• Journal of the Korean Society of Costume
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• v.59 no.10
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• pp.38-50
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• 2009

Since Homeros in Greece, Mimesis was thought to be an art to imitate the nature, and it means an imitation of the nature classically. Mimetic theories were set to be a kind of art work in the era of Renaissance, and the terminology of mimesis was widely used to replace it with an originality in the 15th century. The purpose of this study is to understand the aesthetics of mimesis expressed in 2000s fashion. For this purpose, I investigated the theories of the mimesis, categorized the definition, then applied those categories for 2000s fashion. Documentary studies were conducted through aesthetics, fashion books and demonstrative studies were processed by analyzing photos from collection fashion magazines and fashion site of internet. In the history of aesthetics, the mimesis could be defined into three categories; the similarity and the representation mimesis, the symbol mimesis and the abstraction mimesis. In fashion, the representation mimesis included a natural and a folk, a period that of 1900s and ancient representation mimesis. The symbol mimesis included psychology and fear symbol mimesis. The abstraction mimesis included hard color, a geometric simplification and distortion mimesis. Analysis on the mimesis expressed in 2000s modern fashion may provide an excellent method for understanding human aesthetic in costume.

• Fashion & Textile Research Journal
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• v.13 no.3
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• pp.309-320
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• 2011

Since Homeros in Greece, Mimesis was thought to be an art to imitate the nature, and it means an imitation of the nature classically. Mimetic theories were set to be a kind of art work in the era of Renaissance, and the terminology of mimesis was widely used to replace it with an originality in the 15th century. The purpose of this study is to understand the aesthetics of mimesis expressed in media costume design. For this purpose, I investigated the theories of the mimesis, categorized the definition, then applied those categories for media costume design. Documentary studies were conducted through aesthetics, fashion books and demonstrative studies were processed by analyzing photos from collection fashion magazines and media DVD, video, fashion site of internet. In the history of aesthetics, the mimesis could be defined into three categories; the external representation mimesis, the internal symbol mimesis and the multiful meta mimesis. In media costume, the representation mimesis included design historical point of view, a period that of 1900s and ancient representation mimesis. The internal mimesis included symbol of religion, character, riches, psychology and fear mimesis. The multiful meta mimesis included hybrid and distortion mimesis. Analysis on the mimesis expressed in media costume design fashion may provide an excellent method for understanding human aesthetic in costume.

• The Journal of the Korea Contents Association
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• v.12 no.8
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• pp.146-156
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• 2012

Film was invented by human's desire to copy the real world, starting in the late 19th century. Since the birth of cinema, It was given mission to replay of the real world. On the other hand, cinema was regarded as a fictitious art form. Although the invention of film brought about experience of replaying of the real world it has been reproduced reality with creative story. And it also has been represent reality with sense of reality. Cinema's way of reproduction implied conflicting concept of mimesis. Triple Mimesis of Paul Ricoeur was an idea expanded into an analytical concept from that simple concept of mimesis. The purpose of this study was to examine the prefiguration of shown behavior in Columbine High School massacre based on Triple Mimesis of Paul Ricoeur. It also was to examine a form of representation on cinema which is 'Elephant' and studied how the form of representation on Elephant could interpret by audience. It could be define the relationship between reality and reproduction through this esthetic study. This paper attempted to build the method communication between the originator and audience with a whole analytic process of time and story on the cinematic representation.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.2
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• pp.200-212
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• 2009

Since the late of 20C, contemporary fashion have becoming enlargement between role and function of fashion through the combination and the deconstruction among various different spheres. Because multi-functional and trans-formal fashion transforms and extends original space and role toward any other fields through the morphologic and structural combination, this has been freed form the representational function pursuing more simple morphologic imitation, and becomes to change the space that is able to 'becoming' of Jill Deleuze. This paper intends to make a comparative study between the representation phenomenon about simple morphologic imitation of existing fashion design, and the becoming phenomenon of fashion focused on the change toward any other different object. This studies' conclusion as follows. 1) First representation imitates a lot of nature forms that are able to be restored any fixed form and picture. 2) Second representation is the representation of representation that re-imitates imitated object and art work. 3) Ontalogical becoming is classified with depaysement, self-presentation of fashion, morphing, and becoming the nature as a element.

• English Language & Literature Teaching
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• v.13 no.4
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• pp.193-210
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• 2007

This essay is an attempt to give a theoretical articulation of novelistic mimesis as the narrative form of modernity. With the passage to modernity, what assumes the locus of the symbolic authority is no longer God, Father, or tradition, but the cultural gaze or the ego-ideal. At the same time, this gaze paradoxically coalesces with the "spectacle of the world," on the side of the reified "other": the gaze is both the desexualized ego-ideal and its instantaneous transmogrification and resexualization in the opaque world of objects. The imaginary ego or the eye on the side of the subject of representation is held at abeyance in a state of perpetual fascination and desperation in relation to the gaze as the world of "others," which lies always at one remove from the purview of the imaginary ego. This understanding of the inadequation of the ego to the cultural gaze of the reified world provides a critical fulcrum upon which I base my theory of the modern narrative mimesis as the "perverse" field of spatial arrangement, in which the split of the subjectivity into the imaginary ego and the ego-ideal is suspended over the phantasmatic world of bodies and territories.

• The Journal of Art Theory & Practice
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• no.10
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• pp.183-202
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• 2010

The term "philosophizing art" was coined by Arthur Danto, who tried to define new forms of art, especially Andy Warhol's pop art appeared in New York after 1960's, which could not be explained by traditional concept of "representation". As Danto said "the term 'philosophizing art' is unclear, whether art discusses philosophical issues or art is the object of philosophic discussions", it does not seem like Danto himself had a specific idea when he used this term. The background for Danto coining this term derives from the fact that the old art concept such as denotation and connotation could not fully explain phenomenalistic aspects of concept art which appeared frequently at that time. Many articles in his book "philosophizing art", in which many of his criticism are included, mainly say that art begins philosophizing by dealing with not mimesis or representation but concepts. According to his argument, the history of western art, which has been consisted of mimesis and representation, has come to end when art is about physically embodied with meaning. Of course, as Danto say so, what goes to end is not art itself, but the narrative of art. It means master narrative saying art should be shown different from nature or artificial daily product is over. Danto could not find principals of mimesis and representation which had been main logic in the western art history, when he saw Andy Warhol's Brillo Boxes at Stable Gallery, New York in 1964. Danto questioned "if we can not distinguish Brillo box's artistic aspects visually from other factory-made products, how can we distinguish art from non-art", By answering those questions, he discovered two facts which made him realize the end of Art: One is there is no special way in which works of art have to be shown or has to exist. Therefore, art history has proven that commercial boxes, trashes and files of underwear can be a work of art. The other is we have fully recognized it at the end of 20thcentury. Danto confessed that through Brillo Boxes, he realized the works of art are decided by something can not be seen by eyes, not by distinguished differences by looking at it. This thesis is trying to show personal understanding about art, philosophy and discourses surrounding them and to figure out how Dante opened a new world to art criticism by using new definitions such as 'end of art' and 'philosophizing art' which Danto used to explain inner aspects of art.

• SUVANNABHUMI
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• v.6 no.1
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• pp.161-191
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• 2014

The entry of the logging industry in the once heavily forested riverine middle Agusan Valley where aboriginal Manobos live meant the entry of the material practice of wage labor into this out-of-the-way place. Wage labor converted the once relatively isolated, subsistence animist Manobos into laborers of the expanding capitalist regime. A symptom of modernity, this wage labor also accompanied the coming of Visayan settlers (also loggers paid by wage) who introduced indigenous Manobos the compadrazgo social relationship. This friendly relationship across ethnic identities legitimated social ties and is a social material practice represented in recent bilingual Manobo possession rituals where the Visayan spirit is incarnated along with Manobo spirits. To understand the idea behind spirit embodiment, I explore Manobo ritual as mimesis or poeisis. This representation is shaped by concrete material realities as much as these realities, in turn, are reconfigured by ritual practice. In the older Manobo cosmology, which is based on subsistence economy and dependent on the forest and rivers, individuals have an externalized self (as manifest in the idea of twin soul), in which the inner vital principle is co-extensive with a spirit double in cosmos. Manobos imitate the perceived workings of nature in ritual so as to control them in times of illnesses. In contrast, the mimesis of the Visayan spirit is based on a different political economic set up with its attendant asymmetrical interpersonal relationship. By symbolically representing the Visayan patron as friend, Manobos are able to negotiate the predicament of their subalternity in local modernity.

• Trans-
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• v.12
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• pp.81-106
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• 2022

The possibility of metaverse system to be a catalyst for hyper-connected society will be dependent on the speed of connected technological development and its social utilization in the same manner as AI technology. Putting these technical realization processes in brackets, this paper focus on some philosophical-political issues in connection with cognitive-ecological changes in the future cinema which will be influenced by the complexive techno-socio couples of accelerated development of metaverse system. Generally speaking, essence of metaverse system seems to be the degree of immersion by technical accuracy, but is not true. In perspective of cognitive-ecology, flow degree of a picture or photograph is relied not on 'accuracy of representation' but on its message's contextual link-up. In this aspect, real potentiality of metaverse system shall be understood in the context of cognitive-ecological changes of human brain's multi-intelligence networking abilities(intersection of augmentation-simulation and outside-inside) which will be activated in the new structure of natural-social-technological coupling of metaverse system. These cognitive-ecological potentialities have been partially actualized in the cinematic process of tripod mimesis for the longest time, [real contradiction/conflicts (Mimesis-1) -->fictional solutions of cinema (Mimesis-2) --> selective interpretation of spectator's wish fulfillment (Mimesis-3) --> real change (Mimesis-1')]. Therefore metaverse's real potentiality must be considered to be dependent on the possibility of deepening and extending of cinematic circulation between real seperation/problems and ideal connection/solutions. In this context, advanced metaverse system can be compared as a modern technical version of ideal circulation of physics and metaphysics

• The Korean Journal of Archival Studies
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• no.69
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• pp.153-187
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• 2021

Narrative runs through the entire human life. 'Narrative' is a means of understanding and experiencing human life. The past, the present and the future are not disconnected. The past is open to the future. The future defines the meaning of the past, and the past rreturn as the horizon of life. Past, present and future temporality functions as a Narrative. Records reproduce the past time as Narrative, and recount the past according to reading behavior. Reality and records complement each other with a cyclic and dialectic structure. This paper examines the relationship between reality and records. This paper applies Paul Ricoeur's Hermeneutics to records as a tool to examine the relationship between reality and record. We want to look at how records interpret and relates to reality, and how social justice of collective memory should be should be achieved against them.

• Korean Institute of Interior Design Journal
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• v.27 no.1
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• pp.97-108
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• 2018

This study is based on the way Kim Kwang Soo works, which reveals a strong expressive tone that is rare in Korean architecture. His work is not decorative and symbolic representation of the intention of positive amusement. Therefore, the following noteworthy points will arise. The various phenomena associated with architecture and society are researched and analyzed in a critical manner. So, it creates and expresses its own formal logic. In this study, the theory of the subversive appropriation theory was identified by using the expressive characteristics of engagement. The study was based on a conceptual framework for the overturning of the mimesis, which Benjamin and Adorno have described. From this, this study summarizes Kim Kwang Soo's nihilistic attitude, finding boundaries and crack points, and subversive expression as a new form of architectural formal logic as main characteristics of interpretation of works. The characteristics of subversive expression of Kim Kwang Soo architecture derived from this are as follows. It does not take an ideological approach to the dismantling of the internalization of traditional Korean architecture. Popular culture and social phenomena are used as materials for expression. These are structured sensibly with appropriated formal logic. Finally, the architectural position adhered to the limit of performativity was recognized as the dimension of new meaning generation.