• Journal of the Korean association of regional geographers
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• v.8 no.2
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• pp.256-269
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• 2002

This paper is the first geomorphological research on TAENGNIGI which is famous for old geography book in Korea. The purpose of this paper is to explain TAENGNIGI in modem geomorphological viewpoint and then, lay the foundation for establising Korean style geomorphological terms. It also analyzes TAENGNIGI from Lee, Jung-Hwan(the authority of TAENGNIGI's geomorphological viewpoint. The main results are summarized as follows. Firstly, It is estimated that TAENGNIGI is a geography book including human and physical geography. Secondly, in spite of Lee, Jung-Hwan's some metaphysical explanation of feng-shui in TAENGNIGI. his geomorphological appreciative eye is excellent. Thirdly, it is possible that a Korean style geomorphological term will be established based upon the result of this paper on TAENGNIGI. Fourthly, Lee, Jung-Hwan indicted geography(地理), profit(生利), human nature(人心), landscape(山水) as factors in selecting of people's dwelling place(可居地) and he described that geography(mainly physical geography) was mostly important among the four factors mentioned in selecting of people's dwelling place. Especially he also mentioned that good landscapes have a favorable influence upon the forming of people's character.

• Journal of the Korean association of regional geographers
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• v.14 no.3
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• pp.254-268
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• 2008

Jang Sang-Hoon(장상훈) concluded that Dongyeo(東輿) seemed to be made between 1859 and 1866 but it was ahead of Cheonggudo(靑邱圖) in terms of the content and format. Accordingly he insisted that Cheonggudo was compiled based on the original version of Dongyeo which was supposed to be drawn between 1790 and 1834. This paper reappraised critically the previous researches and got several findings. Firstly, the changes of place names-4 places names were selected for the Jang Sang-Hoon's research and 2 were added in this paper-are reflected in the Yeodobiji(輿圖備志) and Dongyeo compiled by Choi Seonghwan(최성환) and Kim Jeongho(金正浩) between 1853 and 1856. Secondly, the sectioning format of Dongye shows some transitional character from the book style such as Cheonggudo to the folding style that was shown in Dongyeodo(東輿圖) and Daedongyeojido(大東輿地圖). Thirdly, the expression of the mountains in Dongyeo shares the same style which is shown in Dongyeodo and Daedongyejido. Fourth, Dongyeo contains the same information about old military bases and the castle locations in small local town centers that appear in Dongyeodo and Daedongyeojido but not in Cheonggudo and similar kinds of maps. In conclusion, Dongyeo and the original version of it are likely to be drawn by Kim Jeongho between 1853 and 1856 after Cheonggudo was made.

• The Journal of the Korea Contents Association
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• v.9 no.11
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• pp.163-174
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• 2009

The first Chinese film maker from Korean ethnicity, Jang Ryul is also the first Korean director from Chinese background. As a diaspora himself, he crosses over two countries, trying to look through diaspora viewpoint at diaspora phenomena widely scattered in Northeast Asia. This paper is written in an effort to closely consider his story and style through 3 films, , , and . The main character in is a Korean Chinese woman, Choi Sun Hee, who sells Kimchi in outskirt of a city. is the story about the relationship between Hangai, a Mongolian man who plants trees in deserted prairie and North Korean mother and son in defection from North Korea. treats a group of characters floating around in Iri, the city that was vanished by the explosion 30 years ago. The first thing of the style of Jang Ryul building the diaspora viewpoint is time, crossing the floating space. The second one is the inversion of on-screen space and off-screen space or center and periphery. The third one is the absence of language. Given the fact that discourses about the identity of East Asia flourish these days, his movies, as the fruit of consistent attempt to search for East Asian identity within the filmmaking process, deserve more attentions.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.2
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• pp.276-287
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• 2009

Apparel professionals need to understand the customer to effectively develop, select, and promote apparel products. Analysis of consumer preferences can help in the creative design process. Therefore the purpose of this study was to identify consumer preference by gender in two segmented group; $20{\sim}34$ aged group and $35{\sim}49$ aged group toward men's apparel consumers, considering target customers and female influences on men's wear purchasing. We used questionnaires that were distributed to 600 males and females aged in their 20s to 40s, using stratified sampling method. Only 547 reliable questionnaires were selected for statistical analysis. Chi-Square and t-test were used to analyze the data, using SPSS program. We obtained the following results: 1. We found that there was a significant association between segmented age group and the preference of men's jacket style. Specially $20{\sim}34$ aged group had a significant association with styles of formal jacket, casual t-shirts, casual pants, but $35{\sim}49$ aged group had formal pants style. Looking at the general percentage, semi-formal jacket, slim fit t shirt, straight casual pants were the most favored styles. 2. Age has an significant effect on the preferences of formal menswear fabric patterns and shirt patterns. The results of t-test showed that there found to be significant by gender in character and check pattern of shirts. 3. In design details, the number of button had not significance by gender, and 2 buttons was th most favored by both age groups. The number of gather at the waist had an significant association in $34{\sim}49$ age group. $20{\sim}34$ age group prefer high waist of pants, while $35{\sim}49$ age group prefer low waist of pants. 4. For on time outfit, formal wear and tie ensemble was the most favored with significant difference by age and gender. Formal wear and no tie ensemble favored by about one third of respondents, and more favored by the younger group. For off time outfit, casual jacket and casual pants ensemble was the most favored.

• Cross-Cultural Studies
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• v.49
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• pp.229-248
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• 2017

This paper is a study on French of Lee Sang's poems called metaphysical scandals in Korean poetry. Is poetic language he used a common poetic word or a non-poetic word in French? What kind of harmony do words and sentences composed of French have with Korean, Chinese character, and non-poetic word? Based on these questions, we analyzed a command of French, that is symbolic, geometrical, and pictorial French as well as repetitive and parallel constitution used in form of words and sentences. In Lee Sang's poems, as a result, the use of French is seen as a mixture of non-poetic word. It shows characteristics that reject traditional native language and the creation of poetry. In his poems, French is also an important factor of avant-garde poetic material and experimental creation technique. In his poems, French is used as a special tool to express internal conflicts of the poet. Lee Sang showed experimental style that could not be found in modern Korean literature by using signifier and signifed that french language has.

• Korean Institute of Interior Design Journal
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• no.21
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• pp.107-113
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• 1999

The purpose of this study is to suggest the materials for developing the new house style by analysing the space characteristics of wood frame houses in suburbs of Seoul. For this, we analysed 45 drawings(site plan, floor plan, elevation, section) that were designed by MICHOO, WOOD-LAND, STUGA and CHOWONJUTECK company etc. The space design characteristics that we found are as follows; 1. The wood is fragile to humidity. Therefore this characteristic is especially considered in designing the space of bathroom and utility room. 2. It is the merit of wood frame house that inner space can be designed variously by using spilt-level and the slope of roof. 3.The public space and private space are completely separated in most cases and the stair is located in the middle of house. This structure of house is short of horizontal openness. Instead, most houses gets vertical openness by making second floor on the living room opev. 4. In wood frame house as the rural house, the outer space is well used by setting up deck and balcony. The outer spaces like deck and balcony are usually used as a part of life space in connected with living room, dining room, master bed room and family room. 5. The public spaces like kitchen, living room, dining room and family room are considered so important in design that those are arranged in front in order to have good outlook and directiov.

• Korean Institute of Interior Design Journal
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• v.20 no.6
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• pp.97-104
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• 2011

Art has always been a witness to its time. The art of our century has lived through two world war. In that time Friedensreich Hundertwasser was born to a half Jewish family in Vienna in 1928. He lived and died as a painter, architect, designer, ecologist, writer, innovator... etc. He was impressed form Gustav Klimt, who pioneered the Viennese Secession which was the Austrian expression of the Art-Nouveau mouvement and inspired by the works of Egon Schiele from an early date. His style as an architect was heavily influenced by Antonio Gaudi and some of the Jugendstil architects. Although his architectural work is comparable to Gaudi in its biomorphic forms and use of tile, but is currently renowned for his unique styling. His character as follows; First, Bold color - His use of color is bold, and he has a strong sense of which color work well together. Second, Curved line & Spiral - It's the primary shapes in his works against the tyranny of ugliness and the iron rule of its straight line. Spiral reveal as a transautomaism. Third, Harmony with nature - His work is the creator of beauty, of nature of harmony, peace of joy, against the contradictions of our post-industrial society. He represented these various characteristics in his works. Hundertwasser first achieved notoriety for his boldly-colored painting, he is more widely renowned today for his revolutionary architectural designs.

• Journal of Fashion Business
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• v.4 no.3
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• pp.47-65
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• 2000

The movie costume's function and the role can be defined by reflection of the society and the times, character portrayal, conveyance of image, and creation of fashion. Korean movie costumes have been differentiated from 1950s till 1990s in time period and the results of comparison between the times as follow : Movie and fashion hold same period in common so that sense of fashion is naturally contained in the movie costume. Therefore, excluding special movie that costumes are selected by designer, such kind of trend is notable in the times when costumes mostly selected by actors themselves. Most movie costumes are not designed after predicting up coming fashion by considering movie producing time so that notation between current fashion and fashion in the movie and mostly we see about one year behind fashion style. For FAD, fashion that quickly passes in each season can use costumes in fashion, considering movie producing time and time background, that it lack of trend of fashion in the movie. Korean movie industry lack of having perception of people who are in charge of taking care of movie so that costumes are not properly taken care of and uses only 5% of total movie producing cost. Such that kind having lack of preception and treatment of movie costumes can't expect development of movie costumes.

• Journal of the Korean Institute of Telematics and Electronics C
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• v.36C no.7
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• pp.27-35
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• 1999

Researches on the recognition of handwritten script have been conducted under the assumption that the isolated recognition units are provided as inputs. However, in practical recognition system designs, providing the isolated recognition unit is an challenge due to various writing syles. This paper proposes an approach for segmenting words from lines of unconstrained handwritten text, without help of recognition. In contrast to the conventional approaches which are based on physical gaps between connected components, clues that reflect the author's writing style, in terms of spacing, are extracted and utilized for the segmentation using a simple neural network. The clues are from character segments and include normalized heights and intervals of the segments. Effectiveness of the proposed approach compared with the conventional connected component based approaches in terms of word segmentation performance was evaluated by experiments.

• The Research Journal of the Costume Culture
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• v.15 no.5
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• pp.781-795
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• 2007

The purpose of this study is not only to widen and deepen the understanding of external environments of hairstyle but also to provide the basis of understanding and perspicacity as to the hairstyle which will be created under the influence of new music by contemplating distinctions between Glam Fashion and Punk Fashion of 1970s and by comparing and analyzing distinctions between Glam Hairstyle and Punk Hair Style of 1970s. As the method of this study, first of all four common factors, which are resistance, androgynous, beauty of ugliness and pursuit of pleasure through persona, were able to be ed from both Glam Fashion and Punk Fashion of 1970s, and then by using that factors as analyzing instrumental frame, the above two hairstyles were compared and analyzed through photographic materials in this study. According to the results of comparing and analyzing two hairstyles above, in Glam Hairstyle, the androgynous character is the most remarkable distinction. They tried to overturn the gender role by challenging the traditional color and form of hairstyle. In funk Hairstyle, the resistance is the most prominent distinction. They expressed their group identity resisting a pre-existing generation by putting on threatened and aggressive hairstyle.