• 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.

• Korean Institute of Interior Design Journal
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• v.19 no.1
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• pp.63-74
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• 2010

The purpose of this research aims to retrieve the communication which is the essential publicness in the built environment design and the self-management which is the original value in terms of sociology. To examine this, the way in which the characters of the design of the publicness have been changed will be concentrated on in the public area since 1980s, Particularly, this research has been focused on the Second modernity design which is against the aggressive utopia - oriented modernization and Reflexive Modernization which has been mentioned by Anthony Giddens, Ulich Beck, and especially Scott Lash. Also, to understand Reflexive Modernization, the realism art in the view point of the objective recognition of modernity and identity emphasized by Scott Lash will be examined. Through the analysis of the Nene Sachlichkeit which is a part of the realism art, how the reflection of the design can be the function of the design will be addressed and some examples will be analyzed in terms of communications and self-education in the design of the publicness. Thus, Contemporary Built Environment Design features are categorized into universality, objectivity, and rationality; it reaches that the past Neue Sachlichkeit meets the spirit of art; it concludes that the efforts of the reflection of the modernity, intensity and development in design are the challenges for the purpose of the design of the publicness.

• Journal of the Korean Society of Costume
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• v.60 no.4
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• pp.162-178
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• 2010

The purpose of this study is to find aesthetic characteristics of Korean and Japanese women's traditional costumes in Modernization that happened in Korea and Japan during the late 19th century and the 20th century. The meaning of modernity has indefinite and comprehensive aspects, and the essence of modernity is found in searching for new changes. Modernization is the process of realizing modernity, and costume modernization can be discussed from the viewpoint of seeking new changes, functionality and popularization of costume. As Korean and Japanese costumes went through modernization, western costume became daily clothes of both two countries. The modernization of Korean and Japanese women's traditional costumes were achieved in the two directions. First, Korean and Japanese women's traditional costumes changed to search for functionality modeled of western costume. Korean costume went through dress reform movement and were generally simplified. Japanese costume made a change of wearing mode and introduced new garment like 'Hakama'. Second, the new style of traditional costume appeared. In Korea, 'Saenghwal Hanbox' was shown in the late 20c and in Japan, The reproduced dress(更生服)' and The women's standard dress(婦人標準服)' were shown in the late 1930's and the early 1940's. These kinds of new garment style were the more active compromise between the East and the West.

• Journal of the Korean Society of Costume
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• v.55 no.2 s.92
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• pp.18-32
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• 2005

The purpose of this study is to find out the origin of perpetuity in the fashion design of Soma Delaunay, who was recognized as a unique designer in the 20th century. Her characteristics of fashion design appeared as dynamism in the incline of op-art using geometric pattern designed on the basis of abstract painting, color contrast between strong original colors, and repeated geometric patterns. The modern image can be explained as modernity in modern fashion and is continued in these days. The origins of modernity analyzed as follows. First, Soma Delaunay developed textile design, considering the use of clothing on the basis of scientific idea. Furthermore, she evolved traditional textile design and making process into a practical and rational way through developing new needlework technique. Second, she tried a new style through a straight silhouette in contrast to Art Nouveau style and the test and mixture of different genres. Third, she expressed the simultaneity of Orphism through the parallel structure of various colors. In particular, she used the contrast of strong and clear original colors to express a rhythm of dynamism and give visual interest through color. Finally, Soma Delaunay attempted to approach the public using clothing, furniture, and curtains with the focus on textiles. It may represent her intention to remove a gap between art and life by understanding the public and their life. As examined above, it can be sad that Soma Delaunay's scientific idea with the flow of industrialization, an open attitude not bound by a rule as an artist, an idea of Avant-garde, the comprehension of various colors and the understanding of the public. These factors lie at the bottom of her fashion design.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.3
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• pp.165-175
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• 2011

In this study, document research on Jogakbo and Tosi were carried out and textile designs were developed by applying Jogakbo and Tosi together for motives. The purposes of this study were to develop a unique textile design, and then to enhance the competitiveness of Korean textile industry in the world market and pass down a Korean traditional fiber art cultural legacy. The results are as follows; First, the title of textile design was decided to "innocence of childhood" and the concepts are "sim ple heart ed, pure heart, sweet", in order to develop textile design for the young generation Second, Motives were chosen Jogakbo and Tosi to reflect Korean traditionality and identity and textile designs were expressed on ground fashion trends for modernity. Third, developed textile designs were printed with digital printing method for eco-friendly and productivity, and various articles clothing, nectie, shoes, bag, bedings were producted with developed fabrics for multipurpose. Forth, the developed textile designs were evaluated highly in point of Korean traditionality and identity, felling of simplehearted, pure hear and sweet, modernity and fashion trend, and preference by a sensory test of developed test design.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.2
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• pp.1-13
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• 2007

Black has played a more important role in the history of fashion than other colors. In general, black was regarded as a color of negative images. However, as people have recognized the aesthetic value of black color, they have expressed unique and various images of black through the medium of clothes. This study was based on both theory research and actual survey, where survey sheets were distributed to collect data. For data analysis, SPSS 10.0, a statistics software, was used, and frequency, pecentage, t-test, ANOVA test, and Duncan test were adopted and analyzed. The survey was conducted on 608 men over 20 in Seoul, Gyeonggi Province, Gangwon Province, and other areas for two months from May 20, 2005 to July 25, 2005. The analysis showed the following results. First, Dignity was the mostly cited image of black color among men followed by modernity, sorrow, feminineness, abstinence, and sensuality. Second, Men showed different responses according to their age. In sum, men more strongly recognize abstinence and sensuality in black dress as they become older. Marital status significantly affected men's recognition of black dress in terms of abstinence and sensuality. Abstinence was more strongly recognized by married men than single men. In addition, married men pointed out sensuality of black dress more frequently than single men. In short, married men tended to recognize abstinence and sensuality more easily than single men. Education level clearly affected men's recognition of dignity, modernity, and abstinence in black dress. In sum, as men got higher education, they tended to increasingly recognize dignity and modernity in black dress. In conclusion, this study has proved that black dress has unique aesthetic values and reflects various images according to age, marital status, education level.

• Journal of the Korean Society of Costume
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• v.37
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• pp.231-252
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• 1998

Since the costume directly express human mental and emotional status, colors of costume can be valuable data to grasp the spirit of the times. Black is noticeably used in modern fashion and the study for black costume is very useful to understand modern fashion. There-fore the study mainly approaches the black costume, finding its background of appearance and symbolism, reviews the symbolism and formality of black expressed in the field of paint-ing and design beyond the fashion, and compar-es to fashion. The study result of the thesis is as follows ; First, black as a color is a one to light other neighboring colors, while it is a static, con-tractible and outstandigly attractived color. Second, black color traditionally symbolizes death, earth, air, North and inferior level and in the painting, it symbolized death, despair, fantastic world and the expression of pent-up self, while cities have been symbolized in the black printing in modern times. In the design, black has appeared with the industrial society, which symbolizes functionality and modernity. Third, black in the fashion design was symbolized death, sternness simplicity, modernity, sex, resistance and so on. Death became conspicious by a religious factor since the old times, sternness was influenced by Spanish fashion in the 16th century, simplicity by Dutch fashion in the 17th century and modernity by Baudelaire dandyism and Chanel little black dress, while sex and resistance were urged to the modern times by teenage inferior culture and stickiness to sex. Fourth, the formative features of black costume prefer simplicity, tightness and bareness in form, and in material, usually used glancing materials changed by the effect of light, lace, see-through fabric and matte one with depth. As a result, the black color is summarized to symbol death, expression of self and modernity. It is not a color of emotion but of mentality and artificial one against nature. Black color in fashion gets a strong power to express self in the symbolic aspect and draws a higher attention on human body than the fashion itself. By these features, black costume will be continuously prefered in spite of changes of the fashion.

• Journal of Korean Philosophical Society
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• v.126
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• pp.25-52
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• 2013

In this thesis, the author will examine how modern philosophical expression manifests in the field of ethics based on Kant's Ethics. The author will critically assess whether Kant's Ethics is an appropriate rational theoretical alternative to overcome today's ecological crisis. In the first section, the author lists the characteristics of modernity. The purpose of this section is to show why Kant's Ethics must be understood in the context of modern age and how his ethics expresses the ideology of the modernity(I). In the second section, the author will analyze the challenge Kant's Ethics face in relation to ecological crisis from the context of dualism between person and thing(II). In the last section, the author will inspect the flaw of Kant's Ethics based on his positive position regarding vicarious duties toward animals, and pose the basic direction of the theory of ecological publicness that can overcome the limits of Kant's Ethics in the context of a critical reconstruction of neo-confucian tradition(III).

• Korean Institute of Interior Design Journal
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• v.16 no.6
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• pp.152-160
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• 2007

The purpose of this study is to compare conditions of Korean Restaurants in Hong Kong with those of Thai ones, which have already succeeded in globalization, by investigating and analyzing the characteristics of the two parties in Hong Kong, a world-wide international city. For these purposes, we selected 10 Korean restaurants & 10 Thai restaurants in Hong Kong, and visited the selected restaurants during the period from 2007.7.9 to 2007.7.14, to examine indoor spaces and food-related elements were recorded in detail, photographed and analyzed. The results of study is as follows ; we have first found that Korean restaurants did not show any humane properties linked to restaurant concepts and indoor space, did link Korean images through their trade names, and showed decorative culture based on traditional house and dietary-life cultural properties based on traditional Korean Bansang table setting at large. On the other hand, 4 (22.5%) out of the entire cases in Thai restaurants showed religious characteristics with strong Buddhist colors revealed, and all cases showed traditional Thai food cultures, from which we could find out dietary-life cultural properties. Second, whereas there were one case of Korean restaurants in which tradition was main and modernity was assistant, five cases in which tradition and modernity were paralleled in value, and two cases in which modernity was main and tradition was assistant, Thai restaurants had one case where tradition was main and modernity was associative, four cases in which tradition and modernity were paralleled in value, and four cases where modernity was main and tradition was assistant. This means that the Thai restaurants did not insist only on tradition, but showed efforts to transmit luxurious and refined Thai images to people from the world. Third, whereas Korean restaurants had to do with all kinds of menu, were equipped with brazierson their tables uniformly, and showed any differences because they did not use different tableware in accordance with foods, Thai restaurants divided the dinner into the hors d'oeuvre, the main, and the dessert or systemized menu structure by categories in accordance with cooking styles, and tableware selection in accordance with menus, table setting, food materials, and food styling using flowers were consistently expressed.

• Journal of the Korean Society of Clothing and Textiles
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• v.15 no.2 s.38
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• pp.211-227
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• 1991

The purpose of this study was to investigate the effects of design modification, decoration and color scheme of traditional Korean women's clothing on impression formation by 2 age groups of women. The instruments developed for the study were 2 sets of stimuli and a response scale. Stimuli I (design stimuli) consisted of 6 line drawings of female figures in Korean clothing and modified Korean style clothing, whereas stimuli II (color stimuli) consisted of 6 colored drawings of female figures in different color schemes. The 7-point semantic differential scale of 14 bipolar adjectives were used for the response scales. 144 female college students and 144 middle·aged women subjects were randomly assigned to one of 6 drawings from each set of stimuli. The data were analyzed by factor analysis, ANOVA and t-test. 1) There factors emerged to account for dimensions of design and color scheme, respectively. The first factor was interpreted as Evaluation/prestige both in design (stimuli I) and color scheme (stimuli II), the second factor was Modernity for stimuli I, and the third factor for stimuli I was Practicality. On the other hand, the Luxuriousness/Individuality was factor 2 and Modernity was factor 3 for stimuli ll. 2) Modification had the largest effect on impressions regarding design and decorated designs had a partial effect on the impression of Modernity and Practicality. The female figures in modified Korean style clothing were perceived as more prestigious, modern and practical than those in traditional Korean clothing. 3) Color schemes had little effect on impressions, while perceiver's age had a larger effect. Middle·aged women formed more positive impressions toward Korean clothing of various color schemes than female college students.