• The Research Journal of the Costume Culture
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• v.28 no.4
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• pp.463-479
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• 2020

The purpose of this study identify the types and characteristics of Hanbok worn in lunar new year parade and Korean parade in New York over the past three years. As for the research method, I first collected domestic news articles, overseas Korean news articles, and literature reviews about the history of the Korean parade in New York and the events of each year. Second, I conducted a case study on Hanbok worn in the six parades from 2017 to 2019 using photo data collected through direct surveys, 'YouTube' video footage and news article photos. Third, I interviewed people related to the New York parade about the route of buying and renting the Hanbok in the New York area. The types of Hanbok shown in the Korean parade in New York can be largely classified as ceremonial, performance, and daily costume. There were 65 ceremonial costumes in all, with men wearing Dallyeong (official's robe) and Gorlyongpo (dragon robe) and women wearing Dangui (woman's semi-formal jacket), Wonsam (woman's ceremonial robe), and Hwarot (princess's ceremonial robe). A number of performance costumes were also worn by the Chwitasu bands, Nongak ensembles and fan dancers. Finally, of the 210 daily Hanbok, most men wore Baji (pants) and Jeogori (jacket), and women wore Chima (skirts) and Jeogori. The parade attempts to showcase the beauty of Hanbok, but the costumes repeat year after year, which can feel monotonous to onlookers. This research can be used as a reference to effectively utilize Hanbok in future Korean cultural events.

• Journal of the Korean Society of Costume
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• v.51 no.4
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• pp.129-139
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• 2001

Picasso had deep concern at the designs of theatre costumes as well as art. The art of Picasso influenced deeply to the fashion designs in those days. In these study, to analyze the creative theatre costumes of Parade affected by Picasso's cubism, we investigate the documentary records, photos, and sketches of Picasso. The design of theatre costumes in Parade was able to be divided by two categories, general theatre costumes and experimental theatre costumes. The first characteristic of general theatre costumes is that the designs of theatre costumes in Parade were influence by the early stages of Picasso's art. The costumes of the Chinese Conjurer influenced by the Red Era of Plcasso's art and those of the Little American Girl and the Acrobats influenced by the Blue Era of Picasso art may belong to the category of general theatre costumes. The second characteristic of general theatre costumes is the fact that the images of heavenly bodies were used in the costume of the Chinese Conjure and the Acrobats. The characteristic of experimental theatre costumes is the fact that the cubism is introduced to the designs of theatre costumes in Parade. The experimental theatre costumes were presented in the costumes of the Three Managers which were newly created under the influence of Picasso's cubism.

• (The) Research of the performance art and culture
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• no.42
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• pp.205-231
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• 2021

Noung-kun(a farmer as a soldier) Parade, one of the Choseon folk plays/dramas, was recorded in its chapter titled of the booklet 'Guk-Geuk-Yo-Ram', which was published in 1932 by Waseda University Tsubouchi Memorial Theater Museum in Tokyo, Japan. The general understanding on the Korean culture of that era was that 'there is no theater in Choseon'. However, a few examples of existence of Korean theater were recorded in the book mentioned above, which was mainly the record of Japanese theater. This study specifically focused on a 'famers' parade' recorded in the chapter 'Traditional theater'. Seok-ha Song, a folklorist, revealed that the Noung-kun parade recorded in that book is a cultural asset of Ulsan. On the basis of these records, this study asserts that the Noung-kunParade is an intangible cultural asset of Ulsan, which had been performed by the local residence of fishing villages during the Japanese Colonial Rule. Therefore, the outcomes of this study would be as follows: First, the clear understanding of Ulsan traditional village festival. Second, the festival is named as 'Ulsan Noung-kun Parade' on the basis of the previous records researched in this study. Finally, I have laid a foundation for full restoration and embodiment of this intangible heritage of Ulsan.

• Journal of architectural history
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• v.21 no.6
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• pp.7-18
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• 2012

This study was aimed at analyzing the location and topology of the 'Gungmyo(宮廟)' and in Hanyang Doseong(漢陽都城) during 18th and 19th century. Based on the changes of royal processions(行幸) which had been done between the Gungmyo and the Palace, the Gungmyo can be a barometer of cognition where the city center was. Hanyang Doseong was the the capital of Joseon(朝鮮) which had established by king Taejo(太祖). The city had been organized with Gyeongbok-gung(景福宮) as the center. However, after the Imjin War(1592), Gyeongbok-gung was destroyed and urban space was reorganized with Changduk-gung(昌德宮) which reconstructed first. As most kings in late Joseon dynasty had mainly stayed in Changduk-gung, lots of Gungmyos where a memorial service for king's relatives had been held were established in and around the palace and the frequency of visiting the Gungmyo varied by political purpose. Therefore, the location of the Gungmyo and the rounte of parade were important to impress on the center of urban space. In 18th century, lots of King's procession had been done with Changduk-gung as departure point. The king used to start from Donwha-mun(敦化門), and the routes included main street around Changduk-gung. It shows that the urban center focused on the east of the city. On the other hand, when the king lived in Kyeonghee-gung(慶熙宮), a secondary palace in late Joseon dynasty, the parade started from Hungwha-mun(興化門) and the urban center was expended to the west. Since Gyeongbok-gung had reconstructed in 1865, recognition scheme of urban space had changed from Changduk-gung to Gyeongbok-gung as the center. When the Gungmyo relocated western side of Gyeongbok-gung, spatial proximity of the palace and relation with facilities around downtown fed into changing the route of king's parade.

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• 2005.06a
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• pp.123-126
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• 2005

• Journal of the Korean Society of Costume
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• v.52 no.3
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• pp.49-60
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• 2002

This study is to study the peculiar world of work that endeavored the stage setting and costume production in Ballet-russe centered around one of 20th representative artist Pablo Picasso and Diaghilev. Picasso worked four pieces ballets such as parade, Le Tricorne, Puchnella, and Le train bleu with Diaghilev. The originality of costume was well represented without losing the whole work's sense of unity. and designed foreasy movement as well as visual effect. As cubic is most common in parade especially, cubic stave costume were introduced at dancing costume of Paris manager and New York manager flrst time in Ballet's history. Picasso used the Cubism for dancer's beautiful appearance and primary color and decoration for oriental feeling. Picasso pursued the beauty and action at the same tome, and tried to represent the stage setting, impersonation and costume towards units, so the Importance of his work has still been referring.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.2
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• pp.27-43
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• 2015

Festival costume shown in festival parades targeting historical events or figures helps to understand the theme of festival and grants visual effects and at the same time, is an important factor to identify then-cultural environment. Accordingly, this study aims to make a periodic review of traditional costumes used in parades for Hanseong Baekje Cultural Festival and Yeongam Wangin Cultural Festival which are both the festivals that backgrounded Baekje period, make a comparative analysis of the archetypes of reproduction costume vs Baekje costume, understand the problems of festival costume, and seek developmental directions. After making a comparative analysis of reproduction costume shown in festival parades, it was found that king costume, queen costume, governmental official costume, and humble class costume were all different from Baekje costume in terms of configuration, materials, color, shape, and creating method of costumes, and problems were drawn. When it comes to costume items, Pasul and Danryungpoh that didn't belong to Baekje period were worn. The problems in color research can be identified in governmental official costume. The problems in type of costume are shown in the length of po worn outside, margin of width, and degree of restoring accessories. Therefore, it seems to be necessary to convey and identify costume creating method by festival parade-related persons.

• Annual Conference on Human and Language Technology
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• 2022.10a
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• pp.135-140
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• 2022

최근 Document Retrieval을 비롯한 대부분의 자연어처리 분야에서는 BERT와 같이 self-attention을 기반으로 한 사전훈련 모델을 활용하여 SOTA(state-of-the-art)를 이루고 있다. 그러나 self-attention 메커니즘은 입력 텍스트 길이의 제곱에 비례하여 계산 복잡도가 증가하기 때문에, 해당 모델들은 선천적으로 입력 텍스트의 길이가 제한되는 한계점을 지닌다. Document Retrieval 분야에서는, 문서를 특정 토큰 길이 단위의 문단으로 나누어 각 문단의 유사 점수 또는 표현 벡터를 추출한 후 집계함으로서 길이 제한 문제를 해결하는 방법론이 하나의 주류를 이루고 있다. 그러나 논문, 특허와 같이 섹션 형식(초록, 결론 등)을 갖는 문서의 경우, 섹션 유형에 따라 고유한 정보 특성을 지닌다. 따라서 문서를 단순히 특정 길이의 문단으로 나누어 학습하는 PARADE와 같은 기존 방법론은 각 섹션이 지닌 특성을 반영하지 못한다는 한계점을 지닌다. 본 논문에서는 섹션 유형에 대한 정보를 포함하는 문단 표현을 학습한 후, 트랜스포머 인코더를 사용하여 집계함으로서, 결과적으로 섹션의 특징과 상호 정보를 학습할 수 있도록 하는 SERADE 모델을 제안하고자 한다. 실험 결과, PARADE-Transformer 모델과 비교하여 평균 3.8%의 성능 향상을 기록하였다.

• Journal of Fashion Business
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• v.6 no.2
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• pp.29-40
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• 2002

Honor guards‘ dress represented by royal carriage parade. This thesis studies the ceremonial dress worn by the ceremonial troops during the Hwa-sung Hang-hang Ban-cha drawing (華城幸行班次圖) in the Chosun dynasty of King Jung-jo. The purpose of this study is to understand the national level ceremony by closely looking into the traditional ceremonial dress and the various signs that were used at these events thereby enhancing the cultural status of the Jung-jo King period. The Hwa-sung Hang-hang Ban-cha drawing(華城幸行班次圖) has its characteristics and also has commonality between the garments worn at these ceremonies. These garments are a traditional heritage brought down from many ages before and is a reflection of the changes that have occurred within our everyday life. Among these many records the Bancha-do(班次圖) is a representation of records that show what was worn by both nobles down to the ceremonial troops. The uniforms of the ceremonial troops were not only huge in size but also very diverse according to rank and grade. They used strong true colors with colorful flags, ceremonial items and musical instruments. These all added to the grandeur of the ceremony. The ceremonial flag was itself a symbol and was the core of the whole ceremony and parade. These ceremonial flags represented the heaven, sun, moon, hill and animals as well as supernatural gods. All these showed change in shape, color and content by age and time. Also the Yongmun Gichi(Dragon flag: 龍紋旗幟) is a supernatural being representing the power and wish of the ruler. The Chunsang-mun represents the indivisible relationship between man and heaven and also a metaphor for absolute power. A close look at ceremonial instruments show a direct representation towards power such as an axe, spear and sword and integrated with other large ceremonial items not only provided a shade but was also a representation of worship. These all were a more or less representation of authority. The musical instruments expressed the absolute authority of the ruler and maintained the marching order and also added grandeur to the parade. A summary of the ceremonial troops in the As seen above, these national ceremonies were a representation of the present power of authority and the will to rule. These ideas and the philosophy of “ruled by heaven” is represented here in the uniforms and the ceremony itself. The Bicentennial anniversary of the Nung - hang of February 1795 will be an excellent opportunity to show and inherit the tradition and recreation of our heritage. In this view we must look at the color and shape of traditional dress to be able to inherit and learn from our ancestors.

• Proceedings of the Korean Vacuum Society Conference
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• 2012.08a
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• pp.72-72
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• 2012

The next generation electronics need to not only be smaller but also be more flexible. To meet such demands, electronic devices using two dimensional (2D) atomic crystals have been studied intensely. Especially, graphene which have unprecedented performance fulfillments in versatile research fields leads a parade of 2D atomic crystals. In this talk, I will introduce the electrical characterization and applications of graphene for prominently electrical transistors realization. Even the rising 2D atomic crystals such as hexagonal boron nitride (h-BN), molybdenum disulfide (MoS2) and organic thin film for field effect transistor (FET) toward competent enhancement will be mentioned.