• 복식
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• 제63권3호
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• pp.78-94
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• 2013

In order to examine the influence of Anti-form in contemporary fashion focusing on 'signs of time', which illustrates the zeitgeist effects art and fashion, this study investigates both Anti-form movement in art of 1960s and 1970s and the fashion designs since 1970s when the signs of the influence of Anti-form in fashion began to appear. This was done by conducting literary survey as well as case analysis. Anti-form values the process and signs of time in that it visualizes the time and the process of making artworks. The emphasis on signs of time in Anti-form is observed in postmodernism fashion. Visualization of manufacturing process, visualization of signs of wearing, and continuation of wearing experience are all influences of the Anti-form in fashion. Visualization of manufacturing process exposes the techniques and the materials involved in garment construction such as linings, inside-out seams, interlinings, and unraveled hems, as well as the use of muslin, which is used in making garment prototypes. Signs of wearing is articulated in wrinkles caused by wearing, sings of alteration, reappeared designs of the past collections, reuse of vintage fabrics or garments, and the fabrics which assumes aged appearance. Continuous experience of a wearer is indicated in that the garment shape is not predetermined but changes continuously by the wearer's body shape and movement, which generates new and relative silhouettes continuously.

• 한국실내디자인학회논문집
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• 제21권2호
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• pp.65-73
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• 2012

Interior design generally falls behind to architecture in its concept of conservational value as interior designs are more to the simple style or trend. Therefore, This study aims how the society and the major events in the 1960's and individual and group desires are portrayed in movies through the eyes of movie directors, and further how the concept of spaces and the features of the spaces are displayed. First, This paper analyzes the movies in the 1960's, especially the expressionism and psychological zeitgeist in "The Housemaid" directed by Kim Ki-Young that can be logically analyzed, following the signs in the movie. Secondly, It analyzes the images captured the scenes that best describe the underlying theme of the movie, revealing the features of the different spaces for different scenes. Moreover, It analyzes the correlation of the change in value, desire, and space of the time in the 1960's to see the feature of the spaces in the 1960 are represented in the movie. In conclusion, the realistic expressionism movie of Kim Ki-young's 'Housemaid' showing the everyday life of a family against the background of industrial capitalism reveals the intimate desire of the time with the director's perspective on the history. With Mise-en-Sc$\grave{e}$ne, we can understand the space structure of the time, the view on space structure and further the effect of modernization project on urban residential area.

• 한국콘텐츠학회논문지
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• 제20권7호
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• pp.212-222
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• 2020

본 연구의 목적은 전 세계 산업수학의 흐름을 주도하는 미국산업응용수학 학회에서 출판하는 논문들의 연구현황 및 동향을 거시적으로 파악하는 데 있다. 이를 위해 2016년부터 2019년까지 6,255편의 논문 제목 및 초록을 수집하였으며, LDA 기법을 활용한 토픽모델링과 시계열회귀모형 분석을 수행하였다. 분석 결과 첫째, 산업수학 분야는 해석학을 중심으로 기하학, 대수학, 위상수학, 이산수학, 확률 및 통계 등 다양한 분야에서 연구가 진행되었다. 둘째, 시간이 흐름에 따라 상승하는 연구 주제는 수리유체역학, 그래프이론, 확률미분방정식이었으며, 하강하는 연구 주제는 계산이론과 고전기하로 나타났다. 연구 결과는 산업수학 분야의 지적 구조에 대한 전체적인 흐름 및 변화에 대한 이해를 바탕으로 연구자들에게는 향후 연구 방향에 대해서, 그리고 교육 현장에는 시대 변화를 반영한 산업수학 교육과정을 수립하는데 시사점을 제공할 것이다.

• 복식
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• 제21권
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• pp.193-206
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• 1993

Recently in the post-modernism era ethnic look tropical look or ecological look has prevailed as an important theme of fashion all over the world. The main core of these themes is based on primitivism. The purpose of this study was first to com-prehend the internal meaning and the exteral form of primitivism in modern fashion second to compare the characteristics of primitivism in art with those in modern fashion as one of the phenomena in cultural consistency. For this purpose documentary studies about primitivism in social science and art were preceded as a framework of this study and then objective studies about primitivism in modern fashion and art were analyzed. Primi-tivism expressed in clothing since the 16th century was also historically traced. the results were as follows: 1. Primitivism in modern fashion was summarized by emotionality play ecology and aboriginality as well as was represented by ex-ternal forms of open form part-to-whole re-lation planar intergration rounded form and indeterminate form It was demonstrated that the external form of primitivism in art and fashion is quite similar and is an example of cultural consistency. So it is reaffirmed that fashion is the production of culture representing zeitgeist as a genre of art. 2, Modernism in the early 20th century brought the richness of materials through the de-velopment of the mechanical culture emphasizing rationality as well as functionalism, Fashion also has been influenced by this modern-ism so it has tended to express only the beauty which emphasizes the functional aspects of clothing and excludes the decorative characters. The primitivism in recent fashion is against the flow of modernism. In a word the pursuit for the regression to nature and the recovering of hu-manity is the core of the primitivism in modern fashion.

• 한국의상디자인학회지
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• 제17권2호
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• pp.79-92
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• 2015

Covers of fashion magazines are part of the media that reflects the zeitgeist. Thus an analysis of the covers is a tool to probe the social and cultural changes of a period. This study attempts to shed light on the changes of the image of women on the cover of men's fashion magazines; this study intends to investigate the changes of status and role of women, from the past up to the present, through analyzing the meaning of the image of female models. For this purpose, this study conducts both literature and corroborative research. The period for the analysis is limited to post-1960s when female models began to appear alone on the cover of men's fashion magazine. The three decades from the 1960s through today have been analyzed according to its characteristics. The result is as follows: female models in the 1960s were shown as subjugated and ancillary to men as a commodity for the affluent materialistic civilization after World War II. In the 1970s, thanks to feminism movement, the image of resistance dominated. As a result of women's right movement, the 1980s came to witness the female image of subjective characteristics. Finally, starting in the 1990s, a mixture of subjugated, resistant, and subjective image of female models has appeared. In the contemporary culture, where the communication through images is being increased, the image of the female models in fashion magazines could work as a criterion to measure the social change.

• 패션비즈니스
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• 제6권1호
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• pp.53-70
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• 2002

The purpose of this study is to review the innovation of Vidal Sassoon's hair design. His hair styling was created in 1950-60, and it was related to the Zeitgeist, 'Convulsion'. It was aesthetic reform that eliminated artificially of headdress through new design concept and high technique. It was social renovation that changed women's life through freedom, ease and mobility of hair form. Also, it was scientific innovation that emphasized improvement of hair care. Therefore this researcher set a high value on his contribution in beauty industry, and studied the formative characteristics of his hair styling. The results are as follows: The formative characteristics are classified into the simplicity of form, the mobility of construction, and the variety of color and texture. 1. The simplicity of form showed through geometric form. Vidal Sassoon's hair design had the overthrow traditional concept of femininity and beauty; in addition, it conferred freedom on not only hair itself but also women's action. 2. The naturalism and mobility of construction was found in layered and softly swinging hair made up by skillful cutting technique. It was developed by studying on the dynamism of sports in 1984 LA Olympic games. 3. The variety of color and texture showed conspicuously its visual evidence because of the simplicity of form. Especially, he borrowed factors of fine art, that is to say, form, space, texture, line, color and light, and created a performance art. His work is analyzed into an art, and he is one of the best artists.

• 한국의사학회지
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• 제22권2호
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• pp.15-22
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• 2009

In this thesis, the emphasis is laid especially on the culture & structure of Huizhou Province, China as the prime mover of the specifically-regional Huizhou $X{\bar{i}}n^{\prime}{\bar{a}}n$ medicine. Huizhou was the home town & stronghold of Neo-coufucian masters Cheng-Zhu (Cheng brothers and Zhu-hsi)". The tradition of the region as "The arts province" resulted in the flourishing trend of nurturing prominent Confucian-doctors. The remarkable all round activities of Huizhou Merchants (新安商人 $X{\bar{i}}n^{\prime}{\bar{a}}nsh{\bar{a}}ngr{\acute{e}}n$), as the reigning power merchant at the period were the second mover of the Zeitgeist. Their nation-wide network all over China made it possible to gain valuable inlormation and access to news including the field of medicine in time. Some merchants actually have "abandoned their own jobs to become doctors of medicine". This Confucian-Merchant culture was one of intrinsic characteristics of Huizhou region, inducing "Pragmatic Scholarship". With the enlargement of the population of Confucian-tumed doctors and improvement of the societal status of doctors, the resultant occupational triad of local Confucian govemment officials, local $X{\bar{i}}n^{\prime}{\bar{a}}nsh{\bar{a}}ngr{\acute{e}}n$ merchants, and local doctors was established after the Middle-Ming Dynasty. Ultimately, the two prime movers of the concomitant development of medicine in the Province Huizhou in this study are concluded to be the synergy effects of the Neo-Confucian tradition and economic power of the prevalent Huizhou Merchants ($X{\bar{i}}n^{\prime}{\bar{a}}nsh{\bar{a}}ngr{\acute{e}}n$).

• 영어영문학
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• 제55권2호
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• pp.315-335
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• 2009

Controversies over W. H. Auden's "political" poetry remind us of an old but perhaps never easily resolved problem about the relationship between poetry (literature) and politics. Auden has arguably been referred to as a "leftist" or "Marxist" because of his political viewpoint registered in "Spain" or "September 1, 1939," which embodies his contemporaries' loss and fear, brought by the socio-political turmoil, economic depression, and moral conflicts of the 1930s. Interestingly, however, Auden is known to have an ambivalent position toward the political reality. He once disavowed the above "political" poems as "dishonest" in the preface of the 1966 edition of Collected Poems and declared, "poetry makes nothing happen" in "In Memory of W. B. Yeats," which seemingly acknowledges the political incapacity of poetry. Auden's position and poetry should be understood as the result of complicated interactions between his perspectives on society, human beings, and poetics. Auden definitely believed in the role of poetry in such a politically demanding time, yet was not concerned with the anticipation of certain immediate changes effected by poetry in real situations. Instead, he sought the intellectual and moral effects that poetry could give his readers to help them survive the dismal circumstances of the 1930s. This is what distinguished Auden's poetry from political propaganda. In doing so, Auden's poetry captures the zeitgeist of his generation and has privileged him as the leading voice of his time, but it has also encouraged the following generations to confront different socio-political difficulties. This is something poetry can make happen politically, and the survival of Auden's "memorable speech" proves the legitimacy of his frequently misunderstood poetics.

• 영어영문학
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• 제55권3호
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• pp.399-413
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• 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.

• 만화애니메이션 연구
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• 통권33호
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• pp.449-467
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• 2013

21세기의 현대사회는 테크놀로지의 비약적 발전을 이루었으며 다양한 디지털 기기의 등장으로 인한 매체의 다각화로 시각적 표현의 한계는 점점 축소되고 있다. 따라서 테크놀로지와 예술의 융합은 시각예술 표현의 한계선을 최소화하였고 대중은 그들이 만들어 낸 현실과 비현실의 경계를 넘나드는 새로운 시각 자극에 신선함을 느끼게 되었다. 그러한 새로운 접근 법 중 하나인 빛에 대한 테크놀로지와 예술의 조합은 다양한 순수예술이나 영상 디자인과 같은 시각예술분야로 포함되고 있으며, 그 중 현재 고해상도의 프로젝터를 활용하여 건물이나 도시의 조각물 등의 구조물을 스크린으로 삼아 투영된 매핑(mapping) 테크놀로지를 예술에 접목하려는 시도가 최근 다양하게 연구 되고 있다. 본 연구에서는 새로운 테크놀로지로서 프로젝션 매핑(projection mapping)의 기법에 대한 정의를 문헌 연구를 통하여 고찰해 보고 매핑 사례 중 시지각적 효과를 극대화 하는 3D 애니메이션이 적용된 사례 연구와 더불어 그에 따른 영상 표현특성을 분석 하였다. 3D애니메이션을 통해 존재하지 않는 환영(Illusion)을 창조하고 대중에게 시각적 쾌감을 부여하는 프로젝션 매핑(projection mapping)과 3D 애니메이션의 조합은 앞으로 예술과 테크놀로지의 융합 이라는 시대사조에 걸맞은 시각예술의 새로운 가능성을 지닌 시너지효과를 창출할 것으로 기대된다.