• The Journal of the Convergence on Culture Technology
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• v.5 no.2
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• pp.355-360
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• 2019

In this study, the structural stability of the railway level crossing system using rubber panel for high speed lines was investigated by applying the specification for wind load conditions (Train gust) of high speed train (300km/h and 360km/h). A finite element analysis using three-dimensional modeling was carried out by applying the field conditions that was installed with the complicated configuration of the rubber plate panel system. As a result of this study, the structural stability of the rubber plate panel system for high speed train gust was analytically verified.

• Journal of the Korean Society of Costume
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• v.65 no.8
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• pp.136-150
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• 2015

The purpose of this thesis is to elucidate the exchange between the East and the West during the 17th century through analyzing the oriental influences described in paintings in Delft school, a trade port of East India Company. The scope of this study focused on the 37 pieces of works by Johannes Vermeer and 31 pieces of the paintings by Pieter de Hooch, which are all the existing work, as analysis targets. The resources of this study were from previous papers about the history of costumes, paintings and culture, Internet sources and other qualitatively analyzed articles. The items that the study looked into were Delft porcelains and Delft tiles, Turkey carpets, costumes and accessories pearl earrings and headdresses. The study looked into oriental factors observed in each of these items, and analyzed them. In terms of oriental factors that are frequently observed in paintings, porcelains (100%), Deft tiles (100%), pearl earrings (100%) and (most) carpets (92.3%) turned out to have oriental nature, but this was not the case with head dresses (7.7%) and clothing (0.3%). These results happen to coincide with the previous investigation in that the oriental factor was reflected in the culture first, while the effects on costumes significantly lagged behind. This progress in cultural exchange can be seen through the noted use of Chinoiserie, a technique that is representative of the Chinese culture, in the 18th century. Through Japonism, the influence of Japanese culture into Europe was introduced, in detail, in 19th century. These results suggest that there are sufficient amount of sources that could be used to study the effect of orientalism to the Western culture. This study intends to look at how the oriental culture affected those of Europe by researching the Delft school of Netherlands during the 17th century.

• Journal of Fashion Business
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• v.1 no.2
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• pp.74-85
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• 1997

폴 푸아레 (1879-1944)가 패션 역사상 혁명적이라고 할 수 있는 여성의 코르셋을 제거시켰다는 것은 익히 알려진 사실이다. 그리고 그러한 결과로 인해 발생된 새로운 직선형의 실루엣에 화려한 색채와 장식을 하여 이전 시대와는 전혀 다른 현대패션의 근원이 되었다. 본 연구는 푸아레의 새로운 직선 실루엣과 화려한 색채와 경이적 장식의 근원이 다름아닌 동양이라는데 중점을 두었다. 이미 국내의 몇편의 논문에서 이러한 논의가 지적되어 왔으나 다른 논제를 다루는 중에 언급이 되었고 당시의 작품이나 동시대의 자료를 분석한 것이 아닌 근래의 출판물에 의존한 연구가 대부분이었다. 따라서 본 연구에서는 그의 동양풍 디자인의 근원을 밝히는데 있어 가능한한 1 차적 자료의 접근을 시도하였다. 1912년 작품인 이브닝 드레스, 터번, 숄, 구두 각 1점과 그의 작품 의도와 생애의 추구를 말해주는 자서전(1930년 불어본 및 1931년 영어본)과 보그(Vogue)지의 기사(1920년 2월호, 9월호) 등을 통하여 그의 동양에 대한 관심을 살펴보았다. 그 결과 푸아레의 동양 영향의 근원은 19세기 말 유럽에서 절정을 이룬 'Sino-Japonism'(중국-일본주의)의 심취, 러시아 발레단의 의상과 색채, 천일야화의 영향에 의한 중동(페르시아)에 대한 열망, 그리고 인도 토민병의 복식에서 비롯된 터번에의 매료 등이었음을 알 수 있었다. 이러한 근원에서 탄생된 디자인으로는 직선형의 튜닉, 기모노 소매(처음엔 푸아레 자신도 중국의 것으로 혼동을 하기도 했지만), 하렘팬츠, 비대칭적인 카프탄식의 코트, 원색의 사용, 극동지역의 직물과 문양, 술장식, 터번 등으로 나타내었다. 따라서 폴 푸아레의 동양적인 관심은 단지 개인적 '취향 혹은 취미(taste)'가 아니라 한 시대양식으로 자리잡은 '동양주의(Orientalism)'라 할 수 있으며 이러한 푸아레의 동양주의는 당시의 패션에 있어 신체의 선을 부정하여 코르셋을 제거 시키게한 그의 모더니즘의 근거가 된다. 본연구의 제한점으로 1차적 자료를 수집하는데에 있어 보다 폭넓지 못했던 점을 밝혀둔다.

• Journal of agriculture & life science
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• v.43 no.6
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• pp.53-57
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• 2009

The Oriental flower arrangements have the beauty of a strict triangle in a symmetrical three-dimensional effect as the form of flower tribute to gods in ancient times and used frogs to fix flowers to a basin easily. Flower arrangements of a conical shape made by repeatedly piled flowers in ancient Egypt shows the origin of the present vertical form of the Western flower arrangements. Flower arrangements in ancient Greece formed in a smooth S shape, while Roman flower arrangements were rich and gorgeous in a lowering and thin shape horizontally. Persians were showing triangular forms similar to the Oriental three-dimensional effect. The basic form of flower arrangements in the age of Renaissance was also created upon the ancient one, descending to Art Nouveau when flower arrangements were widely expressed from mass to space aesthetics led by America in the 20th century influenced by mild color, simplicity and realistic description of the Oriental art in the late 19th century. The Western flower arrangements are focused on formation, same as the Oriental ones, yet they disregard naturality and based on practicality.

• Digital Contents
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• no.2 s.153
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• pp.102-105
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• 2006

지난 2003년 9월부터 이듬해 3월까지 MBC-TV에서 방영되며 국민드라마로 자리 잡았던 <대장금>이 애니메이션으로 새롭게 태어났다. 지난해 10월 29일 첫 방송을 시작으로 현재 매주 토요일에 방영되고 있는 대장금의 애니메이션 버전 <장금이의 꿈>은 장금이가 궁녀가 되기 전부터 정식 궁녀가 되기까지의 과정을 그린 작품으로 꿈을 이루기 위한 장금이의 동분서주한 수라간 이야기를 다루고 있다. 특히 조연급 캐릭터들의 액션씬을 가미해 영상에 활력을 주고, 의상과 배경 등은 가능한 현대적 조화를 꾀해 볼거리가 풍성하다. 동양의 신비함과 보편적 사상을 최대한 부각시킨 이 작품은 해외 판매와 부대사업에 주력하고 있다. 최근 들어 NHK 자회사인 MICO(Media International Corporation)와 수출계약을 체결하고, 오는 4월 NHK 지상파를 통해 방송키로 합의하는 등 이미 그 결실을 맺고 있다. 캐릭터 완구사업, 출판 및 DVD사업, 캐릭터 상품화 사업, 모바일 게임사업, 케이블 및 위성 DMB사업 등 부가사업도 활발하게 전개하고 있어 진정한 ‘윈소스 멀티유즈’를 실현하고 있다.

• The Research Journal of the Costume Culture
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• v.15 no.1 s.66
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• pp.127-136
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• 2007

Modern society shares new culture derived from the fusion of various cultures unlike the past culture regulating one phenomenon of certain field as the representative icon of the era. Especially, the phenomenon of globalization acts as the catalytic agent to receive coexistence of variousness easily. Especially, in fashion industry, these flows and the view of naturalism are harmonized and new fashion trend called 'Ethnic' was embossed. As it reflects internal spirit of human being that wants to return to the memory due to expansion of material civilization, the interest in the designer pursuing it is increasing. This study tries to consider the Ethnic style displayed by Chinese American designer, Anna Sui, who pursues the eastern style with full wit and individuality. Anna Sui, who was praised by New York Times for 'the superb harmony of houte couture style and up-to-date style', created another fashion trend, romanticism in New York and she is the worldwide designer representing Ethnic. Like it, the consideration on her Ethnic style reanalyzing as eastern style provides guidance to check how designer's fashion philosophy appears in one category of America and China and new study material that enables us to understand the third world culture code as well as Anna Sui. This confirmation has the meaning as the basic material for the endless challenge to the new style that fashion will go on in the future. Anna Sui was confirmed to have been recognized as a designer who represented the ethnic collection in the United States, exerting the influence with her unique oriental background. Moreover, her design could identify the pivotal point of ethnic image by developing her unique style which is distinct from other designers in terms of silhouette, color, fabric, detail, and so on. This kind of study can provide the basic data required to understand the fashion world of designer in the future.

• Journal of the Korean Society of Costume
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• v.61 no.10
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• pp.104-118
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• 2011

The purpose of this study is to examine the recent various developments of men's fashion by analyzing how exotic tastes were presented in men's modern fashion from 2001 to 2010. For this purpose, a researcher reviewed relevant studies to identify the styles of exotic tastes that were reflected in men's modern fashion specifically in Chinese, Japanese, Indian, East Asian, American, North American and South American styles. Findings of this study is summarized as follows. Main examples of men's modern fashion were found in Chinese-style apparel such as the magwae, queue, coolie hat and the Mao jacket. The Kimono and the samurai robe, both of which best represent Japanese apparel and the Japanese traditional patterns also had an influence on men's modern fashion Indian style clothing such as dhoti, veshti and lungi which cover the lower body, vajani as loose trousers, kurta of full-over tunic form and turban also had an effect as well. The men's modern fashion is also impacted by Middle Asian styles that includes the thobe, sirwaal, futah, which is sort of a skirt that is long enough to cover the calf and whose front parts overlap each other, turbans and the hempen hood which is fixed with the agal. Exotic elements such as animal skins, body painting, tattoos and head dresses found in African styles can also be found in men's modern fashion. Parts of North American style influence come from the applications of Indians' costume and head dress. The surveyed men's modern fashion of the South America style was represented by the applications of natives' costume and Andean tunic, loincloth and shawl. In all of the exotic styles found in men's modern fashion, historicity, eclecticism, aestheticism and nature-orientation are implied. They are the source of inspirations that promote changes and diversity in men's modern fashion.

• Journal of Fashion Business
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• v.8 no.2
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• pp.69-90
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• 2004

The purpose of this study is to find the recognition of Korean image fashion design by U.K fashion specialists. U.K is one of the important countries in design field including fashion design since 1960. For this purpose, literature research and focus individual interview research were carried. First, through the researches precedent, it was found that a national image is related with it's design industry and what is Korean image fashion design, were studied. Second, for individual interviews to 13 U.K fashion specialists, who are teaching and researching in University that has postgraduate course over M.A and had industrial experiences from 7years to 22years, were progressed using open questions and visual image stimulus. The open questions were consisted with four parts : personal educational and industrial background, recognitions about oriental fashion, recognitions about Korean image and Korean fashion design before seeing the visual stimulus, recognition about Korean image fashion design and the characteristics of Korean after seeing the visual stimulus. The results are as follows; First, the 12 U.K specialists have recognized 'oriental fashion' is one of important fashion trends now a days. Japan and Japanese designers are recognized as a represented nation and designer in oriental fashion by them. Two of the specialists referred to need changing the term 'oriental' because the term has been used in the sights of western from colonial age and Japanese is not included the oriental any more. Secondly, 11 interviews have recognized nothing about the Korean national image some of them has negative image due to political situation in Korean Peninsula. However 2 interviews who had been Korea before has positive image. In the questions about Korean fashion and Korean fashion designers, 10 of 13 interviews have nothing and negative recognitions. So it was founded that Korean fashion design was recognized as a lower level by U. K. fashion specialists. Thirdly, in the questions about Korean fashion image and the design characteristics of Korean fashion after seeing the visual stimulus, the response was represented two directions. One is about over decorative image through ethnic design and the other is about simple image differ from Japanese. The 13 interviews felt the Korean Image fashion design such like traditional, decorative, opulent, flat cutting, fresh proportion, loose, layering, natural, simplicity, complicate, adventure, easy, stylish, soft, feminine, young image, adult sexy image. The images were analyzed five image groups : adult sexy image, adult ethnic image, natural image, young avant-garde image, young simple casual image. No one preferred the adult sexy image, adult ethnic image and natural image. However 10 interviews preferred young avant-garde group and 13 interviews preferred the young simple casual image. So this group can be understanded and useful informed as one of competitive power in global fashion industry.

• (The)Study of the Eastern Classic
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• no.57
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• pp.67-102
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• 2014

Yeoheon is a representative recluse and philosopher in the 17th Joseon dynasty. His contemporary intellectuals considered him as a sincere nobleman, Confucius in the Joseon, and moreover a saint, a cornerstone of culture, and a model for Confucianists. As a politician, he was regarded as practicing the stabilization of the people's livelihood and education, which are the key ideas of Confucian politics, when he serviced as a local governmental office twice. In addition, his ruler thought that he was right, wise, and modest, and therefore had the dignity of the old sage. His subordinates considered that he possessed the way of the old great ministers and the eye to see the current state of affairs. His theory of the Yijing is based on Cheng-Zhou learning, but developed their interpretation of the text. In addition, he discussed that Confucianism is a practical learning. His theory of the ritual was considered to follow Zhu Xi's works, but refer the old rituals and overcome the aspect of minor customs. His contemporary scholars thought that his theory of Neo-Confucianism revealed the essence of Li-Four and Qi-Seven theory regardless of scholarly parties, which were formed after Toegye and Yulgok. However, he proposed the Li-longitude and Qi-latitude theory in order to restore the real values, but it is similar to Yulgok's theory, which was criticized by the schools of Toegye and South Faction near Seoul. However, his theories revealed the fact that Joseon Confucianism cannot be simply differentiated as two major theories of "Centering on Li" and "Centering on Qi. In addition, his ideas of the universe and concern for the old showed that Joseon Confucianism is not just a theory, but is related to our lives and therefore practical in its nature.

• Korean Journal of Cognitive Science
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• v.25 no.4
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• pp.303-341
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• 2014

Enactivism is the most influential and groundbreaking approach among the various theories of embodied cognition. Despite of it's impact and relatively long history, however, Enactivism is still considered as a new and unfamiliar theory in the Korean academic society. Even though this might be partly due to the genuine depth and dramatic approach of Enactivism, it is also due to the disagreement of Korean translation of Enactivism. This paper reviews the philosophical and theoretical implications of Enactivism in the context of history and conceptual terrain, and discusses how the various tranlated Korean words of 'Enaction' - '발제(發製)' '구성(構成)', or '행위화(行爲化)'- embraced and interpreted the essence of philosophy and concept of 'Enaction' and 'Enactivism'. Furthermore, we offer several alternatives Korean translations of 'Enaction': '실행(實行)', 수행(遂行/修行), or 작동(作動). Through this discussion, we hope to provide an opportunity for Korean researchers and philosophers to direct their attention to Enactivism properly and to make a common ground for further development of Enactivism in Korea.