http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
개별검색 DB통합검색이 안되는 DB는 DB아이콘을 클릭하여 이용하실 수 있습니다.
통계정보 및 조사
예술 / 패션
<해외전자자료 이용권한 안내>
- 이용 대상 : RISS의 모든 해외전자자료는 교수, 강사, 대학(원)생, 연구원, 대학직원에 한하여(로그인 필수) 이용 가능
- 구독대학 소속 이용자: RISS 해외전자자료 통합검색 및 등록된 대학IP 대역 내에서 24시간 무료 이용
- 미구독대학 소속 이용자: RISS 해외전자자료 통합검색을 통한 오후 4시~익일 오전 9시 무료 이용
※ 단, EBSCO ASC/BSC(오후 5시~익일 오전 9시 무료 이용)
The purpose of this thesis is to analyze the relation of the mentalistcis liguistics and costume, and to clarify the relationship between language as psychological expressions and costume to understand the phenomena of human costume behavior more deeply and comprehensively. As for the analysis of the costume phenomena, Noam Chomsky's psychological linguistic theory were applied to costume system. In this respect, particularly, by means of Chomsky's later theory(1965), the costume behavior were analyzed. The followings are the findings of the analysis: 1. The Syntactic component 2. The Semantic Component The costume behavior is similar to a language system. Just as one morpheme or a phrase and phrases make different sentences, so various method wearing costume make different forms is costume. Language and costume have dictionary entry showing the meaning of vocabulary, and rules combing the individual meaning of the dictionary entry to complete the sentence.
When we study the costumes of Silla Dynasty, the only well-founded data is shown in the prohibition that is promulgated in the period of King Hungduk. In the prohibition, the social limitation according to the Silla Golpum system is closely described, now it is interesting researchers very muck. Any time the promulgation of a ordinance has a proper reason, The ordinance of the period of King Hungduk also has no exceptions. It made a reason clear in the introduction - in accordance with the social position, the list of articles isused with different, in spite of the strict regulation, the distinction of costumes was in disorder because of the trend of luxury and so we have to make right according to law. Some historian think that the prohibition assumes the character of an political innovation. The prohibition contains an social signification, the items of prohibition did not enumerate simply prohibition items. Through a way of research to analyze the hidden meanings contained in the prohibition, we can see the social phenomenon of Silla Dynasty. And compared with the type of clothing, the kinds of clothing mentioned in prohibition have changed very much. I believe that we can find out political and social change in prohibition.
The aim of thesis is to analyze dress phenomena, the semantic function and meaning of clothing were respectively on the basis of Semantics and Society by Geoffrey Leech and mentalistic semantics. To comprehend the actual clothing behaviour better, the pictures taken on the streets were used, including all kinds of the western-style and the traditional Korean costumes in Korea. The followings are the findings of the analysis. As in language, the semantic funtions of the clothing are the informational, the expressive, the directive, the aesthetic, and the phatic functions. They communicate operating simultaneously. The clothing is the mentalistic semantics.
The purpose of this study is to examine characteristics of symbolism as an important trend of the end of centuries, by comparing the symbolic characteristics from two periods, modern(1850∼1910s) and contemporary(1990s), based on the typical characteristics of symbolic art by Robert R. Delevoy. As for the study method, the contents analysis is adopted to present an objective data analysis and interpretation accompanied by theoretical approach through literature survey. Delevoy classifies symbolism into three categories such as mysticism, eroticism, and decorativeness. This study is developed based on the Delevoy's three categories. Symbolistic costume reflecting systems of the society and the phases of the times, became to contain all aspects of functional, symbolic, and practical. Especially, the costume in contemporary era adopted a new approach, philosophical factors controlling human's sensibility, and a sincere and analytical attitude on progress of technology. This study provide the fact that costume is a part to create aesthetic of self-expression as a field of formative art. Contemporary costume allows vital power for daily life of human by pursuing new aesthetic value, and it expresses inner world of human and moves on future-oriented to regain humanity. The symbolistic characteristics will continue to influence various aspects of our society and play a main role in shaping the purpose of fashion design in the 21st century. Key words : symbolism, mysticism, eroticism, decorativeness.
The norm for everyday costume in India and Indonesia had consisted of either draped garments or loincloths. However, as the Islamic values spread in these countries various tailored clothes began to be worn. In order to study this spread of tailored clothes, the researcher first looked at the historical background which was the origin of Islamic costumes and its unique traits through the works of literature. Based on these findings, the researcher tried to identify the Islamic elements in the costumes of India and Indonesia. The researcher put forward the following conclusion: In India, people began to wear Islamic costumes after the establishment of Mughul Empire (1526~1857) in the 16th century, despite the Islamic invasion in the early 8th century. The pants that the ruling class of Islam wore such as shalwar, churidar and coats in the style of kaftan as well as turban spread quickly throughout the nation and now they are important part of Indian traditional costumes. Also in Indonesia, people began to wear tailored clothes as they accepted Islamic faith. The Indonesian costumes which exposed the upper body part may have been suitable for the climate but it was inappropriate according to the Islamic precepts. The religious beliefs led to the creation of the unique Indonesian sarong, wraps such as kain panjang and a new type of traditional costumes that combined the elements of pants or tunic from the Islamic culture.
This study investigates the concept of the body in Korean traditional costume by comparing the traditional costumes of the west and those of Korea while focusing on the relationship between the body and dress. In order to make a comparison of the traditional perspectives on the body in western and Korean costumes, this study examines the literature of history, art, medicine, philosophy as well as dress from the mid-fourteenth century to the nineteenth century pertaining to the west and those of the Joseon Dynasty Korea. Western dress assumes apparent formal structures and pursues overall harmony via the completeness of its entities, while traditional Korean dress subordinates the parts to the whole, emphasizing the organic total. Whereas the proportion of bodily structure is stressed in western traditional costume, in Korean costume the body is perceived as a whole. By revealing the body through the three dimensionalities of dress, the focus on the erogenous body parts is shifting in conventional western dress according to changes in aesthetic consciousness, which reflects the western ideas of objectiveness and self-centeredness. In traditional Korean dress, in the space between the body and dress, the emphasis is on planarization of the dress, which assumes the oriental relationship-centeredness concept.
The purpose of this study is to find esthetic characteristic of a drapery costume throughout Greece costume and modern fashion. For this purpose, documentary studies were proceed. And photos of the drapery costume were analyzed. Drape is the hang or fall of fabric when made into a garment is an important quality to consider in designing. Fabric falling in folds in the garment as seen on statues of ancient Greece; most outstanding modern versions made by designer Gres and Vionnet. Greek costume was in drapery types mostly and a feature created the best esthetic effert on simplicity with ornament of drapery. Grecian were expressed pure beauty and natural beauty throughout their drapery costume. Madame Gres is widely considered one of the most talented Greece for inspiration of the couture, ranked by many with Vionnet. They shows in their mastery of Greek draping -elegance and simplicity- And also, they always implicity emphasized the relationship between clothing and the female body. Therefore drapery costume admired beauty of pure human body Clothing is expressed which wanted to get the nature and human, search for the losed nature of modern men. In conclusion, the characteristic of drapery costume from ancient greece to modern, timeless concerned human's lives and recurring humanity.
Costume is mirror of diverse life styles and attitudes in human life. It has a meaning beyond "clothing". Fashion illustration is to express these costumes with a picture. So, it can be said that it is a 'mirror of costumes' in historical side. The purpose of this study is to find the meaning of fashion illustration of 17th century, which called its first one and to look into ist characteristics and costumes of 17th century respotlighting fashion illustrators and painters related with fashion illustration in those day. This study is based on Western Europe by literatures. The fashion illustration in 17th century designed by painters and fashion illustrators. They are Wenceslaus Hollar, Abraham Bosse, Jacques Callot, Jean de st Jean, N. Bonnar, A. Trouvain, A. Arnoult in France and so on. The Characteristics of fashion illustration in 17th century are as follows: 1. There was a quickening of modern civil consciousness in 17th century. As the subject of costume culture moved from noble class to the working class which began to have a free, the fashion illustration changed to the direction of informing their social class and job. 2. The fashion illustration of 17th century showed strong realism which was a base of modern picture. 3. The most of them showed costume plates. It was not to transmit adding intended forecast but to describe sincerely in costumes' record. However, the fashion illustration since the middle of 17th century was designed considering fashion. 4. It could be said that the fashion illustration of 17th century was the frist on e of today. It was expressed by Wenceslaus Hollar's ones. And it is found in his suggestion of popular costumes before and behind and delicate description likde accessories. 5. They were transmitted by fashion magazines internationally. Le Mercure Galant, which printed mode plates in 1678, was the first modern fashion magazine aiming at general readers. The fashion illustration of 17th century can divide into ones for court, for working classes, costume plates. The fashion illustrations for court designed by court painters. There were court costumes of early time, spanish Mode and of lately time, French Court Culture. They had baroque elements with a bunddle of ribbons and race decoration. On the other hand, the fashion illustrations for working class were under the influence of Netherland style. They were designed for the purpose of good function and much use. That's why was under the influence of puritanical life creed. In this situation ,the costume plates directed the fashion in those days. At that time. they were supplied widely and it may be and attempt of popularization. The fashion illustrations of 17th century appeared that they had transmissible character and artistis expression. On the basis of them, we can look into the fashion illustrations of today.