역사와 문학의 교차점은 새로운 이론적 통찰을 바탕으로 한 인식론적 전환을 겪고 있으며, 두 영역 간의 지속적인 유동성은 비평 담론의 새로운 장을 열고 있다. 본 연구는 오르한 파묵의 최신 소설 􋺷내 마음의 이상한 기운􋺸에 나타난 이스탄 불의 배경 속에서 역사적 자각의 본질과 정체성의 복잡성을 탐구하는 것을 목적으로 한다. 이 연구는 문화 이론가 호미 바바(Homi Bhabha)의 이론적 통찰, 특히 ‘경계성 (liminality)’과 ‘혼종성(hybridity)’의 개념을 적용한다. 이 소설은 이스탄불이라는 도시 가 주인공이 되어 상반되는 욕망들을 조화시키려는 도전 속에서, 경계적 지대(liminal zone)에서 전개된다. 연구는 또한 이스탄불의 정체성과 연결되는 터키어 용어인 ‘흐쥰 (hüzün)’에 대해서도 고찰한다. 수십 년간의 사회 정치적 혼란과 거침없는 팽창에도 불구하고, 이 서사는 이스탄불의 낡고 먼지 낀 장엄함을 부각시키며, 역사의 잔재에서 출발해 서구로부터 획득한 권위, 부, 자기 확신의 문턱까지 나아가는 과정을 담아낸다. 기독교 및 유대인 거주지의 파괴, 허술한 아파트의 무분별한 확산, 그리고 무허가 판 잣촌(게제콘두, gecekondu)의 언덕 점령 등은 도시의 풍경을 형성한다. 극좌 및 극우 의 불안정한 정치 이념들과 군사 쿠데타는 이야기 속에 자연스럽게 융합되어, 파묵이 허구의 작동 방식을 성찰할 수 있도록 한다.

This study considers the modern expression of oriental esthetics by analyzing the fashion design with the Chinese ink technique based on the concept of Chi-Yun- Sheng-Tung, which was regarded as the best rule of art creation in oriental history. This study was performed by conducting a literature review of related books and advanced studies, and then, collection analysis was done with photos derived from fashion websites (seoulfashionweek.org, chinafashionweek.org, vogue.com, firstview. com) from 2010 S/S to 2016 S/S. A total of 317 fashion photos of designs created using the Chinese ink technique by Korean designers at Seoul Fashion Week and Chinese designers at China Fashion Week were analyzed. The contemporary fashions created with the Chinese ink technique were characterized by, first, the bold brush strokes and natural spreading effects of Chinese ink, second, the emphasis of empty space by taking essential elements, and third, the coexistence of deep Chinese ink colors with modern primary colors. The formativeness of the contemporary fashions created with Chinese ink technique based on Chi-Yun-Sheng-Tung were as follows: first, temperance, pursuing spiritual and minimal expression, second, empty space, making design elements interact and pursue harmony, third, changeable rhythm, symbolizing the growth and variation revealing the power of life, and fourth, vitality, represented in the rhythmical movement of the brush. This study was based on the oriental esthetics inherent in Chi-Yun-Sheng-Tung, and it attempted to analyze contemporary fashion design. The aim was to show the possibility of modern applications to traditional values, and it can be a meaningful case in design planning based on culture.

All architectures in the history have certain attitudes of aesthetic expression of their own. Depending on the culture, such aesthetic attitudes are not the same but different. This paper aims to identify the nature of the difference of aesthetic attitude in the architectures of the East and the West. As a way of approach for this purpose, two keywords are employed as representative concept. They are: 'proportion' and 'vitality'. Proportion, of course, represent the attitude of the Western, while, vitality, the Eastern. Although these two words are subjective selection, it is hoped that the nature of aesthetic attitudes could be observed through the windows of these two representative concepts. We all know that the architects and students of architecture of this period, are very much concerned about the aesthetic expression of their design. However, the value judgement of aesthetic quality seems quite confused in modem period. If the nature of aesthetic attitudes of the Eastern and the Western architecture is well understood, such understanding will help much for the direction of architectural aesthetic of future architecture.