• Cross-Cultural Studies
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• v.46
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• pp.1-20
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• 2017

This study tries to examine the emotion of the elite characters in Son Jangsoon's early novel, The Koreans. In this novel, most characters are found to have an envy feeling, except for two female characters, Heeyeon and Sue Han. Although the writer does not consciously explore the envy feeling here, she excellently represents the harmful effects of the envy feeling. In this novel, the envy feeling is related to the desire for success and its frustration. In 1960's, people had high expectation of improvement in their individual lives. The elite groups were more likely to have a successful life with good education. But in this novel, these elite people suffer from frustration of their desire and experience of the envy feeling. The impressive point in this novel is that not only females but also males are shown to have the envy feeling. Envious people have the tendency to compare themselves with people around them, to feel shame in an inferior position and to aspire for superiority. In these envious characters, the feeling of envy reveals their lack, their inferiority and it never provides them with the way to escape from their suffering situation. The writer suggests that the envy feeling can be overcome by pursuing other valuable things and focussing not on other people's desire but on their own desire.

• Journal of the Korean Society of Food Culture
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• v.12 no.1
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• pp.1-9
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• 1997

The contents of articles on food safety and policy in the Donga and Chosun Ilbo from January 1960 to June 1996 were analyzed for the evaluation of subjects and trends in mass media. Among the total of 490 articles, those on cereals were most frequently appeared (20.0%), followed by the articles on sea foods (10.6%) and meats (10.0%). Articles on fats and oils were the least (2.0%) in frequencies. The proportions of articles classified based on the 10-year interval were 28.0% in the 60's, 28.0% in the 70's, 20.6% in the 80's, and 23.4% in the 90's. Major contents of articles were the safety of imported foods, food contaminations by agricultural chemicals, heavy metals and harmful additives.

• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.178-197
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• 2008

Due to the inflow of the western culture since the 19th century, female skirts and jackets have been changed considerably in detail though their basic composition was maintained. The analysis on female jackets from the start of the modern period to 1960s has been undertaken with artefacts as well as reports and research dissertations related to them. For period appraisal, analysis was divided into several periods which are from 1890s to 1910s, and every 10 years afterwards. As a result, aspects for the appraisal in each period was found. Aspects for period appraisal in modern jackets can be a change in total length and side length, a change in shape of the sleeves (from straight to round), a change in width, and a difference in closed shape of the collars. Material and color can be another aspect which shows fashionable material or new materials (man-made textile or nylon) of each period, color combination of surface and lining material as well as other parts of the jacket, use of a stiffener made with net or sheer textiles. Research using books and archives is important for the appraisal of the garment artifact. However, most of all, one should have the attitude of examining the artifacts frequently in order to achieve deeper understanding and an eye for accurate appraisal.

• Journal of the Korean Geographical Society
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• v.31 no.2
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• pp.255-267
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• 1996

The so-called Cultural and Historical Geography, sometimes called even as the Historical and Cultural Geography, has been defined as an interdiscipline that encompasses several disciplines in Korea. Scholars with various academic background have participated in the academic activity of the Association of Korean Cultural and Historical Geographers that was organized in the late 1980s. The academic majors of these participants are cultural geography, historical geography, history of geography, urban geography rural geography, economic geography, social and economic history anthropology, landscape architecture, and so on. It was in the 1960s that articles about the Cultural and Historical Geography appeared for the first time in the major academic journals in Korea. The pioneers of publishing these articles in the 1960s continued to conduct their research, while training students majoring in the Cultural and Historical Geography in the 1970s. All of these pioneers and their students were very active in the formation of identity vrith the Cultural and Historical Geography In the 1980s. Cultural and Historical Geography in Korea took a great leap forward both in quantity and in quality. The number of articles in the journal increased substantially, and the range of research theme and methodology extended in a great deal. It was also in the late 1980s that the Association of Korean Cultural and Historical Geographers was organized in Seoul, Korea, and this association began to publish a professional journal named Cultural and Historical Geography once a year. In the 1990s, single-authored books dealing with Korean Cultural and Historcial Geography began to appear in public as textbooks or research monographs. These books are expected to speed up the spread of Cultural and Historical Geography in Korea. If it continues to grow further both in quantity and in quality as it has been, Cultural and Historical Geography in Korea will be able to stand as an independent academic field in the future. Until then, however, it cannot but avoid its mission to contribute to an integrated development of human geography in Korea. It has already gained not only its own merit in the humanistic perspective but also its own strength in its synthetic understanding.

• Journal of Fashion Business
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• v.11 no.4
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• pp.52-68
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• 2007

[ $Courr{\grave{e}}ges$ ]Look style has been showing up continuously since 1980s in the fashion world. In response to that, this study aimed to look into the trend of design in 1960s and examine the formative artistic characteristics in $Courr{\grave{e}}ges$ Look in order to explore the $Courr{\grave{e}}ges$ Look of Andre Courregs. Following the flow of the times, the $Courr{\grave{e}}ges$'s design has transformed and developed through the styles of the pants suit look, the space age look, the mini look and the sporty look. His own style constructed by simple line like a mini skirts, accurate rates, geometric patterns, high tech materials, vivid color and etc, in 1960s. He has also innovated the fields of textile, garment cutting, details, and accessories. The $Courr{\grave{e}}ges$ Style was expressed by pure&avant-garde style, sporty&modern style, cheerful&reveal style and dynamic&funny style. Functionality with humor to $Courr{\grave{e}}ges$ was an important element that expresses both youth and casual. For the active, new woman, not only a funtional beauty but also a futuristic sensibility is expressed in the $Courr{\grave{e}}ges$ Style.

• Journal of the Korean Geographical Society
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• v.37 no.1
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• pp.93-110
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• 2002

The purpose of this study is to analyse the change and characteristic of agricultural land use for the mountainous village which was linked to the development of arable land in the historic process as the case study on Yowon-village, Gyeongbuk province. The findings are summarized as fellows. First, most of arable land development had been developed from the late 16th century to the late 19th century and in the 1960s. A rice field was developed at the valley containing water resource and a dry field at the land close to a village before 1960 and at the gently sloped and wide hill after 1960. Second, the crops cultivated before the introduction of commercial agriculture were potato, foxtail millet, bean. After the 1970s, The vegetable, red pepper, tobacco were commercially cultivated. Third, the main group of land use change(choice of crops) result from effort of the inhabitant The significance of this study are as follows, explaining the change and characteristic of agriculture land use for the mountainous village which was linked to the development of arable land, studying as the case on small-scale village.

• Korean Institute of Interior Design Journal
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• v.20 no.6
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• pp.145-152
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• 2011

Salvador Dali put a title of his work as 'A Propos of the Treatise on Cubic Form by Juan de Herrera' at 1960. Through this work which is consisted in cube frame surrounding black and white letter squares and nails in the sky, he directly referred about the cube which were showed in his pictures. To understand the meaning of this work, Dali's paintings and Juan de Herrera's design and architectural ideas are analysed by building. His concerning about absolute existence like god and nuclear takes the cubic form by Juan de Herrera instead of pictorial tendencies of Cubism, however pictorial elements such as sky and nails were still used in the work. He use alphabet letter as pattern consisting wall and symbol representing 'Juan de Herrera', moreover number '2' is taken to show up line attribute. Dali had several design develop process, and finally he reached an new stage called 'Hypercube'. Hypercube can distinguish from Cubism and Herrera's architectural idea, and it will be free from objective world based in Euclid geometry. Although cubic is the simplest shape. It can contain the variety of developments in these fields - philosophy, architecture, painting and etc.- from Platon to nuclear physics and coexists in a picture of Salvador Dali.

• Journal of the Korean Home Economics Association
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• v.35 no.6
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• pp.1-13
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• 1997

Hipp8ie style was introduced in 1960s when young generation's movement against industrial society and mass culture was spread. Its value was to go back to "Real and Pure Nature". Hippie originated from "Human Be-in" which was on-violent revolution held in sanfrancisco. American Hippie style was represented through freedom and love based on drug and psychedelic culture which were created by the young generation who were against traditional esthetic value as well as the moral and material value. However, Hippie style was represented differently in France. The privilege classes such as artists who were interested in surrealism, art negro and primitive culture, the intelligentsia like Montparnass in Paris, accepted Hippie style faster than ordinary people did. therefor, Hippie style in france was represented as an esthetic mode not a symbol of anti-culture and anti-policy. The general public imitated the style of the privileged classes and coordinated their style according to their personality without any standard such as blue jeans, ethnic, psychedelic, mini, mods, beatnik, etc. Yves Saint Laurent who was influenced by hippies led the mode of Paris to introduce "Africa", "Saharienne", "Pathwork". therefore, in 1960's fashion in Paris, everything was possible because of too many changes in fashion and refusal of accepting vogue.

• Journal of architectural history
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• v.26 no.3
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• pp.31-38
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• 2017

The retail store, which appears in various ways of the modern city, is the architectural result that the merchandise is finally delivered to consumers. The relationship between the commerce based on manufacturing and distribution and the retail store as urban architecture can be understood not only from the viewpoint of economics and business administration but also the problem of the formation of urban history and urban organization. The modern industrial development in Korea had been progressed by the state led, as the manufacturing and distribution developed in turn. This social and economic situation influenced the formation of the retail store of the city. This is different from the West, which the development has been conducted together. The cosmetics sales space, which is the subject of this study, has changed in various forms from the 1960s to the 1990s. Cosmetics brand retail shop is a corporate brand-based space, but paradoxically, it has a historical characteristic of urban architecture in that it is branding city street. This specificity of Seoul is unexplained by the development process of the Western and does not exist as a physically huge or special construction sometimes. However, it operates as a urban architecture in Seoul where the complicated.

• Lingua Humanitatis
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• v.1 no.2
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• pp.107-121
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• 2001

This paper examines the way in which the idea of language has been introduced in architectural discourse since the late 1960s. The paper reviews the works of Robert Venturi, Charles Jencks, Peter Eisenman, Alan Colquhoun, and Mario Gandelsonas, which explore the analogy between linguistic and architectural form. All of the writers above are responsive to each other's theoretical positions, sometimes implicitly and sometimes explicitly. A system of signs can be approached by asking how the lexicon and syntax are proportioned. The same question may be posed to architecture: can architecture be understood as a lexicon or as a relational structure, such as language is\ulcorner Two perspectives are presented by architectural theorists. The first advocated by Venturi and Jencks posit architectural form as a problem of signs. The problem with this perspective is that, it reduces architecture into popularized iconography in favor of the representational aspects of architectural form. The second perspective, developed by Eisenman, explores the possibility of finding new formal constructs in the abstract relationship of formal properties. Eisenman's theory, however, has its own problems for, in highlighting syntactic structure, it minimizes the distinction between the perceptual and the pragmatic dimensions. Yet both perspectives address crucial problems of contemporary architecture and expand architectural discourse into the broader realm of humanistic studies.