디자인 융,복합 현상에 따른 모던함의 언어적 사용 모호성에 대한 연구

김준형(Kim Jun, Hyung) 한국전시산업융합연구원 2020 한국과학예술융합학회 Vol.38 No.4

디자인이 표면적으로 지향하는 점은 유니크함과 트렌드 선도적인 외형미이다. 유니크함은 디자인소비자로 하여금 이전에 접하지 못했던 자극에 대한 니즈이며 트렌드 선도적 외형미는 시장소구를 위해 필요할 것으로 예측되는 외형의 미적 아름다움으로 요약할 수 있다. 일반 소비자의 디자인 가치 평가과정에서 전문성이 강조된 근거는 차치되기 쉽다. 본 연구는 일반 소비자의 디자인 지향의 기저에 전술한 양 측면이 융, 복합적으로 작용할 수 있다는 문제의식에서 비롯되었다. 본 연구는 트렌드 선도적인 면을 강조하기 위해 사용되는 모던함에 대한 고찰을 중심으로 하고 있다. 이를 위하여 서론에서 모던함과 모더니즘에 대한 이론적 정의와 이를 통한 각각의 공통점과 차이점을 알아보았으며 사례를 통한 모던 이미지의 디자인적 소비경향을 알아보았다. 이를 바탕으로 본론에서 모던함과 모더니즘을 명확하게 구분하기 위한 실증 연구 모델을 구상하였다. 이렇게 만들어진 실증 실험을 통해 모던함과 모더니즘을 구분할 수 있는 언어적 기준과 조형적 기준을 제시하고자 하였다. 연구 결과 현재 디자인에서 모던함과 모더니즘이 혼재되어 사용되고 있는 현상을 규명하였다. 연구 결과 모던한 디자인은 모더니즘 디자인의 연장선에 있는 유사성을 가지고 있으며 모더니즘 디자인의 이미지가 모던 디자인에 비해 명확한 이미지적 인식 차이를 보이고 있는 것으로 조사되었다. 본 연구를 통해 디자인 개발 의도 또는 결과로서의 디자인 평가 과정에서 사용되는 모던함에 대한 구체적인 기준을 바탕으로 최종 디자인 소비자에게 소구하는 것의 중요성을 제안할 수 있을 것으로 기대된다. What the design aims for on the surface is its uniqueness and trend-leading appearance. Uniqueness is the need for stimulus that design consumers have not encountered before, and the trend-leading appearance can be summarized as the aesthetic beauty of the appearance that is expected to be necessary for market appeal. In the process of evaluating the design valuation of general consumers, it is easy to dismiss the evidence that emphasized expertise. This study originated from the awareness of the problem that the above-described two aspects can act fusionly and complexly on the basis of the general consumer’s design orientation. This study focuses on the consideration of modernity used to emphasize trend-leading aspects. To this end, the theoretical definition of air modernity and modernism, the commonalities and differences between them, and the design consumption trends of modern images were examined through examples. Based on this, an empirical research model was devised to clearly distinguish between modernism and modernism in the main body. Through the empirical experiments created in this way, it was intended to present a linguistic standard and an image standard that can distinguish between modernism and modernism. As a result of the study, it was found that modern design has similarities in the extension of modern design, and the image of modern design shows a clear difference in image perception compared to modern design.As a result of the research, it was investigated that modernity and modernism are mixed and used in the current design. Through this study, it is expected to be able to suggest the importance of appealing to the final design consumer based on specific criteria for modernity used in design development intention or result design evaluation process.

[탈근대성에 대한 동양철학의 담론 1] 동아시아 근대 지식인의 근대성 비판 : 동양철학의 관점에서 본 근대성 비판

홍승표 ( Seung Pyo Hong ) 동양철학연구회 2007 東洋哲學硏究 Vol.52 No.-

Modernity was a driving force for building the modern civilization. Nowadays, however, it has become an obstacle to the appearance of a new age. The present time needs the critical reflections on modernity. East Asian thoughts include abundant resources to meet the requirement of this time. The purpose of this paper is to make the critical reflections on modernity in terms of East Asian thoughts. The critique is composed of three parts; the critique of modern world view, the critique of way of modern life, and the critique of modern society. The critique of modern world view can be divided into three components; the critique of modern world image, of modern view of human being, and of modern view of relations. First, based on the viewpoint of East Asian thoughts that presuppose the unification among all the beings, the modern world image that presupposes the segregation among all the beings is criticized. Second, based on the viewpoint of East Asian thoughts that presuppose human being as a being who as the whole cosmos in her or him, the modern view of human being that presupposes human being as a being who pursues his desire is criticized. Third, based on the viewpoint of East Asian thoughts that presuppose tui tai(對待) relations, the modern view of relations that presupposes antagonistic relations is criticized. The critique of the modern way of life is made up of two parts; the critique of the modern view of labor and the critique of the modern view of waste. Modern man finds the real meaning of life in labor and waste. But from the perspective of East Asian thoughts, the real meaning of life is very different from that of modern man. Realizing and enjoying ``the real self`` is the real meaning of human life. Based on the viewpoint of East Asian thoughts about the real meaning of human life, the modern way of life is criticized. The critique of the modern society is composed of two parts; the critique of the modern democracy and the critique of modern capitalism. We can find inversion between means and goals both in modern democracy and in modern capitalism. Democratization and economic development can be a good foundation for making a wonderful society. But the democratic society and economic growth do not mean that we have reached a wonderful society to live in. East Asian thoughts can provide the post-modern contents of the wonderful society. And this can lead to criticize the inversion between means and goals in the modern democracy and the modern capitalism.

포스트모던 실내공간에 나타난 아르데코 표현특성에 관한 연구

한민정 한국기초조형학회 2009 기초조형학연구 Vol.10 No.4

Many post modern designers freely used historical motifs as symbolic expressions or ornamentations. Historical references often became a key to express their ideal against modern standardization. Among the historical references, Art Deco style was frequently appreciated by post modern designers from the late of 1960s throughout post modern era. This study is intended to explore the way of incorporating Art Deco in post modern interior design. Also, this research analyzed to find out the Art Deco characteristics in the interior space of the post modern. To accomplish the goal set up in this study, Art Deco revival in the post modern era and the general characteristics of Art Deco and post modern were reviewed from theoretical study. And then the case studies of the examples of Art Deco revival in post modern interior spaces were analyzed by formal, historical, symbolic characteristics. As a result of this analysis, Art Deco revival in post modern era was an essential method to express anti-modern characteristics of post modern design. Finally, in post modern interior space, Art Deco was one of historical styles that surpass the limitation of modernism, at the same time decorative style that express the idea of the post modern. 20세기 후반에 들어서면서 모더니즘의 이성적이고 단순하며 기능적인 디자인에 대한 필연적 반동으로서 나타난 포스트모던 디자인은 모더니즘에서 부정되었던 역사성, 장식성 등의 특성을 특징적인 기법으로 표현하여 대중의 감성에 부합하려고 하였다. 1920년을 전후하여 발생하였던 아르데코 양식은 풍부한 장식성과 역사성, 상징성으로 대중에게 현대적인 스타일로 각광받았으나 모더니즘의 확산을 통하여 쇠퇴되었으며 1960년대 후반에 이르러 새롭게 대중의 관심을 받으며 예술계에서 다시 부흥되기 시작하였다. 그리고 1970~80년의 시기에 포스트모던 디자인이 다양한 특성을 가지고 발전하게 되면서 포스트모던 디자인에서 아르데코의 다양한 디자인이 적용되고 그 양식적 특성이 나타나기 시작하였다. 이러한 관점에서 본 연구는 실내 디자인 분야에서 포스트모던에서의 아르데코가 어떻게 적용되었는지를 파악하고자 하였으며 포스트모던 실내공간에서 나타나는 아르데코의 표현특성을 도출해내고자 하였다. 이 목적을 위하여 문헌연구를 통하여 1960년부터 나타난 아르데코의 재부흥에 대해서 조사하였고, 일반적인 아르데코와 포스트모던 디자인의 표현특성을 파악하여 그 상관성을 조사하였으며, 그 공통적 표현특성인 조형적, 역사적, 상징적 분석의 틀을 가지고 분석하였다. 그 결과, 아르데코의 표현특성이 나타나는 포스트모던 실내공간에서도 동일하게 기하학적이고 유선형의 조형성이 단순한 장식성을 위해서 도입되고 있었고 또, 이집트를 비롯한 역사적 모티브가 부정되었던 역사성을 회복시키기 위해 적용되고 있었으며, 그리고 모든 자연적 모티브와 원시적 이미지가 상징적으로 양식화되어 장식의 모티브로서 활용되고 있음을 알 수 있었다. 결론적으로, 아르데코의 조형성, 역사성, 상징성의 장식적 모티브가 포스트모던 디자인에서 차용하기가 쉽고 또 이미 알려진 이미지를 상징화하여 대중과 커뮤니케이션을 하고자 하였던 특성에 부합되었기 때문에 포스트모던 실내디자인에서도 적용된 하나의 표현 수단임을 알 수 있었다.

근대미용과 우생학(優生學)

류수연 ( Ryu Su-yun ) 인하대학교 한국학연구소 2014 한국학연구 Vol.0 No.33

근대 여성잡지에 대한 다양한 논의 속에서도 미용에 대한 문제는 현상 이상으로 연구되지 못했다. 본고는 근대적 미용담론이 근대 교양의 일환으로서, 1920~30년대 여성잡지의 의식적 목표 아래에서 기획되고 확산되었음을 해명하고자 한다. 그러나 이 새로운 미적 준거와 방법론이 순식간에 조선 여성의 일상을 잠식할 수 있었던 이유는, 그것이 단지 ‘근대’라는 수사를 동원했기 때문은 아니었다. 거기엔 우생학으로부터 촉발된 신체에 대한 관심과 기대가 내재되어 있다. 외적인 근대가 곧 내적인 근대화를 이끌 것이라는 믿음이 전제되어 있었던 것이다. 이에 본고는 우생학과 근대적 신체 담론과의 관련성 속에서 1920~30년대 여성잡지 미용담론의 의미를 고찰하였다. There are so many studies which investigated modern women magazines, but a beauty treatment have not researched more than a phenomenon. This thesis intends to explain that modern discussion of a beauty treatment was designed as a modern sophistication by modern women magazines. However there were another reason, which these new esthetic standards could encroached on daily lives of Joseon women, more than ‘modern’. That were interests and expectations about the modern body from Eugenics. There also was the belief that the external modern would lead internal modern. So this thesis considers the modern discussion of a beauty treatment through relation between Eugenics and modern physical discussion in 1920’s~1930’s.

한국 현대시와 속도

노용무 ( Yong Moo Noh ) 전북대학교 인문학연구소 2014 건지인문학 Vol.11 No.-

This paper considers finding the meaning of discourse of speed within Korean modern poetry through studying some poems which show the imagery of ``speed`` and ``slow``. This work is related to the mechanism of speed which goes through modern and modern poetry in Korea. This mechanism is all the rage in modernism and modernity of nowadays Korean poetry which has a temporal context of speed and slow. Thus consideration of tracing individual poets` thoughts and the changing aspects of subjects of cognition is essential work and the basis of this work as well. From modern period till the present the discourse of sepeed is in core of the most advanced technology and most poets should admit this aspect. Moreover, the discourse of speed within Korean modern and contemporary history, or more specifically within Korean modern and modern poetry could be another frame to understand human history and the history of civilization, also a frame to read Korean modernism and its modernity. Thus this paper aims to trace the methods and meanings of individual poets who cognize the discourse of speed within Korean modernism and its modernity of the poems which show poetic imagery of speed. This work has some meanings of genealogy of speed included in Korean modern and modern poetry, and it could be completed in considering the works of individual poets and its diachronic flow as well.

박목월 시어의 현대성

김용희 ( Yong Hee Kim ) 한국언어문화학회 2008 한국언어문화 Vol.0 No.36

Mokwol tried to find modern daily life through poem language in the reality of post-war full of nihilism, excessive existence and intellectual humanism. A poet tries to make experiment of the modernity of poem language in the rivalry between tradition and modern. The meaning of `tradition` to Mokwol is `how to survive the modern time` and the recognition of modern subject is the road to realization of concrete experience world after making every day of modern times to be recovered from abstraction. When the member of 〈The latter half of the year〉 showed the self-shutting up, Mokwol created modern sensitivity by `translating` a native tongue of traditional food into poem language. He suggested the issue of `personal taste` by concretization of `collective native tongue` into `sensuous` thing. By making `what is trivial`, `what is vulgar` and `subjective experience of person` concrete, the traditional aesthetics works as `a modern subjective personal signature`. By reproducing `colloquial style` and `oral situation`, he tried to show `the feeling` and `sympathy` of our language as a native tongue. However the sensuous `dialect` is awakening the sense of modernity, an ear for music and the sense of sound symbol. Finally the poet reveals aesthetic self-consciousness with modern subject as searching for identity and self-reflection as a poet. He makes experiment of his meta method by calling his own name as a common noun and showing his writing. The symbolizing of tradition food symbol, colloquial style and dialect means the birth of strange native tongue against literary style. It is `the native tongue` and `collectively colloquial style` found out just by the birth of modern language and cultural language. The method of `symbolizing in a strange way what is familiar` is the one which reveals aesthetic autonomy of modern poem language. Additionally it reveals modern retrospective self-consciousness and crock by calling the name of poet out of text as a poem language inside text. It can be considered to be a modern experiment of self-consciousness. Eliot said that modernity is `the present of the past` and can be said to be the process in which tradition and modernity interfere together in the most organic way. On the basis of it, `the modernity of poem` can jump out of the schematism and limit of tradition severance theory and tradition absence theory. It is, the fact the tradition language is called as a modern strange poem language and the process to find `native tongue` composed of new the other through the other called modern times, can be shown. Mokwol tried to express in a creative way that modern poem language is the process of symbolization of language, creative individuality and sensational process of ego.

1930년대 한국 모던 걸(Modern Girl)의 화장문화(化粧文化)에 관한 연구

이숙연 ( Sook Yeon Lee ),정연자 ( Jung Yeon Ja ) 한국동양예술학회 2013 동양예술 Vol.21 No.-

Korean makeup to be spread out into the world in modern society, the makeup of the 1930s culture to study the significance that this study tried to feed this study. Era was the oppression of the Japanese and World War II in the 1930s due to the atrophy of Beauty Culture, despite a peak in trained men and women from fashion to beauty culture had achieved. The 1930s, the modern Girl make of makeup culture analysis and Korea Beauty Culture laid the basic foundation of the research that you want to aim. Between the rate of change of trends and fashion makeup, makeup cultural and social order is influenced by the social influence. In particular, an increase in educational opportunities and accelerate changes in the makeup popularized and influenced the makeup to bring cultural diversity. It may be the emergence of new ideas and elements to build the most stylish women in the rigid shape of the modern girl of the 1930s, and they pursue more than one concept, in the form of makeup. Modern girl was a symbol of modernity. New sensual style and knowledge of the owner, showed through the style of these (costumes, hair, decoration, language, rituals, etc.) will go to find their identity as a modern subject. Professor of beauty ten intensive analysis in the modern girl that corresponds to the 120 photos from the Western and South Korea``s modern walk to work compared to the feasibility of the selected photos and pictures are commonly rated targets examined. The results are as follows. First modern girl, especially Western women, was an enthusiastic response to the Star. Mimesis bromide thinking of the female star like fashion, makeup, hair style and according to the star``s appearance or behavior such as gestures or speech, gait. Second traditional Damjang important elements of culture to cultivate the appearance of things soon to express the inner beauty of these virtues, culture became gentle and elegant makeup. Third modernism, I experience it follows the fashion phenomenon as representing the modern sense of modernism that customs and ideas quickly accept the forerunner of modern western actress beauty of your eyes to the nose of the modern woman``s beauty is the measure of the deep greatly to show the three-dimensional makeup began.

일제강점기 근대적 미디어에 의한 조선관광(朝鮮觀光) 표상의 특징 - 잡지 『모던일본』 조선판(1939, 1940)을 중심으로 -

남도현 ( Dohyun Nam ) 한국동양예술학회 2016 동양예술 Vol.31 No.-

This thesis analyses the representation of Joseon tourism in the articles of an entertainment magazine, <The Modern Japan, Joseon Edition>(1939, 1940) published in Japan during the Japanese Colonial Period, focusing on its editing planning and the representation of women, and tries to find its characteristics. <The Modern Japan> can give us an opportunity for looking into the phases of that time stereoscopically as a magazine having attracted a great popularity in the 1930s. The magazine published the special editions for Joseon twice, in 1939 and 1940. These were the only special editions which the magazine in Japan(Interior) had tried dealing with Joseon(Outlier), which ‘double modernity’ as the characteristics of Japanese modernity could be confirmed. Japanese modernity was set in the era of Showa and the magazine tried to incorporate the atmosphere of the era that is called as Showa Modern, in its contents. In this respect, it seems to be certain that the magazine had represented Japanese double modernity compressively. The era of Showa, different from the era of Taisho, was the period that relativized the western culture, emphasized Japanese things, and also tried to find out other possibilities with Japanese things rather than depended on one way imports of the western things. But this emphasis on Japanese things had gradually changed into fascism and then linked to the process of excessive self-deconstruction. <The Modern Japan, Joseon Edition> published in the middle of time between these two wars, vividly reflected the atmosphere of the time that the efforts of searching for new possibilities with Japanese things just had came to the conclusion. It was appeared clearly as obsession of the Naeseon Ilche, Korea and Japan are One, and the awe at Joseon women. This colonial gaze had shown the layered and ambivalent characteristics such as obsession, anxiety, agitation, envy and so on, which had been permeated not only in the editorial planning but also in its articles. This study started on the base of some advanced researches on <The Modern Japan, Joseon Edition>, and kept considering the attributes of ‘double modernity’ of Showa modernism. It examined the editorial styles and the features of the remarks that the magazine represented Joseon women, while considering the context of the colonial tourism, in other words the context of travels and tourism in Joseon, that had been actively spreaded out among the Japanese people. Through this examination focusing on <The Modern Japan, Joseon Edition> published in 1939, 1940) the study came to the conclusion that the Japanese modernization projects, that is to say ‘double modernity’, had failed on its way from the foundation of <The Modern Japan> in 1930 to the publication of <The Modern Japan, Joseon Edition> in 1939 and 1940.

일본정치사상사 시대구분에서 근대국가

나정원 강원대학교 사회과학연구원 2020 사회과학연구 Vol.59 No.1

In the periodization of history, the Japanese scholars distinguish the pre-modern and modern period which correspond to the absolutism-modern in the Western case. But they could not agree on the starting time of ‘Modern’ and estimate without any common criteria that Meiji Restoration made start the ‘Modern’ and Meiji State is the ‘Modern-State’. To try to measure whether the Meiji State is modern or not, I prepare the criteria of periodization to compare the two Constitutions, the Great Japan of 1889 and the Japan of 1946. The areas of comparison are four: State, Tenno, sovereignty and political system(division of powers). The characteristics of the ‘Pre-Modern State’ are monarch State, traditionalism, Statism, Divine Tenno system, monarch sovereignty and concentration of powers, whereas the ‘Modern-State’, respectively Nation State, constitutionalism, liberalism, Symbol Tenno system, popular sovereignty and division of powers. And the starting time of the ‘Modern State’ could be equalized to that of promulgation of the Constitution, and before this time to be called as the ‘modernization’. The conclusions of this thesis is that Meije State shows exactly the characteristics of the ‘Pre Modern State’ in the four areas. So Meiji Restoration could not build the ‘Modern State’ and the ‘Pre Modern State’ continued to exist in the way of ‘modernization’ before the pre-War era. In the periodization of Japanese political philosophy, the ‘Modern State is the ‘Japan State’ after 1945. Meiji State could not build the ‘Modern State’, and is the State of the mercantilism and absolutism which didn’t contribute to the ‘modernization’ of the East Asian countries, such as China(Taiwan) and Korea. 일본 학계는 근세⋅근대로 시대구분을 하며, 이것은 서양의 절대주의⋅근대에 상응한다. 하지만 일본 학계는 근대의 시점에 대해 합의를 보지 못하고 있어도, 메이지 유신을 ‘근대’의 시작으로, 메이지 국가를 ‘근대국가’로 평가하고 있다. 이 논문은 메이지 국가의 ‘근대국가’ 여부를 판단하기 위해 시대구분의 기준을 마련해서 「대일본제국헌법」과 「일본국헌법」의 비교를 시도한다. 비교의 영역은 국가, 천황, 주권, 정치체제(권력분립)등 네 가지이다. 구체적으로 ‘근세국가’는 군주국가⋅전통주의⋅국가주의⋅신권천황제⋅군권주의⋅권력집중, 그리고 ‘근대국가’는 국민국가⋅입헌주의⋅자유주의⋅상징천황제⋅민권주의⋅권력분립이라는 특징을 갖는다. 그리고 ‘근대국가’의 출발 시점은 헌법의 제정⋅반포⋅시행 시점으로 등치가 가능하며, 이 시점 이전의 기간은 ‘근대화’ 과정으로 부를 수 있다. 이 논문에서 도출된 결론은 다음과 같다. 메이지국가는 네 가지 영역 모두에서 ‘근세국가’의 특징을 그대로 나타내고 있다. 따라서 메이지 유신은 ‘근대국가’를 만들어내지 못했으며, 전전 기간 내내 근대화가 이어졌고, ‘근세국가’는 지속되었다. 일본정치사상사 시대구분에서 ‘근대국가’는 1945년 이후 일본국이다. 메이지국가는 ‘근대국가’가 아니고 중상주의⋅절대주의 국가이며, 중국(대만)이나 한국 등 동아시아의 근대화에 기여를 하지 못했다.

한국 근대 현대무용 형성에 관한 시고

김호연 ( Hoyoen Kim ) 대한무용학회 2020 대한무용학회논문집 Vol.78 No.2

The purposes of this study are to examine the acceptance patterns of modern dance in Korea during the modern times and trace the process of their signs budding and developing. Modern dance, which is translated as ‘hyeondaemuyong’(현대무용) in Korean, is a genre concept created as an antithesis to ballet and, at the same time, holds the significance of the times as the dance with the contemporary modernity. In Korea, aesthetic modernity was born in the thesis-antithesis-synthesis of autogenous modern consciousness and Western modern ideas. In the field of dance, many different theoretical discourses were embraced according to the contemporary flows of the modern times, leading to the gradual establishment of the concept of modern dance. In addition, the Korean-style internalization of modern dance happened little by little in dance creations. Choi Seung-hee, Park Yeong-in, and some dances from the Space of Liberation created works based on modernity. Even though their works were not full-blown acceptance of modern dance, they are significant as the transformation of contemporary modern dance and the local creative acts of aesthetic modernity.