• 수완나부미
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• 제13권1호
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• pp.135-159
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• 2021

Thơ mới (Vietnamese New Poetry, 1932-1945) is a literary movement in colonial Vietnam that is broadly considered to have marked the modernization of Vietnamese literature. This paper examines depictions about natural disasters, ecological wounds, and about relationships between humans and nature in New Poetry, asking how those descriptions reflect social and political issues in colonial Vietnam. The paper argues that ecocriticism, developed in Western academy, brought to the New Poetry Movement new meanings, associated with a material world. That is the specific reality of colonial Vietnam in the early twentieth century, when the colonial modernization resulted in natural and social collapses in the area. This approach is especially significant, given that New Poetry is largely seen as the embodiment of the expansion of Western romanticism by Vietnamese scholars. Moreover, in examining Thơ mới (Vietnam) from perspective of ecocriticism, this paper extends the ecocritical approach to non-Western literatures. Specifically, although ecocriticism developed in the West, particularly in United States and England, it has become an effective approach to non-Western literatures, particularly since the early twentieth first century. In this context, Asian literatures, particularly Southeast Asian literatures, potentially offer ecocriticism new meanings, many of which are associated with local social and political conditions and histories.

• 디자인학연구
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• 제16권3호
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• pp.123-132
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• 2003

본 연구는 1990년대 후반 이후 다시 새롭게 부각되고 있는 그래픽 디자인에서의 미니멀한 경향을 디자인사적인 맥락에서 어떻게 평가할 것인가 하는 문제의식에서 출발하였다. 제1장 에서는 "적을수록 많다", "적을수록 지루하다", "나는 적음과 많음을 믿는다" 등의 세 개의 디자인 경구를 통해 20세기 디자인의 전개 과정과 그 주제들을 살펴보았고, 제2장에서는 그래픽 디자인에 나타난 미니멀한 디자인 경향과 그 특성들을 시기별로 고찰해보았다. 최근의 미니멀 그래픽스 경향은 그래픽 디자이너들이 20세기 후반의 사회적ㆍ문화적 기술적 변화들을 적극적으로 수용하면서 분야의 전문성과 정체성을 새롭게 재정의해 가는 과정에서 자연스럽기 등장한 것이다. 이제 디자인의 내용과 형식, 스타일, 작업논리와 학문적 체계의 구성 등에 대해 보다 심화되고 확장된 연구가 필요한 시점이라 생각된다.보다 심화되고 확장된 연구가 필요한 시점이라 생각된다.

• 말소리와 음성과학
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• 제6권1호
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• pp.31-38
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• 2014

The current study presents an instrumental phonetic analysis of Korean monophthong vowels in the early twentieth century Seoul Korean, based on audio recordings of elementary school textbooks Botonghakgyo Joseoneodokbon (Korean Reading Textbook for Elementary School). The data examined in this study were a list of the Korean mono syllables (Banjeol), and a short passage, recorded by one 41-year-old male speaker in 1935, as well as a short passage recorded by one 11-year-old male speaker in 1935. The Korean monophthongs were examined in terms of acoustic analysis of the vowel formants (F1, F2) and compared to those recorded by 18 male speakers of Seoul Korean in 2013. The results show that in 1935, 1) /e/ and /ɛ/ were clearly separated in the vowel space; 2) /o/ and /u/ were also clearly separated without any overlapping values; 3) some tokens of /y/ and /ø/ were produced as monophthongs, not as diphthongs. Based on the results, we can observe the historical change of the Korean vowels over 80-90 years such as 1) /e/ and /ɛ/ have been merged; and 2) /o/ has been raised and overlapped with /u/.

• 패션비즈니스
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• 제1권1호
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• pp.110-126
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• 1997

This dissertation intended to investigate the black color as a fashion color of the late 20th century and the aesthetic consciousness of black fashion. Black usually expressed a negative meaning, and was regarded as a color for a mourning and a sacred dress in western culture. There found several periods of black trend specially after 14th century. Black was considered as a traditional color of men's fashion since Dandyism. By the effect of art d co fashion, the perception toward black changed to a new beauty in 20th century. There continuously found a lot of aspects of black fashion in the late 20th century. In the high fashion, popularity of black, could be seen at five different look and style : The era of line alphabet, pantaloons suit style, folklore style, mannish look and unconstructive design by Japanese, and in street fashion, it showed at four different style and fashion: Beat style, mods and rockers style, punk fashion and fetish fashion. The aesthetic consciousness of black fashion at the late 20th century mentioned above should be summarized as follows. : Minimalism, dandyism, nihilism, asceticism, eroticism. In 1990s, the black appeared under the retro mood, and it should be regarded specially as one fashion trend of inclination of simplicity. Black should be called the representative color of 20th century fashion with the reason of containing the most of aesthetic consciousness in modern fashion.

• 한국조경학회지
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• 제45권5호
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• pp.71-86
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• 2017

이 연구는 손 드로잉의 역사적 변천 과정을 혼성화의 관점으로 해석하여 손 드로잉에 내재되어 있었던 창조적 성격을 발견하고자 한다. 조경 드로잉은 과학적 도구성과 예술적 상상성이라는 호환 가능하고, 상대적인 두 특성을 지니고 있고, 그러한 특성은 투사, 퍼스펙티브 뷰, 다이어그램이라는 구체적 드로잉 유형으로 구현되어 왔다. 하지만 드로잉 유형은 뚜렷이 구별된다기보다 오히려 상호 보완적으로 혼성화되면서 설계 경관에 대한 비전을 시각화해 왔다. 특히, 땅과 건축물을 그린 플랜에서 식물 소재는 퍼스펙티브 뷰나 엘리베이션으로 그려내는 플라노메트릭 기법이 이용되었다. 물론, 특정 지역과 시기에 특정 정원 양식에 적합한 드로잉 유형이 등장하고, 때때로 우세하는 방식으로 나타났다. 16세기 이탈리아 르네상스 정원과 17세기 프랑스 정형식 정원 설계에는 투사 드로잉이, 18세기에서 19세기 초 영국 풍경화식 정원 드로잉에서는 회화적 묘사가 강조된 퍼스펙티브 뷰가 중요했고, 19세기 중후반 미국 조경 설계에서는 공모전 드로잉, 사진, 맵 오버레이 등 용도에 따른 드로잉의 분화가, 20세기 초중반 미국의 모더니스트는 설계 전략을 시각화하기 위해 다이어그램을 이용하기 시작했다. 하지만 이러한 변천 과정에서, 플라노메트릭은 땅의 평면적 구성과 식재의 정면적 시각을 동시에 고려하는 조경 설계에 적절한 혼성적 시각화 기법으로 빈번히 활용되었다. 19세기 중엽에 탑뷰가 플라노메트릭을 대체하고, 20세기 들어 식재의 회화적 특성이 소거된 채 기호로 표준화되면서, 손 드로잉에서 상상적인 테크닉보다 도구적인 시각화 방식이 점차 일반화되었다.

• 한국주거학회논문집
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• 제8권3호
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• pp.29-38
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• 1997

This study is to search for the characteristics of spatial structure and elements of architectural composition on the housing and village in Nampeong Moon's Bonli Ma-Yul which formed. from the late nineteenth century to the the early twentieth century. This village had as many as characters of spatial and architectural structures of traditional clan villages previous to the late nineteenth century, but showed housing alternations on social changes of late Cho-Sun dynasty. Main points of these were as follows; 1) As the main doors of the housing were located on the right of Sa-Rang-Chae, men and women's moving lines of coming in and out were not nearly divided. 2)As korean veranda on the right and left, and the front and rear of those were set up, the demand on extension of room area coping with changes of life was satisfied.

• 디자인학연구
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• 제21권
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• pp.41-52
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• 1997

건축기술의 발전을 통해 인간이 주거환경을 완벽하게 컨트롤하게 되리라는 꿈이 20세기 이후 전기공학의 발전으로 그 현실화가 가능하게 된다. 1세기동안 시스템의 발전 속에서 디자인은 이제 주변환경과 주거공간, 그리고 시스템과 인간의 관계를 새로이 정립할 개념을 찾고 있다. 현재 시스템의 기술적 한계를 토대로 하여 어떠한 새로운 개념이 가능한지 살펴보고 한 세대 앞선 제품을 제안해본다.

• 패션비즈니스
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• 제3권3호
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• pp.39-48
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• 1999

The purpose of this study is to examine closely the aesthetic characteristics featured in dandy's costume. Dandy was term used on for a man excessively fond of and overly concerned with clothes, exemplified by Beau Brummell, Lord Byron, and count d'Orsay, who greatly in gluenced men's fashions in England and France. In the late eighteenth and early nineteenth century George Brummell, the prototype of the dandy, made upper-class English country clothes, especially riding clothes, into the height of men's fashion in the city. In the early 1800s the alterations he made, particularly with regard to fit and cut, established these as the critical signifiers in men's dress. Brummell's style, particularly for day, was essentially restrained and disciplined, and set a standard for sober discretion, appropriateness and taste which governed men's clothing until well into the twentieth century. The aesthetic characteristics expressed in dandy's dress are the aristocratic superiority of mind, the restrained beauty in absolute simplicity, and the pursuit of the individual beauty. Brummell's kind of dandyism instigated the idea of establishing a new kind of aritocracy, an aritocracy based on talent. Over the years this kind of cultural and social coup has been played out in different ways but has remained, like the twentieth-century concept of the avant-garde, a fundamentally male preserve. He advocated unobtrusive darkblue fitted coats, cream-colored trousers, elaborately tied cravats, absence of showy fabrics or excessive decoration, and impeccable grooming. The status of the perfectly tied cravat as the hallmark of genteel elegance, as the last keystone of Fashion's arch, had been established by Beau Brummell.

• 영어영문학
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• 제53권2호
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• pp.307-333
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• 2007

When W. E. B. Du Bois says that "the problem of the twentieth century is the problem of the color line," such a statement clearly recognizes the significance of the issue of racial identity, a cultural phenomenon called 'passing.' Both Johnson in The Autobiography of an Ex-Colored Man and Larsen in Passing confront this issue. Both novels, using the metaphor of passing, not only trace the racial anxiety and race politics of the time but also expose the unstable landscape of the established social and cultural boundaries of racial identity. Mapping out multiple meanings and various dimensions of passing, this paper argues how Johnson's and Larsen's narratives display the ambivalence of color line while they at the same time complicate, problematize, and destabilize the mainstream racial boundaries and differences. It furthers to delineate how the two writers, with difference, deal with the problem of passing, the significance of racial identity, and black middle class values along with its intraracial differences. Rather than draw a clear definition of and a definitive closure on passing narrative, this paper focuses on its complexities and undecidability, challenging every dimension of its established significations. It also explores the complex dynamic between passing act and individual identity, for passing here is not just a racially signified term but extends its significance to the other factors of identity, such as class and even sexuality. Johnson and Larsen open up a site for a newly emergent, modern racial identity for black middle class in the twentieth century American urban spaces. Both writers, illuminating the subversive and slippery nature of language in their passing narrative, clearly herald new, different forms of Afro-American writings and themes for the different century they face.

• 한국의류학회지
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• 제23권8호
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• pp.1206-1217
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• 1999

This study is focused on 'mysticism' in fashion which is recently marked as one of the cultural phenomenon emerging at the end of the century, First of all the concept of 'mysticism' and 'occultism' are reviewed to define the mysticism in fashion. Mysticism as a cultural phenomenon is also examined in historical and social context. With these theoretical basis articles which were publshed in 1990s from Korean newspapers and magazines which reported cultural phenomenon related to mysticism are analyzed and categorized. Finally these categories are applied to fashion phenomenon and 'mysticimsm in fashion' is analyzed and clearly examined as a fashion trend. As a result mysticism in fashion that has arose as an end of the century phenomenon within the historical and social context could be categorized into five groups such as 'primitive religion' ' Christianity ' 'oriental philosophy' 'universe' and 'magic and witchcraft'.