• SUVANNABHUMI
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• v.6 no.2
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• pp.85-106
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• 2014

Protests are not new in Malaysia, though it is restricted by the ruling government. The trend of street protests and demonstrations since the emergence of Coalition for Clean and Fair Elections (Bersih), Malaysia's first people movement on electoral reform, has triggered a sentiment of people power among Malaysian citizens. With protests and popular mobilization becoming pronounced in Malaysian politics, political activism becomes for Malaysians a channel of discontent and expression of political preferences. Using information obtained from interviews with individuals linked to the movement, this paper articulates that protests are no longer exclusive to Malaysians. This paper illustrates the emergence of the Bersih movement and explores the three Bersih mass rallies that took place in 2007, 2011, and 2012. This paper further links the protests with the electoral reform initiatives. It argues that the Bersih movement has managed to lobby fundamental changes in the Malaysian political culture.

• Journal of the Korean Society of Food Culture
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• v.13 no.4
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• pp.339-362
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• 1998

Food goods traded between Korea and Japan during the first term of the Cho Sun era included Omija (fruit of the Maximowiczia chinensis), Jat (pine nuts), Insam (Jinseng), rice, and beans as exports ; and pepper, sugar, and medicinal stuffs as imports. The trade between Korea and Japan was a result of Japanese envoies' visiting. The official number of Japanese envoies who had exchanges with Koreans were two thousand people a year. Once the Japanese entered Korea, they did not need to pay for their living expenses for the length of their visit because the Cho Sun government bore the whole expense. The Cho Sun government gave formal receptions to them, which included daily meals as well as banquet style meals. The daily meals included Jo-ban (breakfast), Jo-seok-ban (breakfast and dinner), and Ju-jeom-sim (lunch). Meals were served four times a day. The banquet style meals included Sam-po-yeon (a banquet that was held in Sam-po), Kyong-joong-young-jeon-yeon (a farewell banquet, and a welcome banquet that was held in Seoul), Jyu-bong-bae (to offer a guest a drink by day), No-yeon (a banquet that was held on the street), Kwol-nae-yeon (a banquet that was held within the Royal Court). It also included Ye-jo-yeon (a banquet that was held in Ye-jo), and Myong-il-yeon (a banquet that was held on a national holiday). The banquet style meals were composed of Ceon-tack (to set a table for dinner), Sang-hwa (a flower that was put on the food), Kwan-hwa (to offer a flower when a banquet was held), Ju-5-jan (the fifth wine glass), Dae-seon (meat), and music.

• Journal of the Korean Society of Food Culture
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• v.13 no.4
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• pp.363-381
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• 1998

Food goods traded between Korea and Japan during the middle period of the Cho Sun era included Insam (Jinseng), rice, beans, honey, perilla oil, starch, adlay, walnuts, pine nuts, jujubes, hazelnuts, and dired chestnuts as exports ; and pepper as imports. The number of Japanese envoies that visited regularly was one thousand five hundred people a year. The receptions that were held for them during the middle period equaled those of the first term of the Cho Sun era, but these receptions were only held in Pu-san. The expense of daily meals was broken down into 8 grades ranging from \129,300 to 2133. The daily meals included Jo-ban (breakfast), Jo-seok-ban (breakfast and dinner), and Ju-jeom-shim (lunch) for the Japanese who visited regularly. During the course of a year, the total amount spent on daily meals was put at a billion won. The banquet style meals included Ha-seon-da-rye (a welcome tea party), Ha-seon-yeon (a welcome banquet), No-cha-yeon (a banquet that was held on the street), and Ye-dan-da-rye (a drink banquet that was held when silk was offered as a gift). It also included Byeol-yeon (a banquet out of the dordinary), Sang-seon-yeon (a farewell banquet), and Myong-il-yeon (a banquet that was held on a national holiday). The banquet style meals were composed of Ceon-tack (to set a table for dinner), Sang-hwa (a flower that was put on the food), Kwan-hwa (to offer a flower when a banquet was held), Ju-9-jan (the ninth wine glass), Dae-seon (meat), music, and Jung-bae-rye (a banquet that was held again after a banquet). The Cho Sun government held banquets forty five times for the Japanese, the food expense for the banquets was put at two hundred and thirty million won.

• Journal of the Economic Geographical Society of Korea
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• v.9 no.1
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• pp.23-38
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• 2006

This study attempts to investigate the spatial characteristics of cultural economies of Bukchon in Seoul, where abundant cultural assets exist. This area has been the administrative-political core locale since 14C, therefore, a lot of traditional- and contemporary-cultural facilities are remains, This area possessed unique place characteristics by coexisting traditional and modern cultures, and thus attracted to culture demanders. Recently many economic activities have increased in this area, and most of them are related with the cultural elements of the region, In particular creative retail shops, which produce goods by flexible-specialized production system, have been agglomerated in this area, The goods are designed, produced, and sold at the shop place. Most of them are uniquely designed hand made products, and produced a few amount. The economic value of these products related with the cultural environment of Bukchon. These creative shops emerged at the front of Samcheongdong street in the beginning, and then have diffused into the inside of Samcheongdong street and Hwagae street. The shops have very unique exteriors related with traditional houses in this area, and located on roadsides where are not many passerby. Most owners of the retail stores are highly educated and studied design, and produce goods by themselves at the shops. The reason that they opened their shops in Bukchon is directly related with the unique cultural environment of this area. They hope that more unique and artistic stores join this area so that developed this area as culture and fashion combined area.

• Journal of the Korean Society of Costume
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• v.53 no.2
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• pp.153-169
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• 2003

I think that apparel attaches importance to the degree of satisfaction of visual expression in one ornamental culture in which it is clothed on human body. whereas a tattoo attaches more importance to part of the expression of one's own identity in the same context. However. modern tattooing act was highlighted only as an element of act which was negative in the purpose and the degree of taste or which assumed the grotesque meaning of a particular group. away from pure concepts such as simple ornament or an amulet according to the flow of the world. A tattoo is gradually being seen as one of avant-garde methods of art again these days, and TATTOO LOOK is being popularized as street fashion as an effective method of one's own satisfied desires and peculiar expression of personality. I have got the following conclusions as the result of having studied on a tattoo which is establishing itself as another plastic art that is matchable with the fashion of dress and its ornaments in which human incessant instinctive desire for the ornament of body has been beyond nostalgia for the past and simple ornament which were pure in up-to-date modern society First, a tattoo is of personality. In that it solidifies one's own personality of another side by being transformed, one's own attraction can be transferred to a fashion tattoo with which one can emit one's own personality. Secondly. a tattoo is fashion. As a new body ornament called transformation by a tattoo was emerging, the fashionableness owned by a tattoo had in its area ample room for the fashionableness with which it can coexist with the culture of dress and its ornaments. Thirdly. a tattoo is popularized. TATTOO LOOK in which one's own satisfied desires and the expression of personality are properly applied is being recently transmitted easily everywhere in the world and popularized as street fashion. Fourthly, a tattoo is not depraved art. It's because of the point that a tattoo which had been recognized only as a decadent expression in which avant-garde elements of unknown nationality appeared mixed showed the possibility that it could establish itself as fashion art. If we go on studying and complementing the problems of individual sides about a tattoo also in the future, the infinite fashionableness for the elements called personality. sense and emotion owned by a tattoo suggested ample possibility as future industry to be highlighted.

• The Research Journal of the Costume Culture
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• v.8 no.3
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• pp.387-410
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• 2000

The purpose of this study was to approach to the internal meanings included in the Happening and the culture of hippies, by analysing the basic mental conditions in the process of the Happening. And this study was composed of the concept and the development of Happening, the characteristics of the hippies that related in the midst of the happening's background, and the formativeness between these factors and hippies'fashion. Since the happening a genre of fine arts expression attended the New School for social research in New York in 1954, Allan Kaprow direct-influenced by John Cage used the word 'Hapening'first, practicing '18 Happenings in 6 parts'at the Rueben gallery in 1959. Kaprow's 18 Happenings was one of the earliest opportunities for a wider public to attend the live events that several artists had performed more privately for various friends. Despite the very different sensibilities and structures of artist's works, artists were all thrown together by the press under the general heading of 'Happening', following Kaprow's 18 Happenings. Being considered as the root of the Happening 'Expression of Sound'of John Cage was the discovery of the exisiting thing- the Happening. Most artists were to be deeply influenced by Cage's theories and attitudes-that is, his sympathy for Zen Buddihism and oriental philosophy-and by reports of the Black Mountain events. These events would directly reflect contemporary painting and stemmed from the Futurists, Dadaists and Surrealists. And Happening's development background was based on the culture of hippies. Swinging London had been under the sway of psychedelic drugs and utopian visions of 'hippie'wave sweeping in from Califonia. This wave, which affected solid middle-class youth first and formost, began in Haight Ashbury in San Francisco. Without dwelling on the hippie movement here, it is worth nothing that it resulted from the convergence of several undercurrents : consciousness-expending drugs, the anti-Vietnam war developments, the impact of English pop groups on American music and the rise of protest songs, and finally the beatnik tradition of non-conformism. Hippie culture and its pursuit of love, peace and psychedelia was the antitheses of 1960s main street fashion. The media gave everyone with long hair the label of 'hippie', but it was always a very loose collage of attitudes and styles. The rejection of sexual taboos was conveyed by the hippie's refusal to wear. Although the bold exposure of body raised controversies because it went against the existing moral values, it has a significant implications. Psychedelics brought mind-expansion and the possibillity that modern technology (light show, synthesized electronic sounds), new fabrics or colors, and LSD could be utilized to provide an escape route from the dreariness of modern life. During the 1960s, traditional costumes, many of which had never been seen outside their native regions, became sought after and adopted in the West, initially by the young, who wanted to demonstrate their solidarity with cultures uncontaminated by mass industry. The most ardent proponents of such folk costumes were the hippies. Hippies dress was sometimes decribed as 'anti-fashion', produced by a patchwork of ragged cast-offs and flamboyant accessories, of outmoded Western dress and time-honored ethnic garments all combined, modified and permutated into variety of personal statements. 'Flower Power'became a reality. From the results of this study, we can see the expanding trend of the influence and the concept of the sew art genre 'Happening'in the formativeness as well as the fine arts field.

• Journal of the Korean Society of Costume
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• v.57 no.7
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• pp.30-44
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• 2007

The culture includes every possible objective forms created by humans and their shared aspects of ideas, feelings, and behaviors, beliefs and etc. The dress and its ornaments are part of the culture that expresses the relationships in objective ways and in formless immaterial ways. The school uniform represents significant meanings to the students in their school years, and it is the way of expressing their individuality and full filling their needs for self-presentation. Therefore, understanding and analyzing youth culture means understanding students' school uniform along with fast changing twenty first century civilization. Korea and Japan are very close nations to each other. Both Korean and Japanese girls' school uniform style were adopted western clothing style and went through many changes based on cultural differences between two countries. They are affected by different peculiarities between two nations and youth cultures from different cities. Therefore, this research is on analyzing how different visual values of girl's high school uniforms in Seoul and Tokyo and understanding youth cultures through macro-analysis. The youth cultures in Korea and Japan are mostly similar but there is special development on animation in Japan and possibly can find many styles of girl's high school uniform. Both nations are varying to be opened to sexual culture of adolescents but Japan is more uninhibited than Korea. In Japan, sailor-uniform can be found in fetish way in public culture. On one hand, because of most private girl's high schools in Tokyo takes an entrance examination, top-ranking students are very proud of their school uniforms and even students from other public high schools get private high school uniforms to attend school festival. This analysis showed that private girl's high school uniform in Seoul appealed as slim fitted silhouette which is close to modem woman's suit style while in Tokyo appealed as boxy style matched with short pleated skirt or sailor-uniform style. Comparing that to school uniform photos taken on the street, we can find that alikeness or more extreme styles as examples. These are influenced by different youth cultures in Seoul and Tokyo and cultural differences stands for different aesthetic norm being accepted or rejected.

• Journal of Digital Convergence
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• v.9 no.3
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• pp.69-79
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• 2011

This study is the text discourse of agenda setting through media policy on the three communities. The materials of subjects are the 71 text discourses that appeared in the columns, the special manuscripts, and the comments on the contemporary topics in 33 media. The subjects focuses on the metaphor, metonymy, and binary transposition. This kind of connotation tends to be imploded into people through media, so that it produces hyperreality. This process produces the regulation and strengthens the reality through the circuit of culture. Thus this research tries to develop the theoretical foundation for analysing the text discourse produced by the media. Also it focuses on widening the research scope to study the effects that the circuit of culture provides on the politics, society, and economics. Therefore The first, the objective meanings(denotation)which the referents of the community as T'PALACE, I'PARK, and STARCITY are 'larger scale', 'high and skyscraper', 'the rich people and the plutocrats who have very high academic career' and ' the residence place for the famous stars and successful CEOs', etc. and the subjective meanings, connotations which the referents of the community are 'The first street' transposes '1%' 'their own space' into the characteristics of the wealth of Gangnam district or Korean wealth', the additional significations which the metaphors such as 'the noble community', 'the sample for the high -level residential space', and 'the greed of 1%'. Conclusion, The significations of the symbols became imploded into the population and circulated along with the cultural streams through the media. The referents are recreated and consumed among the other communities such as the named 'PALACE', 'I'PARK', 'STARCITY' in the other areas. This kind of ideology tends to create the myths such as 'the 1% rich people of Gangnam', 'the first street of Korean wealth', and create the regulation such as 'the compound taxes for the real-estates', 'the policy of reducing the taxes for the rich', 'the policy of reducing the taxes for the 1% of the rich'. Also these regulations make the politicians operate new policies and are being utilized as 'slogan' for the politicians.

• Journal of Mushroom
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• v.6 no.2
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• pp.43-46
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• 2008

This study was carried out to investigate the utilization of platanus for Pleurotus ostreatus culture medium. The results are as follows ; The growth of mycelial was the highest in the mixture medium of platanus sawdust 90% with rice bran 10% as of 12.8cm after 30days culture. The mycelia density of most of media were high exception of mixture medium, platanus tree sawdust 60% with rice bran 40%. The total nitrogen, phosphate, and potassium contents in all mushroom media were tended to decrease after oyster mushroom growth. In platanus sawdust 90% with rice bran 10%, total nitrogen, potassium, calcium and magnesium content of fruit body were higher than other treatments, but phosphate content was the highest in Douglas-fir sawdust 80% with rice bran 20% treatment as of 0.92%. The mycelial culture period was ranged 26~37 days according to different media, the mushroom yield of culture medium with platanus tree sawdust 80% with rice bran 20% was increased 18% compare to control Douglas-fir sawdust 80% with rice bran 20%.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.4
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• pp.139-155
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• 2017

This paper identified the values and awareness of Koreans in 20s regarding Hanbok, the traditional clothing of Korea, and proposed an approach to promote the traditional clothing culture. The subject of the survey were male and female Koreans in their 20s who wear modern street clothes in places people frequently visit including in the metropolitan area and Chungcheong-do as well as those who wear Hanbok in Seoul and Jeonju, Jeollabuk-do. In accordance with the analysis of the survey, Koreans in their 20s rented Hanok rather than buying it. The respondents wore Hanbok for events, festivals or national holidays or while travelling. Elements to improve in Hanbok rental services were designs, materials, washing and stains. The decision factors for renting Hanbok were 'personal tendency' and 'advice from an expert.' While Koreans in their 20s had a positive awareness of Hanbok, they thought it was difficult to buy, rent and put on Hanbok and that it was not comfortable to wear. There was not sufficient opportunity and means to wear Hanbok due to insufficient accessories or shoes to match. On the basis of the analysis of the survey results, the following approach was proposed for the development of the traditional clothing culture. First of all, develop traditional clothing designers who can satisfy the personalities of Koreans in their 20s. It is necessary to develop experience-focused and participatory programs that provide systematic education regarding traditional clothing to pass down this tradition. In addition, it is necessary to create a social and cultural atmosphere that enables the Koreans in their 20s to easily wear Hanbok by popularizing Hanbok.