현대 패션에 나타나는 남성복 디자인의 유희 특성에 관한 연구

허가영,김영선 한국기초조형학회 2020 기초조형학연구 Vol.21 No.3

In contemporary fashion design, playful expressions appear in various ways, and its importance is further highlighted. In particular, interesting experimental attempts are frequently occurring in recent menswear design. The purpose of this study is to derive the characters of play through theoretical considerations such as philosophy, aesthetics and phenomenology, and to analyze the play characters by applying it to the contemporary menswear. In order to focus on the menswear, where playful expressions began to stand out, the research scope was limited to menswear design in the last 5 years and digital fashion design using the latest technology to reflect the situation in which virtual fashion is attracting attention also included. Through the theoretical considerations of play, the characteristics of play were derived: purposelessness, de-ideology, and virtuality. Purposelessness means to enjoy the play itself without pursuing any other purpose through play activities. In contemporary fashion, only playful aspects are emphasized without functionality and practicality. De-ideology means free expression from the rules of reality or stereotypes, and in contemporary fashion, it appears as an attempt to form a new boundary beyond the double regulation according to gender distinction. Virtuality means a phenomenon in which digital technology is incorporated as a media characteristic of play, and in contemporary fashion, it is presented as a non-material design adopting new technology. The concept of traditional play is reinterpreted with original attempts and designs in line with the trend of the times, and it was found that the characteristics of play a key role in contemporary fashion design. As such, play has significance in this study in that it serves as a fundamental value rather than a secondary and marginal concept, and suggests that it also serves as a driving force for origination and creation in contemporary fashion design. 현대 패션 디자인에서 유희적 표현은 다양하게 나타나며, 그 중요성은 더욱 부각되고 있다. 특히, 최근남성복 디자인에서는 재미있고 흥미로운 실험적인 시도들이 빈번히 일어나고 있다. 이러한 현상에 주목하여 본 연구는 유희 개념을 철학·미학·현상학 등의 다각적인 이론적 고찰을 통해 유희의 특성을 도출하고, 이를 현대 남성복 패션디자인에 적용하여 분석하는 것에 연구의 목적을 갖는다. 연구 범위는유희적 표현이 두드러지는 최근 5년간의 남성복 디자인으로 한정하였고, 가상 패션이 주목되는 상황을 반영하기 위해 최신 기술을 활용한 디지털 패션 디자인을 포함시켰다. 유희 개념의 이론적 고찰을통해 무목적성, 탈관념성, 가상성의 유희 특성을 도출하였다. 무목적성은 유희 활동을 통해 다른 목적을 추구하지 않고 유희 자체를 즐기는 것을 의미하는 것으로 현대 패션에서는 기능성과 실용성이 배제되어 유희적인 측면만 강조되는 형태로 나타난다. 탈관념성은 현실의 규칙이나 고정관념에서 벗어나 자유롭게 표현되는 것을 의미하며 현대 패션에서는 남녀 성구별에 따른 복식 규정을 넘어 새로운경계를 형성하려는 시도로 나타난다. 가상성은 유희의 매체적 특성으로 디지털 기술이 접목된 현상을의미하며, 현대 패션에서는 신기술을 통한 비물질적인 디자인으로 제시된다. 현대 패션 디자인에서는전통적인 유희의 개념은 시대의 흐름에 맞춰 독창적인 시도와 디자인으로 재해석되어 발현되고 있으며, 현대 패션 디자인 근저에 유희의 특성이 핵심적인 작용을 하고 있는 점을 알 수 있었다. 이렇듯 유희는 부차적이고 주변적인 개념이 아닌 근본 가치로서 작용하고 있으며, 현대 패션 디자인에서도 창조와 생성의 원동력으로 작용한다는 관점을 제시한다는 점에서 본 논문의 의의를 갖는다.

경쟁형 놀이의 탈일상성

유영근(Yoo, Young-Geun),박관수(Bak, Gwan-Su) 실천민속학회 2014 실천민속학연구 Vol.23 No.-

경쟁형 놀이는 놀이 참가자들이 경쟁 구도 하에서 즐기는 놀이의 형태를 말한다. 본고에서는 놀이에 경쟁이 존재하는 현상에 대해 주목하고자 한다. 이를 위해 놀이의 탈일상성에 대해 논의한 후, 탈일상성이 경쟁형 놀이에서 어떠한 역할을 하는지 논의하고 한다. 본고에서는 놀이를 특별한 목적이나 생존 자체에는 직접 관계가 없을지라도 그것 자체로써 흥미가 있는 것을 스스로 느끼는 활동의 총칭으로 정의한다. 그리고 경쟁은 같은 목적에 관하여 서로 겨루어 다툼으로 정의한다. 이러한 정의는, 탈일상성이 목적성 유무와 밀접하게 연관되기 때문에 놀이의 목적성에 주목하면서 탈일상성에 대한 논의를 가능하게 한다. 위의 정의들을 고려하면, 놀이가 경쟁의 형태를 띤다는 것은 모순처럼 보인다. 경쟁형 놀이는 말 그대로 ‘놀이’이기에 무목적성을 지녀야 하는데, ‘경쟁형’이라는 수식어가 추가되면서 ‘경쟁형 놀이’는 “일정한 목적이 존재하는 형태의 목적이 없는 것”이라는 모순적인 개념으로 정의되기 때문이다. 그러나 일부 놀이들은 경쟁성을 바탕으로 하고 있음을 확인할 수 있다. 그런데 목적은 현실에서의 이해관계와 직접적으로 연관되어 있는 목적과 현실에서의 이해관계와 무관한 목적으로 나눌 수 있다. 이러한 관점에서 경쟁형 놀이에서는 놀이 구성원들이 공동의 목적을 이루기 위해 경쟁하되, 그 목적은 현실에서의 이해관계와는 무관한 것으로 이해할 수 있다. 이러한 상황 때문에 아무런 목적 없이도 경쟁이 이루어지는 것이 가능한 것이다. 경쟁형 놀이에서의 목적은 놀이 특성 중 하나인 탈일상성과 밀접한 연관이 있다. 본 논문에서는 경쟁형 놀이의 탈일상성 형성에 기여하는 요인들을 분석하고, 각각의 요인들이 탈일상성을 형성하는 과정을 구체적으로 고찰하고자 한다. 이러한 논의는 본인이 직접 놀이들을 경험하고 채록한 ??초?중등 학생들의 놀이문화??라는 책을 바탕으로 하고자 한다. Competitive play refers to the type of play where participants are under the form of competition. This paper focuses on the existence of competition in plays. For this, this paper will first discuss about play"s escape from daily life, and then deal with the roles escape from daily life plays in competitive plays. This paper defines plays as something that is done without specific objective or is not directly related to the survival itself, but has characteristics which allow people involved to be interested or have fun and competition as fighting or rivaling on the same objective. Such definitions, since escape from daily life gets to be closely related with the concept of objective, allow the discussion on escape from daily life while focusing on objectives of the plays to be done. Considering the definitions above, it seems like a paradox for plays to be competitive. Competitive play, since it is a type of play, must have no objective while, since it is competitive, it should have specific objective at the same time. Then the term competitive play is defined as something that is done without any objective, which has characteristics of fighting or rivaling on the same objective. Such definition is clear paradox. However, some of the competitive plays indeed were found. However, the concept objective can be divided into two: one that is directly related to daily life and another that is not. From this perspective, competitive play can be understood as participants rivaling for some objectives that are relevant only in the play, not in the daily life. This explains how competition can be done without objectives. Objectives in competitive plays are closely related to escape from daily life, one of the characteristics of competitive plays. This paper will analyze the factors that contribute in the formation of escape from daily life in competitive plays, and elaborate on how each factors contributes in the formation. Such discussions will be substantiated by ??Play Culture of Elementary, Middle School Students??, which is a direct field recording of various plays researched by the author himself.

신체활동의 근원으로서 ‘놀이’의 미학적 고찰

이승건 한국체육철학회 2012 움직임의철학 : 한국체육철학회지 Vol.20 No.4

The classical play theory of aesthetics is expounded by Friedrich Schiller in his Letters on the Aesthetic Education of Man. He contends that man, as well as some of the other animals, possesses a primary 'play impulse'(Spieltrieb) which, when stimulated by superabundant energy, manifests itself in the free, non-utilitarian exercise of his various faculties. Schiller's doctrine of play may be briefly summarized as follows: First, play originates as the natural and spontaneous expression of a primary instinct activated by the overflow of vital energy. Second, play consists in the functioning of faculties in the fashion to which they are normally adapted, cognitive as well as physical, but without the compulsion of either internal pressures or external demands. But Huizinga explains play which it was not my object to define the place of play among all other manifestations of culture, but rather to ascertain how far culture itself bears the character of play. Huizinga maintains that there is a primitive and non-reducible play instinct to which not merely are but essentially all forms of human culture may be attributed. Then Caillois builds critically on the theories of Huizinga, adding a more comprehensive review of play forms. Furthermore, Caillois is disputes Huizinga's emphasis on competition in play. He also notes the considerable difficulty in defining play. He argues that we can understand the complexity of games by referring to four play forms. Agon, or competition. Alea, or chance. Mimicry, or mimesis, or role playing. Ilinx, or vertigo, in the sense of altering perception. Like Huizinga, Caillois sees a tendency for a corruption of the values of play in modern society as well as for play to be institutionalized in the structures of society. Specially, he originally elaborated for the cultural sciences, applicable to aesthetics. Thanks to them(Huizinga and Caillois), the play became a cultural matter. In addition, through their studies on play, now we were able to discuss the culture of bodily activity. Also, the play as a culture of bodily activity can be dealt with in the realm of body aesthetics. So, I strongly advocated that the characteristics (physicality, spirituality, non-purpose, freedom, pleasure, etc.) of play has aesthetic significance. Finally I has been illuminated on play as a source of bodily activity from the aesthetic point of view. 인간의 문화적 행위로서 놀이에 관한 사색은 근대기의 독일 미학에서 놀이의 인간학적 내용을 갖는 쉴러와 칸트의 ‘놀이의 미학’에서 유래한다. 그들은 놀이가 감성계(자연)와 이성계(자유)를 매개하며 조화롭게 하는 유일한 인간적 행위임을 강조했다. 그러나 이와 같은 놀이 이론은 미학의 영역에는 물론이고 신체활동을 포함하는 문화의 영역에도 영향을 끼쳐, 전자에서는 미적 교육론 및 미적 대상론으로 그리고 후자에서는 놀이의 문화이론으로 이어지고 있다. 특히, 문화적 관점에서 놀이에 집중한 연구자로는 호이징하와 카이와를 꼽을 수 있는데, 호이징하는 예술, 종교 및 전쟁을 포함한 인간의 모든 행위는 문화이며 그 근저에는 놀이가 자리 잡고 있다는 견해를 내 놓아 ‘놀이의 문화학’을 전개시켰다. 또한 카이와는 호이징하의 놀이로서 문화에 대한 연구를 비판적으로 접근하면서 놀이 자체의 서술과 분류에 착수하여 신체활동의 전 영역을 아우르는 자신만의 독창적인 정교한 놀이 이론을 만들었을 뿐만 아니라, 놀이형식과 사회구조 간의 상관관계를 심도 있게 조명하여 ‘놀이의 사회학’을 선 보였다. 호이징하와 카이와의 연구 덕분에, 이후 놀이 연구가들은 놀이의 형식적 특성에 몰두하여 놀이에는 ‘신체성’, ‘정신성’, ‘무목적성’, ‘자유’, ‘쾌’라는 고유한 특성이 있음을 밝혀냈다. 특히 이와 같은 놀이의 특성들은 미학적 관점에서도 해석이 가능한 개념들이어서, 연구자는 이 놀이의 특성들을 통해 놀이가 신체활동의 근원이며 미학적 탐구의 대상임을 분명히 하였다.

로마노 과르디니(R. Guardini 1885-1968)의 예배이해 연구

안선희 한국실천신학회 2018 신학과 실천 Vol.0 No.61

예배의 변화에 대한 열망이 깊어가는 시대이다. 이 시대에 대한 성찰은 독일 신학자 로마노 과르디니(R. Guardini 1885-1968)를 떠오르게 한다. 과르디니는 오늘과 마찬가지로 ‘예전에 대해 열광하는 시대’를 살며, 목회를 하고, 신학을 가르쳤다. 오늘 한국사회와는 다른 역사적, 문화적 배경의 과르디니가 소위 ‘예전에 열광하는 시대’를 살면서 제시한 통찰이, 그 어느 때 보다 예배에 관한 논의가 활발한 현재의 한국교회에 성찰의 실마리를 제공할 가능성이 있다. 이런 이유에서 이 논문은 로마노 과르디니의 예배이해를 연구한다. 예배이해는 예배자의 삶의 자리와 인간에 대한 이해를 비롯해서 세계관 및 문명이해와 깊은 연관 속에 있다. 그래서 이 논문에서는 과르디니의 생애와 사상의 울타리를 먼저 서술하고, 그의 예배이해를 다룬다. 로마노 과르디니는 무엇보다도 먼저, 예배와 삶, 정신과 행위, 놀이와 진지함 등 자칫 대립 또는 모순적인 이항대립쌍이 통합되어야 할 것을 강변한다. 나아가 예배는 경제행위와 같이 분명한 목적을 지닌 행위와는 달리, 무(無)목적적이라고 주장한다. 그에 의하면, 예배는 마치 놀이와도 같다. 다른 목적을 달성하기 위해 복무하는 행위가 아니라, 그것 자체로 목적인 ‘놀이로서의 예배’이다. 마지막으로 자칫 예배의 미학이 놓치기 쉬운 점을 지적함으로써 당시 예전갱신의 방향성을 제시하고 있다. 예배에서의 아름다움에 대한 추구가 씁쓸한 인간구원의 문제를 넘어서지는 못한다는 것이다. 오히려 모든 표현방법과 수단을 통해 드러나고, 말해지고, 성취되어야 할 것은 진실, 영혼의 운명, 실제의 삶이다. 과르디니의 ‘예배의 진지함’에 대한 통찰은 아름다운 한국교회의 예배를 예리하게 성찰하도록 돕는다. 로마노 과르디니의 신학적 작업들은 제 2차 바티칸 공의회의 예전갱신에 근거가 되었다. 과르디니는 무엇보다도 의식적이고 능동적이며 완전한 예배에의 참여의 중요성을 언급한다. 구체적으로 진정한 참여는 예배자의 ‘고요’, ‘침묵’, ‘집중’ ‘행동’을 통해 가능하다. Thirst for a change in liturgy is stronger than ever in Korea now. The insight into this thirst brings German theologian R. Guardini, who lived in ‘the age of enthusiasm for liturgy,’ serving church, and teaching theology. His insight from different historical and cultural background could give a clue for insight to Korean church in its active discussions on liturgy. To understand liturgy is to understand the life and the world view of the people involved in liturgy, and their understanding of humanity and civilization, also. The life and thoughts of Guardini will be described at first, and his understanding of liturgy will be covered later. Guardini argued that the seemingly opposite elements like liturgy and real life, mind and behavior, seriousness and playfulness should be integrated. Unlike other activities with clear purposes as economic one, liturgy is an aimless activity for itself. Liturgy is like a play, which serves no other purposes but its own, ‘liturgy as a play.’ He also pointed out things liturgical aesthetics in suggesting the direction for liturgical renewal in his time. He believed the pursuit for the liturgical beauty could not be prioritized over the problem of human salvation. Rather, it is truth, destiny of spirit, and real life that must be revealed, told, and accomplished by any methods and means of expressions. His insight into ‘liturgical seriousness’ inspires a critical reflection on Korean liturgy, which seeks for liturgical beauty only. Guardini’s theological work provided a ground for the liturgical renewal of the Vatican Council II. He emphasized conscious, active, and full participation in liturgy, which could happen by ‘quietness,’ ‘silence,’ ‘concentration,’ and ‘action.’

부산 영화의 전당에 나타난 쿱 힘멜블라우 건축의 공간적 특성에 관한 연구

최규혜(제1저자) ( Gyuhye Choi ),윤재은(교신저자) ( Jaeeun Yoon ) 한국공간디자인학회 2015 한국공간디자인학회논문집 Vol.10 No.6

(Research Background and Purpose)The Busan Cinema Center, designed by Coop Himmelb(l)au, is considered a landmark building from the perspective of deconstructive spatial aesthetics. This study examines the spatial characteristics of the Busan Cinema Center with Coop Himmelb(l)au`s spatial philosophy as the research background. (Research methods) This paper starts with a theoretical approach to Coop Himmelb(l)au`s philosophy of deconstruction architecture. The spatial domain has been described in Coop Himmelb(l)au`s unique philosophy of deconstruction architecture. Hence, first, the spatial characteristics of the Busan Cinema Center are analyzed with a theoretical approach to the architectural philosophy of Coop Himme(l)blau. This is followed by a real-scene analysis of the Busan Cinema Center. To this end, this paper uses a field survey to analyze the spatial and expression techniques shown in the Busan Cinema Center representing the architectural philosophy of Coop Himmelb(l)au. (Results) The results of this study reveal five architectural characteristics of the Busan Cinema Center. First, the structure of the space is irregular. The Busan Cinema Center comprises an irregular space characterized by sloppiness, penetration, cleft, and geometrical conflict. Irregular space refers to an open space causing a visual sense of motion and a feeling of tension. Second, the space is non-territorial. The Busan Cinema Center uses spatial elements, which are overlapping and ambiguous, in a complex manner. The blurred space is converted into a non-territorial, open space. Third, the space is transparent. The Busan Cinema Center was formed as a transparent piece of architecture from glass and linear materials. Transparent architecture creates an open space by enabling the mutual intersection of internal and external spaces. Fourth, the architecture is organic. Big Roof and Small Roof, and Bridge in Air illustrate gravity-defying designs, dynamism, and fantastic, imaginary architecture. Lastly, the architecture changes per the users` needs. The Busan Cinema Center demonstrates new forms and spaces which have user-oriented aesthetic characteristics such that the spaces change and move according to the users` needs. These results indicate that the architecture of the Busan Cinema Center is characterized by an open space that is valued most highly in Coop Himmelb(l)au`s philosophy. (Conclusion) This study was conducted to help people understand that the Busan Cinema Center is not only a theater dedicated to the Busan International Film Festival (BIFF), but is also a monumental building that was constructed to promote the efficient management of the BIFF. This festival began with the political and economic purposes of initiating the second take-off of Busan and launching the tourism industry, which is its foundation industry, as well as to create an identity of Busan as a city of visual culture. This background knowledge helps us understand that the Busan Cinema Center is an architectural work embodying the architectural philosophy of Coop Himmelb(l)au and the aesthetics of open space.

A Study on the Spatial Characteristics of Coop Himmelblau Architecture Represented in Busan Cinema Center

최규혜,윤재은 한국공간디자인학회 2015 한국공간디자인학회논문집 Vol.10 No.6

(Research Background and Purpose)The Busan Cinema Center, designed by Coop Himmelb(l)au, is considered a landmark building from the perspective of deconstructive spatial aesthetics. This study examines the spatial characteristics of the Busan Cinema Center with Coop Himmelb(l)au’s spatial philosophy as the research background. (Research methods) This paper starts with a theoretical approach to Coop Himmelb(l)au’s philosophy of deconstruction architecture. The spatial domain has been described in Coop Himmelb(l)au’s unique philosophy of deconstruction architecture. Hence, first, the spatial characteristics of the Busan Cinema Center are analyzed with a theoretical approach to the architectural philosophy of Coop Himme(l)blau. This is followed by a real-scene analysis of the Busan Cinema Center. To this end, this paper uses a field survey to analyze the spatial and expression techniques shown in the Busan Cinema Center representing the architectural philosophy of Coop Himmelb(l)au. (Results) The results of this study reveal five architectural characteristics of the Busan Cinema Center. First, the structure of the space is irregular. The Busan Cinema Center comprises an irregular space characterized by sloppiness, penetration, cleft, and geometrical conflict. Irregular space refers to an open space causing a visual sense of motion and a feeling of tension. Second, the space is non-territorial. The Busan Cinema Center uses spatial elements, which are overlapping and ambiguous, in a complex manner. The blurred space is converted into a non-territorial, open space. Third, the space is transparent. The Busan Cinema Center was formed as a transparent piece of architecture from glass and linear materials. Transparent architecture creates an open space by enabling the mutual intersection of internal and external spaces. Fourth, the architecture is organic. Big Roof and Small Roof, and Bridge in Air illustrate gravity-defying designs, dynamism, and fantastic, imaginary architecture. Lastly, the architecture changes per the users’ needs. The Busan Cinema Center demonstrates new forms and spaces which have user-oriented aesthetic characteristics such that the spaces change and move according to the users’ needs. These results indicate that the architecture of the Busan Cinema Center is characterized by an open space that is valued most highly in Coop Himmelb(l)au’s philosophy. (Conclusion) This study was conducted to help people understand that the Busan Cinema Center is not only a theater dedicated to the Busan International Film Festival (BIFF), but is also a monumental building that was constructed to promote the efficient management of the BIFF. This festival began with the political and economic purposes of initiating the second take-off of Busan and launching the tourism industry, which is its foundation industry, as well as to create an identity of Busan as a city of visual culture. This background knowledge helps us understand that the Busan Cinema Center is an architectural work embodying the architectural philosophy of Coop Himmelb(l)au and the aesthetics of open space.