• 미술이론과 현장
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• 제3호
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• pp.9-34
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• 2005

Contemporary Korean art in the 1960s and the 1970s reflects the social and political contexts in Korea from the 5 16 revolution through the Yoo Shin period. This paper investigates whether art has been free from power or not. It examines the power embedded in contemporary Korean art in the 1960s and the 1970s. This paper examines the historical moments of the Korean Art Exhibition, focusing on the complications between the abstract and figurative artworks of the 1960s. One of the significant art exhibitions since the 8 15 liberation of Korea, the Korean Art Exhibition witnessed conflict among Korean artists who wanted to have power in the art world of Korea. Institutional contradiction based on factionalism and conservatism prevailed in the Korean Art Exhibition was attacked by the avant-garde young artists in the 1960s. With the contact of Abstract Expressionism, young artists' generation participated in the The Wall Exhibition. This exhibition challenged and established moral principles and visualized individual expression and creation similar to the Informal movement in the West. In the world of the traditional painting of Korea, the Mook Lim Exhibition of 1960, organized by young artists of traditional painting, advocated the modernization of Soo Mook paintings. Additionally, abstract sculptures in metal engraving were the new trends in the Korean Art Exhibition. In the 1970s, the economic development and establishment of a dictatorial government made the society stiffen. Abstract expression died out and monochrome painting was the most influential in the 1970s. After the exhibition of Five Korean Artists, Five White Colors in the Tokyo Central Art Museum in 1976, monochrome paintings were formally discussed in Korea. 'Flatness' 'physicality of material' 'action' 'post-image' 'post-subjectivity' and 'oriental spirituality' were the critical terms in mentioning the monochrome paintings of the 1970s. 'Korean beauty' was discussed, focusing on the beauty of white which was addressed by not only Yanagi Muneyoshi but also the policy of national rehabilitation under the Yoo Shin government. At this time, the monochrome paintings of the 1970s in Korea, addressing art for art's sake, cutting of communication with the masses, and elitism, came to be authorized.

• 한국식생활문화학회지
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• 제26권6호
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• pp.562-573
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• 2011

The purpose of this paper was to research the history of Korean restaurants in Manhattan, NY in the 1960's-1970's. These Korean restaurants were the pioneers in the globalization of Korean food. It is assumed that 'Mi Cin' was the first Korean restaurant in Manhattan and opened on March $1^{st}$, 1960. In the 1960's, it is estimated that there were four Korean restaurants in Manhattan. In the 1970's, the number of Korean restaurants increased to more than 18, and their main menu items were divided into three types: Korean fusion menu such as 'Lunch Special' for American customers, beef barbecue menu for American and Korean customers, and Korean traditional menu for increasing Korean immigrants.

• 대한건축학회논문집:계획계
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• 제36권2호
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• pp.97-108
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• 2020

This study aims at clarifying the planning methods and historical significance of Park Byung-Joo's New Seoul Blank Plan(1966) in the context of South Korea's Urban Design during the 1960-1970s. In addition, it also tries to reveal how the planner's ideas were transformed into realized urban projects in Korea. By the comparison of the New Seoul Blank Plan and these projects, we can come to understand how the new concepts of urban planning such as CIAM's planning principles, Neighborhood Unit Theory, New Town plan and green belt concept were adapted to Korean society in the 1960s and 1970s.

• 복식
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• 제22권
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• pp.23-44
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• 1994

The purpose of this study was to clarify the cultural characteristic of dress and adornments by examining articles on dress adornments and related items in Korean newspaper over periods historically and objectively by means of content analysis. This study attempted to at-tain a macro-cultural view by analysing to at-tain a macro-cultural view by analysing closely the cultural characteristics of dress and adornments as a micro-cultural system through culturally based model suggested by hamilton. The two-hundreds and eighty articles on dress and adornments were selected from newspapers(most by form Chosun Ilbo and partly from Maeil Shinbo) pulished between 1920 and 1990. The results were as follows: 1. The culture of dress and adornment received much attention during the 1930's and 1960's and little during 1950's. 2. Various cultural characteristics of dress and adornments appeared on and after 1960's: reporting more foreign news items showing foreign-oriented and future-oriented features showing cultural relativism. In the 1920's and 1970's the contents of news items on dress and adornments show the most common- mass- oriented character. Foreign-oriented cultural tendencies in cloth-ing were increasing during from 1960's to 1970's but the tendencies were turned to rather tradition-oriented features on and after 1980's compare with 1960's-1970's. Advisory critical articles on dress and adornments were small in number and insignificant but compare with other periods these received much atten-tion during the 1920's and 1980's. 3. Ideological components received much at-tention on and after 1920's to 1990. Techo-nological components received much attention during 1920's and little during 1960's. The social structural components received a little attention on and after 1920's-1940's and 1990. 4. News items on women's dress and adornments received much attention from the 1920's to 1960's and news items on both men's and women's dress and adorments were in-creasing and received much attention on and after the 1970's. 5. The pragmatic cultures were mostly re-lated to techonological components and evaluative-normative culture were mostly re-lated to ideological and social structural components. In the light of these results dress and adorments as a cultural sub-system comprise a dynamic inteacting system that articulated directly with the macro-cultural system.

• 한국실내디자인학회논문집
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• 제14권2호
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• pp.3-11
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• 2005

The subject of this paper is to find out the characteristics of Michael Graves' housing design. I collected the information of his designs and teamed his design language through his works on different time. I chose five actual housings for analysis which were built since 1960 when he have started his career. Though analysis of the exterior view, plane figures and the total arrangement photos, I could reached the conclusion. From analysis of this research I could figure out the characteristic of Michael Graves housing design as follows. During his whole working career $(1960\~present)$, his design style has went through distinctive characteristic changes that can be divided into: 1960s to early 1970s, mid and late 1970s, 1980s to as of now. 1960s to early 1970s, during this period his works implicated transparency, openness, consistency, complication, and contrast on space, abstraction, white-color and metaphor. mid and late 1970s, showed the white-color figure put together with geometrical structure and post-modernism styles such as ornamentation, natural and metaphor. 1980s to as of now, implicated ornamentation, natural features, historic background, interconnections, variety, symbolism and tradition.

• 복식
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• 제50권6호
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• pp.73-87
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• 2000

The purpose of this study was to analyze the influence of fashion magazine on the street fashion, focused on Japan. The data were collected from the magazines and newspapers published in Japan from 1960's to 1990's. Fashion magazine has three functions : transmit information function, education and criticism function, advertisement and entertainment function. And, it has influenced on the street fashion by grasping the fashion trend and consumer needs, and communicating the vision to reader in Japan. The results were as follows : 1. the ivy look of 'Heibon Punch' in the 1960's, 2. the coordinate look of 'Anan' and 'Nanno', 3. the outdoor look of 'Popeye' in the 1970's, 4. the new traditional style of 'JJ' in the 1970's - 1980's, 5. lyceenne look of 'Olive' in the 1980's, 6. Shibu-Kaji style of 'McSister', 7. the supermarket style of 'Cutie' in the 1990's.

• 조형예술학연구
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• 제2권
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• pp.42-89
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• 2000

Industrial ceramic of Korean industrial design, especially tableware show different characteristics in their forms between 1940s-1960s, and 1970s-1990s. The shift of such changes can be verified objectively by module measurement. The validity of the results applying this method is supported by the investigation of the change of aesthetic modes in Korean society. The most obvious change in the figurative characteristics of tableware is in the outline of their external shapes. 'Module' is used to describe and analyze the changes of such an external shape more strictly as the objective method and measuring the module is employed. This method was developed by the combination of the method analyzing figurative art works by Re Corbuise who uses 'module' with Hambidge's method to describe and analyze the works by means of the golden section. The shift of flgurative changes of tableware could be examined objectively and elaborately by such a newly developed method. The industrialization of tableware production in Korea was begun in 1940s. Then its design was not activated, but as the society has been stabilized through the liberation and civil war, design was settled in 1960s. After that, the design has played the essential roles in 1970s. And as the importance of design in producing goods has been recognized according to the economic growth. The design of tableware shows a remarkable difference based on 1960s and 1970s in such an economic growth. It is resulted from the scientific data analysis of the design since 1940 without any preference. According to the results which analyze the external shapes of tableware for last 50 years, the tableware designs show much differences between 1940s-1960s, and 1970s-1990s. The figurative changes of Korean tableware show the similar trends to the transitional aspects of the society. Design is the manifestation of aesthetic modes which have been developed in a close relationship to society and especially economy. In Korea the development of design was initiated by the economic growth and the Korean aesthetic modes were also changed with the economic growth. The transitional shift of aesthetic modes shown in the figurative characteristics of tableware which are divided on the basis of 1960s and 1970s was peak in 1970s with the development of economy and design started in 1960s.

• 한국인구학
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• 제9권2호
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• pp.53-66
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• 1986

This study was carried out to determine the mortality level and it's related demographic factors in Korea since 1942. In order to clarify the changes in structure of mortality and the causes of death, the indices such as Crude Death Rate(CDR) or Life Expectancy at Birth were used. The author examined the mortality levels and major causes of death and performed the relevant demographic analysis. The followings are the summary of this study: 1. The CDR declined rapidly till 1960's. Such improvement slowed down from 1960's to mid 1970's and stabilized afterwards. It was due to the change of age composition, namely, the increase of aging population. 2. The Life Expectancy at Birth increased rapidly till mid 1960's. But elongation of the Life Expectancy slowed down after then. Especially in female, it slowed down more. 3. Changing patterns of major causes of death summarize that, till 1960's infectious diseases were major causes of death, but recently non-infectious diseases like chronic degenerative diseases became more prevalent. 4. The elongation of Life Expectancy at Birth till mid 1960's was mainly resulted by $_4{q}_1$. But the major contributing factor of the improvement in Life Expectancy at Birth in female is he reduction of $_$\infty${q}_{50}$ recently. In male, the improvement in Life Expectancy at Birth is due to the reduction of $_1{q}_0$. recently. 5. The age-sex-specific mortality rates revealed that $_n{q}_x$ declined in common throughout the period, even though there exists some variability of their ranges as age changes. Consequently, this study seems to suggest that the demographic transition in Korea occurred between late 1960's and early 1970's. In other words, the rapid change before late 1960's was eased in early 1970's. The slow change in this period caused a stabilizing pattern. Therefore, the population change is expected to be stabilized continuously.

• 산학경영연구
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• 제17권
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• pp.27-52
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• 2004

1960년대와 1970년대에 걸친 한국경제의 성공적 도약과 이에 따른 기업의 성장은 정부의 적극적 개입에 의한 것이다. 이러한 정부주도의 경제성장이 우리나라에서 성공하게 된 이유는 박정희 정권이 효과적인 관료제를 확립하였을 뿐 아니라 수출실적 등과 같은 객관적 기구에 의하여 시장기구 못지않은 기율을 기업들에 실시한데 있다. 1960년대의 기업성장 및 기업집단 형성의 요인들로는 경제개발과정에서의 정부정책사업 및 수출 진흥정책에의 편승에 의한 특혜, 차관도입을 위시한 금융특혜, 공기업의 민영화 및 부실차관기업의 정리, 그리고 월남특수 등을 들 수 있다. 1970년대에는 8.3 사채동결조치, 중화학공업화, 중동건설특수, 종합무역상사제도의 도입 그리고 60년대 정부의 금융지배이후 계속되어오는 금융 및 자본시장에서의 경제적 지대를 기업성장 및 기업집단형성의 요인들로 들 수 있다. 그러나 이러한 특혜에 의한 성장은 기업의 비관련 다각화를 촉진시켰고, 간접금융에 의존하는 악성 기업재무구조를 유도하였고, 재벌중심의 독과점산업구조를 형성시켰다.

• 한국보육지원학회지
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• 제8권3호
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• pp.25-51
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• 2012

본 연구는 1960년대부터 1990년대까지 동아일보 신문에 게재된 아동 관련 광고를 분석하여 신문 광고에 나타난 아동에 대한 사회적 이미지를 고찰하였다. 연구결과는 다음과 같다. 1)신문광고에 나타난 아동 관련 광고의 수는 1960년대와 1970년대는 유사하다가 1980년대에 1.6배 정도 증가하고 1990년대에 들어서 비약적으로 증가하였다. 2) 제품 품목별 빈도에 있어서 1960년대부터 1980년대까지는 약품 광고가 가장 많았고 1990년대에는 학습지 광고가 가장 많았다. 3) 1960년대부터 1990년대까지 신문 광고 제품에 나타난 모델 유형은 아동, 특히 남아 모델이 가장 많았다. 4) 1960년대부터 1990년대까지 학습과 관련된 아동 관련 광고는 어린 연령부터의 조기교육의 필요성을 강조하고 있다.