2023, Vol., No.49

Korean Review of French History 2023 KCI Impact Factor : 1.67

pISSN : 1229-702X
https://journal.kci.go.kr/krfh

In the late 10th century, Gui I, the founding ancestor of the Lastours family emerged and established his position in the aristocratic society of Limousin through various activities. He married into a prestigious family with a long history and took powerful figure as his son-in-law. However, since his only daughter couldn’t bear a son, he adopted his nephew as his grandson and bestowed his name upon him, fearing the extinction of the lineage. As the number of family members increased in the 12th century, the Lastours family introduced primogeniture to manage the family’s wealth efficiently. As a result, Gui III, the eldest son of Gui II, became the head of the family. After his lineage was broken, Gouffier I, who gained great fame in the First Crusade, and his descendants took responsibility for the family. The case of Lastours family shows the strategies used by the aristocrats of southwestern France in the 11th and 12th centuries to survive in a feudal society.

The subject of this study is “face injuries” in World War I, people who testified to violence, fear, and pain that began in the 20th century. We would like to express the anxiety, bond, and sadness of facial injuries, along with the technical aspects of treating the injured on the battlefield, the formation of a facial center, the original efforts of medical institutions facing unusual injuries, explanations of somewhat successful facial reconstruction attempts, and analysis of identity reconstruction. These facial wounded soldiers, who suffered serious trauma not only physically but also mentally, became symbols of the suffering caused by the war. One hundred years after the Great War, I think we need to meet them to pay tribute to their courage. Also, through their existence, their vitality and their references, we want to testify to how long the terrible legacy of the Great War lasted.

The fashion of Ancient Regime before the French Revolution of 1789 had maintained as the fashion of Belle Époque until the early 20th century when Gabriel Chanel disconnected this long tradition. This fashion distorted women’s body with corsets and added too much decorations on costumes. It was a fashion culture which reflected the social prejudice that women were defective and helpless gender. It is a tragedy that symbolizes the misogyny that modern bourgeois men had. Chanel announced a break with the old fashion. She got rid of corsets from her first costumes of leisure look and jersey suits. She gave a freedom to women’s body and self consciousness to women’s mind. As the 1st world war broke out, men went to the battle front, women filled men’s place at home front. Chanel’s practical clothing styles were widely accepted. Chanel created the little black dress, the symbol of modern women in 1926. And surprisingly she allowed the copy of her design to spread her fashion philosophy to all women. Today, the brand of Chanel remains as the symbol of Parisian luxury. However, as Gabriel Chanel announced “luxury must be comfortable, otherwise it is not luxury.”