연구논문 : 미디어의상 디자인에 표현된 미메시스 연구

양수미 ( Su Mi Yang ),권미정 ( Mi Jeong Kwon ) 한국의류산업학회 2011 한국의류산업학회지 Vol.13 No.3

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.

대중가수 의상디자인에 표현된 미메시스 연구

양수미(Yang Su-Mi),권미정(Kwon Mi-Jeong) 한복문화학회 2011 韓服文化 Vol.14 No.2

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 and fashion website. In the history of aesthetics the mimesis was defined into three categories; the external representation mimesis the internal symbol mimesis and the multiple 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 includes symbol of religion character riches psychology and fear mimesis. The multiful meta mimesis included hybrid and distortion mimesis. Analysis on the mimesis expressed in internet computer game costume design and popular singer costume.

미메시스 해석학을 위하여

김한식 ( Han Sik Kim ) 韓國佛語佛文學會 2009 불어불문학연구 Vol.0 No.79

La `mimesis`, notion essentielle dans la Poetique d`Aristote, s`est traduite traditionnellement par le terme d`imitation, isssu du mot latin `imitatio`, ce qui semble provoquer non sans raison des ambiguites, des confusions et des malaises concernant son usage philosophique ou esthetique. La mimesis n`est-elle qu`un reflet, un simulacre ou une copie comme le disait Platon dans La Republique? Ou bien s`agirait-il d`une re-presentation ou d`une transformation du reel par l`intermediaire des signes artistiques, comme on dit selon la tradition d`Aristote? La problematique se trouve d`autant plus compliquee qu`elle se mele, au dela d`une simple question du style ou de la technique, a la problematique de l`identite, de l`analogie et de la similitude. Nous nous demandons alors: quelle est la relation entre la mimesis et le reel? en quoi consiste l`activite mimetique? pourquoi avons-nous recours aux moyens mimetiques? etc. Toutes ces questions, qui ont leur source dans le debat celebre entre Platon et Aristote, suscitent de nombreuses discussions dans le domaine philosophique et litteraire. C`est dans cette perspective que nous essayons de retracer la notion de mimesis dans la Poetique d`Aristote, en suivant le chemin parcouru, d`abord, par Roselyne Dupont-Roc et Jean Lallot, et ensuite, par P. Ricoeur. Les travaux(la traduction et les notes) de Dupont-Roc et Lallot nous ont fourni une base de recherche, tant critique que philologique. Nous choisissons le terme de representation au lieu d`imitation pour traduire la mimesis. La mimesis, c`est "la representation de l`action humaine" qui presuppose une certaine distance ontologique entre le reel represente (l`objet-modele) et le reel representant (l`objet-copie). Les etudes de P. Ricoeur semblent marquer un tournant remarquable dans l`histoire de l`hermeneutique de la mimesis, dans la mesure ou elles ont contribue a elargir la notion dans toutes ses dimensions ontologique, epistemologique, esthetique et ethique. A partir d`une equivalence entre la mimesis et le muthos, il a essaye de retablir la relation entre la poiesis et la praxis, ce qui l`amene a developper une hermeneutique de la mimesis. Il en est ainsi qu`il parvient a etablir un cercle hermeneutique, "la triple mimesis", qui ont pour but de marquer la coupure et la continuite de l`activite mimetique par rapport a l`activite pratique. La prefiguration, amont de la mimesis(Mimesis I), consiste a relier la precomprension et la comprehension de l`action humaine dans une perspective de la semantique de l`action. La configuration, pivot de la mimesis(Mimesis II), peut se definir par la structuration de l`action humaine par le moyen du code narratologique et de la grammaire du recit. La refiguration, aval de la mimesis(Mimesis III), constitue le dernier stade de l`activite mimetique par la lecutre, c`est-a-dire effet produit par l`entrecroisement du monde du texte et du monde du lecteur. Au bout de ce parcours hermeneutique, la mimesis ne se confine pas d`une notion etroite de copie-imiatation, pour aboutir a une dimension ontologique qui ouvre un "monde possible" a la faveur de sa reference metaphorique.

미메시스(mimesis)의 치유성 연구

이선형 ( Lee Sun-hyung ) 한국드라마학회 2017 드라마연구 Vol.0 No.53

현대에 들어와 예술치료 특히 연극치료가 관심의 대상이 되고 있다. 이는 연극이 지니고 있는 집단성이나 상호관계성 뿐 아니라 서사적 특징, 제의적 성격 및 허구의 놀이성이 치료에 효과적이라고 보기 때문이다. 원래 미메시스는 인간과 신, 인간과 동물 혹은 사냥거리와의 관계에서 죽음의 공포로부터 벗어나거나 먹을거리를 얻기 위한 행위에서 비롯되었다. 미메시스가 디오니소스 제의를 거행하는 사제들로부터 시작되었다는 점은 이를 잘 보여준다. 이러한 미메시스가 점차 제의적 성격에서 탈피하여 연극적 성격으로 전이되면서 역할의 범주로 그 의미가 축소되었음에도 연극의 미메시스는 여전히 삶과 긴밀하게 연결되어 있다. 특히 치료 영역에서 연극적 미메시스는 자기 직면과 변화를 위한 훌륭한 수단으로 활용되므로 연극치료에서 역할 연기의 미메시스는 자체적으로 중요한 요소가 된다. 따라서 본 연구는 미메시스의 의미와 치료성을 탐색하기 위해 먼저 플라톤과 아리스토텔레스의 미메시스 개념을 파악하고자 한다. 이데아를 내세우며 시인 추방을 주장한 플라톤에게 있어 미메시스는 경계의 대상이지만, 세부적인 내용을 들여다보면 미메시스에 대한 다양한 견해를 표명하고 있음을 알 수 있다. 그는 미메시스를 좋은 미메시스와 나쁜 미메시스로 구분하기도 한다. 현대 철학은 플라톤을 극복하면서 원본과 복사본의 구분을 없애고 시뮬라크르의 가치를 재발견하게 됨에 따라 미메시스라는 환영이 실제에 지대한 영향을 끼칠 수 있음을 이론적으로 정립한다. 미메시스는 사회적 행위로서 타인과 교류하거나 인습, 문화를 학습하도록 하는 중요한 수단이므로 이의 결여는 사회성의 결여라고 할 수 있다. 그러므로 연극치료에서는 참여자가 미메시스만 제대로 실천할 수 있어도 어느 정도 치료적 성과를 거둔 것으로 본다. 이렇듯 개인이 타인과 공감하고 상호 모방하며 소통할 수 있는 바탕에는 미메시스의 작용이 있으며 미메시스의 예술인 연극을 치료적 관점에서 보는 이유가 여기에 있다. Aujourd'hui, la dramatherapie qui utilise des techniques theatrales dans l'intention, devient un sujet d'interet. C'est parce que la collectivite, l'interrelation, la caracteristique narrative, le caractere rituel et le jouabilite de la fiction du theatre semblent etre efficace pour la therapie. A l'origine, la mimesis provenait d'un acte de surmonter la peur de la mort ou de l'abondance de nourriture dans le rapport A Dieu, aux animaux ou A la chasse. C’est le preuve que la mimesis est commencee par le culte dionysiaque. Cette mimesis est encore profondement liee A la vie, meme si sa signification a ete reduite en tant que moyen de jeu de role puisqu'elle substitue peu A peu le caractere theatralA au caractere rituel. En particulier, la mimesie dramatique dans le domaine therapeutique peut etre utilisee comme un excellent moyen non seulemement pour le face A face avec soi-meme mais aussi pour voir la realite telle qu'elle est. Par consequent, la mimesis est consideree comme element fondamental dans la dramatherapie. Cette etude tente donc d'analyser le concept de mimesis de Platon et d'Aristote afin d'explorer le sens et les proprietes therapeutiques de la mimesis. Bien que Platon soit principalement vigilant sur la mimesis, il exprime diverses opinions sur elle; il divise tout d’abord la bonne mimesis et la mauvaise mimesis. Puis il distingue la mimesis de la diegesis et considere la diegesis comme rationnel, et la mimesis comme emotif. Chez Aristote, le rapport dynamique entre la mimesis et la diegesis est le facteur fondamental pour la catharsis. Dans la philosophie moderne, la distinction entre l'original et la copie disparait, et dans la mesure ou on retrouve la valeur du simulacre, le fait que l’illusion comme mimesis puisse enormement influencer la realite, est etabli theoriquement. En tant qu'acte social, la mimesis est un moyen important d'interagir avec les autres, d'apprendre les conventions et les cultures, et le manque de mimesis est egalement considere comme un manque de socialite. Par consequent, dans la session de la dramatherapie, le participant semble avoir atteint certains resultats therapeutiques meme s'il ne peut pratiquer que la mimesis. La raison pour laquelle les individus peuvent sympathiser les uns avec les autres et la communication entre eux devient la base de la mimesis. Et c’est une raison pour laquelle la representation dramatique de la mimesis est vue d'un point de vue therapeutique.

미메시스(mimesis) 관점에서 본 스포츠: 아도르노 미메시스를 중심으로

맹민정 ( Maeng Min-chung ),이경숙 ( Lee Kyung-sook ) 한국체육학회 2022 한국체육학회지 Vol.61 No.1

본 연구는 ‘미메시스(mimesis) 관점에서 본 스포츠’라는 주제로, 아도르노 미메시스 입장에서 스포츠를 탐색하고 그에 대한 논증을 이끌어 내는 것이 목적이다. 아도르노에게 미메시스는 타자의 관계에 대한 것이라고 할 수 있는데, 선수와 지도자의 입장은 언제나 주체나 객체가 될 수 있는 유동적이며 항시 자율성과 타율성이 공존하고 있다. 또한 선수의 미메시스 경험은 직접적인 경험으로 관계 형성 속에서 이루어진 공감을 통해 생성되어진다. 즉 지도자와 선수의 미메시스 관계에서 나타나는 공감은 타인에 대한 공감이라는 미메시스적 능력이다. 그리고 미메시스적 충동은 타자의 공감능력을 바탕으로 타자를 수용한다. 지도자와 선수는 미메시스를 통해 유사성을 찾고 서로의 공감하는 감정은 미메시스의 관계형성에서 이루어지며, 이것은 아도르노의 주체와 객체에 대한 동일화 경험의 표현으로 나타낼 수 있다. 결론적으로 첫째, 스포츠에서 지도자는 객체우위의 미메시스를 하면서 선수에게 다가 갈 때 타자의 수용을 통해 선수의 입장으로 동화되는 관계이다. 둘째, 선수 역시 자기반성을 하면서 기존기술과 새로운 기술의 미메시스 충돌, 부정, 화해에 이루는 과정을 반복하며 자기만의 창조적인 결과를 얻는다. 이것이 바로 스포츠의 진정한 가치를 아도르노 미메시스 입장에서 보여주려는 성실성의 산물이다. The purpose of this study is to explore sports from the point of view of Adorno Mimesis and draw an argument for it. For Adorno, mimesis can be said to be about the relationship between the player and the coach, and the position of the player and the coach is always fluid and always coexists with autonomy and heteronomy. In addition, the player’s mimesis experience is a direct experience and is created through empathy made in relationship formation. The empathy shown in the mimetic relationship between the coach and the player is the mimetic ability of empathy for others. Also, the mimetic impulse accepts others based on their empathy. Leaders and players find similarities through mimesis, and mutual empathy is achieved through mimesis relationship formation, which can be expressed as an expression of Adorno’s experience of identification with subjects and objects. In conclusion, first, in sports, when a leader approaches an athlete while performing a mimesis of object dominance, it is a relationship that assimilates into the athlete’s position through acceptance of the batter. Second, the players also get their own creative results by repeating the process of mimesis collision, denial, and reconciliation between existing and new technologies while doing self-reflection. This is the product of sincerity to show the true value of sports from the perspective of Adorno Mimesis.

발터 벤야민의 언어철학 고찰 : 미메시스 개념을 중심으로

오형엽(Hyung-yup, Oh) 어문연구학회 2009 어문연구 Vol.61 No.-

This writing investigated Bengamin's Language-Philosophy through main concepts of 'Adam's language' 'magic' 'translation' 'purity language' 'similarity' including 'mimesis' concept after examining historic unfolding of 'theory of mimesis' on the whole. 'Mimesis' have often defined as Greece original word of imitation or representation. 'Theory of imitation' have been spreaded by three divisions of Plato order's imitation theory, Aristotle order's imitation theory, typical imitation of literary model generally in history of West Europe criticism. 'Theory of imitation' and 'theory of expression' have formed two of the best of literary theory. When realism confirmed in 19th century develops realism in 20th century, 'theory of imitation' is spreaded to concept called 'reflection'. Realism theory that present by K. Marx · V. I. Lenin · G. Lukacs presents 'type' and 'reflection' as concrete creative writing method. Mimesis concept is embossed to central area in epistemology as well as esthetics by Th. W. Adorno since G. Lukacs. Walter Benjamin examines closely special quality of language theologically in About General Language and Human's Language(1916), presents concept of 'magic' 'name language' 'Adam's language'. Benjamin insists not language means of transmission but it is medium, that is, essence, and connects this with 'directness' and 'magic'. 'Directness' and 'magic' of language result from in special quality of 'Name language' that human designates things. Benjamin's basic language historical view is historical view of depravity that instinctive purity of 'purity language' 'name language' is spoiled. Benjamin presents concept of 'translation' 'purity language' in About General Language and Human's Language(1916). 'Mutually translation possibility' premises that objectivity of translation was warranted on God inside. Language of thins can enter through only translation into language of realization and name. Benjamin wished to examine closely problem of 'translation possibility' again as terminology 'close relation' 'purity language' in Translator's Task(1923). 'close relation' can not be defined through identify of origin. Task of translation is work which express that original work indicate by insufficient language and not copy of original work. Benjamin examines closely about 'similarity' 'mimesis capability' in Theory of Similarity(1933). He investigates 'mimesis capability' in view of ontogeny and phylogeny. 'Play' of children shows textbook of mimesis capability in view of ontogeny, and 'astrology' becomes good example in view of phylogeny. Natural objects maintain a kind of magic correspondence relation corresponding with human's mimesis capability, special quality of this is 'nonsensual similarity'. Imitation attitude starts at onomatopoeia in language creation, and the special quality appears well in 'graphology', So, character and language becomes a library of nonsensual similarity, nonsensual correspondence relations. Benjamin Insert emblem 'to read that is not written' in About Mimesis Capability(1933), condensing humans of beginning of the world reading conduct that been described in Theory of Similarity(1933). Benjamin Present human's mimesis capability regards to remnants of past great coercion. Word called 'Coercion' is connection of seedling with 'suppression' is Freud's psychanalysis terminology. While Benjamin is emphasizing magic of beginning of the world that nonsensual similarity, or mimesis capabili쇼 has, and this magic is exerting force in modern symbolic language in Theory of Similarity (1933), he present mimesis capability shows to divide it's magic of modern symbolic language in some degree bearing as recognize that is past remnants in About Mimesis Capability (1933).

미메시스를 적용한 캐포츠 룩 디자인 연구

김민경,김경희 한복문화학회 2023 韓服文化 Vol.26 No.4

. With the development of technology and internet media, various information abounds, and mimesis theory is becoming the center of conflict between creation and plagiarism. The current fashion design is closely related to various mass media, causing conflicts between creation and plagiarism. In this study, the changes of meaning of mimesis according to the times and scholars were reviewed. Also, the different forms of expression of mimesis and types of mimesis were discussed. The concept and design characteristics of the caports look, a combination concept of casual wear and activewear, which are becoming a trending topic in line with recent social trends, were analyzed. This study aimed to apply the mimesis type to the caports look and develop caports looks to which the mimesis theory. The results of the analysis of the types and characteristics of mimesis through literature studies and the design characteristics of caports look are as follows. First, in the similarity of the external mimesis, the shape of the activewear was designed in the same way, or the same design elements such as silhouette, shape, and material were used to reveal the simplicity of the caports look. Second, the similarity of the external mimesis showed that the functionality of the caports look appears by partially transforming the form of activewear. Third, the symbolism of mimesis could not be grasped by the shape alone, and aesthetics appeared in activewear due to the symbolism of related figures. Fourth, the metaphor of mimesis contained the designer's philosophy, and the designer's philosophy was expressed in the caports look. Fifth, the mixing meaning of mimesis was shown as the limitless nature of caports look through the mixing of heterogeneous substances, the mixing of genders, and the mixing of types. Sixth, the deformability shown in mimesis showed sensuality, a characteristic of caports look, as a part of the body was revealed due to silhouette deformation, size distortion, and positional deformation.This study identified the characteristics of each design element of the caports look in contemporary fashion by deriving the types and characteristics of mimesis. In addition, expressive features were applied to create a design worn in everyday life. This study is meaningful because it helps develop fashion design by revealing that mimesis, which is on the borderline between creation and plagiarism, can be a design development data in fashion.

인터넷 온라인게임 의상디자인에 표현된 미메시스 연구

양수미(Su Mi Yang),권미정(Mi Jeong Kwon) 한국복식학회 2011 服飾 Vol.61 No.8

Ever since Homeros in Greece, Mimesis was thought to be an art that imitates nature, especially the classicism of nature. Mimetic theories were used in the artworks in the era of the Renaissance, and the terminology ``mimesis`` replaced the idea of originality in the 15th century. The purpose of this study is to understand the aesthetics of mimesis expressed in Online video game apparel design. For this purpose, I researched different theories of ``mimesis`` and applied them to Online video game apparel designs. The research was conducted using various books on aesthetics and fashion, and demonstrative studies were processed by analyzing photos from Internet video game websites. In the history of aesthetics, the term mimesis is divided into three categories: external, internal and multiple mimesis. External mimesis represented the historical point of view in the design, which showed the beauty of the ancient times. Internal mimesis displayed the metaphorical symbols of religion, character, psychology, sexuality and fear. Multiple mimesis was the hybrid and the distortion of the different aspects of mimesis. Applying this research on mimesis and expressing them in Online video game design may be an excellent method for understanding human aesthetics in video game apparels.

플라톤의 미메시스 개념에서 나타나는 모순적 서술과 정치적 함의 - 『국가』를 중심으로

최건(Gunn Choe) 사회와철학연구회 2021 사회와 철학 Vol.- No.42

미메시스에 관한 플라톤의 서술들 사이에 충돌이 존재한다는 혐의는 오래전부터 제기되어 왔다. 특히 『국가』에서 미메시스에 대한 금지와 제한적 승인이 함께 발견된다는 점은 주지의 사실이다. 이런 긴장을 해결하기 위해 가장 좋은 방법은 미메시스를 대상에 따라 구분하고, 부정적 대상에 대한 미메시스만이 금지 대상이라고 이해하는 것이다. 플라톤이 미메시스를 대상별로 나누어 평가한 것은 사실이나, 그에 더하여 그는 대상 연관을 벗어나 미메시스를 통찰하기도 했다. 그는 사회-정치적 관점에서 동화작용으로서의 미메시스가 낳는 효과에 대해 주목하고, 그것이 초래할 수 있는 위험에 대해 경계했다. 이는 미메시스가 공동체의 근본 구성 원리인 분화의 논리를 무화하는 방식으로 작동할 가능성을 갖기 때문이다. 즉, 미메시스는 구성원 간의 합당한 정체성의 경계를 흐릴 수 있다. 플라톤은 이를 심각하게 우려한 것으로 보이며, 미메시스를 제한적으로 승인했던 서술과 더불어 미메시스 일반에 대한 비판이 등장한 이유가 여기에 존재한다. 또한, 이러한 미메시스에 대한 플라톤의 정치적 관점에서의 염려는, 다원성에 대한 부정과 생득적 성격을 특징으로 하는 그의 정치적 정체성 개념과도 연관되어 있다. It’s been a long time since Plato’s concept of Mimesis had been charged with contradiction. It is well-known that Plato said poet and Mimesis should be banned and at the same time he said he would accept it in a restricted form In Republic. To resolve this collision, many researchers sorted Mimesis with its objects, namely desirable Mimesis and negative Mimesis. However, Plato examined Mimesis not just in terms of its object. He had insight into Mimesis in general, or Mimesis itself, and it made him find out political side effect of Mimesis. For him, its threat was not at all trivial. According to Plato, Mimesis as assimilation might cause political disaster, because it can olbiterate the logic of differentiation which is the fundamental principle of community constitution. Mimesis conceals the boundary between members of the community. It looks that this aspect of Mimesis worried Plato so much and made him criticize Mimesis in general. In this respect we can understand why he criticized Mimesis in general. Also, Plato’s anxiety about Mimesis is intertwined with his concept of political identity which denies plurality and can be characterized as innate.

현대메이크업과 헤어에 표현된 미메시스 연구

양수미(Su Mi Yang),권미정(Mi Jeong Kwon),양삼석(Sam Seok Rang) 한국인체미용예술학회 2010 한국인체미용예술학회지 Vol.11 No.1

The purpose of this study is to understand the aesthetics of mimesis expressed in modern make-up and hair. Documentary studies were conducted through aesthetics, fashion and Make-up books and demonstrative studies were processed by analyzing photos from collection fashion and Make-up magazines and fashion site of internet. In the history of aesthetics, the mimesis could be defined into four categories; the similarity mimesis, the representation mimesis, the metaphor mimesis and the symbol mimesis. In modern make-up and hair, the similarity mimesis included ancient similarity and a period of 1900's similarity mimesis. The representation mimesis included a natural and a folk representation mimesis. The metaphor mimesis included a parody and a inspiration metaphor mimesis. The symbol mimesIs included psychology and fear symbol mimesIs. Analysis on the mimesis expressed in modem make-up may provide an excellent method for understanding human aesthetic in beauty.