• 패션비즈니스
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• 제23권6호
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• pp.1-15
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• 2019

Appropriation is of considerable significance in a cultural trend of thought, as one of the means of realizing the post-modernism period. With the increasing use of appropriation techniques in modern fashion, it is necessary to study the external performance and internal aesthetic value of appropriation in fashion. In the book of cultural appropriation, American scholar James o young divides into three categories of appropriation in culture, namely: object appropriation, content appropriation, and subject appropriation. Based on James O Young's three types of appropriation techniques summarized in the theory of the cultural appropriation, the purpose of this study is through the appropriation of the poncho of traditional Mexican clothing in modern fashion as an example; analyzing the external appropriation characteristics and internal aesthetic significance of different appropriation type. The results are as follows. First, designers take the Originality in modern fashion by expressing Mexican Poncho's form, color, pattern, and material as it is through object appropriation technique. Second, through the Mexican folk poncho's style, designers used these to show the similarity produced by content appropriation in modern fashion. Third, designers used the poncho's design concept or poncho's culture, blending the theme of the collection, adding different color, pattern or materials such as fur, lace, and wool, and presenting a new image different from folk costumes through creative subject appropriation technique.

• 패션비즈니스
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• 제28권3호
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• pp.69-89
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• 2024

In the era of globalization, cultural appropriation, stemming from the interaction and clash of diverse cultures, remains inadequately defined, leading to controversy in many designs. This study aims to provide a theoretical basis for understanding cultural appropriation by comparing similar concepts and examining specific cases. It proposes methods for the rational use of traditional cultures in apparel to minimize controversy. Firstly, the study investigates the concept of cultural appropriation by exploring differences among related terms. Secondly, it examines instances of cultural appropriation in fashion through form, color, pattern, and material, drawing from papers and Google searches over the past decade. Thirdly, it categorizes representative cases by domestic and foreign fashion brands, analyzing the underlying reasons. The goal is to establish a theoretical foundation for developing culturally sensitive clothing products. Based on the findings, several measures are proposed: understanding and respecting cultural backgrounds through in-depth research on the history and significance of elements; collaborating with cultural groups and consulting experts for feedback; explaining the source of design inspiration to help consumers understand the cultural elements' meanings; avoiding the reinforcement of stereotypes and respecting cultural diversity and complexity; respecting intellectual property and ensuring moral and legal appropriateness; and learning from case studies of other designers' and brands' successes and failures.

• 한국의류산업학회지
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• 제24권5호
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• pp.530-544
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• 2022

Based on a follow-up study on critical fashion's strategies for object appropriation, this study aims to understand the appropriation of art as a social or cultural phenomenon influencing modern fashion, as well as to analyze and comprehend how to specifically approach the appropriation of critical fashion's letters through the appropriated interpretation. To explain the theoretical background of critical fashion's appropriated interpretation, it examined the related literature and data. Moreover, a fashion book-based literature review and a case study were conducted using sources, such as exhibition books, exhibited works, news, fashion magazines, and fashion sites, to examine letter appropriation strategies. In the critical fashion, the appropriation of subversive letters subverts meanings by providing experiences different from those based on real images of letters, which are displaceable. The appropriation of such subversive letters to challenge the value of modernism aims to subvert social value by bringing and relocating existing objects while focusing on their external forms. The appropriation of referential letters focuses on delineating the distance between the subjects who quote something and the quoted something and reprograms the existing letter objects with an introspective and reflective attitude. In other words, critical fashion designers can effectively express their messages through the appropriation of letters, such as graffiti and typography, which are manifestations of challenge or resistance. Appropriating letters as a creative action pursues unmarginalized humans who possess their existence.

• 한국실내디자인학회논문집
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• 제22권2호
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• pp.68-80
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• 2013

This study is about expressive aspects of subversive mimesis found in architectural design under 2nd Modernity. Architectural works under 2nd Modernity are described based on pseudo-scientific positivism and philosophical ontology of Deleuze. However, subversiveness found in works of arts by architects such as Rem Koolhaas present a few complexities to relay on such a description. This is about 'subversiveness' which absorbs the positive and negative factors of modernity which has been multi-layered as 'cultural capital'. This study aims to identify meta-phenomenon as well as the specific correlations between expression and purposes of any work of art that is presented in the form of subversiveness. To achieve this aim, this study approached with the concepts of appropriation and detournment based on Adorno's subversive mimesis concept. Meta-phenomena of architectural design methods occur from relations of three, which are social reality, artist, and work of art. This was connected to productivity of mimesis practice of self-reference and self-examination, which was then, summed up from the perspectives of appropriation in pure arts and d$\acute{e}$tournment of situationalists. Based on this work, subversive expressive characteristics of architecture under 2nd Modernity were framed from the perspectives of the absorption of cultural capital, reflection and negation, autonomy, instrumentality, and meta properties. In this way, this study found that Adorno's subversiveness should be effective for creative and methodological systemization in terms of interpretation of cognition, practice, and effect after materialization.

• 헤리티지:역사와 과학
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• 제48권1호
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• pp.24-43
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• 2015

본 연구는 전라북도 군현단위의 지방관아를 중심으로, 근대기에 진행된 관아시설의 쇠퇴에 관한 연구이다. 다각적인 관련 자료를 토대로, 본 연구는 관아시설의 쇠퇴 요인과 양상을 파악하는 한편 쇠퇴의 핵심요인으로서 훼철과 전용에 관한 특징적 사실을 보다 구체적으로 살펴보았다. 나아가 이러한 쇠퇴 요인들이 발생한 구체적인 시점을 살펴봄으로써 시기별 쇠퇴 양상의 일면을 파악하였다. 이에 따른 연구 결과는 다음과 같이 요약 정리될 수 있다. 관아시설의 쇠퇴 요인은 훼철(毁撤), 폐지(廢止), 전용(轉用), 재해(災害)의 4가지로 구분된다. 훼철은 관아시설의 철거를 가리키며, 폐지는 관아시설의 쇠락과 운영의 중지를 의미한다. 전용은 공공기능을 충족하기 위한 시설로의 전환을, 그리고 재해는 태풍이나 화재에 의한 피해를 가리킨다. 이 중 훼철과 전용이 지방관아의 쇠퇴에 가장 큰 영향을 미쳤다. 관아시설의 멸실에 가장 직접적 요인이었던 훼철에는 기능적 측면에서 중요한 목적이 있었다. 행정과 통치에 필요한 공공시설의 신축(新築)이 바로 그것이다. 기존의 관아시설이 전용되기도 하였지만, 그 이면에는 공공시설의 신축을 위해 관아시설이 훼철된 여러 사례가 확인된다. 한편 관아시설의 전용은 교육, 행정, 금융, 치안시설로 구분되는데, 객사와 동헌은 각각 교육과 행정시설로, 부속시설은 금융과 치안시설로 활용되는 것이 일반적이었다. 특히 일부 관아시설은 주택이나 병원과 같은 특징적 시설로도 이용되었다. 전용과정에서는 관아시설의 내 외부에 걸쳐 많은 변형이 발생하였는데, 이로 인해 관아시설은 전통적인 양식을 잃어가며 점차 쇠락하였다. 관아시설의 쇠퇴는 시기적으로 1900년대부터 이미 시작되었으며, 1930년대에 이르러서는 관아시설의 대부분이 본연의 모습과 기능을 잃게 되었다.

• 복식문화연구
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• 제17권4호
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• pp.679-690
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• 2009

The purpose of this study is to comprehend western style in fashion and to contemplate the hybrid tendency reflected on western style, thereby to analyze the aesthetic characteristics of the hybrid tendency of western style. For such purposes, this study first examines western style historically, in order to analyze hybrid tendency reflected on western style, and conduct a case study by analyzing photographic materials of pr t- -porter collection since 1980s. The result of this study is as follows: the hybrid tendency reflected on western style are modification and fusion of regional culture, adaptation and composition of subcultures, and appropriation of sexual minority culture. (1) Modification and fusion of regional culture is expressed in ethnic items and patterns of embroidery, mixing Mexican and Spanish, American Indian and American cultural references. (2) Adaptation and composition of subcultures emphasize traditional or vintage western style by mixing characteristics of western and other subcultures. (3) Appropriation of sexual minority culture is expressed in rhinestone chaps and fetish corset, glitter rodeo suit, reminiscent of drag or queer cultural references. The result of this study will provide basis which can be utilized in the development and educational background of fashion design.

• 비교문화연구
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• 제45권
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• pp.245-268
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• 2016

2008년 개봉된 영화 <도쿄!>는 미셸 공드리 감독의 <인테리어 디자인>, 레오 카락스 감독의 <메르드>, 봉준호 감독의 <흔들리는 도쿄>로 구성되어 있다. 이 세 편의 단편은 모두 도시적 삶에서 비롯된 자기 소외의 경험을 다룬다. 도시에서 어떻게 자기 자신으로 살아남을 것인가? 삶의 문제는 근본적으로 삶의 자기 유지와 관련되어 있다. <도쿄!>에서 세 명의 감독이 펼쳐놓은 이야기는 이러한 도시적 삶이 자기-보존적이면서 동시에 자기-해체적인 양상을 띠고 있음을 보여준다. 도시는 문을 열면서 닫고 닫으면서 여는 이중구속의 역설적 움직임이 지속적으로 이루어지는 공간이다. 도시적 삶은 이러한 움직임 속에서 데리다가 무한하게 확장할 것을 제안했던 자가면역적 논리에 항상 노출되어 있다. 삶의 문제는 근본적으로 삶의 자기 유지와 관련된다. <도쿄!>를 구성하는 세 편의 단편에서 도시적 삶은 전유적, 탈전유적, 비전유적인 존재 양상을 통해 자기성을 드러낸다. 전유적 자기가 타자를 다시 제 소유로 삼음으로써 자기를 더욱 강화한다면 비전유적 자기는 순수하게 동일한 것으로 남고자 스스로를 방어한다. 이러한 도시적 삶의 양상은 필연적으로 자가면역적 반작용에 부딪칠 수밖에 없다. 오직 탈전유적 자기만이 자가면역적 반작용 속에서 약속 안의 위협을 감수하며 자기성의 움직임의 또 다른 양상의 가능성을 예표한다.

• 영어영문학
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• 제57권2호
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• pp.217-235
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• 2011

On recognizing the significance of Walter Benjamin's "The Task of a Translator" in recent discourses of postcolonial cultural translation, this essay examines the creative postcolonialist appropriations of Benjamin's theory of translation and their political implications. In an effort to dismantle the imperialist political hierarchy between the West and the non-West, modernity and its "primitive" others, which has been the operative premise of the traditional translation studies and anthropology, newly emergent discourses of cultural translation actively adopts Benjamin's notion of translation that does not prioritize the original text's claim on authenticity. Benjamin theorizes each text-translation as well as the original-as an incomplete representation of the pure language. Eschewing formalistic views propounded by deconstructionist critics like Paul de Man, who tend to regard Benjamin's notion of the untranslatable purely in terms of the failure inherent in the language system per se, such postcolonialist critics as Tejaswini Niranjana, Rey Chow, and Homi Bhabha, each in his/her unique way, recuperate the significatory potential of historicity embedded in Benjamin's text. Their further appropriation of the concept of the "untranslatable" depends on a radically political turn that, instead of focusing on the failure of translation, salvages historical as well as cultural potentiality that lies between disparate cultural entities, signifying differences, or disjunctures, that do not easily render themselves to existing systems of representation. It may therefore be concluded that postcolonial discourses on cultural translation of Niranhana, Chow, and Bhabha, inspired by Benjamin, each translate the latter's theory into highly politicized understandings of translation, and this leads to an extensive rethinking of the act of translation itself to include all forms of cultural exchange and communicative activities between cultures. The disjunctures between these discourses and Benjamin's text, in that sense, enable them to form a sort of theoretical constellation, which aspires to an impossible yet necessary utopian ideal of critical thinking.

• 수완나부미
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• 제16권1호
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• pp.15-38
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• 2024

In this paper, I will pursue initial ideas I formulated in 2012 about the permeation of Korean influences in Philippine popular culture, particularly in the production of serialized TV drama/soap operas or the "teleserye" [tele for television + "serye" or series; thus, TV drama series]. I called the phenomenon the "Korean Turn" as I observed the emulation of Korean televisual drama (nowadays called K-Drama) modes and practices by local production through various means of cultural appropriation. This time, I will expand my exploration to other aspects of Philippine entertainment and other cultural practices. I will also update my observations on the continuing "Korean turn" in the teleserye. I will argue, on the one hand, about the success and soft power of hallyu or the "Korean wave" in the Philippines; and on the other, about Philippine culture's enduring ingenuity in its reception and repurposing of hallyu. Ideas to be yielded here will form part of a potential framework in understanding the dynamics of the interface between Korean and Philippine cultures, in the context of globalization. I assert that popular culture remains to be an undervalued field of inquiry, as far as these contexts are concerned.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2009년도 춘계 종합학술대회 논문집
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• pp.993-997
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• 2009

모더니즘 시대의 디자인은 효율성과 기능성을 중심으로 사물과 기기의 표준화를 목표로 제작되었으며 생산보다 소비가 많았던 산업 시대에서 디자인 수용자의 의지는 소비의 대상으로서의 역할에 한정되어졌다. 그러나 포스트모더니즘 시대 이후 디지털 환경에서 디자인 수용자는 단지 주어진 것만을 수동적으로 수용하지 않고 적극적인 개입을 하고 능동적인 관리를 할 수 있도록 변화됨으로 디자인 수용과정에 우상화, 관여, 조율, 조작, 흉내 등의 전유행위를 수반하게 된다. 앞으로의 디자인은 전문가들만이 생성하고 관리하는 체계에서 벗어나 수용자들과 함께 협업하는 상황으로 변화되고, 수용자의 다양한 전유 형태는 디자인 생산물을 둘러싼 제작 방법, 배포 행위 등의 디자인 제반 환경을 변동시킬 것이다. 이에 디자인 수용자들의 전유 행위를 동일화, 해체화, 재의미화 등으로 구분하여 고찰함으로써 제작자와 수용자간의 원활한 인식을 통해 획일화, 구조화에 저항하는 수용자들의 문화 환경 변화를 읽어 효과적인 디자인 제작 행위를 유도하고자 한다.