19世紀 유우럽 紳士服 Mode 의 特性

楊淑喜 한국의류학회 1984 한국의류학회지 Vol.8 No.2

Die Geschichte des Kostums steht in unmittelbarem oder mittelbarem Zusammenhang mit der allgemeinen historischen Entwicklung derjenigen Lander und sozialen Schichten, die das kulturelle Gesicht und damit auch die Entwicklung der Mode einer Epoche bestimmen. Im 19. Jahrhundert war das Burgertum in Europa die herrschende soziale Schicht und daher auch modisch tonangebend. Die Mode des Burgertums zeigte demokratisierende Tendenzen: Vereinfachung der Ausstattung und der Formen, wobei sich die Proportionen der Kleidung so gut wie moglich den des Korpers anpaBten. Die Herrenmode beugte sich zunehmend den Forderungen nach ZweckmaBigkeit; das gait zumindest fur den Tagesanzug, der immer mehr zum Arbeitsanzug wurde und sich damit der Mannerkleidung der arbeitenden Schicht annahrte. Die Industrialisierung trug ebenfalls dazu bei, daB die modischen und sozialen Previlegien in der Kleidung sich verminderten; die Textil-und Konfektionsindustrie muBte sich zwangslaufig auf die Bedurfnisse der Massen und auf deren Wunsch einst ellen. In der Herrenmode setzte sich die Tendenz zu funkticnaier Einfachheit und Gradlinigkeit durch, d.h. funktional uberflussige Teile wie z.B. die Vielzahl der Kragen, Knopfreihen, uberlange SchoBe verrchwanden; an die Stelle der Farbenfreude trat ein einfaches, einheitliches Grau, Schwarz, Blau und Braun. Diese Vereinfachung wurde zum Ausdruck der zunehmenden Demokratisierung, wurde aber zugleich auch Voraussetzung fur eine neue Differnzierung des KlassenbewuBtseins. Zum Statussymbol wurden die auffalliges Erscheinen vermeidende Eleganz und das Arrangement der einzelnen Kleidungsstucke zu einem harmonischen Ganzen; elegante Kleidung weist ihren Trager aus als Kenner des Modetrends und damit als zugehorig zum Kreis der modeavancierten Schicht. Diese Ambivalenz bestimmt auch die Mode des 20. jahrhunderts.

숙명여자대학교 학위예복 디자인 개발에 관한 연구

양숙희,손휘순,박진영,양희영,위혜정 숙명여자대학교 건강·생활과학연구소 2004 生活科學硏究誌 Vol.- No.21

Academic costume is a ceremonial dress represented authority and formality. This indicates a degree in a viewpoint of personality, and symbolizes academic authority and well matched social responsibility. Besides, it emblematizes separately university's identity and tradition, and could be utilized useful culturaltools visualized national culture and tradition. That is to say, academic costume is most effect visual medium, which symbolizes our subjective culture and academic authority and phase. Accordingly, creative academic costume's development is a link of active and positive efforts to be satisfied with various needs of spearhead information society in 21C. Academic costume designing development had been progressed a public opinion survey, theoretical examination, and research on the actual condition through various actual materials. Based on the above examination, this study performs designing development of a bachelor, master, and doctor's academic costumes. Designing development of academic costumes intend to be enlarged and developed academic costume's function as a symbolic cultural tool, which includes Sookmyung women's spirit as a beginningof the racial education. Moreover, this aims at active utilizing of academic costumes as a symbolic medium expressed Sookmyung Women's University's identity, which intends to realization of the racial education establishing women's education, racial identity, and subjectivity, and represents educational objectives planning to the ruling women's bringing up.

청소년의 의생활 문화

양숙희 숙명여자대학교 건강ㆍ생활과학연구소 1997 학술대회 발표논문집 Vol.1997 No.-

현대패션에 미친 미니멀적 환원성에 대한 연구

양숙희,김소영 숙명여자대학교 건강·생활과학연구소 1997 生活科學硏究誌 Vol.12 No.1

The Minimal Art which started from 1960s in America was a movement that tried to remove all non-essential elements and reduce even minimum elements. This study is a consideration about relation of trend of art and costume and effects to the modern fashion which was made by minimalistic reductive. For this consideration, characters of the type of art is examined which is related with the Minimal Art in the records on this subject, and effects to the modern fashion is declared on the basis of the reductive in the trend of minimal art. The conclusions of this study are as follows: 1. The reductiveness of minimalism's & simplism's shape is expressed in miniaturization of design, minimum of size, simple and concise line, constructive silhouette of shape and omission of details. 2. The reductiveness of materials which is simply shown up the body-line is expressed in the exposure, the minimum and the tightness with transparency texture, elasticity texture, gloss texture, rubber and latex texture and synthetic texture. 3. The reductiveness of simple and omissible color and pattern is expressed in minimalistic trend with using of black and white or a loud pure color, and technic of simple line and motif.

무대의상에 나타난 그로테스크 이미지 연구 : 1990년 이후 무대의상을 중심으로

양숙희,김유경 숙명여자대학교 건강·생활과학연구소 2004 生活科學硏究誌 Vol.- No.21

Stage art diversifies the aesthetic values, and therefore, exaggerate the normal or ordinary images to feature them as grotesque or shocking. Such an exaggeration is more peculiar in stage costume or make-up. The stage costume delivers a message to the audience by using a visual language, while it is expressed as grotesque to allow the audience to experience a shocking catharsis. With such basic conceptions in mind, this study was aimed at reviewing the relationship between stage costume and grotesque art form under the circumstances where stage costume pursues an 'ugly aesthetics' and approaching the grotesque stage costumes from a viewpoint of aesthetics. To this end, the stage costumes were analyzed ranging from Renaissance when the term 'grotesque' emerged to symbolism, expressionism and surrealism. The grotesque image during Renaissance period was shown in the stage costumes for commedia dell'arte and court ballet, At that time, costumes were exaggerated for a comic or abnormal or grotesque image. Symbolists personified the dolls or produced Sphinx-like grotesque costumes to create a shocking mood for the audience. On the other hand, expressionist distorted or exaggerated the stage costume designs or silhouettes or changed their colors in order to express men's inside emotion. The result was a grotesque image. Surrealists used surreal objects for the stage costume, while combining the alienated ones, to express a grotesque inharmony. Based on the above discussions, the grotesque images shown in the stage costumes since 1990 were analyzed. To be more specific, based on P. Thomson's theory which attempted to define the grotesque in the 20th century, the researcher categorized the images of the stage costumes into demonic, playful, animal-like and mechanic images and thereby, determined the implications and values of the grotesque art. First, the stage costumes of demonic image appears in the stage costume for the villain characters. Black or red colors are frequently used for this purpose, and in terms of design and details, worn costume, abhorrent decorations or patterns, inconceivable bizarre styles or distorted proportion, balance or unity are used to express a grotesque image. In addition, such make-up properties as mask, mannequin, skeleton, fork-like long nails are used to highlight demon's aggressive and destructive image. The demonic characters are make up for black eyes or bloodless skin. Such costumes invoke a sense of aggression, shocking effect, cruelty, terror, weirdness or abhorrence and thereby, render a grotesque image. Second, the stage costumes of playful image use playful or bizarre styles to express comic but grotesque images. Such costumes use the primary colors mainly, and apply a kitch object to invoke a laughter. For example, the skeleton which is a bizarre object may be painted with the primary colors to look funny, or bisexual or personified costumes are used to invoke laughter and terror simultaneously and thereby, express inharmony and duality of the grotesque. Such playful costumes drive the audience into playful or satirical laughter, sick humor, demonic humor, jest or comic pleasure. Third, the stage costumes of animal-like image puts emphasis on the animal-like instinct inherent in men and thereby, personifies animals or make men and animal coexist. Mainly, hairs, horns, limbs, paws, sharp teeth, tiger felt or other objects invoking the image of beast are used. In other words, the different subjects or men and animals are combined to create an inharmonic, inhumane, abnormal grotesque image. The animal-like stage costumes are reminiscent of inhumanity, ugliness or grotesqueness. Fourth, the stage costumes of mechanic image emphasizes fusion of men and machines or their coexistence in the cyber age, and thereby, highlights anti-machine and inhumane grotesque images. These images are primarily surrealistic, while emphasizing the unbalance of colors or forms. These images use metals or acryl or other new materials, and add the electronic circuit board or sound effect devices to the costumes to predict an age of wearable computer. In addition, they emphasize an inhumane, grotesque image with a geometric make-up. After all, the mechanic image costumes induce the audience to feel an inhumanity and alienation. As discussed above, the grotesque images shown in the stage costumes since 1990 are demonic, playful, animal-like or mechanic, each of which has its own characteristics. As P. Thomson classified, inharmony, comicalness, shock, exaggeration and abnormality are overlapped with each other to express dualistic and insoluble conflicts.

가톨릭 수도자의 상담자로서 삶의 경험에 관한 내러티브 탐구

양숙희,권재환 한국질적탐구학회 2019 질적탐구 Vol.5 No.1

Th is study is to understand experience of Catholic religious as counseling psychologists and the meaning of it. For this purpose, the researcher utilized Narrative Inquiry of J. Clandinin and M. Connelly, as this methodology is useful to discover the meaning in the stories of participants’ experiences. Th e puzzles and fi ndings from the results were as follows : Research puzzle 1 asked. “What bring participants, religious to become a counselor?” In the stories of Sr. Maria KIM’, it was ‘As a counselee’. In the stories of Br. Luke HONG, it was ‘Studying psychology’. Research puzzle 2 asked, “How do the experience of a Catholic religious as a counselor construct?” In the stories of Sr. Maria’ as a counselor, it was ‘the intention to save people’s life with counseling’, ‘Th e life as a believer and counselor becoming one’, ‘Being a spiritual mother’. In the experiences of Rev. Luke, it was ‘Intention to help others’, ‘Meeting a role model as counselor’, ‘As a jungian psychological expert’. Research puzzle 3 asked, “What is the meaning of experiences as counselors?” In their stories, it was “Another calling in God’s calling’, “My life is not mine’, ‘I still have a long way to go’. Th e researcher hope that this study could give a practical meaning to the counselors who undergo the confl ict between faith and counseling, and suff er identity crisis between the two. It is expected that the fi ndings of the study contribute to shift ing attention to those neglected and give insights to the society for solidarity and contribution through the participants’ attitudes of devoting their lives to the society, over their individual stability. 본 연구는 가톨릭 수도자의 상담자로서 삶의 경험을 탐색하고 그 경험의 의미를 밝히는 데 목적 이 있다. 이를 위해 Clandinin과 Connelly의 내러티브 탐구 방법을 선택했다. 내러티브 탐구 방 법은 연구 참여자의 삶의 경험 이야기에서 의미를 발견하는 데 유용한 방법이기 때문이다. 연구 퍼즐과 연구 결과는 다음과 같다. 첫째 연구퍼즐은 ‘가톨릭 수도자로서 상담자가 된 동기는 무엇 인가’이다. 연구 결과는 ‘내담자가 되다’(김마리아 수도자), ‘심리학에 맛들이다’(홍루까 수도자) 이다. 둘째 연구퍼즐은 ‘가톨릭 수도자의 상담자로서 삶의 경험은 어떻게 형성되는가’이다. 연구 결과는 ‘상담으로써 사람을 살리고 싶어지다’, ‘수도자 삶과 상담자 삶이 하나로’, ‘영적으로 엄마 가 되어’(김마리아 수도자), ‘사람을 제로 돕고 싶습니다’, ‘상담자 모범을 만나다’, ‘분석전문가 로서’(홍루까 수도자)이다. 셋째 연구퍼즐은 ‘가톨릭 수도자의 상담자로서 삶의 경험의 의미는 어떠한가’이다. 연구 결과는 ‘부르심 속 부르심’, ‘내 것이 아닌 삶’, ‘아직 끝나지 않은 길‘이다. 본 연구가 종교를 가진 상담자가 상담 현장에서 신앙과 상담의 충돌을 경험하거나 신앙인과 상담 자라는 정체성이 갈등을 빚는 상황에 실천적 의미를 전달하기를 기한다. 사회적으로는 사회 생활에서 물러나 상담이라는 영역으로 더 깊이 들어가는 연구 참여자와 상담실 울타리를 넘어 소외된 이들을 향하는 연구 참여자 모습이 사회 연와 기여라는 측면에서 우리 사회에 시사점 을 주기를 기한다.

예술과 패션 ③ : focused on Oskar Schlemmer's Theater Costume 오스카 슐렘머(Oskar Schlemmer)의 무대의상을 중심으로

양숙희 숙명여자대학교 생활과학연구소 1993 生活科學硏究誌 Vol.8 No.-

For Oskar Schlemmer the starting point of all his works in Bauhaus was the space in the stage; he became a pioneer of the stage work-shop from 1923 to 1929. He was interested in combining the artistic abstractive nature with the precision of architecture. Defining theater costume as the means revealing the double faced law of human body, he introduced the various rules into the theater costume and reformed them in a revolutionary new way. In Schlemmer, human being is a standard of all other beings, numbers and law, so he tried to express this idea as his theme, the relationship of human body with the space, in the new reformation. Regarding the encounter between the passive audience and the active expression as the form of the stage, he intended to mold the space of the abstract mechanized movements into the theater art. He had a trial on a performance in which color and form, nature and art, human beings and machines and the acoustics with mechanics, are united. In seeing theater art as a form of human body, the spacial and timely figures became essential to his performance, with emphasis on the costume and masks. In his first work, a revolutionary trial, "The Triadic Ballet". he coordinated the human body with the abstract figures. To the creation of theater costume of this "The Triadic Ballet", two basic ideas are related; One is the desire to meet the emotion of times, and the other is the hope to display the basic rules of stage in sensitivity. He regulated the reformation of human body following four basic rules: 1. the reformation follow the rule of the surrounding solid space. 2. the functional rule of the human body in relating to the space. 3. the rule of physical movement with the space. 4. the metaphysical expressive form, symbolizing the human body. With these creative rules, Schlemmer pointed out the contradictory double characters through the expression of costume, and he created the formation of the theater costume, based on the concepts of movement on and within the space. In his "The Triadic Ballet" as an example displaying his theory, the costume was an achievement of the abnormal harmony, combining between the artistic abstractive nature and the precision of the architecture. Also, as a trenscendental creation regarding the rational foundation and the architectual form in the visual world, his costume fulfills the human metaphysical desire. His costume designs showing supernational effects have provoked the dispute among the artists; the sculptural possibility and mind-gaming whatever human bodily movement suggests, was induced to the spiritual intellect. Though he remains a theatrical footnote, Schlemmer's ideas and techniques influenced a number of successive artists. Especially, the ideas regarding Schlemmer's performance were applied to Post-Modernists and his works remains timeless art, providing uncommon succession to the future art.

세기말 남성패션에 나타난 표상성

金素英,楊淑喜 服飾文化學會 2000 복식문화연구 Vol.8 No.2

With the current of the end of a century and social, economic, political, and cultural turbulence, people take advantage of the various ways to express their stagnation. This study introduces the term repersentativity and it will explain the fashion of the end of a century. On a theoretical basis, the concept of the representativity, image, symbol and imitation which are used as a tool for expression will be examined, and together with this, inner representation and outer representation will be categorized. The inner representation of the men's fashion in the end of a century can be taken for the purpose of connecting the image of masculinity. The image of masculinity is widely spread owing to the mass communication of a consumption-oriented society, so its hard to define that image as one thing specific. Hence, in order to discuss the male gender and mens fashion, New Man phenomenon should be noticed of, 1980's New Man influence has lasted till now. New Man images were largely categorized into two images like New Lad and Iron John after the mid 1990's. Therefore, the image of masculinity is largely classified New lad, who desires success and pursues the hedonistic life style and Iron John, who enjoys thrill and follows economical life style. The image of masculinity has influence on the outer representation how it is imitated and symbolized via many designer's works and street fashion. Two masculinity images are dominant over the men's fashion of the end of a century. One is inhumane and rational corporate power look that stems from symbolization and imitation of New Lad. The other is outdoor casual that originated from the symbolization and imitation of Iron John.

현대복식에 표현된 20세기초 추상예술의 조형성 : 러시아 추상예술가들을 중심으로 Focused on Russian Abstraction Arts

이의정,양숙희 숙명여자대학교 건강ㆍ생활과학연구소 1996 生活科學硏究誌 Vol.11 No.1

헤어스타일에 대한 여성들의 의식행태와 관련 요인 분석

양숙희,남철현,김성우,곽형심,남현주,이명옥 慶山大學校 保健福祉硏究所 2001 保健福祉硏究 Vol.6 No.-

This study was conducted to examine aspects of women's awareness of haier styles and related factors. 734 women who lived in Seoul, Daegu, Pohang, Sangju, and Gumi were selected as subjects of this study. Data were collected from May 20, 2001 to August 20, 2001. The results of this study can be summarized as follow. 1.The respondents' satisfaction level with their hair styles was 3.34±0.84 points on the basis of 5 points. The highest values in the variables were the upper class (3.78±0.78 points), tall and fat women (3.53 ± 0.96 points), above 50 years old (3.42±0.85 points), and education level of above college (3.45±0.83 points). 2.The respondents' had various hair styles such as short hair (32.3%), short-cut hair (30.1%), long hair having layers (25.5%), long hair having no layer (7.8%), and pull-up hair (4.4%). According to the opinions of hair styles which matched well with Korean women, long hair having layers covered 25.3%, while long hair having no layer covered 21.9%. Pull-up hair was 23.0% and short-cut hair covered 17.0%. 3.In the case of changing hair style, 38.8% of the respondents answered that they change hair style when they needed diversion of feeling. 29.3% of them changed hair style periodically and 17.8% of them changed it to follow fashion. 9.4% changed it by recommendation of family members or friends and 4.1% changed it by hairdresser's recommendation. Among the respondents, 44.1% of unmarried women, 46.1% of the women in their twenties, 50.8% of college students, and 45.2% of professors or teachers changed their hair styles when they needed to diverse their feelings. The change of hair style was significantly different in the variables of marital status, occupation, and economic status, while it was not significantly different in the variable of religion. 4.39.9% of the respondents changed hair style once or twice a year, 24.9% of them almost did not change it. 20.7% changed it three times or four times a year and 7.2% changed it above seven times a year. 5.When the respondents wanted to change their hair styles, 26.8% replied that they would choose the hair style at the time of changing it. 24.4% of them chose long hair having layers and 19.2% of them chose short-cut hair. 13.1% selected short hair and 8.6% chose long hair having no layer. Only 7.2% of the respondents selected pull-up hair. In the variable of age, 28.4% of the women in their twenties and 25.8% of the women in their thirties chose long hair as their next hair style. 6.60.5% of the respondents occasionally used hair styling products when they finished hair styling, while 20.3% of them used them without fail. 19.2% of the respondents did not use them at all. 7.The satisfaction level with present hair style was influenced by economic status, satisfaction level with hair style made by the hairdresser, and their education level. The satisfaction level with hair style was low in the groups of low economic status, short and thin women, and low education level. Hair style was greatly determined by shape of face. Hairdressers must have great concern about hair style because hair style is essential in expressing sense of beauty.