• The Journal of Information Systems
• /
• v.17 no.2
• /
• pp.95-112
• /
• 2008

The development of the Information Technology(IT) has brought enormous change to the human life, not even only to the politics, economy, society, and cultures, but all the way through the people's consciousness and cultural patterns. However, the information society resulted information inequality issues and especially to those disabled people, who have more difficulties on the technology adaptation, the "digital divide" symptom is significantly found. At present the rapid development of IT has gone beyond the level of the information society and it is accelerating the ubiquitous society that will combine people, computers, and all objects into one. And during the time of ubiquitous the "digital divide" will still exist. This research is focused on the digital divide of disabled people that were insufficiently covered in the research of digital divide and ubiquitous. From the empirical study of the effect that the disabled contributes on the service usability in U-City, the factors of background of the digital divide, and the difference of such factors in types of sex, ages, disabled types, and disabled class, and finally how the ubiquitous divide of the disabled affects have been researched. Based on the proposed study model and by analyzing the model by structural equation, following resulted was gained. (1) With the TAM (TAM : Technology Acceptance Model), which is commonly used in the studies of IT devices and services, the digital divide of the disabled cases cannot be identified sufficiently since it is not eligible for Using Intention of U-City Services. (2) In case of the disabled, the mental factors like willingness to overcome the impediment and accessibility like environment to meet the information services and ability to access the services are more effective on Using Intention of U-City Services rather than TAM.

• Korea journal of population studies
• /
• v.29 no.2
• /
• pp.215-240
• /
• 2006

The purposes of this study is to explore the effect of parents' related variables, children related variables and the familism related variable on the two types of filial piety behaviors, which are the traditional familism type of filial piety and the individualistic type of filial piety. The former is measured by the coresidence with parents, financial support to parents, while the latter is measured by visiting to parents' house and phone calling on parents. The data used in this study are "the national survey for filial piety consciousness" administered by Gyeonggi Cultural Foundation, the 598 married children are analysed. The key findings are followings. The first one is that the attributes related our traditional familism are still the important factors affecting on both the familism type of filial piety and individualistic types of filial piety. The second is that the children who fulfill the traditional familism type of filial piety also do well the individualistic type of filial piety.

• The Journal of the Korea Contents Association
• /
• v.12 no.3
• /
• pp.123-138
• /
• 2012

The purpose of this study is to identify how tales are accepted and embodied as a new work in dance as performing arts, which are getting attention for its rapid growth in the area of cultural industries. Major performances of recently created and performed ancient tales including Baridaegi, Chun-Hyang story, Yeonohrangseohnye are analyzed here. With acceptance of tales into dance, vitality of creation by the eternal word of mouth, rich information contained in each tale and the variety of interpretation showed the possibility of a new interpretation based on the existing perspectives. There are three kinds of acceptances: diversification of narrative techniques of the subject, adoption of the issue of moral values as a topic, and acceptance of tradition and national consciousness. To satisfy the fundamental concern about the universe and human, and to create both worldwide and Korean dance contents, the images of tales are being reinterpreted into a new dimension beyond the boundary of time.

• The Journal of Art Theory & Practice
• /
• no.4
• /
• pp.105-121
• /
• 2006

The term 'modern', in broader sense, refers to the concepts like modernity, modernization, modernism and the like, which came from Westernization impling the recognition of indigenous culture as being inferior to Western culture by comparison along with the expanded influences of the Empire of Japan. These concepts, however, rather than evolving from Western standards, came into being as a form of civilization led by Japan which had already tasted the fruits of modernization by 1920s. Since 1920s, the policy of, so-called, reconstructing Asian countries by Japan came to create eastern way of modernism, as a new East Asian trend mainly revealed in China which was against colonization after Japan's invasion and conquest of Manchuria. Therefore, Eastern' modern' unlike Western one could be understood in the widespread terminology, 'Modern(摩登)' in Shanghai, reflecting consciousness like 'Fashion' or 'Trend' in female images on a variety of visual media. By 1930s it was the most notable that 'modern' was accepted as something similar with 'Fashion', or 'Trend' in sociocultural contexts. These atmosphere had led commercial arts to enable to communicate with the public in a great deal of supports and success in Shanghai which was widely regarded as the citadel for the inflow of Western culture, among which transformations in female images were remarkable as a representative form of culture. It is also remarkable that 'historical modernity' transforming from the feudal age to modern society was considered a synchronic modernity, and nationalism was regarded as a sort of being modern, while involved in the newly-changed female images as a fashion mode. Changes in fashion including hair style in Shanghai by 1930s, as a way of expressions showing what was modern through commercial artistic productions, were easily noticed in visual media as an outlet of modern women's inner desire revealing their pursuit for new mode of life in metropolitan cities. As a characteristic of the time creating a new code of visual female images, it is notable that there existed another form of 'modern' satisfying socio-cultural needs of the general public seeking for being 'modern'.

• Journal of the Korean Home Economics Association
• /
• v.37 no.6
• /
• pp.23-40
• /
• 1999

The aim of this study was to analysis the transformation of family ethics as appeared in Korean history. The contents of this study consist of two parts: literature reviews on the specific features of family ethics with lived history from the period of the Three States to 1950 decades and a survey research on family ethics and its transition after 1950 decades. For the latter, Questionnaires were distributed to the different each generations, from which 1194 data were obtained. The results can be summarized as follows: The transition of thought such as Buddhism, Confucianism and the change of economics condition are found to have impact on the family ethics in Korea. In contemporary history, The Korean War(6 ${\cdot}$ 25) had great influent on the change of the family ethics. Recently the conflict among the family members and family problems are influenced by the valiables such as generation and sex, especially with the changes of consciousness of feministic perspective. More over, while only miner change had appeared in Family Ethics during the society still remained in Eastern Value orientations before Cho-seon dynasty, the transformation Family Ethics seems to be the greatest with the cultural shock by the introduction of the Western Values depending on the religions and locality. Nevertheless, family-Centered orientations and confucianism(Hyo) have continued to remains as relatively important values.

• Journal of the Korean Society of Costume
• /
• v.61 no.2
• /
• pp.1-19
• /
• 2011

As modern society advances, women's self-consciousness and attitudes toward beautiful appearances have changed. Amid this trend, the young and slim body of adolescent girls expressed in contemporary fashion incites fantasy on continuing youth among women. In modern society, women's youth is frequently regarded as a subject of consumption and a sex product in the mass media. In this regard, the study is focused on examining desire and psychology of worshipping women's youth and beauty in connection with flapper fashion in the 1920s. In the process, the study took a look at the social and cultural background of flapper fashion and conducted an analysis on formative characteristics and aesthetic sense of flapper fashion as follows: First, the formative characteristics include a short skirt that expresses straight lined shape and the beauty of exposure, lighter clothing, thick make-up, short hair style and black or vivid colors, and they lead to exceptional and innovative aesthetic sense in flapper fashion. Flapper fashion style is focused on completely denying outdated fashion worn by women in the age right before. Second, pursuit of mature, graceful and classical beauty that had continued in previous ages has gone through complete changes in the flapper era in the name of pursuit of youth, and the flapper fashion expresses sensual image through the exposure of slim arms and legs of a young girl. In the formative characteristics, aesthetic sense of youth and sensuality inherent in the flapper fashion was generated. Third, women's free-spirited lifestyle at that time and 'aesthetic sense of freedom and amusement that reflected the speed of machine civilization could be found in the flapper fashion. Material and decoration of the flapper fashion pertained to clothing that enabled a free expression through rapid movements. Aesthetic sense of the flapper fashion generated in the process could be defined as women's internal determination to express individual and free-spirited ideas through the use of fashion when tradition and order of the old age were torn down. And this aesthetic sense is continuously affecting modern fashion design.

• Journal of the Korean Society for Library and Information Science
• /
• v.27
• /
• pp.99-124
• /
• 1994

This study examines the establishment of Sea-po (서포) in the opening period of Korea at the end of the 19th century. The role they played, the particular situations and their geographical characteristics are researched, The earliest sea-po was Koh-je-hong sea-po, which was established in Tae­kwang-kyo at the end of 1880s. Around 1905, a specialised book distribution system was set up with establishement of Chu-han-yung book store, Kim-sang-man book store, Jesuit book store, Tae-dong su-si, Kae-myung sea-kwan, Tong-wha seo-kwan. The owners of the seo-pos were pioneers in introducing modern culture with nationalistic consciousness, although they were primarily businessmen and their social origins varied. The primary role of seo-pos was selling a variety of books but some combined printing and publication of books as well. It seems that publication business took roots around 1908, though it is difficult to know the accurate dates of first attempts. Some sea-pas offered book rental services for poor people who could not easily afford to purchase books. A certain amount of deposit had to be paid to benefit from the services. Jesuit Bookstore in Pyungyang had a library facility with a large stock or books in the same building open to public for free. These sea-pas started mainly in Seoul and Pyungyang, which were traditional centers for economic and cultural affairs. Early introduction of foreign cultures and commercial developments in these areas contributed to the establishment of sea-pos. The sea-po which took charge of book distribution in the provinces was set up around 1906. One of the important findings of this study is that the geographical distribution of sea-po shows the following three characteristics. First is that the area such as Seoul, Taegu and Chunju were the traditional centers of publishing culture from which Pang­gak-bon(방각본) emerged. Second characteristic is Pyungyang and the surrounding Pyungbuk province, and harbors like Inchon and Pusan, which had the benefits of early spread of modem cultures. Third characteristic is Kaesung and the surrounding Hwanghae province which bridged Pyungyang and Seoul. The reception of foreign cultures stimulated the commercial spirits traditionally attributed to Kaesung to establish sea-pas most actively.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.19 no.3
• /
• pp.536-547
• /
• 1995

The modernization of the fashion design in our country, like our chaotic modern history, has not been easy for us to grasp its main stream because it lacked historical consciousness and sincere attitude of creating. In trying to find out designs very Korean, designers usually ignore the deeply rooted ideologies and modes of our own, and primarily depend on the scattered fragments of tradition, such as the curled line of the ancient roofs, folk jackets and skirts, and Talcum, our ethnic dance, sometimes making some patchwork like clothes they divan't really intend to make. In the world of modern design, especially of the fashion industrial design, designs more scientific, more rationale and more positively appealing to the consumers, not the unconscious and emotional ones, are being demanded. To win in the fierce competing world of design as well call this age an age of "Design War", it is desirable for us to create our peculiar designs by uniting the internationalism (universality) and nationalism (traditionalism) together under a single rigid purpose. Analyzing the designs mainly of Korean style fashion designers since the 1980s, 1 could see that Korean designs in the aspect of appearance have a strong tendency toward applying or reviving the traditional elements, thus are under a bias toward nationalism rather than in ternationalism. The idea of "very Korean" does not mean a mere harmony or negotiation of the traditional elements with modern ones. It is rather a concept from vivid historical experiences of the conflict between the purely Korean mental, cultural heritages and the demands in mod- eradiation. Therefore, based on this concept of "very Korean" we must create fashions completely Korean and modern at the same time.n and modern at the same time.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.42 no.1
• /
• pp.26-39
• /
• 2018

This study analyzed fashion taste changes for middle-aged men (40-50s) from the 1960s-1980s through newspapers evaluated as socially influential media. As a result, the fashion interest of middle-aged men in the 1960s was very low, and the formation and selection of fashion taste was mainly decided by the wife. However, as the interest in fashion and fashion gradually increased in the 1970s, the interest and taste of fashion in middle-aged men started to change. In the 1980s, social equality and women's advancement into society began, and initiated the appearance of a youthful-looking casual style and establishing an individual subjectivity about fashion taste. Based on this, the specificity of the change of fashion taste among Korean middle-aged men in the 1960s-1980s were as follows. First, the changes in the aesthetic sense of middle-aged men and the increase of fashion interest were due to changes in socio-cultural appearance standards. Second, there was an increase in the pursuit of individuality due to the weakening of fashion consciousness as a collective norm. Third, there were change in subjectivity about fashion taste and consumption.

• Korean Institute of Interior Design Journal
• /
• v.13 no.6
• /
• pp.57-65
• /
• 2004

The space is formed in close connection with a human life style, and whose significance is interpreted and recognized by characteristics given in the life culture to which they belong to. The spacial concept in terms of recognition plays an important role in the design of spaces. The understandings of its identity is an indispensable factor to forming the proper relation between the human beings and the space. This paper is the inquiry and the arrangement for geographical, thinking, and beauty-conscious features of Japan by the researches on documentary records in order to reveal the relationship between recognition and space as mentioned aboved. Also this paper presents the frame(system) which can draw the method of space construction and its expression and then seize and analyze the reality of space by re-arrangement for these various cultural background on the center of the relationship with Japanese spacial cognition. And this paper analyzed and arranged expressive features for Japanese spacial concepts by applying this analysis frame to contemporary commercial spaces in Japan. In results this research revealed that Japanese spacial features is always in the consciousness for cognitive space on the design of space , and in the features the neutral and several layered spaces are showed in complexed and mutual connected forms. These may be the methods for the relationship establishment between human and space on the ground of unique spacial concepts which is commonly found not only in traditional spaces but also in contemporary spaces in Japan.