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- 저자 : 차서연(Seo Yeon Cha) (검색결과 4 건)
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차서연(Seo Yeon Cha),장동우(Dong Woo Chang) 한국복식학회 2012 服飾 Vol.62 No.6
This study empirically examined Seo Yu-gu[徐有購]`s views on constumes that are based on ``Boksikjigu[服飾之具]`` of Seomyongji[贍用志] in Imwonkyungjeji[林園經濟志]. In ``Boksikjigu``, Seo Yu-gu explained different situations and problems that were related to costumes and proposed solutions for the problems, This study examined the contents, and divide the items into caps, accessories, and clothes, The results of this study were as follows, First, Seo Yu-gu in he rited the tradition of erudition, Seo Yu-gu classified various costume items systematically, and explained in detail about the origin, history and materials of the costume items. Second, he emphasized frugality, effective use, and welfare. Seo Yu-gu argued that the sleeves should be shortened for convenience and tried to improve practicality in the functional aspect. Also, he wanted to enrich people`s life by improving the convenience of goods used in daily life. Third, he tried to establish identity as a Confucian intellect. This idea was clearly shown in ``costumes``; therefore, they served as evidences that Seo Yu-gu used to correct wrong practices through precise historical investigation and review of Shim-ui[深衣], the symbol of the practice of Jujagarye[朱子家禮]. In his later years, he discovered the plain dress that was worn as a casual wear by ZhuXi[朱熹]and tried to wear it in dailylife.
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차서연 ( Cha Seo-yeon ) 한국실학학회 2021 한국실학연구 Vol.- No.41
본 논문은 사랑하는 사람을 잃은 이의 애통한 심정을 표상하는 복식인 喪服에 대한 性齋 許傳의 해석을 고찰한 것이다. 성재는 옛 복식의 제도 중 후세까지 전해진 것은 深衣와 상복이고, 두 옷은 上衣와 下裳의 분리 여부만이 다를 뿐 전체적인 제도는 같다고 전제한다. 상복의 제도를 규정한 『儀禮』 「喪服」과 심의의 제도를 규정한 『禮記』 「玉藻」와 「深衣」는 상호 보완적인 내용으로 구성되었다는 성재의 해석적 입장은 그로부터 도출된 것이다. 古禮를 기준으로 상복의 제도를 복원한 성재는 이를 그대로 시행해야 한다고 주장하지 않는다. 고례를 그대로 따르기 힘들 경우 『家禮』의 규정을 선택적으로 활용하고, 고례에 위배되지 않는 선에서 당시 조선에서 행해지던 시속을 적극 반영하였다. 구하기 어려운 재료는 대체품을 사용하도록 제시하면서, 무엇보다도 애통해하는 마음의 표상이라는 상복의 정신을 강조하면서 형편에 맞추어 검소하게 마련할 것을 강조한다. 성재가 고례와 『가례』 그리고 조선의 시속까지 반영하여 상복의 형태를 논증하되 절검까지 고려하여 시행하도록 제안한 것은 상복의 의례적인 상징성과 실제적인 기능성을 회복해 상례의 수행 가능성을 높이려는 목적이 내포되어 있다. 그는 상복이 가장 오래된 유교적 복식의 하나이고 애통한 심정을 표상하는 의례복이며 상례를 치르는 오랜 기간 실제로 입고 생활하는 일상복이라는 의미를 동시에 가진 복식으로 판단한 것으로 생각된다. This paper is a study on Seongjae Heojeon(性齋許傳)’s interpretation of mourning as a dress code representing grief-stricken sorrow of a man who lost his loved one. Seongjae presupposes that the old clothing systems passed down to posterity are Simui(深衣) and mourning, which have the same overall design with only a difference in separation of top (上衣) from bottoms (下裳). Seongjae’s interpretative position is that ‘Sangbok(喪服)’ in Uirye(儀禮) defining mourning clothes system and ‘Okjo(玉藻)’ and ‘Simui (深衣)’ in Yegi (禮記) defining Simui system are complementary. Seongjae, who restored the mourning clothes system based on Old Manners (古禮) did not insist that this must be enforced as it was. He utilized the regulations in the Garye(家禮) selectively if it was difficult to follow the Old Manners and actively reflected the customs of Joseon Dynasty as long as it’s not against the Old Manners. He stressed the spirituality of mourning as a manifestation of grieving heart and suggested to prepare the costume frugally depending the circumstances, recommending to use alternative items if there were materials difficult to obtain. Seongjae’s proposal to enforce the mourning clothes system by considering the Old Manners, Garye, and customs of Joseon Dynasty, shape of mourning dress up to frugality contains purpose to improve the practice of funeral rites by recovering the ceremonial symbolism and practical functionality of mourning. It’s because mourning is one of the longest Confucian dresses and a dress code that simultaneously implies both a ceremonial costume representing grief-stricken heart and an everyday dress that is worn actually for a long time while holding a funeral rite.
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초,중등 영화교육 시행 10년을 바라보며 아메리칸 액팅 메소드의 서막 -1950년대 엘리아 카잔 영화를 중심으로-
차서연 ( Seo Yeon Cha ) 한국영화교육학회 2012 영화교육연구 Vol.14 No.-
This study aims to analyze the film acting style, based on Elia Kazan`s movies in the 1950s. ``American acting method`` in the 1950s was emerged as an icon of the day with actors became famous. Its use began in the 1920s, but it was not until the 1950s that first coming to the attention among public. This technique has continued into American acting method that plays key role in film acting up to now. In this study, there will be analysis from Elia Kazan`s movies on the variety of American acting method, which is the foundation of film acting. The body of the study on aspects of American acting method, applied to film by categorizing several examples; acting that concentrates on reality of daily life, spontaneity that diminishes the exaggerated acting, expression of internal truth in the given circumstances, and manifestation of character`s emotion from affective memory. The film and acting reflects the trend of the times alike. As time goes , the acting-theory have altered and it will. The purpose of this study is to find the origin of American acting method, which plays key role in Korean film, and promote the development plan for it.
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최연우,박윤미,김윤경,김지희,박양희,이선우,차서연,편나영,황혜남,Choi, Yeon Woo,Park, Yoon Mee,Kim, Yoon Gyung,Kim, Ji Hee,Park, Yang Hee,Lee, Seon U,Cha, Seo Yeon,Pyeon, Na Young,Hwang, Hye Nam 한국의류학회 2017 한국의류학회지 Vol.41 No.5
In 1995, the costumes were restored in an unknown woman's tomb at the Jeonju Lee's family cemetery in Gapyeong, Gyeonggi-Do, and there are currently nine items remaining. In this study, we first introduced these 9 relics to academia and analyzed the morphological characteristics of the costumes. We also estimated the time and person of burial compared with costumes unearthed from other burials. Jeogories (short jacket) are all four items. One of these items was unusual in shape, and the upper part of the seop (gusset) was wrinkled and shaped. This type of Jeogori appears only till the 1520s in other tombs. There are also two skirts, one of which is characterized by a superimposed pattern. The top and bottom / middle part of the skirt were rolled up, and the skirt, which was double-rolled up in this way, was first discovered. An analysis of the shape of Jeogori and skirt indicated that the person buried in the Jeonju Lee's family tomb was believed to have survived until the early 16th century. Based on these estimated periods, as a result of looking at the genealogy of Jeonju Lee's family, it was concluded that the tomb was probably a woman named Lee Geum Myeong (李金命) born in the mid-15C and died between the late 15C and the early 16C.
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