• 패션비즈니스
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• 제1권4호
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• pp.19-33
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• 1997

This study will analyze Karl Largerfeld's design of Chanel to suggest the designer's strategy succeeding haute couture. His significant stylistic interests include the revealed structure of the garment, the modifications between fine art and fashion, the combination of the traditional restraint of the couture with the flourishes of the wildest street fashions and effects that turn garments upsides down or insides out. The House of Chanel today recognizes that commercial success ultimately lies in re-working Chanel's signature designs in a modern idiom. That the essence of theses designs remains so desirable is due to Karl Lagerfeld's successful interpretation and is ultimately an accolade to the founder-Gabrielle Chanel. During the reign of Coco it would have been difficult for any woman who wanted to look young and modern to go wrong with her fashions. The same can be said of Karl Lagerfeld for Chanel today. Clothes with the Chanel imprimatur no doubt will remain just as fashionable into the twenty-first century.

• 한국의류학회지
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• 제47권1호
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• pp.35-51
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• 2023

This study used text mining to extract 2,842 keywords from 7,397 product names and organized them into categories in order to analyze the characteristics of keywords appearing in the product names of jeans after 2020. The item category included denim and Chungbaji [청바지], and Ilja [일자], while the silhouette category included wide and bootcut. In addition, high-waist and banding comprised the making sector, and the materials category consisted of napping, spandex, and soft blue. Denim surpassed the others in frequency, co-occurrence frequency, and centrality, and co-appeared with various other keywords. Also, the co-appearance of item and silhouette was prominent, and there were many keyword combinations that showed characteristics related to (a) high waist; (b) hemline detail; (c) rubber band; and (d) partial tearing. Furthermore, idiom expressions such as 'slim fit' and 'back tearing', which were not highlighted in the co-occurrence frequency, were additionally confirmed through correlation. Therefore, the product name analysis effectively identified the detailed characteristics of the silhouette and the making of jeans preferred by consumers.

• 한국정보과학회 언어공학연구회:학술대회논문집(한글 및 한국어 정보처리)
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• 한국정보과학회언어공학연구회 2020년도 제32회 한글 및 한국어 정보처리 학술대회
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• pp.548-553
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• 2020

우리가 쓰는 일상 언어 중에는 언어적 직관이 없는 사람은 의미 파악이 힘든 관용표현이 존재한다. 관용표현을 이해하기 위해서는 표현에 대한 형태적, 의미적 이해가 수반되어야 하기 때문이다. 기계도 마찬가지로 언어적 직관이 없기 때문에 관용표현에 대한 자연어 처리에는 어려움이 따른다. 특히 일반표현과 중의성 관계에 있는 관용표현의 특성이 고려되지 않은 채 문자적으로만 분석될 위험성이 높다. 본 연구에서는 '관용표현은 주변 문맥과의 관련성이 떨어진다'라는 가정을 중심으로 워드 임베딩을 활용한 관용표현과 일반표현에 대한 구분을 시도하였다. 실험은 4개 표현에 대해 이루어 졌으며 Skip-gram, Fasttext를 활용한 방법을 통해 관용표현은 주변 단어들과의 유사성이 떨어짐을 확인하였다.

• 조형예술학연구
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• 제6권
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• pp.203-225
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• 2004

We are sure that Abakanowicz positively assumes a position of members, which are represented the later modern fabric design. In sprite of his pervasive evaluation, we have doubt about his achievement because the preceding research is insufficient about argumentsuch as dependence on intuitive emotion study, conventional analysis of structure and insufficient inquiry of causa efficiens. We agree that basic structure of is dissipation. Though right and left symmetrical structure is similar, also that structure is different. We can't decide whether structure is unification structure, difference structure or mixture structure . We think that the time of confusing argument of his structure is changing period for disorganization trend. The result of this study confirm the research possibility about space organization with restructure analysis and verification for examining essence structure of sample text . The Thesis are concern that the different between paradigmatic appearances and syntagmatic, which exist . So, we can approach the meaning of system and find dominent point about constructional relationship on the works. The meaning of dominent point is understood about sexless trend or Androgyne, which are appeared Abakanowicz forth work period. The relationship structure which is mixed both issue show that inner issue of work is located the highest position. The paper presents confusing manufacture system, which are suggested man-woman sex and mixed meaning. The other result of this study are, 1. being known as Abakan algorism, Abakanowicz has new drafting idiom from his ancient belief. 2. we need to research the body texture of Abakanowicz with the trend of restructure of body study. 3. we need argue about gender study in relative with poster moderntheology related problem of sexlessness people and perfect sex-people.

• 한국콘텐츠학회논문지
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• 제17권10호
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• pp.54-64
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• 2017

본 연구는 클리셰(cliche)의 개념화에 주목하여 성경 텍스트에 나타난 클리셰를 분석함으로써 클리셰의 개념과 범주를 올바로 규정짓고자 하였다. 클리셰의 개념을 비롯하여 클리셰와 관용어의 범주를 구분하여 설명하고, 성경 텍스트를 분석함으로써 클리셰의 개념과 정확한 사용을 위한 기준점을 제시하였다. 분석은 신뢰도를 높일 수 있도록 13권의 영어 성경 텍스트를 통해 클리셰를 정리하고 분석하였다. 분석 결과로는 성경 텍스트의 클리셰를 분석에 있어 그 의의를 발견함과 동시에 클리셰의 범주를 확실히 할 수 있었다. 본고는 영 한 통번역을 위해 성경 텍스트에 나타난 클리셰를 분석함으로써 클리셰의 흥미로움을 발견함과 동시에 클리셰의 기능을 모색하고, 이를 통해 통번역 분야에 개념적 발판을 마련한 데에 그 의미가 있다. 영 한 통번역에 있어서 관용어를 비롯하여 클리셰의 개념에 대한 학습과 교육적 가치에 있어서 매우 도움이 될 것으로 생각된다. 클리셰는 어느 언어에서나 다양하게 나타날 수 있는 비유 표현이자, 언어를 특징짓는 일부가 되는 언어 표현 도구로써 사회 문화적인 현실 속에서 사용되면서 그 사회와 문화를 특징짓는 중요한 요소가 되기 때문이다. 따라서 본고에서의 클리셰의 개념 이해와 분석을 토대로 독자로 하여금 영 한 통번역 현장에서의 클리셰 연구의 필요성이 인식되고 클리셰 연구가 더욱 활발해질 것으로 기대한다.

• 한국콘텐츠학회논문지
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• 제15권11호
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• pp.626-634
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• 2015

이 연구는 그 중요성이 인식되지 못하고 깊이 있는 연구가 행해지지 않았던 클리셰(cliche)에 주목하여, 셰익스피어 극에 나타난 클리셰를 분석하고자 했다. 일반적으로 클리셰는 은유의 특성을 가진 관용어로만 여겨져 주목받지 못했으나, 은유라는 인지 기제를 갖춘 언어 표현으로써 관용어를 포함한 광의의 개념이다. 본 연구는 영어에서 클리셰의 개념과 범주를 명확히 하기 위해 먼저 클리셰의 개념과 관용어와의 차이점을 살펴보았다. 아울러 본 연구는 클리셰에 대한 깊이 있는 이론적 논의의 출발점이 되고자 하는 취지에서 영문학 작품의 비조이자 클리셰가 가장 많이 언급된 셰익스피어의 작품을 분석 대상으로 삼아, 셰익스피어의 총 20개의 작품에 나타난 클리셰 분석을 통해 셰익스피어의 작품 속에 쓰인 클리셰가 관용어로만 규정지어 질 수 없음을 증명하고자 했다. 본 연구는 클리셰를 셰익스피어의 작품을 통해 정리하여 실증적으로 분석함으로써 관용어와 클리셰의 개념을 명확히 함과 동시에, 두 용어의 사용에 기준을 마련하고, 클리셰를 효율적으로 이해하고 사용할 수 있도록 발판을 마련했다는 점에서 영어 학습자를 비롯한 영 한 통번역 교육 분야의 연구 확장에 기여할 것으로 기대한다.

• 대한가정학회지
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• 제38권8호
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• pp.13-27
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• 2000

The background of single animal figures was originated from those northern mounted nomadic groups, which was Scythe style Culture. The art of the nomads working in the Scythian idiom was small in size and essentially decorative in intention, yet practically every object which can be associated with any unit in this group of people possesses many of the attributes essential to a real work of art. Clarity of conception, purity of form, co-ordination of rhythm and balance, and not least, an understanding and respect for the material employed were triumphantly blended by the Eurasian nomads to produce a distinctive style. In Scythian art the multitude of animal representations well illustrates the reoccupation of this nomadic people with animals in their environment. Usually only wild animals are represented. Commonly depicted are: stags and deer, lions or other large cats, eagles, birds heads (perhaps of ravens), griffins, snakes, hares, fish, goats, rams, boars, moose (elk), yak, sheep and bears. The occasional exception to the wild animal rule is domesticated horses-important because the Scythians were horse bleeders and their whole culture revolved around their dependence on the horse. The nomads had little reason to create object in honour of gods or men, but they had an instinct for beauty and the wish to surround themselves with the animal forms in which they had come to delight The Scytians tried to combine in a single rendering all the salient points of the animal they were delineating. They archived considerable success in the difficult task of showing in a single image the various and often incompatible poses assumed by a single animal in the course of its life. Zoomorphic motifs were used not simple for decorative effect, but to trim the object into amulets, with magical power to assist in hunting, and to protect the owner from harm.

• 디자인학연구
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• 제15권2호
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• pp.71-80
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• 2002

현대의 포스터에에서는 눈의 착각과 트릭을 이용한 표현을 볼 수 있다. 본 연구에서는 포스터에서 볼 수 있는 이러한 개성적 표현을 $\ulcorner$착시적(錯視的)$\lrcorner$이라고 하는 개념으로 파악하였다. 이러한 개념은 현대 그래픽 디자인의 하나의 경향적 표현으로써 부조화(浮彫化)될 것이라고 생각된다 그러나 그것에는 심리학의 $\ulcorner$착시$\lrcorner$ 보다도 넓은 정의와 개념이 필요하다. 현대 포스터에서 볼 수 있는 착시적 표현을 통일화하기 위해서 새로운 $\ulcorner$착시$\lrcorner$의 정의를 시도해 봄으로써 현대 포스터에 영향을 준 과거의 시각예술을 살펴보았다 그 결과 착시적 표현에 대한 관심도는 서구의 여러 나라에서 더욱 많이 있었음을 알수 있었다. 착시를 역사적으로 거슬러 올라가면 르네상스의 원근법을 시작하여 15세기 이후의 유럽에서 유행한 속임수 그림, 알친볼드(Arzhibauld)의 회화, 아나몰포즈(anamolphoses) 등에 귀착되며, 근대와 현대에서는 슈르리얼리즘(surrealism)과 에셔(Escher)의 작품 등이 있다. 이 작품들은 현대 포스터에 많은 영향을 주고 있다는 것을 알았다.

• Acta Via Serica
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• 제6권2호
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• pp.37-60
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• 2021

Before the tenth century, the dress of elite women in and around China often reflected "Han" Chinese fashions and preferences. In funerary paintings and relief sculptures of Sogdian and Xianbei couples from the sixth century, for example, women wear "Han" Chinese-style clothing. Even in the Tang dynasty (ca. 618-907), when exchange with Central Asia via overland Silk Road trade impacted the styles and patterning of elite dress and men incorporated clear Central Asian attributes into their dress, elite women in the Tang sphere wore recognizably Tang fashions. Chinese-style dress in these centuries clearly conveyed cultural import and, likely, political power, especially after the founding of the Tang dynasty. However, the straightforward borrowing of Tang women's dress shifted in the Khitan Liao dynasty (ca. 907-1125). The Liao, in contrast to other states that shared a border with China in previous centuries, saw themselves as political equals to the Song dynasty (ca. 960-1278) court in the south. The Liao court was interested in Song customs and culture and incorporated artistic motifs and practices from the Song court. However, the Liao courtly idiom was never fully subsumed into the greater world of the Song - rather, the Liao used facets of Song courtly culture for their own ends. One way this is manifested is through the dual administrative system, a bureaucratic organization that, among other things, regulated and distinguished between who was permitted to wear Khitan and non-Khitan dress. In this paper, I will examine the material evidence from funerary contexts for how the dress of elite Liao women both engaged with the dress of the Song, while also maintaining a certain amount of cultural autonomy. Through their dress, elite Liao women signaled clear messages about their status, identity, and difference to their Song counterparts.

• 영어영문학
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• 제57권3호
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• pp.515-527
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• 2011

Miss Pettigrew Lives for a Day, Winifred Watson's novel of 1938, is a fairytale in novel form. Set in London of 1938, the story revolves around a one-day adventure of an ill-starred but truthful governess who is granted a second chance. This light-hearted comedy of manners was turned into a film by director Bharat Nalluri in 2008. An Anglo-American collaboration, co-scripted by Simon Beaufoy and David McGee, the film converts Watson's quaint novel into an edged heritage piece that encapsulates the 1930s, the problematic decade between the two World Wars. The film, while sustaining the narrative core of Watson's Cinderella story, attempts to place it firmly within a wider current of the novel's setting or London in 1938, tapping into the major concerns of the interwar years that engage with characters in one way or another. Stylistically, the film presents Art Deco as a main visual idiom to convey the prevailing mood of nihilism and decadence of the day. The setting here takes on significance in that it offers a telling counterpoint to the giddy superficial world of the novel. The 1930s was a highly charged decade under the threat of fascism and the Great Depression, fraught with economic and socio-political tensions and apprehensions. The film makes an explicit reference to the dismal context which is suppressed in the original text. The thirties is, therefore, portrayed as a decade of contradiction. It features gay buoyant festivity, rampant consumerism, and shifting morals and attitudes towards love, marriage and sexuality. Yet lurking beneath the surface glamour are the symptoms of crises and the deep-seated anxieties on the eve of World War II. In this way, Watson's novel of manners has been recreated into a defining film on the 1930s with its period feel propped by the atmospheric lighting, the exuberant Jazz score, and the splendid Art Deco costume and production design.