• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2007년도 추계 종합학술대회 논문집
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• pp.426-429
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• 2007

CrossRef에서는 DOI 식별자를 기반으로 출판사 간 참고문헌을 링크하기 위한 참조링킹 인프라를 제공하고 있으며, CrossRef과 연계한 참고문헌의 전자원문 링크 서비스인 참조링킹 체제를 구축하는 기관이 점차 늘고 있다. 본 연구에서는 참조링킹 체제를 효율적으로 구축하기 위해 Citation Matcher를 개발하였다. Citation Matcher는 과거 수작업에 의존하던 참고문헌 DB구축 및 식별자 매칭 프로세스를 자동화하고 패턴화한 것으로, 참고문헌을 원형 그대로 Copy & Paste하면, 참고문헌의 패턴을 분석하여 참고문헌으로부터 저널명, 저자, 권/호 등 Citation 정보를 일목요연하게 파싱하고, 파싱한 정보를 표준화된 방식으로 CrossRef, Pubmed, yesKISTI 등의 메타데이터와 매칭하여 식별자를 획득하여 링크하는 솔루션이다. Citation Matcher는 과거 사람이 수행하던 국내 학술논문의 참고문헌 구축 및 매칭 프로세스를 완전 자동화함으로써 업무 프로세스를 혁신하고, 정보자원 간 연계성 제고 및 논문 간 Seamless한 접근을 통해 이용 편리성을 제고하기 위한 것이다.

• 복식
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• 제56권1호
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• pp.13-31
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• 2006

This study will explore Rococo chinoiserie not only as a prominent style of the decorative arts in general, but also as an important factor that influenced $18^{th}$ century fashions in dress. Two premises support the conclusion of this study. One is that the chinoiserie is truly a hybrid, a totally new style resulting from the mixture of various traditional elements from the East and the West, with little regard for the authentic nature of the original styles. The other is that the geographical scope for defining the chinoiserie influence in the Rococo fashion can be expanded beyond its lexical meaning; the style eventually encompassed visual cues from various Eastern cultures including China, India and Turkey. Regardless of the specific origins, the oriental influences for Rococo fashion can be categorized into two types. The first type is a complete appropriation of structural elements of Eastern clothing, such as pagoda hats, pagoda sleeves, turbans decorated with plumes or fur-trimmed open robes and then combining them with Western dress. These exotic and fancy dress ensembles were worn as masquerades, theatrical costumes or portraits. One extraordinary example is the banyan, a man's dressing gown, which also had a place in everyday life, not just as special costume. Although the banyan became more tailored as time passed, the traditional shape of this Eastern garment was accepted unaltered in the beginning of the $18^{th}$ century. The second type of influence shows in the use of eastern textiles, especially silks, which were made into women's dress. It did not matter to the fashionable lady if her dress was made of the silk produced in China or a European copy of the Chinese original, as long as it satisfied her taste. It is difficult to detect the signs of exotic style from a glance in this type of chinoiserie dresses since it was more ambiguous and conservative adaptation of the oriental influence in Rococo dress styles than the first type. In this study, various oriental influences appearing in $18^{th}$ century Rococo fashions can be defined as part of the chinoiserie style based upon the suggested premises. No matter what the origin of these oriental fashions was, this hybrid of the East and West made one of great impacts on the most frivolous and splendid period of western fashion history.

• 복식
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• 제51권3호
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• pp.155-170
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• 2001

This study is about investigation of the historical value of Wanghoido(王會圖) and Bungekipjodo(蕃客入朝圖) and examination of the costumes of the Envoys from the Three Kingdoms drawn in the paintings above. Wanghoido(王會圖) is presumed to be painted around early 7th century. This is a colored picture on silk on which twenty-six Envoys from twenty-four Kingdoms are painted. Bungekipjodo(蕃客入朝圖) is presumed to be painted in the early 10th century. This is drawn on paper with only black brush line, no color. There are thirty-five Envoys from thirty-one Kingdoms in the painting. Wanghoido(王會圖) and Bungekipjodo(蕃客入朝圖) are the important materials which are useful to understand the original Liangjlkgongdo(梁職貢圖). From the records about interchange of the Envoys in the early 6th century, the characters and costumes painted in Wanghoido(王會圖) and Bungekipjodo(蕃客入朝圖), the copy of the original Liangjikgongdo(梁職貢圖), get the reality. The Envoys from Koguryo(高句麗), Paekche(百濟), and Shilla(新羅) painted in the two paintings above are all wearing Jangyu or Yu(장유 or 유; an upper garment), Go(袴:trousers), Kwanmo(冠帽:headdress), Dae(帶뿔:belt), and Hwa(靴:shoes). But they differ in some aspects. For example, the shape of the Kwanmo(冠帽), hair style and patterns on the costumes, etc.

• 한국실내디자인학회논문집
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• 제6호
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• pp.15-20
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• 1995

In this paper, a strategy for utilizing the Korean tradi-tional spaces and interior design elements in inner space in order to express Korean-style interior design has been studied. Characteristics of Korean tradition was gathered from literatures in two categories; space and el-ements. Space again has been studied in detail in the area of split, continuity, hierarchy, elasticity, dynamics. And study of elements includes floor, wall, ceiling, dan-chung, lattice, laytiles on a roof, rafter, extended eaves, the line of eaves. 30 Korean restaurants were selected, analysed and compared with literature review. Based on the compari-son, a strategy for proper expression and utilization of Korean tradition is suggested. In the process of compari-son, current status of implementation and problems were found. Traditional elements are used in about 50% of Korean restaurants located in hotels, and 25% of those located in department stores. With the survey and other professional's opinions, an implementation plan is suggest-ed as follows; 1. Succession design method of tradition should use main-ly amelioration method and use copy and partly abstraction method. 2. Expression of tradition has to include all of space, ele-ments, and decoration. In space structure, Korean tra-dition space structure must be applied. 3. In order to design with feeling of Korean tradition, various different Korean elements have to be used. 4. In order to express high quality design, high-quality elements has to be used.

• 한국의류학회지
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• 제38권5호
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• pp.743-754
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• 2014

This study identified the internal motives for the purchase behavior of Korean male consumers in multi-brand fashion stores by conducting in-depth interviews with 8 men in their 20s and 30s. All respondents had significant experience with this type of store. Data were analyzed in an inductive way and compared with Bohemianism to interpret and described the results as a recent phenomenon of men's fashion. The five internal motives were extracted from analysis: the pursuit of freedom of expression, the counter-cultural resistance to department stores and domestic fashion brands, which tend to copy designs from international brands, the pursuit of mobility and adventure for trying to search and wear a new fashion style, the pursuit of pleasure through store experience, and the pursuit of artistic value by considering goods purchased in multi-brand fashion stores as artistic and cultural goods.

• 동양고전연구
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• 제49호
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• pp.357-392
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• 2012

작가는 작품을 통해 자신의 사유(思惟)와 지향(志向)을 드러내기 마련이다. 그런데 그동안 창암(蒼巖)에 대한 연구는 서론과 작품의 형태미를 중점적으로 논의하였을 뿐 작품에 내재되어 있는 사유에 대한 논의는 거의 이루어지지 못하고 있었다. 특히, 창암의 작품은 이광사(李匡師)의 서풍을 계승하면서 복고주의적 성향이 매우 강해서 같은 시기 활동하던 북학파의 영향이 크지 않음을 알 수 있다. 본고에서는 창암의 이러한 서풍을 '복고적 성향'이라고 명명하고, 그의 이러한 복고적 사유가 학서(學書) 과정과 작품에 나타난 구체적 양상을 살펴보았다. 창암은 진적(眞跡) 친필(親筆)자료들을 중시하면서 행초서(行草書)를 즐겨 썼다. 그러나 학서 과정에서 항상 필력을 강조하여 한위(漢魏)의 글씨에 근본을 두었고, 행초서를 쓰더라도 반드시 해서(楷書)를 먼저 익혀 그 필력을 얻어야 한다고 강조하였다. 또한 창암은 평생 동안 왕희지(王羲之) 서풍의 소해(小楷)로 된 작품들을 많이 남겼는데, 이는 조선후기 동국진체(東國眞體)의 서가들이 왕희지의 해서, 특히 소해를 전범으로 하는 것과 일맥상통한다. 이러한 경향은 마음의 스승인 이광사의 영향에 기인한 것으로 보인다. 그러나 창암은 또한 왕희지의 법첩(法帖) 글씨에 부족한 필세를 보완하고자 끊임없이 노력한 흔적들이 발견된다는 점에서 다른 서가들과는 다른 양상을 보인다. 그는 먼저 서예이론에 있어서는 한위(漢魏)의 고법(古法)을 중시하여 채옹(蔡邕)과 종요(鍾繇)를 근본으로 삼고 있음을 확인할 수 있다. 또 대해(大楷)에 있어서는 <구루비(??碑)>의 필세가 가미된 <예학명(?鶴銘)>과 위(魏) 무제(武帝)의 글씨, 안진경(顔眞卿)의 <대당중흥송(大唐中興頌)>과 김생(金生) 글씨 등을 끊임없이 연마하였다. 특히, <구루비>와 <예학명>의 필의(筆意)를 이용한 그의 말년 작품은 기본적으로 해서인 <예학명>의 자형(字形)에 <구루비>의 구불구불한 형세(形勢)를 취해 자신의 독특한 서풍을 보여주는 경지에 이를 수 있었다.

• 복식
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• 제25권
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• pp.249-268
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• 1995

Parody has recently prevailed as one of the important techniques of creation in art. The purposes of this study are to reaffirm the pos-ition of fashion as an art by clarifying parody depicted in fashion and to make an opportunity to reconsider the meaning of creation in fashion design through the significance of par-ody. For these purposes, documentary studies about parody in literature and art which had been discussed more often were preceded as a framework of this research. framework of this research. Basedd upon that, parody phenomena in fashion as well as art were analyzed. The synthetic results are as follows ; 1. Parody is a kind or critical technique and can be conceived as a process of creation. The established primary style (material) which is well-known and familiar is imitated and then is recreated in new manner through the three types of parodization, that is, the change of its external form, the change of its internal mean-ing and the shift from its place (i.e. displace-ment). 2. Parody in fashion is also analyzed based upon the three types of parodization which designer's will and expression is necessarily required. First, the parody through the change of external form is to have its effect of novelty, unexpectedness, playfulness, wit, mackery, satire, irony, paradox by changing the form of the original through imitation with similarity, transformation, exaggeration, em-phasis. Second, the parody through the change of internal meaning is to bring about paradox, irony, contempt, satire, unex-pectedness by applying the original to inappro-priate subject through its substitution, inver-sion. Third, the parody through displacement is to pursue a jarring incongruity that results from shifting the original to other context. Its effect consists of paradox, unexpectedness, playfulness, ridicule, mockery, satire, irony. In general, the parody technique in fashion can be used to have an intention of expressing seriousness, playfulness, satire, grotesque. The representative designers using the parody technique are Lagerfeld, Ricci, YSL, Yama-moto, Castelbajac, Gaultier, Mugler, West-sood, Steiner and so on. 3. Parody is the technique which imitates and then recreates the preceding style ; is at the same time the method which challenges the existing concept of originality-singleness and uniqueness. It reflects the more flexible concept of modern creation in art as well as fashion. The imitation as the creation, the characteristic of parody is recognized as an creative expressiveness, publicity, intention. Thus it differenciates from copy which is uncritical mimicry.

• 한국실내디자인학회논문집
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• 제16권4호
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• pp.12-20
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• 2007

This study, as discussed herein, tries to understand how modern commercial buildings occur and develop in certain type of social and cultural conditions. There are many words standing for modern society, of which the most remarkable one is 'commercial society'. Commercial society is where goods are manufactured to one's taste and consumption is a way of communication and a way of discriminating one from the others by using different code. Nowadays, architecture gets more and more popular and becomes commercial object which is intended to the sign of the social meaning. So, the sign of commercial buildings varies according to the social and cultural backgrounds and kitsch is applicable to it. The original meaning of kitsch, which usually is considered an inferior copy of an existing style, is examined and applied to architecture in order for comprehension. Throughout this study, the types of commercial buildings are selected and immanent meaning to the psychology of consumers as applicable to commercial buildings is considered. Also, the trend of kitsch in commercial buildings is analyzed by classifying the image and code of a building's shape. In a conclusion of the study, two major points can be found; commercial building has a significant meaning in terms of design, and commercial building is the conceptual result of a continuous change in the relationship between society and art.

• 디자인학연구
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• 16호
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• pp.185-196
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• 1996

The series of ‘Dubonnet’poster is one of the masterpieces of Cassandre who was the leader of advertising poster in 1920's and 1930's. Orihinally it was a triptych, but it was developed as a serial work later through lettering and seasonal advertising posters. It was kept in circulation for more than two decades and issued in a variety of formats. In this thesis I tried to figure out the artistic character and uniqueness of Cassandre's poster by analyzing it with many different points of view of the poster, the stream of changing style and influence from the Avant-garde painting. In chapterII, objectively analyzing the series of‘Dubonnet’one by one, I examined the method that Cassandre used to deliver the concept of advertising and his message. The triptych, the first one of series of Dubonnet poster is witty, the slogan is a pun using the words dubo(doubt), bon(good), and Dubonnet, and the theme is treated as an animated sequence in the manner of a comic strip. In the following winter and summer seasonal advertising posters, the‘Dubonnet man’in the same position is enjoying the‘Dubonnet’, irrespective of the hazards of climate and season, There was a change towards 1929 that rectilinear design gave place to supple and undulating lines in Cassandre's posters. Seasonal advertising posters also showed the change, and the tendency of realistic and concrete elements of an expression was strengthened. In chapterIII, I studied three as main characters of Cassandre's poster. The first one is simple and geometric expression, second one is uniqueness of figures and the last one is important roll of lettering. Cassandre believed that there were fundamental differences between the function of a poster and that of a painting. He also recognized that the symbol was the essential element in the poster design, which would be simply and swiftly recognized. The recognition led him to simple design and bold geometric abstraction. He was a man who knew the value of copy in advertising and developed it fully in his simplified geometric compositions by integrating of letterforms and image. The‘Dubonnet man’is geometrized, almost featureless. This approach of rendering human beings was one that Cassandre had used from the early years, most notably in his posters for Dubonnet.

• 비교문화연구
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• 제23권
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• pp.215-242
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• 2011

Yingchuang yicao(${\ll}$螢窗異草${\gg}$) is a collection of short stories in Classical Chinese, whose style was much affected by Liaozhai zhiyi(${\ll}$聊齋志異${\gg}$). It consists of 3 chapters, 12 juan, and 138 stories. This work was written by a scholar with the pen name of Hao gezi(浩歌子) in the reign period of Qianlong in the Qing dynasty, and has drawn relatively little attention among the scholars thus far; it was not until 1980's that scholars figured out that the author Hao gezi was Yin Qinglan, the sixth son of the renowned Qing scholar Yin Jishan. Yingchaung yicao had circulated as a manuscript for more than one hundred years until it was printed by Shenbao guan(申報館) in Shanghai in the reign period of Guangxu 2-3 (1876-1877). This edition is currently collected at The Kyujanggan(奎章閣) Institute of National Seoul University. At present, no known study of its introduction to and circulation in premodern Korea is available. However, given that the late $Chos{\ddot{o}}n$ period saw high interest in Chinese narratives, it is speculated that this work was imported to Korea soon after its first publication in China. Later, two publishing houses in Shanghai also published illustrated editions of the work. Given that the Shenbao guan version is the first printed edition of Yingchuang yicao, the copy collected at Kyujanggak Institute should be regarded highly for its academic values.