• Journal of the Korean Society of Costume
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• v.55 no.7 s.98
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• pp.38-50
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• 2005

The purpose of this study is first, to see through the aesthetic essence of the clothing as art, through theoretical consideration of cultural feature and body style in Postmodern Feminism. Also, this study will examine the aesthetic value in artistic meaning regarding a Deformational body image in visual an. Second, this study will analysis the formative character of Modern Art to wear which expressed unfixed body style, followed by the change of Postmodern Feminity, as a Deformation image. This character will be categorized by Expansion, Grotesque, Pleasure, and Virtuality. The following is the result of this study. Expansion expressed in modern Art to wear created intentional structure of the form, and intentionally presented refusal of body existence through disembodied. Grotesque expressed refusal and deviation of women's ideal body style, which is defined by mannish discourse, very grotesquely. Pleasure pleasantly presented free emotion through an intentional transformation like distortion or imbalance of the body By paradoxically reproducing women's virtual body as other unfixed female identity was expressed visually through virtuality to embody post-gender.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.5
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• pp.638-653
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• 2014

The structure of noble centered social status of the late Joseon Dynasty collapsed due to the commoner's higher status and increased level of consciousness caused by the growth of commerce and agriculture. In art, the a Korean and ethnical style dominated; however, with a diversity in the depiction of human figures in portraits, Buddhist paintings, genre paintings and folklore paintings. This study examines the diversity in human figures expressed in the paintings of the late Joseon Dynasty by expanding the common aesthetic fixed to the typical Joseon style of renowned painters. The conclusion of this study is as follows. The human figure is categorized into three different types of 'realistic', 'ideal', and 'distortion' based on the aesthetic category. First, the realistic type is defined literally by its realistic and detailed depiction of noble class portraits classified as extreme type and general type. The extreme type's formative element is hypersubtlety which includes a simultaneous aesthetic of aptness and ugliness. The general type shows subtlety with aesthetic of aptness. Second, the ideal type is defined by representing the standard form of time and criteria classified as beautified type, absolute type, and dignified type. Each shows a different character of gender of femininity, androgyny, and masculinity. Third, distortion types are defined by a characteristic expression of humans by transshaping the features in various methods categorized as grotesque, abjection, friendly, rustic, and caricature type. Each shows different formative elements of bizarre, patheticness, voluptuous, inartificial, and immaturity.

• Lingua Humanitatis
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• v.2 no.2
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• pp.109-128
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• 2002

The six fabliaux of the Canterbury Tales are a notable artistic achievement. Of all of them, however, the Merchant's Tale is the most notable to show Chaucer's development of the scope of this genre. We will look briefly at the characters of the fabliau narrators who are crucial to Chaucer's drama of relationships in the course of the Canterbury pilgrimage framework. To distinguish the accomplishment of the Merchant's Tale, we will consider the relative merits of each of the other five fabliaux in the Canterbury Tales. The least flawed of the fabliau narrators, the Merchant will tell a powerful tale about an old man's lust turned into a hasty marriage gone wrong that aims its satire at the noble ruling class of the land, not the usual targets of Chaucer's or most other writers' fabliaux. Further, unlike the light-hearted and dismissable endings of the other Chaucerian fabliaux, the Merchant's Tale has what we will call an Act 6 of continued deception at all corners of the love triangle represented by the senex amans January, his young wife May, perhaps now pregnant after her tryst with Damyan in the pear tree, and the still present young lover Damyan. This triangle of mutual deception will continue into the unknown future under the male and female forces at odds as personified in the king and queen of fairies, Pluto and Proserpina.