• 대중서사연구
• /
• 제27권1호
• /
• pp.13-51
• /
• 2021

본 논문은 식민지 시기 경성의 극장에서 발행된 영화 관련 인쇄물(film ephemera)에 대한 기초 조사를 바탕으로, 경성 남촌 지구의 영화 문화에 대한 역사적 접근을 시도한 사례 연구이다. 이 연구는 192·30년대 경성 남촌 지구의 극장에서 발행된 인쇄물들을 중심에 두고 당시의 일본어 신문과 잡지의 기사를 교차적으로 검토했으며, 이를 통해 '북촌'과 '남촌'으로 이원화된 문화 환경 속에서 재경성 일본인들의 극장과 영화 문화를 실증적으로 재구성했다. 무성영화시대 경성에서 남촌 지구 극장들은 일본의 영화사들과 계통(系統)을 맺어 일본 본토에서 제작된 영화를 유통·상영했을 뿐 아니라, 식민 본국에서 식민지로 건너와 정착한 재경성 일본인들의 문화적 커뮤니티를 구축하는 역할을 했다. 각 극장이 발행한 인쇄물들은 단순히 프로그램에 대한 정보를 제공하는 데 그치지 않고, 식민도시에 거주하는 일본인들을 일본 제국의 균질적인 시공간으로 연결해주었다고 할 수 있다. 인구로는 소수이지만 식민자라는 지위에 있었던 일본인들은 경성 남촌 지구에서 영화 관람을 통해 피식민 조선인과 자신들을 '구분'하는 동시에 문화적 차원에서 일본 내지와 연결되는 '결속'을 경험했다. 이는 일종의 '원거리 민족주의(long distance nationalism)'를 강화하는 문화 실천이라 할 수 있다. 재경성 일본인의 영화 문화를 극장 발행 인쇄물들을 통해 검토하는 작업은 2천년대 이후 본격화되어온 근대 극장 문화와 관객성에 대한 연구 성과들을 심화할 뿐 아니라 비필름 자료를 통한 영화사 연구의 방법 및 방향을 모색하는 데에도 유의미한 시도가 되리라 기대한다.

• 한국식생활문화학회지
• /
• 제3권1호
• /
• pp.67-76
• /
• 1988

With a view to making comparative study and promoting the interchange of food culture between Korea and Japan, a sensory test was given to 60 female college students (30 Koreans and as many Japanese) in order to find out differences in preference of various teas between the two nations. The findings are as follows: 1. The correlation between each specific tea and total evaluation: Significant level of high positive correlation was indicated in case of color, taste, and aftertaste by both Koreans and Japanese. In case of odor, and flavor the Koreans indicated insignificant level of nought, and the Japanese significant level of high negative correlation one. In sweetness and total evaluation the Koreans indicated positive correlation and the Japanese insignificant level of nought. 2. Comparison of preference of various teas by the Koreans and the Japanese 1) Ginseng tea A and Ginseng tea B As to Ginseng tea A and Ginseng tea B the Koreans liked odor best while the Japanese liked flavor best. In general preference the Koreans liked them better than the Japanese, and both groups indicated significant level (p <.001). 2) Black tea A: As to Black tea A the Koreans liked odor best while the Japanese taste, and in general preference the Japanese liked them better than the Koreans and both groups indicated significant level (p <.001). 3) Black tea B. As to Black tea B the Koreans liked odor best while the Japanese color, and in general preference the Japanese liked them better than the Korean and both groups indicated significant level (p <.01). 4) Coffee A. The Koreans liked odor best while the Japanese flavor, and neither of the groups indicated significant level (p <.05). 5) Coffee B. The Koreans liked color best while the Japanese flavor, and neither of the groups indicated significant level (p <.05). 6) Green tea A and Green tea B. As to Green tea A and Green tea B, the Koreans liked odor best while the Japanese taste. In general preference the Japanese liked them better than the Koreans, both indicated significant level (p <.001). 7) Malcha (a kind of traditional Green tea) Both groups liked flavor best, in general preference the Japanese liked it better than the Koreans, and both groups indicated significant level (p <.001).

• 복식문화연구
• /
• 제11권3호
• /
• pp.423-430
• /
• 2003

Cotton fabric md nylon fabric were chosen as base fabric specimens for dyeing using Japanese pagoda tree colorants through chitosan, treatment. With the chitosan treatment, the dye-uptake of the treated fabric increased. This treatment is also expected to be effective in terms of environment-friendliness. The effect of the dyeing methods, mordanting or non-mordanting, and chitosan treatment on the dye-uptake and air permeability of the treated fabrics was investigated. In case of cotton fabric, Al mordanted dyeing resulted in higher dye-uptake through the chitosan treatment. Therefore, the chitosan treatment is effective in this case. Japanese pagoda tree seems to have direct affinity for nylon fabric without the mordanting treatment. In case of cotton fabric, it seems that the cellulose molecules, colorants, and the chitosan make a complex, thereby reducing the air permeability. In case of nylon fabric, due to the fact the Japanese pagoda tree colorant molecules form direct physical bonding with the nylon molecules, it seems that there is not much of air permeability reduction.

• 한국의류산업학회지
• /
• 제10권1호
• /
• pp.30-39
• /
• 2008

This research investigated the change of Japanese Street Fashion after the Second World War. The change were categorized into 5 terms from the late 1940s to 2000s. The first term was from the late 1940s to 1950s, when street fashion was born. The second term was from the 1960s to 1970s and counter culture of street fashion appeared. The third term was the 1980s, during which street fashion fluctuated. The forth term was the 1990s, a period of chaos in street fashion. The fifth term was after 2000 and it was a retroaction term of street fashion. Japanese street fashion was influenced by fashion magazines in those days. Various street fashions in Japan based on special society and cultural situation accomplished Japanese basic fashion quality and influenced world fashion.

• International Journal of Advanced Culture Technology
• /
• 제5권1호
• /
• pp.9-16
• /
• 2017

In an English multiple Wh-construction with two wh-words, only a higher-located wh-word in a sentence structure is allowed to pre-pose to the Spec of CP, which has been known as a Superiority Effect(SE). Contrary to English, Korean and Japanese have been known not to respect SE, and this phenomenon has been called an Anti-Superiority Effect(ASE). Recent studies including Takita et al(2007) and Harada(2015) among others, however, have suggested exceptional cases to ASE in Japanese, and attempted to explain them through a feature checking mechanism within the Minimalist Program(MP) by Chomsky(1995, 1998). Such explanations of MP, which are based on the abstract feature checking system, have recently been considered just as a kind of technicalia and should be backed up with further empirical evidence. In this paper, I show that there are also exceptions to ASE in Korean, and the exceptional cases to ASE both in Korean and Japanese can be well explainable based on the empirical evidence of Korean/Japanese morpho-syntax.

• 디자인학연구
• /
• 제13권2호
• /
• pp.81-86
• /
• 2000

오늘날 문명의 특징은 서구문명에 뿌리를 둔 기술(공학)과 과학이다. 일본은 이 분야에 있어 20세기 이후 다른 동양 국가에 비하여 줄곧 우위에 서있었으며 1930년대가 되면 서구와 거의 동등한 수준에 닿게된다. 일찍이 16세기 중반에 도입된 화승총은 일본에 있어 본격적인 서구 기술의 도입을 뜻한다. 이후 일본은 비록 제한된 범위에서였지만 서구와의 지속적인 교류를 유지했고, 이런 측면에서 19세기 중반의 메이지유신과 본격적인 근대화는 이 모든 과정의 자연스러운 연속으로 인식될 수 있다. 현대 일본이 과학, 기술, 산업부문의 업적을 이룩할 수 있었던 기원은 무엇이었는가는 우리에게 지속적인 관심사가 될 것이다.

• 패션비즈니스
• /
• 제18권2호
• /
• pp.113-131
• /
• 2014

This study aims to examine the background to the rise of Rei Kawakubo, a Japanese designer who achieved fame by suggesting the concept of deconstruction and recombination of clothes, and to look at environment of the time, the formative characteristics of her design and the Japanese aesthetic sense inherent in her design. As the method of research, collections that Kawakubo unveiled over the past 10 years starting in 2004 were examined, and a survey of the literature was conducted to describe the background of her growth and the Japanese aesthetic sense inherent in the design. According to the study, Kawakubo grew up in the ruins of a war, and went through a time of great tumult, when Western culture was mixing with Japan's traditional culture. She taught herself a method of creation involving the deconstruction of clothes, and their recombination. For this reason, her design from the beginning was inevitably focused on deconstructing clothes before they could be recombined. Through analyses of her collections, it was found that the formative characteristics of her design were characterized by asymmetry, incompleteness, humor and hybridity. Kawakubo created clothes under the influence of an ethnicity that was shrouded in individuality and a traditional aesthetic sense, and the formative characteristics of her design defined by asymmetry, incompleteness, humor and hybridity were closely related to the hybridity represented by Wabi (わび), Yugen (幽玄), Okashi (をかし) and Zakyo (雜居).

• 패션비즈니스
• /
• 제20권4호
• /
• pp.1-14
• /
• 2016

Japan has several unique traditional colors. The traditional colors of Japan include a collection of colors used in traditional Japanese literature, textiles such as the kimono, and other Japanese arts. Japanese color system has a long history, leading to some consistencies in color and naming. During the Edo period(1603~1867), the unique color sense of 'iki' produced many color names that are often related to mouse(nezumi) and tea(cha), and fashion color originated as kabuki actors. As for colors named after animals, the most popular appears to be the mouse, which is used to express grey tones. Recently, many fashion companies in Japan have been working on reviving an interest in traditional Japanese colors. Ordinary people of Edo named even slightly different color tones, each with individual exquisite and mind valuing 'iki' senses. They translated these into their livelihood and culture. The colorimetry result of 49 restored dyed fabrics were as follows; Hue difference was 7.8, value difference was 2.9, chroma difference was 1.8 of prefix siro. Hue difference was 3.8, value difference was 1.6, chroma difference was 1.7 of prefix usu. Hue difference was 3.5, value difference was 1.5, chroma difference was 1.4 of prefix cha. Hue difference was 6.4, value difference was 1.1, chroma difference was 1.6 of prefix koi. Hue difference was 7.5, value difference was 0.8, chroma difference was 3.3 of prefix nezumi.

• International Journal of Costume and Fashion
• /
• 제8권1호
• /
• pp.1-17
• /
• 2008

This research analyzes the patterns in modernization of costume that reflects the attitude of accepting the Western culture and the differences in perception, during modernization period (1850-early 1910) in Japan. The Japanese attitude toward the Western costume can be roughly classified into three periods: impetuous acceptance in the early Restoration of Imperial Regime(1867-1883), aggressive acceptance in Rokumeikan period(1883-1887), and the coexistence of traditional and modern costumes after Meiji 20(1887-1910). A Western costume symbolizes wealth and power until Rokumeikan period, however, as it becomes more common, it is considered as an ordinary dress rather than a ceremonial dress. The exact opposite phenomenon occurs to traditional costume. Although Japanese modernization is initially forced by western ideology of power, positive reactions to western culture and changes in perception toward China leads to more active importation of western culture. This reflects the governmental effort such as the Foreigners Employment Policy in the early Meiji period, and the public also became receptive toward change. However, acceptance of the Western culture is only limited to academic and technological areas, while the traditional Japanese ethos(the Emperor system, Shintoism, patriarchism) is obstinately protected. Therefore, it can be inferred that such extreme polarization of modernization and traditional inheritance enabled both perspectives to retain their own characteristics.

• 한국식생활문화학회지
• /
• 제35권6호
• /
• pp.524-537
• /
• 2020

This research was undertaken to examine Masan's regional food service industry, which experienced drastic changes due to liberation and the Korean war. Analysis of restaurant advertisements in 'Masanilbo' revealed a total of 92 restaurants during this period. The numbers of restaurants classified by the time periods are 18 (1946 to 1950), 27 (1951 to 1955), 17 (1956 to 1960), and 30 (1961 to 1966). 'Gomguk' gained popularity in the early 1900s and became a speciality of Masan, resulting in the appearance of numerous Gomguk restaurant advertisements. After independence, Japanese foods were predominant in Masan since the population was used to eating Japanese dishes during the colonial era. Moreover, there was a major influence of the people who returned to the homeland. Masan was the place for refugees during the 6.25 war, resulting in the popularity of 'Naengmyeon'; advertisements largely displayed 'Pyeongyangnaengmyeon' during the early 1950s, and 'Hamheungnaengmyeon' during the early 1960s. Western food advertisements usually introduced 'Dongaseu' and 'Kareraiseu', which were deeply influenced by Japanese culture. These various contributions resulted in alterations in the food menu, such as the rise of fusion food which is not bound to any nation, spread of Japanese food culture, and popularity of 'Naengmyeon'.