• 복식
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• 제59권7호
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• pp.34-49
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• 2009

Carnival is an allowed chance to express ordinarily suppressed and overlooked emotions. Especially with strong meaning of daily overthrow masks, masquerades, and mask-costumes are essential for expressing methods and festival personality reasons. Carnival in modern society without losing a significant portion religion in a format suitable for the era of secularization and the transformation has been created of nothing, that is not a reflection of society is also a cultural phenomenon of its own internal social and external conditions through a variety of means can analogy cultural phenomenon is a stage. The purpose of this research comes from the carnival festivities, religious background, but the daily routine of life to know who joined his escape with the conduction of the role, going to enjoy the satire and humor, using the Dress to the eruption, which means that the form of the festival variety of analysis and with the victory of the expression of cultural phenomena and features on the festival and the dress for you should you wish to study.

• 한국콘텐츠학회논문지
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• 제13권6호
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• pp.125-136
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• 2013

최동훈은 <범죄의 재구성>(2004), <타짜>(2006), <전우치>(2009), <도둑들>(2012) 등의 영화를 만들어내며, 한국의 주류 영화감독으로 인정받음과 동시에 영화의 상업적 성공을 이루어 관객과의 소통에 성공했다. 본고는 최동훈의 영화가 수많은 관객과의 소통에 성공할 수 있었던 것은 시대적 삶을 우화적으로 그리면서 민중 문화적 축제 즉 카니발적 성격을 가졌기 때문이라고 보고자 한다. 이는 미하일 바흐친의 카니발 이론과 맞닿아 있다. 바흐친에게 카니발 이론은 민중문화를 이해할 수 있는 방법이었고, 최동훈 역시 자신의 영화 속 세계를 묘사할 때 카니발 이론의 요소들을 활용한다. 구체적으로는 카니발 이론의 미적 요소 중 탈관과 대관, 권위의 전복과 조롱, 향연의 이미지가 최동훈의 영화 속에서 캐릭터를 통해, 격하와 조롱, 군중의 언어가 대사와 이미지를 통해, 과거와 현재, 시점의 통합이 플래시백을 통해 드러난다. 이러한 특징들은 최동훈 영화에 일관되게 드러나며, 최동훈의 영화는 카니발 이론처럼 민중의 세계를 묘사하고 바라본다. 이것이 최동훈이 영화를 통해 하는 현실반영이자 현실참여이다. 관객은 그런 최동훈의 시각에 동조하고 호응한 것이었다고 본다.

• 원예과학기술지
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• 제30권2호
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• pp.152-157
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• 2012

We investigated the effect of 1-methylcyclopropene (1-MCP) on ethylene production induced by simulated transport stress in $Begonia$ ${\times}$ $hiemalis$ 'Blitz' and 'Carnival' to improve the display life in potted plants. The simulated transportation conditions were imposed for 4 days in simulated export containers with darkness, vibration with continuous shaking ($150{\pm}20$ rpm) on a rotary lab shaker, and low temperature ($12^{\circ}C$). Plants were treated with 1-MCP at three concentrations (5, 25, or 125 $nL{\cdot}L^{-1}$) and for three different periods (0, 6, or 12 hours) before undergoing the simulated transport stress treatments. Treatment with 25 or 125 $nL{\cdot}L^{-1}$ 1-MCP inhibited the abscission of open flowers by more than 40% as compared to the untreated plants. One week after the treatments, the ethylene production decreased in the plants treated with 125 $nL{\cdot}L^{-1}$ 1-MCP for 'Blitz' and 25 $nL{\cdot}L^{-1}$ for 'Carnival'. Ethylene production was correlated with concentration and duration of 1-MCP treatment in 'Blitz', but not in 'Carnival'. To reduce flower abscission and ethylene production, thus improve the display life when plants are exposed to transportation stress, we recommend pre-treatment with 1-MCP before packaging, using concentrations and durations specific to each cultivar, 125 $nL{\cdot}L^{-1}$ for 6 h and 25 $nL{\cdot}L^{-1}$ for 12 hours for 'Blitz' and 'Carnival', respectively.

• 한국어병학회지
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• 제35권2호
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• pp.185-193
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• 2022

This study investigated carnival behavior in the nursery stage of Fenneropenaeus chinensis. In order to suppress the carnival behavior and improve the survival rate, it was examined whether there was a carnivalism inhibitory effect according to the rearing water of shrimp. In addition, their blood physiological changes were observed. As a result, in the experimental group with the size difference of F. chinensis, the survival rate was the highest in the biofloc technology (BFT) rearing water of olive flounder (75%), and in the experimental group without the size difference, the survival rate was the highest in the seawater experiment group (93%). In both experimental groups, rate of carnival behavior was observed to be low in the fed experimental group regardless of the size difference of F. chinensis. As a result of blood cell analysis of F. chinensis according to the rearing water, the percentage of granulocytes was the highest in the BFT rearing water of flounder (75%) and the lowest in the filtered seawater group (66%). The proportion of semi-granulocytes was the highest at 11% in the shrimp BFT rearing water, and the lowest at 7% in the filtered seawater. The proportion of hyalinocytes was highest in filtered seawater (27%) and lowest in flounder BFT rearing water (16%). These results suggest that carnival behavior and blood composition of F. chinensis may be different depending on the conditions of the rearing water in the nursery stage.

• 한국패션뷰티학회지
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• 제5권1호
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• pp.97-111
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• 2007

This study was motivated not only by the curiosity of clown as a comedian, but also by the clown's special makeup coordination. To analyze the clown makeup coordination Carnivalism, the researcher inquired 1) clown's meaning, sorts, periodic roles and stages, 2) Mikhail Bakhtin's Carnival theory, and 3) makeup coordination of clowns (Harlequin, Pierrot, Auguste and White Face Clown) as the theoretical background. The clown makeup coordination carnival characteristics were shown in masquerade, amusement and ambiguity. The masquerade was expressed on the mask for Harlequin and white makeup for Pierrot, Auguste and White Face Clown. The amusement was revealed on the fall and the inharmony of the grotesque makeup and childish costumes. And also the ambiguity was expressed on the sexless and the infant of clown's real nature and costumes.

• 복식문화연구
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• 제26권6호
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• pp.823-835
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• 2018

The body is an important object of costume expression, and the reflection of the aesthetics of the body according to age, culture, individual or group determines the form of the costume. In particular, British artist Leigh Bowery provided many designers and celebrities with original design ideas. Leigh Bowery's costumes are related to the carnival concept. Thus, this study analyzed Leigh Bowery's life and works, and examined Michael Bakhtin's grotesque carnivalesque theory. Based on Bakhtin's carnival theory around 100 works by Leigh Bowery, in the form of YouTube videos and DVD clips were analyzed in this study. The results of the analysis Leigh Bowery's body and costume research are as follows. First, this study can define fetishism as a characteristic of costumes such as body suits, harnesses, high-heeled boots, and stockings, that stress the body. Second, the character of the body is not expressed as that of an idealized body, but the fat and ugly aspect are revealed. Third, Leigh Bowery's costumes are characterized by ambiguity. The costumes blur the boundaries between women and men. Fourth, common sense, combined with normal and bizarre, brings out a strong sense of carnival humor with ridiculousness arising from the gap between reality and reality. His performance has had a significant impact on victims of discrimination or unequal treatment in sexual, racial, and age-related situations. This study should inspire many designers through the study of Leigh Bowery's body expression and dress, but it also introduces fashion icons that are not well known in Korea.

• 패션비즈니스
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• 제25권2호
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• pp.1-17
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• 2021

The development of the Internet has led to the emergence of an internet meme culture using duplication. This phenomenon has appeared in the fashion field as 'fashion memes' and its playful expression has helped it to spread. Vetements is one of the well-known brands that actively incorporates fashion memes into their fashion. The purpose of this study was to examine the playfulness of Mikhail Bakhtin's Carnival Theory and identify the playful identity, design characteristics, and implications of Vetements' fashion memes in light of Bakhtin's playfulness. The research methods were literature research and collection case analysis, and empirical content research was conducted in parallel. The scope of this study was fashion memes shown in the products from 2017 S/S to 2019 F/W. The study results showed that Bakhtin's playfulness could be divided into "playfulness in the destruction of hierarchy", "playfulness in grotesque imagery" and "playfulness in the emphasis on the lower bodily stratum". Based on these findings, the playful identity of Vetements' fashion meme images can be described as follows. First, it breaks down the existing order of fashion brands like the destruction of hierarchy in Bakhtin's theory. Second, it is grotesque; it is strange, eerie, yet ridiculous at the same time. Third, it is a playful metaphor of contamination, filth, and lower stratum. The modes of embodiment of such identity include Vetements' collaboration with famous brands, the use of cheap items, and the expression of genderless ideas.

• 문화기술의 융합
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• 제9권6호
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• pp.551-556
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• 2023

본 연구에서는 존 버닝햄의 그림책 2권(『셜리야, 물가에 가지 마!』, 『셜리야, 목욕은 이제 그만!』)을 Bakhtin의 대화주의 이론 중 카니발의 개념을 이용하여 분석했다. 존 버닝햄의 그림책에서는 주인공 '셜리'의 일탈에 대한 무의식적인 소망이 기상천외한 상상세계에서의 모험으로 전환되어 웃음이 곁들여진 축제와 같은 사건으로 묘사되고 있다. 그림책을 통해서 유아들은 현실에서 금지된 행동을 상상세계에서의 사건으로 전환 시켜 간접적으로 체험하면서 만족한다. 이러한 간접 경험은 유아가 현실에서의 불만을 자연스럽게 해소하면서 자기만의 독창적인 내적 발달을 하는데 매우 중요하다. 본 연구는 가정이나 유아교육기관에서 유아들에게 다양한 그림책을 쉽게 접할 수 있는 환경을 제공하는 것이 그들의 성장에 매우 중요한 역할을 한다는 것도 또한 시사하고 있다.

• 영어영문학
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• 제58권1호
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• pp.69-91
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• 2012

Marina Carr's By the Bog of Cats.... (1998) is the last play of the trilogy of "the midlands plays" which can be regarded as her re-writing of both Euripides' Medea and J. M. Synge's The Playboy of the Western World by resetting the two plays in the midlands of contemporary Ireland. Carr intends to courageously explore into the dangerous liminal space, i.e., the middle between the past and the present, the high Greek and the Irish folk culture, dealing with the ghosts of the dead writers for her own Irish feminist theatre. Thus, in the middle Carr can build a new Irish theatre by minorating and abjecting the Greek tragedy and subverting and expanding Synge's theatre of grotesque realism. This paper attempts to read By the Bog of Cats... as Carr's final project of exploration into the midland of Ireland to establish a new Irish feminist theatre and at the same time a new Irish folk theatre. By focusing on her strategies of minoration and subversion through grotesque imagery and carnival rituals it argues that Carr put Hester's becoming-ghost in the middle, the bog of the cats as both grave and womb, waiting for the birth of a new Irish people. And it emphasizes that the ghost of Hester, merging with the ghosts of her mother and daughter by the bog of cats will haunt the official society as a threatening abjection, challenging the restoration of the social order.

• 복식문화연구
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• 제17권3호
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• pp.407-423
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• 2009

The purpose of this study is to analyze Bakst's stage costume illustrations for Ballets Russes. The Russian Ballets has renown in the West since the early 20th century. Diaghilev first made his name as the organizer of art exhibitions in Russia and Western Europe. Diaghilev risked presenting only ballets in 1909, that time Bakst designed $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu and Le Carnival. $Sch{\acute{e}}h{\acute{e}}razade$ was something new which overwhelmed the French people by then. It was seen to be the achievement of Wagner's idea where all the elements; the music, the design, the choreography, and the dancing fused into a perfect whole. The entire production was a hitherto unseen harmony of colors, sounds and movements. For the 1911 season in Paris, Diaghilev planned to present six new ballets and Bakst designed four ballets. Bakst's design of the set and the costume greatly shocked the audience. His "Originality" shines on the fact that he introduced a palette of colors in theater for the first time in history. He used a magic of colors to suggest the secret meaning of what was happening on the stage. The results can be divided into three distinct characteristics. First, oriental designs such as $Cl{\acute{e}}op{\hat{a}}tre$, $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu, La $P{\acute{e}}ri$ and Le Dieu Blue with Russian, Indian and Persian traditional design in headdress and accessories ars found. Second, Le Carnival and La Spectre de la Rose used romantic styles with oriental details. Third, Greek chiton and Himation are used in Narcisse, $H{\acute{e}}l{\grave{e}}ne$ de Sparte, $L'Apr{\grave{e}}s-Midi\;d^{\grave{\;}}un$ Faune and Daphnis et $Chlo{\acute{e}}$ inspirde with various colors and geometic patterns. Bakst's orient of lush colored costumes, head dress, cushions, rugs and hangings became the immediate fashion imitated by Parisian couture houses and interior decorators.