• Journal of the Korean Society of Costume
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• v.60 no.1
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• pp.76-90
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• 2010

Gwa-du(裹肚), name of a garment, appears often from documentary records of Joseon Dynasty. It is assumed as one of the upper garments for men, and according to the record, it was worn as a set with Dan-ryung(團領), Dap-ho(搭胡), Chul-rik(帖裏), Han-sam(汗衫), pants and socks. After the Japanese Invasion of Korea in the 17th century, it changes to a shape of wrapping clothes with straps at four corners, and used to cover the stomach of a corpse like sash. From 16th-17th century, before the Japanese Invasion of Korea, the excavated costume shows a clothing which takes a role of Jegori, longer than Han-sam(汗衫) and shorter than Po(袍). In this study, this clothing is called Gwa-du(裹肚). This study examined the usage and shape of Kwa-du from some documentary records- "朝鮮王朝實錄-The Annals of the Joseon Dynasty", "禮書- Book of Manners", "宮中件記- Googjoonghalkee, recording court goods and commodities lists" and more with actual clothing. Kwa-du is presumed to have changed to men's Jegori So-chang-ui(小氅衣) after 17th century.

• Journal of English Language & Literature
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• v.64 no.3
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• pp.347-360
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• 2018

It is ironic but not coincidental that the loss of Korean sovereignty to Japan roughly paralleled the formation of the idea of Korean ethnic identity. The coalescence of the content of this heretofore amorphous notion of a "pure" and transcendental (in the class sense) ethnic essence was, again ironically, the result both of ideologies taken from (or given by) Japan and resistance to Japanese encroachment. What resulted was the birth of a hybrid (sub) consciousness that was able to accommodate disparate, or even contradictory, realities simultaneously without any sense of contradiction (Christian and shaman for example). If, as Kim Chul has asserted, the colonial period was the most impactful in forming today's Korean society and "giving birth" to today's Korean, it becomes easy to imagine how this formation process included elements of Japanese and western culture. This meant that there was going to be an inevitable cognitive dissonance when these influences collided with the imperatives of ethnic nationalism which became the touchstone for a common Korean identity (North and South). This paper attempts to show how this split-consciousness was manifested in Yeom Sang seop's Manse jeon with the aim of identifying how it affects discourses related to nationalism and identity.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.1
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• pp.25-44
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• 2008

Geisha's gorgeous kimonos and grotesque make-up was the object of envy to Japanese women. There is a line in the movie like "Kimonos to the Geisha is the same as colors to the painter." Likewise, splendid patterns and colorful kimonos were an indispensible method or symbol for showing their artistic accomplishments. The purpose of this study is to investigate concept and origin of Geisha and their dress and decoration, analyze the dress of the people which appear in the movie, , arrange the expression of Geisha's dress as a movie costume, compare the difference of the dress by the career of Geisha and look back the disappearing aesthetic sense of Geisha. First, since Geisha appeared for the first time in Kyoto in 1751, it has become the world-wide representative of Japanese woman's images so that its existence oneself has become the tradition. Second, Geisha created fashion of various clothes, adornments, and hair styles as a creator of the popularity. Third, the strict regulation without exception is applied in Geisha's clothing, make-up, and motion tuned Samisen, Japanese traditional strings, and there is some difference in their hair style and dress by age of Maiko. Fourth, it is famous for unique make-up that Geisha makes up their faces, necks, and shoulders white, newly paints eyes, nose, lip line like drawing a picture in a pure white paper. Geishas put a little make-up as they have a higher position. Fifth, a heroin, Chiyo, shows clothing as a maid, an apprentice Geisha-Maiko- and a formal Geisha according to time flow. The length of kimono, textures, and hair decorations are longer, more splendid, and are more various as time goes. On the other hand, her make-up is lighter.

• The Journal of Korean Physical Therapy
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• v.11 no.1
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• pp.1-21
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• 1999

Japanese welfare legislation for the disabled was enacted via Law 283 on December 26. 1956. The push for such legislation at the national level had gown concurrent with development of Japan's post-war economy Korean welfare law for disabled was made 22 years later and was again amended in 1989. The current legislation promotes and supports the legal welfare of the Koran disabled. The following are the results of a comparison between Korean and Japanese accessibility facilities and welfare law; 1) Japan's developement of disabled people's welfare law is inextricably linked to the development of disabled people's advocacy and the human rights movement. In addition, welfare policy has shifts its mandate from rehabilitation to independent living. It follows that local altitudes will play a pivotal role in further policy initiatives. Korean disabled people's welfare policy emerged hand in hand with economic recovery and development following the Korean War. By 1977 a special education law was enacted which-like it Japanese counterpart-promoted the education of disabled children. 2) Accessibility facilities were developed privately movement. The disabled faced constant and systematic disadvantages in public/private buildings and transportation systems. A general lack of cultural awareness and information relating ti these problems prevailed. These included-hut were by no means limited to sign language (for hearing the impaired) and braille(the language of blind). However, new attitudes and improvements have since emerged and new laws have resulted in the publication of Korean 'White Book' outlining the everyday problems faced by the disabled. In addition, mort convenient access facilities have been constructed in public and private buildings. In closing, legal support for the disabled, senior citizens and pregnant women continues to be improved by newer legislation enacted tin April 6, 1977.

• Journal of the Korean Society of Costume
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• v.60 no.5
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• pp.71-87
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• 2010

The purpose of the study is analyzing Japanese modern costume, through examining legislation process and the relics of Chickimkwan's and Juimkwan's court costume. The results of the study are as follows. First, the proposer of civil court costume, established in 1872, was Iwakura Mission dispatched to America and Europe. The Mission realized the importance of preparing western-style costume in civilization from experience wearing traditional clothing at ceremony of presenting credentials in America. Afterwards, the Mission proposed that the government accept western-style as civil court costume and became first wearers in Japanese in England. Second, the difference, between ordinance and actual clothes worn by Iwakura Mission, occurred in process of legislation in 1872. That might be considered as trial and error in introducing different culture. The coexistence of England and French styles was unified into French style by the revision of civil court costume in 1886. Third, the pattern of paulownia embroidered on civil court costume was utilized as symbol of Japan. While the costume of Chickimkwan was embroidered by the pattern of 7 and 5 leaves paulownia, that of Juimkwan was 5 and 3 leaves expressing their grades. Fourth, relics research showed how formed manufacturer information and enacted design were in embroidery. The relics seemed to be manufactured in Japan, because emblem of Mitsukosi tailor was embroidered on inner part of the back of collar of Chickimkwan in Nara Women's University, Japan and that of Yamasaki on left inner pocket of Juimkwan in the Independence Hall, Korea. The embroider techniques comprised forming by filler particles according to the design, filling up coiled gold threads and expressing stem with gold threads and spangles. As preemptive study, establishment process of Japanese civil court costume in this study will help understand form characteristics appeared in civil court costume act of Korean Empire.

• Asian Pacific Journal of Cancer Prevention
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• v.15 no.2
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• pp.1023-1029
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• 2014

Background: The purpose of our study was to elucidate the joint effects of combined smoking and alcohol intake on esophageal cancer mortality in Japanese men through a large cohort study with a 20-year follow-up period. Materials and Methods: The Japan Collaborative Cohort Study for Evaluation of Cancer Risk (JACC Study) was established in the late 1980s, including 46,395 men and 64,190 women aged 40 years and older and younger than 80. Follow-up of these participants was conducted until 2009. We used the Cox proportional hazards model to analyze data for 42,408 people excluding female participants, 411 people with histories of malignant neoplasms, and 3,576 with unclear smoking and drinking data. Results: The joint effects of age at start of smoking and amount of alcohol consumed per day were compared with non-smokers and non-drinkers or those consuming less than one unit of alcohol per day. The mortality risk was 9.33 (95% confidence interval, 2.55-34.2) for those who started smoking between ages 10 and 19 years and drinking at least three units of alcohol per day. Regarding the joint effects of cumulative amount of smoking and alcohol intake, the risk was high when both smoking and alcohol intake were above a certain level. Conclusions: In this Japanese cohort study, increased cancer mortality risks were observed, especially for people who both started smoking early and drank alcohol. Quitting smoking or not starting to smoke at any age and reducing alcohol consumption are important for preventing esophageal cancer in Japan.

• Fashion & Textile Research Journal
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• v.13 no.1
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• pp.32-43
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• 2011

This study investigate the transition about Japanese national costume kimono. The prototype of the present kimono is a kosode. The origin of kosode dates back to the mid-Heian period, when this type of kimono served as the everyday wear of commoners and an undergarment for court nobles, both men and women. In the Muromachi period, particularly after the Onin war, the kosode began to be by people of all classes. In the Muromachi period, kosode consisted mainly of woven textiles. In the Momoyama period, kosode became very elaborate, employing such various techniques as tie-dyeing, embroidery, metallic leaf(surihaku) and free-hand painting. These were further combined resulting in such techniques as tsujigahana dyeing and nuihaku, which are now considered to epitomize Momoyama-period textile design. A category of kosode of the early Edo period, known as Keicho kosode, is fashioned mainly from black, white, or red figured satin(rinzu), or from figured satin segmented in these three colors. Books of kosode designs began to be published in the Kambun era, when the merchant class was becoming economically powerful, kosode began to reflect its taste. During its final stage of development in the late 17th and early 18th centuries, yuzen dyeing achieved wide acceptance. From the late 18th century toward the early 19th century, kosode worn by the merchant class underwent drastic changes, while those worn by the samurai class changed little. In the after the late 18th century, clear differences in design and decorative methods appeared between the kosode worn by rich merchants and those worn by middle and lower class merchants.

• Human Ecology Research
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• v.52 no.5
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• pp.509-518
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• 2014

This study strives to analyze the characteristics of and changes in breast shapes of women in their 30s, whose bodies start to age and whose breasts experience changes due to internal and external factors such as pregnancy, childbearing, and breast-feeding. The analysis of the indirect breast measurements for each age group (early, mid, and late 30s) demonstrates that the volume of the breasts increases proportionally with age, the breasts lose their firmness, and the nipples start to point downwards rather than to the sides. The breast shapes experience more significant changes vertically than horizontally as the breasts start to sag downwards. The composition factors of the breasts have been classified into five factors: the level of volume in the breasts and the surrounding area, the degree of sagging in the breasts, the position and vertical width of the breasts, the volume of the breasts, and the degree of width between the breasts. The breasts have been categorized into three different shapes. Breast Shape I (32.56%) appeared most frequently among women in their mid 30s, and this shape falls into the category of Sagging I, which is one of the six breast types that have been classified by the Japanese Wacoal Research Center, in addition to Korean size 80A. Breast Shape II (38.76%) appeared most frequently among women in their mid 30s, and this shape has been categorized as flat with its size being 70A. Breast Shape III (28.68%) appeared most frequently among women in their early 30s with a conical shape and size 75A.

• The Research Journal of the Costume Culture
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• v.9 no.1
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• pp.19-32
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• 2001

The purpose of this study is to determine aesthetical characteristics of the Korean traditional wedding dress for women by analyzing such dresses'aesthetical senses. For the purpose, the study showed four types of the dress, jukyee, whalot, weonsam and private weonsam and their photographed stimuli to subjects and then obtained data using the seven scale measures of meaning differentiation consisting of 25 pairs of adjective words. Results of the study are described as follows; Aesthetical senses shown in the Korean traditional dressing dress for women included six factors in total, among which attractiveness was found as the main factor, followed by chastity. For the four types of the dress, whalot adpated revelation as its main factor while the remaining three types, or jukyee, weonsam and private weonsam were found having dignity as their main factors. Adjective words which largely accounted for aesthetical senses included uncomfortable, warn, chaste, intellectual, bright, unique, regular, luxurious, classical, ornamental and beautiful suggesting that the Korean traditional wedding dress for women is somewhat unfunctional, but high in attractiveness and aesthetic beauty and has a better classical harmonization of dignity and revelation. Aesthetical senses were most different according to nationality(Korean and Japan) when they were analyzed in terms of nationality, gender and whether of specialization or non-specialization. Japanese people had unique and interesting senses while Korean people, chaste, calm and delicate aesthetical senses. According to gender, men revealed free senses and women, classical ones. According whether of specialization or non-specialization those who specialized in a related field had more unique, straight, regular, luxurious and interesting aesthetical senses that those who did not specialize.

• Korea journal of population studies
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• v.33 no.1
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• pp.133-160
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• 2010

This study aims to analyze marital satisfaction over the family life course and to find its determinants in Korea and Japan. The data for this study came from nationwide representative sample surveys on family in these two countries including 5,308 Korean and 4,920 Japanese men and women living with their spouses. In order to see the cultural difference and similarity in marital relations, the effects of education, income, employment, marriage gradients (normative patterns between the spouses), family stress, and quality of conjugal interactions on Korean and Japanese couples' marital satisfaction were examined. It was found that the marital satisfaction showed a U-shape pattern for both Korean and Japanese couples. In both countries husbands tend to have higher marital satisfaction than wives over the entire life course. The most important determinants of Korean and Japanese couples' marital satisfaction are good qualities of conjugal interactions including deep trust and concerns for spouse and sex life satisfaction. For Korean couples good conjugal interactions is better predictor of marital satisfaction than sex life, while for Japanese couples sex life is more important determinant of marital satisfaction.