• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.89-101
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• 2010

The purpose of this study was to investigate the fashion item of the symbolic fashion icons in the 20th century. The symbolism of fashion icons was grouped into four classes according to the influence of a social-cultural change. 1. Icons between dream and reality: A dreary emotion that was caused by material richness has a longing for an ideal image. A typical style was Art Nouveau style, which pressed into a grotesque S-bend. While as the world placed on a economic reconstruction after World War I, rational fashion icon which pursued more function and simplify than cumbersome style and complexity came out. 2. Icons between solid and liquid: A solid icons was connected with a mode of female body during World War 1. This extremely stylized female figure. Flowing fabrics enveloped the stylized female figure and they brought a liquid icons into relief. 3. Icons between uniformity and variety: At a time when uniformity was appeared strongly within 20th century is during World War II and about 1940-1950. The uniformal icon was classified into uniformity by uniform and by mass production. A repugnance for the uniformity and imitation of fashion was tried a new fashion style. It could be called with the various of fashion icon. 4. Icons between social secession and rediscovery: In 1950-1960, 1970-1990, and the end of 20th century, the advent of the young culture was born a consumer who newly breaks in fashion. It could be included within the domain of social secession icon. While the rediscovery of fashion icon was associated with experimental new fibers, leotard, suitable replacement for wool or acrylic knit, silk that could stretch in any direction, new fabrics that were transparent, took color beautifully, and could be painted, tie-dyed, or embroidered.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.10
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• pp.1455-1466
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• 2002

This research focuses on functionalism in American fashion designs which have become the center of public attention in recent. First, documentary studies about how functionalism, which originated in Europe in the beginning of the 20th century, has been developed throughout the 20th century were preceded Second, content analysis was done for the articles, including the word ‘unction’,‘utility’ and ‘practical’in the New York Times and American Vogue from January 1990 to January 2001. As a result, functionalism in 1990s has been developed in different ways from the mechanical, organic, and mea analogies of functionalism in the beginning of 20th century. It doesn't belong to an analogy but has the fused characteristics of those three analogies. It can be classified into techno functionalism influenced by new technology, pure functionalism related to minimalism, sports casual functionalism for those who are crazy about the speed and sports and enjoy the freedom and comfort, and symbolic functionalism which stresses Zen style. More casual manners of formal wear are distinct elements in functionalist fashion design in 1990s. It leads to strong expressions of sports casual functionalism, which plays a great role in sportswear industry of American fashion design. The American fashion designers who were mentioned often in the articles were Donna Karan, Calvin Klein, Ralph lauren and Tommy Hilfiger. As well as their works have common formative features based on functionalism, each of them shows his/her own strung color. A]1 of these designers make American fashion design, which can be defined as casual wear or sportswear, very popular worldwide based on the developed American functionalism. Functionalism considering practical and conceptional functions will continue in coming century and techno functionalism and sports casual functionalism in future fashion designs wilt be expressed more strongly with new technology and casual trends of life style.

• Proceedings of the Korea Technical Association of the Pulp and Paper Industry Conference
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• 1999.11b
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• pp.209-213
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• 1999

In the society of the 21\ulcorner century under multiphase media conditions, the rapidly glowing electronic media will replace the conventional paper media in a variety of areas. However, if human being still has an affinity for paper media and an instinct for hardcopy from electronic-based text or image, the new market will be created for the paper industry. To what extent the consumer choses paper media for output will depend upon the availability of functions of paper media appealing to human senses; i.e., "sensory functions of paper". As a whole, on-demand type personal as well as business communications will increase in the next century and this trend will lead certainly to a rapidly expanding "contents hardcopy market". The technological progress of the paper industry in the 21\ulcorner century depends upon the market needs for higher products quality and higher efficiency of manufacturing process as well as an endeavour to overcome constraints from forest resource, energy, and environmental issues. Under the conditions with above constraints, the paper media will be polarized into two categories; (1)paper for higher image reproduction capability for original image or text and (2)paper for lower reproduction but with higher appeals for human senses. To cope with these trends, psycho-physical analysis and a sensory engineering approach for developing new paper media is vitally required. Also newly emerged roles of paper physics in the multimedia age is pointed out associated with sensory functions of paper that are not well-understood so far.

• Journal of the Korean Society of Costume
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• v.60 no.4
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• pp.76-97
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• 2010

The purpose of this study is to review the influence of Ukiyo-e on the design of European Paintings of the $19^{th}$ century and the expression of the design of Kosode design in Edo-era. We collected data from the actual study of visiting Museums and other theories and visual materials through literature review. Then, we analyzed the data. The result came out that Ukiyo-e, which is the genre painting of Edo-era, provided the new vision and the new way of expression to the European Paintings of the $19^{th}$ century. In the same way, the result also indicated that Ukiyo-e similarly influenced on the design of Kosode. For example, the study showed that the patterns of Kosode, such as flower, bridge, fun, wave, Lotus flower, stripe, oval, plaid, were used in the works of European artists in the $19^{th}$ century. The Ukiyo-e styles include Kan Bun style, Dan-Gawari style, Back facing style, Two-Section Segmentation style, and Folding screen style, with the identity of Japan and Japanese unique nature and landscapes. Thus, this study proved the design of Kosode to be the frontier of both European and Japanese arts, by examining Ukioyo-e's plastic characteristics, its composition & arrangements, and its subjects & objects which were samely revealed in Kosode design and European Art in nineteenth century.

• The Research Journal of the Costume Culture
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• v.6 no.3
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• pp.126-156
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• 1998

The purpose of this study was intended to analyze mechanical beauty of the art style represented on the second half of the 20th century fashion. From the early 20th century, when the mechanical civilization began to develop in full scale, various distinctive styles of art began to emerge by the denial of the traditional artistic style, which is said to be an inevitable consequence fo the 20th century's spirit. That is, the diversified styles of modern art, which has developed in line with the rapid growth of civilizations, experienced environmental pollution, non-humanization and un-individualization. Those phenomena became mental anguish for artists and designers, they have come to meet with changes, by their efforts to find new way. SO, the mechanical beauty is becoming a very important factor arts. Especially, the collage of the Cubism have used as art techniques of positive mechanical beauty. And in the transition from Dada to Surrealism, the objects provided an important harmony, suggesting that all things, even those achieved by chance or presented in new associations or radical dissociations, could be said to have meaning. Pop Art that expressed daily living of spending culture in the post industrial society, scaled up the induction of mass media which was much more realistic than Dada or Surrealism. According to the results of this study, the second half of the 20th century fashion has generated mechanical beauty was examined and plundered by modern art styles. The mechanical beauty of modern art was represented in the modern fashion as the positive and negative formativeness. Above all, the best way that the fashion design should take in the future, is in the search of ways how to restore humanity that was lost due to use of machine, how t develop its merits and how to harmonized with mechanical civilization.

• Korean Linguistics
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• v.71
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• pp.1-22
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• 2016

The early 20th century is a period of time when Korea confronted with the surging waves of modernization, and made a variety of internal reactions. The Korean language, not immune to the upheaval, also experienced new changes and gradually gained characteristics of today's Korean. Although scholars have not yet fully agreed upon the time division of Korean, Gabo reformation (1896) is usually considered to be the beginning of modern Korean. Thus, the early 20th century was also the beginning of modern Korean. Phonological, lexical, and grammatical characteristics of modern day Korean began to appear during this period of time. Phonologically, the 10 vowel system was established, glottal sounds and aspirated sounds increased, vowel harmony declined. Phenomena such as vowel raising, front-vowelization, monophthongization, and the word-initial rule appeared. Meanwhile, hangul-Chinese mix writing became common practice, and hangul-only writing also started to take place in narrative writing, and elements of spoken language began to reflect in written language. All those pointed to the unification of written and spoken language. Under the influence of modernization, a great amount of new words appeared. Especially, Japanese and other foreign words flooded in in great quantities. Grammatically, '-eos-(-엇-), -neun-(-는-), -ges-(-겟-)' trichotomy system of tenses was established, and hearer-oriented honorific system also formed a binary system of 'hasoseo(하소서), hasibsio(하십시오), hao(하오), hage(하게), haera(해라)' and 'hae (해), haeyo(해요)'. In word formation and sentence construction, the use of '-gi(-기)' became more frequent than '-eum(-음)', while '~geot(~것)' also significantly increased. In negative, causative and passive expressions, the use of long form, which has fewer restrictions than the short form, became more frequent. A tendency towards simplicity appeared. In the same vain, long and complex sentences with several clauses tend to be avoided. Instead, short simple sentences became more favorable. Korean linguistics scholars should pay closer attention to the modernization period, which includes the early 20th century. In order to fully understand today's Korean language, more thorough research on this immediately preceding period is necessary.

• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.87-101
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• 2008

The purpose of this study is to identity the representative flower patterns in the Joseon Dynasty and investigate their chronological transitions. In the early Joseon Dynasty (i.e. 16th century), lotus patterns were very popular. Often lotus patterns were twisted around by ivy-leaves or decorated with treasures pattern in the margin. In the mid Joseon Dynasty (i.e. from 17th to mid 18th century), however, lotus patterns evolved from the typical lotus and ivy pattern and diversified into four types. In the 19th century, lotus pattern almost disappeared from the textiles of everyday dresses and were only found in the textiles of formal dresses or in special cases as in the cover pages of Buddhist scriptures. Poeny patterns was rarely used in textiles of 16th century, presumably because of the huge popularity of the lotus pattern. However, suddenly in the 17th century, Poeny patterns appeared quite frequently. There were 3 types of Poeny patterns. Poeny patterns became more popular over the years and it finally became a primary motive in textiles patterns for 100 years starting in the late 19th century. There were two types of Poeny patterns : one was realistic and true to life even in sizes, the other was more symbolic. Textile patterns combining four kinds of flowers started to appear from the late Koryo Dynasty but Flower patterns representing four seasons with distinct shapes appeared only in the 17th century. They could be categorized into three types. In the late 18th century, Flower patterns representing four seasons no longer appears in textile patterns, presumably due to a new preference for lucky omen over natural motives.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2007.05a
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• pp.255-259
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• 2007

Contemporary society is a digital and information-oriented society and a change by digital and information-oriented has made a new society principle and creature. The principle and creature has made society changed having influence on office space. The 21st century business space attachs great importance to the public space as the value of work place, namely, the place of gathering and client meeting which is society space and a thing which grants it with the biggest investment worth is a new order. This kind of society change has been making an appearance in contemporary office space as features of Narrative, Nodal, Neighbourly, Nomadic. These kinds of trends which are not exclusive mutually are stipulated as new trials to business space holding a lot of overriding features in common. These kinds of features brought into relief according to society change can be seen as key words speaking for contemporary office space and have a significance to contemplate and study for the office space of a new concept made an appearance together with society change. It is expected to contribute to revitalization programs with the far-reaching effect of understanding about ideal office work circumstances and work shape which the 21st century wants standing on the features of these new concepts.

• Journal of Korean Library and Information Science Society
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• v.44 no.1
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• pp.261-277
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• 2013

This study is about the new examining of the books' period for publication, system, and the relationship with the original script by considering the books of 'Sambon Hwayemgyeong of Suchangpan series' as a whole. As a result, the books of 'Sambon Hwayemgyeong of Suchangpan series' are arranged with four types, '11th century edition'(estimated the first published book), 'Suchangsanyun edition(1098) and Sookjongyeongan edition(1096-1105)', '12th to 13th century edition', and 'Haeinsa Sagan edition(12th-13th century)'. Among them, especially '11th century edition'(estimated the first published book) is the book that has been known as a 'Y$\ddot{u}$an book', '12th century edition' or 'bokgakbon of the Kitan(or Seoha) line's book', and 'Sookjongyeongan edition (1096-1105)' and so on.

• Journal of the Korean Society of Food Science and Nutrition
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• v.5 no.1
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• pp.53-59
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• 1976

Around 2nd century B. C. two varieties of apple, i. e. 'Nay' and 'Imgum' were already grown in China. It can be suspected that 'Nay' came from the West because of its popular word 'Pyn Por' and 'Imgum' was originated from North East Asia because of its word 'Lii Kiem'. After this time 'Imgum' was called as its popular name 'Sha Guoo' in about 15 th century. In 17th century a new variety of 'Nay' was named as 'Pyng Guoo' and this name was replaced with 'Nay' when the variety was widely supplied. In 19th century a better variety of 'Nay' was developed in the West and it was introduced into China in 20th century which was called 'Western Pyng Guoo'. As a result there were two kinds of 'Pyng Guoo', i. e. 'Chinese Pyng Guoo' and 'Western Pyng Guoo'. However, the 'Western Pyng Guoo' was more supplied and it was said 'Pyng Guoo' which was written as 'Pyng Guoo(?果)' or 'Pyng Guoo (平果)'. At present time apples were classified into 'Sha Guoo' and 'Pyng Guoo'. The old 'Nay' is now called 'Bin Tzyy' which is hardly found. From this study it is suspected that the history of Chinese apples were affected much on our introduction history and its naming.