• Title/Summary/Keyword: Social instinct

Search Result 29, Processing Time 0.028 seconds

Post Modernism in Xavier Dolan's Movies -With a Focus on "I Killed My Mother(2009)" and "Mommy(2014)"- (자비에돌란 영화의 포스트 모더니즘 <아이킬드마이마더, 마미를 중심으로>)

  • Kim, Loyou
    • The Journal of the Korea Contents Association
    • /
    • v.16 no.3
    • /
    • pp.162-170
    • /
    • 2016
  • Xavier Dolan delves into maternal instinct and sexual identity and the attempt and experiment of his movies are not difficult to understand and not unfamiliar. He communicates with audience through pastiche and self-reflexivity, rather than disassembling and destruction of style and form of existing films. Pastiche is the intertextuality between familiar genres such as film, poem, fashion, music, painting, etc. His films shows the characteristics of postmodernism, which include genre over, de-subjectivity, interest in public culture, and representation of nostalgia. This study recognizes anew the present of postmodernism gradually going out of fashion and analyzes the characteristics of postmodernism and repeated motif in his movies. This study also analyzes Xavier Dolan's interest in social minority and allegorian characteristics through characters appearing in his movies.

From wearing desires to the power of gazing hidden wearable technology algorithm (Based on system design) (웨어러블 기술 알고리즘에 숨겨진 입는 욕망에서부터 시선의 권력까지(시스템 설계 관점에서))

  • Kang, Jangmook
    • The Journal of the Institute of Internet, Broadcasting and Communication
    • /
    • v.18 no.4
    • /
    • pp.205-210
    • /
    • 2018
  • This paper examines the wearable technology in two aspects. First, it is the desire that permeates the clothes that smart technology is embroidered. Second, it is a reflection on the gaze that looks at the user wearing clothes. This article is a study on clothes that will be newly appeared with wearable technology. But this is not just a technical issue. Rather, it is a system design that takes human instinct into clothes. Therefore, this study encompasses social scientific boundaries. This article does not refer to data collected from wearables as simple sensing based data. Rather, wearable technology reveals human life activities and emotions. This paper is an attempt to combine or combine humanities and technology.

Men's ego-images represented on the fashion blogs in web 2.0 era (웹 2.0 시대 패션에 나타난 남성의 자아이미지 - 퍼스널 패션블로그를 중심으로 -)

  • Suh, Sung Eun
    • The Research Journal of the Costume Culture
    • /
    • v.22 no.5
    • /
    • pp.760-775
    • /
    • 2014
  • In the era of 2.0 web, blog has become the media that men can express themselves with fashion more actively and independently, as paying much attention to their personal appearance and cultivating an upscale lifestyle. They often create their fashion images in the virtual space where enables a free and creative operations of self-expression. The study aims to identify the types of men's ego-images represented on the personal fashion blogs based on the framework of analysis from the previous research (Suh, 2014), to build the base data for analyzing men's fashion style in $21^{st}$21st century that reflects changes in men's sexual images, and to verify the framework as comparing with the previous case study about the women blogs (Suh, 2014). The case studies conducted 5 men's personal blogs such as bryanboy, iamgala, little fashionisto, katelovesme, and stylentonic. The study results almost same types of women's ego-images as following. The imaginary ego-image is classified as narcissism, regression, identification, and virtuality, the social ego-image as symbolism of roles and others'desire, the real ego as primary instinct, practical reality, object a, jouissance and sexual perversion. The personal style of men shown on the fashion blogs appears as a significant factor to analyze male customers in the growing men's beauty and fashion market.

Dualism in Carlyle's Sartor Resartus: Descendentalism and Transcendentalism

  • Yoon, Hae-Ryung
    • Journal of English Language & Literature
    • /
    • v.55 no.3
    • /
    • pp.399-413
    • /
    • 2009
  • Pointing out the reality of criticism done mostly on Carlyle s original structure and rhetoric in his Sartor Resartus, this research paper focuses on Carlyle s dualistic philosophy revealed in the work, limiting its focus mostly to the dualistic theme of descendentalism and transcendentalism. The essence of Caryle s descendentalism is his irony and satire on human civilization, not for criticism itself, like other satirists, but rather out of his deep, secret humanism behind his mask. Roughly the two objects of his social criticism in the contemporary, descendentalisitc world, are mechanism and materialism in a variety of new ideologies. To diagnose the Zeitgeist and disillusion man living in contemporary civilization, Carlyle in this work uses a very original metaphor, the clothes-symbol. According to Carlyle, human history and progress can be said to be originated from man s adventitious invention of clothes that was not for biological need or social decency, but for decoration, the instinct of which implies man s innate vanity and desire. Interestingly enough here, however, Carlyle uses the same metaphor of clothes for his vision of transcendence, the world of Everlasting Yea. Man is also God s apparel and Matter is that of Spirit. Carlyle s Everlasting Yea world stresses especially the two attitudes, belief in God and love of man, which have been recently jeopardized in the socalled descendentalistic world. But Carlyle s transcendental and religious vision in Sartor Resartus is, as critics also have agreed, a unique and mysterious vision as something different from orthodox Christianity or other Victorian ideologies, as more like an amalgamation among Calvinism, Romanticism, Platonism and German Idealism. All in all, reading Sartor Resartus is still a valuable experience of an idiosyncratically original vision along with his warning against dehumanizing forces lurking in the name of civilization and with his ultimate eulogy on man, proving descendentalism as just part of transcendentalism, although the reader from time to time can be embarrassed by his male-centered, politically conservative, and individual-oriented dynamism.

A Study of the Personal Ornaments and Make-up of Maroccan (모로코인(人)의 장신구(裝身具)와 화장(化粧)에 관(關)한 연구(硏究))

  • Lee, Soon-Hong
    • Journal of Fashion Business
    • /
    • v.5 no.2
    • /
    • pp.15-34
    • /
    • 2001
  • Ornaments are accessories for the decoration of the body or dress. They aren't unavoidably required one, but serve to make one's dress perfect as decorative industrial art objects. In Morocco, ornaments were initially used as a sign of social position or the class or an incantatory symbol. In effect, they were originally employed to adjust one's dress, not just for decoration, and they were of use for household economy. Gold, silver and handcraft available for exchange were a means of increasing one's property and an indication of social standing and wealth. In particular, the dress and jewelry of a bride was a measure of her family's wealth, regarded as a symbol of her chastity and value. The ornaments symbolically back up people's faith in supernatural power, and their real value is based on implicit form or way of decoration, not the external shape. Specifically, there is a tendency to use the form of animal as a protector, not one to frighten people. In the artistic tradition of Morocco, fish pattern stands for water and rain, and eagle and bird are considered to be related to fate. Scorpion and lizard are depicted as an inquirer of sun, and snake is a symbol of abundance and sexual instinct, being viewed to have an ability to cure disease. Turtle pattern is a symbol of saint because it protects one from the evil. The ornaments are made of gold, silver, amber, clam, garnet, glass, nielle, enamel, glaze, coral or tree, and symbolic patterns are used, including hand(a symbol of five numerals), turtle, lizard, scorpion, eye, triangle, bird and eggs. They are very big and diverse, being categorized into ornaments for the head or the chest, neckless, fibula, earring, bracelet and ring. For Moroccans, make-up is a sort of instinctive behavior to meet aesthetic and sexual desire. They also wear make-up for practical purpose of protection, intentionally inflict a wound on the skin for ceremonial or religious purpose, paint the skin with pigment, or have the part of the body tattooed for incantatory purpose. All this actions are regarded as make-up. The raw material of cosmetics is aker, a vegetable dye. They get the lips or cheeks turn red and paint eyebrows with yellow saffran powder to have a bad devil lose its strength. Tattooing is mainly done by women and viewed as a sign of their value or social organization they belong to. Sometimes that is used to represent a woman's being old enough to marry or getting married already or the frequency of marriage. Besides, tattoo is believed to prevent or remedy loose bowels or cough, depending on its location or pattern, and they often change tattoo according to the change of beauty art.

  • PDF

A Grounded Theory Approach on the Experience of Foster Care Child's Biological Parents (가정위탁아동 친부모의 경험에 대한 근거이론접근)

  • Kim, Jin-Sook;Lee, Keun-Moo
    • Korean Journal of Social Welfare Studies
    • /
    • v.42 no.3
    • /
    • pp.85-119
    • /
    • 2011
  • This Study was to explore the experience of foster care child's biological parents and proposed the practical discuss and method for support their returning home. We approached grounded theory to subject. Twenty biological parent's of foster child participated this research. The Data were collected by in depth-interview and documents. The authors analyzed the data according to frame that proposed Strauss and Corbin(1998). The results as follows: In open coding 143 concepts, 34 subcategory, 13 category. In axial coding the causal conditions were 「self-devaluation」, 「self-stigma」, 「social prejudice」. and the phenomenon were 「life as surplus being」, 「revolving around the world」, and the contextual conditions were 「collapse of life base」, 「rustical fatalism」. The intervention conditions were 「operation of support system」, 「instinct of maternity」. The action/interception strategy were 「closing of single eye」, 「pussling of scattered piece」. The consequence were 「fixations of abandonment」. 「resoaring to the world」 The authors proposed the core category as 「go over the wall of world burdening liabilities of being」. The authors classified patricians life type as 「challenging type」, 「status quo type」, 「escaping type」, Finally, we proposed the practical method for support restoring family the world」, foster care child's biological parents.

A Study on Underwear (Underwear에 관한 고찰)

  • 이순홍
    • Journal of the Korean Society of Costume
    • /
    • v.50
    • /
    • pp.129-144
    • /
    • 2000
  • In the history of the costume of Western Europe one of the most interesting apects is that the silhouette of women's dress has been continuously evolved. There can be various origins in this changing silhouette but the most important origin is that clothes of any period are the reflection of the architectural political religious and economic background against which they are worn they must also be djusted to the texture and design of the materials produced at the time and of course there is always the basic instinct of sex attraction. The changing line in men's and women's clothes has been demanded by each period but man's great active life did not required the development of exaggerated line which could restrict his movements. Exaggeration in men's clothes has usually been confined to accessories only details could be simplified or abandoned altogether in time of action. However Woman has no great concern in these restrivtions and when an era demanded an exaggerated silhouette she developed it to the utmost limit with out any hesitation plunged herself into whalebone cane and steel for the desired line and then later to adapt herself to a changing world just as without any hesitaion abandoned all these artificial props. In this study first of all the origin of the corset and the evolution of silhouette will be chronologically studied and rearranged on the basis of written materials such as text books theses and catalogs which are related to corset In this section the most important backgrounds-social religious and economic-which caused the chages of silhouette will be scrutinized in a time order. Then the shapes and functions of corsets will be looked into in a more detailed way. In addition the materials and decorations which were preferred to achieve the desired silhouette will be examined. Finally underwear which was and has been worn for cleanness protection the shapes of outer clothes and erotic mood will be studied.

  • PDF

The Fashion Communication Media and the Beauty of Ideal Body (II)- Focusing on the Beauty of Body - (패션 커뮤니케이션 매체와 이상적 신체미(제2보)- 신체미를 중심으로 -)

  • 김소영;양숙희
    • Journal of the Korean Society of Costume
    • /
    • v.52 no.8
    • /
    • pp.41-54
    • /
    • 2002
  • This study discusses the beauty of the ideal body shown by fashion communication media, and explains how aesthetic aspects of, the body are being expressed in contemporary fashion. The beauty of the body may be considered as the beauty of sexual, controllable or consumable object. First. the most vigorously discussed point about the body is its sexual aspect, the most outstanding of which is the voluptuous and the androgynous beauty in contemporary fashion. Second, the body is an object which has been oppressed or controlled under the name of history. morality. and rationality. The things making us regard the body itself as an aesthetic object may be considered as dynamic and functional beauty Third, the sexual instinct and the body are fetishized as consumer goods, and women's bodies are presented as comsumer objects whose most parts could be restored to exchangeable value. The consumable beauty presented in contemporary fashion is the conspicuous beauty and the decadent beauty. So far, the various aspects of the beautiful body has been considered, based on the beauty of the ideal body shown by the fashion communication media. Man exists through on his body. but it is the embodied and formed body that serves as a means to manifest his social status and cultural ties. A natural body is reformed as a cultural phenomenon in various artificial ways. Popular culture has transmitted a series of new body image by creating and reproducing symbols and images, and has made the ideal body. Now there is not only one standard for the ideal beauty in our society. The standard of the beauty has changed continuously. There has been an aesthetic sense which can represent the times during the process of those changes. The various communication media have played a role of mirror reflecting those changes. The ideal body in contemporary times is no more an abstract media to express classical beauty, but an object directly affecting us, who are living in the crisis of subjectivity and identity.

A Semiotic In-depth Analysis of the Children's Picture Book : "Who Pooped on My Head?" (그림책 "누가 내 머리에 똥 쌌어?" 의 심층의미 분석 - Greimas기호학을 중심으로 -)

  • Chang, Sung Dan;Lee, Ju Lie
    • Korean Journal of Childcare and Education
    • /
    • v.9 no.2
    • /
    • pp.263-283
    • /
    • 2013
  • This study analyzed picture book "Who Pooped on my Head?" by using semiotic theories and considered involved meaning of the text. Because characteristics of children's development and picture book should be in harmony, it is necessary to understand the text in-depth. As a result of analysis, the text helps psychological stability and contains the meaning and value that guides children into social value or norm. Analyzing the text by using Greimas' Semiotic square, the meaning that following bowel movement standard is socially established behavior was involved. It seems that giving up instinct and accepting standard are process to extend thought. In conclusion, this study confirmed that the meaning and value that support cognitive and emotional development was contained in the picture book, "Who Pooped on my Head?".

6·4이후 중국 영화에 표출된 냉소주의 양상고찰

  • Park, Wan-Ho
    • 중국학논총
    • /
    • no.58
    • /
    • pp.91-119
    • /
    • 2018
  • As for the various pathological phenomena of the society which is getting worse without any improvement, the film paints the phenomenon nakedly with the cold and cynical gaze on the basis of realism. These attempts originated in the Chinese art world, and they cynically sketched a Chinese society that lost hope after 6·4. The cynicism of the art world contains meanings such as instruction, meanness, passion, indifference, and mockery. In particular, the distrust of the social system after 6·4 and the collapse of the Soviet and Eastern European socialist nations gave the Chinese people a skeptical view of socialism. This situation of the times has a cynical viewpoint to face as it is instead of prudent criticism. This cynical view was embraced by filmmakers who were not silent on The pathological phenomenon of society, and they were directed to films. is a film about the love, separation, suicide, frustration and reconciliation of youth in the era of identity confusion after 6·4. The characters in the film did not mention a single word about the state power that made them do it. based on the characteristics of women in northeast China and the murder that occurred around a woman with a beauty that was not like a laundry employee. Centered around the unresolved slice murder case, expressed human moral ambiguity that does not distinguish good fortune from human instinct for struggle for survival, and portrayed the scenery of a very cold northeast small city. But it does not show any criticism of the crime. Based on the true story of the 2000s, the portrays the uncomfortable aspects of China that established Chinese socialism. A film composed of four short episodes conveys the destiny set by God.