• 복식
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• 제63권6호
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• pp.69-83
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• 2013

This research is to analyze costumes of Greek Mythology Gods in films using Morris' semiotics. In film "Clash of The Titans", Zeus' costume of shining gold armored body suit and long manteaux expressed the limitless sublime. The definite form contouring body shape of his costume also demonstrated classical beauty. Hades' costume of dark colored armor, long manteaux, and transformation via smoke also described the limitless sublime. The unbalanced and irregular shaped armor showed ugliness. In "Percy Jackson & The Olympians: The Lightening Thief", the armor and long manteaux of Zeus showed the limitless sublime. The beauty of his body and his sophisticated business wear indicated classical beauty. These features were also present in Poseidon's costume as well. The limitless sublime and ugliness are implied in Hades' look by portraying him as having a monster body with horns and wings, and his costume of punk look. In "Immortals", gods of Olympus wore clothing that was reminiscent of Egyptian times, which represented a time of strong royal authority, in order to expose the limitless sublime. Classical beauty was shown in the beauty of their body. Titans' costumes and look of non-human being were composed of black and red to present ugliness. The inherent meanings of Gods' costumes are death of god, patriarchy, and the good triumphing over the evil. The Greek gods are not held in the same reverence in the contemporary society. However mythology inspires lots of visual creations. The results help to accumulate a creative design database for fashion.

• 영어영문학
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• 제58권2호
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• pp.189-215
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• 2012

This paper reads Mary Shelley's Frankenstein (1818) in light of the 18th-century understanding of 'sympathy' including those of Hume and Smith and also in light of what Michael Hardt in our century has called "affective labor." I argue that the imaginative capacity and "seeing" are crucial in understanding Smith's idea of 'sympathy.' By showing how the monster's ugliness precludes any human character from sympathizing with him, Mary Shelley exposes that Smith's idea of sympathy fails to maintain social harmony. Mary Shelley revises Smith's 'sympathy' and makes it more radical by suggesting that the active affective labor could bridge the epistemological distance lying between the agent concerned and the impartial spectator. I first read Smith's idea of sympathy as an imaginative capacity which is inevitably influenced by 'seeing' and visual perception. Then I analyze the scenes in which the creature in Frankenstein fails to acquire any human sympathy due to his ugliness, and show how the specular nature of 'sympathy' is disrupted when one party is visually ugly and deformed. I conclude that affective labor and active moral reflection on the part of the spectator need to be provided when the agent concerned is 'ugly' and thus challenges our habitual epistemological boundary. Shelley's re-evaluation of Smith's sympathy, thus, suggests that affective labor may not be something that women alone have to perform, but an ethical practice that concerns all human beings and that can transform the otherwise flawed human capacity for sympathy.

• 복식문화연구
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• 제15권5호
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• pp.781-795
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• 2007

The purpose of this study is not only to widen and deepen the understanding of external environments of hairstyle but also to provide the basis of understanding and perspicacity as to the hairstyle which will be created under the influence of new music by contemplating distinctions between Glam Fashion and Punk Fashion of 1970s and by comparing and analyzing distinctions between Glam Hairstyle and Punk Hair Style of 1970s. As the method of this study, first of all four common factors, which are resistance, androgynous, beauty of ugliness and pursuit of pleasure through persona, were able to be ed from both Glam Fashion and Punk Fashion of 1970s, and then by using that factors as analyzing instrumental frame, the above two hairstyles were compared and analyzed through photographic materials in this study. According to the results of comparing and analyzing two hairstyles above, in Glam Hairstyle, the androgynous character is the most remarkable distinction. They tried to overturn the gender role by challenging the traditional color and form of hairstyle. In funk Hairstyle, the resistance is the most prominent distinction. They expressed their group identity resisting a pre-existing generation by putting on threatened and aggressive hairstyle.

• 한국의상디자인학회지
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• 제10권3호
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• pp.15-25
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• 2008

Today, each country's cultural communications are carried briskly and Japan already showed a new trend of world fashion by accepting its own design with aesthetic sense to western Europe in 1970s and built the new area of Japanese fashion. This special traditional aesthetic sense, formed by social, cultural, geographic and religious conditions, is roughly divided into decorated and undecorated beauty; decorated one means splendidness, coquetry, exaggeration and was represented ornamental modification of nature object in dress pattern as ornamental expression means; undecorated one, based on Zen-thought, means simplicity, purity, ugliness and Japan gave rise to the new beauty by receiving and adapting continental culture to its culture openly and creating and developing its own beauty. This study aims to examine the aesthetic sense shown in Japanese traditional dress and understand how traditional beauty is used and applied to modern fashion and analyze the diversity of Japanese traditional aesthetic sense shown in modern fashion. For material analysis, total 220 were collected of photograph related to formative element existence according to aesthetic sense shown in Japanese traditional fashion design using literature research and visual data. The existences of Japanese image among them were confirmed by clothing and fashion department majors so that 7 pieces of which were selected as final analysis object. Likewise, the result suggests that Japanese traditional aesthetic sense creates global design based on folk element-used identity as well as new beauty by adapting continental culture to its culture openly and producing and developing its own creative beauty.

• 한국의류산업학회지
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• 제5권5호
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• pp.453-464
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• 2003

This study is to analyze that the pluralism is the main aspect of the modem fashion which examines the definition and the character of the pluralism. This will also consider the pluralism that appeared on the modern fashion which is based on them. The main point of pluralism is that the world is necessarily aware of plural and difference. Also many values which is focused on the previous generation, for instance disorganize of westernism, androcentrictrism, christianism and powerful nationalism, what is called unfamiliar, heterogeneous, the others and the circumference things. As these were rehabilitated, morality, ethics, religion or politics were all became possible to choose for one's taste. The pluralism expressed in modern fashion can be divided as collapse of genre, grafting the lower and higher orders cultivation, variety way of approaching in time, internationalism. The result for the consideration is that the pluralism has candid attitude for everything so that in the modern fashion is importing variety range of artistic definition. Namely, it is not only containing previous pure art, elegance art and element of artistic sublime beauty, but also has aesthetics of ugliness, deconstructive art and anti-fashion so that the definition of the art is getting vagueness and diverse.

• 한국의상디자인학회지
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• 제16권2호
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• pp.127-137
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• 2014

The following are summary and result of this study. The purpose of this study was to research into TV makeup types focusing on Korean aesthetics with recognizing importance of Korean thought amid what the global interest pays attention to South Korea thanks to the recent influence of Hanryu(Korean wave). The humorous beauty reflects Korean people's optimistic attitude dubbed the realization of joy, anger, sorrow, and pleasure through opposition and convergence in ambivalent emotion with the superb attitude available for escaping from a stoic life. This is being indicated in the shocking form of embracing the avant-garde experiment through transforming and distorting by positively accepting humor and ugliness, which are the form of distortion and exaggeration, which strive for departing from sorrow through TV entertainment programs. This trend is being shown similarly to the tendency of giving mental satisfaction to human being with amusement while accepting ugliness as new beauty with the de-centralized recognition in the late 20th century. Accordingly, as the makeup of focusing on presenting character begins to be noted even in makeup, the similarity was being shown to the recent trend. This study is expected to contribute to continuous development in our country's makeup and TV broadcasting art field by being expanded the atmosphere of more systematic and in-depth research.

• 복식
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• 제23권
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• pp.197-209
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• 1994

The purpose of this study is to present a way to analyze and review the subjective view of the aesthetic for dress based on the framework of the aesthetic categories suggested by aesthetics. In order to define objectivism and subjectivism of the aesthetic of dress, theoretical studies on the aesthetic categories of dress were precded. And empirical studies on the aethetic categories of dress for selected period, the Renaissance (16th century) and the Baroque(17 th century). The results were follows : The objectivism of the aesthetic is the point of that an object causes human to feel and judge aesthetically, that is that of dress means judge aesthetically, that is that of dress means formal characteristic of dress and pervasive ideology expressed in dress. the subjectivism of the aesthetic is the point that the aesthetic is ruted in human, that is that of dress has been studied in relation to the image, the aesthetic consciousness m, or the aesthetic categories of dress. Especially, the aesthetic category is one of the universal and valid methods for the analysis of subjectivism of the aesthetic for dress. This study includes beauty, grace, elegance , the sublime, the tragic , the comic, aptness, ugliness as aesthetic categories of dress . Beauty is perfection and rule. Grace pleases human by sense. Elegance comes from the harmony of sense and spirit. the sublime comes into existence that human feels pleasure as well as displeasure simultaneously when human is overehelmed by objects. The tragic is the sense of the present of something valuable even if there is suffering. The comic is the sense of the presence of something amusing even if there is displeasure caused by contradiction. Apteness means utility in terms of the objectivism and , formality in terms of the subejctivism. Ugliness is opposite to beauty. As the result of emperical studies, the aesthetic categories of the Renaissance dress showed harmonious, balanced, and symmetrical beauty, and the magnificent, and enlarged sublime. In addition to these , grace and elegance were also found to some extent. Aesthetic categories of the Baroque dress show feminie, soft, cheerful, and fantastic grace, asymmetric , disarmonious, and extraordinary uglinesss, and the magnificient , grave, and dignified sublime.

• 영어어문교육
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• 제11권4호
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• pp.79-96
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• 2005

Eugene O'Neill portrays Puritan values of the Mannon family inherited from their family past. Since Puritan values of the Mannons suppress the normal way of life and love, they retain only rigidity, without the charity which is the core element of the teaching of Christianity. With Puritan repression and its dissociation from the vital spring of life, the Puritan Mannons live in a world drained of life and in a world of hypocrisy between outer beauty and inner ugliness. Ironically, they think more of death itself, neglecting to feel the vitality of life. Working as a fate, Puritan values of the Mannon as 'Force Behind' in O'Neill's own term are the cause of suffering and destruction of the Mannons throughout the whole play. The mask-like house and faces are effectively used as a dramatic technique to express the distorted Puritan values.

• 복식문화연구
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• 제8권2호
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• pp.315-333
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• 2000

The purpose of this study is to find out how the aesthetic values and characters of the Avant-garde fashion through semantics analysis of Avant-garde experiments in the early 20th century. Inner expressions of Avant-garde fashion in future dynamism, alien-hostile, and surreal-experimentalism are as followings (1) Reject tradition of existing fashion concept, (2) Dismantle costume material and inter-text characteristics in fashion field, (3) Laugh at material civilization and elite fashion, (4) Pursue primitive and fundamental sensibility on non-civilized world (5) Express human estrangement due to material civilization, (6) Remove the barrier of fashion between luxury and cheap ones, (7) Time, space and purpose is mixed, (8) Open concept as space structure independent of human body, (9) Complicatedness, ambiguity and expression of irregularity as changeableness, (10) Dismantle concept of beauty and ugliness. As you see, fashion design in modern Avan-garde is pursuing newness as beauty of open concept, rejecting all modern tradition and allowing extremity such as experimental, illogic, unreasonable and non-formatted expressions.

• 한국실내디자인학회논문집
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• 제29호
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• pp.112-119
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• 2001

In general, the definition of criticism is making a constructive analysis between good & evil, right & wrong, and beauty & ugliness. Just as the literature, art, music, and architecture welcomes productive criticism in order for further advancement in each professional field, constructive criticism in the field of interior architecture must be activated stance it would be as useful as in other fields to upgrade the level of design quality If the constructive criticism were to be taken properly in the benefit of further advancement in particular design, then the criticism must hale a proper criteria in order to examine and review the design work objectively However, as the design symbolizes cultural interpretation and reaction towards better creativity, we expect design to be mutated in many different directions. As the limit of Interior architecture shares limitless possibilities in today's society, it seems that we need to set up a guidelines of design criticism in order to support the further development of the area of interior architecture.