• Journal of the Korean Institute of Rural Architecture
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• v.21 no.2
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• pp.27-34
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• 2019

This study explores the emergence of a modern form of Cheongju-eup townscape in the late 1930s by re-examining the 1960s restoration model of Seongan-dong and Jungang-dong in Cheongju, one of the historic cities in South Korea. According to the acquired data from the restoration model, it is found that the construction of a new urban area during the late 1930 was resulted from the following events: the development of a railroad station located outside of the north gate of Cheongju-eup since 1921, the completion of Musimcheon embankment outside the south gate in 1932, and the construction of Chungcheongbuk provincial office outside the eastern gate in 1937. In this period of development, which the author named 'Cheongju-eup period', the streets in the old castle, consisting only of two-story financial buildings, had been expanded from the existing area at the Seongan-gil intersection to the outside the east gate of Cheongju-eup. In addition, public government buildings, which were mainly located in both Seongan-gil and Yulgok-ro in the east-west direction, were newly constructed during the late 1930s in Seokgyo-dong, a new area in which a large number of commercial buildings including department stores, clothing stores, shoes shops, and watch stores were also built along the streets. Moreover, the modern form of Cheongju-eup was to be formed by several construction projects in the area of Jungang-ro in the late 1930s. Until the 1920s, the townscape outside the northern gate of Cheongju-eup, were composed of primary, agricultural, and female schools built on a largest site of Gyoseo-ro and Daeseong-ro as well as a transportation warehouse and a railway office near the Cheongju station. Then, entering the 1930s, new school buildings and domestic industrial shops and factories were built around the area of Jungang-ro ranging from the railway outside the northern gate to Bangadari. As a result, the expansion of townscape with newly constructed buildings in the late 1930s marked the emergence of a modern form of Cheongju-eup.

• The Journal of Art Theory & Practice
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• no.3
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• pp.135-154
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• 2005

In the late decade of 1930, under the Japanese Imperialism, the Korean abstract art which was formed with affection by Japan and Europe. They say the early Korean abstract art is colonized, from a point that it derives from exterior impact. And they say also it is colonized not to be related to the representation of their own life world. On the other hand, the early Korean abstract art in 1930s is told as the prehistory of 'Korean Modernism in Art', which flourished in 1970s followed 'Informal Art Movement' in the late 1950s. Because the status of abstract art in 1930s was not more than a germ of 'Korean Modernism in Art', while they understand until 1950s as a period dominated by representational art based on Chosun Exhibition or Korean National Exhibition, the period until 1970s as a period ruled by abstract art which was accepted as 'Korean Modernism in Art', and the period after 1980s as a period by Min-jung Art and Post-Modernism Art. However, the historical value of Korean Abstract Art in 1930s cannot be passed over, if not trying to understand the development of 'Korean Modernism in Art' especially focusing on not their own history but the impact of Western and Japanese art. In the late colonial period, the Korean early abstract art was the strongest utterance of the time paradoxically, even if not related much to optical representation of the Korean subjectivity. Therefore the existing viewpoints about the early Korean abstract art should be changed.

• Journal of the Korean Society of Costume
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• v.2
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• pp.35-50
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• 1978

This paper is an observation on the woman's warming hoods such as Nambawi, Pungchae, Ahyam, Jnbawi and Gullae worn form 1800's through 1930's. At the late era of Chosun dynasty, The every day lifes of people were greatly influenced by invasion of western world, in particular the styles of clothing are changed from original one to Western-like. So the hoods of our own's were dissappcared gradually, and the interests of them were reduced accordingly by the western culture invaded. Therefore this paper is intended to participate in the study of clothing culture by considering of hoods, one of the almost disappeared clothes, and review the wisdom and sense of beauty of our ancestor by unique ornament. The warming hoods in this paper are from a category of ear-protection gear and also deformed from man's one. The ear-protection gear was a warming hood from Tae Jong, the king of the early era of Chosun, and usage classifications of them were strict according to the class division at the early and mid era of Chosun, but generally diminised at the late era, thery were used freely, but the differences in decorations represented the division of the rich and poor. General feature of it is open top, but covers all of head and is used for warming clothes, with has many decorations on it, this decorative tendency was more clear at the late era. Namely, the shape had been modified from tough one to modish one, and fur, the material of it, are from stiff and long to soft short and well refined. This warming hoods were used until 1930's then disappeared by the population of western mufflers and wraps. Jobawi is now already forgotten even its name except for the ornament in picturing the baby in first birth day. In revewing the consideration of warming hoods mentioned. It is found that the subtlety of the ancestor, and there are supplication for the happiness of life even in the decorations.

• Journal of Ginseng Culture
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• v.5
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• pp.52-76
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• 2023

This article focuses on changes in the ginseng industry in the 1930s in areas other than the Government Contract Cultivation (GCC) zones. A major characteristic of the ginseng industry in the 1930s was the rapid increase in the area covered by ginseng gardens: the area was about 212 ha in 1929 and 252 ha in 1930 and 1931 but soared to around 441 ha in 1938. This occurred because the non-GCC areas increased significantly during this period. Until the early 1930s, the ratio of GCC to non-GCC areas was 70:30. By the late 1930s, however, the ratio had changed to 53:47. The reason for this change was that the area of the newly established ginseng gardens in the GCC zones had decreased, while that of the non-GCC ginseng gardens had steadily increased. Due to the Japanese invasion of China, China boycotted red ginseng, and exports were sluggish, so the GCC areas were reduced. On the other hand, the non-GCC ginseng gardens were not affected, and the area they covered steadily increased. As a result, in the 1930s, the ginseng industry outside of the GCC areas grew rapidly. The region that led the growth of the ginseng industry outside of the GCC zone was Jeonbuk. By the late 1930s, Jeonbuk dominated the other provinces and accounted for more than 50% of the non-GCC farming zone. Gyeongbuk and Gangwon-do followed Jeonbuk in terms of ginseng cultivation areas. While Gyeonggi-do, Gyeongnam, and Chungbuk were also active in ginseng cultivation, Jeonnam and Chungnam were not active. In the 1930s, the growth of the ginseng industry outside of the GCC zones was driven by the efforts of ginseng farmers and the support of local governments. An examination of Yecheon-gun in Gyeongbuk, Ganghwa-gun in Gyeonggi, and Jecheon-gun in Chungcheongbuk-do showed that ginseng farmers organized cooperatives as the ginseng industry steadily developed in these regions, and these cooperatives worked systematically to cultivate and sell ginseng. In the case of Ganghwa-gun, activities were carried out to incorporate the GCC zone. The Deoksan Ginseng Association in Jecheon-gun determined that financing for cultivation was key and requested subsidies from the provincial government. Administrative authorities also supported the activities of the ginseng farmers. The activities of the farmers and the support of the administrative authorities together led to the growth of the ginseng industry during this period.

• Journal of the Korean housing association
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• v.8 no.2
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• pp.27-35
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• 1997

In the beginning of the 1930's. Le Corbusier's new attention turned toward the local conditions of construction, which can be associated with the prevailing sprit of regionalism and vernaculaire culture. What especially concerns us here is the reference that Le Corbusier makes to vernacular architecture, which we have seen to be the soure of his late houses. During the 1950's, with the United' habitation and the Jaoul houses, Le Corbusier ushered in a new housing trend onto the scene. noteworthy for its use of raw materials and for its opposition to the international style.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.142-151
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• 2006

Bikini, a brief two-piece bathing suit revealing the wearer's navel, was first introduced in Paris, in 1946. However, it was not until the late 1950s that Americans were ready to adopt bikinis. Therefore, I focused on the following research questions to understand the popularization process of bikinis in the United States, from 1946 to the 1960s: 1. Why were Americans initially hesitant to adopt the bikini? 2. What were the factors that influenced the popularization of the bikini among Americans in the late 1950s? Primary sources including Bazaar. Madmoiselle, Vogue, The New York Times, and Life were reviewed. I referred to secondary sources on the history of fashion and American popular culture to interpret primary sources. According to the primary sources, Americans were hesitant to adopt the bikini, partly due to the excessive demand on the wearer's figure. However, the conservative social atmosphere during Cold War would not accept immorality and obscenity which would threaten America's future. Therefore, the campaigns against the sex industry, which developed prominently after WWII, predominated American society during the 1950s. Under this atmosphere, a small number of pictures and articles on bikinis appeared in the primary sources. Bikinis were only found in advertisements including sun lotions and hair removers. However, American society had to accept the change in sexual mores by the end of the 1930s. Body-revealing fashions including miniskirts, hot pants, and see-through material reflected the change in social convention. By the end of the 1950s, the number of pictures and articles on bikinis also began to increase in the primary sources. More Americans adopted bikinis with the increasing number of private pools and European trips. The vogue of sun-tanning and movies featuring bikinis further contributed to their popularity in the late 1930s and into the 1960s.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.3
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• pp.544-559
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• 2018

Korea's traditional aesthetic criterion changed with a new makeup culture that followed the social change caused by modernization. Such transitional features are well seen in the cosmetic advertisements of the 1920's and 1930's. To investigate the cultural characteristics and aesthetic-criteria changes of makeup culture at this period, this thesis analyzes cosmetic advertisements carried in newspaper media of the 1920's and 1930's from an aesthetic perspective. This study found that after the late 1920's, more diverse tones were used for face-powder makeup, collapsing the visual, powder-focused makeup which had been considered criteria for beauty, in combination with smelling and tactile senses such as scent or touch. Domestic makeup had the highest value attached to basic skincare in terms of the aesthetic effect via powder makeup; however, Japanese makeup still stressed the importance of color. Besides, particular facts were found as to social significance of makeup acts such as powder users' age group, safety, superiority and rivals of products, and appeal for makeup popularization. This thesis demonstrates how traditional female beauty appears in powder advertisements in the modern period and how it is related to present-day female beauty.

• Journal of the Korean Society of Food Culture
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• v.33 no.6
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• pp.489-500
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• 2018

Since the late 19 century, the Choseon dynasty forcibly opened the door to western countries, including Japan. In addition, cultural propagation called 'modernity' caused subtle changes in dietary life. Based on the theory of colonial dual society, this study examined the dietary modernity in Kyungsung (mid 1930s~early 1940s) when 50 years had passed since the Open-Door policy. Three films, (1934), (1936) and (1941) (those made in 1930s~1940s) were analyzed. Twenty six scenes [14 scenes from , five scenes from , and seven scenes from ] related to the dietary life from films were chosen and classified according three criteria (degree of modernization, main influential countries, and benefit groups from modernization). The degree of modernization of all films was more than 80%. The average proportion of the countries that affected modernization were western (35%), western-Japan (28%) and Japan (20%). Approximately 33, 53 and 14% of the upper, middle, lower classes, respectively, benefited from diet modernization. The main places where modernized dietary culture could be enjoyed were cafes, western restaurants, tea rooms, and hotels. The main food or beverages that were considered as modernized dietary culture were liquor (especially beer), coffee, and western meals. People in Kyungsung in the mid 1930s~early 1940s experienced modernity in dietary life differently according to the social classes and these culture changes were generally accepted as a symbol of modernity.

• Journal of Power System Engineering
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• v.17 no.3
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• pp.111-122
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• 2013

After the port opening in 1876, the western people made joseon image as the land of morning calm. there was a conception that joseon was a uncultivated country in the meaning of the land of morning calm. famous modernists such as gil-jun yu, kwang-su lee also had same conception. but such conception began to change in 1930's. the number of motor vehicle began to increase rapidly in 1930's. and also many of motor vehicle were equipped with air horn or electronic horn instead of bulb horn. bulb horn made thick and low rubber sound. but air horn or electronic horn made sharp and high metallic sound. city people of colonial joseon began to recognize air horn or electronic horn as city noise. so they tried to control the use of air horn or electronic horn. finally, in late 1930's, the use of air horn and electronic horn were prohibited.

• Journal of the Korean Institute of Educational Facilities
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• v.9 no.2
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• pp.25-35
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• 2002

This paper is to evaluate an open space on university campuses enclosed within buildings, with respect to building elevation a wall of an open space including outer wall materials and window forms and an open space itself. It uses case study methods to periodically know specific details about open spaces and surrounding buildings elevation. It was found, at first, that it was emphasized vertical elements on window frames as well as building elements in an era of the 1910's to the 1930's. It, however, was changed into emphasizing on horizontal features in the era of the 1960's to the 1970's. Meanwhile the period from the 1940's to the 1950's was a turning point. The horizontal style was continued until the 1980s and the style was changed into various style mixed with various types. Secondly, an open space was recognized as a valuable design criteria for a construction of buildings in the 1930s to the 1970s. It was, however, a forgotten criteria during the late 1970's and the 1980's because of short age of the construction budget of the government. In the 1990's, the importance of open space design reappeared on the design of a block plan. Thirdly, a design style of an open space was authoritarianism using symmetrical and magnificent style in the 1910's to the 1930's. The time of 1945 to the 1950's was a turning point from authoritarianism to an idea of efficiency. In the 1960's and the 1970s, an idea of efficiency emphasizing their functions was prevalent to the design of buildings and open spaces and this trend was continued until the 1980's. A romanticism was realized on the design of an open space and surrounded building's.