• The Science & Technology
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• v.28 no.10 s.317
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• pp.88-95
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• 1995

"우리과하기술은 어디까지 왔나!" 1960년대에 들어와서 비로소 발돋움한 우리과학기술은 62년 제1차 경제개발계획과 더불어 80년대까지 과학기술기반 구축과 기술혁신을 본격적으로 전개했으며 90년대 들어 기술자립이라는 기치아래 과학기술개발 전략을 발전시켜왔다. 우리는 지금까지 이룩해 놓은 발전기반을 밑거름으로 하여 선진공업국을 향해 도약해야 할 전환점에 서있다. 광복50주년을 맞는 우리과학기술의 발자취와 내일의 방향을 총정리한 전 과기처 장관 최형섭박사의 특별기고를 싣는다. 이 글은 과총 주최로 9월19이리 부터 21일 까지 열린 '95국내외 한국과학기술자 학술회의의 기조강연 내용이다.

• The Journal of the Korean dental association
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• v.36 no.3 s.346
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• pp.199-202
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• 1998

1940년대부터 1970년대까지 치주치료의 목적은 복잡핞 치주외과적 수술을 통하여 치주낭을 제거 또는 감소시키는 것이었다. 그러나 1960년대와 1970년대에 이루어진 연구 결과를 보면 치주질환의 병인발생에 있어서 치태의 역할과 적절한 구강위생의 중요성이 강조되었다. 즉 치태를 제거하기 위해서 치솔과 치약, 그리고 보조기구를 이용한 구강위생방법(기계적인 처치)과 전신적 및 국소적 항생제투여, 그리고 양치용액의 사용(화학적인 처치)과 같은 비외과적 처치방법이 관심의 대상이 되었다. 여기에서는 치태를 효과적으로 관리하기 위한 기계적인 치료방법과 화학적인 치료방법에 대해 살펴보고자 한다.

• Journal of the Korean Society of Fashion and Beauty
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• v.2 no.2 s.2
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• pp.1-11
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• 2004

The purpose of this study was to analyze the hair style trend in the respect of fashion trend in 1960s. The study also attempted if there were significant influences to current hair designers and hair styles as beehive, mods hair, short cut. geometric cut, wigs, natural hair, unisex hair. This study is a descriptive study, involving the collection of picture data and examine the art of the 1960's. Because 1960's is a revolutionary decade in the way of living and fashion trend. This study also adopted review of literature and analysis of magazines. 1960's was a period of major street fashion as Mods, Jackie Look, Miniskirt, Pop Art, Op Art Look, Space Look, Hippie Look, Unisex Look. The results of this study can be summarized as follows: 1) A review of literature had shown that little or no studies for an in depth analysis of 1960's fashion trend and hair design. 2) During the sixties, the trend of fashion and hair style were remarkable change in the way of living. 3) There were strong influences hair styles of 1960's until today.

• The Research Journal of the Costume Culture
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• v.4 no.2
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• pp.247-263
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• 1996

This study focuses on a comparative study of 1960s'retro look mode in terms of the past and present in order to find out in detail how it in the past is readjusted after it was appeared in the present. For such a study, in the first place the contents of the dress and its ornament of a retro-look fashion was refined through some literature, and then, some works of the dress and its ornament of a retro-look fashion was refinded through some literature, and then, some works of eh dress and its ornament revived in 1960's mode were analysed, based on some fashion magazines at home and abroad like Bazaar, Fashion etc News in 1990s. After 1960s'retro-look mode which reappeared in 1990s was researched in terms of silhouette, detail, texture, color, and pattern, differences between those tow periods of 1960s and 1990s and their causes are summarized as follows: 1. In the aspect of silhouette, it appears that the silhouette in 1960s is that of somewhat stiff, charming image in which Body is excluded and the silhouette in 1990s is that of an soft, feminie image in which Body is emphasized. It was understood that the cause of such a delicate difference comes from the influences of the change in aesthetic senses or awareness, naturalism and neo-feminism. 2. In the aspect of detail, it appears that the detail in 1990s is of an attempt to express in diverse images, compared to that in 1960s, and new images are created new image in 1990s by means of presenting entirely ill-matched images. The major cause of that is because of Antistandard fashion. 3. In the aspect of textures, it appears that a great feature is that the texture in 1990s is of that introduced, being changed in natural and high-class looks, compared to that of 1960s. It was reviewed that the major cause of this is because of a result from the influence of naturalism and the technical growth in various fields which has brought the development of dress material. 4. In the aspect of color, it appears that the color in 1990s is of an image of primary color which is far more sensual and feminie than that of 1960s. It was studied that the major cause of ti comes from the influence of neo-feminism, etc. 5. In the aspect of pattern, it appears that the pattern in 1990s is of that of symbolism, transposition, and the ecletic feature of various modes which appear more deeply than that of 1960s. It was studied that the major cause of such changes is because of a trend of postmodernism which has brought the change of the spiritual structure different from that in the age of modernism. In conclusion, it was understood that the retro-look fashion is of an expression technic of dress and its ornament in that o dress in the pst is simply imitate, but new reconstitution is done by using the elements in the past. at the same time, ti was clarified that even though the elements in the past are revived as they were, dress and its ornament is governed by the social and cultural environments of he day, and with this proof it can be said that the fashion in each age is of a reflection of social phenomena of that age.

• Cartoon and Animation Studies
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• s.27
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• pp.99-125
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• 2012

Shojo manga, one of Japan's comic genres, is well-known around the world. There is an equivalent manga genre in Korea and it is called Sunjeong Manhwa. What distinguishes shojo manga from other comic genres is its unique visual representation of the inner world of comic characters. In this study, shojo manga depicted in various shojo magazines in the early 1960s are analyzed. The magazines reviewed include Shojo, Shojo Club and Shojo Book. Among the visual representations, flower expression, panel composition and title page design are selected for analysis. Based on the results of the analysis, the basic elements of shojo manga are portrayed well in manga published in the early 1960s, during which several female cartoonists actively led the creation of the said genre. These findings confirm that the representations adopted in shojo manga for the purpose of expressing the inner world and psychological aspects of the main characters were already evident in the early 1960s. According to earlier studies, shojo manga reached its golden age in the 1970s, when the genre's format and representation method were developed to its full extent. Therefore, studies investigating shojo manga often focused on this golden era, during which a variety of comics emerged and stories and presentation skills further improved. An increasing number of readers began reading shojo manga. Popular cartoonists also emerged, further accelerating the genre's burgeoning popularity. However, there has been no investigation on the unique representations found in shojo manga. This means that the shojo manga published between the late 1950s and the early 1960s were underestimated compared with those published in the 1970s. The aim of this study, therefore, is to reassess the comic works and cartoonists that led to the establishment of shojo manga by analyzing visual representations of shojo manga published from 1958 to 1963. This study proposes new ideas on when the unique representations of shojo manga first emerged and how those representations were described.

• Korean Journal of Social Welfare
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• v.65 no.4
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• pp.271-294
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• 2013

This study aims to grasp a slice of development of Korean Social Welfare. For this study, a character critique has been conducted on Kim, Man-doo who had been superbly equiped by social work practice and study as well. The accomplished critique came from literature criticism is based on his social work practice and his literatures. Five and six themes have been elicited each from Kim's social work practice and his literatures. Through the association of those two kinds of themes has been finally reasoned out another five themes; emphasis on integrated approach, encompassment of social welfare from America and Japan, virtuous cycling formation of Social Welfare, paradigm shift of Social Welfare, and regrettable unfinished harmony of practice and study. In regards to the results, some subjects are discussed as follows; Kim's social work practice had been refined crossing the social welfare system, a slice of Korean social welfare in 1960-90s was exposed, children-based social work practice in 1960s had been practiced unitedly, and Korean Social Welfare in 1960-80s had been structured differently according to the scholars'inclination.

• 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.

• The Journal of the Korea Contents Association
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• v.21 no.12
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• pp.713-727
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• 2021

This paper want to examine how Gwanghwamun and its surrounding areas work in the cinematic spaces for Korean films of the 1950s-2010s. First, in Korean films of the 1950s-1960s, Myeong-dong(Namchon), Bukchon, Seochon, and Dongchon are the primitive, perceptual, existential spaces that show the underground world and tragic pathos in the splendid city through intense desires and fatal frustration, the shadows and conflicts of modernization. Second, in Korean films of the 1970s-1990s, Myeongdong·Jongno(Namchon·Bukchon), Seochon and Dongchon are the perceptual, existential spaces that show public revenge and private alienation through the dichotomy of freedom/evil and the dichotomy of wealth/poverty. Third, in Korean films of the 2000-2010s, Gwanghwamun(Seochon), Bukchon, Namchon, and Dongchon are the perceptual, existential spaces that show civil society ethos and gloomy requiem through national agendas, resistance movements, desires and losses, miserable reality and death.

• Journal of Family Resource Management and Policy Review
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• v.14 no.3
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• pp.87-108
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• 2010

This study will attempt to show how marriage ceremonies in Korea have reflected marriage custom influences from science and industrialization the study focuses on changes in traditional features. As a result of science and industrialization, the social patterns of Korean marriages have considerably changed, due to the impact of western values. There are three stages of the Korean marriage ceremony: before the ceremony (Sun-rye), the ceremony (Bon-rye) and after the ceremony (Hu-rye). The research examined how these marriage customs were influenced by science and industrialization. The instruments were 750 questionnaires, analyzed through data processing and personal interviews with 25 married women. The data were analyzed by making use of the SPSS program using frequency analysis and $x^2$-test. The results suggested that, since 1960, Korean marriage ceremonies mainly conformed to the marriage customs of traditional society. Since 1970, traditional customs of the before the ceremony (Sun-rye) process have been, in large part, eliminated. The ceremony (Bon-rye) process has been changed to western style, and the after the ceremony (Hu-rye) process has been altered to some degree.

• Journal of architectural history
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• v.25 no.2
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• pp.21-30
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• 2016

Autonomia movement that emerged in Italy in the 1960s from workerist (operaismo) communism gives historical and discursive context to Manfredo Tafuri's famous criticism of ideology. His thesis on the death of architecture was a radical criticism of Keynesian intervention which was a strategy to cope with the Great Depression. For him, this capitalist development had taken away ideological prefiguration from architecture. At least Tafuri's this early intellectual phase was formed in the wake of magazine Contrapiano and Antonio Negri's influence. Tafuri almost entirely adapted Negri's thought on the importance of capitalist innovation that was uncovered by Keynes, Schumpeter, and Manheim and the periodization in modern history. When we read Tafuri's text with this concrete context, we can avoid being plunged into his abstruseness. On the other hand, 1980's Korea cannot understand Tafuri comprehensibly. 1980's situation to struggle to acquire democracy prescribed only one mode of reception of Tafuri's historiography in Korea. Tafuri's so-called pessimist view point could not satisfy student activists. They want to take intellectual means to sustain student movement and to secure political dynamics of protest. But at the same time they have anxiety to understand tafuri's thesis that they consider ad a critical theory for Korean Architecture. Double contexts of Tafuri's criticism of ideology bring to light to historicize both Tafuri's historiography itself and reception of his text in Korea.