• Journal of Korean Society for Quality Management
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• v.22 no.3
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• pp.1-15
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• 1994

Korean QM movement is initiated by Government from 1992 as a new industrial promotion policy instead of past Japanese style TQC movement. There has been much confusions among Korean QM, TQC, and western quality management or TQM. This paper presents the domain and the characteristics of QM to distinguish it from past TQC propulsion.

• The Journal of the Korea Contents Association
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• v.7 no.7
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• pp.68-76
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• 2007

The cartoon communicates its messages by cartoon semiotics as a vehicle of emotion, face expression, act, glance, and texts along the story. this style of communication showed in the cartoon can be defined as ${\ulcorner}$Cartoon communication style${\lrcorner}$. Since, the cartoon is cultural and social product, an understanding of ${\ulcorner}$Cartoon communication style${\lrcorner}$ plays a major role in understanding culture and society as well as its production and interchange. To understand what is the ${\ulcorner}$Cartoon communication style${\lrcorner}$, systemic and objective research method through ${\ulcorner}$Cartoon Analysis${\lrcorner}$ is required. The study review cognitive tendency of cartoon expression through semiotic analysis of total 30,081 cuts of Korea, and Japanese published cartoons and consequently, classifies the cartoons by 3 forms - One-Root, One-Idea and One-Style to encode.

• Journal of the Korean Society of Clothing and Textiles
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• v.41 no.2
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• pp.224-241
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• 2017

This study considered the change process for Western style shoes in Korea during the time of modernization in the 1920s to 1930s. Western style shoes were one of the items imported by foreigners since the Joseon Dynasty and had a significant impact on Korean dress code. It influence started to spread in the 1900s; however, few high level people wore Western shoes until the 1920s. The trend started to spread through newspaper advertisements and news articles after the mid 1920s. Western shoes such as modern girl and modern boy in the 1930s then entered into Korean culture. Korea under Japanese colonial rule was reorganized on a war footing in the latter half of the 1930s and the main materials for western shoes (cow leather, horse leather and sheepskin) were mobilized as materials for war production; subsequently, new materials using rubber were introduced. The representative material is 'Marine Leather (水産皮革)' and Sharkskin 'Gyoheok (鮫革)' and Whaleskin 'Gyeongpi (鯨皮).' Form is like the material has changed over time. This study also observed the flow of westernized Korean modern shoes as well as analyzed the details of materials and shape of western shoes by period. This represent basic materials to understand the legacy of western shoes in the age; in addition, systemic summary is organized by each kind, shape and materials for each style of western shoes.

• International Journal of Costume and Fashion
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• v.11 no.1
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• pp.15-33
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• 2011

The late $19^{th}$ and early $20^{th}$ centuries of Korea were the times when the Confucianism (牲理學) ideology was shaken heavily under the influences of modernism and capitalism by Western and Japanese military and political-economic forces. Under such circumstances, alteration of clothing was much influenced by ideologies than changes in social structure or technological advance. In this study, an ideology was defined as "the force which drives people into a particular social order". Ideologies were postulated as an ongoing process of socialization with dialectic features rather than being a static state. Comparative analyses on conflict structures and different clothing patterns symbolizing the ideologies of the Ruling (支配) and the Opposition (對抗) were conducted. Investigating dresses as representations of ideologies is to reconsider the notion of dichotomous confrontation between the conservatives (守舊派) and the progressives (開化派) and a recognition of Koreans' passively accepting modernity during the Japanese occupation. This may also have contributed to enlightening Koreans about modernization. Here are the results. First, the theoretical review found that ideologies were represented by not only symbols of discourse, but also dresses, and that dresses embodied both physical and conceptual systems presenting differences between ideologies and their natures, Second, during the late 19th century Korea, conflict between conservatives' Hanbok (韓服) and progressives' Western suits (洋服) was found. Moderate progressives showed their identity by "Colored Clothing" (深色衣), and radical progressives by black suits with short hair (黑衣斷髮) or by western suits (洋服). The ultimate goal of both parties was a "Modern Nation". With these efforts, pale jade green coats and traditional hats symbolizing the nobleman class was eliminated within 30 years from 1880 to 1910, and then simple robes and short hair emerged. However, the powerful Japanese army had taken over the hegemony of East Asia, and Korea was sharply divided into modernization and pro-Japanese camps. Third, during the time of Japanese colonial rule, the dress codes having set by the modernization policies during the time of enlightenment were abandoned and colonial uniforms for the colonial system was meticulously introduced. During this period, Western or Japanese-style uniforms were the symbol of the ruling ideology. In the mean time, Hanbok, particularly "White Clothing (白衣)", emerged as a representation of the opposition ideology. However, due to Japan's coercive power and strong zeal for "Great orient (大東亞)", white clothing remained as a mere symbol. Meanwhile, Reformists (實力養成論者) movement toward improving quality of life followed a similar path of the Japanese policies and was eventually incorporated into the ruling ideology. Fourth, dresses as representations of ruling ideologies were enforced by organizational powers, such as organizations and laws, and binding policies, and changes in such dresses were more significant when the ruling ideologies were stronger. Clothing of the opposition ideology was expressed as an aggregation of public consciousness. During the period, the subjects of ruling ideology and the objects who were granted modernization benefits were different although their drives for colored clothing with short hair (色衣斷髮) for modernization were similar.

• The Journal of Art Theory & Practice
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• no.13
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• pp.35-71
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• 2012

The purpose of this essay is to examine the responses of artists on nuclear experiences through an analysis of the nuclear images represented in contemporary Japanese art. Japan has previously as twice experienced nuclear disaster in 20th century. The first atomic bombs were dropped in 1945 as well as the 5th Fukuryumaru, Japanese pelagic fishing boat, exposed by hydrogen bomb test operated by the US in 1954 nearby Bikini atoll. Due to Tsunami taken place by the great earthquake that caused the meltdown of Fukushima Nuclear Power Plant in March 2010, Japan is being experienced a nuclear disaster again. Despite practical experiences, comtemporary Japanese art has avoided the subject of nuclear disasters since the end of the Asia-Pacific War for a variety of reasons. Firstly, GHQ prohibited to record or depict the terrible effect of atomic bomb until 1946. Secondly, Japanese government has tried to sweep the affair under the carpet quite a while a fact of nuclear damage to their people. Because Japan has produced numerous war record paintings during the Second World War, in the aftermath of the defeated war, most of Japanese artists thought that dealing with politics, economics, and social subject was irrelevant to art as well as style of amateur in order to erase their melancholic memory on it. In addition, silence that was intended to inhibit victims of nuclear disasters from being provoked psychologically has continued the oblivion on nuclear disasters. For these reasons, to speak on nuclear bombs has been a kind of taboo in Japan. However, shortly after the atomic bomb dropped on Hiroshima, the artist couple Iri and Toshi Maruki visited to ruin site as a volunteer for Victim Relief. They portrayed the horrible scenes of the legacy of nuclear bomb since 1950 based on their observation. Under the condition of rapid economical growth in 1960s and 1970s, Japanese subculture such as comics, TV animations, plastic model, and games produced a variety of post apocalyptic images recalling the war between the USA and Japanese militarism, and battle simulation based on nuclear energy. While having grown up watching subculture emerged as Japan Neo-Pop in 1990s, New generation appreciate atomic images such as mushroom cloud which symbolizes atomic bomb of Hiroshima. Takashi Murakami and other Neo-Pop artists appropriate mushroom cloud image in their work. Murakami curated three exhibitions including and persists in superflat and infantilism as an evidence in order to analyze contemporary Japanese society. However, his concept, which is based on atomic bomb radiation exposure experience only claimed on damage and sacrifice, does not reflect Japan as the harmer. Japan has been constructing nuclear power plants since 1954 in the same year when the 5th Fukuryumaru has exposed until the meltdown of Fukushima Nuclear Plant although took place of nuclear radiation exposures of Three Mile and Chernobyl. Due to the exploding of Fukushima Nuclear Power Plant, Japan reconsiders the danger of nuclear disaster. In conclusion, the purpose of this paper may be found that the sense of victim which flowed in contemporary art is able to inquire into the response of artist on the subject of nuclear as well as the relationship between society, politics, culture, and modern history of Japan and international political situation.

• Journal of architectural history
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• v.16 no.5
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• pp.21-40
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• 2007

Choryang-weagwan which was the largest international trading place between Joseon Dynasty and Tokugawa Shogunate had been maintained from 1678 through 1872 in Busan. Particularly, they had 21 times repairing constructions for 200 years since its establishment. It is noticeable that Joseon Dynasty permitted Tokukawa Shogunate to construct main pavilions and guesthouses as his style due to the good-neighbor policy between two countries, and Tokukawa Shogunate struggled to achieve his own culture in that place under the supervision of Joseon Dynasty. For satisfying his needs, the architectural craftsmen of Tokukawa Shogunate were mobilized by the chief of construction company which was called kumi-gasira in the most of cases. When they came to Busan for the construction, they brought their own architectural tools. On the one hand, the carpenters and workers of Joseon Dynasty were organized by the traditional construction superintendents which were called Gamdong-gwan and they had to carry out their responsibilities with Japanese technicians at the same workplace. Judging from this fact, the construction site of Weagwan was the good place for exchanging the architectural technology between two countries. This study especially focuses on Tokukawa Shogunate craftsmen who made the repairs of Dongwan-samdaechung in 1727 such as carpenters(Dai-ku), sawyers(ko-biki), and surveyors(Tsue-tsuki) and their tools such as Hatsuri(=Masakari) and Yo-ki(=Oh-no). The constructions in this period, there were not only the repairs of 3 major pavilions including the trading center, but also one of the most active repairing constructions comparing with other period, therefor these were important constructions to shows us repairing construction of Choryang-weagwan of those days.

• The Research Journal of the Costume Culture
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• v.17 no.6
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• pp.947-959
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• 2009

This study aims to analyze contemporary women's sense of fashion aesthetic by looking into the design and trend of T-panties, which have now carved out a new niche in the world's 21st century female underwear markets. By this, I'd like to reassure readers of the importance of T-panties, which has only been recently recognized, and more generally suggests the future direction of prominent T-panty design development. First, western urban chic, Japanese minimalism and domestic modern feminine images all have common modern urban sense and simple designs. However, each image is not a simple image in itself. For example, in the case of western style they often seek to convey a sophisticated and stylish street sense, while Koreans add a more cute, lovely, and feminine touch. Second, western restrained eroticism, Japanese fetishism and domestic mono-bosom images all have a common interest in sex. They is something, however, which they all express this differently. In Japan, they prefer a stimulating image. In the West, however, this is restrained by controlling and limiting overt sexual elements, while in Korea, we seek to capture a more simple sensual beauty. Third, western couture luxury, Japanese orientalism and Korean utopia narcissism have classy images in common including splendid materials and decorations with embroidery. They all differ depending on their nationality. This study is baseds on the documents study. This study is baseds on the documents study.

• Journal of architectural history
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• v.17 no.2
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• pp.7-25
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• 2008

This study aims to clarify the architectural characteristics of three houses of Choseon Exhibition. Exposition/exhibitions were thought to be a model for the world. It shows the real status of the development, and thinking with visions at that times; therefore, exhibited house models would be a good source for what to be considered for the ideal houses of that times. Through the study, we could find out as belows. 1. The houses exhibited conserved the sitting-on-floor living style, otherwise the most proposals for house improvement suggested a chair-and-table style because of its hygienic quality and integration of the life at home and at work(school, too). 2. The spacial scheme for-family prior over for-guest was emphasized, but models at the exhibition were structured with Japanese traditional spacial program, such as Jashiki(座敷), Kyakunoma(客の間) or Tsuginoma(次の間), which were all Tatami-floored. 3. Through this exhibition, it is clarified that the architectural society in colonial Korea also tried to improve the modern housings, not only direct reception of the developed proposals. These houses was planned with the acceptance of the locality, such like Ondol, a floor heating facility which the Japanese engineer improve the efficiency. 4. Also these exhibited houses became a start to recognize a house as a product, and spurred on commercialization. As the result, we could find out that these exhibited houses accepted the modern housing proposals selectively, and that even if the exhibitions shows the advance in usual these houses were planned with the very conservative notions.

• Journal of the Korean Society of Costume
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• v.65 no.6
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• pp.1-14
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• 2015

This study is aims to study the background of how the shape of the wooden shoes developed and worn by Koreans and Japanese in the ancient times by sorting and examining the types and shapes. Relevant bibliography, which are mainly related to the excavated wooden shoes from 3 B.C.E to C.E. 8., were used as research materials. The formation of wooden shoes required easy access to raw materials -which is trees- for production. According to the analysis, both Korea and Japan made the flat wooden shoes using cuboid wood. Both countries bore a hole on a specific location to distinguish the right foot and left foot, however the style of the heel was different in the two countries. The slip-on(Undu-hyeong) wooden shoes were also common in both countries. The slip-on had no-heels and was made by digging-out a piece of the cuboid wood. Some slip-ons made by the Japanese had furrows on the bottom, and they were known to make different types of the slip-on wooden shoes depending on the purpose. Observation of the wearing methods show that commonality can be found between the wooden shoes of Korea and Japan, and this indicates that cultural exchanges between the Silla/Baekje and Japan took place from the 4th to the 6th century. Also, the flat wooden shoes in Japan developed rapidly, as the shoes became an integral part of its life and culture, which was closely tied to agriculture. Eventually, due to the difference in climate and life-style, the slip-ons became the primary type of wooden shoes in Korea, while the flats became the main type of wooden shoes in Japan. It is, however, clear that as the relationship between the two countries became closer, the cultural exchanges regarding the wooden shoes were considerable.

• The Research Journal of the Costume Culture
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• v.7 no.2
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• pp.230-241
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• 1999

The purpose of this study is to classify frequency of advertisement and types of advertisement by items and to analyze a primary factors were factors were reflected in the costumes by a policy of rule under the Japanese rule. Data was MaIl Shin Bo\`s advertisement connected with costumes from 1910 to 1945 years. The results are as follows : 1. The order of the advertisement\`s frequency was footwear, cosmetics, soap[, headgear, western style clothes, precious metals and so on. 2. The type of the advertisement was a format that transmits informs in all items. Cosmetics, hairdye and shampoo applied positive appeals. 3. In the military government, the advertisement\`s frequency connected with costumes was 37.5% and a shoe store was the first order. A shoes and headgear were high level, because of these were essential imports and were allowded as a proper articles for a western style clothes by a civilized policy. In the political periods of civilization, the advertisement\`s frequency connected with costumes was 54%. This result indicates industrial development of this period. Soap was the first order during 1924∼1933 and cosmetics was the first order during 1934∼1940. High level of the advertisement\`s frequency in these imports were reflected by a cultural policy as a link of an appeasement measure In the political periods of a racial liquidation, the advertisement\`s frequency connected with costumes was 8.5% and the advertisement\`s order by items was cosmetics, a shoe store. The reason was that reflected the phases of the times that was serious by a shortage of goods and an reinforcement of wartime\`s attitudes throughout war.