• Title/Summary/Keyword: Modernity

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Modernity in Costume (복식에 있어서의 근대성의 의미)

  • Yi, Jae-Yoon
    • Journal of the Korean Society of Costume
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    • v.61 no.1
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    • pp.124-131
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    • 2011
  • Modernity is commonly defined as a reflection of the features of modern society based on the historical experience of the West. As such, modernity includes involvement with political, economic, and social changes, a changing world-view, and changing trends in equality, gender roles, a desire for "the new," consumption, distribution based on mass production, and rational reform in fashion and dress. First and foremost, however, modernity in costume has been driven by the functional requirements of industrial capitalism. But while modernity has popularly been regarded as some sort of universal standard, in fact the West and the other societies have vastly different, unique, and particular experiences with their own respective histories of modernization. For this reason, cultural changes in the modernization process should be-indeed, must be-analyzed in the context of a country's own unique historical and cultural circumstances, rather than through the prism or strict adaptation of generalized Western concepts of modernization. Moreover, a "periodization" of the modernization of fashion and dress can be established by examining the characteristics of modernity in costume.

Thinking Modernity Historically: Is "Alternative Modernity" the Answer?

  • Dirlik, Arif
    • Asian review of World Histories
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    • v.1 no.1
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    • pp.5-44
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    • 2013
  • This essay offers a historically based critique of the idea of "alternative modernities" that has acquired popularity in scholarly discussions over the last two decades. While significant in challenging Euro/American-centered conceptualizations of modernity, the idea of "alternative modernities" (or its twin, "multiple modernities") is open to criticism in the sense in which it has acquired currency in academic and political circles. The historical experience of Asian societies suggests that the search for "alternatives" long has been a feature of responses to the challenges of Euromodernity. But whereas "alternative" was conceived earlier in systemic terms, in its most recent version since the 1980s cultural difference has become its most important marker. Adding the adjective "alternative" to modernity has important counter-hegemonic cultural implications, calling for a new understanding of modernity. It also obscures in its fetishization of difference the entrapment of most of the "alternatives" claimed--products of the reconfigurations of global power--within the hegemonic spatial, temporal and developmentalist limits of the modernity they aspire to transcend. Culturally conceived notions of alternatives ignore the common structural context of a globalized capitalism which generates but also sets limits to difference. The seeming obsession with cultural difference, a defining feature of contemporary global modernity, distracts attention from urgent structural questions of social inequality and political injustice that have been globalized with the globalization of the regime of neoliberal capitalism. Interestingly, "the cultural turn" in the problematic of modernity since the 1980s has accompanied this turn in the global political economy during the same period. To be convincing in their claims to "alterity", arguments for "alternative modernities" need to re-articulate issues of cultural difference to their structural context of global capitalism. The goal of the discussion is to work out the implications of these political issues for "revisioning" the history and historiography of modernity.

A Study on the Characteristics of Traditionality Expression at TM Style Chinese Restaurants - Focused on Chinese Restaurants in Hong kong - (TM 유형 중국식 레스토랑의 전통성 표현 특성 연구 - 홍콩에 소재한 레스토랑을 중심으로 -)

  • Kim, Ji-Eun;Oh, Hye-Kyung
    • Korean Institute of Interior Design Journal
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    • v.21 no.5
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    • pp.280-288
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    • 2012
  • The objective of this study was to analyze the characteristics of traditionality expressions at modernized Chinese restaurant in Hong Kong. As a case study, the study examined 12 modernized Chinese restaurants in Hong Kong. The gathered data were categorized and examined according to the ways of traditionality expressions, which included reproduction, transformation, and reinterpretation of traditional components. Each of the components was measured for the amount of traditional or modernity expression on a five-point scale. The five-point scoring system put an emphasis on tradition; 1 point was given to principal modernity(modernity: 90-100% + tradition: 0-10%), 2 points were given to principal modernity + auxiliary tradition(modernity: 70-90% + tradition: 10-30%), 3 points were given to the same ratio between tradition and modernity(modernity: 40-60% + tradition: 40-60%), 4 points were given to principal tradition + auxiliary modernity(modernity: 10-30% + tradition: 70-90%), and 5 points were given to principal tradition(modernity: 0-10% + tradition: 90-100%). The analysis performed according to those criteria and methodologies led to the following findings and conclusions: TM style, in which modernity was principal, usually did transformation and reinterpretation of traditionality. As for the design attributes of the styles, the TM style, they processed a majority of the spatial components as modern or reinterpretation of traditionality, which would be easily considered to be modern without careful observation, and applied a small amount of direct reproduction or transformation, which gives out a direct hint at traditionality, to attract more attention. Many of the spatial components did not express traditionality directly, expressing it indirectly or metaphorically. Traditionality was expressed in a small number of the spatial components, thus serving as a focus or impact point in the given space.

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A Study on the Characteristics of Traditionality Expression at Modernized Chinese Restaurants - Focused on MT(Modernized Traditional) Syle Restaurants in Hong Kong - (현대화 된 중국식 레스토랑에 나타난 전통성 표현 특성 연구 - 홍콩 소재 MT 유형(Modernized Traditional Style) 레스토랑을 중심으로 -)

  • Oh, Hye-Kyung
    • Korean Institute of Interior Design Journal
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    • v.21 no.4
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    • pp.163-171
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    • 2012
  • The objective of this study was to analyze the characteristics of traditionality expressions at modernized Chinese restaurant in Hong Kong. As a case study, the study examined 12 modernized Chinese restaurants in Hong Kong. The gathered data were categorized and examined according to the ways of traditionality expressions, which included reproduction, transformation, and reinterpretation of traditional components. Each of the components was measured for the amount of traditional or modernity expression on a five-point scale. The five-point scoring system put an emphasis on heritage; 1 point was given to principal modernity(modernity: 90-100% + tradition: 0-10%), 2 points were given to principal modernity + auxiliary tradition(modernity: 70-90% + tradition: 10-30%), 3 points were given to the same ratio between tradition and modernity(modernity: 40-60% + tradition: 40-60%), 4 points were given to principal tradition + auxiliary modernity(modernity: 10-30% + tradition: 70-90%), and 5 points were given to principal tradition(modernity: 0-10% + tradition: 90-100%). The analysis performed according to those criteria and methodologies led to the following findings and conclusions: Traditional components were most reproduced in the ornaments placed all over the restaurant and applied to the chirography of the restaurant logos, walls, and windows/doors in a big number. The methodology of transforming tradition was evenly applied to each of the spatial components. With the most transformations occurring to the lattices, there were many different ways to transform tradition including the partition, chirography, pattern, red lantern, furniture and ornament, and traditional materials that were turned into modern ones. Few examples of reinterpreting tradition were observed in the restaurant titles, inside floors, and ceilings, but plenty of examples were found in the walls, windows/doors, lighting, and furniture in a range of ways. Most of them reinterpreted the traditional forms and added altered patterns to them to remind customers of tradition. In short, all of the three ways of expressing tradition were actively applied to each component in an array of ways.

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The Effect of Parental Modernity and Children's Misbehavior on Parenting Stress of Mothers (어머니의 현대적 양육관과 아동의 행동문제가 어머니의 양육 스트레스에 미치는 영향)

  • Kim, Hye Soon;Kang, Gi Sook;Yun, Young Bae
    • Korean Journal of Childcare and Education
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    • v.1 no.1
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    • pp.147-165
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    • 2005
  • The purpose of this study was to clarify the effect of the modernity of mothers and children's misbehavior on parenting stress of mothers. The subjects of this study was 210 mothers who lived in Korea. The results of this study were as follows: First, No significant statistical difference was found on the parental modernity of mothers by children's sex. Second, No significant statistical difference was found on parenting stress of mothers by the level of education of mothers but significant statistical difference was found on parenting stress by the level of parental modernity. Third, the more mothers had the level of education, the more mothers had parental modernity. Fourth, more children had misbehavior, the more mothers had parenting stress, Fifth, the more mothers had the parental modernity, the less mothers had parenting stress. These results suggest that the parenting stress was effected by both parenting modernity and children's misbehavior but also it was much relevant to children's misbehavior than parenting modernity.

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A Declaration of Love all the Same: Chicago and Modern Boy

  • Lee, Yujung
    • Cross-Cultural Studies
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    • v.20
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    • pp.241-274
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    • 2010
  • Due to the remarkable changes in the early twentieth century, the new invention and technology impacted peoples' everyday lives and people started to use the word, modern, to apply specifically to what pertained to present times and to designate a movement in what was new and not old-fashioned-a condition of newness. In the present day, however, the fantastic cultural changes of a century ago have now become commonplace, and what was once considered radically new is no longer a reason to marvel. This paper considers what it mean to be modern, once the new is no longer new. This question seems to remain as complicated and inappropriate to ponder because the consideration and impact of modernity cannot simply end with the end of an era. This paper investigates how the interconnected nature of popular culture provides apt illustrations to reveal the ambivalent nature of modernity and postmodernity. In doing so, first of all, this paper pays attentions to the notion of modernity and popular culture which emerged together in the early twentieth century when technology and mass consumer culture were promoted over the world. Also, it examines how popular culture represents a complex of mutually-interdependent perspectives and values that influence society and its institutions in various ways as the image of modernity continues to build in a postmodern era. That is, popular culture is identified as a large amount of intertextuality or collective experiences due to its intermingling of complementary distribution sources and techonology. Thus, this paper explores that popular culture devotes itself other images or narratives instead of referring to the real world and its output revisits the contemporary or past times in other places, being a means to produce and reproduce the accumulated images of the modern which shapes ceaseless simulacra of modernity over complexities of modernity. In order to find a critical juncture of the complex networks of modernity and popular culture, this paper considers two places, Chicago and Gyeongsung in the 1920s and 1930s in which the rapid modern experience took place and the modern movement forced the two societies to join the mass consumer culture whether willingly or not. Next, this paper considers two movies released in 2002 and 2008 that exemplify the complexities of modernity in Chicago and Gyeongung of the 1920s and 30s: Chicago and Modern Boy. Both films have common themes of the 1920s and 30s such as violence, adultery, femme fatal, and criminal themes with the forms of musical, dance, drama, and romance. Through the textual analysis of both Chicago and Modern Boy, two films are compared in observing the similar and different ways in which two films deal with the theme of modernity when they are represented from the contemporary perspectives. More specifically, this paper questions how modernity is present in contemporary cultural forms such as commercial and hybrid genre films; and how these movies create a new image of modern by embodying the double coding. Ultimately, this paper aims at realizing the paradox of double edged modernity and its ongoing discourse that controls people's consciousness through the medium of popular culture.

Architectural Modernity in the Planning of Japanese Overseas Exhibitions in the West and the Colonized Korea

  • Jung, Yoonchun
    • Architectural research
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    • v.17 no.3
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    • pp.101-108
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    • 2015
  • So far, the Japanese exhibitions in the colonized Korea, especially the Joseon Industrial Exhibition of 1915, haven't been studied sufficiently; they have been understood mainly as political propaganda to legitimize the Japanese colonization of the Korean peninsula; many scholars have agreed that Japan highlighted material developments in Korea under the benevolent guidance of Japan by displaying strong visual contrasts between the modern and the traditional. So, they only acknowledge colonial modernity; this perspective regards Western forms as the sole expression of architectural modernity, not only in the exhibition but also in the colonial space and time. However, to be on a par with the West, Japan started to develop a series of historical narratives in searching for its historical origins in Asia, and it also carried out archaeological investigations in the Korean peninsula around the early 1900s. I argue that the developed historical narratives with traditional Korean artworks and architecture (i.e. the shared historical origins between Japan and Korea) influence the architectural conditions of the 1915 exhibition. And, the status of traditional Korean architecture in the Japanese exhibition expresses architectural modernity in terms of showing historical progress.

The Proto-modernity in Japanese Traditional Costume History (일본 전통복식문화에 타나는 원(原)근대성)

  • Huh, Eun-Joo
    • Journal of the Korean Society of Clothing and Textiles
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    • v.34 no.9
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    • pp.1415-1428
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    • 2010
  • Modernity in costumes is analyzed as the preference of change and novelty, the formation of the masses, and the aspect of function, which is transplanted by western modernization. However, it is seem that the factor of modernity in Japanese traditional costume history. This study examines the Proto-modernity in Japanese traditional costume history. First, this study examines the term 'Imamekashiki' which means the present time. Because of the recognition of every present time arises from the recognition and the preference of change and novelty. In the pre-modem Era, this study examines the masses formed by the publication and the play, Kabuki. This study provides an alternative answer to understanding what is to 'wear clothes' for Japanese people.

The Conception and Characteristics of Modernity in Korean Modern Architecture (한국 현대건축에서 '근대 (성)'의 개념과 성격 -시대구분을 위한 선행 작업으로서-)

  • Khang, Hyuk
    • Journal of architectural history
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    • v.2 no.2 s.4
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    • pp.107-118
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    • 1993
  • For attempting to wright a history of Modern Architecture in Korea the first task might be to establish the beginning of the period and to search for the orign of Modernity in Korean Architecture. As a member of the third world Modernism and Modernity in Korean Modern architecture has to be different from that of the West. The main purpose of this study is to define Modernity and to find out the characteristics of Modernism in Korean architecture. Above all this study suggests to note the peculiarity and the differance in the history of Modern architecture within the large frame of modernization. Then maintains that the search for the new cultural identity and rationality instead of lost tradition and convention can be defined as a modernity in Korean architecture.

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The Meaning of Modernity and the Role of Tradition in the Modern Movements of Architecture - A Study of Berlage's 'Evolving Historicity'- (초기 근대건축에서의 근대성의 의미 및 전통의 역할 -베를라헤의 '진화하는 역사성'에 대한 소고-)

  • Yim, Seock-Jae
    • Journal of architectural history
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    • v.2 no.2 s.4
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    • pp.119-130
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    • 1993
  • Berlage's importance in the history of the Modern Movements of Architecture lies in his effort to combine several sets of contradictory dual aspects of architectural values. Tradition and modernity are one of the contradictory dual aspects. For Berlage, tradtion and modernity were not tow opposing, but reconciliatory concepts. In this sense, Berlage thought that modernity did not mean a total rejection, but a reinterpretion of tradition. Berlage's concern with his contemporaty architectural situstion was how to revive the stagnant repetion of past styles in Historicism and, at same time, how to prevent an extreme rejection of tradition by the Avant-Gardists. Berlage's architectural belief that neither stagnant imitation of past styles nor extreme revolution can be an ideal model for his era, lies in a traditional art theory of 'style evolution' and the interpertation of Nature's lessons for it. This study is to understand Berlage's concept of 'style evolution' and the meaning of tradition and modernity in the early Modern Movements of Architecture.

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