• 기술혁신연구
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• 제12권2호
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• pp.99-126
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• 2004

Japan's economic clusters are characterized by their high level of diversity. In essence, Japanese economic clusters are not limited to single industries; they comprise numerous manufacturing industries and firms which cluster in specific heterogeneous economic zones, vice political boundaries. Japanese manufacturing sectors are showing an increased level of diversity, resulting in the spread of experience and knowledge among clusters, and sustained growth at the point of industrial structural transformation. Japan's Ministry of Education, Culture, Sports, Science and Technology (MEXT) proposed the creation of intellectual clusters for the purpose of promoting research and development(R&D) activities resulting in the stimulation and development of new technologies. The Ministry of Economy Trade and Industry (METI) is also proposing the industrial cluster plan with the aim to promote the local rebirth and revitalization of the Japanese industrial sector. This paper proposes a methodological analysis which will result in the integration of the two policies currently implemented by the Japanese government. If the current policies are not coordinated and integrated, artificial firms and sectors will continue to hamper innovation and discourage competitiveness, which will ultimately result in Japan's loss of economic opportunities within Asia. In the worst case, failure to act on current economic deficiencies illuminated in this paper could cost Japan its position as an Asian economic leader.

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

• 한국지역지리학회지
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• 제7권1호
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• pp.1-20
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• 2001

본 논문은 토지대장과 지적도를 이용하여 일제강점기 동안 광주의 금남로 지역을 대상으로 토지 이용의 변화, 가로형태의 변화, 토지소유의 사회적 패턴의 변화를 고찰하였다. 일제시대 광주의 대표적인 상징물인 전남도청과 광주역을 연결하는 직선 상징 축으로서 금남로는 1925년에 시작되어 1933년에 완성되었다. 금남로 지역은 밭과 논이 있었으나 1940년에 모두 대지화되었다. 광주읍성내는 일본인과 국가의 토지소유가 많았고, 읍성 밖은 한국인의 토지소유가 많았다. 금남로의 개설이 금남로 1 2 3 4 5가의 토지소유의 사회적 패턴의 변화에 큰 영향을 미치지는 못하였지만, 금남로 5가의 밭의 대지로의 전환에는 약간의 영향을 미쳤다고 할 수 있다. 금남로 지역의 토지이음의 변화에는 금남로의 개설보다는 광주의 인구증가 등 도시화에 의한 영향이 더 크게 작용하였다고 할 수 있다.

• 패션비즈니스
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• 제12권1호
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• pp.93-108
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• 2008

This study held physical measurement for male subjects in their 20s living in Ningbo City, Zhejiang Province in China, showing the biggest market in men's clothes. Their representative lower body types with average shapes and sizes were chosen so as to develop men's slacks patterns with better dimension fitness. The following are the results of the analysis: 1. Slacks patterns were made based on the mean measurement values of 5 people, who were closest to the representative body types, from the index*absolute group of 47 people. The dimensions of application for slacks pattern-making were 77cm(omphalion waist circumference), 91cm(hip circumference), and 103cm(slacks length). 2. For the comparison of high-fitness and more-room pattern dimensions, 5 styles of slacks were made: Korean, Chinese, British, Japanese, and industrial. In the dressing fitness tests, industrial patterns had excellent appearance and Japanese ones had the best function. 3. Based on the analysis results of slacks pattern comparison, the target slacks were experimentally made and received superior evaluation points to the compared slacks patterns in two times of evaluation for appearance and function. 4. The final slacks pattern in this research had the following dimensions: front waist circumference: W(1-2cm with room included)/4-1cm, back waist circumference: W/4+1cm, front hip circumference: H(9$\sim$10cm with room included)/4-1cm, back hip circumference: H/4+1cm, crotch length: H/4-1.5cm, hip length: crotch length-H/12, front crotch extension: H/16-1.5cm, back crotch extension: H/8+3cm, knee line: 33cm below crotch line, front tuck amount: 4cm, back dart amount: 2.5cm(center) and 1.5cm(side), and back dart length: 10cm (center) and 6cm(side).

• 한국작물학회지
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• 제29권4호
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• pp.350-355
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• 1984

본 실험은 현재 줄기, 엽병 및 과실의 색에 의해 자경종, 황숙종 및 청경종으로 분류되어 있는 인삼의 변종들이 유전인자의 변이에 따른 것인지의 여부를 확인하기 위하여 국내 자경종, 황숙종의 종자와 2,3년생의 뿌리 그리고 청경종, 산양삼, 일본자경종, 황숙종, 미마끼와 미국삼의 2년생 뿌리를 사용하여 protein 과 esterase, phosphatase, GOT, LAP 및 peroxidase의 동위효소 표현형을 2∼30％ polyacrylamide gradient tube gel을 사용 전기영동법에 의해 관찰한 결과는 다음과 같았다. 1. 동일변종내에서 개체간 및 2년생 뿌리와 3년생 뿌리간에는 동일한 동위효소의 표현형을 가지고 있었으나 종자와 뿌리는 다른 표현형을 보였다. 2. 자경종과 황숙종의 종자는 protein 및 관찰한 모든 동위효소의 표현형간에 차이가 없었다. 3. 2년생 뿌리에서 국내인삼과 일본삼은 동일한 protein과 동위효소의 표현형을 보였으나 미국삼은 다른 표현형을 보였다. 따라서 본 실험결과로서는 국내인삼과 일본삼의 변종들은 모두 동일한 것으로 사료된다.

• 한국의상디자인학회지
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• 제11권2호
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• pp.143-151
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• 2009

Ukiyo-e is the representative genre-painting of Japan, dominant during the 17th century Edo-Period (1503-1867). Ukiyo-e is mainly focused on expressing the lives of geishas, sumo wrestlers, and kabuki characters, who were the center of the Japanese amusement culture, and gained popular acceptance in Europe when it was first introduced in the late 19th century in the form of Japonism, having significant influence and impact on the impressionist artists of the time and on the design of western cloths. In this papers, we will be primarily conducting a historical study on the development of the Ukiyo-e, a representative genre-painting of Japan, and conduct a in-depth analysis of pattern expressed in the Kosode of women, represented through various different works of art. In order to conduct a thorough analysis of pattern expressed in Ukiyo-e, we collected over 255 pieces of materials from existing foreign paintings as well as museums in the National Museum of Tokyo, Edo Museum, and the Harajuku Museum of Ukiyo-e. This papers seeks to analyze and classify patterns expressed in the works of Ukiyo-e and research the characteristics express in the pattern to contribute to the development of fabrics in the modern fashion design industry.

• 영어영문학
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• 제64권2호
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• pp.273-298
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• 2018

This paper, postulating that Lowell's Imagism is not some "Amygism" that wobbles with "emotional slither," "mushy technique" and "general floppiness" as Pound once mocked, but another kind of poetic discourse that deserves the fullest re-consideration, goes back to the very scene where Pound left for Vorticism, condescendingly allowing Lowell and her supporters to use the name "Imagism" for three years. There, it tries to illuminate how Lowell, making the most of the opportunity given to her, picked up what Pound had left behind, grafted it on the soil of America, and finally fulfilled her literary passion to awaken the common reading public to the taste for poetry reading. For the purpose, it looks into her critical reviews in Tendencies in Modern American Poetry, and stresses her creative critical efforts to re-address Pound's principles of "Imagisme." In particular, given the limit of space, it focuses only on the second principle of her Imagism and examines the modernity of her concepts of "a cadence," "suggestion," and "the real poem beyond." Then it reads "Patterns" in the context of Japanese poetry and Noh drama and analyzes the poetic patterns that Lowell made through a creative adaptation of Japanese aesthetics for Imagist poetics. In doing so, this paper aims to provide reasonable evidences to evaluate the modernity of Lowell's Imagist ars poetica and to consider her a truly serious Imagist poet worthy of a place in the history of American poetic modernism.

• 패션비즈니스
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• 제5권4호
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• pp.56-72
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• 2001

The purpose of this study is to provide a philosophical basis for a rational, meaningful and systematic development of contemporary Korean fashion and culture industry. The study will begin by comparing traditional aesthetics of Japan and Korea and their respective influences in contemporary fashion design. Japanese aesthetic consciousness can be understood in terms of decorative beauty and undecorated beauty where traditional Korean aesthetic consciousness consists of aesthetic naturalism, beauty of mysticism and beauty of humor. Japanese aesthetic consciousness is generally inclined toward article fanciness, on the other hand, Korean aesthetic consciousness is inclined toward natural beauty. Both Japan and Korea reflect their traditional aesthetic consciousness in their contemporary fashion design. In Japan's case, traditional patterns have been applied to obi(帶, おび). And aesthetic naturalism can be seen in holes, tears and patches present, as well as rough and coarse texture used, in contemporary fashion design. In case of Korea, aesthetic naturalism can be seen in elegant naturally flowing curves and use of plain colored fabric used in fashion design. Beauty of mysticism can be seen in splendid primary colors from shaman ritual costumes, and fortune-telling hexagram patterns. Beauty of humor can be seen in outrageously exaggerated and distorted fit of clothes. The above comparative analysis, with respect to their formative elements, show that both Korean and Japanese contemporary fashion trends reflect and embody their respective traditional aesthetic consciousness. Japan is creating high-grade fashion design of temporal universality and contemporary appeal. Japan has done so by studying their aesthetic tradition from the point of view of philosophy and utilizing its formative elements. Korea, however, is in the middle of transition: Korea is caught between directly grafting traditional aesthetic designs onto contemporary fashion design and integrating the two according to their common internal spirit.

• 복식
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• 제43권
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• pp.259-282
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• 1999

To analyze the characteristics of Orientalism which is expressed in the fashion of the 1990's this study was examined according to three aspects such as form textiles and pattern and the aspects was considered with regard to Chinese Indian Japanese Korean, Southeas Asian and North African style. 1. In form Orientalism which is influenced by latest other fashion trend; Naturalism and Minimalism is expressed as a comfortable casual style which simplifies the way of wearing and mixes the characteristic elements of folk costume with western costume. The way of layerd wearing like knotting wrapping draping and the symbolic from which is inspired by the unique are of each country are shown. 2. In textiles Chinese Japanese and Indian silk as well as Southeast Asian and North African cotton show a splendid oriental impression using vivid color. On the other hand the linens of Korea like hemp and ramie emphasize natural characteristics and show a simple and unartificial oriental beauty. But in the use of material and color it shows a remarkable tendency to break the preconceived idea by coordinating a luxurious silk with a practical denim or harmonizing technical new-masterials with traditional materials. 3. In pattern the decorative elements of Orientalism such as a traditional pattern skills to dye embroidery and other decorations are emphasized on the form of western costume. The sketchy patterns of Chinese Korean and Japanese styles which include the pattern of a flower a bamboo and a butterfly are expressed using embroidery or textile printing. The geometrical seriate patterns of Southeast Asian and North African styles use traditional dyeing methods like Batik. Also the Indian technique of decoration like Mirro Work satisfies handcrafted royalty and feminine romantic taste in modern minimal fashion. The Orientalism expressed in the fashion of 1990's emphasizes the characteristics of people wearing colthing which break the preconceived idea by simplifying the form harmonizing differences between oriental and western cultures and mixing the elements of traditional costumes among countries. Most of all. Ethno using geonmetrical seriate pattern and technical new metal material and Romantic Ethnic using flower embroidery precious stones and beads are appearing as a distinctinve feature.

• 패션비즈니스
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• 제9권3호
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• pp.150-161
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• 2005

The retro fashion and orientalism have been the main trend in the fashion industry tram 2000 as the turning point tram the minimalism. In particular, the far eastern oriental ism, that is, Japanese orientalism had been rapidly spread from 2001. As the trend has been moving to Chinese orientalism from 2003, the fabrics with flower pattern prints and those imbued with Chinese orientalism that were popular in 1960 are the main stream in the textile industry at present. As keeping up with the current trend, this study analyzed the common features and differences between textile patterns with Chinese orientalism that are prevailing ai present and the textile patterns that were popular in 1960s through the film "In the Mood for Love" that told the story of people who immigrated from Shanghai to Hong Kong in 1960s. According to the analysis, the popular textile patterns in 1960s were splendid flower patterns, pop art and op art patterns. Such a trend was elegantly expressed as the textile pattern of Chinese orientalism using qipao in the film "In the Mood for Love".