• Journal of the Korean Society of Costume
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• v.54 no.5
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• pp.41-57
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• 2004

The purpose of this study was to analyze the 20th century＇s makeup according to aesthetic categories. On the basis of aesthetic theories, four category pairs were determined as inter-confronting aesthetic categories: beauty of utility vs. beauty of social aptness : beauty of decoration vs. beauty of construction : sublime vs. grace : classical beauty vs. romantic beauty. 20th century＇s makeup was analyzed at the interval of 10 years referring to the images of actresses in the films produced in Hollywood and European countries. It was identified that 20th century＇s makeup had changed from decorative and dramatic makeup to natural makeup as the century proceeded. Consequently, beauty of social aptness, beauty of decoration. sublime, and romantic beauty were emphasized in the early 1900s while beauty of utility. beauty of construction, grace, classical beauty were emphasized in the later 1900s. In the whole 20th century, grace is the most dominant beauty among eight aesthetic categories due to it connote femininity. As the variety of fashion increases. the makeup patterns has become more diversified in recent years.

• Cross-Cultural Studies
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• v.31
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• pp.177-196
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• 2013

This paper is the study of literary modernism school(新感覺派 xinganjuepai), appeared in the early 20th century in China and Japan. This literary modernism, developed in Japan in the 1920s, was developed in China after 10 years in the 1930s. Chinese literary modernism was influenced by the Japanese school. However, the following occurs the difference in modernism caused by background of the two countries. Japanese school of literary modernism was formed by a backlash against the proletarian literature. The rivalry between Japanese proletarian literature and literary modernism occurred in 1920's. Literary modernism in China occurred in the course of the development of the proletarian literature, as part. In addition, China's literary writers of modernism have expressed their support proletarian literature for the position. This difference between the two countries can be caused by the difference of historical background (imperial and colonial) in early 20th century.

• The Research Journal of the Costume Culture
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• v.9 no.3
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• pp.511-522
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• 2001

Various art trends of the 20th century that contributed to the creation and development of abstract art had showed the transition from the convention of mere representation of the object to the formative sensitivity emphasizing self-expression. Noticing that such trends had influenced the fashion industry to move toward a free and individualized style, this study attempts to express the formative way from the existing art to wear, especially, based on early 20th century paintings, 5 casual wears were made which applied korean materials and silhouettes that are functional, sample and show traditional korea beauty. The purpose of this study is to search for a solution to expand the world market by producing dresses utilizing our own tradition that can be distinguished in the global market and that derive inspiration from the formative of the sensitivity of the paintings during the first half of the 20th century. It also aims to let national economy as a high-added industry. The result of this study are as follows: First, the expression method and element of various styles of art such as Fauvism, Expressionism and Cubism, during the period of transition to abstract art, clearly presented the direction toward the artistic liberation and made possible a new formative artistic expression of dress in the early years of the 20th century. Their ideas inspired the dress designers of the time with a reformative and creative sense of fashion and have greatly contributed to the development of a new era of uniqueness and individuality. Second, the color and the simplicity of form of the early 20th century paintings are suitable fro utilizing a motive of functional dresses and express unique and concise modern beauty. Third, it was confirmed that utilizing our tradition in contemporary dress can be a significant method of creation in which the uniqueness and creativity of Korean dress can be expressed, distinguishing it on the global scene, as well as inspire the originality and pride of our culture. Fourth, a possibility has been discovered. It is the functionality and uniqueness of aesthetic expression technique of the contemporary arts that can contribute to the fashion of tomorrow, by searching a modern fashion which was affected by the past and also by taking a look at the trend of modern fashion as the same field as casula wear.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.176-191
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• 2014

This article focuses on the late 19th to early 20th century gat, the Korean top hat for men, to understand the diverse meanings behind the hat. During the late 19th to early 20th century, the Joseon Dynasty (1392~1910) was plunged into confusion and turmoil as it was nearing its end. It was a period of drastic changes in regards to philosophy and ideology. To that end, the hats of society mirrored such changing times, as well as the differences in the awareness of Joseon's internal subject entities and external observers. Based on the analyses of the relevant documents, this study takes a multi-faceted approach to the process in which traditional Korean hats, which were once a symbol of the Joseon civilization, became reduced to an outdated object, as well as observing the awareness and attitudes of the entities involved in such a pivotal process.

• Journal of the Korean Society of Costume
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• v.56 no.4 s.103
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• pp.108-123
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• 2006

This Study is about the color images oi clothes in the early 20th century in the Eastern and Western culture and the recreation of this color images through modern costume design in film. The aim of this study is to show how early 20th century color has born reinterpreted through present film costumes and how different cultural perspectives can influence color images. For the purposes of this study, 30 pictures of clothing, representative of the early 20th century, as well as films which have been internationally recognized for their costume design and strong cultural identity('Farewell M) 'Concubine', 'Raise the Red Lantern', 'Chicago' and 'The English Patient') were chosen and analyzed. The color image of these photographs and scenes from the movies were divided by Pantone Solid Chips and categorized by color groups such as red, orange, yellow, green, blue, violet, neutral and metallic. The analysis results of the color images in the early 20th century showed that the red group was used a lot in both cultures and the orange group was more often used in the West. In regards to the yellow group, goldish yellow were commonly used in the West but pale yellow was preferred in the East. The green group more used In the West but the blue group appears more in the East. Also, there were differences in color combination, texture and technique which demonstrates different cultural color recognition and association. In the case of film color image, present color image was added to past color image. In the West, color was used as a tool for visualizing the state of characters' mind and the mood of movies' story but in the East color image was intended to make the character stand out by changing the value and chroma. By comparing the color image of clothes from the early 20th century and color image from film in the West and the East, it is possible to analyze the cultural symbolic image of color. This study is one of first trials to analyze the cultural differences in rotor images and their symbolic meaning. Thus, further studies should persue to find out the influence of culture on the rotor image in terms of specific quantity and quality.

• The Research Journal of the Costume Culture
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• v.9 no.1
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• pp.111-126
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• 2001

This study concentrates on the relationship between the early 20th century italian artists and their works in the field of clothing design. They advocated the creation of art for life and introduced a new type of work of art which I will call 'experimental clothing for art'. The experimental clothing for art showed its dynamic characteristics in the field s of line and form, color, pattern, and material. The Italian artists made simple and functionalistic dresses, using asymmetric, geometric cuts. in pattern making. They employed dynamic patterns in textile design and favored brilliant colors which they debunked as storage and traditional. With regard to material, they used unusual materials such as metal, net, wire, and paper and inexpensive materials. To investigations of the visual expression of experimental clothing for art in Italy have led us to the internal expressions which are avant-garde, dynamic & speed, functionality & popularity, ephemeral & transformable, and warlike. As a result of the reflection of the times and the artists's will and roles the experimental clothing for art in Italy implicated contemporary clothing in the early twentieth century and it was only laboratory art that underwent various experiments in canvas but a model of efforts for the at of living, which was anti-traditional. It offered a new future and created a new environment. It is left for future research how the experimental clothing for art developed in countries other than Italian.

• Journal of the Korean association of regional geographers
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• v.11 no.1
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• pp.123-144
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• 2005

• Journal for History of Mathematics
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• v.19 no.3
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• pp.71-84
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• 2006

The purpose of the study was to investigate the evolution of Korean modern mathematics in late 19th and early 20th century. This article reveals the efforts of incipient Korean mathematicians who had adopted modern mathematics from western countries and the difficulties and struggles they had to go through at that time. At the end of the article, we discussed our current status in international mathematical society.

• SUVANNABHUMI
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• v.9 no.1
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• pp.109-132
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• 2017

This article is about the emergence of Islamic modernism among Cham Muslim communities in Cambodia and Cochinchina during the early 20th century. Based on a combined critical reading of existing scholarship, historicized first-hand anthropological accounts, as well as archival sources from the National Archives of Cambodia and the Vietnam National Archives II, it argues accounts of modernists in these sources were either (1) cast through a French colonial reading of a Buddhist state lens and (2) cast through a Malay lens, based upon the Kaum Muda/Kaum Tua divide. First, it proceeds with a historical explanation of the emergence of Islam and the discourse used to describe Muslim communities in Vietnamese, French, and Cham language sources. Then, it turns the narrative toward an examination of the emergence of the "Kaum Muda" or "New Group" of reformist-minded modernist Muslims in early 20th century Cambodia. Delineating the networks of these intellectuals as they stretched across the border through Cochinchina, also highlights a pre-existing transnational element to the community, one that well predates current discussions of twenty-first-century transnationalism. Through a combination of the study of multiple language sources and historical methods, the article highlights the importance of polylingualism in the study of the history of Muslims in Southeast Asia.

• The Korean Journal of Quaternary Research
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• v.17 no.2
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• pp.55-61
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• 2003

In the year 2000 we culminated a successful five year investigation of climate change by completing a preliminary east-west transect across Mongolia. An earlier tree-ring study at Tarvagatay Pass, Mongolia indicated unusual warming during the 20th century similar to other paleo-investigations of the northern hemisphere. This record had represented one of the few tree-ring records for central Asia. New data from several sites in western Mongolia confirmed the preliminary temperature. The highest twenty-year growth period for the composite record is from 1973-1994. The western Mongolian record was significantly correlated with the Taimyr Peninsula and two northern hemisphere temperature reconstructions reflecting large-scale temperature patterns while showing some important regional differences. These differences should prove useful for climate models. We have also developed a millennial length temperature-sensitive record at the Solongotyin Davaa site (formerly Tarvagatay Pass) using relict wood and living trees. Conspicuous features over the last 1000 years are a century scale temperature decline punctuated by the end of the Little Ice Age in the late-1800s and 20th century warming. The record also shows a cold period early in the 12th century and warm intervals late in the 10th, early in the 15th and at end of the 18th centuries. Despite a limited sample size before 900 AD, the long Solongotyin Davaa record is useful in indicating severe cold events and suggests some cold intervals nearly as severe. These tree ring series, spanning much of the circumpolar northern treeline, have been compiled to create a long-term reconstruction of the Earth's temperature over centuries. The new chronology, in addition to its value as a detailed record of Mongolian climate, provides independent corroboration for such hemispheric and global reconstructions and their indications of unusual warming during the 20th century.