• 한국식생활문화학회지
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• 제2권1호
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• pp.81-92
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• 1987

This treatise deals with chronic state of famine and exploitation of famine relief food in the later half of Chosun Period and especially in relation with socio-economic changes. There with the impact of socio-economic factors on the chronic state of famine and exploitation of famine relief food is studied mainly with a literary approach. The influential factors which lead to the chronic state of famine were not only climatic restrictions such as flood and drought but socio-economic factors such as foreign invasion (Japanease invasion and Ching's invasion), frequent breaking out of revolt and technological development of agriculture (rice transplantation). And disorder of land system and cultivation of cash crops by the richer peasantry, lowering the economic status of the poorer peasantry who were a major constituents of the population, aggravated the famine state. Because the poorer peasantry were under the shortage of food, they had to seek something edible in the fields and mountains. In this process various kinds of famine relief foods were exploited by the poorer peasantry. The majority of famine relief foods were wild vegetables. Consequently the Chronic state of famine was a cause to introduce various edible wild vegetables into Korean food, which influenced modern vegetarian food habits and firmed the Korean's favorite taste to be hot and salty. These wild vegetables couldn't have a marvelous effect on the relief of starved people. Potatoes and sweet potatoes, which were newly introduced foreign crops, were encouraged to be cultivated for famine relief. But these tubers, unable to be staple food, didn't contribute to an increase in population.

• 영미문화
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• 제13권1호
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• pp.29-57
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• 2013

Patricia Waugh once regarded modernism fiction as 'the struggle for personal autonomy' against the opposition existing social institutions and conventions. Michael Cunningham's characterizations of Virginia Woolf and Septimus in The Hours show the two contrasting reactions to individual alienation and mental dissolution in the modern era. As the personifications of endurance and self-destruction against the mechanical power of contemporary world, Woolf and Septimus consist of just the world of diptych where the woman's role is confined to the angel in the house. By creating Mrs. Brown based upon his own alienated mother image, however, Cunningham succeeds in representing the more dramatically vivid world of triptych where woman can have her own room and self-realization despite still facing the dilemma of the traditional family. Accepting Joycean Bloom's optimistic and relaxing way of life in part, Mrs. Brown connects the labyrinths between the author's (and also Richard's) alienation with the theme of celebration of the life. Clarissa in postmodern New York setting is still a concealed and mystified character. Similar to Mrs. Dalloway, on the one hand Clarissa watches other people's tragedy with compassion. Cunningham's Clarissa, on the other hand, is no longer seeking for either winning or defeat in the spectacular world unlike her predecessors. In many resilient attitudes of everyday life Clarissa is closest to Mrs. Brown whom Virginia Woolf originally hopes to describe. Without any fear or rage toward the society Clarissa witnesses and achieves "the humanity, humour, depth" of female values by successfully turning the trivial life into an epic journey.

• 영미문화
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• 제9권1호
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• pp.239-272
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• 2009

Our investigation of the intricate relationship among nationalism, humanism, and imperialism begins from reading Song of Ariran, the auto/biography of Kim San recorded by Nym Wales, together with Margaret Drabble's fictional adaptation of Lady Hong's autobiography, The Memoirs of Lady $Hyegy{\breve{o}}ng$, in her novel The Red Queen, in which the story of Barbara Halliwell, a modern female envoy of Lady Hong, is interweaved with Lady Hong's narrative. In spite of their being seemingly disparate texts, Song of Ariran and The Red Queen are comparable: they are written by Western female writers who deal with Koreans, along with the Korean history and culture. Accordingly, both works cut across the boundary of fiction and fact, imagination and history, and the East and the West. In the age of globalization, Western women writing (about) Korea and Koreans traversing the historical and cultural limits inevitably engage us in post-colonial discussions. Despite the temporal differences--If Song of Ariran handles with the historical turmoils of the 1930s Asia, mostly surrounding Kim San's activities as a nationalist, The Red Queen is written by a twenty-first century British woman writer whose international interest grapples with the eighteenth-century Korean Crown Princess' spirit in order to reinscribe a story of Korean woman's within the contemporary culture--, both works appeal to the humanistic perspective, advocating the universal human beings' values transcending the historical and national limitations. While this sort of humanistic approach can provide sympathy transcending time and space, this 'idealistic' process can be problematic because the Western writers's appropriation of Korean culture and its history can easily reduce its particularities to comprehensive generalization, without giving proper names to the Korean history and culture. Nonetheless, the Western female writers' attempt to find a place of 'contact' is valuable since it opens a possibility of having meaningful communications between minor culture and dominating culture. Yet, these female writers do not seem to absolutely cross the border of race, gender, and culture, which leaves us to realize how difficult it is to reach a genuine understanding with what is different from mine even in these 'universal' narratives.

• Asia Marketing Journal
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• 제16권4호
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• pp.75-87
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• 2015

As more companies become interested in global markets, it has become crucial for firms to create globalized brands whose positioning, advertising strategy, personality, looks, and feel are consistent across nations. The purpose of this study is to investigate the global branding strategy of the Hyundai Motor Company (hereafter HMC) in order to show how the company processes its branding strategy. HMC, one of the leading global companies in the automobile industry, set up its brand identity as "Modern premium", in alignment with their new slogan "New Thinking New Possibilities", in 2011. The aim of the "Modern premium" concept was to provide consumers with new experiences and values beyond their expectations. HMC wanted their consumers to think of their cars as not only a medium of transportation but as a life space, where they can share experiences alongside HMC. In an effort to conduct consumer research in 5 different nations, HMC selected "brilliant" as a key communication concept. The word "brilliant" expresses the functional, experiential, and emotional dimensions of HMC. HMC furthermore chose "live brilliant" as a key campaign message in order to reinforce their communication concept. After this decision, the "live brilliant" campaign was exhibited through major broadcast channels around the world. The campaign was the company's first worldwide brand campaign, where a single message was applied to all major markets, with the goal of building up a consistent image as a global brand. This global branding strategy is worth examining due to its significant contribution to growth generation in the global market. Overall, the 'live brilliant' global brand campaign not only improved HMC's reputation image-wise, with the 'Modern Premium' conceptualization of the brand as 'simple', 'creative' and 'caring', but also improved the consumer's familiarity, preference and purchase intention of HMC. In fact, the "live brilliant" campaign was a successful campaign which increased HMC's brand value. Notably, HMC's brand value increased continuously and reached 9 billion US dollars in 2013, leading it to reach 43rd place in the Global Brand Rankings according to the brand consulting group Interbrand. Its brand value largely surpassed that of Nissan (65th) and Chevrolet (89th) in 2013. While it is true that the global branding strategy of HMC involved higher risks, it was highly successful according to cross-nation consumer research. Therefore, this paper concludes that the global branding strategy of HMC made a positive impact on its performance. We further suggest HMC to combine its successful marketing with social media such as Facebook, Twitter, and Instagram and embrace digital media by extending its brand communication horizon to the mobile internet

• 복식
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• 제67권3호
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• pp.66-80
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• 2017

The headdress is one of the most important clothing characters in China, as it was used to distinguish the 55 minority groups in China. Each minority group has a unique headdress culture. Among the 55 minority groups, the Zang, the Yi, and the Miao focus their ethnic costumes on the headdress, and have a more distinctive headdress culture compared to be other nationality groups. The Yi is one of the minority groups that linvd in Southwest China. They usually lived in compact communities in Sichuan, Yunnan, and Guizhou provinces, as well as the Guangxi Zhuang Autonomous region. The total population of the Yi is the sixth largest among the 55 minority groups. Modern scholars believe that the Yi people are descendants of the ancient Qiang people, which is a group that lived in Northwest China six or seven thousand years before. It is believed that the Qiang went down to the southern part of China and allied with the aboriginals in that region, and this group of people became the Yi, Due to its long history, cultural background, and the large number of people and settlements, they have produced a unique costume culture. The women's headdress culture is considered to be the one of the most important characteristics of their costume culture. There are four forming element of the Yi women's headdress, religious faith, myths, geographical distribution and customs & festivals. The first three elements play an important role in the protection and spread of headdress, while the fourth element provides potential for the modern headdress development. Because of much influence factors, more than 100 types of Yi women headdresses have developed. Depends on categories, Yi woman headdress can be divided into kerchief, hat, fascinator and other accessories wore on the hand. This study investigated the development of the Yi women's headwear, and screened and analyzed representative Yi women accessories, such as the headscarf, hat, and fascinator. This analysis will provide basic materials for further studies of Yi women's headdress or costume.

• 한국의사학회지
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• 제24권2호
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• pp.69-76
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• 2011

This study focuses on the origin and the literature of eyelid-acupuncture, nunchim therapy in Korea and its present clinical usage in modern Korea. The therapy is called nunchim at local area of Korea and has been transmitted as folk remedy because its real practice has been fallen into oblivion in the regular medical institution in modern Korea. On the contrast, some old women called nunchim-halmae, still know its practice and give medical therapy in a certain irregular way. While many kinds of eye clinics are prevalent in Korea, some patients with chronic eye diseases still go to get the nunchim therapy from nunchim-halmae. Moreover some oriental medical doctors have learned the therapy from nunchim-halmae and performed that medical service in their clinics in spite of absence of medical insurance coverage. Nunchim has unique historic origin and transmission linage in Korea, which was shed light on by this research. We present concise structure of the essence of nunchim therapy and 80 year old woman case of dramatic eye curing with the therapy.

• 한국의류산업학회지
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• 제10권5호
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• pp.690-701
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• 2008

Fashion illustration as conversational pattern which is made up of human and daily story creates brand image and new cultural value in textile design. The purpose of this study is to analyze an expressive characteristics focused on human body in conversational pattern illustration. The method of this study was to analyze documentaries, fashion magazines and internet fashion web site. The results were as follows: The category of body expression was classified as the head, the bust, the whole body, and the others. Most of all, the head is higher frequency than any other part. The category of body type was classified as iconic reappearance and surreal fantasy. The former expressed gender images of woman and man in reality and showed high frequency of 90.41%. Above all, two types were to show the organic correlation between fashion illustration body and brand concept. The construction method of motif was classified as singleness of body, repetition of body, singleness of body and non-body mixed, and repetition of body and non-body mixed. The repetition of body showed low frequency and it was composed of regular repetition construction and irregular construction. The singleness of body and non-body mixed, showed the highest frequency and it was definitely to communicate fashion concept. In these days, conversational pattern illustration in modern fashion pattern strengthens brand identity and informs the fashion image as creative commercial art. And also, it satisfies cultural sensibility of consumer and categorizes public phenomenons in our times.

• 한국의류학회지
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• 제19권2호
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• pp.340-355
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• 1995

purpose of this study was to trace historically the causes of the visual inconsistency of seXual ilT'age in dress with versatile perspectives. For this purpose, theoretical studies about the concepts of sexuality in dress were precceded. To trace the factors of the visual inconsistency of sexual image in dress, historical studies from ancient Egypt to modern ages were done. And then, the factors of the visual inconsist\ulcornerency of sexual image in dress were identified. The synthetic results were as follows; L The visual inconsistency of sexual image in dress shows the phenomena that men introduce the traditional feminine image in dress (ex. X silhouette, skirts), whereas women do the traditional masculine image (ex. Y silhouette, pants), which arouse androgynous image in appearance. And, it also indicates that men or women wear the dress excluded the traditional masculine image as well as the traditional feminine image, which arouse neutral image in appearance. 2. The visual inconsistency of sexual image in dress have been existed historically, from Egypt to modern ages. 3. The visual inconsistency of sexual image III dress was caus~d by various factors as follows; First, ideal beauty of the times which did not distinguish between masculinity and femininity resulted in the visual inconsistency of sexual image in dress. Second, as a means of seeking pleasure, the visual inconsistency of sexual image in dress was used. Third, as a means of expressing ideology, the visual inconsistency of sexual image in dress was selected. Forth,in religious meaning,the visual inconsistency ofl sexual image in dress was appeared. Fifth,popularization of sports and occupational role made woman adopt the masculine image in dress in view of the aspects of functionalism. Sixth,Undevelopment of taloring contributed to generate androgenous image in dress.

• 디지털융복합연구
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• 제18권7호
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• pp.405-410
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• 2020

패션은 미용과 함께 신분, 지위, 혼인 여부, 개인 성향 등을 표현하는 시각적 수단이며 과거의 생활습관까지 유추할 수 있는 중요한 실용문화 유산이다. 현대사회에서는 헤어, 메이크업, 네일아트 등의 미용뿐만 아니라 여성 정장, 하이힐, 모자, 장갑, 핸드백, 목걸이 등과 같은 패션도 여성의 사회적 존재를 부각하면서 경쟁력을 배가시키는 요인으로 작용한다. 봉건적 가치관과 고정관념에 저항하면서 시대적 선도성을 발휘한 일제 강점기 신여성은 혁신적 여성상의 모범이며 21세기 과학기술의 급진적 발전에 부응하는 여성성의 표본을 제시하기 때문에 진정한 양성평등(兩性平等) 사회를 향한 원동력이자 발전적 미래설계를 위한 발판으로 작용한다. 신여성들의 패션스타일에서 발산되는 여성성에 대하여 뷰티 전공 여대생 관점으로 요인을 분석한 본 연구를 통하여 건설적 자조론(自助論)을 정립한 여성성의 표본 제시가 가능해짐과 동시에 현대 여성들의 자존감 정립과 성공하는 혁신적 여성성의 확고한 기틀도 마련되리라 사료된다.

• 복식문화연구
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• 제10권6호
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• pp.633-647
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• 2002

The purpose of this study is to observe the symbolic meaning and the values of the costume which express bisexuality through the definition from a culture point of view. The research method is to contemplate the documentary records such as world history, art history and clothing history, and to recognize the symbolic meaning of a bisexuality in modern fashion design. A definition the word´man and woman´restricted the human being for a long time. This restrict is enforced by the costume, but this traditional fixed idea is retarded by the liberal sense of the human being and the design expresses a sex ambiguity This study inspects the sex ambiguity and the meaning of that through a cultural background and a historical costume. The results are as follows: The first, the cultural background about bisexuality is classified into the etymological point, the mythologic point. the art and philosophical point, the political and economic background, the mass media, and the custome and the regulation. A bisexuality is a concept in existence from ancient times. we have an open-minded attitude about bisexuality in the present than the past. The second, the function of costume is sex classification before 20th century, but since 20th century the costume expresses sex ambiguity. The third, the symbols of the bisexuality are the interminacy, the unity and the dismantling. The costume which expresses bisexuality means coexistence of male sex and female sex. this is a kind of motion to embody a ideal body of the human being. This study makes a contribution to recognize the dignity of human body and to understand the phenomenon of modern society.