문화상품으로서의 전통공예디자인 활성화 연구

정혜정(Chung Hye-Jung) 한복문화학회 2006 韓服文化 Vol.9 No.2

21th century called century of culture is hard that enhance value of goods by only usual simple ability and technique. Only products that native peculiar culture infiltrates deeply can stand erect in high position in market competitive power, include spiritual legacy that stand on the basis of long history and tradition as well as that unique culture is seen with eye. This is meaning together social dynamic motion that change and develops to cope in new century. When we talk about information knowledge industry in 21th century, craft is important area, cultural and of industry development quarry to us so much so that should be situated in central axis of the story. Do part of culture goods that can display self-propagation effect that do to increase the value because there is cultural value and artistic merit which these industrial arts is accumulated from every country unique traditional industrial arts and there is reform of a new technology caused in development of modern industrial arts and industry.

조리 전공 학생들의 미각 인식도에 관한 조사 연구

정혜정(Hea Jung Chung),김미경(Mi Kyung Kim) 한국조리학회 2006 한국조리학회지 Vol.12 No.1

기산 김준근의 풍속화를 통해 본 조선후기 복식색에 대한 연구

정혜정(Chung hye-jung),최수진(Choi su-jin) 한복문화학회 2004 韓服文化 Vol.7 No.2

The genre painting is defined as painting which depicts daily lives of people, Customs. the subject matter of the genre painting. refer to the way people are fed. clad and housed and all the other everyday practices which have been formulated as mankind has lived together in a society or the entity of common customs and the genre painting expresses a variety of scenes from everyday lives of people, Accordingly. it is possible to find out what the lives of people were like at the time a certain genre painting was drawn in return, In particular. characters described in genre paintings let us know trends of costume of the day and research on costume history conducted based on genre paintings serves as a valuable source of information through which we can learn the history of clothing in the most accurate and realistic way, Studies of genre painting and costume have been performed by many but not much has been done on paintings produced by Kim Junkeun (pen name Gisan). a genre painter in the late 19th century of Korea. and other relevant materials related to the history of costumes as there are not sufficient records on Kim and his paintings and Kim has not been properly appreciated by the painting circles of Korea, The objective of this study is to research the way people of the time dressed and especially. costume colors and changes in costume colors brought about by chaotic circumstance at the time by analyzing Kim's genre paintings,<br/> This study has found out that costume colors of Korea were primarily composed of blue. red. yellow. white and black accordingto the Yin and Yang and the Five Elements Theories and that baji jeogori and chima jeogori in sosaekwere worn as the basic costume. which is the reason why the Korean people are referred to as "the white-clad people", It has been also revealed that a variety of secondary colors were used in clothes worn by the common people in the late Chosun period despite various restrictions on costume colors imposed on them due to toadyism toward China. in addition, this study lets us know that as a result. commoners were allowed to wear nokeuihongsang and hwangeuichungsangin the late Chosun era. In particular. clothes in red series were frequently worn in genre paintings that this studY analyzed and it is<br/> explained by the ease of costume color restrictions on red for the commoners as King Gojong in the late Chosun era<br/> started to wear yellow royal robes instead of red ones. Even though various costume colors were used with change over time, sosaek or white was most frequently used in baji jeogori and chima jeogori. the basic costume, and it proves that the Korean peopie have always favored the white color most. thereby being called "the white-clad-folk".<br/>

오스카 슐램머 무용 개념의 재발견

정혜정 ( Hye Jeung Chung ) 한국무용예술학회 2008 무용예술학연구 Vol.24 No.-

이 논문은 독일 스투트가르트 출신 미술가이자 바우하우스의 교수진이었으며 안무가로 활동했던 오스카 슐램머의 작품과 그의 작품의 개념을 둘러싼 지난 80여년 간의 엇갈린 비평적 견해에서 출발했다. 슐렘머는 추상 무용이라는 용어를 창조한 장본인으로서 1920년대 이미 미국의 포스트 모던 움직임이 일어나기에 앞서 일상적 움직임을 무용에 도입하는 한편 스토리가 없는 추상적인 작품 스타일을 추구하면서 아울러 무용에 있어 가장 중요한 안무 요소인 움직임 만큼이나 공간, 음악, 조명, 의상, 소품 등 다양한 안무요소의 동일한 중요성을 중시하는 토탈 댄스 띠어터를 주창하여 무용의 새로운 안무적 가능성을 개척하였다. 하지만 미술가나 교육자로서 업적을 인정받았던 것과는 달리 안무자로서 무용사에 기록된 그의 업적은 극히 제한되어 있다. 슐램머의 작품“삼원 발레”가 1932년 파리의 국제 무용대회에서 3등상을 수상한 것을 비롯“삼원 발레”및“바우하우스 발레”가 많은 무용 및 음악 페스티벌에 초대되는 등 당시 예술가들 사이에서 각광 받던 것과는 달리 당대 비평가들은 그의 작업을 무의미한 실험 혹은 그 당시 유럽 예술계에 팽배해 있던 사회주의자나 구성주의자들의 개념과 동일시 취급하여 그의 무용 개념을 단순히 기계적 혹은 비인간적이라 분석하여 왔다. 또한 나찌가 독일 정권을 장악한 후 슐램머의 작품을“타락한 예술”이라 명명한 후 부터 슐램머는 그 어떤 예술 활동도 하지 못했을 뿐 아니라 그의 작품에 대한 접근이 철저히 봉쇄되거나 많은 작품이 파손되었고 결과적으로 후대에서는 슐램머의 작품을 제대로 접할 기회가 없어 오랜 세월 슐램머의 작품은 그저 과거의 비평가들이 문헌에 남겨 두었던 기존의 비인간적 혹은 기계적이라는 부정적 해석의 범주에서 벗어나지 못했다. 하지만 1960년대 유럽의 안무가들이 30여년간 단절되었던 슐램머 작품들을 재구성하여 무대에 올리면서 슐램머 작품에 대한 관심이 증가하기 시작하였고 그의 작품 개념 또한 긍적적인 평가를 받기 시작했다. 특히1980년대 미국 안무가 데브라 맥콜이 재구성한 바우하우스 댄스가 미국 무용계에 소개된 후에는 슐램머의 작품이 포스트 모던 댄스 맥락하에서 역사적 가치를 인정받기 시작했으며 또한 그의 작품 속에 나타난 인간의 형태는 기계적 혹은 비인간화된 모습이기 보다는 추상화된 인간의 모습이라 평가받기 시작했다. 그러나 이러한 슐램머 작품에 대한 재평가 역시 슐램머가 자신의 작품 속에서 진정으로 표현하고자 했던 인간이 모든 것의 중심에 놓여있다는 인간의 중요성이나 인간과 공간의 관계 다시 말해 1차대전 이후 절망에 빠져 있던 독일의 정치적 사회적 맥락에 근거한 인간과 인간이 존재하는 사회(공간)의 유기적 관계에 대한 슐램머의 탐구를 심도있게 다루지 못하고 있다 본 논문은 추상무용 및 포스트모던 댄스의 선구자로서의 슐램머의 무용사적 업적에 대한 재평가의 필요성을 주장하며 그의 제반 조건으로 슐램머의 무용작품과 글을 둘러싼 엇갈리는 비평적 논쟁 및 시대의 흐름에 따른 비평의 변화를 분석하였고 슐램머의 작품에 대한 부정적인 평가의 근본적인 원인을 분석하여 그의 작품의 재평가의 기틀을 마련코자 하였다. 또한 슐램머가“공간 속의 인간”이라는 작품 개념을 통해 인간과 사회가 서로를 자극하고 좋은 방향으로 변화시킬 수 있다는 이상적 사회 형성에 대한 자신의 확고한 의지를 그의 무용 작품 속에 담고 있으며 그의 작품 개념에 대한 진정한 이해가 이루어져야만 그의 무용 개념이 무용사에 끼친 영향 및 인류에게 전달하는 진정한 메세지를 올바르게 정의할 수 있음을 강조하고 있다.

벅아이 코퍼스의 모음 길이 연구

정혜정(Chung, Hyejung),윤규철(Yoon, Kyuchul) 한국음성학회 2015 말소리와 음성과학 Vol.7 No.4

The purpose of this study is to assess the vowel property by examining the vowel duration of the American English vowles found in the Buckeye corpus[6]. The vowel durations were analyzed in terms of various linguistic factors including the number of syllables of the word containing the vowel, the location of the vowel in a word, types of stress, function versus content word, the word frequency in the corpus and the speech rate calculated from the three consecutive words. The findings from this work agreed mostly with those from earlier studies, but with some exceptions. The relationship between the speech rate and the vowel duration proved non-linear.

들로네(S. Delauunay)의 예술이 표현된 의상ㆍ직물 디자인에 관한 연구

정혜정(Hye-Jung Chung) 한국의상디자인학회 2003 한국의상디자인학회지 Vol.5 No.2

들로네 (S. Delaunay) 의 직물디자인에 나타난 리듬과 색체에 관한 연구

정혜정(Hye Jung Chung) 한국복식학회 2000 服飾 Vol.50 No.6

This paper analyses the geometric aspect of Sonia Delaunay`s works on the basis of design elements and principles. Geometric pattern is one of the distinct features of early 20th century avant-garde works. The significance of its pattern and colour comes from the fact that it has not only influenced the contemporary fine art but also offered the basic principle of modern costume design. In 1925 she was designing clothes which could be worn today without appearing old-fashioned. She foresaw the future trends in fashion and interior decoration. One might claim she belongs to the avant-garde even today and no less astonishing a phenomenon than she was in 1925. Sonia Delaunay`s art was one of the first expressions of abstract painting and her simultaneous contrasts are among the earliest example of the aesthetic. In Delaunay`s geometric abstraction it is found that the technique of simultaneous contrasts is exploited almost without exception. Colour as well as Collage was the favourite technique Delnaunay used in creating a distinct simultaneity. Many inobjective paintings as she herself called unite the rigour of simple geometric forms with an inner life and poetry which emanate from the richness of the colour, the musicality of the rhythm, the vibrant breadth of the execution.

현대 패션에 나타난 체크 패턴 연구

정혜정(Hye Jung Chung) 한국복식학회 2002 服飾 Vol.52 No.2

This study was intended to inquire into Check Pattern. The purpose of this study attempted to make a systematic investigation of the characteristic of the Check Pattern, the checker using vertical and horizontal lines which was the universal plastic element and inquire into it in terms of era, designers and combined work. By doing so, this study attempted to investigate the phase of the Check Pattern in world fashion and further forecast the future of checker design applicable to the 21th century fashion. The result can be summarized as follows: 1. Mondrim`s neo-plasticism has not only had a great influence on Op Art and Minimalism work but is deeply related to fashion and textile design. Mondrian used vertical and horizontal line ad the dualistic element. 2. The checker is estimated to have been used since the Etruian times, though uncertain, and largely divided into the Madras check and Scotland Check. Though the origin of the tartan representation of the Scotland check can not be accurately found out, it began to emerge in around the 13th century. 3. Check Pattern has began to be widely used with the development of the textile industry since 1826 and been used in every typical Sihoutto appearing in each era up to the present. And Check Pattern is used most designer in the world, who represent their own personality in their works. This study could find out that the checker is the element of infinite applicability in the future. It is expected that the sophisticated and beautiful design using the checker will be presented by many korean designer though the overall and systematic of the checker.

여성노인의 심리적 복지와 관련된 개인적 요인 및 세대간 요인에 관한 연구

정혜정(Hyejeong Chung),서병숙(Byong Sook Seo) 가정과삶의질학회 1997 가정과삶의질연구 Vol.15 No.4

TARTAN과 스코틀랜드 복식에 관한 연구

정혜정(Hye Jung Chung),임영자(Young Ja Lim) 한국복식학회 1997 服飾 Vol.35 No.-

Tatan is a symbol of kinship and belonging in Scotland, and a badge of identity recognized all over the world. Alongside the powerful historical and national resonance to Tartan for Scots, it has been borrowed repeatedly by fashion. The pattern composition of Tartan check is formed as a typical cross stripes that vertical line and horizontal line meets rectangulary. And its color is much various and rich than other check pattern. So its magnificient spectacle that various all kinds of colors is dyed in cloth is second to name. Today, we are as likely to meet tartan in a couturier dress as in a kilt or plaid. Tartan is distinctive in colour, style and design. It conveys personality ceremony and drama. All these aspects of its character have contributed to tartan being one of the best known and best-loved fabrics in the world. In other parts of Europe traditional checked patterns declined and disappeared but in Scotland tartan survived strongly, just as the bagpipes, also European, flourished. Due to geographical and cultural circumstances Scots were able to develop and enhance tartan, and its remarkable individuality ensured its survival in spite of adverse political and economic pressures. Tartan has been adopted as the national dress of all Scots, Lowland and Highland, providing a powerful form of national, cultural and personal identity. Whether traditional or a recent creation, whether a symbol of nationality or a substitute for nationhood, tartan is no mean achievement.