• 복식문화연구
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• 제16권2호
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• pp.382-396
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• 2008

The purpose of this study is to analyze the transition of glamour style expressed in modern fashion throughout the history. The glamour style in modern fashion was categorized into five periods which are Hollywood glamour(H), Feminine glamour(F), Rich glamour(R), Decadent glamour(D), and Trash glamour(T). These categories were analyzed and compared in the viewpoint of aesthetic values deduced on the previous study. As a method of analysis, literature study and case study through the publications in aesthetics, history and preceding theses were used. The results of analysis are: Ostentatious luxury was suggested by extravagance of the movie star in H, the splendid American lifestyle in F, conspicuous consumption in R, fin de siecle bad taste in D and self-assured exposure in T. Mysterious idolatry was studied as exaggerated goddesshood of the movie star in H. It was expanded to celebrities including fashion models, television actresses, pop singers and young couture designers in the other periods. Artificial sensuality was originated from the femme fatale image of the courtesan as well as the traditional femininity of Victorian era in H. It was developed through exaggerated hourglass silhouette of the wife dressing in F. But an aggressiveness in R, a hyper-sexual femme fatale in D, an independent and defiant image of the showgirl in T were observed. Playful queerness stood out clearly by the fin de siecle phenomena. Though it was embodied in sexual perversive subculture, it emerged as hi fashion by young designers in the late R and became a crucial aesthetic value throughout D and T. It is more connected with the origins of glamour which arouses sexual ambiguity, crudity, aggressiveness and death. The continuity and discontinuity of the glamour style based on the theory of 'linked solution' were also analyzed.

• 영어어문교육
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• 제8권2호
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• pp.23-38
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• 2003

Seamus Heaney, a famous Irish poet after Yeats, has written some pastoral lyrics from his experiences of farm life and childhood memories. These poems, in spite of his simple overt praise of a rustic farm life, have layers of meaning with their vast allusiveness and implications. He is an extremely literary writer dealing with history from the Celtic myth and a long English literary history. Though his style reminds that of a Victorian poet through his allusions of nature, he is a modern poet of innovative skills and senses. The explication of his representative sonnet sequence, the "Glanmore Sonnets" will reveal exquisite, complicated poetics of a modern poet. The poems are basically love poems, and the love is directed to his beloved wife, his lifetime companion. The poems relate the cultivation of a land to the poet's excavating language from the classics and to the images of love making. Through a careful reading of the sonnets this article will broaden our knowledge on how a modern love lyric of layered meanings can retain the past tradition in its complicated poetics.

• 자연과학논문집
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• 제4권
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• pp.233-244
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• 1991

This study was counducted to identify a relationship between the aesthetic costume arising from an and-social minority movement towards the end of 19c, England on the one hand, and bustle and crinolette style which were in fashion at that time, on the other. The aesthetic comstume is studied with articles and cricatures in the magazien "Punch" which was famous for its harsh criticisms of society. Aesthetic elements from various sources were praised or sometimes cricatured by Punch. Aesthets pursued naturalness as is found in Greek costume in reaction to the gross modernised Victorian costume. To be specific, the aesthetes pursued 1)loose robe instead of corset with bustle or crinolette, 2)2nd/3rd dimentionally-coloured dyes instead of anyline in the costume. Liberty Department Store in London has planyed a very important role as a major supplier or aesthteic articles to the aesthetes.

• 한국의류학회지
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• 제19권3호
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• pp.397-415
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• 1995

The purpose of this study was to identify the change and characteristics of 20th men's fashion. The result of the Study as follows; 1 In the period 1890's-World War I there was a display of opulence and extravagance Therefore men's fashion pursued with elegance and grace. The rise of sports and an erosion of rules of Victorian society were evident influences before 1914. So men's silhouette resembled athletic appearance and less formality was shown in masculine attire. 2. During the period World War I-1920's the new equality of social relations between the sexes had an influence in fashion. Unisex look evolved so boyish shaped became the feminine ideal, men wanted to boyish fitted leaner stylings and natural shoulder suits. In the twenties youth, who seemed to have a social dominance, asserted their own testes in fashion. New style of men's fashion such as oxford bags and Ivy League Look appeared. After World War I "comfort" is the aim of fashion so casualness was reflected in fashion: vests often were discarded and man wore a soft, detachable collars. 3. In the thirties depression marked a shift in mood from gaiety and progressivism of the twenties to the conservative, even reactionary values. The role of men and women returned to more traditional attitudes, Every men's general appearance was bold and manly: his chest was broad and well-built, his shoulders square and muscular. The effects of World War ll were not on style but on textiles and clothing construction: lighter weight fabrics appeared and construction was simplified 4. Men's dress changed only in detail and not in essence. But there was a continued increase in the variety of clothes and color in men's fashion.

• 한국의상디자인학회지
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• 제8권2호
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• pp.85-94
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• 2006

In Korea, popular stars were the leaders of the latest fashion, who had the strong power in apparel market. Costume, especially wedding dress they worm became the focus of interest to single women of marriageable age and wedding dress co. This study was performed to research wedding dress design (silhouette, veil, sleeves, materials, and details) from 1960's to June. 2004. Resources were extracted from the weddings photos, 'My Wedding' magazine, 'Vogue Korea' magazine and web sites. The materials, which could not be judged on the photos, were researched from text articles. The popular stars were TV stars, musicians, and actresses. The results of this study were as follows: The wedding dress in Korea from 1960's to June 2004 had different distinguishing characteristics. 1. In 1960's, wedding dress was characterized with A silhouette, long veil, set in sleeves, and hair decoration. 2. In 1970's, H silhouette decorating by belt, long veil, puff sleeves, and ruffles hemline were in vogue. 3. In 1980's, Victorian style designed by long and wide width, the leg of mutton sleeves or tightly fitted sleeves, short veil and pearl coronet, flower decoration became popular. 4. In 1990's, to reach the elegance or romantic image, it was used race, ribbon, frill, etc., on the base of 1980's wedding dress design. Generally the girlish styles which expressed innocent and pure and feminine were in fashion. 5. In 2000's, the keyword of both luxury and simple were intended. Silhouette was designed variously, but it became slimmer and simpler. The decoration was splendorous with race, embroidery, and beads.

• 영어영문학
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• 제55권2호
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• pp.241-257
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• 2009

The essay discusses the way in which the aesthetic of Pre-Raphaelites reformulates the habitual system of knowledge in the Victorian age by adapting $Ranci{\acute{e}}re^{\prime}s$ concept of aesthetics. $Ranci{\acute{e}}re$ develops an original theory of aesthetics, a regime of knowledge which enables to perceive and reflect art as such. In this way, aesthetics turns to be the logical system by which the consensus idea of the beautiful comes to exist. For $Ranci{\acute{e}}re$, aesthetics is an agreed system of the sensible and reproduces the habitual knowledge of the world. Therefore, a new aesthetic movement means an attempt to break the given aesthetics and reorients the new distribution of the sensible. The important point of $Ranci{\acute{e}}re^{\prime}s$ argument is that he does not presuppose the dimension beyond the present unlike Frankfurt School. What $Ranci{\acute{e}}re$ claims is that there is no such the aesthetic which can correct the instrumental reason, but rather an indifferent moment in which a worker finds out himself as a creator who can give rise to the new regime of the sensible and feels free from what he must work for. From this perspective, the essay explores the aesthetic of Pre-Raphaelites and its meaning in nineteenth century Britain. Pre-Raphaelites was an artist group who railed against a so-called academic style of paintings and created a new aesthetic criterion to describe the truth of the natural world. The essay examines the interrelationship between Pre-Raphaelites and photography that would enable them to re-distribute the sensible and produce a new way of seeing the order of things. This is related to the birth of a modern gaze as in the case of landscape paintings. What is crucial is that the distribution of the sensible is always-already doubled with the political. In short, Pre-Raphaeltes is not only an aesthetic movement but also a political pursuit to achieve a disenchanted perception of nineteenth century industrial capitalism.

• 한국조경학회지
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• 제44권3호
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• pp.47-55
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• 2016

영국은 정원의 역사와 문화가 대표되는 국가로서, 크고 작은 비영리 단체 및 자선단체들이 활동을 하고 있다. 이 중 RHS는 영국의 정원문화 및 산업의 저변확대에 큰 영향을 준 핵심단체이다. 본 연구에서는 RHS의 등장 배경과 전개 과정을 통해 전문 자선단체로서의 정원문화 대중화에 기여한 전개 양상과 그 가치를 살펴보고자 하였다. 19세기 빅토리안 시대의 식물 수집에 대한 열정은 협회 창립의 배경이 되었으며, 영국의 시민정원문화와 관련이 깊다. 19세기 RHS의 전개양상과 정원문화 대중화에 대한 연구는 다음과 같이 요약될 수 있다. 첫째, 19세기 식물사냥꾼들의 해외 파견을 통한 이국적 식물의 전문적인 도입은 수집과 표본작업, 기록 등을 통해 전문적인 식물연구를 지원하는 단체로 발전되었으며, 이는 영국 내 원예기술의 발달, 묘목업의 성장 등의 결과로서 정원문화가 대중화되기 위한 기반 틀을 마련하였다. 둘째, 원예 및 가드닝의 전문서적의 출간은 로우든의 협회 가입 시점으로부터 실천적인 정보와 내용들이 편집됨으로써 대중적(특히, 여성과 중산계층) 독자 폭을 넓힐 수 있었다. 그리하여 생산 활동에 소외되어 있던 여성들의 가정적 원예활동은 새로운 정원 양식을 만들어 내기 시작했다. 셋째, 식물수집 전시를 통해 회원들과 소통하고자 했던 협회의 활동이 여러 형태의 축제로 변형되어 이어져 오다 지금의 첼시플라워쇼를 탄생시켰다. 첼시플라워쇼는 현재까지 세계 정원문화의 중추적인 역할을 하고 있으며, 대표적인 영국 정원문화의 아이콘이다. 넷째, 이러한 RHS의 활동의 과정과 19세기 영국의 근대성은 독특한 영국만의 대중적 정원양식을 이끌어 냈으며, 이는 매우 실천적인 정원술을 요하는 영국 중산층 가정 정원의 형태로서 대중적이면서도 영국적인 성격을 갖는다. 이러한 RHS의 역사와 활동들은 결국 정원의 나라로서의 국가적 위상과도 연결되며, 우리에게 시민 중심의 정원문화 정착을 위해 지향해야할 가치 및 실천방안의 단서를 제시해 준다.