• Journal of Fashion Business
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• v.4 no.3
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• pp.115-129
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• 2000

The purpose of this study is to discover the techniques and the trends of expression of modern knitwears focusing on the 1990's after. The resorts of this study is as follows: The techniques of expression of knitwears are classified by the sections on the techniques and the styles of expression. The divisions into the techniques are knitting, crochet, macrame, netting, knotting. And the divisions into upon the styles of expressions are color, pattern, texture, relief and seeing through The techniques of expression on the modern knitwears are expressed characteristic of variety and composition, are expended to the art wear by translated into art. According to a wide sense, ecology, ethnic, modern are the themes of knitwears of 1990's after. The characteristic technique of expression according to the themes are expressed by the harmony of image, yarn, color, silhouette, techniques of expression. The modern knitwears are tried by mixed and various techniques, developed to the area of art wear, escaping from simple and practical item.

• Journal of the Korean Society of Clothing and Textiles
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• v.18 no.5
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• pp.727-738
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• 1994

It has been representing the delicate changes which express new sentiments through the floating, fluid, free look with the transparent, sheer material in fashion during the early 1990's. The concept of lightness is selected to describe the phenomenon of recent fashion. The purpose of this study is to identify the distinctive characteristics of lightness as external forms and internal meaning in fashion of the early 1990's. The data were collected from fashion magazines such as American Vogue, Italian Vogue from 1987 to 1994. The characteristics of lightness of fashion in the early 1990's are as follows; The external forms are consisted of the material such as the transparent, sheer, soft material, of slim and bell silhouette which occupying the more space in bottom, of the drapery, pleats to shape the unfitted look and is identified as the open, whole, indeterminate and planar intergration form according to the category of clothing form suggested by Belong. It is also the reflection of the social changes which is getting out of the modernity. It is the results of the dominant social state which are diffused the sensual pleasures, transitoriness.

• Journal of Fashion Business
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• v.5 no.3
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• pp.95-109
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• 2001

The purpose of this study was for analyzing the fashion design imaged by Kimono in the 1990s. Through the work, what is the way to create the non-western fashion design can be found. For this purpose, I took my design data from fashion magazines in the 1990s, and referred to the literal materials about history of western costume and Kimono. The result were as follows ; Kimono in Japanese denotes thing to wear. Ki is derived from the verb kiru, to wear, and mono, thing. However, in the western world the term came to mean the T-shaped outer garment formerly known in Japan as the kosode. It is consists of sleeve(sode), wide sash(obi), hemline(suso), collar(eri), and material. There were many complex reasons for its diversity in the west, and for its evolution during the past one hundred years from the peignoir including exoticism, eroticism, women's liberation to the high fashion imaged by folklore and avant-garde. Therefore the fashion design imaged by Kimono was divided into feminine style, natural & folklore style, modern & avant-garde style.

• Korean Journal of Poultry Science
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• v.37 no.1
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• pp.89-99
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• 2010

Newcastle disease (ND), caused by Newcastle disease virus (NDV), has caused periodic epidemics in Korea at an interval of 3 to 5 years until the early 2000s. At least five distinct genotypes of NDV have been responsible for epizootic episodes in Korea; genotype III virus (before the 1970s), genotype V (the mid-1980s), genotype VI (the late 1980s to early 1990s), genotype VIIa (the mid-1990s), and genotype VIId viruses (the late 1990s to present). Recent epidemic strains of NDV (VIId viruses) shared geographical features with neighboring countries such as China and Japan. These VIId viruses as well as genotypes III and V viruses were viscerotropic and highly virulent for chickens. Antigenic variation occurred between VIId field viruses and LaSota vaccine strain, as found in other epidemic strains in past in Korea. Nevertheless the commercial vaccine was considered to effectively protect vaccinated birds from mortality against VIId viruses as well as other viruses belonging to genotypes III and V.

• Journal of the Korean Society of Costume
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• v.59 no.1
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• pp.106-118
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• 2009

This research is about the changes in the images of Bond and Bond Girl in '007' Series. And it examined through the social background of England from 1960s to 2000s and the costume in the film. The results were as follows: As the era of young fashion was opened after 1960, there was a big change, but Bond was expressed as a hero who had strong male chauvinism of the English aristocratic circles. However, after 1990s, he wore comfortable clothes and he underwent all sorts of hardships. On the other hand, Bond Girl had the image of a sexual target. However, after 1990s, she had sharp appearance and smart brain. Besides, she had professional ideas of a given work and she was changed into a healthy image. Second, Bond's job was an English secrete agent, but Bond Girl had no particular job in 1960s. In 1980s, various professional jobs appeared and in 1990s and 2000s, the professional job which was directly related with Bond's duties appeared. Third, Bond's upper class image was expressed by tuxedo, suit, black, gray, navy, beige, brown, and ivory. His hair was 2:8 parting or Dandy all black style produced his dignified and neat image. After 1990s, he often had casual dress, which created a comfortable image. Bond Girl was expressed feminine style by bikini, underwear, long dress, sky-blue, violet, black, simple costume. After 1990s, she wore a suite, one-piece, or a combat uniform, which showed her professionalism. especially Bond Girl's red dress was used as a psychological color to express temptation, enemy, and betray.

• Bulletin of the Korean Chemical Society
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• v.11 no.4
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• pp.274-275
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• 1990

• Journal of Nutrition and Health
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• v.27 no.1
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• pp.59-69
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• 1994

Dietary fiber(DF) intakes of Korean during 1969∼1990 were estimated and the major food sources of fiber were analyzed using the data from the Annual Reports of Korean National Nutrition Survey. The estimated daily DF intake of Korean has gradually decreased during the 22 years, from 24.46g in 1969 to 17.31g in 1990 with a remarkable decline in 1987. The average DF intakes of the rural population were higher than those fo urban's until 1980, but the situation was reversed until 1987 and the regional difference in DF consumption disappeared thereafter. Vegetables, cereals, grain and legumes were the major sources of fiber for Korean in recent 5 years(1986∼1990), providing 32%, 16% and 19% of DF intake respectively. Throughout the 22years, the intakes of DF from cereals and fresh vegetables have been reduced and those from processed vegetables, seaweeds and fruits has been increased. Df intake from legumes continuously increased until 1986, and it decreased thereafter. Rural population consumed more fiber from cereals than the urban's during the 1970s, but thereafter regional difference in cereal fiber intakes became insignificant. Urban population consumed more fiber from legumes and fruits than the rural's through the entire period. The results of this study indicate that the present DF intake of Korean is considerably lower than generally anticipated and is below the tentative recommended DF intake and thus higher DF intake than the present level is needed.

• Cross-Cultural Studies
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• v.33
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• pp.77-94
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• 2013

This article aims at analyzing melodramas in films of Northeast Asia for seeking comparative studies of popular narrative which have been widely favored in Korea, China and Japan since the 1990s. It is explored of expectation and desire of public who have taken pleasure in watching the films in each countries of Northeast Asia as well. It is selected to Letter(1997) made in Korea, The Road Home(1999) in China and Love Letter(1995) in Japan for the research as above Melodrama of each countries has been searched at not only maintaining the traditional melodramatic convention but also corresponding to sociocultural environment of each countries for meeting tastes of public 'in the 1990s' when cultural interchanges have been more active along each countries of Northeast Asia. It will be concretely pursued to the interchanges and influence-reception relation of melodrama for follow-up research as it has been sprightly enjoying as well as transforming common cultural contents at each countries of Northeast Asia since the 1990s.

• Journal of the Korean Home Economics Association
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• v.43 no.9 s.211
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• pp.129-141
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• 2005

In this study, the major tendencies of divorce as represented in articles of Korea's major daily newspapers from the 1940's to the 1990's were explored. The method used for this study was content analysis, and 1,741 articles related to divorce were selected for analysis from the Chosun and Donga. The main categories and subcategories were classified as attitude toward divorce(negative, accepting, neutral), present condition of divorce(statistics, survey, analysis), cause of divorce(marital conflict, conflict with family, health-related troubles, financial troubles, and others), and information offered about divorce(related-laws, prevention and adaptation, and others). The major findings of this study were as follows. 1) The most frequently found category was information offered about divorce, and the following categories were featured in the newspapers in the order of cause of divorce, present condition of divorce, and attitude toward divorce. 2) The major discussions of divorce as represented in articles of Korea's daily newspapers from the 1940's to 1990's have been reflecting the changes of related laws, policy and legislation in our society. 3) The content analysis of newspaper articles on divorce indicated that concepts of marriage, divorce and family in our society have been diversified.

• Korean Institute of Interior Design Journal
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• v.17 no.1
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• pp.84-92
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• 2008

In the Relationship between exhibition space and art work in museum, new paradigm has being presented from 1990' s as a turning point. Even if the formal exhibition space that emphasizes itself as a background has currently being continued, the informal exhibition space is coming to the new art museums, especially after 1990's. This study is to understand how the advent of informal form of space in an exhibition of art museum makes a new paradigm in the relation between the exhibition space and art work in conjunction with public's perception after 1990' s that is identified to the time of Pluralism. To do this, the study raised a question on how the public perceive the relation between space and art work through photographs that contain the information on relation between space and art work. And the questionnaire performed through the curators who are working for art museum, students who studies fine art, students who studies design and public who comes to art museum. After survey through this questionnaire, it is made clear that the informal form of space simply has played a role of background since the beginning of art museum. In other hands, the informal form of space that is mainly presented after 1990' s begins to interrupt the public's perception of art work, changing it's meaning through a spatiality.