크리놀링 衣裳의 變遷過程에 대한 考察 : 프랑스를 中心으로 The Study of Development Course on Dress of an Age

金敎玉 건국대학교 1975 學術誌 Vol.19 No.1

Since the Renaissance of France, in Europe of the nineteenth century, the whole social change such as political, economical was revealed as well as the system of capitalism established and forced the modernization of the era in the entire industrial world. In France, on the November of 1852 the Napoleon In came to the throne. The second of Napoleon's Emperical governments issued from that time. The Emperial government denied a progressive policy for the advance of a democracy. The only monitary capitalists of that time has been protected by the policy of the Empire. Under these social and political backgrounds the capitalists system was rooted in Europe at that time. And the capitalists were getting confident themselves through the economic power and intelligence. They were be-called the industrial-bourgeoisie. Their life here at that time has been full of luxury and pleasure just like the former aristocrats. In the same way the culture of that period was changing from the aristocratic to the civil culture. There was a change from the manual world to the mechanical industry. In general, therefore, the industrial world made rapid progress. The bourgeoisie who had acted in the industrial world took part in the modern industrial society. Returning to my subjects of the clothes of that time under this social background, man's attire only needed to be simple reasonable and active style instead of the authoritative symbol. The colour of the clothes became plain and simile just like the civil clothes; the jacket, pants and so on. Since then this conception was being formed and penetrated througn the society of that time. Even now, man's clothes in modern society has shown the unchanging structural style. On the contrary, women's dress was changed especially among the bourgeoisie who kept the luxury and pleasure life in the industrial society of the capitalist system. It was about 20 years through from 1850's and made the crinoline style popular. At that period mechanical industry developed the sowing machine which was invented and has been advanced more technically in the making up of clothing on the other hand a compound dyestuff has been developed. The dress could be worn with various Hinds of stymies or pretty colours those products of a great selection of chothing meterials stimulated the crinoline cress styli with their many fancy varieties. These exaggerated dress fashions continued until the end of the nineteenth century. But as the Napoleon Empire wart destroyed and the crinoline style was replaced by the Bustle for ten years, gradually, the dress of an old era has past and the stales are now fixed to be reasonable, simple and active fashions.

알아차림 명상과 미술치료가 성인학습자의 자기성장에 미치는 영향

김교옥 국제뇌교육종합대학원대학교 2016 선도문화 Vol.20 No.-

본 연구는 알아차림 명상과 미술치료 프로그램이 성인학습자의 주관적 경험과 내적감각의 통합을 이루며 부정적 관념의 감소와 심리적 안녕의 하위변인인 자아수용과 자율성, 환경통제, 삶의 목적, 개인성장 등의 긍정적 경험을 통해 자기성장과 삶의 질적인 향상에 도움을 주고자 그 효과성을 입증하는데 목적이 있다. 본 연구를 위해 집단에 참여하기를 희망하는 성인학습자를 대상으로 알아차림 명상과 미술치료 실험집단, 8명과 프로그램을 실시하지 않은 비교집단 8명을 선정하여 사전, 사후 변화의 차이를 고찰하였다. 본 연구의 결과는 다음 몇 가지로 요약 될 수 있다. 첫째, 프로그램을 실시한 실험집단이 비교집단에 비하여 심리적 안녕감 증진에 보다 유의미 하였다. 실험집단은 심리적 안녕감 측정치에서 사전검사보다 사후 검사에서 유의미한 증가를 보였으나 통제집단은 유의미한 변화를 보이지 않았다. 이와 같은 결과는 알아차림 명상과 미술치료 프로그램이 성인학습자의 심리적 안녕감에 효과적임을 시사한다. 둘째. 알아차림 명상과 미술치료 프로그램을 실시한 후 부정적 관념화는 실험 전보다 실험 후에 부정적 관념화가 유의미하게 감소하였다. 셋째, 실험집단의 심리적 안녕감의 자아수용과 자율성, 환경통제, 삶의 목적, 개인성장에서 실험 전과 후의 차이가 유의미한 결과를 보였다. 본 논문의 결과는 자아성장에 영향을 미치는 공통적인 하위변인 심리적 안녕감, 자아감, 목적감, 능력, 감동, 등이 기존의 연구결과에서 긍정적으로 보고된 것과 유사한 것으로 알아차림 명상과 미술치료 프로그램이 자아성장에 긍정적인 영향을 미친다고 볼 수 있다. 주요어: 알아차림, 호흡명상, 미술치료, 자기성장. 심리적 안녕감, 성인학습자

17紀世 Baroque 時代의 男子服飾 變遷過程에 대한 硏究 : - 프랑스를 중심으로 -

金敎玉 건국대학교 1968 學術誌 Vol.9 No.1

The clothings shape are symbol and represent the thoughts and ideals of the society in each age and concurrently wealth of society belong to where. Netherlanders had been independented their own country from Spain, and they developed the clothings and exhibited the Golden age of prosperous textile industries and such development of better living influented to the clothing culture, therefore they developed the simple and useful and convenient clothings from such courteous and feudal way of dressings. On the other hand, at the time of the absolute monarchism in the France Court in 17th Century, the artificial and luxurious clothings lead to Peer culture. And the Baroque Style represented the Dress Arts at the time of the society in 17th century. The characteristics of this style had been shown remarkably to gain the effectiveness of the moving aspiration of the painting from the way of Style of Renaissance. The Baroque Style had been widely adopted in the entire age of the 17th century, in the first term, until 1630, the Spain Style was the most popular and primary clothings in the field of dress decoration succeeding the 16th century. And second term, the simple and convenient style of the Netherlanders citizen's clothings were the main and representative clothings. And the third term, so called Sun's Empire, Louis 14th's, power had been enfluenced not onlyin France but also throughout the entire Europe and at the time for the birth of the Mode in France, the popularization had been widely utilized. The "Justaucorps" the upper coat of the Netherlander's common men is the essential and primary of the initial man's dressings, and it means lots. And such man's clothings were adopted by not only France but also all European countries of such progress of the Man's clothings. The Baroque Fine artificial style in 17th centruy, influenced not only for the Architectural constructions or paintings, but also for the peer's clothing culture. But such simple and luxurious style has been gradually faded away and disappeared into the citizen's clothings which was succeeded from the first term age. And it is a matter of fact, the Baroque Arts in 17th century, had been widely represented in the age of Louis 14th and at the time of the birth of Mode in France. It has been principal and essential Men's clothings and developed.

Bustle衣裳의 變遷過程에 관한 考察 : 프랑스를 中心으로

金敎玉 建國大學校 人文科學 硏究所 1976 인문과학논총 Vol.9 No.-

Since the Renaissance of France, until the outbreak of the First World War there was not only the political, economical, social and cultural development but also high level development in Dress in France. From around 1850 to 1870 in the Second of Napoleon's Emperial Government, the crinoline style was popular. But as the Imperial government fell down the exaggerated crinoline style changed gradually leaving only its silhauette. Only around waist was made to swell and decorated. It appeared as a special Silhauette and was called the Bustle Dress(Tournure in France). But the Bustle style became a fashionable phenomenon in the transistional period but it did not continued as long as the crinoline style did. The style was replaced by the simplified and active style. At that time man's attire did not changed greatly but founctional attires with calm colors standardized. Modern man's clothes were formed in this period and spread through the society. The simplified chemise and cravate were fixed as the man's attire-style. As ready-Made-clothes began to develop gradually and the democratic Dress style begen to develops rapidly. On the contrary, women's clothes corset and petticoat changed in fashsion through the renaissance of France to the periods of the Bustle Dress style. As I mentioned before, the Dress Style changed from the end of the Nineteenth Century showing a new inclination of fashion. It could he worn more easily than the Nineteenth Century dress and the Style line was changing by the natural line accoding to a body line rather than artificial Dress style. I could understand that the clothes 0. luxury and pleasure like aristocrats needed to be more simple and more reasonable and active under the changing social background. Keeping on the study on the Developing course on Dress until the modern age, I could understand that various ways for emphasizing the Dress silhauette were advanced for women and that how much the fashion produced from the aristcratic culture consummed money, time and the labour of the commen classes with luxury and vanity. The course of dress development was closely related with the rise and fall of the people who led the political and economic offairs of that time. In Europe, during the period from the Ninetteenth to twenty century the system of the Dress culture was formed. This is an important period, when the democratic Dress style was fomulated, under the modern democratic society.

프랑스 革命期의 服飾의 變遷過程에 關한 硏究

金敎玉 건국대학교 1971 學術誌 Vol.12 No.1

French Revolution in 1789 was a demonstration of the sharp criticism of the privileged class ; the King and aristocrats, by the mass with the bourgeoisie at their lead. The Revolution affected every aspects of the society, reversed all □ultural values and brought very significant changes in the life of the people including the fashion of the dress. Actually, with the success of the Revolution, the society ruled by the King became the society of the general citizens. The Culotte originally worn by the aristocrats became patalon when Sans Culotte, the Revolutionist, wore them in the Revolutionary period. However, the male showed strong tendencies to express their political ideologies in their dress. Jacobins usually wore the frugal coats called Cormagnole and long arousers, while Girondins, while Girondins preferred the aristocratic fashions. Under the Napoleon regime (1804-1814), the male usually wore Chemise with frill and Crovate, their Frace and pantalon becoming more sophisticated the victory of the citizen's society over the aristocratic one that Culotte was replaced gradually by Pantalon. It is of great significance that since the Revolution man's wear has been improved to a more rational and functional one worn by every European these days. Woman's dress, showing less political tendencies chanced from the luxurious and unsani tarry one to a simpler one, with the classic high waist line and clear-cut Chemise dress in great fashion, which were called Empire style when Napoleon became the Emperor. Their Silhouette changed little, but they showed luxurious bourgeoisie taste. The dress reflected the Napoleonic court taste and the bourgeoisie luxuriousness of the age and helped to form the culture full with pleasure and beauty. However, the real modernization of woman's dress began only in 1920's.

Romanesque時代의 服飾變遷 過程에 관한 硏究

金敎玉 건국대학교 1978 學術誌 Vol.22 No.1

In history, the middle age generally spans one thousand years from the fifth to fifteen centuries and is divided by the stage of its development into three periods as follows:the early part covering the fifth to the tenth centuries; the middle period from eleven to thirteen; and the latter period from fourteen to fifteen centuries. I recognized that the course of clothing style are mirrored in the development of civilization. They are ingerent in history, economics and socilogy, as well as in art, and we must trace the forces that have combined to shape western diviiization if we are to understand the fashion today. The change of clothing styles was made from loose tunic to tight tunic. Through the early christian, Byzantine, Romanesque, and Gothic periods, the northern tight tunic style was developed and settled. The Roman Empire was divided into Eastern and Western Empire(395A.D.). The Western Empire fell by the invasion of the German but Eastern Empire built its capital in Byzantine, and developed its own influences brilliant religious culture, which made a large, of course, on dresses. The religious clothes was produced during this period. In Western Europe there was no cultural development until the ninth century, but the Romanesque style which was imfluenced by Byzantine and German prevailed. This style showed its own characteristics in the middle of the eleventh century but was gradually changed into the Gothic style begining with the 13th century. The word Romanesque means the Roman style, but was originated from art in the 11th & 12th centuries called the Romanesque style. In the history of clothing, the Romanesque style was emerged in mid-twelfth century as the Western Europians found the idea of cultural renovation, which they are attempting. Therefore the upper class women during this period were dressed in Buzantine style for public occassions. This gave a large influence on the Romanesque style which become popular beginning with the twelfth century. The Romanesques style can be said as a harmonious combination of the Roman style and the various elements of the German (See pictures). The major characteristics of the Romanesque style was that both, man and woman were a underwear called "hainre", a tunic style clothing called "bliant" and a mantle or sleeveless coat called "surcote". Women wore a singlet called "corsage" with a decoration belt (picture). The beautiful lines of the skirt streaming down the belt and the pleat at the and of the sleeves were well matched. Also, women were a vail or covered their faces with gorget. After the crusade expedition, their suits became gorgeous with the introduction of the eastern style and with the use of more beautiful cloth with the adoption of beautiful oriental style and of frills which can be maid a product of Roman Dreperry, the Romanesque style appeared very elegant. However its basic form was tunic and it developed more and more to a style consious of the silhauette of the body. Also man's clothing was changed to that of the German functional style as commercial activities were remarkably developed in the middle Age.

17世紀 Baroque 時代의 女子服飾 變遷過程에 對한 硏究 : 프랑스를 中心으로

金敎玉 건국대학교 1966 學術誌 Vol.7 No.1

19世紀 浪漫主義時代의 服飾의 變遷 過程 : 프랑스를 中心으로

金敎玉 건국대학교 1972 學術誌 Vol.13 No.1

After ruin of the Napolean empire, the King Louis XVIII came to the throne along with restoration of the King's dynasty of France. In succession to the Louis XVIII in 1824, Charles X who is a supporter of conservative reactionary regime acceded to the throne. Since then, France had been in the age of strengthening the reactionary force against the sovereign powers and ex-aristo-cary. At that time, the dress, which reminds of aristocratic dress prevailed before the Revolution, dominated the upper class society. On the other hand, the civil class who became to have confidence of wealth and intelligence since the Revolution were developed and grown as the major power in the society of capitalism. Even though the reactionary policy was strong enough, the bourgeois laws or administrative organization existed could not be touched at all. The luxurious and fantastic dress which came to appear again was romantic style. Although the Imperial regime was revived, an antipathy was prevailed against the society of the Imperial regime because the exclusive aristocratic administration (politics) was executed. Consequently, a revolution by the people was realized in July 1830. And then Louis Philippe (1773-1850) became to a king. Capitalistic system of France which had been withered under the aristocratic politics was remarkablly developed. However, they became to despise the substancial matters in bourgeois reality and had a tendency to have romantic thought with which thinks the matters poetically and romantically. In the era of romanticism women's dress turned up in the type (style) of fantastic curve and soft pug. Characteristics of external appearance was shown in overall silhouette and sleeves. Also stress (emphasis) was put on slim (thin) waist and skirt was expanded dsregarding style of dress. Thus exaggerated and decorative clinoling petticoat eventually turned up, and the 19th century clinoling era came ; the era had been continued till the 1870's. The style of men's cloth looked like Pantalon with narrow width of the coat along with slim waist. And it became basic fashion to put simplified bowtie. Coat, which firstly makes change to men's cloth, had gradually and partly been changed, and it showed slim and refined stylishness with overall balance in the golden-age of romantic style in 1830. Redingote has not only been put on as a top coat but also used as an elegant formal coat because the length eoft. Redingote became short. Along with development of science, change was made to silhouette as citizen's (civil) tone had deeply penterated into everything and there occurred a tendency attached importance to practicability in around 1840; accordingly, it formed basis of modern men's cloth.

미술치료에서 알아차림 명상의 통합적 개입

김교옥(Gyo-ok Kim) 한국인문사회과학회 2016 현상과 인식 Vol.40 No.1,2

치유예술 기법중 하나인 미술치료는 심리적 방어를 감소시키며 심신통합적인 효과성을 증대시켜 대체의학의 한 분야에서 그 중요성이 부각되고 있다. 미술치료에서 치료사의 지지와 격려 등의 피드백과 감정이입은 개인이 통제 가능한 내적 힘을 키우게 된다. 창의적 미술치료활동은 개인의 갈등을 조정하고 자기표현과 승화경험을 통해 자기성장을 촉진시키게 된다. 미술치료는 비언어적 수단으로 예상하지 않았던 의식통찰로 성장을 유도하게 되므로, 다양한 대상에게 치료적 목적이 아닌 자기성장을 위하여 적용하기도 한다. 또한 알아차림 명상은 자기 자신을 객관적으로 바라보면서 자신을 좀 더 잘 이해하고 부적응적 행동, 사고 등의 행동체계에서 벗어나 심리적 성장을 하게 된다. 따라서 미술치료에 명상의 장점을 통합적으로 개입하는 것은 ‘Art in therapy’ 로서 마음의 현상에 대한 자동적 사고에 대하여 주의집중하고 자각하는 통찰 체험이라 할 수 있다. 이러한 과정은 ‘Art as Therapy’의 견해로 볼 때 시각적, 구체적 표현을 통해 지금-여기에 머물 수 있게 한다. 따라서 마음의 현상에 대하여 있는 그대로 바라보는 사고가 더욱 명료화되어 자기이해와 자기수용, 자기개방을 도와 자기성장과정을 향상시킨다. One of the healing arts of the art therapy techniques to increase the effectiveness of integrative mental reduction of psychological defense in importance in the field of alternative medicine has emerged. Because art therapy is to induce a growing awareness unexpected insight into non-verbal means, sometimes it applied to a variety of destinations for self-growth non-therapeutic purposes. In addition, mindfulness meditation is objective while looking to better understand their own and away from the action systems of maladaptive behavior, accidents are the psychological growth. Therefore, it is integrated into the benefits of mindfulness meditation on art therapy interventions can be called to the attention experiential insight and awareness about the phenomenon of automatic thoughts about the mind as ‘Art in therapy’. This process is now through visual, concrete representation when viewed in the opinion of the ‘Art as Therapy’ - should be able to stay here-now. Therefore, think looking at the truth about the phenomenon of mind is more articulate self-understanding, self-acceptance, selfopening improves self-growth process.

Bustle 衣裳의 變遷過程에 관한 考察

金敎玉(Kim, Kyo-Oek) 건국대학교 인문학연구원 1977 통일인문학 Vol.9 No.-