• The Research Journal of the Costume Culture
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• v.23 no.4
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• pp.628-643
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• 2015

This study is to assist in developing creative designs based on the humor available in the fashion world of Moschino. For the research method, this writing examined literature on humor and Moschino's fashion world and analyzed Moschino's fashion collection, show window, Maison Moschino, and collaborative products to conduct an empirical analysis of humor shown to the fashion media. The research results are as follows. The humor in Moschino's fashion appeared in the form of surrealistic humor with the depaysement technique, deconstructive wit in clothing, such as distortion, change, or exaggeration, and textual humor, including brand symbols, logos, and graffiti. Collection pieces indicated the brand's confirmative identity based on humor with the surrealistic depaysement technique and deconstructive wit through irregular phenomena, such as change, distortion, exaggeration, and illusion in clothing form. Additionally, such attributes added to Moschino's wit and humor in decorative costume components as graphic images, graffiti, and brand symbols, including smile, love, and reversal. The show window display delivered surprises and smiles through the production of surrealistic space borrowed from various objects. In particular, performance with surrealistic images helped to show the characteristics of parodic humor. Maison Moschino was a surrealistic space for the concept of the fairy tale and for practical experience, thus working as a communication channel for humor and emotion. Collaborative products also clearly reflected the identity of the designer's own humor, which showed scarcity value as well as differentiation.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.5 s.164
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• pp.777-787
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• 2007

The purpose of this study is to consider various characteristics in the graffiti-look in the modem fashion by interpreting meanings and properties of graffiti, transferred from street art to a new main stream in art. The scope of this study is limited to works from the 1990s to the present, and the materials for the literatures and exploratory study are fashion-related portfolios and the domestic and foreign fashion magazines. The first characteristic is satire. The graffiti-look conveys directly or indirectly with phrase or symbol various messages of politics, social ideology, wealth and poverty, environmental pollution, anti-war, etc. Body is even more used for graffitiand designers express freely their identity or ideology through the formative style of graffiti. The second characteristic is pleasure. Fantastic expressions from a fairy-tale or fable in the graffiti-look give humor meaning freedom and sense of liberation in a sense of catharsis to the modem people's emotion. The graffiti-look uses graffiti works to introduce its original message of humanism, happiness, humor, etc. to clothing; as a result, the graffiti-look features pleasure. The third characteristic iscommercial application. Brand logo designed by graffiti style is decorated with clothing, accessory, or ornament. This may not only emphasize brand name through lingual function of graffiti, but also be used for a distinctive marketing strategy against other brands. Logo which is regarded motive or pattern of design leaves a image instead of a meaning and performs a design function stressing formative sense.

• Journal of Korea Society of Digital Industry and Information Management
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• v.10 no.2
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• pp.121-129
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• 2014

As e-books have been becoming common, the market for digital textbooks also has been expected to grow rapidly. In this paper, we introduce our experience of developing interactive e-books with Unity3D, and the result of user's experiment of using the books. The e-books are targeted to the lower grades in elementary schools, and they are a series of a fairy tale story with educational information on flat tide. They support rich user interactions such as dragging and clicking objects and rich media including 3D animations, videos, pictures, and augmented reality. We separate educational information from the main story in order to meet some incompatible issues among story, education, and user interaction. We conducted user experiments with twenty four 4th grade students and 95.8% (23 from 24) of them liked the e-books. They also thought the e-books would help them study about flat tide and sea creatures in there.

• The Research Journal of the Costume Culture
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• v.25 no.3
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• pp.315-326
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• 2017

The purpose of this study is to investigate the design methods and characteristics of papercraft fashion from 2001 to 2015. The study has been conducted through theoretical research and case study. Overall, types of papercraft expressions are classified into the following four categories: narrative papercraft fashion, organic papercraft fashion, variable papercraft fashion, and recycling papercraft fashion. The characteristics and aspects of each type of papercraft is described below. First, narrative papercraft fashion expresses as factual description of the natural environment. These works convey fantastic image by showing fairy tale animals or plants using paper folding or cutting. Second, organic papercraft fashion creates a futuristic shape by expressing organic parts in nature. Also, it often depicts future-oriented images by repeatedly representing organic shapes using uniform patterns in nature. Third, variable papercraft fashion expresses a variety of changing shapes through a flexible design based on the style of wearing. This variation may be accomplished through changeable dress connected to human gestures. Variable papercraft represents play-fulness, which conveys enjoyment to the wearer and the audience. Fourth, recycling papercraft fashion uses paper materials of the past, and recreates them into artworks through handicraft techniques. Recycling papercraft conveys high value added fashion by dissolving the material into pulp.

• Journal of the Korean Home Economics Association
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• v.47 no.8
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• pp.25-35
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• 2009

This study analyzed expression types and characteristics of modern fashion designs using body parts. The research was conducted based on a literature review and empirical research of fashion magazines published in Korea and other countries from 2001 to 2008. Four fashion statements predominated. Most frequently, body parts presented in modern fashion design, included realistic expressions, simplification, anatomic expression and a mixture with other patterns and logos. A body part, such as an eye, a lip, a hand or a chest was characteristically located in an unfamiliar position, as part of modern fashion design using body parts. Other parts and surrealistic images were shown with accessories utilizing body shapes. Second, amusing images were emphasized with humorous expressions, including simplification of body parts, childish decorations, fairy tale illusions and cartoon factors. Third, erotic images were presented with a more realistic expression of a partial image of a female body part, such as a lip or a tongue. Fourth, the use of facial images of celebrities in modern fashion design showed the phase of the times and the characteristic utilization of pop art as an image.

• Journal of English Language & Literature
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• v.59 no.4
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• pp.593-617
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• 2013

Tales from Shakespeare, written by Charles and Mary Lamb in 1807, is an adaptation of Shakespeare's plays which was intended for children. Shakespeare's poetic language is transmitted into prose, which enables children to easily read his works. Charles and Mary Lamb collaborated in adapting Shakespeare's plays, but they undertook separate duties which revealed different attitudes in their approach to the adaptation. This dissertation examines Mary Lamb's adaption of Shakespeare's problem play All's Well That Ends Well and Charles Lamb's adaption of Shakespeare' tragedy King Lear, with an adapted pattern focusing on the plot and character. Charles Lamb stressed the "imagination of a fairy tale," which was against the trend in children's literature of the time, while Mary Lamb stressed "the moral and didactic element." Mary Lamb was concerned with the education of female children in the early nineteenth-century. As a result, the Tales presents "a double movement" or perspective, which stresses didactic elements, as well as imagination. These ambivalent attitudes caused critical debates in the nineteenth-century. However, the Lambs defended criticism against "the double movement," suspecting themselves to be "no bigger than a child," from the viewpoint of "the imagination," and reading the Tales to be effective at "making a child a virtuous man," from the viewpoint of "an education."

• Cross-Cultural Studies
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• v.37
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• pp.157-183
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• 2014

Although Marguerite Yourcenar, a representative French woman writer, lived 47 years in the United States from 1939 to 1987, the American influence on her life has not been studied either at home or abroad. The purpose of this study is to examine chronologically the American influence on the following three literary works of Yourcenar: The Little Mermaid (1942), River Deep, Dark River (1966) and Recluse (1982). The Little Mermaid is a drama, presented in musical format, about the identity crisis and inner conflict of Yourcenar. Unlike the little mermaid who burst like a bubble in Hans Christian Andersen's fairy tale, Yourcenar associates her death with the image of ascension. River Deep, dark river is a translation of the Negro spiritual expressing the suffering of African Americans. Recluse, her last novel, deals with the life story of a simple man living in nature on a small island. This novel shows Yourcenar's desire for a pure world that is not defiled by human greed. Yourcenar sponsored major human rights organizations and environmental groups in her life, and donated her entire fortune for human rights and the protection of Wild Fauna and Flora. The American influence on the literary works of Yourcenar can be summarized as a "great turning point", because she was transformed from a humanistic writer into an intellectual actor.

• Cartoon and Animation Studies
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• s.38
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• pp.145-176
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• 2015

In animation, 'laughter' is an important factor for the fun. Dreamworks' animation is a successful popular animation. It has four series and spin-off animations, and settled as a successful case that created fun with strategic use of parody throughout the productions. Most preceding studies on this animation have focused on its humor, parody, and satire. However, not many studies have discussed its independent comedy as a piece of animation that satisfies the needs of public. This study considered that viewers' desire to watch an animation comes from their fantasies to discuss the comedy of based on its animated characters. Animated characters communicate with the public with wits that ignore the rules of reality. The characters that do not exist in reality are created and animated to turn the world of reality upside down. The comedy in comes from the entertaining deformation of the society's fixed ideas and prejudices. It is a fun variation of the ideology behind fairy tales created by the Disney animations to challenge Disney in the animation market in reality, and twisted the world of fairy tales in the story to quench the thirst of the public. 'Shrek', a monstrous character, stands in the center of the story. A monstrous character that always played an anti-role has become the main character to break the rule of fairy tales. This is the subjectivation of anti-character. Second, it is a new anti-character with an exaggerated and distorted body. Lord Farquad, who looks abject compared to the monstrous character for a person with so much power and ambition, brings laughter. Third, it is the variation of various characters from fairy tales. The conventional fairy tale characters, both animals and non-living things, come out of the box and appear as humorous characters that bring life to the story. uses comedy characters in the process of reinterpreting the fixed ideas, prejudices, and ideologies of the real world created by fairy tales. I hope that it helps Korean animations establish a successful format for creating characters that bring life to the stories.

• (The) Research of the performance art and culture
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• no.36
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• pp.223-253
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• 2018

The purpose of this study is to examine how the Korean classic novel "Shimcheong-jeon" has transformed in juvenile literature since the 2000s. Classical novels are far from modern and temporal, differ from modern cultures. Classic novels are also different from the lives and thoughts of modern children. It is therefore difficult for modern child readers to easily understand or agree with classical novels. In order for classical novels to have the meaning in the present, it is necessary to pay attention to the encounter between classical novels and children's literature. In the case of "Shimcheong-jeon", unlike other classical novels, there are many creative fairy tales. There are seven kinds of fairy tales that transformed "Shimcheong-jeon". They are diverse in genres such as picture books, fairy tales, and juvenile fiction, and are intended for a variety of ages. These works are described in various perspectives such as, Shimcheong who is full of desire, Shim Hakgyu who is disabled, Ppaengdeog's mother who has maternity and subjectivity, The dragon of the dragon king and Byeogdeog who loves Shimcheong, and Shin Cheong who has a dream. The themes of the works vary. So, These works extend our expectations for classical literature. Fairy tales that transformed "Shimcheong-jeon" reflect the lives of children and youths, this is important because it can reduce the distance between classical novels and children and youth readers. Classical novels are modernized and give new meaning to modern children and youths. And it reflects the characteristics of the novels of Pansori's "Shimcheong-jeon", preserving the value of classics. Tears of Paengdeok is a story that explains the origin of Pansori "Shimcheong-ga", and inserts some lyrics of Pansori, in the case of Cheong, Cheong, Pansori style is used. Although humor is the greatest feature of pansori, there are few of Fairy tales that transformed "Shimcheong-jeon". It is a direction to worry and to orient when transforming "Shimcheong-jeon" into a fairy tale.

• Sim-seong Yeon-gu
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• v.38 no.1
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• pp.112-160
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• 2023

This study examined the Korean folklore "Borrowed Fortune from Heaven" from the perspective of Analytical Psychology, considering it a manifestation of the human psyche, and tried to gain a deeper understanding of what happens in our mind. Through the exploration, the researcher was able to re-identify the ongoing psychological process operating in the depths of our mind, pertaining to the emergence of a new dimension of consciousness. Particularly the researcher was able to gain some insights into how the potential psychic elements for the new consciousness are prepared in the unconscious, how they get integrated into the conscious life, and what is essential for the accomplishment of the process. The tale begins with a poor woodcutter who, in order to escape from poverty, starts gathering twice as much firewood. However, the newly acquired amount disappears overnight, so the woodcutter gets perplexed and curious about where it goes and who is taking it. He seeks to find out the truth, which leads him to an unexpected journey to Heaven. There he learns the truth concerning his very tiny amount of fortune, and discovers another big fortune for an unborn person. By pleading with the ruler of Heaven, the woodcutter borrows that grand fortune, on the condition that he must return it to the owner when the time comes. After that, the woodcutter's life undergoes a series of changes, in which he finally becomes a wealthy farmer, but gradually is reminded more and more that the destined time is approaching. In the end, the fortune is completely transferred to the original owner, resulting in a dramatic twist and the creation of a new life circumstances. The overall plot can be understood as a reflection of the psychological process aiming at the evolution of consciousness through renewal. In this context, the woodcutter can be considered a psychic element that undergoes a continuous transformation in preparation for participating in the upcoming new consciousness. In other words, the changes brought about by this figure can be interpreted as a gradual and increasingly detailed foreshadowing of what the forthcoming new consciousness would be like. Interestingly, as the destined time approaches, the protagonist's anguish in conflict reaches its climax, despite his good performance in his role until then. This effectively portrays the difficulty of achieving a new dimension of consciousness, which requires moving past the last step. All the events in the story ultimately converge at this point. After all, the resolution occurs when the protagonist lets go of everything he has and follows the will of Heaven. This implies what is essential for the renewal of consciousness. Only by completely complying with the entire mind, the potential constituents of the new consciousness that should play important roles in a renewal and evolution of consciousness through experiencing, can participate in the ultimate outcome. As long as they remain trapped in any intermediate stage, the totality of the psyche would develop another detour aiming at the final destination, which means the beginning of another period of suffering carrying a purposeful meaning. The tale suggests that this truth will be applied everywhere that renewal of consciousness is directed, whether for an individual or a society.