• Archives of design research
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• v.19 no.2 s.64
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• pp.283-292
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• 2006

The Plastic material had been developed in the middle of the 19th century as an alternative material. Along with the development of the electrical engineering industry, it cropped up into center stage as an effective material and has increasingly expanded its use. As such, the plastic material has bound deep-seated ties with the design activities of industrial products, coming into the main material for a variety of industrial designs. Despite its dose affinity to design function in terms of its materialistic property, we have rarely seen examples of intensive study on the realtionship between plastics and designs. This study aims to find the importance that the substance affects industrial products in designs along with the development of plastic materials. With the objective in mind, we made a review of the streamline stylishness that had flourished in the twenties and thirties of the 19th century. Through this study, we understand that the plastic material has a close realtionshop with design activities in three different aspects. First, its amorphous state of nature makes it possible to change into any shape one desires in plastic surgery, which feature in turn influences the moulding of any design forms. Second, the plastic material is best suited to mass-manufacture, which induces to reduce the cost of production. Hence, the expansion of design industry. Third, the plastic material allows the multiple variety of colors, sensitivity, gloss and patterns and infinitely large possibility ranging from natural senses to human senses with the result that numberless diversity of designs cdould come into being.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.28 no.1
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• pp.12-40
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• 1983

Heading behaviour of native japonica (GI) and Japanese varieties (GII) grown during 1910-1920s were thermo-sensitive, home bred varieties during 1930s (GIII) - 1950s (GIV) were photo-sensitive and semi-dwarf indica derived varieties released since 1971 (GV) were controlled by basic vegetative phase. Number of leaves on main culm was increased with varietal improvement and culm length was gradually shortened as variety improved. GV variety had the shortest plant height among the groups. The first internode length was about 30cm in all groups and difference of 2nd-4th internode length was caused shortening the culm length. Panicle length and diameter of panicle neck were shortened and became thinner as variety developed from GI to GIV, however, GV had longer panicle and thick panicle neck, respectively. Number of panicles/hill and straw weight/hill increased and became heavier as variety improve from GI to GIV but GV had moderate number of panicle/hill and relatively light straw weight. Number of spikelet/panicle has been reduced with varietal improvement but GV had the biggest number. Grain yield/hill also increased as variety improved, however, it was decreased as transplanting season postponed and GV had shown the most sensitive difference. Top dry matter weight at heading stage and at 20 days after heading (20 DAH) had no difference among the groups except GI which was the smallest. Average grain weight at 20 DAH was heavier in the order of GI > GII, GV > GIV > GIII. It had a little variation in GI & GII while that of other variety group showed significant decrease as transplanting delayed. Harvest index (HI) of GV was the highest at 54% for the earlier transplanting and GIII had the lowest HI. Difference of HI became conspicuous for the later transplanting, the varieties bred later had the lower HI when transplanting of rice delayed. At the earliest transplanting applied (May 15), the grain yield was higher in the order of GI > GIV > GIII > GII > GI, however, that of Tongil type variety (GV) was the lowest for the latest transplanting (June 29). Interrelationship among the agronomical characteristics and grain yield was discussed.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.13-51
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• 2021

As a case study, this paper historicizes the film culture in Namchon district in Keijo(京城) based on a preliminary research on the film ephemera produced during the colonial period. Through cross-examining articles appeared in Japanese newspapers and magazines at the time, this paper empirically reconstructs the Japanese settlers' film culture in Keijo, a colonial city whose cultural environment was ethnically divided into 'Bukchon' and 'Namchon.' During the silent era, movie theaters in the Namchon district not only played a role of cinema chain through which films imported and distributed by Japanese film companies were circulated and exhibited but also served as a cultural community for Japanese settlers who migrated to a colony. The film ephemera issued by each theater not only provided information about the movie program, but also connected these Japaneses settlers in colonial city, Keijo to the homogeneous space and time in Japan proper. Both as a minority and colonizer in a colony, these Japanese settlers experienced a sense of 'unity' that could 'distinguish' their ethnic identity differentiated from Koreans through watching movies in this ethnically segregated cultural environment. In doing so, they were also able to connect themselves to their homeland in Japan Proper, despite on a cultural level. This is a cultural practice that strengthens a kind of long distance nationalism. Examining Japanese film culture through film ephemera would not only contribute to the previous scholarship on modern theater culture and spectatorship established since the 2000s, but also be a meaningful attempt to find ways and directions for film history research through non-film materials.

• Cartoon and Animation Studies
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• s.30
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• pp.139-168
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• 2013

This article aims to explain the significance and value of cartoons in the 1910s which were largely passed unnoticed in the preceding cartoon studies by scrutinizing cartoons published in Maeilsinbo in the 1910s. Until now, Korean cartoons in the 1910s has been neglected just because it were published in Maeilsinbo. However, this writing analyzed cartoons in this period on the base of the fact that the cartoons in the 1910s printed in Maeilsinbo diversified the horizon of the Korean cartoon. Cartoons in Maeilsinbo functioned as a bridge connecting cartoons published in Daehanminbo in 1909 reputed as a root of Korean cartoon and 1920s, the time when satirical cartoons and comics started being printed in newspapers. The characteristics of Maeilsinbo as a bulletin of government general and periodical characteristics that the agent of popular culture begun to move reside as multi layers in the cartoons in the 1910s. In this article, the process and the development of how cartoons published in Maeilsinbo. As pleasure became important in everyday life in Korea, cartoons were able to earn a portion in the newspaper. In the beginning, modern cartoon style seemed vague, but as time goes by, its own style gradually settled. Cartoons in this period were not fixed in specific section but various kinds of cartoons were developed during the time since works of Korean as well as Japanese cartoonists and illustrators were published. Among them, representative cartoons in Maeilsinbo were analyzed in this article under three categories: first, cartoons represented 'Choseon-ness' through scenes of daily life and customs concurrently contained a view of anti-civilization/enlightenment; second, cartoons represented the accumulation of wealth as valid from the view point of public interest; last, cartoons divided Koreans who suffered from hardships of life in Kyungsung and Japanese in Jingogae in order to divide space. In conclusion, Maeilsinbo disciplined the colonized, Koreans, and exposed the discourse of the colonial power via cartoon.

• Journal of the Korean Society of Food Culture
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• v.30 no.5
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• pp.576-586
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• 2015

This study compared and analyzed the consumption and amount of red pepper used in Baechu Kimchi (cabbage Kimchi) especially the amounts used in Kimchi recipes with respect to the passage of time from the 1930s to the 2010s. In this analysis, 78 recipes for cabbage Kimchi were taken from books, daily newspapers and magazines from 1930 to 2014 and collected for comparison. The result of the study showed that the consumption and inclusion of dried red pepper powder in cabbage Kimchi increased. The average consumption of red pepper in the 1930s was 5.75 g, and the number went up to 8.83 g in the 1940s, to 13.8 g in the 1950s, and to 20.25 g in the 1960s. The amount dramatically increased from 1970 to 1980 (53.37 g) and kept rising until 2010 (71.26 g). The average consumption of red pepper in cabbage Kimchi in the 2010s is about 12 times that of the 1930s.

• Journal of the East Asian Society of Dietary Life
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• v.13 no.4
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• pp.267-283
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• 2003

This study reviewed the prisoners' dietary lift status under the world panics and Japanese food shortage based on the data of the 1920~1930's prisons' main dish supplies in Chosun, Shinchu boys' prison in Taiwan, Franue correction center in France and Moabit detention house in Germany. 1. The status of main dish food supply of Chosun prisons in 1920~1930's was as follows: 1) Meals were provided with 12 rates depending on the working activities. There were big differences in energy supply between 1$^{st}$ rate of 6045.0 ㎉ in the Mockpo prison and 12$^{th}$ rate of 1855.8 ㎉ in the Masan prison in accordance with the grain supply ratio and the diet rates. 2) The average ratio of energy provided with protein, fat and carbohydrate(PFC ratio) was 20.0: 20.2: 59.8. The supplies of protein and fat were relatively high because main dish was mostly composed of soybean. The soybean was used in 20 ~60％ of main dish in prisons except Gaesung. 3) It was estimated that PFC ratio(8.3: 8.1 : 83.6) in Gaesung boys' prison was not appropriate for growing boys because the soybean supply was low. 2. The overall comparison of nutrition supply of prisons in Chosun, Taiwan, France and Germany was as follows: 1) The daily supplies of energy in Keongsung prison was 3966.5 ㎉, of which the PFC ratio was 18.9: 16.6: 64.5. This showed that the PFC ratio seemed to be balanced, even though the total amount of energy is too high and the ratios of protein and fat were somewhat high and somewhat low, respectively. 2) The main dish of the Taiwan boys' prison was provided with 6 rates and the side dish in the from of weekly cycle menu. The energy intakes from 1$^{st}$ rate of 2862.9 ㎉ to 6$^{th}$ rate of 1388.9 ㎉ were not quite enough for growing boys. It was estimated that the amounts of protein and fat taken were small but the quality was not that bad because animal protein such as protein small fish and fried tofu were supplied. 3) In the French Frenue correction center and the German Moabit detention house, the daily total amounts of energy were 2771.3 ㎉ and 2678.7 ㎉, respectively, which was estimated as appropriate compared with standard energy amount of 3000 ㎉ at that time and the current energy RDA of 2500 ㎉ for adult. The ratio of PFC was 16.2: 12.0: 71.8 in Frenue correction center and 12.4: 14.3: 73.3 in Moabit detention house, which showed that the amount of fat was slightly lacked. From this study, it was suggested that the prisons in Chosun and Taiwan under the Japanese rule and European prisons after the world panic were making an efforts to supply prisoners the appropriate amount of energy. The only question remains is that this data may be from only the food supply plan not from the data the prisoners took in real.eal.

• Journal of the Korean Society of Costume
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• v.41
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• pp.117-138
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• 1998

This study can be divied into three major sections: 1. Background on the 1980s : The 1980s can be characterized as a era of rising expectations over the quality of life. Interest in art, history, culture, and new technology increased to appeal to a greater audience. In fashion, these changes led to greater focus on quality and unique stylishness as fashion represented a medium through which luxury and refined tastes could be expressed. 2. Textile Trends of the 80s Divided into 4 Periods : The period of 1980-82 saw the mixture of natural lines with constructive lines. The textiles used in fashions in this period can be characterized by natural materials, mannish materials of the 1950s, feminine materials of the 1920s and 30s, and spoty materials of the 1960s. The period of 1983-85 was an avante garde period which used rustic avante-garde materials and art craft materials. The period of 1986-87 can be described as minimalistic and neo-classical which incorporated materials which represents a metropolitan feel, retro decorative materials and sporty, futuristic mat-erials. Lastly, the period of 1988-89 produced ethnic and natural fashions which relied on traditional British materials, country elegant and innocent look fabrics, ethinic and ecology-minded materials, in addition to comfortable and sports casual materials. 3. Characteristrics and methods of expression for textiles in the 1980s, : In the 1980s, the development of textiles have can be divided into 4 distinct patterns: decorative materials, sporty materials. In generals textiles have increased in their decorative nature-especially decoration by texure. Textile have also incorporated the mixture of contrasting themes in order to create new fabrics.

• Journal of the Korean Society of Costume
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• v.64 no.7
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• pp.172-183
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• 2014

The term "new woman" (신여성 [Sinyeoseong], 新女性) refers to an idealized image of contemporary women during the so-called modern period in East Asia. In Korea, these "modern girls" were also referred to as modan (毛斷), or "cut-hair", reflecting changes in appearances that rejected the traditional value system in favor of "the new" in everyday life. Although it was used to refer to the perceived educated leaders of this new period, it also had the negative connotation of referring to frivolous women only interested in the latest fashion. The popular discourse on this "new woman" was constantly changing during this early modern period in East Asia, ranging from male-driven women's movements to women-driven liberal and socialist movements. The discourse often included ideals of what constituted female impeccability in women's domestic roles and enlightened views on housekeeping, yet in most cases the "new woman" was also expected to be a good wife and mother as well as a successful career woman. The concept of the "new woman" was also accompanied by an upheaval in women's social roles and their physical boundaries, and resulted in women repositioning themselves in the new society. The new look was a way of constructing their bodies to fit their new roles, and this again was rapidly reproduced in visual media. Newspapers, magazines, and plays had gained immense popularity by this time and provided visual material for the age with covers, advertisements, and illustrations. This research will explore the fashion of the "new woman" through archival resources, specifically magazines published in the 1920s and 1930s. It will investigate how women's appearances and the images they pursued reflected the ideal image of the "new woman." Fashion information providers, trendsetters, and levels of popular acceptance will also be examined in the context of the early stage of the fashion industry in East Asia, including production and distribution. Additionally, as the idea of the "new woman" was a worldwide phenomenon throughout the 19th and early 20th century, the effect of Japanese colonialism on the structure of Korean culture and its role as a cultural mediator will also be considered in how the ideal image of beauty was sought, and whether this was a western, colonial, or national preference.

• Journal of the Korean Home Economics Association
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• v.24 no.1
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• pp.28-41
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• 1986

In the history of costume, coat can be traced up to ancient Persia but it was generalized as today's style around 14th an d15th century in Euro[pe. World wars, revolutions and rapid social changes of the last 80 years have produced more changes in the way people dress than any comparable period in history. Thewse changes enabled emergence of more modernized woman's garments and through it, dress and coat ensemble became public's main fashion. In 1920's after world war I, boyish style in woman's garment was in vogue. Woman's coat was also in the same style with length sortened up to the knee level and silhoutte was straighter and semi-fitted than previous period. Length of the coat was longer in late 1930's but shortened again in 1940's. And the most popular silhouette of both 30's and 40's was shape of the hourglass which was commonly called the "X-shape". Also double=breasted coat with fitted waistline, belt and flare skirt was in vogue. In 1950's and 60's, with the variety of lines in woman's garments, silhouette of the coat also appeared in many different forms. Along with the various shapes, color of the coat changed throughout the decades : dark colors in 20's, bright colors in 30's, mixed colors of 20's and 30's in 40's and in 50's, color had changed to archromatic. In fabric, wool was most popular in all periods. However, such gabrics as tweed, cotton, gaberdine, linen were added to give variety. It is very interesting to see collars trimmed with expensive furs were very popular in 20's and 30's but it almost disappeared in 40's and fur trimming reappeared in late 50's. In addtion to silhouette changes in design, details such as buttons, epaulettes, pockets and fur trimming of hemline were emphasizing points of varieties in design. This study has set time limits world war I which was the period coat became major fashion of woman's clothing, to 1960's.

• (The)Study of the Eastern Classic
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• no.67
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• pp.173-201
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• 2017

Sinheung Military Academy was the first one which prepared for independence war built by members of Sinminhoe in Western Manchuria. Sinheung Military Academy is known that nurtured 3,500 independence soldiers during 10 years from 1911 thorough 1920. Nevertheless no people know how it recruited so many students for 10 tears. In the course of studying the recruit of Sinheung Military Academy, I became to focus on Manjugisa by Yi Sang-nyog. Although Yi Sang-nyon remembered that there were over five hundred students in Sinheung Military Academy from just after it's set up in Manjugisa, scholars overlooked that mention so far. In addition, in the Sixth poem of Manjugisa, Yi Sang-nyong recollected that there were 30 preliminary educational organizations in 1918 after installation of Sinheung Military Academy in 1911. Therefore I concluded that the over 500 students nurtured from just after installation of Sinheung Military Academy were summed up students of preliminary educational organizations over Sinheung Military Academy's and proved it. The students of preliminary educational organizations in Liuhexian Tonghuaxian entranced into Sinheung Military Academy after graduation. The graduates of Sinheung Military Academy taught the students of preliminary educational organizations a common and military educations in duty for two years. In conclusion, Sinheung Military Academy and nearby preliminary educational organizations were an wide military camp organically maintained by Korean in Western Manchuria for big purpose of independence war.