• 복식
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• 제30권
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• pp.275-294
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• 1996

In fashion there was a move away from the ascetic of the Gothic according to the appear-ance of a new spirit at the beginning of the fourteenth centuries initially in Italy. The new spirit Humanism applied their interest not to the universal but to the individual and particular. The Renaissace costume style based on the Humanism was sharp angled and curvy and had a grotesque silhouette with the exaggerated and tense decorations. The purpose of this study is researching the background led to the balanced costume style characterized by unique details. out of the tastte for luxury and beauty grew a new style known as slashing in which seams were left open and colored linigs thrust through or cuts were made in an entire cos-tume and contrasting material puffed out of the cuts. With the slashes another element was characterized in the high Renaissance cos-tume style that was the use of points or lace to hold a costume together. For the masculint costumes pads became into a fashion and were used for forming the antinatural artificial and bulky silhouettes. The body was distorted and tensed by putting the pads into the sleeves and bodice. The jacket with a full rounded bodice like a bow known as peascod belly and haut de chausses a onion-shaped trunk hose with a codipiece ap-peared and grew one of the most characteristic of Renaissance style. According to these sociological changes the view of the beauty based on the human body and in both of men and women the costume style was changed very much to emphasixed their physical beauty and finally it grew a grotesque style and even more a exposed style that exposed a part of their body. Those backgrounds as were stated above can be said to lead to the appearance of the grotesque style in the Renaissance Age.

• 복식
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• 제50권2호
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• pp.59-80
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• 2000

In February 1947, Christian Dior startled the world with his spring collection. He transformed the unflattering square shouldered outline of women's wartime fashion overnight. It was not only fashion that made a pivotal point for opulence and elegance, The style of architecture, furniture, glass, and silverware also made a radical change. The new style emerged after war called " organic modernism'. This study is to define the visual characteristics of fashion, architecture, furniture and craft after World War II and examine the social factors and aesthetics that generated a new style. The common asthetic characteristics are freedom, abstraction of symbolic from, asymmetry, and exaggeration of form. The social factors, values and aesthetics are economic reconstruction and renaissance of design , technical development and new materials, fredom and optimistic view after the holocaust of war, and organic aesthetics and humanism.

• 비교문화연구
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• 제41권
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• pp.381-413
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• 2015

이 논문의 목적은 근대적 지식의 중심범주로서 인간과 휴머니즘(인간주의)에 대해 문화철학적 관점에서 비판적 반성을 시도하는 데 있다. 일반적으로 휴머니즘은 인류의 자연적이고 영원한 이상을 대표하는 개념으로 상정되어 있으나, 푸코에 따르면 이는 최근 수백 년간 성립된 근대적 지식의 산물일 뿐이다. 지식은 객관적이고 불변적인 실체로서 영구적으로 존재해 왔던 게 아니라, 인간이 무엇을 '지식'으로서 인식하는가에 따라 그 외연과 내용이 변화해 왔으며, 16세기 이래 수차례의 범주적 변동을 겪어 왔다. 이 과정에서 지식 범주의 '바깥'에 있던 인간은 점차 그 중심부로 이동하였고, 19세기에 이르면 모든 지식의 구성적 중심을 차지하게 된다. 오늘날 인간과학 혹은 인문학이 성립하게 된 배경은 인간이 지식의 중심범주에 도달하게 되었다는 문화사적 사실에 힘입은 바 크다. 이러한 인간학 혹은 인간주의(휴머니즘)의 역사화는 거꾸로 인간이 다시 지식범주의 바깥으로 밀려날 가능성을 열어둔다. 지식 지평의 확장과 새로운 관점의 전환은 근대적 의미에서의 인간학을 대신하여 다른 인식의 구조를 열게 될 잠재성을 발견하는 것이다. 최근 논의가 활발히 진행되는 '기계주의', '비인간'이나 '포스트휴먼' 등은 이러한 인간(학)의 변형에 대해 흥미로운 시사점을 제공하고 있고, 이에 대한 단초를 살펴보는 일은 현대 인문학의 당면과제이지 않을 수 없다.

• 한국의상디자인학회지
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• 제4권2호
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• pp.163-172
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• 2002

There have been many unbalanced attempts to break the rules with Renaissance movement which connects with the past in the current art. And From the latter half of Twenty century to the early half of twenty one century, the common sense of fashion is turned over by(unthinkable fashion). To analyze current apparence of fashion, this research make a comparison of fashion condition between the sixteenth century and twenty century fashion, Three analysis methods is introduced. First of all, this paper make research of original language of mannerism and unthinkable apparence. Second, appearances of mannerism fashion and unthinkable fashion which are taken from reference books and pictures. Third, Gathering methods which express own style between two periods in the end part of research. As a result, Although Mannerism isn't practical for the visual and new pleasure, and neglect humanism of Renaissance, It is a tendency which is willing to change the flow of prevailing mode, and to reflect asking of people each periods. Mannerism and unthinkable fashion is apparence of society to refresh own feeling. And then, Mannerism and unthinkable fashion is a new challenge to escape from fixed thought.

• 한국의류산업학회지
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• 제9권1호
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• pp.15-23
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• 2007

In the Middle Ages it was customary to cover up the hair, but the Renaissance brought uncovered coiffures with the revival of humanism. In those days, silk and linen veil, ribbon, string of pearl used for covering, wrapping round with the hair. During the Baroque period, the style of hair was to pursue the beauty of imbalance in form, reflecting the atmosphere of the time. Hurluberlu and Fontanges hairstyles were in fashion. Then in the Rococo period, huge, resplendent coiffures of exquisite beauty were invented as a symbol of power, and these modes of hairdo were a dominant force in the culture of personal adornment of that time. Pouf and enfant hairstyles were in fashion. As a reaction against the extravagance of the proceding modes, late 18th and early 19th centuries brought revival of simpler hairstyles of ancient Greece and Rome by the influence of neoclassicism. The latter half of the 1820's onwards saw he reappearance of voluminous coiffures as well as an enormous variation of knots with combinations of false knots and chignons. Late 19th through early 20th centuries was the period of beautifully waved hair, the style of which was an integration of Marcel waves and Art Nouveau. The 20th century saw the epoch-making invention of permanent waves using electricity. Concurrently, with an increasing participation of women in social affairs since pre-and post-World War I periods, as well as with Art Deco in full flourish, bobbed hair was created in pursuit of lightness and nimbleness, quickly showing the change of women's modes of life. Hair fashions thoroughly embody the aesthetic sense of each period, reflecting the landscape of contemporary society.

• 문화기술의 융합
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• 제10권6호
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• pp.371-376
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• 2024

본고는 초기 르네상스 시대 미술가 첸니노 첸니니의 저서 『미술의 책』에 나타난 인문주의 미술이론의 주요 특성을 분석한다. 14세기 말에 집필된 그의 책은 르네상스의 문을 열면서 역사상 최초로 문학의 시적 함의와 수사학으로부터 미술을 독립시키려 했다. 첸니니는 미술, 특히 회화의 창의적 본질을 사회에서 인정받으려고 노력하였다. 첸니니의 이러한 의지는 이후 알베르티와 레오나르도에 의해 15~16세기에 발표되는 위대한 미술이론 전개의 출발점이되기 때문에, 첸니니에 대한 연구의 역사적 필요성은 충분히 인정된다. 그러므로 본고는 미술가의 사회적 위상은 물론이고 미술의 지성적 잠재력에 대해 학술적인 관심을 불러일으킨 첸니니가 미술이론가로서의 면모를 드러내며 역사에 그 이름을 남기게 된 근거를 찾아보았다. 본고의 제1장에서는 『미술의 책』의 탄생 배경을 우선 검토하였다. 이어지는 본문에서는 첸니니의 『미술의 책』이 최초의 인문주의 미술이론서로 평가받을 수 있게 하는 이론적 특성을 다음과 같이 세 영역으로 유형화 하였다: 1) 회화와 자유예술과의 관계, 2) 정신과 손의 연결로서의 디제뇨, 3) 회화예술의 교육. 이러한 과정을 거쳐 필자는 『미술의 책』이 특유의 비체계적 구조를 통해서 회화예술을 위한 실제적인 지침과 윤리적 권고를 조합하였다는 사실을 발견하였다. 이에 첸니니의 시도는 미술의 지성적 해방을 위한 역사적 실천이요, 르네상스 인문주의 미술이론 생산의 영감을 제공하는 역사적 토대로 규정된다.

• 이베로아메리카
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• 제14권2호
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• pp.119-145
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• 2012

This paper deals with the study of how the 'birth' of Brazil happened and how the European utopianism was represented in Brazilian Informative Literature of the sixteenth century, that is, the first literary manifestations of Brazil. There were at that time the Renaissance humanism and the scientific development that encouraged dozens of illustrious navigators for new discoveries ultra-seas, like Christopher Columbus who discovered America. Writings such as Letter to King Manuel of Pero Vaz de Caminha, had mostly an intention to inform Europeans about climates, indians and possibility to discover gold or silver. Main narrative characteristics were uncertainty and exageration, which ironically helped to attract more discoveries and explorations in the New World. Americo Vespucio's Mundus Novus inspired Thomas More to write Utopia, in which the author described through a Portuguese sailor the ideal but unrealizable society. Utopianism regarding the imaginary island of 'Brazi', well known among Europeans since long ago, may have influenced the current name of the country: 'Brazil'. On the other hand, utopianism shown in Brazilian Informative Literature worked as a justification for Europeans to explore and colonize the New World.