이 글은 근현대의 유・불 효의례 가운데 제사·재의 간소화와 대중화 방안을 살펴보고 효의례 문화를 개선하려는 데 그 목적이 있다. 유교의 제사는 문중의 예법과 가문의 법도를 중요시하며, 불교의 재는 정형화한 법공과 재공으로 이루어져 간단하게 축소・통합하기 어렵다. 게다가 제사의 비용도 그 정성과 무관하지 않아서 제사·재의 합리적 절차나 간소화에 방안은 선뜻 제안하기 어렵다. 따라서 제사·재는 본래 정성스러운 마음가짐이 중요하다는 인식의 개선을 위해 온라인 등의 근접매체를 활용하여 바르게 알리는 방법이 있을 수 있겠다. 유・불 효의례의 대중화에 관한 두드러진 문제는 대중이 함께 공감하며 동참하는 제사·재 문화의 부재이다. 유교의 제사는 한자사용의 보수적 성향으로 제사의 의미를 전달해 주 지 못한다. 불교의 재도 집전자가 어려운 한문의 일방적인 법식을 베풀며, 그 시간도 오래 소요되어 개선책을 요구한다. 그 가운데 유・불 제 사·재에 관한 불평등과 불균형은 더 심각한데, 유교는 제사준비의 여성 부담감으로 부부간의 갈등과 이혼율이 매년 증가하고 있다. 획기적인 변화가 어렵다면 여성들의 어려움을 함께 나누거나 따뜻한 말 한마디가 갈 등을 예방할 수 있다. 불교의 재도 대부분은 ‘청하는 의식’으로서 대중이 이해할 때까지만 기다리는 것이 아니라 함께 공감하며 동참하도록 그 구조를 과감히 개선해야 한다.

The fashion industry analyzes the value of its essence with ecological design and is expressed as an innovative sculpture using digital technology. Accordingly, this study explores ecological images and digital technologies, categorizes types and derives their meanings through analysis of ecological images shown in modern digital fashion. A literature survey was conducted on ecological images and digital technology as a theoretical background. To analyze the expression type and internal meanings of ecological images, designs with ecological formability were selected and analyzed from related journals, books, and internet sites. The finding are as follows: The expression type was first identified as organic curved garment silhouettes of a non-material liquid with digital retouching. Second, ecological fashion design includes structural shape that applies the silhouette of an organism and patterning of the ecosystem. Third, ecosystems consist of interactions between components of an ecosystem that appear in the interactive type. Accordingly, the internal meanings of ecological images in modern digital fashion are: first, digital fashion can encircle the inherent concepts of nature as organic collections of individuals; second, digital ecological images emphasize a sense of community with coexistence and harmony, playing a complementary role; and finally, the images express perceptual features by providing people with transcendent experiences. This study is significant as it analyzes new formative features based on ecological systems in the digital fashion environment, establishes an aesthetic system through internal meanings, and enhances awareness of human-natural relationships.

The purpose of this study is to contribute to the role of lines in creative design development by analyzing the expression types and aesthetic characteristics of modern fashion using geometric formativeness of symmography. A literature study was conducted of works since 2009 to examine the general consideration of lines together with analysis of the concept and characteristics of symmography in the formative arts field, and to analyze the expression types and aesthetic characteristics of modern fashion design using the formativeness of symmography. The infinite sense of formativeness and original expression of symmography are used in formative arts such as space design, installation art, and industrial design. Expression types of modern fashion design using geometric formativeness of symmography can be classified into the following three types: two-dimensional graphic pattern, relief surface, and threedimensional spatial. First, the two-dimensional graphic pattern type forms an optical pattern, providing individuality and visual interest to the textile design. Second, the relief surface type expresses the plane in various ways, so that the thickness changes according to how lines overlap. Third, the three-dimensional spatial type expands the boundaries of clothing and creates a fantastic spatial beauty. Next, the aesthetic formativeness of fashion design using symmography can be classified into repetitive rhythmicity, geometric self-similarity, and optical spatiality. Symmography enables a myriad of geometric patterns to be developed depending on material, color, and the designer’s imagination, and helps inspire a variety of designs in fashion that sculpt a three-dimensional human body.

The aim of this study is to investigate morphological characteristics of Hanbok images in children’s books and propose a direction for the modernization and globalization of traditional culture. This study examines 43 children’s books by contemporary foreign illustrators that contain Hanbok illustrations and analyzes them from postcolonial perspective. The results include the following three attributes: first, the transformation of clothing structure and donning method that confuse fundamentals of Korean costume; second, the Westernization of silhouette drawing with tailored garments analogous to Western dress; and third, extension to East Asian dress that represents Hanbok mixed with Chinese or Japanese costume and use what is considered to be the East Asian patterns instead of Korean traditional ones. These attributes are based on Eurocentrism, which expresses and interprets the East from the Western view point with continuously distorted image of the East. Korean illustrators also painted Hanbok incorrectly, which could influence foreign illustrators. Nevertheless, traditional dress illustrated in various ways has artistic value and has a popular global impression. Further, it enables children to experience either own or other cultures through dress illustrations. Thus, the outsider requires an in-depth understanding of other cultures, while the insider needs a critical perception of their own culture as described by others while revisiting the original resources. Furthermore, we suggest follow-up research on Hanbok for subsequent generations; publishing translated books on various topics, producing and disseminating a primer for diverse readers, and essentially receiving counsel from experts.

The focus of this study is to investigate the impact of the debate and decision-making on Literary Sinitic education in Korea and China after modern times. In addition to the differences in space and time background, South Korea and China have very similar development process and outcome in many aspects, such as Chinese character education, Chinese language education and debate and decision-making related to language policy. The dual structure of this study, which has both universality and particularity, is different from that before modern times. And this kind of difference is also the present appearance of Sino-sphere.

In this study, six mainland Chinese designer brands—Xander Zhou, Sankuanz, Sean Suen, Feng Chen Wang, Pronounce, and Angel Chen—were selected that had their works presented at both Chinese and global fashion shows between 2016 and 2021. By analyzing the design characteristics of each brand, it is possible to understand the style characteristics and trends of Chinese menswear designs. A case study approach was adopted utilizing literature data, whereby 1663 photos were collected from the fashion information website POP (www.pop-fashion.com). Changes in Chinese men's image and the menswear market were identified. The design characteristics of modern Chinese menswear are as follows. First, the results from analyzing the target brands show that each brand has a distinct personality. Compared with the traditional or formal style, urban casual and sports styles (based on street style) account for a larger proportion. Second, the boundaries between different styles are becoming ambiguous, and contrasting styles are harmoniously expressed by breaking down boundaries through changes and combinations of colors, materials, and details. Third, after examining the overall trend, 2018 was a watershed point, after which the design trend has changed from either conservative or exaggerated to a practical and everyday style, demonstrating a genderless trend.

The aim of this study was to reveal the modern succession and reinterpretation of brand identity through the case of Balenciaga design presented by Demna Gvasalia through a review of the literature, design collection, and design review analysis. The design collection analysis was conducted from 2016 F/W to 2020 F/W, when Demna Gvasalia commenced responsibility for the Balenciaga collection. A total of 12 articles from overseas fashion magazines and newspapers were analyzed. A modern reinterpretation of Demna Gvasalia’s Balenciaga design is as follows. First, he introduced luxury mode to reflect a sense of the times and introduced luxury street looks based on street and sports sensibilities, showing various styles without specific concepts. Second, by sharing universal sensibilities based on pragmatism, he proposed an easy-to-wear outfit for daily life to demonstrate the everydayness of fashion. Third, as a new exploration of traditional structural beauty, the design of Cristobal Balenciaga was reinterpreted through the conversion of items, overlapping outfits, and the introduction of high-tech technologies. Fourth, by taking a conceptual approach to fashion, he has renewed the spirit of experimentation and modernity shown by Cristobal Balenciaga. Fifth, with the presentation of a new icon, new styles of sneakers such as Triple S and Speed Runner are presented as new icons. He inherited the original mindset and creative approach of the house's founder, Cristobal Balenciaga, and reinterpreted it from a contemporary street sensibility and pragmatic perspective.

본고는 『現代漢語詞典』(第7版)에 보이는 ‘自+X’, ‘X+自’ 구조 중 동사로만 표시된 어휘를 추출하고 목록화하여 분류한 후 그 형태·통사적 특징을 규명하고 있다. 첫째, ‘自’가 조응사성으로 기능하는 경우인데, ‘X’가 타동사로 쓰인 ‘自+X’ 구조에서만 나 타난다. ‘自’는 재귀대명사로서 ‘X’ 뒤에서 대상역(theme role)의 동일 지표화 흔적만 남기고, 동시에 ‘X’ 앞에서 대상역으로서 조응사성 역할을 하면서 주어로 올 어구(語句)와 동일 지표화한다. 이것은 ‘自’가 분산형태적 모습으로 통사적 연산의 예비적 가능성을 내포하고서 ‘自+X’가 내현적 통합합성어를 형성함을 보여 준다. 둘째, ‘自’가 조응사성이 아닌 경우로 ‘自+X’, ‘X+自’ 구조에서 모두 나타난다. 이때의 ‘自+X’는 ‘自’가 대명사이면서 통사 층위에서 앞에 올 주어와 동격이거나 내부적인 부사어 역할을 한다. ‘X+自’는 ‘来自’, ‘出自’가 있는데, 이전에 어구였던 것이 『現代漢語詞典』 제6판부터 한 낱말이 되었다. 이들은 모두 동일 지표화 과정을 거치지 않고 뒤에 목적어를 가질 통사적 가능성을 띠면서 내현적 통합합성어를 형성한다. 결론적으로 현대 중국어 동사 ‘自+X’, ‘X+自’ 구조는 내현적 통합합성어를 형성하여 분산형태적 형태·통사 특징을 보여 주고 있다.

The markets are the basic urban facilities for maintaining daily life. Although the urban structure changed rapidly and the population quickly concentrated in the city, the markets remained traditional and backward. To solve various problems in the small excess markets, the Seoul Metropolitan Government had pushed ahead with the market modernization plan since 1967. The purpose of this study is to analyze the process of establishing the market modernization plan and the progress of this project, and to identify the historical meaning of this plan. The results of this study as follows; The market modernization plan aimed to modernize market operation system as well as buildings, and the Government was able to achieve its first goal by enforcing the construction of high-rise buildings, as the markets were newly built with the relatively large scaled fireproof structures. Despite its various limitations, these markets were also regarded as the model of the modern market.

본 논문은 현대중국어 客套语의 활용현황과 특징을 고찰하였다. 중국어 교육 내에 서 특히 비즈니스 중국어 학습자들에게 필요한 부분이라고 판단되어, 비즈니스 목적 의 중국어 교재에 수록된 客套语의 제시 상황을 분석하였다. 비즈니스 화행에 따라 안부 및 소개, 부탁 및 요청, 사과 및 양해 구하기, 감사, 접대 및 선물하기로 분류하 였다. 주요 고찰 결과와 시사점을 토대로 향후 연구에서는 등급별, 수준별 교육 내용 과 방안을 논의할 계획이다. 관련 후속 연구가 활발히 이어져 한층 더 효과적인 客套语 교육 방법이 마련되어 중국어 교육 현장에 활용되길 기대한다.

본고에서는 주관성을 기저로 ‘一会儿’과 ‘不一会儿’ 구문의 생성조건을 분석하여 두 구문의 차이를 살펴보았는데, ‘一会儿’은 객관량과 주관대량 및 주관소량을 나타내고, ‘不一会儿’은 주관소량만을 나타내며 주관성이 더 강조된다. 그 중 ‘不’는 주관정태표 지사로 작용할 뿐만 아니라 두 구문 사이에 양의 등급성을 구현한다. 나아가 ‘不一会 儿’ 구문의 주관성 획득 과정 및 부정표지사가 여전히 구문에 존재하는 내부 원인을 분석해 보았다. ‘(不)一会儿’ 구문은 전체는 부분을 우선한다는 인지적 현저성을 근거 로 잉여부정구문으로 부호화된 구문 전체를 우선 지각한 다음 구성소로서 부정표지 사의 정보를 지각하고 선택 배치한다. 이때 구문 내 부정표지사 ‘不’의 주관성이 강 요되며, ‘不’는 주관소량의 표지사로서 구문의 표의에는 어떠한 변화도 생기지 않은 채 문장의 표면에 명시되어 화자의 강한 주관정태를 전달함을 알 수 있었다.

As a cultural feature of, the relics of the Royal Tomb of King Muryeong are suitable design content for applying with sophisticated production and delicate molding laser cutting techniques. The purpose of this study is to develop modern bag designs using relics of the Royal Tomb of King Muryeong of Baekje using laser-cutting techniques. First, the historical background and meaning of Baekje’s cultural content were explored. Second, the principle of laser-cutting techniques were explored, laser-cutting techniques applied to modern fashion and bag design were examined, and bag design characteristics were analyzed. Third, based on prior research, the criteria for the development of bag design, from which eight bag design were developed that combine modern popularity and functionality utilizing Baekje cultural content and using laser-cutting techniques to apply the textile design developed by researchers in 2013 (modified to match laser-cutting techniques). The research results show that bag were clutch, tote, shoulder, and mini. Gold, silver, brown, beige, and navy colors were arranged, based on black/white contrast. Cow, lambskin, washed snakeskin, mesh, and Saffiano leather were used. For the pattern-applying technique, this study showed that a new digital technique, which is laser-cutting techniques could be combined with contemporary bag designs. Moreover, a bag design was developed that has a modern sense and functionality as well as Korean formativeness, which is significant.

The purpose of this study was to develop contemporary Qipao design that emphasized creative feminine beauty with a unique sense beyond the concept of traditional Qipao design. This would be achieved using the expressive technique of human liberation from the oppression of the unconscious world a supported by surrealism. Using existing literature and previous research, surrealist expression technique used in fashion were investigated and analyzed. The results are as follows. First, the possibility of new and original design beyond existing surrealistic Qipao design was demonstrated through various realistic surrealism expression techniques, such as dépaysement, objet, and trompe-l’oeil techniques. This occurred by exploring various unconscious world out of fixed ideas and through expression techniques of surrealistic fashion such as imagery of body parts, metaphorical expression of objects, and position deformation and illusion. Second, Qipao design that combined objet and attempted ordinary escape by combining isolated body parts (such as hands, eyes, and lips) within the composition combine with surrealistic expression enabled various and fun surrealistic fashion designs to emerge. Third, the metaphor of surreal lips and eyes (mainly used in works of this study) presented a unique and extraordinary combination of images in accessories and partial design that used the dépaysement technique. Thus, it was possible to expand surrealistic expression by including LED wire.

현대 메모리얼 공간은 역사의 어두운 면과 잊혀지는 사람들을 기억하고자 하며 기억을 고착화 하는 것이 아니라, 관람자 개개인에게 영향을 미치는 오늘의 가치관과 감흥을 확인하게 하는 것을 궁극적인 목표로 둔다. 본 연구는 선행연구를 바탕으로 국내에 조성된 사건을 기념하는 현대 메모리얼 공간의 특성을 고찰한다. 현황분석의 내용은 공간의 구성방식, 관람자 체험유형, 도입요소 등으로 분류되며, 지향해야 할 방향성과 발전가능성을 제시한다. 우리나라 메모리얼 공간에서 형태적 특성과 기념의 의미가 조금씩 변화하고 있는 것은 사실이지만, 기념성을 외부공간에 녹이는 표현방법에서 전통적 공간 구성방식과 도입요소를 채택하는 것으로 나타났다. 1960년대부터 본격적으로 조성되어 상당한 시간이 흘렀음에도, 국내 메모리얼 공간에서 변화가 없는 점은 현대인의 변화한 기념에 대한 자세와 다크투어리즘에 대한 적절한 응답이 되지 못하고 있는 실정이다. 더구나 독립운동, 항일운동, 그리고 민주화운동 등 저항을 통해 역사를 지킨 사람들과 과거의 사건을 기리는 방식이 권위적인 형식을 탈피하지 못하고 있는 것은 역설적인 부분이다. 메모리얼 공간은 이전과 다름없이 계속적으로 증가하고 발전할 것이다. 본 연구는 우리나라에도 역사 고증을 바탕으로, 설계단계에서부터 심층적인 고민을 통한 감각적이고 풍부한 메모리얼 공간을 표현해낼 필요가 있음을 명시하며, 추후 조성될 국내의 현대 메모리얼 공간설계를 위한 종합적 단서가 되기를 기대한다.

이 논문은 현대 형법에 있어서 몰수 해석의 이론적 적합성을 확보하기 위해, 몰수의 본질을 몰수대상 별로 분석한 후, 이 본질론을 기초로 하여 몰수의 독립성 해석기준을 마련함을 목적으로 한다. 아울러 이 해석기준과 시대적 상황을 고려하여 현대적 의미에 부합하는 형법개정안을 제시함을 목적으로 한다. 이를 위해 이 논문에서는 유기천 형법학의 해석을 중심으로 하여, 형법 제49조 단서의 입법경과를 고찰함으로써 형법 제정과정에 나타난 입법자의 입법의사를 확인한다. 이어서 현재 몰수의 독립성에 관한 대법원 및 연구자의 해석론과 몰수의 본질론을 분석하여, 형법 제정 당시의 입법자의 의사가 현재 어떠한 모습으로 존재하며, 어떻게 적용되고 있는가를 살펴본다. 이를 통해 현재의 형법 해석론이 형법해석의 일반원칙에 부합하지 않는 부분이 없는지 확인한다. 또한 이와 같은 이론적 분석을 기초로 하여 과거 국회에 제출되었던 형법 개정안과 유기천 형법학 부록의 개정자료를 참고로 하여 형법 제49조 단서를 입법취지에 부합하는 형법개정안을 제시한다. 마지막으로 이 논문이 우리 입법자가 외국 입법례를 단순 번역하여 도입하려는 기존의 입법태도에서 벗어나 우리 법제를 기초로 한 해석을 통해 우리의 현실에 맞는 입법을 하는데 도움이 되었으면 한다.

사내하도급의 증가는 기업의 생산방식 및 작업조직의 변화와 함께 고용관계 전반에 영향을 미친다. 본고는 현대자동차 울산공장 사례를 통해서 사내하청이 주요 생산공정에 도입되면서 나타나는 작업장 변화를 고용관계와 노동자의 권리 측면에서 조사하였다. 또한 전통적인 양자 간의 고용관계와는 다른 원청기업과 하청업체의 관리적 통제를 받는 하청노동자의 고용에 따른 기회와 취약성을 파악하고, 사내하청에 내재된 고용관계의 모순적 본질을 분석하였다. 사내하도급을 통한 간접고용의 활용은 제한된 고용기간 및 차별적 임금, 근로조건에 더불어 양자간 고용관계에서 형성되었던 법적, 제도적 규제에서 벗어난 노동자 권리와 의무의 불명확성을 야기한다. 따라서 사내하도급이 도입된 작업장에서 비정규직 근로자들은 간접고용 및 분절된 고용체계, 노사관계로 인해 노동조합 가입과 권리 대변이 제약되는 구조적 문제에 처해있다. 본고는 사내하청의 활용과정에서 나타나는 노동조합 조직의 변화, 정규직 노 조의 대응, 정규-비정규 근로자 간의 갈등구조에 대해 살펴보았다. 기업별 노조형태에서 비정규직 근로 자가 직면하는 노조 참여의 어려움과 정규직-비정규직 노조의 협력 및 대립, 갈등문제를 구체적으로 밝히면서, 본고는 비정규직 노조 제약요건과 권리보호에는 다양한 작업장 행위자의 역할과 상호 간의 역학관계가 밀접히 연관되어 있음을 제시하였다.

The purpose of this study is to provide ideas for the development of bag design by analyzing the expression types and aesthetic formativeness of modern bag design using tassels and fringe given the newtro trend pursuing analog sensitivity in modern society. The methods and scope of this study are as follows. First, the related literature and internet data were reviewed in order to examine the expression types and characteristics of the bags of the West and East. Next, the definition and characteristics of tassel and fringe decoration in terms of the history of clothing were analyzed. Finally, the expression types and aesthetic formativeness of tassels and fringe were derived through the analysis of modern bag design shown in the fashion collections since 2010. The bags decorated with the tassels and fringe bring a variety of visual effects depending on the attachment position, direction and material composition, concentrating the gaze and radiating original style. In this study, the expression of tassels and fringe in modern bag design was classified into three types: surface decoration, shape variability, and object combination. Next, the aesthetic formativeness of modern bag design using tassels and fringe as decorative elements appeared through the mixture of heterogeneous materials and playfulness through imagination, exaggeration through extension of length and volume, and retro characteristics through reinterpretation of tradition. This study is expected to contribute to creative ideas of modern bag design which requires a global sense, which has been used in various cultures for a long time.

This study defines the concept of the fashion meme, which has recently emerged as a fashion trend, influential fashion keyword. After analyzing the concepts and characteristics of traditional memes from prior studies, examples of fashion memes were collected from online community and social network services, while a literature study and case study analysis were conducted in parallel drawing on related articles and journals. Modern fashion memes refer to fashion-related symbols and fashion images that are spread online by word-of-mouth, together with fashion styles and items that spread as a result of being worn. Fashion memes in cyberspace are mainly spread through social network or message services, and sometimes combine text, images, videos, hashtags, and emoticons. Fashion memes are a type of collective action of the people in response to social problems in the world, and often involve humorous antics, satire, shock, and eccentricity. Shared fashion memes reflect the expression of personality expression and fun, and at the same time are used as an expression of designer and brand creativity and are integral to marketing. Fashion memes are classified into four types, based on two central axes as follows: non-commercial/ commercial and anti-fashion/fashion-friendly. Unlike traditional memes, Internet-based fashion memes emphasize elements of transformation through creativity as well as imitation, which has become a persisting contemporary trend beyond temporary phenomena.