족하는 방향으로 보완이 필요한 것으로 나타났다.

• 패션비즈니스
• /
• 제23권2호
• /
• pp.124-139
• /
• 2019

The purpose of this study was to examine the characteristic expression of Korean traditional costumes shown in the Korean paintings by Kim Hyun-Jung. The study analyzed the paintings by Kim Hyun-Jung to find out the characteristics of the contemporary Korean paintings and the expression of Korean traditional costumes. The characteristics of Kim Hyun-Jung's works are as follows: 1) The paintings are drawn by using Korean traditional painting methods and finished with Korean traditional paper, hanji. Moreover, they show the Korean traditional costume as main subject material. 2) They use modern painting methods, such as collage, and show pop art characters by use of contemporary popular products. 3) The artist communicates with the public through SNS and YouTube, and shows characteristics of popular art through commercial art products and advertisements. The characteristics of the Korean traditional costume in Kim Hyun-Jung's works are as follows. 1) The hanbok shown in the paintings is a traditional style with tight jeogori and wide chima. Chima is drawn in thin coloring with Korean ink and jeogori is expressed with semi-transparent hanji in various patterns and colors, which shows the subject 'coy'. 2) Various kinds of Korean traditional accessories and modernized flower shoes with high heels are shown as subject materials. The art works by contemporary Korean artists are expected to be the route to give valuable information to the public about Korean traditional costumes as well as the trendy Korean culture.

• 복식문화연구
• /
• 제26권4호
• /
• pp.485-502
• /
• 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.

• 미술이론과 현장
• /
• 제5호
• /
• pp.217-229
• /
• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.