• International Journal of Internet, Broadcasting and Communication
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• v.16 no.1
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• pp.297-306
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• 2024

At a specific juncture in industrial development, animation emerges as a product imbued with discernible features characteristic of the mechanical replication era. Through the integration of technology, it continually gives rise to postmodern cultural traits. Notably, the trajectories of postmodernism in China and Western Europe exhibit divergence. Following the reform and opening up, both postmodernism and modernism found acceptance and became interwoven. Chinese animated films, influenced by postmodernism, actively challenge traditional animation norms, exemplifying postmodern characteristics such as deconstruction, intertextuality, indeterminacy, collage, and diversity. This article endeavors to delve into the discourse surrounding postmodernism in both Western and Chinese contexts. It aims to scrutinize the manifestation of postmodern features, particularly with regard to ethnic elements, traditional mythological texts, and gender representations in Chinese animated films. Consequently, it becomes imperative to contemplate the affirmative adaptation and independent development of postmodernism within the unique Chinese milieu. Building upon an analysis of noteworthy traditional animated film genres and developmental trends in China, this study focuses on animated films from the 21st century, specifically Monkey King: Hero is Back, Big Fish & Begonia, Dahufa, White Snake and Nezha: Birth of the Demon Child. The paper seeks to explore the overarching characteristics of postmodernity reflected in the linguistic environment of postmodernism in China.

• The Journal of Art Theory & Practice
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• no.8
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• pp.123-144
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• 2009

The history of art during the first half of the last decade was founded the discussion with highly impressive and confident. The art might establish its unique area based on self recognition at that era. The self-confidence of modern art may be possible on enlightenment, which is the firm relationship for knowledge and reality. However the faith of modernism which shows rational tendency, objective, and the existence of universal knowledge has been drastically doubted and criticized thereafter. A internal ideological system which had leaded the modern art was exhausted. Postmodernism revolved to the dramatic openness leaning against the deoedipalizational confession. According to the dissipation of the vitality of modern art postmodern art has been evolved and then various phenomena which follow the trends has been emerged. The avant-garde and resisteive attribute of modern art was diluted fast due to the influx of popular culture. As time goes it can be attracted by spectacle taste than metaphysical peculiarity. It has to inevitably justified the drift of light and quick themes, contents, and images. Such as these phenomena realistically shows fact that postmodern art had been failed to open a new chapter of consilience which intermediates beauty and usual communication to overcome the solipsism of modernism. A trial to pursuit the opened esthetics conceived more 'heroic' 'Star-Subject' than before by dismantling the modern 'Hero-Subject'. Postmodernism has been recorded as a regression of art, which is the technology of profound spirit that mitigates antagonism and confrontation and mediates mutual encountering of human being. Prevailing of postmodern freedom had been accompanied by popularity, osetentation consumption, marketing, gambling level exitement, mixtures of desires with price fluctuations. We witness 'self-confinement' and 'lasting absence of exit' phenomena in postmodernism ideology and practice. We have to deal postmodernism as an 'ideology which closes the discussion for the future' in the context of 'absence of way' at this point. We are going to investigate how postmodern ideology and practice takes part in the prospection beyond thereafter through discussion. We also pay attention to the 'absence of prospection' as a internal problem in itself nevertheless mention the three merge points such as tradition or memory, earthy thought, the self who confrontation others as the clue of prospecting thought which is allowing coming over postmodern absence.

• 한국사회복지학회:학술대회논문집
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• 2002.10a
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• pp.267-287
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• 2002

• Proceedings of the Costume Culture Conference
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• 2006.09a
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• pp.71-72
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• 2006

• Proceedings of KHEA Conference
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• 2003.04a
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• pp.150-151
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• 2003

• Proceedings of the Korea Society of Design Studies Conference
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• 2003.05a
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• pp.182-183
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• 2003

• Journal of the Korean Society of Costume
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• v.55 no.7 s.98
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• pp.38-50
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• 2005

The purpose of this study is first, to see through the aesthetic essence of the clothing as art, through theoretical consideration of cultural feature and body style in Postmodern Feminism. Also, this study will examine the aesthetic value in artistic meaning regarding a Deformational body image in visual an. Second, this study will analysis the formative character of Modern Art to wear which expressed unfixed body style, followed by the change of Postmodern Feminity, as a Deformation image. This character will be categorized by Expansion, Grotesque, Pleasure, and Virtuality. The following is the result of this study. Expansion expressed in modern Art to wear created intentional structure of the form, and intentionally presented refusal of body existence through disembodied. Grotesque expressed refusal and deviation of women's ideal body style, which is defined by mannish discourse, very grotesquely. Pleasure pleasantly presented free emotion through an intentional transformation like distortion or imbalance of the body By paradoxically reproducing women's virtual body as other unfixed female identity was expressed visually through virtuality to embody post-gender.

• International Journal of Costume and Fashion
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• v.5 no.1
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• pp.59-74
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• 2005

' Fusion fashion ' or ' hybrid fashion ' refers to methods of mixing two or more fashion elements. This method is not new as it has been used or expressed in art, and design for many decades. The study explores 1) the origins of fusion in art and dress, 2) different formations of fusions in different cultures and time periods and 3) how postmodernism is related to and influenced fusion fashion. The paper concludes that fusion historically expressed is related to fusion in postmodern fashion, and gave rise to different trends and expressions of modern times.

• The Mathematical Education
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• v.48 no.2
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• pp.169-182
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• 2009

This study deals with the postmodern perspectives in mathematics classroom. Today, mathematics and mathematics education can be explored through postmodernism because they have very different practices, pluralism, and anti-authoritarianism. Thus practices and researches of mathematics classroom are coherent to postmodern perspectives such as situated theory, anthropological approach, and interactionism. In these socio-cultural views, learners' milieu and participation, language of classroom activities, and culture of mathematics classroom are considered very important. Therefore, it is required that both mathematics educators and researchers make a change toward postmodernism in attitude and subject of mathematics classroom research.

• Journal of Korean Elementary Science Education
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• v.18 no.2
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• pp.119-130
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• 1999

The purposes of this research were as follows : (1) to investigate the effectiveness of the program for elementary preservice teachers, which was designed to develop postmodern views of science and constructivist views of teaming and teaching and (2) to find out the relation between students' learning approaches and their beliefs about science and school science. One hundred and forty three students enrolled in Science Education 11 in the University of Education participaled in the study. Students' beliefs of science and school science was not changed after treatment of the program. But they showed postmodern views of science and school science in comparison with the science teacher. Additionally the results showed that meaningful learners showed the constructivist view about school science as compared with the rote learners.