• Korea journal of population studies
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• v.22 no.1
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• pp.93-121
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• 1999

이 연구는 인천의 정체성을 알아보는 데 연구의 초점을 맞추었다. 연구방법으로는 실증적 방법과 민속학적 방법 두 가지를 병행하였다. 시민단체, 공무원, 학생을 대상으로 임의목적표본방법을 사용하여 총 613명이 분석되었다. 분석방법은 교차통계분석 및 다중분류분석을 하였다. 정체성은 한 지역에 거주하는 주민들의 집단결속력과 성취도를 결정하여 주며, 그 지역의 사회적 통합과도 밀접한 관련을 지니고 있어서, 지역의 문제나 관심사를 해결하고 발전시키는데 가장 핵심적인 요소이다. 인천의 정체의식은 세 집단 모두 낮으며, 전체응답자의 절반 이상은 그저 그렇다는 중용의 의견이었다. 인천에 대한 정체의식을 응답집단의 특성별로 보면 여자보다는 남자가 높고, 기혼자보다는 미혼자가 높으며, 30세 이상으로 연령이 많을수록, 수입과 생활수준이 낮을수록 정체의식이 상대적으로 높게 나타났다. 그리고 전문.관리.사무직보다는 판매.서비스.생산.농업직 종사자들의 정체의식이 높았다. 전문대 정도의 교육을 받은 시민의 정체의식이 상대적으로 높고, 인천의 문화.복지.환경개선을 위한 특별기금 기부의사가 있는 시민과 인천을 마음붙이고 살 곳으로 생각하는 시민의 정체의식이 높다. 총괄적인 의미에서 본 인천의 정체성에 관한 조사를 보면, 인천은 "주인의식 없음"과 "이제부터 만들어 가야 한다"는 답변이 제일 많았고 그 다음은 "포용력", "선구적 개척정신", "긍정적인 의미의 짠물", "합중시(合衆市)적 다양성", "외세에 대한 호국정신", "세계의 관문도시"로 나타났다. 이와 같은 응답유형으로 보아서는 인천지역에 대한 이미지를 한마디로 딱 잘라 말하기는 어렵다. 그러나 인천은 서울.경기인, 충청인, 호남인, 영남인, 이북인, 외국인 등을 가리지 않고 받아드리는 "포용력이 있는 합중시적 다양성을 가진 도시"로 지역차가 서로 다른 출신성분이 공존할 수 있다는 점에서 의미하는 바가 크다. 이는 "세계속의 도시"와 "동북아의 거점도시"를 추구하는 미래지향적인 시각에서는 지역주의를 지양하고 지역통합이슈와 세계화 물결속에서 외국인에게도 열린 상태문화를 제공하는 관문이 될 것이라는 면에서 인천이 추구해야 할 정체성으로 시사하는 점이라고 본다.는 미래지향적인 시각에서는 지역주의를 지양하고 지역통합이슈와 세계화 물결속에서 외국인에게도 열린 상태문화를 제공하는 관문이 될 것이라는 면에서 인천이 추구해야 할 정체성으로 시사하는 점이라고 본다.

• Research in Plant Disease
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• v.16 no.1
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• pp.94-96
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• 2010

In May of 2004 through 2007, Leptosphaerulina leaf blight caused by Leptosphaerulina trifolii occurred on Kentucky bluegrass (Poa pratensis) at golf courses in Gangwon Province, Korea. Symptoms on the turfgrass caused by L. trifolii were leaf blights, dying from the leaf tip downwards to the crown, which appeared patches in the field because of local pockets of severely infected (blighted) grass. Perithecia were produced on old or weak leaves, including club-shaped asci, each of which contained 8 pale brown muriform ascospores with cross and longitudinal septa. Ascospores of the fungus isolated from the diseased leaf tissue and cultured on potato-dextrose agar (PDA) were muriform multicellular (composed of 3-6 cells) and $23.4-40.5{\times}7.8-15.6{\mu}m$ in size with 3-4 transverse and 0-3 longitudinal septa, which were morphologically identical to L. trifolii reported previously. DNA sequences of ribosomal RNA gene (internal transcribed spacer) of the fungus were homologous with similarity of 99% to those of L. trifolii isolates in GenBank database, confirming the identity of the causal agent of the disease. Pathogenicity of the fungus was also confirmed on the creeping bentgrass by Koch's postulates. This is first report of Leptosphaerulina leaf blight on turfgrass caused by L. trifolii in Korea.

• Journal of the Korean Home Economics Association
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• v.39 no.3
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• pp.107-133
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• 2001

This study aims to understand the Process of Communality formation among the Families of Communal Childcare Cooperative. Ethnographic, in-depth interview and participant observation at field are used as method. The families of communal childcare cooperative form their communality through investment and harmony, making relationship, and struggles and overcoming the struggles. Each family is willing to put in their money and time for an unfamiliar group to organize and manage a community. They head for the same direction accepting the diversity of expectation and thought based on the diversity of environment of each family. They have interactions upon the basis of equality among the families. Sharing their unique cloture such as communal place(teojeon), common issues, same generation, unique terms, specific modes of speaking informally or nicknaming, they accept the diversities and head for the sameness to have a harmony. In the reset of forming relationship, these families transfer successfully from the field of I and my family to that of group. They escape from a sense of priority that concerns their own family first and then others. They come to be able to consider the group first. Besides, they come to assimilate themselves to the group by identification with the group. They come to form their identity and sense of membership of the group recognizing power of group they belong in their families and local society. The process of forming community among the families of cooperative has inescapable struggles. Each family becomes a real host of the cooperative in the process of overcoming the struggles and experiences a growth of individual and group in the process of looking for the ways of overcoming the struggles. In the end, the families cooperates and reestablish their community.

• Fashion & Textile Research Journal
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• v.17 no.1
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• pp.42-52
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• 2015

This study considers the expressive types of 'Glocalism' trends and its inherent aesthetic characteristics through the analysis of flight attendants' uniform design. The following is the conclusions regarding the glocalism trend according to the analysis of airline uniform design that reflect it. First, the design approach was developed appropriating the whole or parts of traditional attire and applying decorative items in terms of a formal aspect. Secondly, the colors of the airline's homeland symbols or natural environment were used while, thirdly, the fabrics represent glocalism by employing folk elements of the region and patterns of nature for a uniform design. Induced from these design analyses, the aesthetic characteristics of airline uniforms reflecting glocalism are traditionality, naturality, and compromisability. To begin with, traditionality is what is realized in interpreting the historical aesthetics in a contemporary perspective, contributing in inspiring the historical value of the homeland and contributing to the establishment of identity by applying forms and colors of traditional garments with folk patterns on a uniform design. In addition, naturality means the reorganization of unprocessed pure nature, expressing the image of nature through colors taken from the natural environment or motifs of the regional plants. Finally, combining general sensibilities with diverse cultural features, compromisability is realized as a modern design which combines a standardized uniform with the aesthetic components of the local environment and traditional garments.

• The Journal of Art Theory & Practice
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• no.7
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• pp.89-123
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• 2009

The Philippines was colonized by Spain for about centuries, from 1521 to 1898, and ruled by America for around four decades, from 1899 to 1946. After recovering from the Second World War, the government started to harness human labor as export itself. In the present time the overseas Filipinos keep the economy afloat with their steady transfer of money to relatives and dependents. Through the art works, the issue which Filipinos were exploited and exported by its government has been reflected as the various allegories. As Filipinos traditionally follow and keep Catholic belief, themes of Christ's sacrifice has allegorically been represented as salvation, struggle, suppression, and emancipation of people. Through the allegory, we can interpret both the intrinsic and superficial texts. Also we can identity certain modes of the visuality of allegory in selected works from Philippine art history that in their complex mediations materialize the people and dignity of their predicament and their prevailing. Philippine art can be divided as three different features: passion, vagrancy, and mass formation. The passion stage was depicted as deep structure of Christian thought and devotional feeling, harsh capitalist system. In the pictures of vagrancy, under the regime of Ferdinand Marcos, the themes of drift, deprivation, and homelessness are reckoned through the images of pictures. The stories represented with allegory have been played an important role to bring local issues up as national ones. Those stages take us to the processes of mass formation or the depiction of the people as a moment in the totality of force. The allegorical sign refers to another sign that precedes it, but with which it will never able to coincide reach back to a previous stage and in this constant attempt at return incorporates a structural distance from its origin. The true people's art is one that radically generates transformative technologies and techniques so that it irrevocably breaks the plane of "art". In the painting, the truth is represented by functioning as foundation of a rhetoric of the image. And at this axis, the passional, the vagrant, and the mass formation tend to come together because they render the form of contingency that must be suffered and hopefully surpassed, a Filipino subjectivity that must be stitched in time.

• The Research Journal of the Costume Culture
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• v.21 no.4
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• pp.494-510
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• 2013

The purpose of this study was to develop unique men's pullovers using the patterns of Baekje tile, brick, and gilt-bronze shoes. As the method of the study, it was reviewed of the literature about Baekje traditional patterns and the knitting techniques. The development of pullover design was used TexPro design CAD program. The manufacture of pullover were knitted by Shima Seiki computerized knitting machines and Brother manual knitting machines. The results of study were as follows. First, the patterns of Baekje tile, brick and gilt-bronze shoes were suited to develop as motif for men's pullover. Second, men's pullover using Baekje traditional patterns were able to maintain the identity of Korean traditional culture and express the originality of design. Third, pullover was chosen three styles and was developed four design. Each pullover design was applied four colorway. Forth, pullover products were made by wool 100% yarn or cotton 47%/acrylic 53% mixed yarn. The patterns were expressed by knitting techniques of floating jacquard and birds-eye jacquard. Luxurious knit fashions were produced. Consequently, through the men's pullover development utilizing Baekje traditional patterns was showed the superiority of the local traditional culture, which is further emphasized by the current globalization. It also confirmed the possibility of the development of high value-added knitted fashion products to meet the needs of modern people to pursue individuality.

• Journal of the Korean Society of Costume
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• v.65 no.4
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• pp.124-136
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• 2015

Xinjiang Uygur Autonomous Region is the area with the most Muslim populations in China and the costume of this ethnic minority group was influenced from its surrounding environment and religion. Headgear is one of the important costume elements of Muslim ethnic minority such as Kazakh, Kirghiz, Uzbek, and Tadzhik people, and each group has developed narious forms of it. Especially, we can notice characteristics of headgear in Xinjiang Uygur and four ethnic minority groups through women's headgear pursuant to motive of wear, classification of type, differences and comparability with other areas. Thus, purpose of this study is to investigate women's headgear of Muslim ethnic minority in Xinjiang Uygur Autonomous Region. Based on local data at the Xinjiang Uygur Museum, the study referred to Chinese ethnic minority costume and literature data as well as advanced researches related to Islam, and analyzed characteristics of women's headgear of four ethnic groups in connection with Muslim formation background in Xinjiang Uygur. Women's headgear of Muslim ethnic minority in Xinjiang Uygur can be largely divided into three types; cylindrical, conical and hood type. Headgear was influenced not only by natural environment and weather for protection of body, but also by Islam. Along with strong desire for decoration and expression of racial features, it was used as a means of race discrimination and representation of identity. The religion of Islam within these four ethnic groups grew in accordance with tradition of existing nomadic tribes and regional characteristics, and women's headgear developed in various ways added with religious precepts and nomadic features. Taking everything into consideration, it is found that women's headgear of Kazakh, Kirghiz, Uzbek, and Tadzhik people developed, adopting their own living style and features of minority races instead of remaining identical to the headgear type of Muslim countries in other area.

• Journal of the Korean Institute of Landscape Architecture
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• v.31 no.4
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• pp.39-48
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• 2003

The Office of Korean National Railroads announced a design competition for Kwangyang Station and sought design proposals in October of 2002. The authors collaborated on a landscape design for Kwangyang Station and earned first prize in the competition. The Office decided to construct outdoor public spaces of Kwangyang Station for railroad users, visitors and staff, and local residents. The landscape design covers the following: site inventory and analysis; integration of design program and site analysis; evaluation of design concept; selecting a winning design alternative; schematic design including circulation form and spatial form; and design development including subarea design. In the design process, the authors focused on the integration and interpretation of site conditions as related to the Kwangyang Station building. They also collectively analyzed and considered the physical development of the outdoor spaces of Kwangyang Station. The following are some of the major areas in the design of the outdoor spaces of Kwangyang Station: 1) a plaza for waiting, 2) an entry area for passengers, 3) a train cafeteria, 4) a cultural plaza, 5) an image wall, and 6) a symbolic pond. The plaza for waiting is created as a place for users to wait and rest. The entry area for passengers provides an area for pedestrians approaching, passing and strolling. The train cafeteria features trains, lawns, grasses and trees. The cultural plaza is a main area representing the regional characteristics of Kwangyang. This plaza also provides an area for various public events. The image wall is meant to be an exhibition space for displaying the advancements of Korean National Railroads in sculptural image forms. The symbolic pond consists of an area with symbolic water features and several sculptures with artistic value. In the authors' design, the outdoor spaces of Kwangyang station are created as a new type of public realm with function, regional quality, original identity, cultural context, symbolic meaning and images, and beauty. The designed spaces would be one of the most representative places of interest and attraction in Kwangyang.

• The Journal of the Korea Contents Association
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• v.8 no.5
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• pp.134-144
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• 2008

A city is the center of all the economic activities, politics, administration and creation of cultures, and it is also a social community. It is also an environment in which human beings live and act, and thus, psychological and emotional pleasure are greatly demanded. Facilities of cities, buildings and harmonizing each and every structures with the environment sets up the image and the identity of a city because they are the most important visual structuring elements in cityscapes. Currently, most of the cities in Korea including Seoul, are in discordance with their natural environment because of all different sorts of buildings and signboards are jumbled up close together. The traditional, local colors have disappeared form those cities and all cities look the same. It is hard to find traditional beauty and identities of the cities in Korea, and the Korean cities are not even close to the threshold of other foreign cities. In order to solve these problems, there is a dire need of improving the modification of cityscapes in the long run. This research aims to understand the current abstruse situation Korean cities are in, analyze their problems and describe actual methods of improving those cities so that they can have a more ordered and organized structures. Also, this research should be used as a data of future researches based on citiscapes.

• The Plant Pathology Journal
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• v.30 no.2
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• pp.200-207
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• 2014

A viral disease causing severe mosaic, necrotic, and yellow symptoms on Vigna angularis var. nipponensis was prevalent around Suwon area in Korea. The causal virus was characterized as Cucumber mosaic virus (CMV) on the basis of biological and nucleotide sequence properties of RNAs 1, 2 and 3 and named as CMV-wVa. CMV-wVa isolate caused mosaic symptoms on indicator plants, Nicotiana tabacum cv. Xanthi-nc, Petunia hybrida, and Cucumis sativus. Strikingly, CMV-wVa induced severe mosaic and malformation on Cucurbita pepo, and Solanum lycopersicum. Moreover, it caused necrotic or mosaic symptoms on V. angularis and V. radiate of Fabaceae. Symptoms of necrotic local or pin point were observed on inoculated leaves of V. unguiculata, Vicia fava, Pisum sativum and Phaseolus vulgaris. However, CMV-wVa isolate failed to infect in Glycine max cvs. 'Sorok', 'Sodam' and 'Somyeong'. To assess genetic variation between CMV-wVa and the other known CMV isolates, phylogenetic analysis using 16 complete nucleotide sequences of CMV RNA1, RNA2, and RNA3 including CMV-wVa was performed. CMV-wVa was more closely related to CMV isolates belonging to CMV subgroup I showing about 85.1-100% nucleotide sequences identity to those of subgroup I isolates. This is the first report of CMV as the causal virus infecting wild Vigna angularis var. nipponensis in Korea.