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Cultural study 과목에서 한국웨딩에대해 쓴 자료입니다..

(Korean wedding ceremony)Genre: Traditional and Modern Korean Weddings- Weddings play an important and crucial role in every culture and society. Before each marriage, families from both sides spend time preparing for this big event and countries from all around the world perform weddings based on their own unique traditions. But tradition and culture has constantly changed throughout time even though people have tried preserving their own unique traditions. The Korean traditional wedding has also undergone this inevitable change throughout time. A comparison of the traditional Korean wedding and the modern Korean wedding show us the similarities and differences of these two wedding ceremonies.Ethic Data: Name of InformantName: Hur, Hye SinNationality: KoreanLanguage: Korean, JapaneseJob: Housewife, Mother of couple of married daughter and me. (She’s been experienced Korean wedding sofar three times, because of her daughter, and her own.)Age: Born in 1954, June.Name: Bo Hyun- Lee (sistifferences in their pre-wedding ceremonies. It has been a long tradition in Korea that families of both sides exchange gifts before each marriage in show of their gratitude towards each other. Although gifts are still exchanged in modern Korean weddings, the contents of the gifts have changed. Traditionally, the exchange of gifts used to be call the nappae where the groom’s family sent presents to the bride’s family in a box called the hahm. The bride, in return, would open a small party for the groom’s side where they served food and drinks. The hahm usually contained two items in it: the honseo (a written oath of their marriage) and the chaedan (a collection of fabrics). The honseo was usually wrapped around in black silk and contained information about the groom and the wedding. This document symbolized the dedication of their love and the bride would have to keep this document with her forever, having it buried with her even after her death. The chaedan, on the other hand, were usud these colors can still be seen in the Korean National Flag.On the other hand, the honseo and the chaedan are not used anymore in modern Korean weddings. Instead, gifts exchanged are now called the yedan and the yedan has no exact form like the nappae used to have. In modern Korean weddings, the two families exchange gifts around one month before marriage and gifts differ amongst families and social classes. For example, someone from a wealthy family could buy an expensive car for their yedan while someone from a poor family could only present a small amount of money.Secondly, these two weddings also have differences and similarities during their wedding ceremonies. Traditionally, the wedding ceremony took place at the house of the bride’s family. The groom would usually ride a horse into the house with his attendants. After this process, the person leading the groom to the bride’s house would present a wild goose to the mother of the bride. This process was called the jeonanrye and goose will usually stay single for the rest of its life. After this procedure, the bride and groom wash their hands and stand across the wedding table, ready to bow. The washing of hands symbolized the cleansing of their soul and heart for the wedding and the bowing represented the commitment of their love. After this is done, the habgeunrye is performed where the bride and groom drink Korean alcohol using the same cup. The same cup was used to signify the coming together of the newlyweds.Modern Korean wedding procedures do not include all of the ceremonies listed above due to the complexity and time taken to prepare these events. Instead, many people now get married in a wedding hall designed specifically for wedding ceremonies. The jeonanrye and habgeunrye are usually omitted nowadays. All of this can be seen as a part of Westernization of marriage in Korea. People nowadays wear tuxedos and white gowns during their weddings then proceed with a smaller-scale traditional wedding afte traditional Korean costumes. During the paebaek, the newlyweds bow to their new parents-in-law, showing their respect to their new families.It is clear that wedding ceremonies play an important role in all societies. Marriage can also be seen as a representation of joining of the two families, rather than the joining of two individuals. Although traditional and modern weddings in Korea have changed throughout time, the true meaning of what our tradition represent should not be forgotten in order to maintain our identity and origin.ResourcesPark Ji Eun. 2002. Process of Korean Traditional Marriage [online]. Available from the World Wide Web: (http://myhome.shinbiro.com/~jepark/enhtml/default.htm)Naver. 2009. Jeonanrye [online]. Available from the World Wide Web: (http://100.naver.com/100.nhn?docid=134778)Wanda Embar. 2004. Geese [online]. Available from the World Wide Web: (http://www.veganpeace.com/animal_facts/Geese.htm)Life in Korea. 2009. Traditional Marriage [online]. Available

사회과학| 2011.11.16| 2페이지| 1,000원| 조회(133)

영어 에세이, 에세이, korean wedding, cultural studi..

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Picasso cubism

The creator of Cubism“Early art-historycal accounts of the painting tended to analyse it in terms of formal experimentation and focused on picasso’s radical break with previous conventions of painting.” (ospace text book Dusty mannequins: modern art and primitivism..plate 6.1 , 2nd paragraph) AS I am an Industrial Design majored student, therefore I know how much Picasso’s cubism affect the painting and design world, the analysis of cubism by Picasso made people to start thinkng about 3D desigin with perspective rules.One of the most prolific artists of twentieth-century, Pablo Picasso created more than a quarter of a million pieces of art. The sheer number and variety of his works have led numerous art historians to try to organize them into categories, commonly called periods: the Blue Period, the Rose Period, and the Cubist Period. The days of Picasso’s glory were when he devoted his time to cubist works. Generally, Picasso’s cubism is divided into three main categories: the Incipiedically new fusion of mass and void.In the first years of Cubism, “Picasso produced works very much under the influence of Paul Cézanne: the drawing is unadorned, the organization and composition are rigorous, there is no element of anecdote; the painting is restricted to design, form and color (Adhemar 68).” Cézanne stated that artists should “treat nature in terms of the cylinder, the sphere and the cone (“Paul”).” Under this advice of Cézanne, Picasso had dislocated planes in imprecise spatial positions and broke the stereotyped idea about one-point perspective. In Picasso’s Cubist works, we can see that the coloring style of classical realism which expresses light, shade, distance and texture was totally neglected and therefore the essentially three-dimensional object were reconciled as geometrical two-dimensional forms. Numerous artworks of Picasso during the incipient phase of Cubism showed Cézanne’s style.Les Demoiselles d’Avignon (“The Girls of Avignon”), Picasso’s one of the mof France. However, he was one of the only artists willing to regard outside the world of accepted European art for inspiration. Cubism was not created by Picasso himself alone since he had advisors or co-workers always beside him.In partnership with Georges Braque, Picasso initiated Analytic Cubism between 1910 and 1911 which further developed Cézanne’s theory and deepened the techniques. During this time period, Braque and Picasso’s works have numerous resemblances. To depict the perceptible world in a non-imitative way, these artists analyzed the structure of objects devastating them into fragments staggering over the canvas. Moreover, “the works that follow have a considerably less objective character, and suggest far more arbitrary and imaginative symbols of the external world (Rosenblum 71).” The fragmented objects in the painting are vaguely recognizable and the viewers’ eyes are able to recombine them. Analytic Cubism not only introduced the concept of contorting the observed ilicated structures.In order to avoid placing too much emphasis on the structure of canvas that causes the oblivion of reality, Picasso further developed the analytic cubism into synthetic cubism. Rather than analyzing objects in nature, Picasso began to invent objects from real components. “Picasso tried to change hoodwinking-eyes painting (trompe I’oeil) into hoodwinking-mind paintings (trompe I’espirit) (“Picasso”).” That is to say, he used “perspective in order to give confusion to people trying to recognize the motif (“Picasso”).” However, it is still ambiguous about the difference between trompe I’oeil and trompe I’espirit. According to Picasso’s conversation with his girlfriend (Françoise Gilot) at then, Picasso mentions about trompe I’espirit:“We Picasso and Braque tried our best to forget about trompe I’oeil in order to discover trompe I’espirit. We did not want to fake our eyes. Thus, we wanted to fake our minds. We never used newspapers for depicting real newspapers. Newspapehan the drawn fiction of the Cubist still life, for they are strips of wallpaper simulating the grain of oak (Rosenblum 68).” Though Papier collé is a type of collage, it is different from collage in the aspect that the contour of the pasted pieces are objects themselves. Picasso used various materials such as fabrics or newspapers and pasted them on canvas. The viewers can find numerous Latin words in Picasso’s paintings.The effects of cubism still can be found around our daily lives. Cubism has conditioned the development of architecture and the applied arts. Mostly, Austrian and Czech architectures were influenced by cubism. For instance, apartment building on Neklanova 30 (1913-1914) built by Josef Chochol has fragmented windows and doors (Achten). Wotruba Church in Vienna, also known as the Church of the Holy Trinity (1974~1976) is inspired by cubes in the cubist artworks (“Fritz”).Works CitedNiru Natnam, “ospace text book Dusty mannequins: modern art and primitivism,” ..plate 6.1

교육학| 2011.11.15| 3페이지| 1,000원| 조회(246)

피카소, 에세이, 모던아트, modern art history, picasso ..

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Modern art history essay

Gustave Courbet’s Political Landscape: The Grotto of SarrazineIn Academic paintings landscapes are most often associated with mountains, vegetation, fields, skylines, and bodies of water. Generally these are places that give the viewer a place to escape to from the hardships of the day. French Realist painter Gustave Courbet approached the subject matter in his landscapes differently and with a different purpose in mind. Although he was most known for his large scale paintings of ordinary people marginalized by society and the rising bourgeoisie, his landscape paintings also aided in expressing his feelings of resentment towards industrialization and the rule of the Second Empire. The Grotto of Sarrazine Near Nans-sous-Sainte-Anne, 1864, shows the influence his rural upbringing had on him, and simultaneously uses the grotto in a politically charged manner. Technology and modern cities like Paris evolved at a more rapid pace than most people could adapt; and the schism between high and ly important members of society. Works that support that goal include iconic paintings such as After Dinner at Ornans (1849), Burial at Ornans (1849-1850), and Stone-Breakers (1849). In Academic painting large scale paintings were traditionally reserved for history paintings or portraits of wealthy patrons, while genre and slice of life paintings were captured on smaller canvasses. The three paintings listed above portray people in their commonplace lives that the elite normally would not take notice of. As a self-proclaimed Realist painter Courbet wished “to show things as they were, which meant both looking life-like and revealing the truth beneath the surface” (41). To further fuel the outrage of the Academy the subjects’ faces are either turned away or obstructed and unaware of the presence of the viewer. “Courbet’s characters are far less easy to read. Their gestures and poses are more natural” than what you would find in the forced and fake high drama of Romanticism (42). Followil light coming through a skylight. None of the paintings seemed to have any more importance than the one next to it. Although the collection was most likely composed with careful consideration I was unable to discern what the goal of the curator was except to group all the works by genre and time period. I was initially most struck by Courbet’s painting because of how dramatically the grotto receded into the background, as if I could physically walk into it. Secondly I was intrigued because unlike most of his other works I studied this one was a landscape, and not a traditional landscape either. Courbet disregarded academic rules of composition, and produced his works rather quickly and with unity of color (Herding). He worked increasingly with a spatula and palette knife both applying paint and scraping it off as necessary. His works sometimes included what appeared to be spontaneous dabs of color “which suggested the effect of instantaneous movement in his landscapes, conveying the ineighbored and influenced by Switzerland, and the painter seems to have remained attached to his roots throughout life. His landscapes “reflected an increasing need for recreation areas for leisure and holiday activities” in respect to city dwellers (Herding). Although Courbet lived and worked in Paris from 1840 to 1849 he never painted any landscapes of the bustling city. He wanted “to be in Paris, but not of it” (Herding) so that he could attain knowledge of past masters to formulate his own ideas and techniques. He also wanted to introduce modern Parisians with an alternative world, one which included more leisure and freedom. Citizens of industrialized cities like Paris had yet to adapt to a more crowded surrounding and way of life. Courbet’s landscapes are not idyllic landscapes which bring to mind rolling hills, expansive skies or sprawling bodies of water. Instead he prefers to paint “hidden forest ravines and grottoes” which give a feeling of refuge or even “[represent] the seafortress and cradle of safety like Courbet’s grotto. The entire back wall of the exhibit would be a rock fountain with the water cascading down. The tranquil sounds of the two elements interacting should be reminiscent of visiting the grotto itself. In the center of the room I would place the “womb chair” in red by Eero Saarinen, a Finnish American Architect, which combines modernity and comfort. The painting would hang in front of the waterfall. Serving as a place to unwind the exhibit would hopefully also force the viewer to reflect on some of the same ideas that Courbet wished to express.In terms of socioeconomics, environment and technology the world around us is changing at an exponentially increasing pace. New buildings, bridges, cell phone towers, track home communities and entire cities are constantly being erected. The gap between the poor and the rich is growing still. People are always at odds with their government. Before encountering The Grotto of Sarrazine Near Nans-sous-air)

인문/어학| 2011.11.15| 4페이지| 1,000원| 조회(212)

벽화, 에세이, modern art history, western cultur..

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