• Journal of the Korean Society of Costume
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• v.57 no.5 s.114
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• pp.166-182
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• 2007

The purpose of this study is to reinterpret sexuality represented in fashion since the latter half of the 19th century in a contextual view, on the basis of Foucauldian idea of post-structural sexuality. As for research methodology, literary research was undertaken from the conception of sexuality to a historical review of the culture and dress. Foucault maintains the view of plural sexuality, which floats by power relationship between dominant and oppositional discourses in a specific historical context. In contextual approach sexual ideology codified in fashion since the latter 19C shows the following aspects: First, the traditional sexual ideology in the latter 19C is a capitalist value, which gives a priority to bourgeois man's profits, and the Victorian discourses of sexuality constructs the dichotomized fashion of the period. Next, the former half of the $20^{th}$ C is regarded as the period of conformity rather than opposition with various alternatives appropriated to the mainstream, so the traditional sexual ideology in fashion of this period is still preserved. Finally, in post-capitalism period of the latter 20C a variety of anti-fashion visualized plural sexuality from the enormous oppositional discourses. Although it doesn't all mean deconstruction of sexuality in fashion by the anti-fashion re-appropriated without oppositional meanings, pluralization of sexuality implies dynamics of sexual discourses in the next historical period. As a result, fashion since the latter 19C has been changed as a means for expressing age and sexual desire out of gender and class. And mainstream fashion in even postmodern period keeps the modern value on the center of the hegemonic heterosexual masculinity though the increase of Androgynous Femininity in women's fashion may connote the meaning of femininity. The plural sexuality represented in fashion has a contextual flexibility, thus sexuality floats with a specific socio-cultural context and fashion represents a masquerade as an identity vehicle.

• Journal of the Korea Furniture Society
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• v.19 no.1
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• pp.44-54
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• 2008

The blur phenomenon, in which the boundaries of fields or roles become vague, has become an important concept of design in the 21st century. In furniture design, the physical boundary between furniture and space and that between space and furniture has been broken down and their meaning tends to be redundant. This concept was begun by a variety of furniture designers who led the trends about 30 years ago. A progressive exhibition titled ${\ulcorner}$Living Tomorrow${\lrcorner}$, which was included in the Koln International Mobelmess from 1968 to 1970, showed that the blur phenomenon in furniture design has never actually been novel. These exhibitions and the works exhibited in the events are still recognized as progressive examples that proposed an avant-garde concept of life. They are in line with the current furniture design based on spatial concepts, which has been created by the blur phenomenon. The purposes of this study are to determine the cases of furniture design that enable the so-called spatial functions beyond the simple functions of seating, use, and display, from those of furniture design and to research their characteristics. In this study, furniture based on spatial concepts means furniture that creates 3D spaces consisting of the floor, walls, and ceiling by the blur phenomenon that occurs from the spaces among these pieces of furniture. The organization of this study is as follows; In Chapter 2, a background on the generation of furniture design based on spatial concepts is described based on the research literature of this socio-cultural phenomena. In Chapter 3, the cases of relevant furniture design redescribed. In Chapter 4, the collected cases are analyzed and their characteristics described. In Chapter 5, Chapter 1 to Chapter 4 are summarized and conclusions are given. In addition, future research is proposed.

• Korean Institute of Interior Design Journal
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• v.25 no.6
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• pp.127-138
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• 2016

As the dark side of society, Idle spaces, which occurred with the paradigm change due to rapid modernization and industralization, has been existing as a severed part in cities. But with the periodic change, interest in the existing place and regional regeneration, and the necessity of reconsidering about the idle spaces values of space, city environment, socio-culture, and economy was proposed. I estimated that the change of relational aesthetics aspect of modern arts resulted in the consideration of recognizing 'place' of art, through the study, it was revealed that the form of modern arts and change of enjoyment were related to space, and the fact that this had a relation with the rise of artistic regeneration of idle spaces. mutually communicative relationship formation and practical form of arts was deducted through the interpretation of relational aesthetics, Idle spaces and artistic regeneration space can be categorized into forms of experiential space, creative space, and cultural space, depending on the formation of relationship between author-art-audience. Through the comprehensive analysis, Artistic regeneration space by relationship formation is Vitalization of various forms of art and participation program eliminates the boundary between creation and enjoyment, and the space itself can be said to contain extensive, integral, and nonterritorialization meaning as a place of experiencing art. In other words, Artistic regeneration space of idle spaces forms a close relationship with the local society, and is placed within the context of daily domain as an open space, straying off from the existing separative and closed artistic space configuration. and artistic changeover of idle spaces is not only the appearance of space that simply fulfills function according to transfiguration of modern art, but signifies that art is coexisting with space as an indivisible relationship, and can be said to be the foothold of new relationship creation as the practical 'place' of art.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.5
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• pp.936-953
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• 2016

This article surveys the meaning and history of fashion museum exhibitions to understand the characteristics that make a fashion museum exhibition special. It explores dress museology and fashion museology in theory, and practice across a range of international case studies that include the Costume Institute at the Metropolitan Museum of Art in New York, Mode Museum in Antwerp, and the Victoria and Albert Museum in London. In particular, it examines how curatorial intervention has developed the interpretation and display techniques of dress within the context of the museum or gallery as well as how fashion has made museums accessible to diverse audiences. For a specific case study, we review the types and roles of fashion exhibitions organized by the Simone Handbag Museum, Seoul. It is the first handbag-centered fashion museum in the world as well as one of the most representative local fashion museums. The museum collection includes fashionable western handbags from rare specimens of the $15^{th}$ century to the latest bags of the $21^{st}$ century, and presents a history of changing fashion cycles and the major socio-cultural shifts that have profoundly affected women's lives in public spaces. Exhibitions show the perspective to a range of curatorial methodologies and show the innovative approaches towards collections and displays with broader fashion issues such as gender, materialism and technology. The article is to help encourage further scholar discourse between fashion museum exhibitions and fashion museology.

• Journal of Korean Library and Information Science Society
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• v.4
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• pp.91-111
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• 1977

The view point of the library is treated as a first subject. This study is scheduled to construct, as a experimental study, the system of the Library Science. The study of this fields is called upon greatly because the trial to understand library as a socio-cultural phenomenon did not study as many times. As a result of the study, library is defined as ${\ulcorner}Structural Formation of Inquirying Behavior{\lrcorner}$. Not only technique and actual proof are possible in this study but also this definition is technical definition to indicate the main phenomenon of Librarial Behavior. This schedule represent the trial to define Library Behavior which could anticipate and fabricate when we analyze this definition First, we can find out, first of all, the researching behavior among the human behaviors and then human behavior has the condition of practice. At last, researching behavior can not have any result when it is a natural situation, it has only the meaning when it is guided by an obvious intention. The object of the library is just this human behavior. Second, Formation permits the guidance and self-control at the same-times. The answer about what we find out and practice make it possible the act of guidance. This guidance can't burden any subject but permit the people to result his own researching behaviors. He can save his activities, his own researching behaviors by the result of it. Third, The statematical means efficient performances, and them efficient performances is impossible, here is 'discoveries' of behavior itself. The system of the library is the formation of the relation between the accumulated civilizations and accumulated civilizations. As the definitions of the above mentions, library has the big abilities to the creation and succession of the civilization. As the contemporary view-points, there are some questions about the above described definition can meet it of the library. When we frame the science of library as the learning systems, we can't but the library as this definitions.

• Journal of Korean Medical classics
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• v.26 no.4
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• pp.267-280
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• 2013

Objective : One of the unique syndromes in Asian traditional medicine named 'heat entering the blood chamber(熱入血室, HEBC)' first appeared in Shanghanlun(傷寒論) and Jinguiyaolue(金匱要略) written by Zhangzhongjing(張仲景) who is the most famous doctor in ancient China. Method : Through comparison between Huangdineijing(黃帝內經), Shanghanlun(傷寒論), Jinguiyaolue(金匱要略) and other medical texts, the correct meaning, causes and mechanisms of HEBC can be analysed and organized to suggest new view of HEBC in modern society. Result : This syndrome is usually occurred in women during catching cold and menstruation, accompanying alternation of chillness and fever, pseudo-malaria, delirium, raveled chest(結胸), uterine hemorrhage, etc. The main sign of this syndrome, delirium belongs to the category of liver disease and fever in Huangdineijing(黃帝內經) which is a document more early published than Shanghanlun. Although there are still many other comprehensions about what blood chamber is, it could be the same as uterus according to Huangdineijing, it is relevant to the control of menstruation and emotions, and the function of liver and thoroughfare vessel(衝脈). Conclusion : HEBC is a syndrome exclusive to women, caused by their unique physical and psychological characteristics. It's beginning can be found in Huangdineijing, and by Shanghanlun and Jinguiyaolue, its concept as a single disease pattern becomes established. In other words, HEBC is a complex disease related to menstruation and its related hormonal dysfunctions, closely related to PMS, menopausal syndrome of today. Physical symptoms accompanied by psychological anxiety and fear is characteristic of this condition. Therefore gynecological approaches as well as socio-cultural issues related to women in modern society must be adopted when dealing with HEBC.

• Journal of Families and Better Life
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• v.21 no.5
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• pp.25-40
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• 2003

Since Korea open her ports to the West, she had undergone a great change under the alien influences both on the macro-social and micro-social aspects. This study aims to review the korean housing, corresponding with the everyday life, during the period of transition between the 1876 - 1910 and to interpret its process of modernization and the meaning of modernity. With regards to understand the holistic human relationship and place pf living through history, this study takes the Nobert Elias' Civilization Theory as a theoretical basis. References were therefore, made to various records of foreign missionary at the time, with respect not only to macro sociological changes but also to changes of everyday life. It is of course to take physical and structural aspects of housing architecture into consideration. These works, thus, led to presuming the housing culture of said period. In order to investigate modern character of korean housing, distinctively represented by spatial structure, considerations were made to various architectural examples according to the social and residential status both in urban and rural area. As a results, this paper came to the remarks as follows; 1. It is understood, that the process of modernization is a part of the process of civilization as synthetic process. It is integrated with the change of socio-cultural aspects and everyday life. 2. Korean housing in the said period shows various different residential status and grade of civilization according to the social status as well as economical status. Modern housing was not in general yet. 3. Housing for high classes and middle classes in Seoul shows a tendency of assimilation and imitation after western model. But some examples within the housing of high classes represent its own modernity, that is based on the rationalism and equalization 4. In the housing of lower classes, it was very far from the benefits of civilization. It could analogize from the immature control of disgrace, from undevelopment of individual territory and from uncultivation of rationality in the housing space.

• Korean journal of communication and information
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• v.77
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• pp.164-199
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• 2016

This study analyzes the socio-economical contexts of Japan's Karaoke inflow in Busan of the 1980s, and examines the relationship between Karaoke culture of the 1980s and 'Noraebang' culture of the early 1990s in Busan from the perspective of the SCOT(social construction of technology) theory. By the end of 1970s, Japan's Karaoke was introduced under the contexts of structural transformations of a geisha tourism in the East Asian regions. Karaoke culture in Busan of the 1970s and 1980s has formulated social recognitions of the novelty of Noraebang culture in the 1990s, although it has done so through the ways of misunderstandings and Nationalism.

• Journal of Families and Better Life
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• v.27 no.5
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• pp.147-166
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• 2009

The purpose of this research was conducted to formative processes and to interpret premarital adult's sexuality meaning. The interviews have been executed based upon ethnography approach and method of interview in depth within the framework of the Weis's sexual script theory (1998) and parent-children relation. The interview in depth has been conducted with unmarried 7 males and 8 females inclusive of college students, total 15 persons who were born 1974-1980 and living in Seoul and nearby suburban areas. A period of interviews were carried out from September until December 2003. Each interview was executed for 2 to 4 hours apiece, and each person had 2 to 4 interviews during the period. The result of analysis of the sexuality scripts theory from three different views indicates that the female informants appeared to rationalize the fact that traditional concept of the chastity as defined by the socio-cultural level has been changed. It also indicated that there were very few sex educations in the society at large except for the public medias including the Internet. The interrelation level indicates that positive interaction with the opposite sex has affected them in the course of their building up desirable personal relationship in the society and uplifting their sense of self-esteem. The internal level of sexuality, it is much dependent on the extent of individual inner recognition of sexuality. The parent-children relation view of sexuality, the most influential factor for their communication on sexuality lies in the extent of their realization on how positively their parents recognize their children.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.171-208
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• 2013

Site-specific performance is always the real on-site work taking place at the site. Hence, it deals with the reality, in other words, the time of creation and formation. And it creates value and meaning through the interaction and continuous direct communication process between the performers, audience and the local residents. In this performance, the audience's status as the passive observer changes. They become the co-agent who actively lead and complete the performance through their own experience. We have examined the The Working Methods of Site-specific Performance and Aesthetics of Effect through four Korean performances ; Marie, An aesthetic experiment of site as the storyteller; Heterotopia and Urban Movement Research or Play: We Will Move Your Sofa, as performances which have Revealed history, politics, institution engraved in the site ; A Song of Mandala and Miracle, as a ritualistic site-specific performance at the historic site. Some remarks on Site-specific performance ; First, In Site-specific performance, the habitus peculiar to the stage art and the mode of reception are changed. Second, a new mode of theatrical communication requires creator and audience to have a sharp aesthetic sensibility and to change one's perceptual habit. Third, Site-specific performance can act as a demonstration for the viewpoints of political activism through what could be called a dramatic close-up effect. Fourth, Site-specific performance also has the risk of merely becoming an unfocused and scattered performance or degenerating into a pseudo-sightseeing. To avoid this, an in-depth study of the site and its socio-cultural context, and the clear motivation with which one is trying to reveal and tell from the site must be indispensable. As the co-agent, the audience should also be aware and think about what the given performance signifies today.