• Journal of the Korean Society of Costume
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• v.59 no.10
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• pp.1-9
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• 2009

One piece of Jeogori and several books of the Goryeo dynasty were found inside of the wooden Buddhist Goddess of Mercy Statue of the Bogwang temple and they were designated as national treasure of Korea, No. 1571. The jeogori was the Jeogsam as the kind of underwear and conjectured as for women by considering its size. The collar of the jeogori was 3cm-wide square-shaped collar without gussit and the sleeve was close to straight line. Also the jeogori was designed without breast ties and could be adjusted by knot button. The fabrics for the jeogori showed similar pattern as complex silk gauze in 1302. It has not been reported yet that the complex silk gauze was used for the Jeogsam from Goryeo Dynasty to Joseon Dynasty. Comparing the Jeogori of the Bogwang temple to those of Goryeo Dynasty, it can be appropriately estimated as the remains of the Goryeo Dynasty since its shape and materials are very similar to those found in the Jeogori's of the Goryeo Dynasty and it was found between the books of the Goryeo Dynasty inside of the knee part of the wooden Buddhist Goddess of Mercy Statue of the Bogwang temple. Although only one piece of Jeogori was found, it's importance in cultural value or in the study of the fabric history cannot be underestimated considering the fact that the Jeogories of the Goryeo Dynasty are scarce, and that the used fabric was not commonly used complex silk gauze, and especially that this Jeogori is the only existing Jeogsam made of complex silk gauze.

• Journal of Korea Society of Digital Industry and Information Management
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• v.11 no.1
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• pp.157-169
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• 2015

In digital marketing, means of public relations and marketing of enterprises are changing into marketing techniques of predictive analytics. A significant study can be carried out by an analysis of 'the patterns of customers' uses' using big data on major portal sites and SNSs and their correlation with related keywords. This study analyzes the origins of mythological characters in major brands such as Nike, Hermes, Versace, Canon and Starbucks. Also, it extracts related keywords and relevance using big data on portal sites and SNS and their correlation. Nike marketing that reminds people of 'the goddess of victory, Nike' formed a good combination of the brand with relevance. Most of them are based on Greek mythology and have rich materials for storytelling and artistic values in common. Hopefully, this case analysis of foreign brands would become a starting point of discovering the materials of the domestic mythological characters.

• Journal of the Korean Institute of Rural Architecture
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• v.2 no.3
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• pp.85-97
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• 2000

In the organizing principle of Hwaeomsa temple, we could see the procedure of absorption and combination on folk beliefs and Buddhism like other temples. One of Representative folk beliefs took in and combined in its temple is Sam-Sung-Gak, which is located at the same place with Won-Tong-Geon. And Myong-Bu-Geon is affected by the Ten-Kings belief of Taoism very deeply, is also very rare folk belief case grown naturally. The diversification of Buddhist sanctum' function is absorption and combination between proper belief for the Buddhist Goddess of Mercy and folk native beliefs.

• Journal of the Korean association of regional geographers
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• v.12 no.1
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• pp.44-58
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• 2006

This study of Shintoism is to inquire the relationships between social-political ideology and place of Shinto shrine(神社). In Korea, the Shinto shrine was a place of the center of Japanese colonial policy that symbolized the goal of Japanese Imperialism. This was one of the strategies of "Japan and Korea Are One". Before the China and Japan War in 1937, the number of shrines amounted to 51 sites, 12 of them were closely related to open ports, and the others were located at inland major cities. They also were associated with railroad transportation systems that tied coast and inland major cities. This spatial distribution of shrines was so called "Shrine Network" that was essential in tracing Japanese invasion into Korea. It was an imperial place where Japanese residence and colonial landscape were combined together to show the strength of Japanese Imperialism. Most of shrines were located at a hill with a view on the slope of a mountain and honored Goddess Amaterasu and the Meiji Emperor. I presume from these facts that Shinto Shrine was a supervisionary organization for strategic purpose. The Jeonju Shrine was located on a small hill, Dagasan(65m) where commanded a splendid view of Jeonju city and honored Goddess Amaterasu and the Meiji Emperor. It was a place which was adjacent to Japanese residence and colonial landscape. The Dagasan was changed as a symbolic site for Japanese Imperialism. But, after liberation in 1945, the social-political symbol of the hill was changed. By the strong will of civil, there was a monument to the loyal dead and the national poet, Yi Byeng-gi placed for national identity at the site of the demolished Jeonju Shrine. Dagasan as a place of national identity, shows the symbolic decolonization and the changing ideology. After all, this shows that political ideology is represented in a place with landscape.

• Journal of the Daesoon Academy of Sciences
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• v.26
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• pp.215-253
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• 2016

In 2007, according to the records, I made an on-the-spot survey of the place where Doju Cho Jeongsan and his family might have lived in exile in Manchuria and released a paper in which I decided that the site could be the Shuidongchun (village) of Luotongshanzhen in Liuhexian, Jilin Province. Thereafter, sponsored by the Doju Cho Jeongsan's Memorial Project from 2008 to 2013, many times, I carried out the field investigations and researches on Liuhexian, including the visits of the institutions which have the historical documents, in order to find the data related to the participation of him and his family in the anti-Japanese movement. I was, hence, able to reconfirm that the village had been the place of their exile, based on my collected data and the oral reports which the local historians and ethnic Korean elders had provided. In this study, using the historical documents and maps and the oral materials, I made an attempt to prove the historical truth thoroughly once again. First, the existing sources of Doju Cho and his family's settling in Manchuria from March 1909 to 1917, were carefully analyzed which were described in The Jin-gyeong. In doing so, the misspelling of the names and the spatio-temporal errors of the people's activities were corrected. Next, I researched on another town, Shuitungou of Liuhexian in Fengtian Province (in West Gando of Manchuria), which it is known that Doju and his family stayed in, and the Laogushan (mountain), which it is believed that Doju cultivated himself in. Finally, through the attempt, I reached the conclusion that Doju and his family had settled at Shuidongchun (once called Shuidonggou or Shuitongchun) of Luotongshanzhen (once called Datonggou) in Liuhexian, Jilin Province. In the Liuhexian-related documents and maps published in the eras of Republican China and Manchuria, the place name called Shuitungou was not found. However, I discovered a map in the era of Republican China on which Shuitongchun was recorded as Shuidonggou. In addition, considering the administration system of Republic China, tun(屯) and gou(溝) could not be used together in the place names. Accordingly, Shuitungou was more likely misspelled as Korean people in those days mispronounced Shuidonggou. Furthermore, people in China has habitually called the Dagushan(大孤山), located in the north of Gushanzizhen of Liuhexian, as the Laogushan(老孤山). This means that the Korean people who lived in the area then perhaps recorded the mountain as the Nogosan(老姑山), the mountain of the old goddess, according to Korean enunciation, because they had the custom of worshipping the mountain goddess. I tried my best to find the historical documents regarding Doju and his family's anti-Japanese activities to prove the location of exile in which they settled in northeastern China (Manchuria). However, I was not able to reach the initial goal completely due to the shortage of objective evidences, only to leave tasks to be solved. I hope that this study can give a little help to researchers who are interested in this matter.

• Journal of the Korean Society of Costume
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• v.48
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• pp.53-70
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• 1999

The theatre costume in English Renaissance which is scarce in its historical materials can be inferred and imaginarily reconstructed from classifying it according to types of theatre costumes and considering its specific form in that age. The history of fashion could be also approached in the light of theatre costumes and it might be some help to the present theatre costume. Thus the purpose of this thesis is for contributing to the study of theatre costume by inferring the English Renaissance theatre costume from classifications and research of its pattern in detail. This thesis consists of the overview of the periodical background of English Renaissance and then analysis of the stage surroundings ar that time and classification of the theater costume acording to the types and finally inferences of the pattern of forms of the theatre costume. The theatre costume in English Renaissance can be divided into these group:(1) for foreigners such as Roman Turk Spanish and Jews (2) for supernatural beings such as a nymph god, goddess, ghosts, and witches(3) for professionals such as a clown, a clergyman. doctors and senators(4) for cast of animals such as a lion a bear and pigs. In the Elizabethan period theatre costumes were used together with Elizabethan costumes on the stage. Generally the theatre costumes in the age were typically made of very expensive materials and spectacles to the audience and compensating for the poor stage settings.

• English Language & Literature Teaching
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• v.11 no.3
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• pp.25-38
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• 2005

Postmodern American science fiction authors often dramatize the human fear and hope for the newly emerging artificial life forms. For example, Helen as an advanced artificial intelligence Richard Power's Galatea 2.2 shows that the student's memorizing efforts for exams can be useless someday. In Neal Stephenson's Snow Crash machines are liable to be infected with viruses like human bodies. In He, She and It, Piercy's parallel of an artificial human (Yod) and a mythic personification (Golem) allegorically reveals the pandora-like unpredictable effect of advanced technology. More than the mechanical entities (the diffusion and linear models for Latour), these biologically artificial entities reveal the limitations of even the fantastically idealized technology simply because the human being as the creators or impersonators of these machines are not perfect. Compared to illustrative mechanism, biologically artificial entities (Latour's transition or whirlwind models) are inherently rebellious because of their closeness to the creators. The Butler's organic environmental interaction of the Earthseed convincingly demonstrates how the wrong use of science ruins the holy earth and also how human beings survive through the right use of effective science with the aid of anthroposophy.

• The International Journal of Costume Culture
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• v.12 no.1
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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.

• Fashion & Textile Research Journal
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• v.9 no.6
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• pp.663-670
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• 2007

Arts is the expression of reasoning and conscious life of human and arouse human the concept of existence, utmost emotion and excellent thoughts. Also it makes humans life very abundant. I make it come first to get rid of the art thirst on the opposite sight of technical one for hair as on part of humans body. Next purpose is that to confirm the esthetic value of 'hair arts' by solidify the academic ground of beauty arts through creating 'hair arts' works and learning and make the direction for the beauty industry and education of the next generation. In this study I investigated the Greek myth and the hair styles of ancient Greek Goddesses. On the basis of that symbols I elaborated hair formative works made of metal and studied, analyzed and displayed that. Work No.1 'aphne' pictures the second of changing into a laurel tree avoiding the love. Secondly 'Muse Erato' was exhibited the peaceful figure that have enough the fine melodies. 'Leda' brings out the feature of Leda resembling a swan and the fourth piece, 'Eos' conveys the brilliant and mystery of dawn. So this study conducted based on the concept of practical hair and have made efforts to be close to theoretical manufacturing research needed at making hair arts works and academic one needed at organic design composition for pioneering new field, 'art hair.' I hope these 'hair arts' works make creativity of the practise hair alive. It will be very thankful to me if this study can help even though slightly for splendid beauty arts to make its status firm as a one part of arts, and there are following studies.

• Journal of Fashion Business
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• v.24 no.5
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• pp.158-176
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• 2020

The purpose of this study was to examine the cultural diversity in terms of costumes by analyzing the costumes depicted in the early Kushan Dynasty relics, Tillya Tepe. As a research method, literature research and artifact analysis were conducted in parallel. The type of costume worn by the king (or priest) was in the type of a jacket and skirt, which was thought to be of Persian influence. The Greek god of Dionysos was wearing a costume with Danryong (團領) and narrow sleeves, a nomadic type of Central Asia. It could be seen that costumes were transformed into indigenous elements of the region. The shape of the helmet worn by the warrior was a Greek-Macedonian helmet. However, details were transformed into indigenous elements of the Kushan dynasty. The clothing of a nobleman riding a carriage was an element of dress that was observed in Chinese po(袍), and was an unusual element not found in nomadic peoples. There were goddesses wearing Greek robes like Aphrodite in Tillya Tepe's relics. On the other hand, there were goddesses who did not wear Greek chitons like the Greek goddess Athena. Instead, they wore high-waisted robes worn by the Orient goddesses. In addition, after Kushan occupied India, there were Indian elements believed to be expressed by accepting Indian culture. These elements were combined with regional orient elements of the Kushan dynasty, Central Asian elements, and Kushan's own elements. Thus cultural diversity emerged in the costumes depicted in Tillya Tepe artifacts.