http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
- 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
- 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
RISS 인기검색어
- 검색키워드
- 저자 : 이재윤(Jae-Yoon Yi) (검색결과 5 건)
- 무료
- 기관 내 무료
- 유료
-
-
이재윤(Jae-Yoon Yi) 아시아민족조형학회 2013 아시아민족조형학보 Vol.12 No.-
Fashion visually identifies one’s culture. Through this case study of the inaugural event of the London International Fashion Showcase 2012, this paper explores each nation’s definition of fashion, cultural identity, and location in the international fashion market. The showcase exhibited a wide spectrum of cultural identities. The fashion of some Asian and African nations appeared largely based on local color, while that of China and Australia appeared to be attempting to overcome what is seen as the stigma of local parochialism. Likewise, the fashion of some European nations appeared to reflect a consumerist culture, while that of Korea, Japan, and Estonia appeared to be experimenting with new and imaginative ideas. Meanwhile, in Belgium, Italy, and the United States, fashion appears to reflect an industrial system where contemporary aesthetics is methodically transformed into fashion products. Finally, in the Netherlands, fashion appears to be a form of contemporary culture constantly interacting with modern life. Here, locality is the ability to communicate a contemporary agenda in fashion as well as art. In fashion, as in language, the local and the global are not matters of conflict or dominance. Rather, fashion, as suggested by the London International Fashion Showcase, is a language that enables us to communicate with and negotiate the realms of contemporary life.
-
-
이재윤(Jae Yoon Yi) 한국복식학회 2011 服飾 Vol.61 No.1
Modernity is commonly defined as a reflection of the features of modern society based on the historical Modernity is commonly defined as a reflection of the features of modern society based on the historical experience of the West. As such, modernity includes involvement with political, economic, and social changes, a changing world-view, and changing trends in equality, gender roles, a desire for the new, consumption, distribution based on mass production, and rational reform in fashion and dress. First and foremost, however, modernity in costume has been driven by the functional requirements of industrial capitalism. But while modernity has popularly been regarded as some sort of universal standard, in fact the West and the other societies have vastly different, unique, and particular experiences with their own respective histories of modernization. For this reason, cultural changes in the modernization process should be-indeed, must be-analyzed in the context of a country`s own unique historical and cultural circumstances, rather than through the prism or strict adaptation of generalized Western concepts of modernization. Moreover, a periodization of the modernization of fashion and dress can be established by examining the characteristics of modernity in costume.
-
1920-30년대 한국의 이상적 “신여성” 이미지와 패션
이재윤(Jae Yoon Yi) 한국복식학회 2014 服飾 Vol.64 No.7
The term “new woman” (신여성 [Sinyeoseong], 新女性) refers to an idealized image of contemporary women during the so-called modern period in East Asia. In Korea, these “modern girls” were also referred to as modan (毛斷), or “cut-hair”, reflecting changes in appearances that rejected the traditional value system in favor of “the new” in everyday life. Although it was used to refer to the perceived educated leaders of this new period, it also had the negative connotation of referring to frivolous women only interested in the latest fashion. The popular discourse on this “new woman” was constantly changing during this early modern period in East Asia, ranging from male-driven women’s movements to women-driven liberal and socialist movements. The discourse often included ideals of what constituted female impeccability in women’s domestic roles and enlightened views on housekeeping, yet in most cases the “new woman” was also expected to be a good wife and mother as well as a successful career woman. The concept of the “new woman” was also accompanied by an upheaval in women’s social roles and their physical boundaries, and resulted in women repositioning themselves in the new society. The new look was a way of constructing their bodies to fit their new roles, and this again was rapidly reproduced in visual media. Newspapers, magazines, and plays had gained immense popularity by this time and provided visual material for the age with covers, advertisements, and illustrations. This research will explore the fashion of the “new woman” through archival resources, specifically magazines published in the 1920s and 1930s. It will investigate how women’s appearances and the images they pursued reflected the ideal image of the “new woman.” Fashion information providers, trendsetters, and levels of popular acceptance will also be examined in the context of the early stage of the fashion industry in East Asia, including production and distribution. Additionally, as the idea of the “new woman” was a worldwide phenomenon throughout the 19th and early 20th century, the effect of Japanese colonialism on the structure of Korean culture and its role as a cultural mediator will also be considered in how the ideal image of beauty was sought, and whether this was a western, colonial, or national preference.
ScienceON연관 검색어 추천
이 검색어로 많이 본 자료
활용도 높은 자료
