This study is one that estimates the architectural composition as well as the location of guest house of Haemi Eupseong on the basis of the analysis of modern and contemporary data related to Haemi Eupseong. It is significant that this study has presented an opinion that can become a practical basis for the historical research of the prototype of Haemi Eupseong of the late Chosun Dynasty through the analysis of modern and contemporary data that had been unsatisfactory among the fruition of studies conducted in relation to Haemi Eupseong. The outcomes achieved by this study are as follows. Firstly, it was verified that the guest house of Haemi Eupseong that has been restored is one that has different architectural composition than the prototype of the late Chosun Dynasty and is restored in a different location. Secondly, in respect of architectural composition of guest house found by the analysis of the picture, it was confirmed that the government office has one step higher than the double-wing house in the form of the roof. Thirdly, the location of the guest house of Haemi Eupseong of the late Chosun Dynasty is judged to be the periphery area where the current restored guest house is located, which is where the teachers' building of Haemi elementary school was located. Fourthly, the prospect of the guest house of Haemi Eupseong is decided to be similar direction to the current restored guest house with the greatest possibility of having the same direction with the arrangement of teachers' building of Haemi Eupseong elementary school.

The purpose for this paper is to categorize and analyze the aesthetic characteristics of graphic factors in contemporary fashion design by media source. Focused on play-instinct visual expression in contemporary fashion design and adopted media source following the way of communication design. A variety of literatures and online sites for graphic factors in contemporary fashion was studied. The standard of media source is classified as graphic media-source: photography media-source, typography media-source, illustration media-source. With this standard, expressed ways are as followings. First, graphic media-source in play-instinct expressional fashion design is mostly borrowing existed character or using designer’s brand logo. Second, photography media-source in play-instinct expressional fashion design is placed photograph of social issued people in front of shirt. Third, typography media-source in play-instinct expressional contemporary fashion design is mostly expressed social messages or designer’s name in brand. Fourth, illustration media-source is the best way to express play-instinct visual expression. Based on these, aesthetic characteristics of graphic factor in contemporary fashion by media source are classified as three: social words, playfulness and information transference. Frequency ratio using media source per aesthetic characteristics is different and these are able to categorize expression way and image feature. In conclusion, expressional way of graphic factors in contemporary fashion design became diverse as social and cultural changing. Frequency of graphic factor use in contemporary fashion is increased than before. This paper suggested that fashion design is one of the way of communicating with people and should be analyzed graphic factors in contemporary fashion design.

The goal of this paper is to analyze the relationship between pedagogy and the emergence of contemporary Korean architecture after the 1990s. For this purpose, the paper deals with the education and work of two important contemporary Korean architects, Kim Seung Hoy and Choi Wook. Kim and Choi were part of a group of young architects that went abroad in the 1980s to study at the centers of architectural education in Europe and the United States. Through their education and work, the paper discusses the relationship among education, history, and design practice in architecture. During their studies at Michigan University and IUAV in Venice, they were commonly influenced by Colin Rowe through their studios. In the case of Kim Seung Hoy, he was introduced to the Beaux Arts logic of the analytique and esquisse through the teaching of Steven Hurrt, a disciple of Colin Rowe. Choi Wook took studios that involved formal analysis and comparison of Palladio and Le Corbusier. The paper further analyzes their works in Korea by employing the concepts of fragments and systems, ignorance and knowledge. The paper concludes that, in Korean contemporary architecture, fragments and systems, ignorance and knowledge, lie in the middle of ongoing creative process that must distinguished from the West, where architectural history provides an established tradition of systematic knowledge.

Since today’s digital culture deepens the tendency toward city-centric and mechanic-centric areas while individual communication is carried out mainly to be comfortable and efficient through convenient operation and management of technical civilization, it is getting difficult to experience the lingering impression derived from simplicity and timelessness of nature. As technology is rapidly developing, people tend to satisfy indirectly through visual sensation and to stay in passive lifestyle concentrating on intended transfer of culture that significantly different from the actual nature.The era of the absence of impression, sensible spirit, dialogues appealing to deep human nature, and trustful relationships implemented by sustainable ethos are possibly completed and healed by the soul of sound transcending time and space. It is necessary, in terms of succession, to identify, emphasize, and research the genre of art refreshing our age and society. We especially need to emphasize the important of the value of artistic sublimation of life and literary elements relieving human emotion and harmonizing everyday life through poetic rhythms, the source of resonance that has us recognized the culmination of representation, the beauty of scenery.Therefore, this study described there has been a rhythmical harmonization echoing to the spirit of traditional culture that inspires the soul of sound through works, concerning the role of "the human being of soul blending with the earth and heaven"between nature and human while enjoying the culture of digital era. There are several works having the spirit of sound and culture, bringing actual changes in life by adapting contemporary cultural expressions to traditional formats, and refreshing everyday life by repetitive reciting unconsciously with metric delights. In contemporary poetry of Korea, those expressions containing the soul of sound through rhythm and rhyme of transformed tradition are enjoyed and will be enjoyed by ordinary people as a form of resonance. In the present study, analysis and examination were conducted with the works of Kim Sowal who sublimated destruction and solitude in harmonization and creation by concentrating sprit, Manhae Han Yonghun who chanted the mysterious life and universe expressed by the sound of streams flowing in poetic thoughts, Yoon Dongjoo who reflected and implemented ethos by conversing with the sound of rain and wind, Kim Youngrang who sang the melody of life through the sound and the art of drums, Cheong Jiyong who recited the sound of hometown recalling nostalgic emotion of Korean, Midang Seo Jeongjoo who intoned the sound of Manpasikjuk, the flute inspiring the mystery of myth and music, and the sound of Hapjukseon from wind, and Hwang Donggye who mastered poetic transition sympathizing the process to experience the soul of sound mysteriously though lyrical poems.Further studies will be expected to continue based on this study that identified the direction of contemporary poetry and cultural historical value through the works of art that integrated the soul of sound into the aesthetics of expression.

The purpose of this study was to figure out consumer's recognition on brand's peculiar style on Korean contemporary women's apparel brand. The contemporary women's apparel brands show advanced and stylish merchandise at better price points. This segment of the Korean ready-to-wear market has been growing fast in last decades. Four contemporary women's apparel brands(I, K, M, and T) were participated in this study. The data(n=216) were collected with questionnaire survey at 24 apparel retail shops in metro Seoul area. The questionnaire measured the consumers' recognition on each brand's peculiar style. The subjects evaluated each brand's typical silhouette, materials, and style image. The results of the survey showed that the style image factors were ‘stylish’, ‘simple’, ‘casual’, ‘feminine’, and ‘classic’. The style image of each brand was differentiated from others. The brand T had classic image, the brand K had simple and casual image, brand M had stylistic image, and the brand I had feminine image. The features of materials that used at the four brands were not very different by the brands. They used the high valued materials. The common features of the materials were ‘smooth’, ‘thin’ and ‘light weight.’

Collaboration among various fields appear according to rising of snack culture, polarizing phenomenon by a point to value, consumer behavior change giving importance to direct experience, and arrival of high touch age satisfied various needs and desires of consumer. Collaboration progressed limited edition form utilizes famous artist and designer’s fame to promote products and upgrade their brand image through a short period agreement. This research aims at analysis about collaboration phenomenon in collaboration manners and characteristics, and understands changed socio-cultural meaning through collaboration expressed in almost all industry for high speedy changing fashion environment. This research utilizes between theoretical study and empirical analysis. For concentrated study, research period limits from 2007 to the present time 2009. This paper's purpose is studying on the socio-cultural meaning through analysis about characteristics of the trend of collaboration expressed in contemporary fashion. This research's results are as follow as; First, common life toward aesthetic surrounding, Second, introduction of high concept, Third, the power of Homo Consmus, Forth, focusing on the intangible elements and the value. This study intends to predict change of fashion design and fashion market for complicated consumer, and present fundamental materials about fashion industry and design development of the future through consideration on concrete aspect and meaning of collaboration expressed in contemporary fashion.

中國因爲在社會主義時期不能形成眞正的女性話語，所以新時期開始了，很快就恢復了以男性爲主的秩序，女性的社會作用與地位狹小了，對女性的視覺與認識也退步了。這些現實可以通過電影裏的女性形象看出，隨着新時期的進展，女性從公共領域移到私人領域，淪爲性慾的對象。從性與性別的角度來看，可以分成三種類型:性別的共有與性的恢复、性別的交叉與性的顚覆、性別的固定與性慾的强調。就是说，進入新時期，女性恢復了自己的性，而被該完成男女性別的壓迫感受到痛苦。女性屬於公共領域同时被母親的作用受壓迫。政治領域也變成個人和經濟領域，從此可以看到消弱國家意識形態而逐漸重視物質條件的社會變化。另外,女性在發揮男性作用之時穿男裝而在發揮女性作用之時穿女裝，就展示性別的交叉與性的顚覆的形態。這在區分男女和按照性規定性別，表現爲徹底阻擋女性的社會活動和造成性認同的混亂。前两類是給女性許容她們出入性和性別的範圍，而性別的固定與性慾的强調這類型意味着女性只能遂行女性作用，女性爲男性存在。所以强調對女性的性慾。另外這些女性塑造爲坏女人的形象，這也就是反映女性成爲性的消費對象，同時反映女性的成長。可是爲了纠正新時期以后重返的以男性爲主的秩序，女性找到自己眞正的座位，就需要和中國社會的發展一起，應該形成眞正的女性話語和進行對女性問題的認眞的摸索。

The purpose of this study was to examine the process to manufacture costume design of main female characters of TV historical drama〈Lee San〉and suggest the costume, which is developed with contemporary taste. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The study results were as follows. The costume was decided by researching historical investigation material on the basis of synopsis, grasping director's basic intention, setting design direction, preparing design map of each character, selecting style, detail, fabric and color, manufacturing sample and performing camera test. The design concept of〈Lee San〉was Modern & Chic & Clean, short & fitted chogori, chima with wide & abundant cocoon silhouette, clean & bright colors and 100% silk fabric. For the design discrimination of royal semi-formal costume, color was used to symbolize character and pattern was used to symbolize social status. In addition, detail change was adopted depending on the body shape of actor and there was almost no design discrimination in silhouette and fabric. Petticoat of the west, modernization of transitional pattern and change of detail were adopted as design elements to add contemporary taste.

This study aims to analyze contemporary women's sense of fashion aesthetic by looking into the design and trend of T-panties, which have now carved out a new niche in the world's 21st century female underwear markets. By this, I'd like to reassure readers of the importance of T-panties, which has only been recently recognized, and more generally suggests the future direction of prominent T-panty design development. First, western urban chic, Japanese minimalism and domestic modern feminine images all have common modern urban sense and simple designs. However, each image is not a simple image in itself. For example, in the case of western style they often seek to convey a sophisticated and stylish street sense, while Koreans add a more cute, lovely, and feminine touch. Second, western restrained eroticism, Japanese fetishism and domestic mono-bosom images all have a common interest in sex. They is something, however, which they all express this differently. In Japan, they prefer a stimulating image. In the West, however, this is restrained by controlling and limiting overt sexual elements, while in Korea, we seek to capture a more simple sensual beauty. Third, western couture luxury, Japanese orientalism and Korean utopia narcissism have classy images in common including splendid materials and decorations with embroidery. They all differ depending on their nationality. This study is baseds on the documents study. This study is baseds on the documents study.

This study aims to analyze contemporary women's sense of fashion aesthetic by looking into the design and trend of T-panties, which have now carved out a new niche in the world's 21st century female underwear markets. By this, I'd like to reassure readers of the importance of T-panties, which has only been recently recognized, and more generally suggests the future direction of prominent T-panty design development. This study aims to analyze contemporary women's sense of fashion aesthetic by looking into the design and trend of T-panties, which have now carved out a new niche in the world's 21st century female underwear markets. By this, I'd like to reassure readers of the importance of T-panties, which has only been recently recognized, and more generally suggests the future direction of prominent T-panty design development. The domestic formativeness of all styles is divided into three types: modern feminine, mono-bosom, and utopian narcissist image. This study is baseds on the documents study.

Black has been the most important color of all since the ancient times when the recognition of black roused, as well as during most of the eras; and can especially be said as the main color which controlled the chronicles of fashion. The purpose of the study was to broaden the application of black color image make-up by inquiring into make-up design elemental characteristics of lines and textures, after classifying magazine illustrations and advertisement make-up images using black. The photos which made effective use of black among fashion illustrations, magazine advertisements after 2001 were classified in to each type, and make-up expression method and characteristics according to design element of each image type was analyzed. The conclusion of such study was the following. 'Erotic image' showed contrast effect between eye make-up and lip color by using pale tone or red color. 'Mannish image' emphasized form and texture of eyebrow by restraining the colors of eyelids with natural brown tone eye make-up; 'Modern image' expressed vague eyebrow to bring the sensation of the direction of eye shadow on eyelids and eye line as well as slant line to relief. 'Kitsch image' showed free and light imagery by creating unique hair style with various colors; expressing lips mostly with colors similar to skin tone or by restraining colors on lips. 'Decadence image' showed messy and foul sensation with unstandardized eye make-up and matt skin of shimmer, glossy and pale tone, also with black colored lips; 'Retro image' expressed reinterpretation of images from 1920～1960 to contemporary styles.

The purpose of this study is to analyze the effects of playful aspects through the research into characteristics and playful expressional tendency that are expressed in the contemporary fashion illustration. This study covered from 1995, the beginning point of play trend spreading, to 2006 and the fashion magazines, illustrator’s collections, and about 1800 pieces of work which have been revealed on the internet web site were collected. At the next stage, 443 pieces of work were selected by researcher for a questionnaire. As a result of the questionnaire, ultimately frequency was more than n=5, so it examined playful expression characteristics, the methods and the effects of the modern fashion illustration based on 335 pieces of work(75.6% of total sample) which were selected by the majority of expert group. It showed the biggest part of playful expression tendency in the modern fashion illustration was ‘simplification’, and second one was ‘exaggeration’. ‘Immature expression’ and ‘fantastic expression’ which are included in kidult expression were next. Hopefully, this study would be helpful for creative expression of the fashion illustration which is fit for spreading play trend in modern society.

The following thesis has been composed with the inspiration attained from PaulArdenne’s conception on Contextual Art. In Europe and in the United States, there is agroup of artists who emphasize in the importance of artist’s participation in social, political,economical, environmental and moral issues. Since the 1960’s, these artists have ponderedon Modernism’s ideas where art is contextually separated from humanly issues whereas themanners of such artists put on emphasis in the intent to participate in the real human socialand ethical issues. Forerunner in this field of art such as Wolfgang Leib display hybrid ormeta style in their work. His work displays a quadrilateral form of pollen which representsthe simultaneous blending of two mixed ideas such as the abstract from the real. Thus heterogeneous style and philosophy which includes a range of medias andtoday’s trend is observed in Contextual Art. Such art form is also found in landscapeswhere it is not seen as an observable object but rather an interactive object. It is correlatedto Arte Povera of the Italian Art Movement, Support-Surface of the French Art Movementand lastly to the Fluxus. Through these art movements, we find a mutual antipathy towardsputting art for sales in the capitalism market and reflect the social role of art in postmodernera.

이 논문은 중국의 개혁 개방 30년 이래 혼인 영역이 중국 사회 변화의 거센 물결 속에 어떻게 변화해왔는지 중국 대표 여성작가인 왕해림의 작품인 『신 결혼시대』를 통해 조명하고자 한다. 왕의 소설은 중국 도시의 두 세대간 3가지 특이한 혼인 유형 즉, 도시-농촌 커플, 연상녀-연하남 커플, 노교수-파출부 커플을 다루는 과정에서 개혁 개방 전후의 신구 가치관의 충돌이 혼인 영역에서 어떻게 비춰지는데 집중적으로 보여주고 있다. 이러한 신구 가치관의 대립 및 중국 도시 혼인의 현황은 네 가지 측면에서 관찰된다. 우선, 혼인의 속성에 있어서 모택동 시대의 혁명적인 혼인관이 사라지고 개혁후 사회의 급속한 분화 및 이질성의 증가로 인해 양 결혼 당사자간 집안의 형편이 고려되어야 하는 전통적인 문당호대의 관념이 부활한다. 둘째, 배우자 선택 조건에 있어서 모택동 시대의 금욕주의가 부정되고 물질주의, 외모지상주의 등의 요구가 정당화되는 가운데 전통적인 남재여모의 선택 모델이 주류 관념으로 자리 잡고 있다. 셋째, 혼인ㆍ성ㆍ사랑 삼자의 관계에 있어서 과거 삼자 일심동체 관계는 개혁 이래 삼자 분리라는 전면적인 도전을 받게 된다. 마지막으로 혼인에서의 여성 이미지는 모택동 시대의 강하고 독립적인 철인여성상이 무너지고 부드러운 현모양처의 의존적인 여인상에 의해 대체되어 가고 있다. 지난 30여 년간 중국 도시의 혼인 문제는 갈등의 소용돌이 속에서 헤어 나오지 못하였으나 왕의 작품은 바로 이러한 신구 관념의 충돌에서 방황하는 중국의 혼인관이 새로운 탈출구를 모색하려는 시도라 할 것이다.

The present paper is intended to analyse the body-narratives in the contemporary Chinese literature under the viewpoint of subjectivist-body-esthetics. The basic ideas of subjectivist-body-esthetics are: man is body, body is subject, aesthetic activities is the praxis of the body-subject. From the viewpoint of subjectivist-body-esthetics, the main weakness of body narratives in the contemporary Chinese literature is that it merely presents the objectivity of body. In 1949-1976's, the grand revolutionary narratives defines the body as the tools which must servers for the ultimate goal of communism project. After 1976, the reforming and opening-up policy makes a Comparatively free atmosphere in which writers are allowed to show the beauty and desires of body. Some writers, such as Chang Xian Kiang, began to regard the body as the self-decisive subject. But the body narratives after 1990's does not develop this clues. From 1990's, Chinese body narratives differentiates itself into two trends: (1)highlights the spiritual subjectivity, insists that the body is only the impermanent house of the soul-subject; (2)reduces the body to the corporal being without head, displays the desire of the body unilaterally. Both of them deny the subjectivity of body and does't reveal the status ,meaning, dignity of body-subject. So, the authentic subjectivist-body- narratives is still unborn in China.

1949年之后的中国浪漫主义，注定摆脱不了政治的影响。根据战略需 要将个人偶像化，把国家力量集中于权力的周边，这些都体现了权术的战术 变化。这一时期的政治，既是辩证唯物主义的实践过程，也是斗争，它敌视 经济，社会领域中出现的异议，并将这些无用的工具弃置流放。浪漫不得不 成为政治的代名词，扎根于主一无适的毛泽东路线，充斥着弄虚作假与夸张 矫饰。这一切并不能归罪于文学，而是为了迎合路线的政治需求。 知识分子正是游走于这刀锋之上，生杀荣辱，予取予夺。要想保全荣华 富贵，就必须选择一条屈辱的道路，将否定自我提升至否定人类的高度。不 仅如此，他们中的每个人，都在毛泽东，义务，善，无产者的阶级大义，世 界革命之间苦闷彷徨。人道主义是敌对阵营留下的余孽，对毛泽东类似宗教 性质的信仰，取代了对人类的展望，对历史的期许。在权力的全方位监视体 系下，知识分子能够确保的自我空间，甚至还不如一个抽屉大。 而工农兵则是一颗红心，以党性为先导，他们对现实构造的过渡进程一 无所知，并因无知而享受着无限的自由，他们绘出了一条一本正经的，同时 又是荒诞无稽的诗歌轨迹。他们对毛泽东的信仰自然凌驾于宗教之上，但是 在天人合一的境界中所获得的心灵自由，竟意外地引发出了自我的过度膨 胀，模糊了主体与对象的界限。他们将毛泽东奉为超越法制和宇宙定律的绝 对神祗，同时又生成一种阶级和进步名义下的精神症状：作为毛泽东的亲密 同志，自己也就成了龙王，也就成了玉皇大帝。他们的浪漫介于混混与龙王 之间，他们的社会谱系绽放于党性与无知之间。因为无知，所以唯党性是从，因为唯党性是从，所以一直无知下去。这种辩证关系，是以无知为前提 的党性所特有的灵气。严肃的浪漫取决于实践，但实践演出的却注定是一幕 喜剧，这看似荒唐，实际上却并不是什么偶然事件。在没有市场的地方划出 平等的彩虹，其实却只是自由的水泡破灭后暂时的错觉。 学生的命运更加悲惨。文化大革命缘于分血仪式后干部子弟们扭曲的优 越性。无论是期待借此实践人道主义的理想主义者，或是试图借机改换门 庭，一步登天的黑五类分子，权力与理想在他们的浪漫主义中都起到了媒介 的作用，浪漫主义立足于理想，同时又受制于理想。从这一角度来说，文革 本身就无法摆脱其悲剧命运。因为他们所向往的理想，蕴含着人类普遍价 值，蕴含着从机会的均等到存在的自由等民主主义性质的要求。谁知宴席散 后却是满地狼藉。上山下乡将他们彻底边缘化，他们的理想被流放至天涯海 角，穷山恶水，就此走上了一条不归路。但是，散落各地的下放知青，又使 得文革后的改革开放得以在全国迅速铺开。狂热导致流放，流放又促进了在 全国范围内实现现代化。这一过程中，他们近似于宗教的狂热在史书上写下 了浓墨重彩的一笔。 从这种意义上来说，一切浪漫都可以归为狂热，而对现代的无知又总是 植根于狂热的背景之中。狂热有多么严肃，就有多么荒诞，它最终还要被称 之为浪漫，不过是一种理想化而已。因为这一时期的浪漫是暴力的代名词， 是权力牵线的虚妄，同时也是幸存者们全新的出发点。