• Journal of the Korean Society of Costume
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• v.14
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• pp.99-117
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• 1990

The purpose of this study was to investigate the change of clothes in modem Korean women in terms of a socioeconomical background, the introduction to western clothes, and the improvement of clothes between the opening period of ports in the early 1900's and 1960's. In addition, the study investigated how western clothes became popular in a Korean society along with the traditional' Korean clothes, Hanbok. The radical social change since the opening of ports motivated the change in the way of Korean women's thinking, and consequenty the improvement of Hanbok which developed into the clothes-improvement-movement. It was not until 1905 that the improvement of clothes was hotly debated particularly in the matter of abolishing Jangeui and the extreme length of Jeogori and Chima. The Tongchima-Jeogori style which lengthened Jeogori and shortened Chima was widely accepted as everyday wear until the western clothes substituted them after the Independence from Japanese Conquest. As the length of Chima shortened, there occurred a change in Boson and Jipsin as well. There appeared shoes and Gomoosin in place of Jipsin, socks in stead of Boson and were popularized until after the Liberation in 1945. The popularity of Gomoosin diminished markedly with the diversification of shoes styles, due to the improvement of the standard of living with economic development in the 1960's. The traditional Hanbok was gradually differentiated according to the social status, for instance student, teachers, ordinary women, girls and Kisaeng. Especially since the white clothes caused much trouble in washing and sewing, there came into being the movement of wearing colorful clothes. The Movement of abolishing white clothes and promoting of wearing colorful clothes was enforced during the period of Japaness conquest from the 1920's to the Liberation, which consequently stimulated an interest for colors of clothes. The period under the war between 1937 and 1945 was especially noted for the extreme regulation over the clothes. The Japanese government forced each group of women, e.g., girl students, a young women's association, school teachers, and ordinary women and girls, to wear their own uniforms. Also, It recommended the use of Tongchima in stead of long skirts, and buttons in place of Coreum so as to conserve textile encouraging the use of other substitutes to save resources. The western clothes, a model of clothe's improvement was deemed as a symbol of modernization and enjoyed general popularity. The supply of relief clothes after the Korean war accelerated the expansion of western clothes even further and the trend of westernization along with economic progress in the 1960's resulted in wearing of western clothes as everyday dress. The expansion of western clothes as casual wear rapidly diminished wearing of Hanbok which in turn took the position of ceremonial dress worn in special cases only. Hence the Korean women's clothes were dualized into traditional Hanbok and western clothes and the western clothes that stems on its convenience was settled as everyday wear where as the Hanbok appeared as ceremonial dress stressing on ornamental features. As mentioned aboved, we are able to discovered an orientation in the course of transitional process of modern Korean women's clothes admist diversified changes, which is a consistent pursuit of convenience and practicality based upon progmatism. The trend such as this carne into a finale' as women's dress became dualistic in forms of Hanbok and western clothes, and the change since then is supposed to proceed in two forms of dress featuring its own style.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.3
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• pp.67-81
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• 2004

This research demonstrates clothing consumption values, fashion preferences of career women from the early 1920s to late 1930s. And having thorough understanding of values and preferences, allows us to establish marketing strategies for clothing companies. The main purpose of this study is (1) to formalize consumer group based upon the clothing consumption values, (2) to find for characteristics of consumer depending on classification of consumption value in clothing, (3) to understand the preferences of career women about fashion trends. Analyzing data was performed 292 copies, resulting factor analysis, Cluster analysis, X-test, Anova, Tukey test, t-test, frequency analysis, and reliability analysis. This paper showed 7 distinctive characteristics of career women about clothing consumption value. These characteristics can be listed as 1) value of brand image, 2) value of self-expression, 3) functional values, 4) epistemic values, 5) coordination values, 6) social values 7) psychological values. Importantly, brand image value became most significant aspects among 7 factors. Analyzing consumers based upon stated 7 factors, it was found that they are segregated into 4 groups; Self-expressive Group, Psychological Stability Group, Functional Group, Social Group. Secondly, for fashion trend preferences, self-expressive group, psychological stability group, and functional group favored Romantic Feminine Style respectively. Social Group showed preference in Nu-Basic'. The reason for such trend dealt with fabric materials and colors. Finally examining population statistics, younger generations showed more preferences in Nu-Basic', and consumers from ages of 26 to 28, 32 to 34 showed preferences in Romantic Feminine' regardless of their household income, clothing related expenditures, jobs, and education level. On the other hand, 'Modem Classic' was popular among college graduates and 'Paradise' was somewhat less popular among all ages except from ages of 32 to 34, consumers consumption 300,000Won to 400,000Won on clothing related expenditures. And 'Energy' seemed to attract more highly educated females, who had more than masters in degrees with over 300,000 to 400,000Won for clothing related expenditures.

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.345-400
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• 2010

Konstantin S. Stanislawski(1863-1938) is one of the great acting-teachers and directors. Especially his 'System' influences this day like his period so many actors and directors in the world. In Korea, Stanislawski was introduced at first in 1920's by Kim, Woojin, dramatist. After that time, his system was influenced fast everyone in the korean drama world. As a result, so many translations of his books and researches of his system are done until nowadays, but it is not perfect for the correct understanding of Stanislawski and his system. It seems to be several causes in this misunderstanding. And the purpose of this thesis is at first to observe historically the results of researches and translations on Stanislawski and his system in Korea and then to bring it in order according to characteristics. In this thesis are the process of reception observed dividing 4 periods. The first period is from the beginning to the liberation in 1945. The second is to 1980's and the next is to the year 2000. And the final period is from that time to the present time. As a result are several characteristics found as followings: 1) translations of Stanislawski's first book like other books, for example, Building a Character and Creating a Role, an Actor Prepares, are fast all secondhand translations, that means, man translated it not from russian direct but japanese or english. It caused man to misusing of terms and then misunderstanding on the system. 2) the researches on Stanislawski in are fast all concentrated on the book, an Actor Prepares, so this leads man to regard it as his whole acting system. On the other hand, thesisses which deal with his last and final acting technique, "the Method of the physical Action" are relatively not so much. As though man knows the last, man used to think that the system is developed systematically from the psychological technique to the physical action or the method of the physical action is only the way to understand of stanislawski's acting method. The psychological method and the physical are not the divided, different acting technique, but pairs which are applied to different objects, that is, the actor himself and the role in texts. 3) the political aspects are not considered especially under the situation of Stalin's social realism. This lack of the political context having relation with the system acts as a obstacle upon understanding the correct, whole his system. But so many thesises on this theme in other countries are so vivacious. For example, man can find subjects like "Stanislawski and Meyerhold", "means of Stanislawski's method for theatres in the social context". There are also many interesting Questions related to the physical action. That is, is the physical action the final acting technique or the materialistic dialectical device to survive under the Stalin's rule? Is there some interrelations between stanislawski's physical action and Meyerhold's biomechanics? In conclusion, the researches on Stanislwski and his system are not enough to understand correctly and overcome the system. We have to start the research again at least from the direct translation his books written russian in order to apply it in a new times.

• Journal of architectural history
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• v.12 no.2 s.34
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• pp.41-59
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• 2003

Hugo $H\"{a}ring$(1882-1952) belonged to that special generation of architects born in the 1880s which became responsible for the establishment of Modern Movement in the 1920s as W. Gropius, Mies van der Rohe and Le Corbusier, etc. Although he have been overlooked by many historian, He was a key figure of the Modern architecture and as the main theorist for Organic stream in German architecture. He is well-known for his theory of 'Neues Bauen(New Building)', the organic functionalism that is epitomized as the design process from the inside outwards, starting with the life-processes of dwelling. So he argued that the builder must become aware of the life process his building is to serve, and he should not impose a form but try to find the form. These concepts are expressed well in his key-words, the 'Organwerk(organ-work)' and 'Leistungsform(form as achievement)'s. $H\"{a}ring's$ theory can be found in the short early essay, 'Wege zur Form(approaches to form)' of 1925. But His concept of 'function' is based on the speciality and individual identity that concerned him from the start, not purely pragmatic aspects. After 1940s his theory moved increasingly in this direction. He defined this as the transition from 'Organwerk' to 'Gesetaltwerk', from mere anatomy to essence, being, personality, life. It suggest that Hugo Haring's idea of Gestalt is a dimension of mystical or symbolic meaning. This paper Is about the way in which this theoretical transition can be parallel with contemporary philosophers as E. Cassirer's philosophy of symbolic forms and M. Heldegger's phenomenology. And the key example of this viewpoint is (1921-1926) near Lubuk in Germany, with its 'cowshed' of pear shaped plan devised around the requirements and rituals of farm. This study presents the symbolic conception of Hugo $H\"{a}ring's$ theory can propose the ability of a symbolic intuition as a view that re-integrate technical thinking with knowledge of other kinds beyond the immediate material.

• Journal of Fashion Business
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• v.15 no.5
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• pp.69-86
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• 2011

The objective of this research is to unveil the dynamic changes of the trends in wedding dresses during the 20th Century. The studies were carried out in two forms; firstly by observing the actual wedding dresses worn by people at that time, and secondly by conducting formative comparisons between those dresses with the ones appeared in movies corresponding to that period. Movies provide an invaluable insight into the era's wedding dresses fashion trends since they function as intimate bridges in connection with the time's audience, and the visible imageries accurately reflect the characteristics embedded within that time frame. As there are no precedent studies regarding this topic, this thesis can serve as vital research data for the wedding dress industry. Research data regarding the actual wedding dresses were collected from books and museum web sites. The object of movies were films produced before World War II that contained both the background settings of the 20th Century and wedding dresses, of which photographic imageries were captured. Research analysis was then conducted by merging these data with findings from relevant books and internet materials. The results of the thesis are as the following: The 1900s was an extension of the 19th Century's popular fashion trend which can be characterized as the S curve silhouettes of the Edwardian period when long trains and long veils symbolized wealth and social power. In the 1910s, high waist silhouettes with soft wrinkles were prevalent as attire suitable for active mobility with practical functionality were highly regarded. During the 1920s, the flapper style became the dominant trend. Hem lines of the skirts were curled in the form of the scallop and laces were the most widely used raw materials. By the 1930s, wedding dresses that reinterpreted the glamorous sheath lines, practical two piece styles, and retro-styles became predominant. The 1940s saw the advent of ready-made wedding dresses made of synthesized materials; practical military style suits and casuals sometimes substituted the wedding dresses. And although the wedding dresses in the movies were primarily costumes to express the personalities of the characters, they were also reinterpreted as manifestations of the formative characteristics of each relative period that pursued very distinct and diverse features.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.4
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• pp.10-23
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• 2021

During the Japanese colonial period, the palaces of Joseon were damaged in many parts. Changgyeonggung Palace is the most demolished palace with the establishment of a zoo, botanical garden, and museum. During the Japanese colonial period, the palaces of Joseon were damaged in many parts. This study examined the construction process of Jangseogak(Yi Royal-Family Museum), located right next to the Jagyeongjeon site, which was considered the most important space in the Changgyeonggung residential area of royal family zone, through historical materials and field research. Built in 1911, Jangseogak is located at a location overlooking the entire Changgyeonggung Palace and overlooking the Gyeongseong Shrine of Namsan in the distance. Changes in the surrounding space during the construction of Jangseogak can be summarized as follows. First, in the early 1910s, the topography of the garden behind Jagyeongjeon and part of the Janggo were damaged to create the site of Jangseogak. The front yard was built in the front of Jangseogak, and a stone pillar was installed, and a staircase was installed to the south. In the process, the original stone system at the rear of Yanghwadang was destroyed, and it is presumed that Jeong Iljae and other buildings were demolished. Second, in the 1920s, many pavilions were demolished and the zoo and botanical gardens and museums were completed through leveling. After the Jangseogak was completed, the circulation of the Naejeon and surrounding areas was also changed. Cherry trees and peonies were planted in the flower garden around the front yard of Jangseogak and the stairs, and a Japanese-style garden was created between Yanghwadang and Jibbokheon. Third, in the 1930s, the circulation around Jangseogak was completed in its present form, and the museum, Jangseogak, Zoological and Botanical Gardens, and Changgyeonggung, which became a cherry tree garden, were transformed into a Japanese-style cultural park. After that, the surrounding space did not change much until it was demolished. The restoration of the present palace is a long-term, national project of the Cultural Heritage Administration. The results of this study will provide important data for the restoration plan of Changgyeonggung Palace in the future, and it is expected that it will provide additional information to related researchers in the future.

• Journal of the Korean Institute of Landscape Architecture
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• v.46 no.1
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• pp.61-71
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• 2018

This study sought to interpret the Ya-Aeng (夜櫻) from the viewpoint of urban society, focusing on the occurrence of the Ya-Aeng at Changgyeongwon (昌慶苑) in the modern city of Kyungsung. When the Ya-Aeng started in the 1920s, the social aspects of Kyungsung were in a transitional period from the traditional to the modern. The social modernization of Kyungsung has had a dramatic impact on the Ya-Aeng as a part of the city culture. Using the concept of 'phantasmagoria', which was widespread in Kyungsung society and the Ya-Aeng, this study has established three implications of the Ya-Aeng. First, Kyungsung's phantasmagoria appeared in the form of crowds, spectacles, and experiences. This study suggests that such interpretation also applies to the Ya-Aeng. This means that the capitalism-controlled modern society on one hand and the Ya-Aeng on the other had the same mechanism. Therefore, the Ya-Aeng, as modern city culture, becomes a miniature version of Kyungsung and a modern commodity world in itself. Second, the fact that phantasmagoria is a major element of the landscape of the Ya-Aeng means that there is a special way of seeing. For modern subjects, the phantasmagoria of the Ya-Aeng has acted as a learning mechanism for a modern way of seeing. Third and finally, the phantasmagoria of the Ya-Aeng was an illusion to encourage the continued consumption of this culture and at the same time, forget about the capitalism-controlled urban culture. At this time, capitalism was dominated by the influence of Japanese imperialism. The significance of this study lies in that it expands the idea of the Ya-Aeng from the events inside Changgyeongwon into the urban culture, which is a projection of modern urban society. In addition, where the Ya-Aeng in the past had been regarded as a decadent and poor-quality spring celebration in comparison to the traditional spring celebration, this study proposes a new point of view for the Ya-Aeng in an urban social context.

• Journal of the Korean Society of Costume
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• v.28
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• pp.65-84
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• 1996

The purpose of this study is to analyze the relation between the beauty of human body and the fashion illustration in each period And I attained my object through the investigation of features and changes of illustration which is given a vivid description of the features and development of ideal humam body beauty. By various methods I studied this subject. Frist I refered to sundry records Secondly I investiated the fashion illustrations which are included in Vogue. On the basis of this data I grasped the ideal types of human body beauty which is founded during the social change in each 10 years. And I analyzed the relation be-tween the ideal type and fashion illustration which show the change of fashion. The summary of result is as follows. 1. In the early part of the 20th century the beauty of human body is represented with the figure of large-sized beauty which emphasize shoulder and bust. And fashion ikllustration show 9 life-size broad shoulder full bust lim waist and hourglass silhouette. 2, In the 1910s the swell of strength vanishes gradually and shoulder and sleeve are straight type. And fashion illustration show 7 life-size high waist line. And that is tublar sil-houette of high waist and streamline shape in which bust and hip are not emphasized. 3. In the 1920s the ideal type of human body beauty is straight type which shows flat bust and unexaggerate hip. And fashion illus-tration is about 8 life-size tublar silhouette of low waist and lunger and slimmer and young style in which bust and hip are not emph-asized. 4. In the 1930s the ideal is womamly slim and long style. Fashion illustration is about 8 life-size and slim & long silhouette in which waist line is emphasized and bust and hip line come out. 5. In the 1940s the ideal type is womamly style which has narrow shoulder rich bast and slim waist. And fashion illustration is about 7 life-size and hourglass silhouette which has unartificial shoulder slim waist and empha-sized bust. 6. In the 1950s the ideal type is that of ro-bust health which emphasize build and muscu-lar system. And fashion illustration is 8.5 life-size and show full bust and made waist slimmer. That is sheath silhouette. 7. In the child who has full face with large eyeball slender and long leg: narrow and immatured body comparatively big head. And fashion illus-tration is 7 life-size and show slim and long neck flat bust long and slim limbs and big head. That is H type silhouette. 8. In the 1970s the ideal type is high stat-ure flat breast small hip and wide shoulders. And fashion illustration is wide shoulders and slim waist as 11 life-size and straight sil-houete. 9. In the 1980s the ideal type is extremely emphasized breadth of shoulder because healthy body and muscle are recognized as the symbol of ideal attractiveness. And fashion il-lustration is about 8.5 life-size and show mus-cular slim type that is slim silhouette. 10 At the present time the ideal type is slim and tall type which is empasized healthy beauty. And fashion illustration is 12 life-size which has healthy body and skin So that is slim and long type.

• The Sea:JOURNAL OF THE KOREAN SOCIETY OF OCEANOGRAPHY
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• v.5 no.4
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• pp.285-294
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• 2000

In order to determine the horizontal and vertical distributions of metals and prospect the recent metal pollution history in Nakdong Estuary, we took surface and core sediments. Maximum value of organic matter occurs at the upstream site located 4 km from Nakdong barrage, and the concentration of trace metals (Zn, Cu, and Pb etc.) decrease seaward in the estuary. The sedimentation rates, based on $^{210}$Pb$_{ex}$ and $^{137}$Cs activities, were 0.34 cm/yr in inside of barrage (core 1) and 0.25 cm/yr in Changrim (core 4). Sediment mixing layer does not exist in core 1, where anoxic condition is known to be prevail. The topmost sediment layer of core 4 (<3.5 cm) is severely mixed. At sites 1 and 4, concentrations of Cu slowly increased during the period of 1920-1970, rapidly increased during 1970-1990, and followed by slight decrease after 1990. Zn contents increased in early 1960s and peaked in 1993, and followed by decrease after 1990s. Pb has increased continuously since early 1970s. At the downstream of the barrage, Cu and Zn have increased in the topmost layer. The trend of increase of Cu is evident after 1950 (11 cm in sediment depth). Overall trend of heavy metal concentration clearly indicates the pollution has been increasing after the construction of the barrage.

• Journal of IKEEE
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• v.19 no.1
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• pp.18-26
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• 2015

In this paper, we proposed and evaluated the performance of an internal MIMO (Multiple Input Multiple Output) antenna for multiband operations including LTE (Long Term Evolution) 700/2300/2500. And to enhance the isolation characteristic, a parasitic element is designed and applied. The proposed single antenna has a volume of $60mm(W){\times}38mm(L)$, and the ground plane is $60mm(W){\times}100mm(L)$. The parasitic element used for enhancing the isolation of the antenna was designed with a copper on FR4 sized $60mm(W){\times}20mm(L){\times}1.6mm(H)$, and the pattern size is $60mm(W){\times}15mm(L)$. Simulated and measured results showed that LTE 700/2300/2500, DCS (Digital Cellular Service: 1710-1880MHz), K-PCS (Korea-Personal Communication Service: 1750-1870MHz), US-PCS (US-Personal Communication Service: 1850-1990MHz), WCDMA (Wideband Code Division Multiple Access: 1920-2170MHz), Wibro (2300-2390MHz), Bluetooth (2400-2483MHz), WLAN (Wireless Local Area Network: 2400-2483.5MHz), US-WiMAX (US-World interoperability for Microwave Access: 2400-2590MHz) frequency bands were covered with $S_{11}$ values less than -6dB (VSWR < 3). Simulated and measured results on $S_{21}$ at 730MHz for the firstly designed MIMO antenna showed -5.50dB and -5.65dB, respectively. When with the parasitic element at the separated ground plane to enhance the isolation performance, -10.33dB and -12.90dB are obtained for the simulation and measurement, so the enhanced isolation performance at lower frequency band (617-867MHz) is confirmed.