• 한국의류학회지
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• 제19권3호
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• pp.536-547
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• 1995

The modernization of the fashion design in our country, like our chaotic modern history, has not been easy for us to grasp its main stream because it lacked historical consciousness and sincere attitude of creating. In trying to find out designs very Korean, designers usually ignore the deeply rooted ideologies and modes of our own, and primarily depend on the scattered fragments of tradition, such as the curled line of the ancient roofs, folk jackets and skirts, and Talcum, our ethnic dance, sometimes making some patchwork like clothes they divan't really intend to make. In the world of modern design, especially of the fashion industrial design, designs more scientific, more rationale and more positively appealing to the consumers, not the unconscious and emotional ones, are being demanded. To win in the fierce competing world of design as well call this age an age of "Design War", it is desirable for us to create our peculiar designs by uniting the internationalism (universality) and nationalism (traditionalism) together under a single rigid purpose. Analyzing the designs mainly of Korean style fashion designers since the 1980s, 1 could see that Korean designs in the aspect of appearance have a strong tendency toward applying or reviving the traditional elements, thus are under a bias toward nationalism rather than in ternationalism. The idea of "very Korean" does not mean a mere harmony or negotiation of the traditional elements with modern ones. It is rather a concept from vivid historical experiences of the conflict between the purely Korean mental, cultural heritages and the demands in mod- eradiation. Therefore, based on this concept of "very Korean" we must create fashions completely Korean and modern at the same time.n and modern at the same time.

• 한국조경학회지
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• 제31권4호
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• pp.13-24
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• 2003

The modern landscape architectural profession and education of Korea was established in the early 1970s. The former president Park Chung-Hee was a main axis in this process of establishment. This paper critically examines Park Chung-Hee's thoughts on landscape architecture. It can show us the functional relationship between his thoughts and the beginning of the history of modem landscape architecture in Korea. The close relationship between Park Chung-Hee and Korean landscape architecture can be interpreted as double sides. First, landscape architecture was a matter of great interest for Park Chung-Hee. His involvement of landscape architecture went well beyond that of an amateur. Second, landscape architecture was a strategic instrument for practicing his political policy of economic development and nationalism. There are three remarkable tendencies in his thoughts on landscape architecture. First, he regarded that the main role of landscape architecture was to cover and to decorate damaged sites. Second, he had a contradictory notion of tradition and history. Last, the European pastoral ideal was his criterion for the beauty of landscape. His thoughts on landscape architecture were an amalgamation of these three contradictory ideas, and it has left some controversial inheritances for contemporary landscape architecture.

• 동남아시아연구
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• 제20권3호
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• pp.1-40
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• 2010

China and Southeast Asia share intimate relationships based on close spatial, temporal and human conditions. Thus, Southeast Asian studies in China boast of a long lineage of 'traditional', 'embryonic', 'closed' and 'opened' Southeast Asian studies. In the modern period the 'embryonic Southeast Asian studies,' professing conservative nationalism based on traditional Sino-centric perspectives, accumulated elementary knowledges on the history of Sino-Southeast Asian relations and Chinese communities in Southeast Asia. On the other hand, 'closed Southeast Asian studies' standing for radical Communism suffered from chronic stagnation. After the Reform and Opening, 'opened Southeast Asian studies' recorded impressive progress in the restoration and development of Southeast Asian studies. Nevertheless, 'opened Southeast Asian studies' are faced with some serious problems such as biased perspectives, traditional methods, and national subjects. Most of all, it is urgent to overcome Sino-centric perspectives on Southeast Asia. Despite the opening of Southeast Asian studies to the diverse methods of modern social sciences, descriptive studies prevail over analytical ones. Regardless of the diversification of subjects, national questions such as the overseas Chinese and cross-border nationalities are prone to excessive nationalism.

• 중국학논총
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• 제65호
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• pp.287-302
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• 2020

Social Evolution was the most influential idea in modern China. Chinese intellectuals, who had made the survival of their country and people a top priority in the face of threats from Western powers, accepted the theory of social evolution as an idea calling for national unity. For Liang Qi chao, the theory of social evolution was a reason to raise the modern nation-state and the new people, along with the need for reform. This article examines that philosophical content and meaning modern Chinese social evolution has around his concept of "nation". His ideas, which are regarded as the origin of Asian nationalism, reflect his belief in and will toward a nation-state, and occupy a unique position in the political history of modern China.

• 한국의류학회지
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• 제26권11호
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• pp.1649-1659
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• 2002

It is anticipated that, in the 21st century, aesthetic sense will be altered radically with the introduction of new value systems and ethical standards. At the beginning of the 21st century, new aesthetic senses and identities have already emerged and exerted influence to the society, arts and fashion trends. The purpose of this study is to analyze the aesthetic characteristic of the transitional period of the 21st century. This study employed the qualitative analysis and the main aesthetic characteristics of the 21st transitional period were found as hybrid, technicism, neo-retro, new naturalism, and multi-nationalism. The transitional fashion in the 21s1 century mirrors the post-modern trends with diversity and indeterminacy as the basis of changes. It is expected that this pattern will continue to extend persistent and dominant influence to the future fashion industry. In the subsequent study, quantitative analysis wi]1 be conducted to verify the aesthetic characteristics analyzed in this study.

• 동의생리병리학회지
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• 제24권3호
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• pp.380-384
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• 2010

The present paper attempts to investigate the factors which may affect the attitude toward Oriental Medicine among the university students in Korea and China. The research on determining factors that may influence the attitude toward the Oriental Medicine can provide the answers for the question how the traditional things can acquire their present position and make a development in modern society. The East Asian countries such as Korea and China have promoted the western-style changes and development, thinking that modernization means the westernization. Given this, the research on the attitude toward Oriental Medicine can be a good case study that shows how tradition sustains its place and develops. The present study makes two hypotheses in order to analyze the factors which make the influence on the attitude toward the Oriental Medicine: Hypothesis there will be no significant difference between the socio-demographic variables and attitude toward Oriental Medicine. Hypothesis there will be significant differences between traditionalism, modernity, nationalism, and attitude toward Oriental Medicine. The statistical results show that hypothesis 1 was confirmed in the case of the gender of the participants, whereas it was not confirmed in the case of the birthplace, economic status, and nationality. And hypothesis 2 was not confirmed in the relations between nationalism and modernity and the attitude toward Oriental Medicine, whereas it was confirmed in the relations between traditionalism and the traditional medical concept and attitude toward Oriental Medicine.

• 수완나부미
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• 제7권1호
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• pp.139-155
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• 2015

The relation of culture and development is complicated and multilayered. Inclusive development has been the national strategy of the government of President Benigno Aquino III. However, the role the culture is scarcely mentioned. This paper will try to contextualize development in Philippine history to further show the importance of national consciousness, ethnic cultures, indigenous cultures and modern culture,. This paper concludes that inclusive development of the Philippines will be achieved through glocalization, based on the creative reconstruction of cultures in and out of the Philippines.

• 미술이론과 현장
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• 제4호
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• pp.105-121
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• 2006

The term 'modern', in broader sense, refers to the concepts like modernity, modernization, modernism and the like, which came from Westernization impling the recognition of indigenous culture as being inferior to Western culture by comparison along with the expanded influences of the Empire of Japan. These concepts, however, rather than evolving from Western standards, came into being as a form of civilization led by Japan which had already tasted the fruits of modernization by 1920s. Since 1920s, the policy of, so-called, reconstructing Asian countries by Japan came to create eastern way of modernism, as a new East Asian trend mainly revealed in China which was against colonization after Japan's invasion and conquest of Manchuria. Therefore, Eastern' modern' unlike Western one could be understood in the widespread terminology, 'Modern(摩登)' in Shanghai, reflecting consciousness like 'Fashion' or 'Trend' in female images on a variety of visual media. By 1930s it was the most notable that 'modern' was accepted as something similar with 'Fashion', or 'Trend' in sociocultural contexts. These atmosphere had led commercial arts to enable to communicate with the public in a great deal of supports and success in Shanghai which was widely regarded as the citadel for the inflow of Western culture, among which transformations in female images were remarkable as a representative form of culture. It is also remarkable that 'historical modernity' transforming from the feudal age to modern society was considered a synchronic modernity, and nationalism was regarded as a sort of being modern, while involved in the newly-changed female images as a fashion mode. Changes in fashion including hair style in Shanghai by 1930s, as a way of expressions showing what was modern through commercial artistic productions, were easily noticed in visual media as an outlet of modern women's inner desire revealing their pursuit for new mode of life in metropolitan cities. As a characteristic of the time creating a new code of visual female images, it is notable that there existed another form of 'modern' satisfying socio-cultural needs of the general public seeking for being 'modern'.

• 동북아역사논총
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• 제59호
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• pp.150-186
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• 2018

이 글은 '진보주의자' 마루야마 마사오[丸山眞男]의 '냉전자유주의'를 해명함으로써 패전과 냉전 초기의 일본에서 영위된 진보적 자유주의의 실체를 해명한다. '민주'와 '평화'가 모색된 패전과 냉전 초기의 공간에서 일본의 자유주의가 냉전적 현실에 투사되는 양상을 마루야마의 리얼리즘과 내셔널리즘에 초점을 맞추어 분석한다. 마루야마의 냉전자유주의는 자유주의의 냉전적 존재양태와 냉전의 자유주의적 해석의 두 측면에서 파악할 수 있다. 자유주의의 냉전적 존재양태가 근대일본의 자유주의의 시간적 계승의 양상을 파악하는 것이라면, 냉전의 자유주의적 해석은 냉전 상황에서의 자유주의의 공간적 표출을 포착하는 것이다. 마루야마의 냉전자유주의는 내셔널리즘과 리얼리즘을 매개로 표현된다. 마루야마는 냉전적 현실에 대응하여 '민주'와 '평화'를 모색하는 과정에서 냉전 구조에서 생겨난 반공 논리에 근거한 새로운 형태의 파시즘을 비판하였고, 리얼리즘의 입장에서 평화를 모색하였다. 마루야마에게 냉전체제의 '두 개의 세계'를벗어나는 길이 '중립'과 '평화'였다면, 파시즘을 벗어나는 길은 '공평한 판단'과184 | 동북아역사논총 59호'자주적 결사'였다. 마루야마의 냉전자유주의에서 주체는 '시민'보다는 '국민'을지향하는 것이었고, 국민 형성을 지향하는 내셔널리즘은 '민주'와 '평화'를 위한조건이었다. 마루야마의 비판적 자유주의는 내셔널리즘과 리얼리즘을 매개로작동하였다.

• 한국의류산업학회지
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• 제5권5호
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• pp.453-464
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• 2003

This study is to analyze that the pluralism is the main aspect of the modem fashion which examines the definition and the character of the pluralism. This will also consider the pluralism that appeared on the modern fashion which is based on them. The main point of pluralism is that the world is necessarily aware of plural and difference. Also many values which is focused on the previous generation, for instance disorganize of westernism, androcentrictrism, christianism and powerful nationalism, what is called unfamiliar, heterogeneous, the others and the circumference things. As these were rehabilitated, morality, ethics, religion or politics were all became possible to choose for one's taste. The pluralism expressed in modern fashion can be divided as collapse of genre, grafting the lower and higher orders cultivation, variety way of approaching in time, internationalism. The result for the consideration is that the pluralism has candid attitude for everything so that in the modern fashion is importing variety range of artistic definition. Namely, it is not only containing previous pure art, elegance art and element of artistic sublime beauty, but also has aesthetics of ugliness, deconstructive art and anti-fashion so that the definition of the art is getting vagueness and diverse.