• 교육시설 논문지
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• 제21권4호
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• pp.31-40
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• 2014

The modern day architectural giant, Maki Fumihiko, has lived through both the early and the more recent modernism, Contemporary. In the 1950's he was faithful to the spirit that was founded on the early modernity, Metabolism. In his later years in the 2000's, his style can be distinguished into Neo-Modernism which was based on local influence. The educational system at Washington University and the modern city of Saint Louis carries the continuation of Fumihiko Maki's early and later architectural career. Steinberg Hall and Kemper Art Museum have been built adjacent to each other in an extended period of time. These two projects encompass the changes in the era that has gone through modernism, transformation of an architect's career, and the maturation of the university. Steinberg Hall carries the ideal and the spirit of young Fumihiko Maki, therefore, the basic platform of experimentation of the early Metabolist has been applied. Spatial theory that concentrates on the integration of relations is also evident in this project. In contrast, Kemper Art Museum expresses the work of a 78 year-old veteran from the perspective of Neo-Modernism. This piece focuses on the internal space through the coexistence of a variety of space, and with that it notably interprets the integration of the pieces to the whole as a set theory. The partial change that we see is the evidence of the change in the early and the later modernism, while maintaining the innocence and the spirit of it. This is to highlight the fact that, ultimately, the goal of architecture is to secure the human race's honesty and their freedom expressed through space.

• 박물관보존과학
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• 제28권
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• pp.1-16
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• 2022

국립한글박물관에서 소장하고 있는 언더우드 영문 타자기(한기6863)의 보존처리를 실시하였다. 근·현대 시대에 제작된 타자기는 부품의 유실, 부식, 도료의 탈락 등의 손상양상을 보였으며, 복합재질로 이루어져 재질에 따른 보존처리를 진행하기 위해 처리 전 상태조사 및 과학적 분석을 실시하였다. 분석결과 금속, 도료, 고무 등으로 타자기가 제작되었음을 확인하였고, 보존처리는 각 재질이 안정한 조건에서 '이물질 제거 → 강화처리 → 복원' 순으로 진행하였다. 손상이 심한 도료층을 강화처리하고 유실된 다리받침을 복원하여 안정한 상태로 보존처리를 완료하였다. 이러한 과정을 통해 근대시기 초반에 제작된 타자기의 재료 및 특징을 파악할 수 있었으며 추후에 진행될 타자기 보존연구에 기초 자료로 사용될 수 있을 것으로 기대한다.

• 대중서사연구
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• 제25권1호
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• pp.9-54
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• 2019

멜로드라마는 근대 초기 계몽주의 시대에 탄생한 이래 현재까지 다양한 문화와 매체를 넘나들며 유동하고 있다. 따라서 멜로드라마의 분화 원리와 변화의 방향성을 온전하게 파악하기 위해서는 멜로드라마의 형성과정에 대한 발생론적 접근이 필요하다. 이런 점에서 본 논문은 프랑스혁명을 전후한 시점을 중심으로 근대 멜로드라마의 형성과정과 그 미학적 특질을 고찰했다. 18세기 말 19세기 초에 형성된 근대 멜로드라마는 자율적인 시민성을 요구하면서도 시민으로서의 여성을 인정하지 않았던 근대적 상상력의 역설과 프랑스혁명의 정치적 모순이 교차하는 지점에서 탄생됐다. 근대 멜로드라마에 재현된 여성의 희생과 눈물의 미학은 분열과 위기에 처한 사회를 구원하기 위해 여성을 도덕적 도상으로 미화함으로써 타락한 사회를 회복하려는 정치적 열망이며, 여성 배제의 정치에 내포된 성차별적 폭력성을 은폐하기 위한 감정의 조율이었다. 근대 멜로드라마에 재현된 여성의 희생과 눈물의 미학은 오랫동안 도덕적 위선의 연극, 저급한 통속극이라는 부정적인 평가로 일관돼왔다. 그러나 1970년대 '서크멜로'에서 여성과 인종, 계급을 포괄한 '약자의 희생과 눈물의 미학'으로 전환함에 따라 멜로드라마에 대한 학문적 관심이 증폭됐다. 각종 사회문제와 국가적 재난, 전지구적 재앙이 일상화되는 불확실성의 시대로 접어든 현대사회에 이르러 '여성의 희생과 눈물의 미학'은 성차를 넘어서 다종·다양한 희생자 서사로 전환되는 추세이다. 최근 멜로드라마의 이론적 추이에 대한 고찰과 더불어 구체적인 작품 분석에 대한 연구는 후속 과제로 남기고자 한다.

• Human Ecology Research
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• 제54권4호
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• pp.415-426
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• 2016

We researched the modern meanings of traditional dining table courtesy education and its correlation with the main values of contemporary personality education based on dining table courtesy education stated in the social norms texts of the Joseon dynasty. Among the social norms of the Joseon dynasty, we chose Sohak, Naehun, Dongmongsuji, Seonghakjibyo, Gyeongmongyogyeol, Jeungbosallimgyeongje, Sasojeol, and Koamgahoon for research. As a result of our research on these documents and books, the modern meanings of the courtesy education at the dining table can be summarized as follow. First, the courtesy education has table manners appropriate for the development level of early children. Second, it teaches right-handed dining manners that match the features of Korean food culture. Third, it has the self-discipline and the values of community life, sharing, solicitude, and communication. Fourth, parents and grandparents are involved in the education. Fifth, it has the core values of modern personality education: manners, filial piety, respect, solicitude, communication, cooperation, and responsibility. Future courtesy education at the dining table should include practical education programs that can consolidate the bond of sympathy between the home, school, and society, and can improve its practice; in addition, to expand the opportunities for education, proactive social support is demanded.

• The International Journal of Costume Culture
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• 제12권1호
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• pp.26-37
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• 2009

This study has begun as to identify various forms of personified Hindu deitiesand its goal is to understand the symbols of Hindu which are the backgrounds of the modern Hindu culture and present the hairstyle images of ancient Indians through the Hindu deities of the era. Scope of the research has been determined to six major deitiesamong those from Hindu culture that affect the Indian society and the images of Hindu deitiesappeared in the Indian miniatures and sculptures were studied as times changed. The deities could be identified by symbols maintained in common by each divinity as the Hindu deities were diversified through the long history. Examining the transitions in hairstyles and headstyles of Hindu deities, hair shapes of spiraling curls were expressed in the ancient Hindu sculptures from $2^{nd}$ century to $6^{th}$ century due to the influence of early Indian Buddhism. In Hindu paintings from $15^{th}$ century to $19^{th}$ century, beards and sideburns were expressed in male deities due to the influence from Mugul arts, while feminine characters were emphasized in goddesses with long loose hair. Works are each presented encapsulating the results of the researches on Vishnu and Lakshmi from these Hindu deities. It is attempted to find Hindu image and present directions for developments of modern beauty by supplying motives to modern hair design by researching the hairstyles of Hindu deities.

• Journal of Sport and Applied Science
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• 제4권4호
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• pp.7-17
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• 2020

Purpose: This study started with interest in sport culture and is meaningful as an exploratory study to help with the basic understanding of sport culture research. Research design, data, and methodology: The approach of this study is the exploratory approach by literature reviews. This study carried out exploratory research on thinking about diversity of sports culture and the development process of sports culture by human history periods. Results: First, in thinking about cultural diversity, cultural absolutism and cultural relativism were identified. The characteristics of sports culture can identify universality, individuality and diffusion, and the attributes of sports culture included sharing, learning, accumulation, whole systematic relationship and change. Second, the characteristics of sports culture were identified by the approach of each historical era. The historical stages were divided into ancient civilizations, ancient Greece and Rome, middle ages and early modern period, and late modern period. Sports have historically been found to have a British-centered European origin or popularized in the United States. Conclusions: with the characteristics of modern sports culture, the globalization of sports culture, the prominence of sports industry and sports space marketing, and the symbiotic influence relationship of sports and mass media were examined and future directions were discussed.

• 복식
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• 제21권
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• pp.193-206
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• 1993

Recently in the post-modernism era ethnic look tropical look or ecological look has prevailed as an important theme of fashion all over the world. The main core of these themes is based on primitivism. The purpose of this study was first to com-prehend the internal meaning and the exteral form of primitivism in modern fashion second to compare the characteristics of primitivism in art with those in modern fashion as one of the phenomena in cultural consistency. For this purpose documentary studies about primitivism in social science and art were preceded as a framework of this study and then objective studies about primitivism in modern fashion and art were analyzed. Primi-tivism expressed in clothing since the 16th century was also historically traced. the results were as follows: 1. Primitivism in modern fashion was summarized by emotionality play ecology and aboriginality as well as was represented by ex-ternal forms of open form part-to-whole re-lation planar intergration rounded form and indeterminate form It was demonstrated that the external form of primitivism in art and fashion is quite similar and is an example of cultural consistency. So it is reaffirmed that fashion is the production of culture representing zeitgeist as a genre of art. 2, Modernism in the early 20th century brought the richness of materials through the de-velopment of the mechanical culture emphasizing rationality as well as functionalism, Fashion also has been influenced by this modern-ism so it has tended to express only the beauty which emphasizes the functional aspects of clothing and excludes the decorative characters. The primitivism in recent fashion is against the flow of modernism. In a word the pursuit for the regression to nature and the recovering of hu-manity is the core of the primitivism in modern fashion.

• 비교문화연구
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• 제27권
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• pp.291-317
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• 2012

Until now, the 'Ie' system, the distinct Japanese Family system, was dominantly recognized as the vestige of former feudal system. But as the research for gender-especially the family history-gets active, various aspects showing that 'Ie' is the modern product developed through thoroughly intended plans of Meiji government after latter-day. According to Ueno Chizuko, 'Ie' system is not at all a traditional feudal system, but it rather is the family revised by modernization, in other word, it is the Japanese version of modern family. This words began with it being the study of goodwill, and recognizing that 'Ie' is the creation of modernization, and as well as the need to listen to the new woman's inner voice under the Japanese patriarchal system. The most appealing characteristic of modern Japanese patriarchal system is that the it needs only the family members who are dedicated to the 'Nation'. With this, women were expected to submit to the authority and their roles, which are, as a wife and mother who obeys by supporting, preserving, and maintaining the patriarchal system. But as the new women themselves expressed their independence, these roles are hard to be expected. It was no other than new women's magazine Seito which arose against the Japanese patriarchal system. In this statement, careful observation was done on the novel based on tiny internal conflicts or the aspects of anguish, that could not have been illustrated enough after judging the significant issues of early modern liberalism of women based on new women's editorials, discussions, that were illustrated most directly and compressively. Through this, it was pointed out that Seito magazine is not consisted logically, and that reason for that is the female authors' different desires were tangled and it reflects the complicated situation of that period whether they were intended or not. Overall, unlike the literatures (men-centered) of same era, the genre of literature or the novel did not put them on prerogative place, and confirmation could be made once again that the women's writing aspects are related closely with gender recognition more than anything.

• 한국의류산업학회지
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• 제3권4호
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• pp.337-343
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• 2001

This study was purposed to see how men's hair styles of Japan had changed throughout history and results of the study was as follows. There are such evidences as topknots in its primitive styles and wooden combs that several hair styles were tried already in the primitive Jomon Period. In the Yayoi period, bare topknot style without crowns and Mizura style in which hair drop down both ears were popular. In the period of ancient burial mounds, Mizura style was dominative style and varied its form and shape according to classes and status. In the Aska and Nara era, topknot-in-the-crown style in which hair bound in one as in continental style and put in crown or hood, which style was influenced by the Sui and the Tang periods of China. Since the Heian period, topknot-in-the-Ebosi style, binding style, and Karawa style as well as topknot-in-the-crown style came in sight and Sakayaki style became popular in the Kamakura and Muromachi periods. In the Momoyama period, Chasenmage style and Ichomage style were spread widely. In the early Edo era, Wakashumage style and Yaromage style as well as Ichomage style were preferred. In the middle of Edo era in which form and shape of topknot was more distinct symbol of class, status and job than in any other period, Tachmach style under the influence of the Punkin and Honda modes. Sonno style was popular in the late Edo era. There was a drastic disappearance of topknot style by the hair-cutting order during the Meiji Restoration period and civilized hair style of the Jankiri style, a kind of dishevelled hair style without making a topknot was in fashion and continued to the present.

• 건축역사연구
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• 제13권1호
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• pp.71-81
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• 2004

The $18^{th}$ century's Industrial Revolution brought about influx of commerce, industry, and agricultural population into the urban areas, entering the $19^{th}$ century. Quality of rural communities declined, and the exploding population in the cities gave rise to various problems. 'Mietskaserne' Blockhousing was constructed by the 'Hobrechtplan', but led to social problems such as poor living conditions, insufficient sunshine due to overcrowding, slums due to incomplete urban infrastructure, epidemics, and so on. Starting in the early $20^{th}$ century, Berlin has driven forward a remodeling plan under the motto of 'critical reconstruction (kritische Rekonstruktion)'. It is performed in the place, which represents the vicissitudinous history of Berlin with site plans coexisting past with presence, using modern vocabulary of architectural forms. Reconstructing a city is a process which not only raises the economic value of each building consisting a city, but also a redevelopment process that brings out cultural value of an era. When a new era emerges buildings get reconstructed or rebuilt, and thereby form the identity of a city by reflecting its society, culture, politics, economy, and history. Old German architecture were not destroyed or rebuilt recklessly just by the fact that they are functionally or aesthetically outdated. Each building is treated as precious cultural heritage reflecting the history. This is how Berlin is being transformed today.