• Journal of Daesoon Thought and the Religions of East Asia
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• v.3 no.1
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• pp.87-108
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• 2023

From the time it was propagated to Vietnam until it was forced to relinquish its leadership position in both politics and philosophy, Confucianism in Vietnam was never orthodox Confucianism. This study employs the theory of invented tradition to examine how Confucianism penetrated the ethnic Vietnamese community at the turn of the first millennium and points out its vital requirement: the construction of a Chinese-style centralized administrative government based on Neo-Confucianism. This requirement unfolded during the Le So Dynasty in the fifteenth century. Moreover, the theory of invented tradition can also be applied to discover the motivation behind Neo-Confucianism's process of manufacturing orthodoxy to speed up the goal of Sinicization. Somehow, the launching of the imperial examination system, meant to fulfill a system of bureaucracy, ended up resolving one of the greatest challenges of medieval times. It is to seek the ruler's uncritical submission to the ruled. This article applies hauntology to analyze two forms of Confucianism discourse in Vietnam. In doing so, this study determined that Confucianism evolved into its own unique system of thought in Vietnam and in the end, was not even recognizable as Confucianism. Throughout Vietnam's turbulent history, Confucianism shifted from a symbol of progress to one of backwardness. This culminated Vietnam's preoccupation with the de-Sinicization during the early twenty-first century.

• Journal of Fashion Business
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• v.12 no.2
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• pp.42-58
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• 2008

The purpose of this study is to examine actual design cases of decorative detail in the Art Nouveau style from the end of 19th century to the beginning of 20th century, and create designs and fashion works to meet our contemporary fashion trends by means of over-decorative style, a characteristic of decorative detail. The characteristics of decorative detail in the Art Nouveau style can be outlined as follows: First, pleats appear with two major feels of solidity, undulated and curvilinear solidity based on gather(ruffle, frill/ flare and flounce) and regular and linear solidity based on linear pleats or tucks. Second, embroidery appears in various patterns developed with stitch of solid feel as well as a variety of coloration effects. Third, attachments are expressed by means of independent motif(applique, gloss effects(beads, sequins), affluent texture and mobility(fur, feather). Moreover, according to technical characteristics and expressive aspects of pleats, embroidery and attachments, it is found that decoration detail in the era of Art Nouveau is over-decoration style. Indeed, it appears in major expressive aspects such as rhythmical solid type, detailed prominence type, superficial touch type and profound volume type.

• Korean Institute of Interior Design Journal
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• no.27
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• pp.120-127
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• 2001

The purpose of this study is to examine the characteristics of space design of Isamu Noguchi's works barred on the stage sets and environmental designs. From the end of 19th century, space which was begun to be studied about in architects has continued to be researched by not only scientists but artists. Recently, space Is expressed in free and new forms due to diversity of societies and advancement of technology, As a result, space has become an essential part in art and is used in the titles of many art exhibitions. This study scrutinizes space in Isamu Noguchi's works. No other 20th century artist has as clear and progressive space conception as Noguchi's. His notion of modern art was modified through space in the tradition of cubism and Russian Constructivism and Bauhaus. Combined with his experience in the traditional Japanese houses and gardens, these influences led toward a broadened conception of sculpture as the creation of living space. These modernist's characteristics are found in his early expression of stage sets for choreographer Martha Graham, and they would lead to a wide range of design activities, from gardens and interiors to fountains and furniture. Isamu Noguchi had created a body of work that crossed the boundary between fine and applied art as a sculptor, and as an environmental designer.

• Neurospine
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• v.15 no.4
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• pp.285-295
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• 2018

As spine surgery flourished in Taiwan and neurosurgeons became more involved in spine surgery towards the end of the 20th century, the Taiwan Neurosurgical Spine Society (TNSS), earlier named the Taiwan Neurospinal Society, was established on March 11, 2001. As its main founder, Dr. Chun-I Huang was elected as the first president of the TNSS. The goals of the TNSS were to promote research, to hold academic seminars, to participate in international conferences, and to exchange clinical experiences. The mission of the TNSS was successful, and the profession of spine surgery in Taiwan advanced during the first decade of the 21st century, culminating in the TNSS joining ASIA SPINE in 2010. Since its establishment, the TNSS has always been supportive of collaboration and communication with the Korean Spinal Neurosurgery Society and the Neurospinal Society of Japan. Through periodical meetings, supported by the TNSS, surgeons worldwide have enjoyed a platform of sharing and mutual learning. To further promote academic research, the TNSS has officially supported the journal Neurospine since 2018. With extensive efforts from local and international surgeons, the TNSS will continue to adhere to its mission and to advance the profession of spine surgery.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.2
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• pp.95-108
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• 2006

The purpose of this study was to analyze the historical change of Paris Collection in relation to the social and cultural environment. Together with the various changes in society, creates fashion, the historical background of the Paris Collections is analyzed from the end of the 19th century until the present. The research method includes analysis entered on data from literature and magazines. From this study, the following conclusions can be reached. 1. Paris Collection is composed of various situations such as the economic aspect, the changing society, the change of the costumes, the change of consumer's consciousness, etc,. 2. The position and role of Paris Collection will be changed in the future. But, there is no alternative. Paris Collection is the best system which we need in our society. 3. Since the level of the planning of the apparel industry becoming raised rapidly, Paris collection tend to avoid the traditional aspect. 4. In order to make good product, good understanding of the historical background need. It must be considered to understand changes such as consumers lifestyles, social trend, etc.

• The Research Journal of the Costume Culture
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• v.5 no.3
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• pp.96-117
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• 1997

The purpose of this study is focused on revealing teenager characteristics and mass culture in the end of the 20th century, and researching the general traits of teenager costume in the latter half of the \`90s and the typical style based on the analysis of the teenager culture. The result of this study are following as; The general traits of teenager costume are classified with sports-orientation, brand-orientation, and foreign street fashion-orientation. Typical styles are classified with sportive look, hiphop look, and funny look. Sportive look became the core of the street fashion developed with the street sports in the city, and presented the practical use with the fashionability mixing sportswear such as hightech snickers, sports character wear and items. Hiphop look, the genderless fashion, expresses teenager\`s free life style and the diversiied sensibility and deconstructs the border of gender, racism. Funny look accepts the burden of the millenium as a humor and presents katharsis by creating unexpected style. The contemporary costume of teenager deconstructs the fixed idea about mix and match, good taste and bad taste, gender, coordination suited with T.P.O and intends ‘open costume’ for 21st century.

• Journal of the Korean Society of Food Culture
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• v.10 no.4
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• pp.311-319
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• 1995

The history of vegetable preservation technology by salting and fermentation in Korea was reviewed from the Three Nations Era to the end of Chosun Kingdom, and the development of present day's Kimchi processing technology was traced back by using the classic books as well as recent review papers published in Korea. Although the written record on salting and fermentation of vegetables first appears in a 12th century literature (Dongkukisangkukjib, Gyu-Bo Lee $1168{\sim}1241$), the use of salted/fermented vegetables could be dated back to the Three Nations Era $(B.C.\;37{\sim}A.D.\;668)$ and even earlier period. The present type of Kimchi was gradually evolved after the introduction of red pepper into Korea in the 17th century. The descriptions on Kimchi fermention appeared in the literatures written in the period of $16th{\sim}19th$ centuries in Korea, Suunjapbang $(1500{\sim})$, Domundaijak (1611), Sasichanyocho (1656), Eumsikdimibang (1670), Chubangmun $(1600{\sim})$, Saekgyung (1676), Yorok $(1600{\sim})$, Sanlimkyungje (1715), Cheungbosanlimkyungje (1766), Kyuhapchongsoe $(1800{\sim})$, Imwonsipyukji (1827), Dongkuksesiki (1849) and Buinpylji $(1855{\sim})$ were reviewed.

• Journal of the Korean Professional Engineers Association
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• v.18 no.2
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• pp.54-65
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• 1985

Korean Landscape Garden may be described according to its stage of development. In the primitive agricultural era, the garden was preceded by vegetable yards and at this time rock arranging (Soo-Sok garden) was initiated together with the megalithis culture of dolmens, heavenly altars and tumuli. In the early Three Kingdom period palace gardens were built on a grand scale and toward the end of fourth century temple garden were introduced along with Buddhism. These gardens evolved to the flourishment of "HWAGE"(terraced gardens) rock arrangements of ZEN, early KOR-YO period. Especially since the middle of KOR-Yo period the "IM-CHUN"(forest and pond) garden became popular, while during Cho-Son period "HWAGE" in the back yard, pond and pool garden and "IM-CHUN" style country villa became fashionable. The Korea traditional Landscape garde may be characterized that first it is a nature Landscape style, which makes the maximum accomodation with the surrounding nature. Secondly, the Korean garden is built creatively by utilizing the elements of its climate and topography, Kogu-Ryo, Paik-Je great-Kaya and Sil-Ra had developed original a castle town plans and beautiful gardens rock arrangements which precede the equivalent style of China and set the prototype for Japan. The Landscape art of waterfalls and rock arrangements at An-Ap-Chi garden of 7th century has no equals in China and set the origin of pond style of Japanese garden.

• Journal of the Korean Society of Costume
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• v.57 no.7
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• pp.45-52
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• 2007

This study is based on the observation of women's Jangui in 17th centuries. As we observed, Jangui in seventeenth century was shown the same style. They were not headdress but coat. The characteristics of shape are Mokpankit, double-seop, straight sleeve, triangle moo, sam-su(which is attached to the end of sleeves) and a little coat string etc. There is no specific mode difference with the change of times. However, the straight sleeve is shown straight line in the early Chosun dynasty. Jangui in seventeen century are all oblique line sleeve except Jangui of Jin-ju Ha's family. Jangui put on coat do not seem clear-cut difference with the change of times. From Jangui of Yang-chun Hu's family in 14th centuries till An-dong Kim's family, the special features of Jangui are the same style. In addition, The double-seop in 17th centuries was not completely symmetry. However, after 19th centuries, Jangui for headdress was shown perfectly symmetry.

• Journal of Navigation and Port Research
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• v.26 no.3
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• pp.345-354
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• 2002

The Sea road which is connected from the Gulf of Persia to Canton was completed by Arabs in the end of the eighth century. For the first time in history, the amount of goods by the sea route exceeds land route. In contrast with the Mediterranean, the Indian Ocean was a sea of peace. Its western shores were under Muslim control, thus we find in this age a great expansion of commerce on the Indian Ocean. We trace the sea route to China in use in the middle of the ninth century. Also we find out that the outstanding feature of the medieval Arab ship of Indian Ocean are two: the manner in which planks of the hull sewn together, not nailed; and the fore-and-aft set of the sails.