Daily life is in contact with the nature of the society that produces the dailiness. The everyday life we face is a way of understanding society. Everyday life is composed of the elements that make up life, and elements of life are revealed by t...
Daily life is in contact with the nature of the society that produces the dailiness. The everyday life we face is a way of understanding society. Everyday life is composed of the elements that make up life, and elements of life are revealed by the relation of things
Daily necessities are not a notable subject to be accustomed to. However, many orders are hidden and mirror the life of contemporary public. The researcher focuses on the familiar social goods, the social order that is invisible but is analyzed on the back. In that case, the inquiry of order is a social relation revealed by 'the rice of reality'.
The purpose of this study is to analyze the works of researcher which is expressing the social relations revealed in food and diet in daily life.
The Researcher chose food as a material because it is The Basics of Life
Food is a fundamental element of daily life production and maintenance, and is the cause and effect of the coexistence of life. In other words, food is a living necessity that exists to "eat and live to live" at the same time.
In the painting tradition, food as a material was not greatly respected. Food is because it is extremely ordinary and obsolete, which everybody always touches.
In the seventeenth century Andre Felibien (1619-1695), the theories of painting and the hierarchy of painting have a low status in the food and meals process. In the hierarchy of paintings, food and meals are seen as stills and genre paintings. This hierarchy is based on the theme, flowers, clams, fruits, etc., the least moving object is the lowest level, and the above steps are high in the landscape, animals, and figures.
However, food is a basic element of daily life of people, and at the same time, the terrain of physical conditions and distribution of society is revealed. In this regard, the researcher wanted to express the social meaning of the food and intake process as a work.
the researcher examined Pierre Bourdieu's Habitus concept and everyday sociological aspects to see whether the relationship between the food expressed by the researcher's work and the social gap between eating behavior is theoretically valid. In his study of taste and consumption practices among French class divisions of the 1960s, Bourdieu believes that food tastes are based not on personal preference but on social relations among social classes. The social class causes the class to consume food differently, like consumer goods, and accumulates into the culture within the class through the inclination system of Habitus. In short, food tastes and food practices are products of cultural orientation based not only on economic aspects but also on class.
In addition to the theoretical review, the meaning of the work of the researcher is examined in the art history. The researchers' work is in the flow of art history that approaches food as a material aspect. In art history, food appears as a material and component of genre painting, still life and pop art, hyperrealism, and feminism.
The food in the genre paintings was treated as a material to solve the desire of the subordinate class under strict class hierarchy in festivals and weddings, or to show the process of gustation, not abstinence which is virtue of bourgeoisie. In pop art, food was used as a material to show the mechanism of mass production and consumption under capitalism. In feminist art, on the other hand, food emerged as an obstacle to patriarchal ideology and women 's self - reliance in the cooking process. Martha Rosler's "Budding Gourmet" criticizes the relationship between housework and women, which is expressed in food preparation.
The researcher analyzes that the work reflects the features of the genre painting and the Minjung Art. In the case of genre painting, it is also related to the subject of the social relation (social class) through the food expressed by the person in the point of dealing with the living class of the common people.
Minjung Art is positive in that it overcame excessive ideals and pursued reality and social criticism. On the other hand, there is a criticism that Minjung Art has resulted in the fall of art into a tool of propaganda by attributing it to narrow ideology.
The Researchers express social relations through objects and materials in everyday life rather than huge discourses such as social transformation. In this respect, it reflects the Positive aspect of Minjung Art.
The main features of the researcher's work can be classified into the screen composition and the color and technique. The composition of the screen is composed of narrative structure through multi-faceted canvas, and a combination of various screens within one screen. The arrangement between the canvases and various combinations within a screen is a way of expressing reality that human relations are relationships of things, causes and effects are reversed, and objects and means appear at the same time.
The researcher depicts the elements of the screen in black and white, expressing the reality that is dominated by compassion for humanity and fetishism. In other words, it revealed in black and white the image of the human being neglected in the realities expressed by the accumulation of things and the relation of things.
In the case of the scratch technique, it is used to convey emotions of the characters and elements in the screen, the distance between the screen and the audience, and the feeling of oldness.
Behind the familiarity of everyday things, the unfamiliar order of the hidden side is concealed. There is a reason for the researcher to keep track of the unseen backside order and to record the reality as a painting.
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